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omegalomania · 2 months

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ok listen obviously like everyone else i am Fucking Devastated but the fucking sHRIMPLICATIONS here are KILLING me.

the two last "new" songs we got before the hiatus were alpha dog and from now on we are enemies (equally fucked up song btw) and pete namedrops alpha dog as the last song they wrote before the hiatus and it's such a. it's SUCH a fucking. augh.

like it's so painfully and clearly a farewell. the lyrics all telegraph it. your time has passed. never means forever. walk off into the sunset. the discussion of how much effort is required to maintain this life and how they already feel burned out, past their prime when they were all in their mid-twenties and early thirties. and the sheer fucking POETRY of the way it was the last song they recorded - tell rock and roll i'm alone again - until they announced their triumphant return with save rock and roll in 2013. welcome to the new déjà vu.

and oh yeah the last word issued in the song's studio version is the word "abracadabra," which pete cites as the word that christian bales character in the film “the prestige” says he will utter before he disappears from prison. "abracadabra" was a key word in the viral ARG-esque marketing campaign leading up to the release of believers never die...right before fall out boy seemingly vanished off the very face of the earth.

and, OH YEAH, the first shows they played after reuniting involved a multi-song medley spanning all the stages of their career, with one of those songs being the first time they ever played alpha dog, albeit partially.

the notion of the wizard through the curtain speaking to a sense of bitterness (at least if pete's ten year old genius annotation is anything to go by) which is the exact same phrasing to the way joe would later talk about the band's fraught, strained feelings leading up to the hiatus in a podcast with kerrang while promoting his book.

many people have pointed out the parallels between flu game and alpha dog - the way they both discuss the exhaustion of being so visible and constantly putting yourself out there and how taxing that is, especially when you're simultaneously trying to cover up how hard it is. how isolating it is, when the whole world is squinting against the starlight feathering off you. it's worth noting that these parallels are not merely implicit, either. "flu game" is in and of itself an explicit reference to a famous game michael jordan played while sick in which he claimed that he didn't want to give up, no matter how sick and tired he was. and how did pete annotate a specific couplet, ten years ago?

we must make it hard to look so easy doing something so hard

another explicit reference to michael jordan, years and years prior.

and this is the first time they've ever played alpha dog in full. nearly 15 full years after the hiatus started. by now, fall out boy have been together for far longer than they've ever been apart. by now, fall out boy has been in their "posthiatus" era for longer than they have their "prehiatus" one.

i dont really have a conclusion to this. just, i dunno man. something about the repeated lyric "never means forever" on a greatest hits compilation titled "believers never die." something about i'm a star vs. so much for stardust vs. no more stardust. something about motifs that span decades, that span years of hurt and cracked-open wounds that have now been poured over with liquid gold, mending them anew. something about reclaiming old scars and ugly histories and reforging them into something filled with streaming starlight and sun-drenched smiles.

abracadabra.

#*making poasts #id in the alt text #im pure fucking wrecked about this in case you couldnt tell. im also tired as hell #this might not be articulate to anyone else but im feeling a certain type of way abt it #fucked up for them to debut this one in full when i tumblr user omeglomania was not even there. fucked UP.

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talesofliia · 4 months

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If Byler isn't endgame, then why…

1. Why do they consistently emphasize the unique nature of Will and Mike's friendship within the party? Why highlight their deep bond and illustrate their special connection?

2. Why does Mike gaze at Will with expressions of fondness, affection, admiration, and longing? Not to mention the times he seemingly focuses on Will's lips…

3. Why do they exhibit strange behavior around each other in s4? If they're merely friends, why the nervousness and awkwardness? Their dynamic sharply contrasts with the rest of the party.

4. Why does Mike feel compelled to insist that "they're just friends" to Will if it's an obvious fact? Could it be that Mike senses something more in their relationship?

5. Why are some of their scenes so romantically coded? If you consider it typical best-friend behavior, try swapping Mike with, say, Dustin or Lucas. Byler's scenes, particularly in seasons 2 & 4, are remarkably moving and heart-felt.

6. Why do they share intimate moments they wouldn't with other friends? And say things that sound rather romantic, like "Crazy together," "Hawkins hasn't been the same without you," "I felt like I lost you," "You're the heart"…

7. Why are some of their scenes so intimate that when interrupted by other characters, Will and Mike look as if they were caught doing something "inappropriate"?

8. Why do many of their scenes include "tender, emotional music playing," reminiscent of scenes with other ST couples?

9. Why are Will and Mike consistently paired up and paralleled with other canon couples? And sometimes with gay characters from other films/shows? I recommend checking out this thread as well.

10. Why do Netflix and the ST cast & crew talk about Byler so extensively? Here's a great thread with all their mentions.

11. Why are there numerous queer references surrounding Mike and his relationship with Will? If unclear, you can check out this channel.

12. Why does it seem like Mike and El's romantic relationship is reaching its logical end? If they were intended to be endgame, why did Mike struggle to say he loved her until he felt forced to? And why didn't we get a passionate Mileven scene after his "love confession"?

13. Why was Will present in almost all Mileven scenes in s4? And why was he the one attempting to piece together the broken elements of Mike and El's relationship?

14. Why make Will fall in love with Mike (canonically!) and illustrate the depth of his love for Mike, only to reveal that Will's feelings are unrequited? This character has already endured so much. In the context of a fictional story, it makes sense for such a good character to have a well-deserved happy ending (including being with Mike).

15. And finally: why invest so much in the beginning, highlighting the unique bond between Will and Mike, creating tension with romantic undertones, only to leave it unresolved and without the exploration it seemed to promise?

I want to clarify that I'm not claiming Byler is a definite endgame. I'm fully aware of the unpredictability of ST. However, it seems like a narrative gap if Will and Mike's relationship doesn't find its logical conclusion, which, in my view, is them being romantically together.

#byler #byler tumblr #byler is canon #will byers x mike wheeler #will x mike #will and mike #will byers #mike wheeler #stranger things

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lullabyes22-blog · 7 months

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Le Rite sacré de l'amour magique - The Sacred Ritual of Magical Love.

Mild NSFW

I feel so sad whenever I read about how this scene was 'cringe' and 'unnecessary' and 'awkward' - given it's visually and narratively a feast of subtext, and full of delicious tidbits about the essential nature of Hex-tech as a magical system.

It also wonderfully highlights the fusion of a pure source powered by the crystallization of celestial bodies with the viscerality of blood as a sacrificial link to esoteric knowledge - but at the cost of forfeiting one's 'tether' to humanity.

We have Viktor literally having a brush with death and nearly transcending the physical plane, while the Hex-gem takes away his life force and infuses it into its internal matrix - a literal melding between man and magic that, sadly, also requires the forfeiture of his fundamental humanity.

All while simultaneously, Jayce and Mel are making love, in a gorgeously animated sequence which is allllll about prioritizing female pleasure (and showing a female orgasm onscreen in a PG-13 kids' show - like, y'all, that takes balls, given if it were a mainstream Hollywood film, it'd earn an NC-17 rating or get slapped with a big ol' R for its trouble.)

And there's so many wonderful interpretive lenses we can apply to the juxtaposition between Viktor and Jayce - all while sex, death and magic are happening onscreen. On one level it represents Jayce's seduction, and by proxy corruption, at the hands of Mel - all while the Hex-core is corrupted by human blood that belongs to a man who has grown up in toxic environs and carries their lived legacy in his body to the point it's killing him from the inside out.

And on the other hand, we can see it as a divergence between the two routes of magical power as a means to channel transcendent knowledge - one through the brutal solitude of Viktor's path, which will ultimately set him in Machine Herald territory, and have him casting off his 'earthly ties' - right down to everything that makes him human. For him, the Hex-core is knowledge to be penetrated and absorbed, and its secrets require a sacrifice of the highest order. And on the other hand, we have Mel and Jayce literally melding together with astral imagery in the background, to show a different route that magic allows one to take, namely where two life-forces come together and engender something sublime between them (or possibly even make a baby? It's a popular fan theory and I can certainly see the potential.)

Magic, for Arcane, seems to be a means of interconnecting different facets into a unified whole (not unlike the way the series mirrors and makes parallels between a host of characters and circumstances, almost like they're different faces of a Hex-gem). And this scene sums up so powerfully what that system of science and magic is about - and the extreme highs and lows it can take you to.

And of course, right at the heels of this intense interplay between sex and death, two different types of la petite mort, we have the ultimate confluence between the two:

Rebirth.

And who better to embody it than two characters who carry their dead selves behind them like corpses shackled to their heels, in different ways?

Tbh I read these scenes as a trilogy for explaining Arcane's magic system - with Jinx being that final spark - literally the Powder - that blasts Hex-tech in all its destructive and yet empowering potential wide open.

Also a separate aside, I find this scene way more uncomfortable than the earlier two, simply because the interactions between Silco and Jinx are so fraught and charged. The first time you watch it, there's that almost-kiss Gotcha! that makes you spit-take, like: Wait are they...? And then the whiplash is so extreme because in a blink it goes from uncomfortably full of romantic undercurrents to strangely tender, verging on reverent. A moment of perfect and pure trust between two monsters whose entire conception of trust has been trampled into shards that they now use to cut others with.

But for me the pinnacle is this scene.

Other fan theories have also stated that they see Jinx as sort of the unwitting embodiment of the Hex-crystal's power paired with the dark potency of Shimmer, and for me this is one of the biggest visual metaphors. This girl, caught in a blissful gyre of fulfillment and serene frenzy, unmade and then remade, as she deciphers the codes of the Hex-gem and feels, for the first time, at one with herself and with her potential to unlock secrets and usher in miracles.

And madness, too, but that's a whole 'nother analysis.

tl;dr - Please Fortiche. Release an art book. I will shell out the big bucks<3

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amuseoffyre · 7 months

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I can't think of many shows that use both the original orchestrations and the songs with as ruthless and beautiful efficiency as pirates. I know a lot of shows who give it some of the focus, but it has been so solidly consistent across the board for every. frigging. episode of OFMD.

The songs they pick not only tie in perfectly, but the tone, style and mood carries across into the scene. And are even incorporated into the filming of the scene as well, to make sure they get exactly what they want.

The way they used The Chain is quite frankly mind-boggling, knowing that they filmed it with the music playing on the set at a higher speed, so when they slowed it down, they had pinned beat-by-beat every single shot of that scene to exactly the point they wanted in the song. The drumbeats matched up with the British drummers and having Frenchie on his lute knocked flat right as the guitar cuts off. It's just... AAAAAA.

And now we're in S2, they're doing the same brutally perfect scalpel work with the themes from the score for the first season. I've yelled about it before, but I will yell again about these three in particularly coming for my throat:

when Stede shows Ed around the Revenge and shows him all his cool things, there's a jaunty little harpsichord melody playing. That melody came back when Izzy showed Stede how to be a pirate and do cool pirate things

when Izzy crawls away from the crew, the solo cello notes that are part of the Blackbeard theme start playing

when Izzy opens his note from the crew, letting him know he belongs with them, he starts crying to the piece of music that plays over Ed's mum telling him "we're just not those kind of people"

It's such perfect understated parallel story-telling, demonstrating that something similar is happening to the characters without having to say a single word, and I am hoping against hope that we get either "Do You Concur?" or "Be a Lighthouse" back again in the next 3 episodes.

ohhhhhh if we get Ed and Stede doing a fuckery together with Lighthouse over it, I might actually cry. That is far and away my favourite piece on the entire OST because their signature instruments switch and alternate between harmony and melody and it's so perfectly them.

(However, if we get Ends Tonight again, I might bite someone)

#ofmd s2 #ofmd #music

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chirpsythismorning · 9 months

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Welcome to a series I'm calling:

Yes, that scene did foreshadow Mike's monologue was disingenuous

Because you'd be surprised how many times the show (even prior to s4) has poked fun at Mike's monologue in the most random ways.

The Bingham's Beautiful Performance

First we have Suzie's sister on the floor, bedazzled and sporting a veil all while her brother is filming. This is basically the kids attempting to present a tale of a romance ending in gruesome tragedy.

Our bride here is El. The edition of the veil could be a nod to the loud majority's series long assumption that Mike and El are going to end the show together, preferably getting married.

Unfortunately, this is the closest thing they'll ever get to it, with the acknowledgement of that possibility in and of itself being mocked.

This next shot makes the likelihood that these scenes are connected pretty much indisputable, that being the edition of the record player behind the bride's head.

The only reason they made a point of having Will push the radio out of El's way, was to subtly connect this moment in Surfer boy to the beautiful performance we saw at the Bingham's only a few episodes prior (scenes that are widely known to be filled with foreshadowing for the season's ending).

A few bylers have already talked about these parallels, so this isn't new knowledge per say. But I do know some have dropped it altogether as possible foreshadowing for whatever reason, while most fans outside of the byler fandom insist it only foreshadowed Eddie's death. However, I think there are too many details that equally, if not more connect it to Mike's monologue than to Eddie's death.

Some fans have also noticed how Will was missing in quite a few shots at the Bingham's, which is interesting, but not all that surprising. Especially in this case...

Will. Will is the director

Director Will: GET THAT RADIO OUT OF MY SHOT!

Will directed the monologue when he used his feelings to inspire Mike, with the reminder of it (literally in the moment) directing Mike to confess to El, just like Suzie's brother directed that beautiful performance. Both performances convincingly left its audience thinking that the performers feelings in that moment were believable and...

genuine...

#byler #stranger things #byler theory #the binghams #what really gets me is that the script for the monologue implies it did work #but this scene (along with many other scenes throughout the show) make a nod to the fact that it couldn't have possibly worked #by making a literal play by play of it being a performance with a fucking director giving commentary in the background #later the scene outright uses the word genuine to describe suzie's dad (who parallels mike)#and therefore makes the connection to mikes monologue being disingenuous #mike's monologue could be disingenuous for a layer of reasons #but it is disingenuous for the simple fact that it only happened because of will #there are several scenes in the show that make fun of this concept of mike's monologue not working #some in s3 with one in particular from that season being a little too on the nose #but also more moments throughout s4 that also poke fun at it #to be continued

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mightdeletelater · 2 months

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A speech made at the Academy Awards by Jonathan Glazer, along with the subsequent reactions, sheds light on how people tend to distort others' words to portray themselves as victims and, more concerning, their willingness to reside in a dystopian bubble as long as it doesn't affect them directly.

Rather than idolising Hollywood, I've previously posted about the complexities of my evolving parasocial relationships. But to disregard the influence wielded by these elites would be naive. It's frustrating to witness those in power facing backlash when they attempt to bring attention to pertinent issues.

While the Oscars' prominence in Western pop culture is waning, the ceremony and the fervour surrounding the nominees and winners, especially in the major acting categories, still hold significant sway in film culture and the broader world.

So when such a speech is delivered at the Oscars, it's bound to garner attention:

All our choices were made to reflect and confront us in the present — not to say, “Look what they did then,” rather, “Look what we do now.” Our film shows where dehumanization leads, at its worst. It shaped all of our past and present. Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation, which has led to conflict for so many innocent people. Whether the victims of October the — [Applause.] Whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist? [Applause.] Aleksandra Bystroń-Kołodziejczyk, the girl who glows in the film, as she did in life, chose to. I dedicate this to her memory and her resistance. Thank you.

Glazer highlighted in his speech that victims of the ongoing situation and the last 75 years, whether Palestinian and Israeli, all stem from the occupation and are casualties of entrenched ideologies like Zionism. But when he said this on stage and was immediately misquoted online on social media and by reputable news sources, alleging that he simply renounced his Jewish identity.

He also faced considerable backlash from those indicating a persistent conflation of anti-Zionism with anti-Semitism. It really parallels previous speeches of resistance at the Oscars. Boos rang loud and clear during Michael Moore's opposition to the Iraq war (which we know was a colossal failure by Geroge Bush and the US Government who perpetuated and pardoned multiple war crimes in the region after lying to their own people about evidence of weapons of mass destruction).

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There was also Sacheen Littlefeather's advocacy for Native American representation and the direct of attention to the Wounded Knee Occupation, a speech that had bodyguards having to restrain people from getting on the stage and attacking her.

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And, of course, Vanessa Redgrave's aim at “a small bunch of Zionist hoodlums whose behaviour is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”, which still feels relevant today.

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Turning to Glazer's film, I am baffled at those who vehemently objected to it: Did they actually watch it? Because if they had any negative feelings towards Glazer's speech, especially after watching his film, it suggests, to me, a deficiency in critical thinking.

Glazer's film portrays a chilling atmosphere where genocide becomes normalised, echoing real-world situations like the ongoing conflict in Gaza. The film serves as a stark reminder of humanity's ability to coexist with atrocities, often turning a blind eye for the sake of comfort.

The horrors adjacent to the characters' lives evoke contemporary parallels, particularly in regions like Gaza. With over five months of relentless violence, Israel's defiance of international court orders, and Western governments passively reprimanding while fueling the conflict with arms shipments, the spectre of genocide looms ominously. It risks becoming a mundane backdrop to daily existence. It is a stark portrayal of how affluent lifestyles can be linked to neighbouring atrocities, challenging the notion of denial and complicity.

The film doesn't centre around the Holocaust (Glazer's own words), with its specific historical context. Instead, it delves into a more universal theme: humanity's ability to coexist with atrocities and even derive some form of reconciliation or gain from them. The discomforting reflections are on purpose. It prompts us to acknowledge that the threat of annihilation of any people is always closer than we might imagine.

One of the most poignant moments in the film occurs when a package filled with clothing and lingerie pilfered from the prisoners of the camp arrives at the Höss household. The commandant's wife decides that everyone, including the servants, can select one item. She claims a coat for herself and trys on makeup discovered in one of its pockets.

How can the people who are so staunch against Glazer not draw parallels with Israeli soldiers who have recorded themselves rummaging through the lingerie of Palestinian women and slut shaming them? (Why are Israeli soldiers obsessed with Gaza women's underwear?) Or proudly displaying stolen shoes and jewellery for their partners back home (Israeli soldier loots Palestinian homes for his engagement party). Or celebrating International Women's Day with a photo of women soldiers posing for selfies against the backdrop of destruction (How an AP photographer made this image of Israeli soldiers taking a selfie at the Gaza border).

The film is rife with these parallels that it feels like a documentary. It is a grim reality: the potential emergence of the first live-streamed genocide, captured by its very architects.

Gaza doesn't mirror the systematic mass murder machinery of Auschwitz, nor does it approach the scale of Nazi atrocities. However, the entire purpose behind establishing the postwar framework of international humanitarian law was to equip us with the means to collectively recognise practices before history repeats itself on a large scale. And disturbingly, some of these practices – such as the construction of walls, creation of ghettos, mass killings, openly stated intentions of elimination, widespread starvation, plundering, gleeful dehumanisation, and deliberate humiliation – are recurring. And have been long before October 7th.

How do we disrupt the cycle of trivialisation and normalisation? What actions can we take? There are persistent protests and acts of civil disobedience to "uncommitted" votes, disrupting events, organising aid convoys, fundraising for refugees, and creating radical works of art.

And as genocide fades further into the background of our culture, some people grow too desperate for any of these efforts. I am certainly one of them.

Yet, these efforts seem insufficient, particularly when those in positions of power remain indifferent. It's insufficient when I watch a video of a little girl saying that the violence has made her feel less beautiful before she talks about her father being kidnapped by Israeli soldiers or of the orphans visiting their mother's burial spot in the street. It is insufficient when the death toll rises to exceed the daily death toll of any other major conflict of the 21st century.

Perhaps it's unfair of me to prioritise one tragedy over another, given the multitude of suffering in the world – the ones that are in the news cycle and the ones that are not. Yet, my connection to Palestine and its plight feels as personal as it can be without me actually being Palestinian, fostered from childhood teachings and further enriched through my own research. I have loved ones directly impacted by this conflict: friends in the diaspora grappling with survivor's guilt, friends in the West Bank enduring the daily hardships of occupation. And my friends in Gaza are all either dead, dying or being pushed straight into the arms of death.

The realisation that my efforts to help them are insufficient fills me with frustration. I'm angered by the indifference of those in power and by the hostility encountered by those attempting to bring the truth to the forefront.

#palestine #free palestine #gaza #anti zionisim #academy awards #oscars #jonathan glazer #the zone of interest #geopolitics #politics #i hate doing tags #Youtube

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canonicallyobserving911 · 2 months

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Buck & Eddie and Thomas & Mitchell: Wardrobe Parallels

Some of the clothes Buck and Eddie wore in 7x1 "Abandon 'Ships" parallel with some of the clothes Thomas and Mitchell wore in 2x8 "Buck Actually". Reminder, the ages Thomas and Mitchell were during Thomas' flashbacks parallel with the ages Buck and Eddie are now👀.

I've completed two other posts on the parallels between Buck & Eddie and Thomas & Mitchell (linked here and here) but the more parallels I find, I've come to realize the show has ALWAYS been paralleling them since 2x8 aired. And it's not just one thing, it's multiple things like their clothes, their ages, their height differences, the one who always drives (Mitchell and Buck) along with the way they look at and touch each other. Also, after Bobby taught Buck how to step into a relationship in season 1 (which didn't work on AC by the way) it appears Thomas was the one to tell Buck about true love more than a year before he learned about not solely dedicating himself to the LAFD (Red) and four years before he was told not to live his life like everyone else or it'll go by in a blur during the happiness convention (Lev) because he had ALREADY MET the person (EDDIE) weeks earlier that he is going to spend the rest of his life with.

Back to the regularly scheduled program...

Before 7x1 aired, TM (showrunner) released the above still and I posted about the ugly ass shirt Buck was wearing (linked here) but I also noticed the jean shirt Eddie was wearing and I wondered why he was wearing it because IIRC, Eddie hasn't worn a jean shirt since 3x3 after the Tsunami.

After I watched 7x1, I found so many parallels, callbacks, hindsight and foreshadowing and to this day, I'm still finding more that pertain specifically to Buck and Eddie that I plan to blog about but today, I remembered the other person I saw wearing a jean shirt similar to the one Eddie wore in 7x1 and it was Mitchell in 2x8 when he rolled up on Thomas at the club 🤪😜💕. It was the night they met and if you haven't seen 2x8, you should watch it because IMO, it gave the audience a glimpse into Buck and Eddie's future as a romantic couple.

I have to admit Eddie wearing a jean shirt was JARRING because he usually wears softer fabrics for his shirts like when he wears Henley's, button-downs and t-shirts so there's that. Also, the fabric looked rough and coarse, so I tried to figure out why he was wearing it in the first place but I digress (I'm going to do a separate post on why I believe he was wearing it the same way I posted about the plaid suit he wore in 6x13 and the plaid flannel shirt he wore in 6x18 (post linked here).

In addition to Eddie's jean shirt, Buck's multi-colored checkerboard whatever the "F" ugly ass button-down shirt/ jacket he wore has the same colors (white, blue, yellow/brown) as the shirt Thomas wore in 2x8 after he locked eyes with Mitchell from across the room while he was sitting at the bar.

Reminder, Eddie put his hand on Buck's shoulder in 3x3 (when he was wearing a jean shirt) the same way he did in 7x1 🤪😜🤪.

There are other similarities in the clothes they wore but they were more so for Buck.

Since he's worn different variations of the infamous striped shirt he wore during the shooting, when I saw Thomas wearing a similar one, I had to look them up.

During one of Thomas' flashbacks, he was wearing a shirt that's practically identical to the one Buck will be wearing in a future episode in season 7 (I can't remember when OS posted the picture below but IIRC, they were filming 7x5). Now since the photo of him and Brenna Malloy is in black and white, it's difficult to tell what color the stripes in his shirt are but the size of them are practically identical to the ones in Thomas' shirt. Reminder, Thomas wore his shirt when he took a selfie with Mitchell on their Polaroid camera right after they bought their home in the Hollywood Hills.

Additionally, later in 7x1 when Buck went to talk to Chris about being a player, he was wearing his "looking for answers" uniform but his shirt was the same color as a shirt Mitchell wore after him and Thomas got married and they were celebrating Mitchell's birthday.

IMO, it's safe to say 9-1-1 doesn't do anything on accident and it appears every word that's said and every piece of clothing the characters wear are done on purpose. Therefore, since they've been paralleling Buck and Eddie with Thomas and Mitchell for 6 years, the question is, what does it all mean? CANON Buddie... maybe??? Hopefully???

Reminder, Buck was the one who saw the pictures of Thomas and Mitchell that fell out of Thomas' "Love, Life & Adventures" photo album (post linked here) and he was also the one Thomas told, "You don't find it son, you make it!" and isn't that what Buck and Eddie have been doing for 6 years, making it?

That's love! (post linked here).

Will Buck and Eddie FINALLY become a CANON couple in season 7 or will the show keep delaying the inevitable by shoehorning one-dimensional love interests in and keep wasting screen time? Only the showrunners, writers, actors and producers know the answer to that question.

#buddie #eddie diaz #evan buckley #buckley diaz family #the buckley diaz family #911 abc #911 on abc #911 season 7 #911 season 7 speculation #911 spoilers #911 speculation #911 meta

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stra-tek · 7 months

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Big List of Universes in Star Trek:

Prime

Where most of Trek takes place. TOS, TNG, DS9, VOY, ENT, DSC, LWD, PRO, PIC, SNW etc. Gets a bit complicated in that the Temporal Wars from Enterprise have explicitly rewritten some events but for the most part it's all one enormous continuity. Just don't ask about the Eugenics Wars

Kelvin

Where the rebooted movies take place, essentially Prime until the day of Jim Kirk's birth, when a Romulan from the Prime future appears and begins wreaking havok, sending events on a familiar but different path with more running and explosions

Mirror

The morally inverted version of the Prime universe. Often the same people in the same place at the same time as Prime except under radically different circumstances. The Kelvin timeline has it's own mirror universe and the Coda books imply they're different sides of the same coin so perhaps every universe has it's mirror. Everyone dresses very slutty and all the women are at the very least bi. Almost as if it was written by men to appeal to teenage boys.

The First Splinter

Where the entire Star Trek novelverse takes place. Essentially Prime up until First Contact, although many events after that tie into ones hundreds of years before so it's all a bit complicated. Hundreds of stories exist here, as varied and amazing and sometimes awful as the TV shows and movies. Erased from history in 2387 but everyone you've loved and read about for years die horrible, horrible deaths first

Megas Tu

Accessed through a portal at the centre of our galaxy, a universe where magic is real and the source of many Earth myths and legends. Lucien is Satan but he's actually a pretty cool guy. Kirk and Spock learned to use magic there.

Parallels

300,000 universes converge, ranging from ones where Worf has a different painting in his quarters to him banging Troi to the Borg having conquered the Federation

Reverse

Black stars on a white void, ships fly backwards, at warp 36, the elderly grow young and live backwards and I'm afraid to ask how this reverse life ends

Second History

From the novel Killing Time. Super gay and angsty. Romulans alter history, leading to Spock being captain and Jim Kirk being a drug addict ensign on the V.S.S. ShiKahr

Renegades

A bootleg version of Star Trek in a fan film universe, altered on day two of filming after the Axanar drama began. It's Star Trek with the serial numbers just barely filed off. The Confederation instead of the Federation, Sector 6 instead of Section 31, Kovok instead of Tuvok, Jemison instead of Uhura, Rigillians instead of Romulans and so on. 2 novels were released which try to differentiate the universes more clearly, and the last Renegades film Ominara re-reboots the whole thing and features an Uhura-ish character and the Star Trek ish sets, but otherwise everything else is different.

Fascistverse

Created by Q to test Jean-Luc and friends in season 2 of Picard, this was along the lines of the Mirror universe but with a divergence point in 2024, if Trump wins the election if Picard's ancestor Renee goes into space or not.

Musical

A crossover with this universe in SNW "Subspace Rhapsody" leads to the quadrant singing uncontrollably, accompanied by music and with full choreography.

#star trek #star trek discovery #star trek aos #star trek the original series #star trek picard #star trek kelvin timeline #mirror universe #tng #ds9 #enterprise #voyager

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yuesya · 8 months

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Just imagine Shiki configuring canon!Satoru's body to look like how she would look if she had her own body. Then when the Satoru(x2) and Twins!Suguru show up to get Shiki, they see her "in the flesh" for the first time and her brother and boyfriend get a little emotional at seeing Shiki with her "own body". Alll the while canon!Satoru is like "what did you do to my body?! Are you able to reverse this? Hello?!"

And the other canon characters are equally confused and wary, but at least this weird female Satoru is able and willing to kick Sukuna and Kenjaku's collective asses (along with Megumi, sorry Megumi.)

I just want to make a note that this ask was sent before the snippet for twins swap AU v2 was written. Anon here has excellent story-senses haha.

Suguru doesn’t know what he’d expected, upon traveling to a parallel universe. Probably a world not entirely dissimilar to their own –albeit missing many people who had all ended up passing on over the years. Gojo’s voice when he’d talked about the subject had been casual and unaffected, but Suguru is familiar enough with his own Satoru to read between the lines of what remained unsaid.

It was… disquieting. Unsettling. What happened to Satoru and Shiki was a tragedy that should never have been allowed to occur, but in a world where Shiki had been completely erased… it was frightening, to hear how events might’ve played out.

(“He’s not me, Suguru. He’s not us. What happened in that world will never happen here, I guarantee it. Shiki would promise you the same, if she were here right now.”)

Still. For all the various differences in the people that Suguru had been prepared to face… it had never occurred to him that they’d land in a world that looked like it came straight out of a post-apocalyptic film instead of a normal city.

Suguru has exactly one second to register the sprawling landscape of destruction, the debris and ruin stretching as far as the eye can see –and then, his attention is drawn to the young woman standing across from them.

“Shiki?” Suguru’s breath catches in his throat, because there’s no doubt about it. The body is different, but he recognizes her, down to the depths of his very soul. Shiki. It’s Shiki, standing before them as a normal young woman, in her own body. Was this what she would’ve looked like, had she not been killed by her father shortly after birth?

White hair, long and flowing, brushing just above her ankles. Cursed blue eyes, dark and abyssal but oh so familiar. Pale white skin, smooth and–

And–

Belatedly, his mind catches up with the unexpected sight before his eyes, and Suguru can feel the blood rush to his face.

“Why aren’t you wearing anything?”

Suguru all but rips off his own outerwear in panic, leaving him in nothing but a thin undershirt. That’s still better than Shiki, though, who’s standing there with a silly little smile on her face, completely naked and utterly unconcerned about it–

“Suguru! Toru-nii!” Shiki launches herself at her brother first, grabbing him in a tight hug. Satoru returns the gesture just as fiercely, and it hits Suguru that this is the first time that they’ve hugged each other. The first time that the twins are holding each other in their arms, and the thought makes his throat tighten with emotion.

Then he steps forward and finally wrangles the girl into actually wearing something and covering herself up.

… It turns out that his shirt is far too large for her. What served as a normal-sized shirt for Suguru turned into a loose, baggy dress that barely brushed her thighs, but it’s better than the alternative. It’s better than nothing, for heaven’s sake–

Shiki bounces, doing a curious little twirl to test her movement, which does… interesting things, to the curvature of her body.

Suguru has about half a second to realize that actually, Shiki wearing his shirt is a Bad Idea, before he catches Satoru smirking at him.

Oh no.

“Shiki, Suguru here could use a hug, too!”

… And that’s how Suguru promptly finds himself with an armful of soft, giggling, mostly-naked young woman pressed tightly against his body, doing his best not to expire on the spot while Satoru is of absolutely no help at all.

“So you do like female–”

“Not. Another. Word,” Suguru mutters. Satoru acquiesces easily to the demand, smugly gracious in victory.

“I missed you,” Shiki tiptoes up and whispers simply into his ear.

This is it. This is how Suguru is going to go out: Spontaneous combustion from acute embarrassment, because neither of the Gojo twins have any sense of propriety or restraint when it comes to teaming up on him together.

But even so…

“I missed you, too,” he murmurs back, squeezing her around the waist before he can think the better of it. Then, Suguru steps back and coughs awkwardly, avoiding her eyes. “A-As did Satoru! He’s been stuck with Gojo –the Satoru of this world– all this time. You would not believe the arguments they got into –wait a minute.”

A sudden thought occurs to him.

Suguru turns back and peers down at Shiki suspiciously. “… If you switched places with Gojo… then… what happened to his body?”

“Oh… that.” Her response does not inspire any confidence in him. Neither does the way she looks askance evasively, “… Technically it wasn’t me who’s really responsible for this–”

With a sense of impending doom well-honed over the long years spent with the Gojo twins, Suguru resignedly reaches out and flatly tips her head back towards him with his fingers. “Shiki. What did you do.”

The young woman pouts. “… It was an emergency, I was fighting Sukuna! And I can’t fight properly with his body, so I… made a few adjustments…”

Suguru’s jaw drops open at the implications, while Satoru openly bursts out laughing.

“You mean this is his body?” Suguru gapes. “You turned this world’s Gojo Satoru into a woman??”

“I reconstructed his body so I could actually use it!” Shiki pouts, flipping a long lock of hair over her shoulder huffily. The young woman sniffs, “Besides, I’d say it’s an improvement over what he had going on originally.”

Hunched over and wheezing from laughter, Satoru slaps Suguru’s knee a few times. “Man, this guy’s reaction is a riot. He’s asking if you can turn it back.”

“Mm… yeah, I can probably revert the changes. I think I’ve got the hang of reconstructing this body now. But… really? Is he sure?” Shiki gestures towards the full length of her form, “At this point, I’m pretty sure my cursed technique is already carved into this body, with how much power I was throwing around while fighting Sukuna, so it’d be a bonus for him to just take over like this. Is it the face that he’s averse to? Does he want it to be prettier?”

Suguru covers his own face with his hands at the utter trainwreck of the twins’ particular brand of chaos, groaning. “… Shiki, no.”

“Shiki yes!” Satoru and Shiki chime immediately in perfect synchronicity, then burst out laughing together.

Suguru slowly shakes his head, fighting a helpless, reluctant smile.

#QA #zenith of stars au #Writing #twin swap au v2 #i skipped the entire battle with sukuna because [REDACTED] sorry #also we won't be talking about megumi #because in this case he's also [REDACTED]#ok back to working on the next chapter for zenith of stars now haha

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accio-victuuri · 6 months

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how many cpns can you get from a 7 second douyin by wyb? 💚💚💚

The Douyin King is back! I know i’m not the only one who missed his random ass douyin posts. They are very much welcome, he is free to share one everyday. I’m cackling at the comparison going around between WYB and other people. So, the rest of the celebrities and influencers are posting on a regular basis per month and have different topics.

photos at work, travel photos, interests/hobbies. this line represents the whole year. there is another diagram that shows how many per line, like 1-2 or more. then you have wang yibo 😂😂😂

line 1 : I'm busy at work and have no time. // line 2: I don’t have time to skateboard, ride a motorcycle or play golf // line 3: Visit my gege’s camping site and the volcano scenery is very good and has a lot of material// line 4: happy and don’t have much time// line 5: Shoot whoever is lucky enough to shoot!

then all the lines after is when he will post — shows that he will share a lot towards the end of the year to keep up with KPI. lol. he is rushing his homework again, to the point that on the video, people are searching what wyb’s kpi mean. which is the engagement metrics he needs to reach and now he gotta work on it, even the fans know and expect it.

the memes are also hilarious! 😂😂😂 ( cat memes below ) basically him working on making his “cool” posts to the internet.

Honestly, never change yibo. We love you as you are, Our Gremlin Best Actor. 👏🏼👏🏼👏🏼

That was a long intro, now let’s move on to the sweets & CPN…..

• @rainbowsky already talked about the messenger bird CPN & how it might be for ZZ’s Hennessy endorsement.

• similarity in how sometimes, they just wanna post an emoji for caption. this one is a cute parallel from 2021 and 2023. If you wanna further clown with WYB using kadian 13 for yizhan then go ahead too 😌

• it is being compared to him referencing his shoes before, picking up his shoes ( xie zi ) (xz) ; and now it’s another homophonic clue ( jm ) ⬇️⬇️⬇️

yes we know that you get to meet more often now cause you are both in Beijing! It’s so cool how their language can be used for so many things and you can play with it to send different meanings. international fans could never 💀💀💀💀

• talking about picking up and meeting, cpfs remembered ZZ’s 11/17/21 douyin post. It’s the one with him and a light saber and a sexy transformation. Going by his clothes, I’m thinking it was what he wore during the DC tencent conference and at the time of posting it was already considered as leftover. but I could be wrong, cause he might have worn other leather jackets that year for ads.

anyway, the point is — please compare the background of the rooms. the walls. you know. add the floor too. 👀

look, this isn’t the most unique type of interior. i would say it’s pretty basic like how we clown about hotel curtains. i’m guessing yibo’s is an evisu shoot sometime ago ( cause his hair is not that fluffy anymore idk if his stylist did something to make it like that even with his recent cut ). this place may be a studio of sorts that can be rented out and they just happen to have filmed there.

or… or…..

this could be XZS office. or one of their rented office. Why? this CPN is similar to the one in 2020. How we speculated that the birthday shoot was done in XZS office so ZZ could supervise the direction of the shoot too.

we also love to talk about how xzs and ybo office are right next to each other ( it’s a fact xzs is close to yuehua building actually ) so maybe that can be an explanation too 😂😂😂 it’s not uncommon for an office to have a separate space to do regular photoshoots so maybe theirs have that. or this could have been done after and wyb dropped off their office and took this.

hahahahahaha! so many explanations all because of a wall. that’s the kind of life we turtles have 🙃

Personally, i’m hoping for a 24 hour relay between them. 🙏🏼

-END.

#yizhan #bjyx #there is no science here i’m just clowning like i always do

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bluntblade · 1 month

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I've got a theory about why this happened, and I think the other Mandoverse shows support it, especially Mando S3. Basically, these shows have over-committed to using the Volume to the point that it hurts their action scenes. Not just in terms of how they look and feel, but what can even be put in front of the camera.

As Greig Fraser (the brilliant DoP who worked on early Mando as well as Rogue One, Dune and The Batman, and first got the Volume to work) has said, the Volume comes with pretty steep limitations. Spielberg has managed to do some things with it that Fraser hadn't thought possible, but for the most part it restricts what angles you can shoot at and also what movement you can have. Film Crit Hulk talks about it in more detail re Mando back in 2020:

Note HOW MANY times they’re standing relatively flat and the camera angle is directly parallel to a ground so that it puts the horizon in the same 1/3 of the frame spot behind them. They do this because if they raise the camera higher (as many shots should and would) it would reveal the “boxy” angle of the stage. It may seem small, but it REALLY de-emphasizes the natural surrounding and I’m worried it’s hurting the overall look of the show.

And it occurs to me that arguably the best-shot action of that series is probably the one where they went out and just filmed in the California hills. Note how Boba gets to tower over that one Stormtrooper and how there's a real sense of wham when he lands.

youtube

If you're shooting everything in a context where nothing can move all that fast, though, it really hurts your most kinetic characters. When Kelleran Beq gets his showcase in Mando S3, the camera can't move to add oomph to his strikes or give him a hero shot (in Kenobi you see them trying this with Vader, but they have to stop short of an angle which will actually give the image punch). If you've seen Dune Part Two, think of how the camera races along with Paul and Chani in some of their fights with the Harkonnens. That's wholly missing here.

And this also impacts the old jet packs (and Jedi acrobatics, for the most part). Whereas Jango could rocket around merrily, it's notable that the Children and the Nite Owls alike only really use their packs for dedicated aerial scenes. In the pirate fight, you can easily imagine them boosting from rooftop to rooftop and sparking even more "high ground" memes, but instead they conduct the fight entirely at a walking pace and on the ground.

And all of this hurts Sabine in particular, because like Ahsoka, she originated in animation and has previously been depicted in a really kinetic way. Even without a jetpack, she's a very acrobatic fighter in Rebels, and it's one of the things which makes her a really fun character. But in the process of moving to live-action, Filoni and co opted to change the characters to fit the Mandoverse style, instead of changing the style to fit the characters. The result is that lots of the things that first made Sabine so cool and fun just aren't really possible now.

#Sabine Wren #Ahsoka show #Ahsoka critical #Mandoverse critical #Youtube

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thoughtspresso · 10 months

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Theory: 【Oshi No Ko】 will be the title of Shima's movie for Kana

The reason why 【Oshi No Ko】's title never drops the lenticular brackets 【】 is because it will likely be the title for the movie that Arima Kana will star in, the "masterpiece" promised to her by Director Shima.

Most of us know by now that Arima Kana's character was based off of Ashida Mana, a famed child actor in Japan that international fans may know from Pacific Rim.

Anyone think Kana's berets are a parallel to Mana's red shoe?

After getting famous from the TV Drama "Mother" in 2010 at age 6, they tried capitalizing on her fame by getting her into music, to little success. Mana-chan says in an interview that she, "sings the songs my mother wants me to sing". In the years that followed, her acting gigs started drying up.

Until year 2020, when award-winning Director Tatsushi Omori cast her at 16yo in the lead role of the film 【Hoshi No Ko】. Literally translated, Child of the Stars or Star Child, but with the Western release title Under the Stars.

A Child Star in a film called Star Child, hmmm.

This move in her career was paramount as a springboard for her comeback, until she had recently been awarded as Newcomer of the Year in the 47th Elan d'Or Awards.

Note: This image is not taken during the awards

I just feel like I wanna see Kana in this dress too

Coming back to its parallels in the show, Akasaka-sensei and Yokoyari-sensei had an interview with Tsutaya, where they were asked this very question: Why does the title keep the double quotations 【】 and what does it mean?

Many thanks to twitter @aldeberu for pointing this out

Just like how people have pointed out that Tokyo Blade had some parallelisms with the characters in Oshi no Ko, 【Oshi No Ko】 may actually become the title of the film that revives her career and regains her renown and respect in the industry.

I believe that this may be a hallmark event in the plot of the story. Or, at the very least, the reward in its resolution.

Either:

Kana's performance in 【Oshi no Ko】 causes Kamiki to pay attention to her, attempt to harm her, and Kana works together with Aqua and everyone else to thwart him. (In this case, instrumental to the plot's resolution.)

Or, 【Oshi no Ko】 will be the film where Arima Kana's acting is so honest and impactful that Aqua is so moved that he realizes he is allowed to enjoy acting and filmmaking in this life, that he is allowed to love Kana honestly, and that he has the right to move on and heal from his trauma. (That is to say, the emotional resolution of Aqua's arc as our main character.)

Option #1 continues to support the theory that Oshi No Ko the manga/anime is meant to be a story about Arima Kana.

But Option #2 supports Aka Akasaka's tweet "Kurokawa Akane is the child who will take me away. Arima Kana is the child who will bring me back."

A reminder that Oshi in the title is spelled as 推し, which literally means Favorite. Oshi No Ko's literal translation is Favorite Child. It is "Hoshi" that means Star, just like in Ashida's movie "Hoshi No Ko".

So why would a Japanese manga title literally named 【Favorite Child】 be given a Western release title as 【My Star】 if it wasn't about her?

#oshi no ko #oshi no ko spoilers #arima kana #oshi no ko fan theories

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aurorabyler · 2 years

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Flashbacks in Stranger Things: When, Why, and How They Are Used (Long Analysis)

sit back and relax everyone. this is gonna be my longest post yet.

disclaimer before anyone proceeds--i have not tagged this post with any relationships other than byler so if you do not like this pairing please just scroll past this post! i never cross tag because i truly want a safe fandom space for everyone. this is just my analysis of the show and my own brainrot.

I’ve thought about the usage of flashbacks in Stranger Things a lot over the past few weeks. I saw a post by user @girlskth on Twitter (HUGE shoutout to them for this very eye-opening post, please go check it out their tweet and give them all the love!!), who mentioned the contrast between Max’s scene in Dear Billy (running up that hill → from Vecna), versus El being trapped by the vines in 4x09. First: we need to talk about flashbacks as they have been used throughout film and TV history as a key literary device. Here are some articles that I found that explain why flashbacks can be so important to understanding characters:

This quote is vital:

"Flashbacks are really a function of character, not story…the visual image we’re seeing is what the character is thinking and feeling at that present moment…it illuminates a character’s point of view.”

Flashbacks are never pointlessly placed. There is always an intent behind reverting back to the old material to demonstrate something about the character’s current mindset.

These two scenes are clearly parallels (complete credits to @girlskth for bringing this up), as both Max and El are encountering the same situation–being trapped in Vecna’s lair and hearing a monologue from him. The scenes are not only plot parallels but visual ones.

However, there is one thing lacking in this parallel, and @girlskth brilliantly points out what it is—their emotional connection. Max relies on flashbacks of her happiest memories to free herself from Vecna’s trance and come back to reality. There are MANY flashbacks of her platonic relationships (her friendship with El being the most significant), and her romantic relationship with Lucas, which is ultimately what gives her enough time to run away from Vecna.

Now, going into El’s scene, I as a viewer was EXPECTING that they would show flashbacks of El’s happy memories with Mike during his monologue. This is coming from someone who does not ship these two characters together at all.

I like them as friends, and I was still waiting for them to show us moments from their kiss at the snowball, from Mike giving Eleven the name “El,” from Mike calling her for 353 days in season 2, from Mike saying “No, El, you’re not the monster–you saved me,” from El saying she loves him at the end of season 3…but nothing.

Absolutely no flashbacks were shown apart from the scene of the boys finding El in the woods. This is extremely odd for a couple who has supposedly been the centrepiece of Stranger Things for four seasons, or, in the words of people who ship these characters, have been “built up for four seasons.” But no. Nothing.

This is an INSANE contrast to Max’s Dear Billy scene, which went out of its way to show her history with all of these characters over the 3 seasons her character has been in the show.

The concept of “show, don’t tell,” is critical in understanding this parallel. Take Max’s relationships that are highlighted when she is in Vecna’s trance: these flashbacks all occur because she knows they will give her strength. She is never verbally prompted to think about these memories because she has confidence they will help her fight in her darkest moment. Here’s some more information on show don’t tell and how it is used in media:

If we apply Max's unconcious logic to El’s scene in Vecna’s lair, being able to pull from her happy memories with Mike should have been something that came relatively naturally to her. Except, this didn’t happen. What did happen? El’s memories with Max DID come naturally, and those memories ultimately saved Max’s life.

Zero Flashbacks to Mike/El's Past Seasons' Dynamic

While waiting for volume two, even as someone who likes this pairing platonically, I was excited to see flashbacks to season 1 Mike/Eleven once they reunited at the Nina Project. I’ll always be nostalgic for seasons 1 and 2 and I wanted to see some of their friendship dynamics from those seasons come back. I was literally expecting there to be some sort of “still pretty?” flashback, or some other cut back to season one. Again, I am saying all of this entirely as someone who 100% believes in a byler endgame for this show. I was still very surprised by this, and it is clearly intentional on the writer’s part.

Some would argue that the lack of flashbacks is due to the varying perspectives in Mike’s monologue scene. We see Mike’s, Will’s, El’s, and Jonathan’s POVs switching between each other in this scene. When peeling back the layers, we learned that Mike's monologue utilizes the miscommunication trope in a big way. Let’s analyze:

Mike is under the impression, because of Will, that “these past few months she (El) has been so lost without you…You make her feel like she’s not a mistake at all–like she’s better for being different. And that gives her the courage to fight on.” —Will, 4x09

First and foremost: Mike’s monologue would not have happened without Will’s veiled confession in the van. He believes Will’s feelings are El’s, and it is these feelings that make him think that what he says is what El needs to hear.

Mike is TOLD (not sure if he entirely believes it especially after the final scene in the cabin when El walks away from him, but we’ll have to wait for more scripts to see the truth), that El has been “lost” without him and that she “needs” him to be able to fight.

This is what he is TOLD by Will about El, and this is not true, as NOWHERE during any of El’s scenes at school in California, or once Mike comes to visit, or during her time at the Nina Project, or during her battles with the military + Vecna does El EVER give the impression that she somehow needs Mike in her life to keep fighting, or that he gives her courage. In fact, given all of the parallels El draws between Mike's "what did you do?" and Brenner's "what have you done?" I would say what Mike gives her is the opposite of courage.

El keeps fighting because she has come into herself and she is powerful and strong, not because she needs Mike there to help her. And Mike, prior to Will’s confession, knows this is the truth, as seen by the line in the official script that was cut out from the show:

If El truly needed Mike to “fight on,” as Will implies with his own feelings, I believe that more flashbacks would have been utilized, regardless of the multiple perspectives in the scene, to show how Mike has supposedly helped El “fight” in the past. But none of this was shown BECAUSE El’s battles have always been about her personal arc and growth. In the past seasons, El has never relied on or needed Mike to help her fight–he has been misled because of Will’s veiled confession.

Perhaps the best example of El’s battles being about her own growth is in the 2x09 scene where she closes the gate: you'll see here that all the flashbacks she has during this critical battle have to do with her personal growth and past trauma. The same is true of her fight with the Demogorgon in season 1, of learning from Kali in season 2, of fighting Billy and the Mind Flayer in season 3--her relationship with Mike is not critical to any of these battles. It is her friendships and familial love that motivates her as well as her own coming of age.

The miscommunication about El "needing" Mike to be able to "fight" explains a lot of things, including, at least to an extent why Mike VISIBLY HESITATED when saying “I love you” for the first time in his monologue. There are obviously other reasons to this that have been analyzed by many other people, but I feel this miscommunication is critical.

This is something that has really been annoying me ever since season 4 came out: the whole plotline about Mike not being able to say he loves El should be extremely clear to audiences about what it implies. I love romance and I KNOW that the Duffers can write amazing love stories (Lumax, Jancy, Jopper…).

Lucas and Max never once say they love each other but it is clear to audiences–they SHOW it in their own ways.

True love is shown, not told–especially in media.

That is how the most popular romantic pairings are so believable to audiences. Showing, not telling your love for someone, makes it feel real. And boom: ever since season 3 and ESPECIALLY after season 4, there have been hundreds of thousands of people saying that Mike/El's dynamic seems "off" somehow.

My point here is that if you love someone unconditionally, if you are truly, deeply in love with them, you would not hesitate for a moment to say that you love them, especially if they practically beg you to say it while crying about that very fact. You would also not call them “ridiculous” after they start crying and then you proceed to deflect blame about a situation you caused onto other people.

Love is powerful. To me, it’s one of the most powerful things that exists in this world. And I believe that the writers of this show feel the same way: Love Conquers All. I’ll insert one of my favourite quotes from Avatar: The Last Airbender to display how I feel about this topic:

"You have indeed felt a great loss. But love is a form of energy, and it swirls all around us. The air nomads' love for you has not left this world. It is still inside of your heart, and is reborn in the form of new love." -Guru Pathik, Avatar: The Last Airbender

Real, romantic love is never something that should be questioned at critical moments. Let me emphasize: I do not question that Mike platonically loves El. He clearly loves her a great amount as shown by what he has gone through with her over the course of the show, just as he loves Lucas, Dustin, Max, Nancy, etc.

Millie literally said in an interview for ST4 that “Mike is not loving Eleven the way she wants to be loved.” This situation for El is honestly extremely heartbreaking because she truly deserves so much better than what she’s been given. El is one of my favourite characters and I love her dearly, and seeing her suffer because of this relationship as well as the bullying at school hits very close to home for me. She deserves so much happiness and I hope she gets to have endless amounts of it by the end of season 5.

How else have flashbacks been used in Stranger Things?

The article I cited earlier holds true to the Stranger Things writer’s perspective on flashbacks. Remember: "flashbacks are really a function of character, not story…the visual image we’re seeing is what the character is thinking and feeling at that present moment…it illuminates a character’s point of view.” Utilizing flashbacks as a literary device in this manner has been seen multiple times in the show at key character moments.

Will and Joyce

This flashback is key to showing Joyce's relationship with her son and how much she loves him. It holds true to the article in that it SHOWS that while searching for Will, she thinks back to the time they spent together in Castle Byers.

Jonathan and Will

Jonathan's relationship with Will is key to season one and remains one of the most beautiful parts of Stranger Things. This flashback, just like the ones with Max and Joyce, happens naturally. Jonathan associates The Clash with Will and can't help thinking back to their happy memories together once he hears the song play. This simple scene shows the depth of their relationship.

Hopper and Sarah

In my opinion, this is by far the most effective use of flashback Stranger Things has used to date. When I watched season 1 in 2016, this was the scene that made me cry my eyes out. I still think about it to this day as the catalyst that started my long-running love for this show. While trying to revive Will, Hopper is reminded of his daughter Sarah's struggle with cancer which led to her death. This flashback is a perfect representation of Hopper's development.

Hopper's arc in seasons 1 and 2 was one of my favourite things to watch: he starts as someone cold and isolated who drowns himself in drugs and alcohol to cope with his past trauma. Eventually, he learns to love again in all sorts of ways once Joyce comes back into his life. Hopper's drive to find Will and his love for Joyce inadvertently led him to El, and as he says in season 3:

"For so long, I'd been stuck in one place...And then, I left some Eggos out in the woods, and you came into my life. And for the first time in a long time, I started to feel things again." -Hopper's Letter, 3x03

In summary: flashbacks are used with intent and to SHOW the audience a character's internal struggles and thoughts. Stranger Things follows the textbook way to use flashbacks effectively, and has clearly been selective for a reason when it comes to which moments they choose to remind us of, as well as when, how, and why these moments are used. They have juxtaposed two very similar scenes and how the characters have escaped from the series' antagonist, Vecna, using these flashbacks/memories to their advantage. The final battle between El and Vecna was driven by El's love for Max. Mike was under the impression that what he said was what El needed to hear because it was veiled in Will's feelings. While these ideas have been widely discussed, showing how flashbacks have been effectively used throughout the show and comparing them to their usage (or lack thereof) in season 4 gives us excellent insights into El's headspace, as well as what the future holds for these characters. I put my blood, sweat, and tears into this analysis so I really hope you enjoyed it! Please give it a reblog if you can and leave your thoughts in the comments. I'd love to know your interpretation :) Thank you so much for reading! <3

#byler #byler endgame #stranger things #stranger things theory #st4 #stranger things season 4 #vecna #running up that hill #mike wheeler #will byers #byler tumblr #mike wheeler x will byers #byler nation #001 #001 stranger things #stranger things meta #byler meta #theory

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rocksalt-and-pie · 6 months

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alright I've made a more in depth list of episodes I would like to see in a fanservice season 16 as previously mentioned in my other post:

- human Impala (should be portrayed by a 55+ years old actor or actress with a strong Detroit accent and a very loud deep voice. they have arthritis in their shoulders because Dean never oils their creaking door hinges)

- Sam and Dean body swap (the potential for jokes is just top tier and the outtakes from this will be out of this world) (Jensen playing Jared playing Sam and the other way around sounds like absolute chaos)

Cas immediately recognizes Dean even in Sam's body and it's revealed that all this time he has been looking directly at Dean's soul 😭 (no kissing in this episode though. God the psychological damage a Misha/Jared kiss would cause)

- parallel universe with female Sam and Dean that they get sent to and meet each other / alternatively: some kind of gender swap curse that makes them turn into women (the potential for misogynistic jokes turning into more understanding and therefore changed behavior is just chef's kiss)

Bonus points for Cas off-handedly mentioning that he doesn't think it's weird that he wasn't affected by the curse because technically he has no gender and the body he inhabits is just a vessel (close up on Dean's face Thinking Thoughts)

Rowena takes care of it and compliments the female versions of them and it's kinda gay ("do we have to turn you back? Shame, would have been nice to have some female company, we could have formed a coven! Or done other fun things" cut to irritated glances being exchanged between the brothers/sisters)

- Jack and Claire teaming up for a hunt (preferably saving their damsel in distress father and step-dad that got trapped in some dangerous place where they finally have nothing but time to talk things out because there is no way to escape, you have to be freed from the outside)

- stanford era Dean flashbacks (feeling lost and alone on the road)

- Bobby and Rufus in the 80s flashbacks (including baby Winchesters!)

- Bigfoot hunt (the teddy bear episode doesn't count) but it's just an escaped gorilla or something. I just wanna see them hiking again okay I like the woods

- some, like, desert monster idk. filmed on location in Arizona or Nevada in the sweltering heat. the boys being forced to remove layer after layer of plaid. show me Dean in a tank top (handprint included)

- birthday episode (either Sam's or Dean's idc. How come that in 15 years there was never a case taking place during one of their birthdays!)

- an actual wedding, either Sam and Eileen or Jody and Donna or Dean and [gun shots]

- beach episode, show me those bathing suits. give me a Bond girl moment

- another Wayward Sisters episode please

- reverse French mistake although it would be absolutely fucking insufferable and I would hate it with all my heart (but it would be sooo funny)

- resolve all the other loose threads of open ended episodes (there are so many! The tulpa from season 1! The girls in the hotel from the haunted house episode in season 2! Jesse the antichrist kid from season 5! The witch twins and how one of them brought the other back from the dead! The kid of that monster friend of Sam's that Dean killed in season 8 i think and told him to his face to come looking for him when he's grown up! That's five whole episodes right there!! and those are just the ones i could come up with from the top of my head but I'm sure there's more)

- BRING BACK BELA FOR JUST ONE SCENE PLEASE

- a lot of you mentioned a proper musical episode, which. sure why not. a curse that makes you sing/perceive everything happening as music perhaps?

- and then of course. The coconuts gently colliding but this goes without saying

#supernatural #season 16 #spn #spn season 16 #supernatural season 16 #supernatural reboot #spn reboot #destiel #dean winchester #sam winchester #mp #this is how EYE would do it

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lordystrange · 1 year

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10 best byler proofs by me

10. The cast, especially David (who knows the ending) and Finn (who might know something), are always so happy talking about Byler. They wouldn’t be if Will ended up dying alone as a sad gay. Also no one likes milkvan except maybe Millie unless she’s acting… Caleb even said ”Lucas and Max’s love is real unlike Milkvan’s”.

9. Mike has been queercoded throughout the whole series. Especially with queer colors, he spent s4 dressed as a gay pride flag. Also bi and pan colors are associated with him. Also Ted’s ”our son with a girl?” and everything Eddie said about forced conformity etc

8. Byler parallelling other romantic ships like Jancy, Jopper and Lumax. I’m not listing examples because there are SO MANY! (Also Milkvan parallelling all the platonic/dead ships)

7. Mileven being bones. We have nothing that shows their actual, deep love they’re ”supposed to have”. We don’t know what Mike loves about El and what El loves about Mike. We don’t know what makes them a compatible match romantically. We only know things that don’t make them compatible: El feeling the need to lie to Mike, Mike feeling embarrassed of his nerdy self with El, El feeling unloved by Mike, Mike feeling inferior to El…

6. The desert scenes. The triple take ofc, but also the car roof top convo with Will (jancy parallell). Will is talking about how it’s scary to say how you really feel because what if they don’t like the truth. And Mike NODS. If the truth was that he loved El exactly like El wanted, El would like that truth. So what is the truth Mike is worried that El doesn’t like…?

5. Mike’s monologue. He had to be pushed by Will to open his mouth. He lied about him loving her at first sight. He copied the t-shirt part from Eddie. He kept saying she’s his superhero which El doesn’t wanna be. He didn’t include anything personal about El and their relationship after the t-shirt thing… Also El didn’t seem to like what she heard and their love didn’t save the world. And they didn’t even talk after it. And while filming it they didn’t focus on just the couple (like they did with byler in s2 shed scene) and they let Finn improvise as if it wasn’t that important (as important as the van scene…)

4. Mike would be so poorly written if he wasn’t into Will and I don’t think the Duffers would just ignore his character. Also all the lip glances and heart eyes wouldn’t make sense.

3. Byler/Milkvan contrast. When Will was gone and they found his ”body”, Mike heard Will breathing in a radio channel and believed he was alive. He didn’t rest for a second, he did everything he could to find him. When he thought El was dead, he didn’t go looking for her, even tho a couple times he actually saw her. Also in s3 when Milkvan had a fight, Max said Mike will be crawling back to her begging for forgiveness in no time. Instead Mike laid on a sofa and ate and complained. When Byler had a fight… well we all know what Mike did then.

2. Mike and Will’s relationship has always been different from other friendships. They’ve said it themselves (”pls don’t tell the others, they wouldn’t understand”, ”Hawkins is not the same without you”, ”you make her me feel better for being different”). Also their scenes together have always been a big deal (van scene took an entire day to film, crazy together was written before s1 was even filmed) and they are shot in a really romantic way (music, lighting…)

1. In the beginning of s3, Will said to Joyce that he’s not gonna fall in love. That made his arc about romance. We know now that he already fell in love, but he doesn’t believe it’s requited. If s5 goes from ”i don’t think he loves me back” to ”he doesn’t love me back” we get literally nowhere and the entire storyline (since s1) would be useless and waste of time and money. They wouldn’t make Will suffer 4 seasons and then suffer some more. So believe me when I say it goes ”I don’t think he loves me back” to ”He does love me back!”

I wish you all a very merry byler endgame in s5! 💚

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