#the metaphor lost it's meaning in the second half there

[treesbian]

fun fact you don't really need to use a condom in europe because the way usamericans have sex is much more dangerous because we're more likely to be hit by cars

#talk tag #the metaphor lost it's meaning in the second half there #what is wrong with you people (europeans) #wear a helmet we are not the weird ones here

[becausegoodheroesdeservekidneys]

Cân i Gymru 2024

It has just occurred to me that I can actually recreate Cân i Gymru for you all through the power of the Internet and Tumblr and such like. Given that Eurovision is out this year, please enjoy the Eurovision of my people.

The artists are much less important to us than the songwriters. Sometimes those are the same people, but sometimes not. The winners of this contest are the songwriters, though, the artists are just a necessary evil.

So! The entries!

First up! Heno, meaning 'tonight'. The songwriters wanted to write something that would make everyone want to dance :). The artists are therefore a sexy Eurovision-style singer who hits notes I previously have only heard autotuned in Crypt of the Necrodancer, and a funky DJ man. This is the most Eurovision-y song, probably.

Yr Un Fath (The Same Thing), by Jacob Howells! He wrote this one himself. Lovely lad, from Llanelli. A gentle ballad.

Again, singing their own song! These are the songwriters! Exciting. This is Cymru yn y Cymylau (Wales in the Clouds), which is a very nice song about how no matter where they go in the world, they see Wales - and by extension their Welshness - in the clouds, staying with them. A route back home.

Mêl (Honey). Same again, they wrote their own song. This is a song about late stage capitalism and the environment and having hope for the future told through the metaphor of bees. Slight funk/soul vibe. The stage backdrop was increasingly filled with clipart bees.

Cysgod Coed (The trees' shadow). A ballad about lost love and broken promises. The songwriter is teenage girl Efa Rowlands, the singer is classmate Gwion Phillips.

This one felt the most like a Swedish Eurovision entry. The singer is half of Welsh band Lofi Jones, but no one even mentioned that, because he didn't write the song, so it's not about him. The song Pethau Yn Newid (Things Are Changing) instead is about how life is moving too fast and we should appreciate the time we have more, because he's aging and everything is changing and he can't keep up. They probably should have gotten someone older to sing it.

Absolute vocal powerhouse ballad, Ti (You) is part-written and all-performed by music teacher Sara Davies. The lyrics were a love letter her grandfather wrote to her grandmother before he died; Sara then wrote the music for it. The background photos are her grandparents. Her grandmother was actually in the live audience on the night.

And the last one! Goleuni (Lights) is by a pair of songwriters (one music teacher and one West End star) who wanted to write a song of hope for the dark times, because the world is shit but Still We Persist. They're both talented and established songwriters. The performer is a seventeen year old schoolgirl in the class of one of the songwriters.

~~~~

So!

Anyway I disagreed with the first second and third placings of the Welsh public so hmu Tumblrs who are we choosing

#wales! #closed for cleaning on mondays #welsh musics #Youtube

[poppy-metal]

listen. i’m blowing up your inbox and im sorry but i’m a wreck. TALK TO ME AB THE EMOTIONAL I NEED YOU SEX.

eddie’s passionate, and that definitely extends to sex, but you both are so overcome with love and gratitude that you’re both there and okay, and you’re being so gentle with him he wants to cry because he loves you so much. yall figure out why they call it “making love” that night

I was made for loving you.

a/n: this is my fix it fic. my comfort. my delusion.

cw: past fwb eddie x reader. feelings. reader is bad at them. soft sex. soft dom!eddie

why does the term 'making love' warm me up on the inside? i am disgusting.

thinking of being in a fwb situation with him before you went and saved the world together. you'd always kept him at arms length, he's just a punk and you did ballet type shit. but stumbling into your big empty house, dirty and grimy and sweaty, you don't seem that far apart. from that different of worlds.

he'd almost died. you'd had that second of bone chilling fear deep in your gut when the bats had taken him down. the screams you let out had your throat still feeling raw. you hadn't let go of his hand the whole ride home. the whole time he was being attended to. you hadn't spoken much.

you're still silent now, nawing on your bottom lip as you let him use your shower. the distant sound of the water fills your room and you can't handle it anymore. the distance. the being away from him.

he jumps, predictable and dramatic, when you open your bathroom door. he's got the shower running but he'd been sitting on the closed lid of the toliet, scrubbing his hands down his face, still fully clothed.

"jesus." he says, startled. he runs a hand through his bangs, making them stick up. "ever heard of knocking? what I'd been indecent?"

you come to him, knowing he's deflecting. "seen you naked before, munson."

he looks down at his hands on his lap. bites his bottom lip. "right."

you kneel down in front of him and put your hands on his knees, looking up at him. he has such big eyes. expressive. they can't hide anything from you. right now you can tell he's still terrified.

"you almost died, eddie."

you see his throat work around a swallow. his knee under your palm starts to shake a little. bobbing up and down. "i know. yeah i-" he takes a breath. closes his eyes and then opens them again. they look wet. "i know."

you grip him a little hard. your bottom lip trembles. "i almost lost you."

he smiles then. its a crooked, half little smile if a bit wobbly. "can't get rid of me that easily, sweetheart."

you know he uses jokes like this, his sarcasm, as a defense. usually you roll your eyes at it, let it roll off your shoulders like water and maybe say something biting back, even if you don't mean it. you can't find it in you to joke right now.

"I don't want to get rid of you." you say, completely serious. "eddie, you know that right? you know that i- that you-"

he looks at you. his eyes are that intense kind of dark they get before he kisses you. when he knows you're bluffing when you say something casual. like he can see inside you so easily. like its nothing. it never fails to make you feel stripped bare. naked.

"that you what?" his voice is soft. testing. his hands cover yours on his thighs, thumbs stroking over your knuckles.

you'd kiss him now usually. to avoid the truth of your feelings. to cover up, at least metaphorically, how naked he made you feel.

you swallow and instead of covering up, you stand slowly. his eyes track the movement until he's staring up at you, wide eyes framed by pretty lashes.

"that i need you." you say, simply. and then you're raising your hands to unbutton your tattered blouse. your hands trembling.

you've undressed in front of him more times then you can count, had him undress you. this is different. this means something. this is you letting him in.

he watches you, entranced. he always looks so worshipful. before you'd always dug your nails into his back to avoid those looks, dug your heels into his ass and taunted him in some way to make him fuck you hard not gentle.

gentle was what people who felt for eachother did. gentle was making love. gentle was being in love.

when you step out of your panties you're already slick between your legs. but you ignore that for now and reach for him. you want him bare too. you want nothing between you, nothing but skin and bones and flesh and aliveness. hes alive. hes okay. hes here.

"wanna feel you." you say, almost pleadingly as you guide him to stand. he's taller than you, your nose at his shoulders. your fingers delve into his jacket, sliding it off his shoulders. "need to- need to know you're okay. is that- is that okay?"

you'd never asked something like that before. but you genuinely want to know. maybe this isn't what he needs right now.

you hear his shaky inhale and then his hands are helping you, shaking just as much as yours to divest him of his clothes. you swallow when he steps out of his jeans. his body is beautiful. a work of art. pale and lean. your hand pets through the hair trailing down his navel, marveling at how his stomach flexea under your touch.

"i need" he stops and then starts again. "i need you too. so much. you don't know how much i do."

you peer up at him and let yourself smile as your hand reaches down to lightly grip the hard flesh between his thighs. his eyes flutter when your palm envelopes his velvety cock. stroking it once. "show me?"

when he looks at you, he looks pained. "I don't know if i can pretend I'm not fucking in love with you tonight, baby. i can't- i can't just fuck you like you weren't the last thing i saw before i thought i was gonna kick it."

you feel your chest crack open. you regret so much of your past. so much time spent pushing this beautiful boy away when you should have been pulling him closer. so much closer. letting him love you.

"i don't want to pretend anymore, eddie." you lean up on your tip toes to brush your lips against his. "make love to me."

he lets out a broken sound. a whimper almost, and then he's kissing you. hard at first and then gentle. his hands cup your face. tongue flicking against yours, melting into your mouth. "let me clean you up first, yeah? think we both need to not smell like sewage."

and you do. let him. and he lets you. you step into the lukewarm shower together and its the most intimate you've ever been with eachother. wandering hands gliding over wet skin, fingers massaging shampoo into hair. you hold eachother, chest to chest for awhile under the spray, fingers dancing between his shoulder blades as his stroke down your spine.

when you step out, you don't bother with towels, both needy now. you let him guide you back to your room, to your bed, where he lowers you down onto the soft plush of your bed.

"so pretty." he says against your stomach, kissing his way down. "you've got such a beautiful body. know you don't like me spending too much time on it- but god. that's all i want to do. take my time with you. love every inch of you with my mouth."

he kisses your pubic bone and you close your eyes. "let me?"

you spread your legs in response.

his mouth between your legs is wet and slippery. your cunt is a wet and open gash between your legs, weeping its blood, your slick, into his licking mouth. he's gentle, flicking your engorged clit with the slick muscle before gently wrapping his mouth around it.

one of his hands glides up the bed and you immediately let him enterlace your fingers, gripping onto him hard as he eats you out impossibly slow. he's looking up at you as he does, and you widen your legs as far as they'll go for him, feel the lips of your sex part under the insistent pressure of his lips and tongue.

you don't look away, holding his hand as you look down at him licking between your folds, delving his tongue deep between them. your mouth drops when he pushes it against your hole, trembling when he starts to lick it inside you. deep and broad strokes.

"eddie, i-" you can't finish the sentence, overwhelmed.

he comes up, his mouth wet and red from your juices and you feel the cool metal of his guitar pick necklace glide between your breasts as he lowers himself on top of you, melding your bodies.

he sees your eyes on the necklace and his shoulders are hitching in the next moment, as he distangles it from around his neck and through the mess of his hair.

you hold your breath, tears pricking as he places it around your neck. fingering it where it rests in your clavicle. "you look good with a little me on you."

your eyes water and you don't try to push back the tears as you spread your thighs around his waist. lift your hips to aid his gentle rocking between your legs. "you've always been on me." you swallow. "in me. i-in my heart. always."

he rests his forehead against yours, both of you holding your breath as the spongy head of him prods at your entrance, gliding between the slick folds and pressing against that tiny hole. it opens for him, as always.

"fuck." he sighs as he slides in. slides home. your body welcoming his inside it easily. "you're imprinted on my f-fucking soul, honey. drove me crazy that i couldn't show it to you."

you grip his back, feeling the muscles flex with the movement of your bodies swaying on the mattress. you're meeting his thrusts, moving your body with his, toes curling at his sides where they dangle around his moving hips.

"never- never gonna push you away again." you gasp, overwhelmed. this feels so good. intense. "dont let me eddie- need you. need you so much."

he shakes his head, sweaty forhead against yours. he's pressed so close to you, you can feel the sticky sweat between your bodies making your skin slip and slide against eachother. your cunt is making wet sounds around his cock filling you over and over.

"not gonna let you." he moans against your mouth, kissing you hard. he's punching the breath out of your lungs with each thrust. "you're mine. you hear me? mine the second you locked eyes with me in homeroom, mine the minute you approached me after school behind the bleachers, mine the second you let me inside you, mine the second you stepped through that door and told me to make love to you."

"eddie." you whine and pant, gripping yourself to him tight. "eddie im gonna-"

"do it, baby." he looks between your moving bodies where his flesh is steadily meeting yours, watches his cock glide in and out. watches the shine of your need for him coat his cock when he slides out and grunts when he thrusts back home. "you cum on me you're not getting away from this, from us. the moment you wet my cock you're saying you're mine. no going back."

his lips mesh against the lobe of your ear, grinding his pelvis hard into yours. hes so fucking deep.

"so. fucking. do. it." each word punctuated with a deep thrust.

your world whites out as you cum around him, shaking and moaning and clinging onto him. its the biggest thing you've ever felt. your heart feels like it can't even contain all its feeling. Its too much.

"im yours." you cry out, soaking his cock. "im yours, im yours."

he's fucking you harder now, moving against you desperately as he chases his own pleasure. "yeah you are." he moans, his fingers looping through his necklace around your neck and pulling so your head it tugged forward until your foreheads are knocking. "about time you caught up."

when he cums, you both moan. the warm splash of it filling your milking walls. "god your pussy." he whines, "it was made for me."

you wrap your arms around him. both of you anchoring the other.

"i was made for loving you, I think."

#ask #eddie munson x reader #eddie munson smut #eddie spaghetti #stranger things x reader #stranger things season 4 spoilers #stranger things x you #eddie x reader

[evergone]

The Agreement

James Potter x Reader

Warnings: 18+, sex, alcohol, smoking

Description: James and the reader lay out the rules to be FwB, but the reader has already broken one.

It was James who had come up with the idea to make the agreement. You’d only accepted and helped to draft the terms. I mean, of course you had, it was James, how could you say no to him? Plus, you were a little more than tipsy and the fumes that you had been second-hand smoking from Sirius’ cigarette wasn’t assisting in keeping you soberly grounded. That being said, you probably still would have agreed to the terms if you were sober.

That was problem everyone found with James. All he had to do was give you his signature look — the one that spoke more than words could convey, the one that held out a metaphorical hand and beckoned you towards adventure, the one that wouldn’t allow itself to be ignored — and suddenly, you were saying yes to his every whim. His friends were the most common victims of that look, Sirius, Remus, and Peter were always whisked away into trouble with him, but you were one of those victims, too.

At first, James hadn’t wanted to go to the party with the rest of the group. He was nervous about being amongst such a large group of muggles while drunk, knowing his own tendency to show off with that wand of his. But when he saw you twirling on the street from the upstairs window of Lily’s home he reconsidered.

“Surely you’re coming, James!” You called from the ground, your hand a shield covering your eyes and hair from the cool afternoon wind.

“I’m too immature for it, Y/n,” he shook his head, “It’s best if I stay.”

“Oh, shut up and get on down here!”

He laughed heartily and disappeared into the house only to return at the front door. You squealed in delight and pulled him into a hug, dragging him into the large group that had gathered outside. Lily’s sister, Petunia, had reluctantly decided to allow you all to go to the party that only she was invited to, and stood off to the left with her hands in her jacket pockets and her arms glued to her sides.

“Can we go now?” Petunia more demanded than asked, “We’re already a half hour late.”

When, finally, you arrived at the party, you were into the alcohol in moments. Sirius had run off to mingle with muggles about the music, asking every person he could find for recommendations and such, and Marlene had joined him, interested in muggle culture. From afar, you felt that they sounded like tourists from another country, you even heard some people asking where they were from. Mary, Lily and Dorcas were doing shots with some muggle boys, while Peter was demolishing Remus at beer pong.

In the joy of it all, of the fraternising with these unfamiliar people, you had lost James. Everyone was wearing such similar outfits that you couldn’t find his hideous denim jacket in the crowd, so you slipped out the back door and searched as you stood cluelessly by the edge of the pool.

“Lost, are you?” James’ deep voice sounded from behind you, spooking you into spinning around to look at him.

“I was looking for you,” you informed him, “Wanted to talk to someone I knew, but the others are all busy.”

“Well, here I am, doey,” he smiled, gesturing to himself.

“Don’t call me that, you fool,” you rolled your eyes and he chuckled.

He led you away from the crowd and onto the roof of the unknown host’s house where you continued to chat softly, watching the stars twinkle in the great expanse like the tuffs of a dandelion clock stuck to black paint on canvas. You had no clue where he kept pulling drinks from, but for the rest of the night your hand was never without the comforting hug of a beer.

The lot of you had stumbled home together with laughter that echoed through the streets. Somehow, Sirius had gotten his filthy hands on that cigarette I mentioned earlier, and was treating it like his only lifeline, desperately trying to get every breath out of it that he could. Your arm was slung over James’ shoulders as you whispered flirtatious secrets to him:

“You smell absolutely fantastic.”

“You fancy the scent of Peter’s vomit?”

And, in return, his hand graced your hip. His fingers too close to be friendly like they were supposed to be, his heart too close, as well. He stared at you with his beautiful brown eyes that shone a brilliant gold in the light of the street lamps and the shine of the waning gibbous moon.

Back at Lily’s in the dead of night, James claimed one of the spare bedrooms all to himself, arguing that he deserved it after Peter spewed his guts up all over him. At first, you had shuffled into Lily’s bedroom to change into your shorts and a Fleetwood Mac shirt that you found stuffed into the bottom of your suitcase. As you slipped into bed next to Marlene, you were drawn out into the hallway in which you caught James making the exact same movement.

You waved at him. He waved back. Both of you exchanged quiet greetings before he nodded backwards towards the room he was in and bit his lip.

“It’s cold in there,” he said, “All alone…”

You shrugged, “And what do you expect me to do about that?”

“I could think of a few ideas,” he teased and you shook your head.

“We shouldn’t,” you said, altogether unconvinced by your own words, “This is Lily’s house.”

It wasn’t like there had ever been something between James and yourself before. You were always just friends, that’s how it was and how it would always continue to be. That’s why you made the agreement — but not until after you had warmed him up and kept him warm until morning.

Once you awoke, he helped you tie your hair back into a ponytail and smiled at the work of art his mouth had made on your back. You, on the other hand, were appalled by the sight of it in the mirror and unleashed a full-blown pillow attack on him, giggling goofily. The two of you showered together in the en suite, his large, calloused hands drew the soap along the curves of your body expertly. You dried his hair slowly and gently as you pressed your breasts onto his bare back.

“If we do this again, we need to make an agreement,” he told you, his head resting between your naked thighs on the bed, “A—A set of rules of some kind.”

You didn’t want an ‘agreement’ but the effects of alcohol still lingered in your mind, so you said yes and let him lay out the framework. You added your two cents every now and again.

“Never while high on anything other than weed,” he said.

“Never in the same room as someone else,” you said.

“We have to tell each other if we do it with someone else.”

“Or if we go on a date with someone else.”

“And most importantly,” James begun, “Absolutely no falling in love, alright doey?”

Your lips pursed. Oh. Oh. Oh, fuck. You were screwed, you couldn’t possibly agree to that term. By Merlin, you were already in love with him! How could you not be? He was everything you could want in a man: stunning good looks, intelligent mind, charming personality. He was perfect and you were in love with him.

“Absolutely.”

After a couple months of suffering through a friends-with-benefits situation with James, the agreement was coming back to bite you in the arse. Your friends could see it in every movement you made around him. Remus had caught you crying in the common room more times than he could count, and Lily couldn’t bare to hear another story about you giving him a blow job just so he wouldn’t end the agreement that was plaguing your every waking hour. It wasn’t his fault, you had to remind them, you just weren’t able to confront him with the truth about your feelings yet.

“I’ll tell him, I promise,” you told them.

“When, Y/n?” Lily asked skeptically.

“Eventually!” You whined, “When I’m ready!”

“And when will that be?” Remus raised his brows at you.

You groaned and fell back into the maroon couch in the common room in front of the empty fireplace. They were so pushy. They were the worst. You would get there at some point, they just needed to give you a little more time. You needed a little more time.

When James entered the common room that afternoon, he had nodded up the stairs towards his dorm at the sight of Remus, Sirius, and Peter all sitting around. It was one of the very few moments that none of them were up there, and you had to capitalise on those moments as best you could. You stood up obediently like a puppy and ignored the judgemental glances from your friends as you followed him up the stairs.

As he shrugged off his robes, he turned to you, “This might be our last go at it.”

“What do you mean?” You asked him curiously and stripped off your pants.

“I have a date,” he responded.

Oh. Well, that was one way for you to get out of admitting your feelings for him. Probably the worst way, but a way nonetheless. Perhaps, your heart would be broken, but at least James would never know that you had broken the agreement before it had even been agreed upon.

“Jamie,” you started, “I don’t think you should go on a date.”

He turned to you, head tilted to the side, one eyebrow perked in a mixture of confusion and curiosity. You couldn’t help yourself, it seemed. You couldn’t let him leave you behind.

“I broke the agreement ages ago,” you admitted and he frowned, “From the start, I was in love with you and I’m sorry for lying but I just thought that—”

“I knew it.”

“Huh?”

“I overheard you talking to Lily about it.” His gaze softened as he grinned at you, “You should have told me, I would have asked you out instead of making the agreement, I thought that was my only option.”

#james potter x reader #prongs x reader #marauders x reader #james potter #marauders #marauders era #harry potter #harry potter x reader #james potter x you #james potter x y/n #sirius black x reader #james potter imagine #remus lupin x reader #gryffindor #sirius black #hp fandom #james potter fanfiction #james potter x reader angst #james potter x reader fluff #lily evans x reader #marlene mckinnon #mary mcdonald #lily evans #remus lupin #wolfstar #starchaser

[wheredidhiseyebrowsgo]

Any fluff seasons 5-6 or post cannon sterek fics?

I think so!

Lost and Insecure, You Found Me by Wicked_Starlight_Collector

(2/2 I 1,972 I General I Sterek)

“What’s wrong?”

Act dumb, Stiles thought. “Who said anything was wrong?”

Derek’s scowl grew, if that was even possible. “You know that I can smell your emotions, right?” He slowly tilted his head to the side. “You stink.”

What if Derek came back to Beacon Hills during season 5, and Stiles goes to see him after Scott found out about what happened between Stiles and Donovan in the library?

A Quiet Night (Not in the Cards) by Delightful_I_Am

(1/1 I 4,369 I Teen I Sterek)

"Derek fucking Hale!"

The shout rang through the bar and for a long moment nobody moved. It was like something out of a movie. Everything just stopped; the music cut off; one of the servers had frozen mid-pour. Grady would have laughed if he weren't holding his breath. The kid straightened his shirt, a glimpse of stomach showing the curling edges of a tattoo on his hip, and strode toward where Hale was sitting in the dark corner. As one, every supe in the place turned to see Hale's reaction; the last person to try to confront Hale in here had left with a broken hand and a whispered threat that the next time Hale would rip their throat out. With his teeth. Unsurprisingly, Hale's face was set in its usual glower, although it seemed a bit softer around the eyes. It took Grady a second to realise Hale knew the kid.

2. Diamonds by brokenes

(1/1 I 12,170 I Teen I Sterek)

The pack is up against a monster that manifests itself as your worst fear, but what if Derek's fear had already come to life? What if he'd already lost Stiles? And it was nobody's fault but his.

Stiles and his other half by babisays

(1/1 I 17,332 I General I Sterek)

Stiles has a little secret that just happens to be back in town to bring even more chaos back into his life.

Or how everyone found out Stiles has a twin and how they both prevent everything that happens in season 5 with the great power of friendship.

The New Normal by midnightcas

(27/27 I 63,392 I Teen i Sterek)

After Stiles gets hurt...again, Derek puts him on the metaphorical supernatural bench. Meanwhile, Stiles tries to have a normal life and make normal friends. But when a new pack comes to town and the Hales start getting threats, things start to get a little....not normal.

Tomorrow We Thrive by KouriArashi

(19/19 I 82,927 I Mature I Sterek)

A prominent alpha is murdered on the eve of Stiles and Derek's wedding, throwing a wrench into a years' worth of planning. With a hundred suspects and a surplus of possible motives, Stiles focuses on the mysterious Gévaudan Society and their possible connection to a missing teenager whose father is a well-known anti-werewolf activist.

What About Us? by Dan13la

(37/37 I 202,312 I Mature I Liam/Theo)

 While dealing with the hunters and Gerard, Liam has to deal with his anger, and Theo become part of the pack. He also seems to be the only one who can calm Liam down. What does that mean for them?

#teen wolf #sterek #stiles stilinski #derek hale #fluff #anon

[offshore-brinicle]

Other misc things:

- Chains of others gets the Gloom effect rather than Pride when Meur uses it in story. Given how he says outright he wishes to protect Heathcliff and how the idea of an unfair judgement [from Erlking judging that all Heathcliffs must die to the court in his novel] is a theme they both share.

- In the end scene, Rodya is at the back of the bus and seemingly in deep thought, can't remember her saying much in the later parts of the Canto either. Something must've hit her hard.

- Is the river under the Heights something connected to the 'stream of human consciousness' [paraphrased] that I believe was mentioned in lobcorp?

- We know boughs can be destroyed, but I wonder if one can be 'reactivated'. The one Dante hold onto in Pass On is charred black but still intact.

- To add to the parallels, Heath n Yi Sang both get stabbed in the heart by a bough, one by their own volition in an act of love, and another by someone else.

- Why does Demian remember Cathy. It's probably something to due to the stars but half the time I'm fairly certain he's just standing invisible somewhere during the story given how much he knows. But given the body and coffin were both still there, I doubt ctrl alt deleting someone fully erases them from everything.

OK answering one by one:

I LOVED THAT MOMENT SO MUCH. In general it was such a surprise and treat to see how much more active Meursault was in this Canto and I was wondering about the Gloom change unless I was just misremembering the color since Pride is also blue but thanks for confirming. Meursault......... It's also so so cool to see the EGOs being used for practical uses like restraining someone like Meursault does, it makes me wonder what it can be do with some of the others like for example Ishmael's anchoring with Snagharpoon or Yi Sang's teleportation in Crow's Eye View

Actually good point though she actually spoke quite a bit I think, mainly in the first part about the resentments she has towards the rich, and the moment she has when they're approaching the mansion that brings up her dark side to the others in full force even if just for a second. Since apparently she's gonna be the focus of next Intervallo I hope it means she's getting more character development...

I say "yes, most likely" as I talked in my previous answer, taking in count Hermann has an interest in it and finding "the prime form of humanity" and The Well they talk about is the origin of everything in the world and humanity itself and responsible for The Light and EGO and everything, it's not the first time there's been a physical entrance to it somehow, the other most notable one is the Black Forest in the Outskirts that comes up more in-depth in Ruina.

Yeah I wonder how it can even get "burnt up" in the first place and what they're even gonna do with it since getting the charred Bough is treated as a grey area of sorts between success and failure. I wonder just How it lost its power and how it can be reactivated though taking in count it's basically magic

I SEND AN ASK TO MY FRIEND ABOUT THIS TOO, the other party involved for each Heathcliff and Yi Sang's cases are also the two most important women to them and great symbols for their own nostalgia and overall arcs, and they are connected to them through flowers that carry symbolic meaning and are tied to their homelands. Heathcliff stabbing himself as an act of showing his love to Catherine is also interesting because Dongbaek's reason for stabbing Yi Sang could also be interpreted as being a form of love, but...marred with heartbreak and hatred and resentment for what happened to the League like in the original Wuthering Heights [edit cuz I forgor: this is something amplified by the fact that when she stabs Yi Sang she quotes the line from The Camellias where the protagonists fall in love together both physically and metaphorically], specially since she was so overwhelmed seeing him she went for him when she was going to initially attack Dongrang derailing her plans. How she talks about it when questioned adds to it too since she kind of justifies herself saying that Yi Sang wanted to die too and isn't spiteful like she is towards Dongrang even being calm seeing he was just fine despite her murder attempt (but also the fact that she was unphased by that still gets me. She's really got no sanity left), and she was correct in claiming Yi Sang was longing for death even if the moment left a big emotional scar on him, much like Heathcliff's heart was broken by Catherine and so he breaks it in a literal sense for her.

Honestly Demian is just Demian. He's a weird little guy and probably exists out of time or something tying to his star. It's probably for the same justification as to why Heathcliff and Dante remembered Cathy, and she's def not truly "gone" since they couldn't really erase the consequences of her actions and presence. Hindley and Linton are still dead because of her.

#answers #Canto VI spoilers #project moon #limbus company #lcb Meursault #lcb Rodion #lcb Yi Sang #lcb Heathcliff #lcb Catherine #lcb Dongbaek #lcb Demian

[cellarspider]

20/?? Special delivery

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We return to a movie that has never been to medical school, Prometheus. 

Here it is. The scene that everybody remembers because it gave a fair few people the screaming heebies. This is their version of the chestburster scene–except for the less impactful, literal version of the chestburster scene we’ll get later, I mean. This one, though, this one, they got it right.

Content warnings for gore, nudity, nude gore, exhaustive discussions of the place of chestbursting in franchise history.

But first! I saw a tag with a desire to see the scene with David and the star map. To spare everyone from watching the rest of the movie to get there, here it is!

[See previous post for lengthy description of the events. I didn’t talk about the music in this before though! It really adds to the sense of wonder in this scene. It reminds me of Daft Punk’s Overture to Tron Legacy (2010), another beautiful and flawed movie. Given the modern use of temporary music in editing that definitely sneaks into what directors demand of scores, there’s a chance this was a direct influence. In terms of the “oh wow, space!” feeling it gives me, I’d also mention the Star Trek TNG opening theme.]

Anyway! On with the horror.

In Alien, the creature’s life cycle was developed by writer Dan O'Bannon, who had two major ideas for its early appearances: sexual, reproductive threat directed at a male character, and Crohn’s disease. O’Bannon had Crohn’s, and he said that inspired the idea of a critter chewing its way out of a man’s guts. 

That personal connection has been lost through subsequent media, in part because the series has continued to use the same creature and the same method of killing, minor deviations like in Covenant and tasteless ones like AvP Requiem notwithstanding. The chestburster is a thing that can only ever really work once in a movie. The first time is relatively drawn out, made a setpiece of the movie, and is a horrifying plot twist for anyone who goes in blind. After that? Drawing it out may risk becoming meaningless gore or boring, so most movies have chosen to just have the little bugger pop out within seconds. It’s the sideshow before you get to the main event, despite being the iconic scene of Alien.

Prometheus’ equivalent scene wins back a fair amount of tension by altering the details of the event, if not the general arc of it. It certainly hammers on the reproductive horror aspect, but loses the original subversion of targeting a male character. Which is a shame, because male-targeted reproductive horror is still boundary-pushing. From the world of horror gaming, Outlast: Whistleblower produced some notably panicked reactions from male players when they encountered the emasculating, specifically reproductive threat of Eddie Gluskin. (Content warning for gore, death, forced feminization, misogynistic language, censored nudity.)

Regardless, we have The Chestburster Scene again, but now it’s in the back half of the movie, and happens to the main human protagonist.

I find it very odd that this movie is so self-consciously iterating over things that were first done in Alien. It’s like watching a devout Catholic pray at the Stations of the Cross.

Speaking of crosses

Before we get to the main event, there’s the first actual attempt at character work between David and Shaw in the movie, as we’re in the final act. David confiscates Shaw’s cross as she wakes up from her post-boyfriend-barbeque faint. “It may be contaminated,” he says.

Shaw’s christianity is one of the few character traits in the film that ties into one of the themes, and has its own arc. She’s giving up her cross to the person who killed her partner, a metaphor for a crisis of faith which is so blatant as to barely be a metaphor at all. And, given the general arc of how these things go, means she’s going to get it back at some point. The context for it is going to be confusing and disappointing, frankly.

And it’s especially weird given the other metaphor going on simultaneously: David runs some scans on her, and declares she’s three months pregnant. This is a non-virgin virgin pregnancy. She is Alien Mary. This, then, is the narrative reason why Shaw is infertile–so that she could be the Mary figure, and, more practically for the plot, have foreknowledge that something was wrong. 

Except it really didn’t have to be that way to make this work. While christian allegory and the creation of life are themes in this movie, Shaw’s infertility was handled with zero grace. And honestly, the movie could work without it–Shaw and Holloway did not have romantic chemistry, as far as I could tell. Lean into that! Just say they haven’t had sex in ages. This scene would actually flow better, because Shaw explicitly objects that she only had sex with Holloway “ten hours ago. There's no bloody way I'm three months pregnant.”

Which again hammers in how stupid fast this movie has been racing its characters toward their doom, but I’m immediately distracted by David pronouncing “it's not exactly a traditional fetus.”

It certainly isn’t. It’s an alien squid, placed there by the holy spirit of black goo. She’s all set to give birth to Squesus. 

I think that’s the only worse way he possibly could’ve said it.

David, frankly, gets some of his worst dialog of the movie here, because he is infected by The Plot for a bit. “It must feel like your God has abandoned you,” he says, after sedating her, “to loose Dr. Holloway after your father died under such similar circumstances.” Which leaves one momentarily with the wild mental image of Dad Shaw sacrificing himself to a flamethrower-welding corpo, but no, David means ebola. David found this out via that dream-watching tech that exists solely to be a mildly unnecessary plot point. Blessedly, this is the last time we see any mention of it.

It’s very strange, how the movie is stuffed full of plot and edited so tightly around the plot that characters barely have room to breathe, yet what it prioritizes as plot-relevant is so scattershot. This failing is also inflicted upon the part of the otherwise very effective Chestburster: The Prequel scene.

Shaw attacks the people who come to take her away to cryo, running in her underwear to the PAULING MED-POD the movie very loudly announced earlier, so that you wouldn’t forget it exists. She tells the PAULING MED-POD that she needs an emergency caesarian. The PLOTPOINT MED-POD informs her that it’s only formatted for male patients.

I’ve seen many people complain this makes no sense. It’s in Vickers’ quarters,  why would she have an expensive medical device that she can’t fully use? Others counter that no, it makes sense, because the med-pod was actually installed for Peter Weyland, thus justifying its male specificity. He’s a selfish bastard, he got it for himself, plot hole avoided.

…Except that doesn’t address the more fundamental problem: What does this add to this scene, to balance out the fact that the audience is now distracted by this information? It slows Shaw down a bit as she figures out how to cue up a foreign body extraction from the abdominal cavity, adding to the tension. But you don’t need that to be what draws out the scene. Maybe the PAULING MED-POD has a slow boot-up sequence. Maybe someone follows her there, and she has to fight them off, possibly killing them in her panic. A dead body in the room would solve an actual logical problem with a later scene.

It’s frustrating, because the pacing of this scene is actually excellent, as is its premise. Shaw has to forego anesthesia and make do with self-administered local painkillers, because the prosthetics and CG teams have done a bang-up job making her stomach writhe unpleasantly, making it very clear that whatever’s in there is mobile enough to be a danger to her, even if it’s removed. 

The pods instruments are mostly CG, but its combination of unhurried routine and abrupt, industrial roboticism adds to the uncomfortable nature of the scene. Sound design is also important here, with all sound effects well-chosen, and mixed to imply claustrophobic closeness and how trapped Shaw is.

The creature itself? Eh. It’s a slightly phallic squid, and squids were already slightly phallic to begin with. They added on a slightly vaginal mouth, which is also a lateral move--squid mouths already look quite a lot like an unworksafe orifice with a beak tucked away in it. Unless you're looking at Promachoteuthis sulcus, whose inner lip structures fold into patterns that look distressingly like human teeth.

Honestly, this is freakier than the actual prop. Good job, Promachoteuthis sulcus. You're only 25 mm long, and a delightful tiny terror.

...But the fact that Shaw’s stuck in the pod with her flailing squid-child is what actually adds another minute of fear and wince-worthy pain, as the almost comically brutal medical staple gun closes her incision and the pod slowly opens up.

She tries to kill it with what appears to be a soothing mist of decontamination spray. This is the one other stumble of the scene, because it’s just… I mean, look at it.

It’s just been spritzed with Febreze. There’s nothing that leaves you wondering if the thing’s still alive for later, you know it’s still alive.

But overall, a well-done scene. The standout horror scene of the movie, which is light on scares. That sparsity wouldn’t even be worth mentioning if the movie were going for slow tension, but with its strange blend of existential quandaries and unremarkable horror tropes, it takes a very strong, singular scene to feel like the tension has actually paid off. I don’t think it completely balances out the deficits of the rest of the horror, but it very nearly manages it, and does manage to be memorable.

Next time: An entirely underwhelming horror scene, and the movie takes another swing at having themes.

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Citations for alt-text rambles:

https://www.theguardian.com/film/2019/aug/30/memory-the-origins-of-alien-review-francis-bacon-greek-myth-dan-o-bannon-sci-fi-classic-film 

https://www.stanwinstonschool.com/blog/aliens-chestburster-mechanism-behind-the-scenes 

https://avp.fandom.com/wiki/Seegson 

https://stackoverflow.com/questions/3314219/how-do-u-v-coordinates-work 

https://en.wikipedia.org/wiki/Surgical_staple (medical gore cw)

https://sites.uw.edu/pauling2020/ 

https://www.paulinamarket.com/

Overflow Ramble #1

A shot of the screen on Chekhov’s g–I mean the PAULING MED-POD, showing the text “EMERGENCY PROCEDURE”, and that it is “AWT VERBAL CMD”. The med-pod turns out to be a Weyland product, because all corporations in Alien movies are either Weyland, Yutani, or Seegson, if you’re particularly unlucky (cite 3). 

They made the mistake of putting more actual words on here, and so I’m squinting at the top right corner at “CARDIAC STRESS TEST”, “ELECTROCARDIOGRAPHY” AND “MECH ALGN TCH”, which means the pod appears to think she needs to have her heart checked or her wheels aligned.

But what I find funniest is that there’s coordinate sliders in the center bottom: X/Y/Z and U/W. You know where I recognize that from? 3D modeling. U/V/W are used as an alternate coordinate system in that context (cite 4). Somebody was designing this, thinking “well, we need more buttons. Where can I get more buttons?” and then looked at the horrid mass of options and sliders in their modeling software and realized they had the answer.

Overflow Ramble #2

A close-up of David’s hands, holding a sample container and placing Shaw’s necklace inside. Two details, one of them insane, the other just plain funny: First of all, this is a different set of hands than the one when David was messing with the black goo–there was a small but notable blemish on the fingerprint that wasn’t there, proving once again that hand and arm doubles are one of the odder things you don’t think about in film production.

Second: The container is turned so that the label on it is facing away. This allows you to see the necklace, but it also highlights a completely flat Braille label, reading “PN#ZTZouSthe#Z”, which is obviously very informative.

But the real reason why the label is facing away is because it almost hides the fact that the label says “PRODUCT CODE” on it, which means he may have just put Shaw’s necklace in an empty peanut butter jar.

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#Prometheus 2012 #Prometheus (2012) #finally some well done scenes #though the plot still does not leave them unscathed #Youtube

[bipstargirl]

❝Echoes, Shadows and Resolutions❞

feel free to request any headcanon here 🠒 headcanons list ★ forgive any mistakes, English is not my native language, and this is so metaphorical, I'm not sure if you'll like or understand the meaning, but still, enjoy, my loves ♡

Amber was bombarding her phone with messages once again, probably for the hundredth time in half an hour. You had ignored her calls and messages all day long; you were hurt and needed some space for yourself. But of course, she didn't like that at all – she never did. You knew you should reply to her, provide explanations, or perhaps thousands of apologies. After all, the blame was all yours, always had been and always would be, or at least that's what she made it seem like. But dealing with her now was tiresome, like wasting words that would fall into the abyss of her mind without even being thought through and rationalized. It was like playing a soft melody in a noisy environment, where the tune gets lost in the chaotic noise – what's the point if, when carried by inertia, it loses its purpose of being appreciated? You immersed yourself in your work, desperately seeking temporary salvation, an escape from the shadows that threatened to engulf you. Each typed key was a blow against your own pain, an attempt to overpower the emotional cacophony surrounding you. Yet, even in the refuge of concentration, her memory lingered, hovering like an invisible ghost, a presence refusing to completely fade away.

The guilt, always finding shelter in the darkest corners of your heart, weighed like an anchor dragging you to the depths of the ocean of sadness. The words you should have said, the actions you should have taken, all turned into ghosts that now danced around you, whispering endless laments and questions. The pain of knowing that the disconnect between you was growing like an irreparable crack in the glass of what once was love had transformed into a silent whisper echoing within the walls of your being.

"To argue; to dispute; to quarrel; to misunderstand" – different words with similar meanings that, in a general context, describe the act of defending an opinion contrary to another, often associated with feelings of revolt. So simple, words that students occasionally encounter in the dictionary, words we frequently use when reading news or when nosy old ladies tell you about a scandal involving your neighbors while you're not at home – such simple words, words that are also actions and attitudes. When our actions are not thought through with humanity, they hurt like a silver dagger to others. Any action can become torturous, even a small one. It wasn't the first time, nor would it be the last, that you and Amber argued. Of course not, it was persistent, like removing a sticker from a jar or, more poetically, like the moth that dances around the light – your soul is drawn to it but also burned by the intensities of persistence. But at some point, in a split second between the narrow hands of the clock, you grew weary, how could you not?

Amber was paranoid, suspicious, perhaps confused…

She was also a star, bright and fiery, your star obscured by thick mist, clarity fading into the confusion of suspicion, leaving the mind at the mercy of shadows, but perfect, so perfect. And you were imperfect, not enough, like an unfinished painting where flawed strokes reveal the beauty of imperfection – that's why she constantly accused you of major "mistakes."

And you, being imperfect, in your tormented mind, it was more than logical that you were betraying her, even though she loved you. You didn't deserve her trust, and that's why in the darkness of the night, while tired bodies rested and melancholic minds surrendered to the flow of memories, darkness provided a space for words as sharp as a silver dagger to be thrown at you, freely and harshly piercing the labyrinth of your heart.

"I can't believe this! Do you really think you can fool me? I saw the messages, saw the evidence. You're cheating on me!"

"Amber, stop acting like everything is true. There's no cheating happening here."

"How dare you deny it? I read the words, saw the proof. You're deceiving me behind my back!"

"This is a misunderstanding, Amber. Things aren't what they seem."

"Don't give me your flimsy excuses. I never thought you were capable of this. You're a liar and a traitor."

"I'm not a traitor. I don't know how you came to this conclusion, but you're completely wrong."

"Wrong? There's no mistake here. You're cheating on me, and you thought you could get away with it."

"I'm trying to be honest here, but you're being irrational and don't want to hear the truth."

"The truth? The truth is, you're stabbing me in the back and trying to manipulate me now."

"Manipulate? You're acting impulsively and not willing to consider the possibility that there's more to this."

"I don't want to hear anything else coming from your lying mouth. You've destroyed everything."

"I won't accept this false accusation. I refuse to be vilified for something I didn't do."

"Save me from your theatrics. You're a traitor, and there's nothing you can say or do to change that."

"I won't keep trying to explain to someone who's so closed off in her distorted view. I really need time, and so do you."

"Get out! Get out of my life and never talk to me again. You're not worthy of my time."

You knew when you left for the library, walking hastily and light-footed through the damp streets, surrounded by the scent of freshly ground coffee, that she would still come after you, calling and being like a pebble in your shoe. Even as you tried to ignore and continue walking, at some point, she became painful and distressing, making you stop to remove her. As exhausting as it was, you still cared for her; after all, she was your girlfriend, your love, your golden light at the end of the day. And she loved you; think about all she had done for you. Why leave her alone and even more desperate? Yes, she said terrible things, did terrible things, she was completely unstable. But now, you had restored your peace and tranquility with the completion of your work, at least for now. So why not stop being a selfish, petty person and explain things to her? After all, it was your fault. Why didn't you listen to her? Why didn't you apologize and resolve this? Just wait an hour, wait for the hands of the clock to roll again, for your mind to sort itself out once more.

The clock of circumstances advanced with heavy steps, like a meticulous clockmaker etching marks on the fabric of time. An hour passed like a calm river, its waters carrying away the waves of indecision and doubt that filled the space between you and Amber. The echo of your thoughts resonated within the walls of your mind, like a chorus of restless voices.

Then, like a lone star twinkling in the darkness of the night sky, you felt the urgency to try once more. The phone became a magical artifact, a portal to a realm of possibilities. With trembling fingers, as if tracing a seal that could unlock the doors to the depths of the unknown, you dialed the numbers.

And then, the waiting ended. The sound of the ringing phone echoed like a call through the mists of uncertainty. Each ring was like a drumbeat in time with your anxiety, a prelude to the imminent encounter with destiny. The tension in the air was palpable, like a thread of electricity connecting

you and Amber, each vibration amplifying the anticipation that filled the room.

Finally, her voice emerged from the other end of the line, like an echo from a hidden place deep within the forest. It was a sound that carried with it shared memories, the good and the bad moments that now seemed to teeter on the balance of uncertainty. Her words were a distant echo resonating in the cavern of your emotions, creating a painfully beautiful symphony.

"Amber," you said. "I'm sorry about what happened. I didn't mean to ignore you."

"Yeah, right," she said. "You're just sorry you got caught."

"No, I'm serious," you said. "I just needed some time to think."

"Well, you had your time," she said. "Now come back home."

In the twilight of reconciliation, like two stars emerging from the veil of night, you and Amber finally agreed to return to the abode of tranquility. Home became a symbol of refuge, an oasis where emotional storms could rest and calm down. It was as if you were about to embark on a journey of self-discovery, exploring the hidden caves of the human heart.

The hours slid by like sand flowing through an hourglass, each moment a grain of possibility. The conversation that unfolded was a symphony of words and silences, like an intricate dance of intertwining souls. The unspoken words were like rays of sunlight filtering through the cracks in the curtains, revealing truths that had been hidden in the shadows.

Apologies were like keys that unlocked the doors to your hearts, releasing the guilt and anguish that had accumulated. Each word of remorse was a raindrop falling onto the dry soil of the relationship, nurturing the seed of mutual understanding. You were like lost travelers who had finally found their way back home, guided by the beacon of reconciliation.

The promise to improve communication was like a gentle breeze sweeping through the dry leaves of autumn, carrying away the remnants of the past and preparing the ground for new growth. It was like a sacred vow etched in the stars, to be more truthful with yourselves and each other. You were mapping emotional territories, where vulnerability and authenticity would be the compasses guiding you.

It wasn't an easy journey, but you and Amber navigated the treacherous waters of resolution. The road to reconciliation was strewn with sharp stones and treacherous currents, but you moved forward hand in hand, like fearless adventurers exploring the depths of the human heart. The winds of change whispered promises of renewal, yet also warned of the fragility of the achieved balance.

And yet, even as the anchors of harmony were being secured, there was a shadow, a dark cloud of uncertainty on the horizon. You felt it, like an unwavering clock, reminding you that the path to redemption was paved with unexpected challenges. The past "mistakes" were not isolated incidents; they were question marks lingering above you, waiting for the right moment to trigger a new cycle of turmoil.

Thus, even as the light of reconciliation shone, you couldn't ignore the shadows dancing in the corners of the future. It was as if reconciliation itself were a fragile shell, surrounded by the tumultuous ocean of uncertain destiny. The commitment to be more honest with each other was there, but you knew that the challenge of keeping that promise would be an ongoing battle against the tides of time and circumstances.

#scream fanfic #scream imagine #scream movies #scream x reader #scream x yn #scream 1996 #scream #scream headcanons #scream 2022 #scream franchise #amber freeman #amber freeman x female reader #amber freeman x reader #amber freeman x y/n #amber freeman imagine #amber freeman angst #scream one shot #scream oneshot #scream angst

[nin-blah-go]

Decided to revive an old AU for funsies

It was a twisted AU based off a dream I had 3-4 years ago, but recently, I decided to rework it to make it more comprehensible. I like to call it:

Year of the Great Devourer

I started playing around with the idea of destiny and "what if it didn't happen as written?" What if Garmadon was never bitten by that snake? Our same Garms, Oni and all, but he's just not evil. The elemental master Destruction using his powers for good was just a fun concept.

He is the first to know of the return of the Great Devourer, finally putting together the team that he had sought out years before.

Lloyd, this time around, isn't an elemental master. Meaning, he never was forced to age. Being the son of Master Wu, he was actually raised a good kid, unaware of the plans destiny has for his father (who I actually haven't taken the time to draw...). Since the Great Devourer's corruption forced Garmadon to banish his brother to the Neverrelm, Lloyd was taken under Garmadon's wing.

However, he does have power, power that he does not yet understand. After realizing that he was part Oni, he has a personal mission to realize his own true potential, unknowing that such a power would slowly lead to corruption.

Cole, the elemental master of Earth, is effectively Lloyd's mentor. In secret, that is. Only the kid (and Garmadon, who's scrolls he may have stolen) is aware of his half-Oni side. His darkened skin and closed off attitude are a result of corruption, and he knows this. He doesn't believe that he can grow and change as a person, but Lloyd sees the good in him and wants to try to draw it out.

Jay, the elemental master of lightning, is incredibly elementally unstable. Since he's learned about his elemental powers, he's experimented on himself, in an attempt to control them. What he came up with were essentially shock absorbers that go around his arms in an attempt to minimize any unintentional harm.

He has lost an eye in his experiments and is incredibly twitchy, but he learns that controlling his emotions are a very important part to control his powers.

He has also exploded on a numerous occasions.

Zane, the elemental master of ice, is fully aware of his nindroid side, but acts more human than the rest of his team. Zane has had his powers long before any of the others, so he's basically mastered his craft. He and Dr. Julien, his father and creator, were actually close to Garmadon, have receiving most of his training from him.

Zane, being the most experienced of the group, is effectively the leader. He is also responsible for extinguishing Kai when he tends to overheat and putting out Jay's electrical fires.

Kai, the elemental master of fire, is effective with the youngest on the team (second to Lloyd). He was raised by his protective (older) sister Nya, who has no elemental power, but has mastered the art of kicking ass.

Kai has anger issues and tends to get a little heated from time to time (metaphorically and literally). The scars on his skin are a result of of some of these bouts, usually by him subconsciously touching his skin when he's upset. Nya had made him heat resisting gloves so he would stop burning himself accidentally. If he gets a little too heated, Zane is usually around to cool him off before he can do some serious damage (Which he finds relatively entertaining).

Nya finds ways to help the ninja in more ways than just elemental powers. She's essentially the emotional support friend :). She's also taking an interest to Jay, which Kai isn't really happy about, leading to many heated "discussions"

#oops all sketchbook #ninjago #lego ninjago #ninjago au #garmadon ninjago #ninjago garmadon #lloyd ninjago #ninjago lloyd #lloyd garmadon #lloyd wu(?) #cole ninjago #ninjago cole #ninjago jay #jay ninjago #zane ninjago #ninjago zane #zane julien #kai ninjago #ninjago kai #ninjago nya #nya smith

[foxes-that-run]

Love of My Life

LOML closes out Harry's House, it's a sad song about realising someone is the love of his life after he had lost them. Harry has spoken about an albums start and end, Harry's House starts with Sushi, imploring his muse to let love in and asking himself if just a taste of love is enough. LOML is about loss of that person and realisation that they were the love of his life. To Zane Lowe Harry said:

"Love of my life, I’ve always wanted to write a song about like home and loving England and all that kind of stuff. And it’s always kinda hard to do without being like ‘went to the chippy and I did this thing’ and to me Love of My Life was the most terrifying song for a long time because it is so bare, it's so sparse." He went on to say: "And in the spirit of what Harry's House is about, I think it started as an idea that was very literal, on the nose, [...] As I started making the album it wasn't about the geographical location it was much more of an internal thing."

So, what he said was that it is about his home and England is a metaphor. Home is common theme in Harry's work, most notably in Sweet Creature but even in 1D it has meant more than a place to him. The notebook also has a quote 'your mother is my home'. Taylor has also used home or homeland to refer to Harry, WomanExile has a great post on their usage of home as a metaphor for each other.

The Lyric Video has roses, which Harry and Taylor Swift also use to refer to each other:

Since 1989, all rose and thorn lyrics are about Harry

Harry 's rose Tattoo is from 11 September 2013, when they started dating again after the VMAs.

Roses have been in videos, outfits, social media posts about each other, a list is here.

Timeline

In the NY ONO show Harry said he wrote it in Rob Stringers' (Sony CEO) house and that the phone ringing in it is his. As it Was was recorded in the same session, and in part, has a similar meaning. This places it in the first half of 2021. After the rest of the album, California. Also after Folk/evermore which are about communicating and endings respectively. Harry had seen Taylor in March at the 2021 Grammy's. At the time it was written Taylor was still dating Joe. Harry had been dating Olivia for a few months.

California in particular refers to 'summers death left to breathe' indicating that there may have been an ending of sorts in 2020 before he returned to England and drove to Italy over the time Folklore was released.

Though not lyrically addressed, to me LOML is a 'yes' to Question..?'s "Did you realize out of time, she was on your mind?" Question was written in the same time period, after the Grammy's interaction but was released 6 months later.

Tracklisting, release and length

Love of My Life is Harry's only track 13, Taylor's number. It was released on her birthday. It is 3:12 long, or March, 31 2012 - the date they met.

Live shows

Harry said to Zane Lowe he thought he would close the show with it. And he did up until March 25 2023 when it was replaced by Fine Line in the last leg. Later that same week Taylor Swift replaced Invisible String with The 1 and announced her split from Joe Alwyn. It only returned for the 3 Wembley shows.

It was missing for 30 shows and is one of the least played Harry’s House songs, only above Boyfriends and Grapejuice which was added for the last leg.

Lyrics

Baby, you were the love of my life, woah Maybe you don't know what's lost 'til you find it

The first verse is a turn on the phrase “you don’t know what you’ve got till it’s gone” he reconnected with his love and found she is the 1 but it is past tense, he still lost her. This is similar to the Clean secret message, which also appeared in the OOTW video “She lost him but she found herself and somehow that was everything.” And the cyclical nature of this relationship.

Take a walk on Sunday through the afternoon We can always find somethin' for us to do We don't really like what's on the news, but it's on all the time

The second verse to me is remembering good times with this person, when he felt at home, with shared experiences and comfort.

I take you with me every time I go away In a hotel, usin' someone else's name I remember back at Jonny's place, it's not the same anymore

To me, I take you with me everytime I go away refers to what Harry said about an internal feeling, no matter where he is in the world his love is ever-present even when they are not.

In the Dublin show on the 22nd June 2023 Harry confirmed this refers to his childhood friend is Jonathan Harvey. This speaks to Harry’s concept of home as the feeling that you are loved and belong. To me this reference is to when Harry took Taylor on a tour of his home in England, to the lakes, where he grew up and she may have met Jonny in 2012. She said that was her best birthday, sharing his home with her was important to him. To me, this line means their relationship is different now to it was then. As it was is also similar with with an external view of how others would see them and their place in life.

It's unfortunate, ooh Just coordinates, ooh

It’s unfortunate, just coordinates sounds to me like he’s reflecting on how they got from the Lakes trip to their current state. This applies to his feelings about love and home. The impact touring has had on his life, what is home and his relationships.

I don't know you half as well as all my friends I won't pretend that I've been doin' everything I can To get to know your creases and your ends Are they the same?

Knowing his love is a theme, in Sunflower Harry sang “Let me inside, I wanna get to know you” and in Fine Line “Spreading you open Is the only way of knowing you” to explore the idea of intimacy co-existing with distance with the same person.

He also sings about not knowing his love in Trouble “And I don’t even know you / But I feel like I do sometimes”. Interestingly in If I could fly he feels like she knows him “Now you know me / for you eyes only”.

The “are they the same” speaks to once knowing all the creases and ends but not now. “Super Pretty” has a similar theme of distant intimacy and vulnerability “do you still feel the same about me”.

Baby, you were the love of my life, woah Maybe you don't know what's lost 'til you find it It's not what I wanted, to leave you behind Don't know where you'll land when you fly But, baby, you were the love of my life

The final chorus adds “don’t know where you’ll land when you fly” which confirms he is singing to a person not a country. Specifically a person with a private jet who can fly without the destination known. For that person every mystery take off is relentlessly tracked by an instagram account. How alienating it must be to someone who loves and wants her to see that and not know.

#haylor #harry styles #harry’s house

[itsnothingofinterest]

Hey, Hope you're having good Holidays? 👋

Do you think there's going to be a big twist coming up in bnha?

Or maybe a twist big villain or something?

Because all the other villains have been taken out of commission and there's still doesn't seem to be any way for deku to save/defeat shigaraki. (Nothing that we've been shown so far.)

Because shigaraki does seem to be more powerful than deku and even if they do FINALLY start talking, deku seems to be in the same place 'ideal wise' as he was several arcs ago.

Like what could deku say that could prove his point (not that he really has much of a point, as he still hasn't really even thought about trying to fix hero society's giant flaws) to shigaraki now?

Even more, what could deku do, since he's still focusing on the crying child inside shigaraki and not what made the crying child?

Well my answers about the same as it's been for a long while now; I agree Deku's not in the right headspace to save Tomura and probably can't cram the character development to get into that headspace in at the last second before/during his metaphorical final exam here. He still needs to further develop his own views on things if he wants to challenge & change Tomura's views. Maybe Deku could convince him the entire country's not a lost cause and he shouldn't destroy it within a few chapters, but there's a massive gap between that and actually saving him the way we usually mean. The fact the other villains have not really been saved either so far doesn't really help my opinion of Deku's chances.

So yes I do expect a big twist and, same as ever, I expect that twist to be that this is not the final arc and we'll get a My Hero part 2 after Hori takes a long break. It's basically the only real meaningful twist I can think of at this point that'd resolve this time conflict without rushing resolutions that should not be rushed. Especially with Kurogiri (& maybe Machia if he’s alive) still left as dangling plot threads that could potentially recover the villains.

(Though I would not hate it, half just because I think it'd be funny, if the HC president came out of nowhere to reveal she survived clone-stro and is taking over as big bad so that Deku...idk, reevaluates the system he's protecting or something.)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Although while we're discussing where Deku is, ideal-wise, I have been meaning to go over my current criticisms with him for a bit; which to discuss below a cut:

Is mainly that he’s kind of just All Might again. He's like All Might in nearly every way that counts and his only aspiration is to be All Might 2 and save everyone he can like All Might did. I mean I’ve seen people sometimes say "no Deku’s totally different and better than All Might in this or that way" but those ways often seem to assume All Might was a lot worse, less kind, and more independent than he really was.

(And also that Deku is less independent than he really is; just compare this arc to Kamino, where they both work alongside their hero peers...until they feel the need to take on the final boss 1v1.)

Like, as someone critical of the hero society All Might built, I’ll bet I often come off as thinking All Might wasn’t a good hero. But that’s not so, I think All Might did the best he could have done, and moreover the best anyone could’ve done trying to fix things the way he did. I doubt anyone could've hero'd much better than him. If Deku were sent back in time to replace All Might, the best he could’ve done is about what All Might did. And if All Might faced all the hurdles Deku has, at the same power level for each, I believe he’d have managed at least as happy an ending to every arc.

So the great hurdle of this all is: All Might was the greatest hero he could possibly have been...but he also wasn't enough. The various ways the League were driven to villainy to form the group at all is proof of that. And that's why a rehash sequel to him won't be enough either. I understand why Deku and everyone else admires All Might, but he can't be doing the same things expecting much better results. If he does, then even if he does save Tomura here in the same way the rest of the League has been "saved" so far (a tall order already when Tomura's made clear he doesn't want another All Might), I fear he'll just face another League led by another Tomura in the future; another Tenko who was failed by Deku this time.

#Hope you're having nice holidays too btw. #bnha #shigaraki tomura #gigantomachia #kurogiri #toga himiko #dabi #spinner #redestro #paranormal liberation front #PLF #midoriya izuku #class 1a #all might #hero society #hero public safety commission #my stupid long term predictions

[metvmorqhoses]

did aleksandr ask for alina's consent before installing the stag collar on her body? if he didn't, isn't that a form of assault?

A form of violation and betrayal, yes. A form of rape-y act directly against Alina out of some sort of inner perverted evil as they are constantly painting it (even continuously implying Aleksander is the most responsible for what happened to Genya), absolutely no. It's disgusting and disrespectful towards his character.

It's difficult to pinpoint what exactly bothers me about this particular and continuously stressed metaphor in the show, but I'll do my best to explain.

For book!Darkling the matter is a bit different and the justification for his actions is more pragmatic and less personal, but Aleksander in the show is an immortal being constantly carrying with him hundreds of years of excruciating pain, loneliness and heartbreak, a still very present and very painful humanity, for the sake of trying again and again to save his persecuted people. He lost everyone and everything, repeatedly, but the old abusing mother that loathes him and that he nevertheless stubbornly loves. He is resigned to this living eternal hell, because he believes he has a noble and selfless mission to accomplish. The only problem is that, no matter what he does, no matter his efforts, he simply doesn't possess the right kind of power to "change the world".

Then, many centuries down the line, a miracle happens. Not only a miracle that could put an end to all wars, a forced perpetual peace (this is what he wanted to do weaponizing the Fold, forcing all the countries to stop all conflict at gunpoint), but a miracle that could mean to him specifically the end of his personal solitude and despair.

So, he tries to do his best to give this girl everything he would have needed as a young boy and was denied to him, someone who believed in her, someone who taught her, someone who could make her feel her worth and unique destiny, someone who assured her she was not alone. But since of course he has a duty, he thinks, towards Ravka and his people, since he is the adult of the situation, since he is the eternal mastermind, he obviously cannot only selfishly focus on making her love him. He has also to make sure she follows the path he had schemed for her in the most efficient and direct way possible, for the sake of everyone.

That's the reason for the half-truths, for the faint general deception - Aleksander is not a fake groomer who is trying to brainwash a young girl, he is a desperate man whose soulmate is a frightened child who has to save the world and give sense to thousands of years of collective suffering and efforts, his own included and that, in his opinion, has to be guided since he cannot afford to have her fail or to lose her.

Everything goes better than anticipated, she even effortlessly grows feelings, real feelings, for the real him. Then one night his mother tells her in the worst possible way an exaggerated for the worst version of the truth, and she flees without even a second thought or thinking of hearing his version of the story.

We can safely affirm Alina betrayed him first, but not only on a personal level, which I'm sure he would have immediately forgiven, but she, in his mind, had turned against the salvation of Ravka, on top of being a deserter of the army he was the general of.

Those are the events that led to his decision to decide for her about herself, decide to take control of her power, to forcedly share it. And even in this case he continuously tried to make her see reason, to talk to her, and she just continuously shunned him and exaggeratedly hated him for the sole reason she was told half-truths by the person in the most difficult position on planet earth.

This is when Aleksander decides that, for the time being at least, taking control of the Fold is more important than her free will. He also thinks he has lifetimes to make amends, to make her understand.

Am I condoning his actions? No, it was indeed a violation and a betrayal on a personal level, but it was a decision I completely understand from his point of view, even if I find it morally wrong.

If one single person in the world had the cure for cancer in their blood and yet refused to donate it for whatever reason, what would you do? Respect them and leave thousands to suffer? Or would you do an amoral thing for the greater good and force them to? What is the greater good? You see, it's pretty much the trolley dilemma Aleksander faced. I don't think there's actually a psychological winner. There's only a mathematical winner - the suffering of one instead of the suffering of many.

All this has obviously nothing to do with the disgusting way the show is painting it, over and over, as if Aleksander was basically an ideological rapist. Is more complicated than that, more noble than that, don't you think?

#shadow and bone #the darkling #darklina #aleksander morozova #alina starkov #the grisha trilogy #anon #asks/replies #one and one thousand stories lis told

[heinzpilsner]

(Writing this instead of watching a new trailer for the live action, because my timing is perfect as ever!)

...Anyway, here's a proper "smart and serious"™ remake of my "mixed signals zutara Southern Raiders" post (because my own poor choice of terminology I'm talking about you Sexual Frustration didn't sit quite well with me). Also, I realized some new things. And I'm a perfectionist of sorts! So, yep.

Let's analyze Zuko's and Katara's heated confrontation in the first half properly.

What Zuko actually said:

"Everyone else seems to trust me now! What is it with you? ... What can I do to make it up to you?"

What Katara heard:

- Zuko doesn't differenciate Katara from all the other group members -> he doesn't think much about their intimate connection in Ba Sing Se;

- He doesn't realise the implications of what his betrayal meant in the context of the said connection (i.e., he's either a callous liar who never really cared about her grief or a volatile person who can change his mind way too easily and hence can't be trusted);

- After hearing her out, he offered to make up for his betrayal, but did not apologize for his insensitivity. He still don't get it, the idiot!

(Was he hesitant to approach this topic directly with Katara being so furious, or genuinely just didn't get it? I wonder. He sounds like a person unaffected by the catacombs, but clearly doesn't act like one. Almost as if he was affected, but never realized the extent by which Katara was affected as well).

What Katara actually said to Zuko:

"Everyone trusts you? I was the first person to trust you! Back in Ba Sing Se. You betrayed me and all of us! ... You could reconquer Ba Sing Se, or you could bring my mother back!"

What she was implying:

- She was personally hurt by his betrayal ("Everyone else"?! She was (is) not just "everyone else" for him!);

- Either she's using the "bringing back the dead mother" idea only as another metaphor of impossibility of their reconciliation, or, as Zuko suspected, this also implies that her anger at him is somehow connected to the topic.

There are two possible readings of Katara's slip of the tongue though:

1) Zuko's dense hypothesis: Katara simply projects on him her hatred for the Fire Nation and Yon Rha specifically;

2) Romantic hypothesis (which recontextualizes the whole dialogue in retrospect): Zuko's and Katara's connection in Ba Sing Se was based on the shared trauma of their lost mothers. So, this (in the light of the future events) is just another hint that Katara is hurt by Zuko's insensitivity. It signals she still have feelings for him, which in some measure fuels Katara's fury. This interpretation is supported by heavy romantic framing of the scene (Katara's physical agression adds a hint of sexuality to the mix as well, implying a suppressed desire to touch. It's no more than my speculation though, but usually, when I see a "shoulder check" trop in media, it occurs between two guys in the middle of some school, not between an angry girl and a sad boy under the full moon, you know).

Now, the funny thing. Previously, the second half of the episode didn't make much sense to me after the first one, because I saw those two hypotheses as incompatible within the same narrative logic. But just now, I found a different in-universe logical explanation for such a conclusion.

You see, Zuko's dense reading implies what from the start he saw the whole "facing Yon Rha" business as an attempt to redirect Katara's hate/anger from him onto it's "right" sourse. "Better him than me" logic, I guess. (Gosh, Zuko, not so selfless!)

They go with the plan based on the Zuko's interpretation, and Katara forgives him as a result, which means his reading of the situation was the only correct one, right? Wrong!

Because for once, Zuko was lucky. He didn't really voice his reasons out loud to Katara, and she decided that his primary motivation was lying elsewhere.

Namely, that he finally understood the imortance of their connection in Ba Sing Se and wanted to show her he did sincerely care about her grief (He was also lucky it kinda was the truth. Just... not the whole truth, you know).

(Btw, acknowledging Katara's hurt feelings is the only thing that could turn Zuko's "I waited out here all night" stunt from creepy and inappropriate into more or less okay in her eyes in retrospect, so... Yep. Another evidence for this hypothesis.)

So, while Zuko saw this trip as an attempt to manage Katara's hatred (and what an awful idea it was, but that's not the point now), Katara herself saw it as a test for Zuko's sincerity (which he passed).

And, I guess, as a happy result of this little miscommunication (and despite the crying unhealthiness of the whole "facing Yon Rha" idea), Katara was finally able to forgive him, yay!

(Do not try this at home though, boys and girls. I'm serious, those kids need their therapy.)

... The only problem though is what this miscommunication wasn't exactly addressed openly in the show itself. It's kinda just here, in the middle of the whole "to kill or not to kill" mess, and I had to strain my brain really hard to come to this conclusion (but I'm not really a smart person, after all). Still, this is the only reading of events what turns the episode's narrative into something that feels logical and consistent to me, you know.

But... After such a heavy romantic framing in the beginning (I mean, "What's with her? What's with him?" questions alone are basically screaming "those two have something between them we all can't explain by most obvious reasons"), you'd expect something more substantial would happen between the characters in the end. ... I'm just saying. I know it could't happen.

Ouch.

#atla #zutara

[thecoddaughter]

Secret Life as Every The Crane Wives Song

(EXTREMELY LONG POST WARNING)

 

Etho: 

Nothing at All  “Do you ever feel nothing at all? I do, I do, I do. I would not wish that on you”

Counting Sheep “Feign contentment for a while, that's all you know how to do.”

Grian:

Sleeping Giant “I feel the mountains, I feel the mountains shifting under me. The sleeping giants are finally waking.”  (This man knows things about the sudden arrival of a ominous deity like entity)

Steady, Steady “I can take for better but for worse can't condone. Most of all for good just makes me ache to be alone.” (Not teaming up with people for so long because of fear of hurting them)

Ancient History “My dreams keep digging up the bones of memories. Discarded remnants of former times.” (Again, watchers…)

Pearl:

I Talk In My Sleep “I talk in my sleep when my demons won't let me be. They twist the things I say when you are far away.”

How to Rest  “Though you've convinced yourself, you're safe and sound within. The thing you fear the most never need get in.”

New Colors  “Old towns here are mean. Spit fire and gasoline. But all I want is solitude. I have half a mind to climb up in the sky and hide myself inside the moon”

The Crooked, The Cradle “I'm nobody's daughter. I'm nobody's daughter. My enemies crow. "We're alone with the kill"”  “I won't pretend my season won't end,  but I pray, when it's done, when it's through I'll have something left for you.”

Scar: 

The Garden  “The crows in the garden are laughing at my expense, drowning out all the lies that I might have told instead” (his scamming and scheming butt can't escape me)

New Discovery  “Sometimes I feel like I’m lost in the desert… I see my footprints in the sand so I know where I’ve been”  (desert... like the desert duo... i'm so clever!)

Can’t Have It All  “I won't bargain, I won't break. My mind's made up, though my head still aches and all my love you tried to take, but you can't have it all.”

Cleo:

Ribs “Brick and mortar between my bones. Built a kingdom fierce and fortified. My name fading from the yellow page. Stones are laid upon the mountainside.”

Tongues & Teeth “I will poison all your happy thoughts. I will love you like the ashes in my cigarette box and if you're fine with that you can be mine.”

Impulse:

Little Soldiers “I fought with tooth and nail before the flag had flown but you were already gone”

Strangler Fig “You built your kingdom around me. Now I'm trapped within your walls and all I want is to be free.” (That man died and joined the apocalypse willingly to be at Gem's side)

Scott:

Pretty Little Things “Cracked lips and hands, calloused hands. I still feel his touch against my skin. Past loves linger like phantom limbs.”  “Don't buy me flowers, it pains me to watch. Pretty little things wilt away.” (this man hold's onto past alliances in her heart, only second to Skizz)

Shallow River “Red sky morning, lovers' warning. Oh I know that the promise you wear, well it ain't for me.” (red sky and love refer to Jimmy’s death. The “You” is Gem though)

Bdubs:

Never Love an Anchor “It's a secret I keep tucked inside my chest with this heart of mine that's guilty, not remorseful” (him not so subtly jumping between mounders and roomies, maybe? idk. its also just kinda his vibe.)

Naked, the Night Falls “Turn your ghosts into mine. All the years, all the years I'm alive.” (him finding Etho and Cleo again)

BigB:

Hard Sell “Hoping I can find a better me. A fresh new start buried under me.”

Metaphors “I've gotten good at leaning on metaphors. I've gotten good at living on someone else's page. I cut my teeth on second-hand sentiments. You can't trust a single thing I say.” (his cryptid butt is not escaping metaphors this go around)

Martyn:

Turn out the Lights “Sometimes all you can do is say goodnight and tuck your demons into bed cause they're not worth fighting.”

Rockslide “This wild weather's got the mountain shakin' weak. Oh I know you want to plant your feet but we best get a move on or the devil we will meet.” “That monster's comin' and it don't care for you or me. Don't look back now, honey” (This has been in my head since Martyn moved in with Jim at the top of the Mesa.)

Show Your Fangs “A ballad of a lonesome peak. I curse the ground, shed my old sins. For weight will only make me weak” “Bravely I will wield my weapon. I made from fangs of those that died.” (Big Dogs… RIP)

Skizz:

Know How “I keep my focus on what is safe. You drew a line. Made up your mind and now I'm struggling to realize.” (This song is Imp and Skizz’s relationship post Imp’s attack)

Easier “The only peace I have ever known is the peace I made with you. I won't move, but I can't stay here.” (Skizz and Tango’s relationship throughout the season)

October “Take my word but keep the upper hand. I know you, you're the daughter of a lonely man.” (My interpretation of SL!Skizz is this super caring guy who his haunted by this vague memory of bloodlust that comes out in empty threats to people he doesn’t really want to hurt.)

Gem (all of these are about session seven specifically!):

Allies or Enemies  “They spread like some awful damn disease” “Are we allies or enemies? This will be the death of me.”

The Glacier House “You cursed the Earth you settled under… Under… Understand I had to go.” “Bundle up darling, you're on your own now. Seasons change as they do. Maybe I'll see you when your shivering is through.”

I Ain’t Done “I am a pretty young thing. I am consumed by selfish wanting. Carelessly broke you down but I’m not done.” (this girl came in and told a winner and a runner up that they need to get their act together and that she was gonna be the one to get them to the end. I love her!)

Joel “Loves his wife” Smallishbeans:

Down the River “'Cause ain't it easier to just move on? One door closing means another one. Opens unto some unsuspecting fool. “Sure, you can forget about all the things you've done but what about the rest of us? High-tail it when it gets to be too much.” “Too many people with your name on top of their lists.” “You were never the one to suffer.” (All of Joel’s anger about Jim celebrating Lizzie’s death and the fact that Jim then also immediately died, leaving him alone.)

Unraveling “But now my love is gone and I am left unraveling.” “And I am left here withering” “And I can't help the fracturing”

The Diving Bell  “I descend so well, in an open diving bell, the beauty of the deep. Far into abyss in your silent lips call me will I sleep” 

Caleb Trask “"When a flower blossoms red. That's the day, that's the day, that's the day. I'll love you. That's the day, that's the day. I'll love you." (I’ve stated before that this is his song, not specifically bc of SL. I think of azalea’s and I think of Joel.)

Tango:

Curses “There's a fire in my brain, and I'm burning up” “Every word I say is kindling but the smoke clears when you're around. Won't you stay with me, my darling, when my walls start burning down?” (Our fire man and his forever teammate…)

Safe Ship, Harbored “Where does your faith form in me? Don't break the bottle. Don't waste your blessings on me.” “A safe ship, harbored losing all of my good years to the shallow water. I ain't proud.” (The Heart Foundation [in my opinion] seemed like a great way to make alliances and be well liked, however, it also kinda put them at a disadvantage never getting any hearts of their own.)

Mumbo:

The Moon Will Sing “On some level, I think I always understood that these hands of mine were clumsy, not clever.” “With this heart of mine that's guilty, not remorseful. There is love that doesn't have a place to rest. But it would have buried you if it had settled on your shoulders” (Something, something. The love Mumbo has for Grian.)

Back to the Ground “Little buds make their graves as the warmth inside us fades but I still don't know shit about letting go.” “Our hearts lay still and cold, under frozen soil. I can't stay here anymore so remember when I go.” (Something, something. The miner destined for accidents.)

Jimmy: 

Not the Ghost “If only I could break the chain of disappointments, weighing me down. Shake off the ghosts that whisper warnings.”

Keep You Safe “When I watched my friends ride to the tops of the trees. With the risk of fall, I never climbed at all.” “Time is not your friend. Time is not your remedy. No amount of waiting will make you, make you brave.”

Canary in the Coal Mine  “You and I are friends of empty graves”  (he does not escape this song!) 

Lizzie (all of these songs with Lizzie in mind makes me cry):

Can’t Go Back “The time has come for moving on. You can't be always trying to dig up. What you've already buried.” “It's not fair (When have you ever known the world to be a fair place?) It's not fair (All things end and all things change) It's not fair (You'll look back and laugh someday) It's not fair (Or at least you'll learn to be okay)”

Of Everlong  “And if my lover will not hear it. Take my voice and take my spirit, leave me weakened and dig my hole. Only my lover, not I, can keep my soul” (Only Joel mourns her and it’s a sad sad day)

Icarus “Til your far away and breathing cleaner air, oh my brother…” (her brother... the man cursed to die... named after a bird who dies of poisoned air... who'd a thunk it...)

Unplaced songs: The hand that feeds, hole in the silver lining, Once & For All

#trafficblr #secret life #secret life spoilers #secret life as songs #traffic life as songs #traffic life crane wives #crane wives

[princessamericachavez]

Thinking about 911 s6 and all its big and smaller arcs.

Specifically in thinking about different-sized arcs. For example: Buck’s quest for happiness, the couch, and the donor arc are all a bigger arc that was stablished in the first episode and have been brought up again and again as we move forward (the same way Eddie’s recovery was a main point since the beginning to the end of s5).

(This post is mainly about Buck and Eddie but one could argue there are at least 3 other big overarching arcs this season, like Chim and Maddie’s family journey towards a house and marriage, Bobby and Athena’s stability their old demons -her little missing neighbor, his sobriety- and their eventual honeymoon, Hen and Karen’s ever evolving family life as they figure out their future…)

Anyway, but also I’m thinking about how the season could be broken into smaller arcs (Hen’s medical school, Wendell’s death, the Buckley and Han parents showing up).

Now, when it comes to Buck and Eddie’s relationship we’ve mainly seen 2/3 arcs so far this season.

6x10-6x12: mainly dealing with Buck’s death, everyone’s reaction to it (with a main focus on Eddie at the beginning of the arc during the lightning strike), Buck’s coma (main focus on Bobby and Buck’s familial relationships), and Buck’s recovery (which brought the focus back to Eddie and Buck’s connection).

6x13-6x15: are meant to be a single arc, in which we as an audience see what they can’t. So we start with the math episode, which sees Buddie at the top of their partnership (homework with Chris, shenanigans, extremely in sync and happy, Buck and Chris cooking). Which is meant to contrast Pepa’s words about Eddie’s loneliness and his need to share his life with someone (we know for a fact that he isn’t lonely but he can’t see that). And then crashes with Buck’s new interest in Natalia and his desperate search for meaning after his death (which again we know she doesn’t see him as much as Eddie does because the narrative has made it a point up until now)

6x16-6x18: we are now entering a new arc all together (Lost And Found, Love Is In The Air, and Pay It Forward). These three episodes are probably going to be an arc. And considering we left in a downwards note in the past arc, it probably means we’ll start with them still emotionally at odds and build towards a climatic understanding/better place. Which could be romantic or not.

Things to keep in mind that might be interesting the next 3 episodes:

The couch theory, which has been prominent this second half of the season, has been brought up at the end of every mini arc (6x12 has buck falling asleep on Eddie’s couch, 6x15 literally replicates it with Chris). Symmetry and the narrative Rule Of Threes suggests we will see that scene replicated once again in 6x18 (which tracks with Oliver’s interview saying we will see this metaphor at play up until Buck’s very last episode of the season)

6x16 will not solve the current misunderstandings between Buck and Eddie because it’s a whole arc, but it might shine a spotlight in them or kickstart the road towards solving them.

Knowing 911, they like to tie their arcs by the end of the season and leave them in a happy note so it’s unlikely that Eddie’s loneliness and Buck’s trauma will remain unresolved by the end of the season. Relax and enjoy the journey.

We do know 6x17 was written and directed by two people very fond of Buddie (regardless of whether they have the power of making it canon or not) and we saw the marker with a sticker of the two of them when they were filming it, so it’s likely we’ll see most of the progression between them then, and get them ready for the climatic big 6x18 emergency.

This last batch of episodes should also solve, one way or another, the donor arc which tangentially ties to Buck’s relationship with Chris, since this season has been very focused on fatherhood and adoptive parenthood vs blood relationships.

These three batches of episodes seem to be building a larger 6b arc for these two characters. Buck’s death, Buck and Eddie’s struggle with their respective future, and whatever resolution these final eps bring. But we are meant to keep the past 6 eps in mind moving forward for sure.

Anyway, my point is that 6x16 will probably establish which route we’re going on next and I’m extremely excited about it.

#buddie #911 fox #Evan buck Buckley #Eddie Diaz

[itsclydebitches]

Anyone else find it odd that we got this whole table of the dead deal when, really, just Penny would have sufficed? Putting aside the fact that Neo shouldn't know half of what happened to these characters (she's reading from the same script that let Oscar know the wording of Weiss' wish), more than half of this group means nothing to Ruby:

Lionheart she met twice, the second time when he was trying to kill her and her friends. Ruby didn't even fight him personally. He dies in another room, out of sight, and last we hear of him it's through Yang's fury that Ozpin didn't rat him out as a traitor to the whole world - an anger Ruby isn't shown to disagree with.

Roman is an enemy from six Volumes ago. Though Ruby was (understandably) shocked when he was eaten in front of her, the trauma of that has had zero impact on her and, as she points out to Neo in this very scene, she recognizes that she wasn't at fault for his death.

Ruby never had a relationship with Clover. Nothing. Nada. Zilch. They might have as team leaders, but they didn't. Ruby sat with him in a truck once, not talking to him, and then she didn't fight him at the end of the Volume because he was busy dying off in the tundra. Does Ruby know he was killed pre-Fall of Atlas? She shouldn't.

Ozpin, technically speaking, isn't dead. Or rather, I should say Ozma isn't. I'd better understand the choice to have him here if we'd learned anything about Ozpin himself - meaning, Ozma's host pre-Oscar - but we haven't. More importantly, I likewise would have bought his presence if Ruby had maintained her wholesome student-teacher relationship with him (RIP I miss those days. Oh my god I miss them!! I might have to write some moreRWBY fic just to have that again 😭), but now Ozpin is just the lying manipulator she only speaks to for exposition.

Ironwood is, you know... the villain? The guy we were supposed to despise by Volume's end because he was a crazy dictator hell-bent on bombing a city? The scene even keeps his ~evil~ prosthetic arm, emphasizing that this is villain!Ironwood, not ally!Ironwood. Ruby lied to him the second they landed, said 'fuck you' over the call to Penny, sent her friends to jump him while she made a wish, and didn't look back as she dropped a city on top of him. Oh, and then Yang reminded her that only #bad people re-think their choices. So, why is he someone whose death she'd feel guilt over?

The ONLY people who make sense here are Penny and Pyrrha, with Penny taking center stage as the death Ruby just found out about. She alone would have been enough: a magical, semblance Penny who reams Ruby out for letting her die, again, too busy getting her ass kicked by Cinder to be of any use. We might have even done something interesting with Penny's sword. You know, the real one Ruby had for all of ten episode minutes before she let a bratty Prince throw it away? Give me Ruby wielding her dead friend's weapon - because clearly the show wasn't willing to commit to a Crescent Rose aversion. Just have it be lost all Volume. Why was this armorer introduced again? Shouldn't she have done something with a lost weapon?? - until fake!Penny horrifically calls her out on it. How dare you use that? How dare you use it against me? Give me an actual battle where Ruby is torn between defending herself against something she knows isn't real and flinching from hurting the friend she just lost, taking hits she would have been able to block if she was putting forth her all, a bloody, Maiden battle that goes on long enough that it makes sense when her semblance breaks.

Then, suddenly, Penny grows kind... it's okay, Ruby... if you just let go, drink the tea, we can be together again. Wouldn't that be nice?

The issue of this suicide metaphor aside, we could have gotten something legitimately impactful. Instead I'm scratching my head over this suddenly using Crescent Rose again, fiery "If you're looking for an apology, you've wasted your time!" still a prodigy, didn't fight in the last battle, didn't even walk very far Ruby collapsing because she fell from a chandelier. Meanwhile, the emotional kicker is that she's getting beat up by... people she hates? Who she barely knew? Who aren't even technically dead? Oh no, I've slashed Oscar, who I KNOW is back in Remnant, presumably safe in Vacuo. I know Ruby is at her breaking point, but the combination of 'Come fight me, Neo, I'm perfectly able to see that I'm not responsible for Roman's death!' and the lack of connection between her and 5/7s of the guilt crew really falls flat. Either give me a Ruby who illogically, but honestly believes that her presence makes everything worse - 'You're right, Neo... I could have saved Torchwick... done something, but I just sat there...' - or a Ruby who is still able to distinguish between reality and guilt... up until the copy of her newly dead friend drags her to emotional hell and back. Now that I've been able to think about it for a bit, what we got feels downright weird to me - an excuse to bring back characters/get them in the new engine, rather than any compelling reasons for why they're there.

#rwde #rwby #mymetas #I *do* love the screenshot I grabbed though #aesthetically this is on point #Neo's eyes in each of their faces and her creepy little smile? #love that #too bad it's attached to such a bad scene