#I could write essays about this show

[sunlightnmoonshine]

It's very interesting that queen of tears is playing so hard into the "these characters were born to love each other" notion. It's repeatedly empathised (and although in a comedic vein) by haein and hyunwoo and in their inability to let each other go no matter how hard things get. At the same time with the flashbacks to how they were each other's first loves and how the osts really point to the two of them being the "one" for each other, it really speaks to how much these characters were meant to be in each other's lives, essentially soul mates, destined to be together.

What's refreshing though is that they said okay you two might be soul mates but that doesn't mean your relationship doesn't take work and that you are going to drift so far apart that it's going to feel like love no longer exists between the two of you. They said hey, being destined for each other and having to still put in the effort to make your relationship work are not mutually exclusive and should never be because that's not how the real world works. But hey, put in the effort, talk, listen, learn, and grow and you'll see why you two were born to love each other.

[calkale]

no one speak to me today I will be mourning riverdale

[spn2006]

the fact that eric kripke isn't even christian really adds something to the way christianity is depicted on supernatural. because its really not about being christian at all, but about living in america, a country dominated by christianity, and having to decide for yourself how to handle that. faith is huge in supernatural, and the mythology of the show is very bible-centric, but notably, christ is never there. even sam, who starts out revering the angels, who once said he prays every night, doesn't actually call himself a christian or imply that he believes in jesus--the show is steeped in christianity and biblical lore and yet neither sam nor dean are christians. in fact, over and over again the church itself is depicted as a haunted house that sam and dean will only ever enter as strangers, as outsiders. priests, preachers, faith healers, chapels, crypts, etc. are all just iconography that create an intense sense of unease that sam and dean respond to instantly. as a jew, its very relatable. an essential part of living in america when you're not christian is that exact sense of unease, of knowing that the culture of your country has ensured that you'll get knocked over by christianity no matter where you go, that you'll see hundreds of people truly believing they're good people while doing awful things in the name of their god, and you have no choice but to confront that. kripke gets it

[mobius-m-mobius]

You wanna hear a good story? Listen to this one.

Mobius + comfort

[turtleblogatlast]

Things I make for myself when insomnia kicks in

Just a chart about what I wanna change up and keep consistent in my art - I mainly wanna draw Raph with a tail because he deserves one, it fits too well. Donnie gets a long tail too because I didn’t realize how dino-like he looks until I gave him one, and now it’s a must for me haha.

[you-are-constance]

one of my favorite things about a lot of different musicals is when they have their opening number reprised in their finale, the same melody and lyrics having an entirely new meaning to them thanks to the context of the rest of the show.

and obviously there are a Ton of examples (Wicked, Come From Away, The Outsiders, SpongeBob... i know there are others i can't think of them), but there are two specific shows that I genuinely think are examples of the absolute best use of this.

to me, those two examples are Cabaret and The Great Gatsby.

like the other examples listed, each time this sort of thing happens, there is new meaning given to the same song thanks to the rest of the show happening in between, but both Cabaret and Great Gatsby have it in like... a very chilling way.

In Willkommen and Roaring On, these are both somewhat upbeat songs, introducing the club, the parties, the energy that the audience is Supposed to feel at this point. nothing else matters in the world, only the thrill of endless entertainment.

but this isn't what these shows are about. there are much darker stories going on underneath, and by the time we get to the finale, the audience is changed along with the characters - but the song is the same. Nothing else Matters. only the thrill of Endless Entertainment. We have No Troubles Here.

but another thing that i find so musically fascinating is that it's not just the audience's perception of the song that changes, no the music itself helps to drive the audience to those realizations. at the orchestra's break in Willlkommen (finale), it begins very similar to the opener, but gradually adds more and more dissonance, making it harder and harder to even bear listening to. In Roaring On (finale), the ensemble lines are just slightly more staccato, slightly more dissonance, slightly more unnerving to listen to.

it's just so fascinating to watch a musical, and have the same song mean something so incredibly different, just because of the context it exists within, and very slight musical changes.

[beanghostprincess]

Usopp obtaining Conqueror's haki makes so much sense to me and I genuinely think he deserves it on Elbaf please please please

[matryoshkalex]

i forgot i started this in like april and never finished bc i got super busy with tmaynt but i suddenly remembered and finished it this week!!

i watched 2003 when i was in like? middle school and same as it never was stayed with me and was one of my favorite episodes because ive always been a fan of the darker and more angsty stuff. so i thought about 2012 in the sainw timeline and couldnt get it out of my head so. here they are. two versions because i couldnt decide which background i liked more

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[redcallisto]

Danstelle week 2023 Day 2 - Nightmares | Stellaron Hunter Stelle

[freshmangojuice]

Guys I'm studying Greek tragedy in my ancient studies course and I always knew Red Dwarf is tragic, but now I have the knowledge to see it actually fits Aristotle's requirements for tragedy perfectly with Lister being the central tragic figure.

First we have the hamartia. This is an error of judgement, a mistake that leads to tragic plot. Lister's moment of hamartia is smuggling Frankenstein onto the ship.

This leads to peripeteia, the reversal of circumstance. Lister refuses to give up Frankenstein and is put into stasis as a result.

When he comes out of stasis, we have the anagnorisis. The realisation. Everyone is dead, Dave.

Then by the end of the first episode at least, there is catharsis. He is not completely alone, and he has a hope that the slime is coming home.

We also feel both pity and fear during the story, which is what makes tragedy according to Aristotle.

[novelconcepts]

When i think about how Van Palmer was developed in a lab to get me in a goddamn chokehold.

You got a lesbian. You got a butch lesbian. You got a comedy-prone butch lesbian. You got a comedy-prone, movie-obsessed butch lesbian. You got a comedy-prone, movie-obsessed, haunted-by-a-rough-childhood butch lesbian. You got a comedy-prone, movie-obsessed, haunted-by-a-rough-childhood, hidden-pragmatic-depths butch lesbian.

You put that lesbian in survival hell situations. You put that lesbian in survival hell situations with her girlfriend. You put that lesbian in survival hell situations with her girlfriend as the romantic heart of your show. You put that lesbian in survival hell situations with her girlfriend as the romantic heart of the show AND make them both unkillable.

You put that lesbian in two timelines. You put that lesbian in the storyteller role. You put that lesbian in scars and silver rings. You put that lesbian in a position to explore the darkest side of loving someone. You put that lesbian on my screen, and you cast Liv Hewson. You put that lesbian on my screen, and you cast Lauren Ambrose. I mean. I mean.

Any ONE of these things would have been enough, and yet. Here we are. Watching the unkillable, complex-ass, funny, scary, heartfelt, fireproof lesbian get her face torn off by wolves, commit cannibalism, fall in love, move to fucking Ohio, and come back for more?? And you expect her NOT to move into a penthouse apartment in the very center of my heart? Be serious, dude. Be so serious.

[ruanbaijie]

我马上带你们回家，带你们回家……

SNOWFALL 冰雪谣 (2024) 1.13

[mintytrifecta]

[pajamas-lipstick]

The last 4 episodes have been such a rollercoaster and full of so many great moments - comedic and beautiful and heartbreaking.

The thing i can't get over in both the original version of events around Sol's attack and the current one she's working to prevent is how damn brave Sun Jae is. In both scenarios he has an unrequited crush on someone who barely notices him and yet he fiercely and courageously not only saves Sol but is determined to bring the perpetrator to justice. His witness statement was so clear and just and calm - he was unflinching in the face of danger. We see this echoed in his statement to Sol that he's ok with getting hurt if he can protect her - he loves her yes, but he's also a fundamentally brave and heroic person, who trusts his heart - just as Sol is. As so many others have said, they are both reaching out through time, space and fate to rescue each other. Sol also trusts her heart and is similarly unflinching in her pursuit of a happy ending for Sun Jae, no matter what it costs her. I would bet on her too, if I were in Sun Jae's place. I believe our cute little bulldozer can do anything!

Going backwards, episode 8 was a blinder in so many ways - the meeting on the bridge after so many near misses the previous episode, the echoes from the beginning of their story, the umbrella! Then watching Sun Jae slowly morph from a cool, unruffled superstar to his sweet, awkward teen self the longer he was around Sol was just lovely. Her presence allowed him to be himself, truly.

I haven't even got to Im Sol's confession in the present - my goodness, what a breathtaking declaration of love. The acting from both was just gorgeous here - you could feel the release and relief of all that pain and longing. And after Sun Jae repeatedly made himself vulnerable it was time for her to do the same. I especially loved Kim Hye Yoon's startled reaction in the lift after actually telling him how she felt and Byeon Woo Seok's delirious, overwhelmed delight in his car after. And that kiss!! One for the ages and I love so much that she initiated it and crossed the last divide between them. I think I saw that was Woo Seok's suggestion when they were blocking the scene? which...makes me swoon even more, honestly (as if that was possible).

I love Detective Kim's doggedness in pursuit - he feels like a man who can get the bad guy. Indeed, all the 'adult' characters here are reassuring in the best ways and I agree with all the theories about a bit of magic around Halmeoni, too. Taesung was Ep 10's MVP for me and he's definitely got more of a role to play in changing fate. There's still six episodes to go after all (how on earth am i going to cope with the stress?!?!)

I am absolutely convinced it will be a happy ending. The lightness of touch and genuine laugh out loud moments every episode are setting the tone for a happy conclusion. Plus, there's no pre-determined feeling here (looking at you, Moon in the Day), rather the opposite. We are being shown over and over that a kind and unselfish heart can work miracles. They're not going through it for nothing, i just know it.

[netflixnormalthings]

girls when they are totally straight and love having sex with men