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transmutationisms · 1 year

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I’ve spent the evening going through your tags and vigorously nodding along with all of your analyses of Succession, specifically WRT addiction, drug use and the way drugs are framed throughout the show as performance-enhancing agents for life under capitalism (to sum it up basically, though certainly more nuance could amend that characterization which I think you have covered). Specifically with season 4 and eps 405-408, I’m thinking about the narrative reemergence of cocaine as the waystar universe’s primary “business drug” of choice- though where we would typically see this play out with Kendall’s arc, there’s been fascinating parallels with the Tom/Greg and Shiv/Mattson of it all in terms of their characters conceding to the drug/feigning the appearance of drug use to stay close to the seat of power. IMO next to Kendall, Tom may be the character shown to be most entangled in this inescapable dynamic between drug use and self-image/actualization/esteem; he seems preoccupied and obsessive about the effect of drugs on his personal and financial prospects (“I took the wrong drugs in the wrong order and can’t get happy”) and even moreso in the most recent episode with the whiteboard coke scene (played as a hard comedy scene which I find so interesting!!!)

Meanwhile, we have not seen Kendall explicitly use drugs anytime throughout the season, yet he admits (with a rather surprising candor and self awareness) in 401 that he knows what it’s like to “smoke horse” and therefore needs a business venture as readily able to consume his priorities, and through the season we see him shirking obligations to his family and other loyalties in a seemingly self-destructive spiral that might mirror a normative discourse of “the addict.” So that is just some braindump lol, this is hardly a pointed question but you’re such a thoughtful critic on these themes and I find myself similarly engaged by them as well. am wondering if you have made any similar/different connections or new themes WRT drugs and addiction you’ve seen this season!

yeah, so, tom's drug use is something i haven't really written about and should, because it's a really fascinating angle to his character as well as the portrayal of drugs on the show in general. for purposes of this post i'm just going to assume anyone reading is familiar with the reading of drug use on succession as an expression of neoliberal capitalist subjectivity, and with coke in particular as being a way for the characters to access and perform bourgeois masculinity. also, when i talk about masculinity and femininity in this post, i'm going by logan's definitions of those terms, where the masculine is rational, violent, dominant, and so forth, and the feminine is embodied, passive, submissive, &c. these are the rules by which these characters still live.

what's interesting with tom is that he speaks the language of masculinity and drugs, and therefore also masculinity-qua-drugs, differently than the roys. in 'prague', for example, he sees greg doing coke and tells him to "suck on those big white dicks"—the opposite of what coke means in the text when kendall uses it. for kendall it's a way of enhancing his masculinity, kill drive, &c, which is why his use tends to be SO tracked to his relationship with logan and the demands logan is making of him (for example, seeking it in 'no one is ever missing, using it in 'vaulter' after logan orders him to gut vaulter, or in season 3 when he's at peak patricidality). the fact that tom sees greg using coke as discursively equivalent to sucking cock tells us that tom simply doesn't understand how the roys perform masculinity, or what that means to them. in 'too much birthday' he makes a different mistake, trying to use coke to make himself happy. again, what we can see as viewers is that this is simply not how coke functions for the roys. it's not a party drug or a chemical joyride; it's almost utilitarian in how it's meant to make up for a lack of masculinity or business instinct. it makes kendall capable of functioning in logan's world, where the language spoken is one of violence. tom taking it for fun is kind of doomed from the get-go.

so, there are a few elements of the coke scene in 'america decides' that i find interesting. one is that, although tom actually is now trying to use coke as a performance-enhancing drug à la kendall, the person he's trying to live up to is cyd, who's been ousted. this implicitly feminises tom by suggesting his spectral role model in business is not even his father-in-law, but a woman. second, as plenty of people have noted, greg doing the coke off tom's hand is quite intimate, even tender, and suggests that for tom, coke is homosocial in a distinct way (gayer, to be blunt) than kendall allows it to be. third, tom pressures greg into doing it—again, suggesting he doesn't see it as some kind of competitive advantage but as a male bonding activity, where he wants greg's company (or at least wants someone's company, and uses greg instrumentally). fourth, as you pointed out, it's played for laughs. generally kendall's coke use is portrayed with more nuance: it's not flattering, and there are certainly moments of levity, but it's contextualised as both the ultimate embrace of the logics of capital, and as part of kendall's futile efforts to please his father. both of these elements mean kendall's coke scenes are usually played more seriously. for tom and greg to be hunched behind a whiteboard comedically doing bumps together again stands out, making both of them look a bit foolish and emphasising how tom's relationship to masculinity, coke, and coke masculinity is different to kendall's. both kendall and tom fail at masculinity, but in distinct ways; kendall tries repeatedly to use coke in order to make up the difference, whereas tom doesn't even understand consciously that that's an option.

shiv's refusal of matsson's coke to me parallels roman turning down coke with asgarov. roman and shiv do business and gender differently than kendall. although shiv instinctually identifies with a more masculine role (ie, she sees herself as dominant, in control, the smartest one in the room, &c), she doesn't have the wild insecurity that drives kendall to compensate using coke. shiv prefers to try a more deliberate strategy than the way kendall just goes in swinging his cock around, hoping he'll intimidate someone. meanwhile, roman identifies with a more feminine, coquettish role, which is precisely what logan always perceived as being so disgusting in him. roman's business strategy often reads as flirting, but without following through (inviting matsson to come piss with him, but then refusing to actually take his own cock out; following asgarov to the bathroom but turning down the coke; the lotion situation with mencken). so, shiv and roman have now both had scenes where they're directly offered the chance to try on kendall's overcompensatory masculinity for themselves, and they've both turned it down, telegraphing the way their strategies for surviving in the world of waystar diverge from kendall's.

kendall, of course, has been interesting this season drug-wise by negation. the heroin line is interesting, although unclear to me to what extent he was serious (and, even if he was serious, we have no idea whether he's talking about anything recent), so it mostly just suggests that this is something he and his siblings are comfortable acknowledging / joking about. whether it's a joke or not, the invocation of heroin specifically to convey basically immediate, overwhelming enjoyment / pleasure fits in with how the show distinguishes between uppers and downers, with downers being the drugs more likely to be taken in pursuit of pleasure rather than as tools for neoliberal self-improvement like coke / uppers. besides that, the past 10 in-universe days have essentially been a process of kendall deciding more and more baldly to pursue his father's ceo position once and for all. kendall's drug use is in response to both logan and the broader demands of capitalist masculinity, so i don't want to read too much into his non-use this season (& it honestly wouldn't shock me if we saw him do a bump or two in the last episode or something), but i do think that at the beginning of the season, we catch him at a relatively relaxed point, as he's been removed from his father and had his siblings nearby. so, the show is capable of portraying him spiralling out (as you point out) without using a drug narrative or conventional addiction arc to telegraph that, because his coke use means very specific things in relation to masculinity and capitalism.

#a sandpit for emergent behaviour

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aihoshiino · 1 year

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hello there! first of all i wanna thank you for your translations of the side stories! we get so little about b komachi and I found it really fascinating to see that some of the lyrics from idol seem to have been lifted from 45510 especifically. ( could be mistaken, haha)

but in any case, there's a particular outfit of Ai's that you tag as beautiful dreamer, at first I had only seen this outfit in cosplay websites and I was skeptical of it even being anything more than an effort to sell more costumes. I was wondering if you knew what official art it is from? I'd love to see the original picture, cuz as hard as I try I don't seem to be able to find it!

even if you don't have i still thank u lots for all the theories and analyses you've been sharing here! ( not enough people talk about ai being neurodivergent and the ai on stage being a mask)

thanks!!!!

ANON THIS WAS SUCH A LOVELY ASK TO WAKE UP TO, THANK U SO MUCH 🥺 Honestly it has been years since I actively took part in a Big Fandom enough to contribute meta so knowing that people are enjoying reading my thoughts about this silly little series is kind of mindblowing to me lol. Ai's neurodivergence and the way it factors into the way she navigates the world is suuuuuuuch a key foundational part of understanding her (at least imo) so it makes me glad to see people are vibing with me talking about it so explicitly.

You are correct, tho! IDOL's lyrics are directly based on 45510 and parts of Ai's dialogue scattered around the first volume of the manga - it's always kind of a surprise when I go back through it and I'm like oh my god right, yosasobi just came for the THROAT with some of these lines!!! I've been working on my own TL of 45510 just to keep myself occupied and I've been having a lot of fun trying to make my translations of those lines actually scan to the appropriate lines of IDOL hehehe.

To answer your question tho! That particular Ai design is an official alt outfit/AU design for the Lies and Ai (展嘘とアイ) exhibition and collab cafe that was held in Japan!

As you can see, everyone got a cute, mahou shoujo inspired look as a tie in.

You can read a little more information about it in this news article but it was basically a little art installation based around Oshi no Ko where certain iconic scenes and outfits from the anime's first episode were recreated for folks to see and a collab cafe with character-themed foods was also hosted. If you'd like to get an idea of what the exhibition looks like, happyuchannel (who does a lot of videos on OnK events in Japan!) has a video about their visit where they show off the parts they were allowed to photograph and some of the merch they got.

The reason I tag this as 'Beautiful Dreamer' is because I run a magical girl AU roleplay called Beautiful Dreamer over on Dreamwidth and Ai is one of the characters I play there! By total coincidence, this art dropped like the day after I decided to play her there and had to work out a mahou look for her and then I guess the universe rewarded me for good decision making LOL

("Claire is this a transparent ploy to get people to come over to Dreamwidth and play in your mahou game?" Of Course It Is)

Unfortunately there aren't any full/high quality images of the art anywhere that I know if since it exists just for the collab cafe but I imagine that when an art book specific to the anime inevitably drops, we'll get full spreads of a lot of the collab cafe/promo art.

BONUS: Here's what those mahou Ai standees look like in real life. Aren't they cute?

("claire how many ai standees do you–" normal amount.)

#oshi no ko #oshi no posting #hoshino ai #ai hoshino

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chaos-has-theories · 2 years

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Ich habe 6.192 Mal im Jahr 2022 etwas gepostet

Das sind 5.090 more posts als 2021!

101 Einträge erstellt (2%)

6.091 Einträge gerebloggt (98%)

Blogs, die ich am häufigsten gerebloggt habe:

@heyitsmeep

@urcrookedneighbor

@into-september

@sabertoothwalrus

@mayasaura

Ich habe 5.369 meiner Einträge im Jahr 2022 getaggt

Nur 13% meiner Einträge hatten keine Tags

#the locked tomb – 970 Einträge

#miraculous ladybug – 813 Einträge

#writing – 203 Einträge

#septimus heap – 187 Einträge

#lgbtq – 178 Einträge

#nona the ninth – 170 Einträge

#reminder – 133 Einträge

#stories – 128 Einträge

#dracula – 118 Einträge

#prompts – 117 Einträge

Longest Tag: 139 characters

#but actually we had alot of old czech/german production that i loved a lot - die märchenbraut and saxana and luzie der schrecken der straße

Meine Top-Einträge im Jahr 2022:

I have just realized that technically, intertextually, analysing-the-themes-ically, Marcia is Jenna's evil stepmother.

I mean - Jenna is Snow White, yeah? Princess, black hair, mother dies, lost in the forest, pursued by a hunter; gets taken in by a family defined by having seven little people living in a very enclosed space.

And then there's Marcia - who marries her father, who takes her appearance very seriously, who we're even told has a sentient magic mirror within a paragraph of meeting her.

She even almost plays into her role... for about one chapter. She arrives at the Princess' new home, plying her with jewelry, and tries to take her away, much to the chagrin of both her and her family.

Except Marcia just isn't evil. She takes Jenna with her to keep her safe and gives her fuzzy purple socks and then they all jump down a rubbish chute, and the next time the books remember that they were kind of about Snow White once upon a time is during Queste Physik, when the real Evil Queen appears (who also uses a magic mirror, who wants to be young forever, who is willing to kill her own daughter over it).

Anyway I'm obsessed with how these books do and do not use fairy tale motifs but I definitely hadn't noticed Marcia's role in it before today but now that I do I'm going to make fun of her forever (affectionate)

120 Anmerkungen – Gepostet 4. Juni 2022

I just realized that technically this is an accurate synopsis of my fic for the Septimus Heap Big Bang

138 Anmerkungen – Gepostet 11. Juli 2022

I am currently rereading the Septimus Heap books. Because those always fascinated me, I'm paying special attention to the clothes - who wears what colors, etc, since that's such an important part of those books.

Anyway I get to this part:

"Hanseatic"? I wonder if that word means anything. Or is it something to do with the other countries in that world? Let's google.

Vollständigen Eintrag ansehen

158 Anmerkungen – Gepostet 5. Juni 2022

Reasons why Harry Clown and Gabriel Agreste are or were or should be boyfriends, in no particular order:

- “ma poule”

- they were clearly besties when they were younger. I must assume that Gabriel made that costume as a favour, long before Audrey ever discovered him. Maybe Gabe pretends to be tough now, but he still has a soft spot for Harry. He just does.

- Gabriel thinks he agreed to Harry’s plan for Shadowmoth reasons. He is wrong. Harry went into the meeting with way to much confidence for him not to know exactly how to deal with the Gabe. Which is very important. Someone has to do it.

- Adrien deserves a parent like Harry. He has emotions! He also has a terrible sense of humor that Adrien can be upset (affectionate) about

- When hanging out with Marinette, Harry had perfect weird uncle energy. He is not her uncle. But he could be her weird step-father-in-law.

- He can balance out Gabriel “block of stone” Agreste. Imagine Harry going somewhere with the Agreste Tablet (TM). Nobody would be intimidated ever again.

- Harry?? Knows about Gabriel being Shadowmoth? Yes I know that’s probably not what they meant to say with this episode but neither did they mean to say that Gabriel is bi, shhhh. But if Harry knows, he’s clearly not particularly upset about it. He can stand behind Gabriel who is stoically attending fashion galas, or behind Shadowmoth dramatically monologuing, and his only reaction would be “you’re doing amazing sweetie!”

- “ma poule”

414 Anmerkungen – Gepostet 30. Januar 2022

Meine #1 des Jahres 2022

If Adrien had a penny for every time one of his parents was hiding a serious Miraculous-related illness or injury from him, he'd have three pennies.

Which is honestly too many pennies. Adrien, sweetie, I am so sorry.

828 Anmerkungen – Gepostet 20. Oktober 2022

Hol dir deinen Tumblr-Jahresrückblick 2022 →

#tumblr2022 #year in review #my 2022 tumblr year in review #your tumblr year in review #massive kudos to the septimus heap fandom for being teeny tiny and still getting those posts this high up #chaos rambles

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jewishjon · 3 years

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The Magnus Archives and Fear

(A speech I wrote that I’m giving to my English class for a speaking assessment and thought I might share here too)

Picture this. The year is 1850-something. Hoop skirts are all the rage, dishwashers have just been invented, and architect Robert Smirke, most well-known nowadays for designing and building the British Museum, creates a classification system for the fourteen otherworldly, god-like entities of fear that control our world. This system is groundbreaking - although these entities have existed as long as, or perhaps longer than, humanity, it is only Smirke who has managed to classify them into a comprehensive list of fourteen.

This, of course, never happened. Robert Smirke, whilst very much a real man, did not come up with a classification system for fear entities just outside our world, nor was he involved in any way with the supernatural. This is, however, a major plot point in horror fiction podcast The Magnus Archives. The Magnus Archives was released weekly over the course of five years and five seasons, from 2016 to 2021, as 200 twenty five minute long episodes. It is by Jonathan Sims and follows our main character, a man named Jonathan Sims (yes, the writer named the main character after himself), as he becomes Head Archivist of an institution called the Magnus Institute, which is dedicated to taking and researching statements about people’s supernatural experiences. Whilst it initially seems like an anthology podcast, with each episode featuring a different short horror story or ‘statement’ being recorded into audio by Jon, connections slowly begin to form between the statements, and Jon and his Archival Assistants find themselves pulled into the mysteries.

Now, you’re probably wondering why I’m telling you about The Magnus Archives. Well, other than it being one of my favourite pieces of media in general right now, I’m fascinated by how it examines fear - more specifically, the big fears of society. I think horror is an excellent way for people to analyse and deal with their fear, and TMA is a great example of this. See, there was a reason I was talking about a random architect from the 1800s and something he never actually did. In the universe of The Magnus Archives, Smirke’s Fourteen are the root of all fear in the universe. Whether they came before the fear or were created because of it is unknown, but they encourage it and feed on it. They range from the Slaughter, fear of pure, unmotivated violence, to the Web, fear of being manipulated, and the Vast, fear of wide open spaces and our insignificance in the universe. Although I’d love to stand here and explain all of the fourteen fears in detail, I think I might send half of you to sleep, so I’ve picked a few of the most interesting, relevant ones to discuss.

One of my favourite parts of horror is how it can be used to examine major fears and issues in society. The Magnus Archives and its fourteen fear entities are an excellent example of this, as each of the fears reflect a different aspect of our lives that people are scared of, universal but manifesting in many different ways. Something that stuck out to me during my current relisten of TMA is how many statements there are about the entity the Buried in the USA, in comparison to the other entities. For example, the aptly titled ‘We All Ignore The Pit’ tells the story of a man who moves into a new town in Washington and finds there is a pit in the middle of the road that the entire town, shockingly, ignores - except for when they all line up in it some nights and a few of them get pit-eaten. It’s actually mentioned in the podcast that the USA is the Buried’s most powerful location, and when you think about it, this makes a lot of sense. The Buried, like many of the fears, has both literal and more emotional manifestations, often intertwined - whilst on the surface it is the fear of enclosed spaces, being trapped underground, it also represents non-literal pressure and being choked by financial stress. In the USA, where medical debt and student loans pile and pile on top of people, it’s surely no surprise that the entity representing fear of crushing debt is well-fed.

And the Buried is far from the only entity that reflects pressing current issues. The Eye, which is the fear of being watched and having all your secrets exposed, deals heavily with current concerns around cameras and the fear of a surveillance state. The Corruption, fear of both insects and rot and also toxic love (often in the form of an insect hive), draws in many people who are so desperate to be loved, and have a home, that they’re willing to become part of the Corruption. Many of these people’s alienation is through capitalism, a system which makes it so hard to find community and a meaning that they’re forced into a mental place where the Corruption’s ‘love’ is enticing.

Another aspect of the entities that I find extremely interesting is how they show human fears evolving over time. See, when I said there were fourteen fears, I wasn’t entirely telling the truth. The oldest fear is the Dark (pretty self explanatory), something that humans have been scared of since the dawn of time. The newest established fear is the Flesh, the animal fear of being killed for meat, which was only solidified during the Industrial Revolution when enough animals were mass bred to be eaten that it became a significant fear. And then there’s the fifteenth fear, which is revealed in season four to be just now gaining prominence: the Extinction. Because, of course, what are people more scared of right now than being made extinct by a creation of their own invention? Whether it’s climate change or nuclear bombs, radiation or war, there’s nothing people are more aware of than the ticking time bomb on our own existence, and that’s what makes the Extinction so timely. The relevant statements are some of the most unsettling in the entire podcast, from an extremely creepy numbers station predicting the doom of the human race to an alternate, radiation-ravaged world, where malnourished shells of people eat each other to survive. It’s not hard to understand why many listeners were deeply affected by these episodes.

So, what is there to take away from The Magnus Archives and its fifteen entities of fear? Well, to start, horror isn’t all jumpscares and horrifying monsters (although those can also be plenty of fun). It can be an excellent way to examine major issues from a new perspective, and even overcome your fear of them. It may sound absurd, but it’s genuinely reassuring that when I’m overthinking whether someone hates me I can think ‘It’s just the Spiral at it again!’. Horror can be cathartic for many people as a way to confront their fears directly. Also, please listen to The Magnus Archives. I may have spoiled you for one big twist but there are many, many more to come, and I went in having been spoiled for about half of it and still had a great time. In my opinion, it’s brilliant, whether or not you’re already a horror fan - I certainly wasn’t at the start, and now I’m giving a speech about it. Thank you.

#the magnus archives #tma #the corruption #the eye #the extinction #the entities #tma entities #jonathan sims #martin blackwood #rusty quill

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theanimeview · 2 years

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Arcane Family Dynamics: Vander and Vi

Source: Opening, Arcane

By: Beata Garrett | @zhongxia246

There’s so many great things to say about Arcane, the Netflix show animated by Fortiche and based on characters from League of Legends, but my favorite analyses from fans of the show are about family. Arcane’s first season begins and ends with the fracturing of family as two sisters, Vi and Powder (later known as Jinx), are torn apart, reunited, and ultimately left in tatters by the end.

But their relationship isn’t the only familial one we see as the stories of other characters such as Jayce, Viktor, Mel, and even Marcus come into play. These characters are shown to have sometimes difficult and complex relationships with their families and it’s fascinating to learn just how much those relationships have shaped them into who they are presently.

I’m interested in doing a series of posts analyzing these relationships and I’ve decided to start with Vi and Vander because they are arguably the standout relationship in the first three episodes of Arcane. While Vander is both Vi and Powder’s father, his relationship with Vi is at the forefront of these episodes. As the class conflict between Piltover, the wealthy city across the bridge, and Zaun, the grimy undercity that Vander and Vi live in, builds, Vander and Vi clash in the way only family can.

Source: Episode 1, Arcane

At the beginning of the show, we see Vander adopting Vi and Powder as he takes these kids who have just been orphaned under his wing. Importantly, he has to put down his weapons (the gauntlets) to do so, symbolizing how he’s turned away from physical violence and where his priorities now lie: family. Vander’s name is dropped a few times throughout Episode 1 as if he’s the boss, someone the kids want to impress and don’t want to get in trouble with. While Vander serves as a father figure to all of them, he’s obviously closest to Vi.

Vander sees himself in Vi as she’s inherited all his best and worst traits. Vi is a leader, looked up to by everyone in her gang of kids, similar to Vander’s leadership amongst the undercity residents. However, Vi’s also hot headed and prone to using her fists. As we learn more about Vander, we see just why he’s put down his gauntlets as his part in the initial unrest led to so much destruction. Indirectly, Vander is responsible for Vi and Powder losing their parents. So it’s no wonder that he doesn’t want to see Vi repeat his mistakes and come to regret it like he did later.

After the theft goes wrong, Vander tells Vi, “When people look up to you, you don’t get to be selfish. You say run, they run. You say swim, they dive in. You say light a fire, they show up with oil” (Episode 1, Arcane). It’s very reminiscent of the adage “With great power comes great responsibility.” Vander also points at Vi’s fists and says, “This? It’s not gonna solve your problems. It just makes more of them.”

Source: Episode 1, Arcane

Although Vi understands the responsibility she has as a leader, there’s a clear divide in her vision for her and Powder’s future versus Vander’s desperation to keep them alive through the stability he has forged. However, Arcane delivers a powerful message through this conflict as neither character is fully right. Viewers may lean towards one more than another, but the show seems to say that while stability is good, no change can come from it.

Despite this talk with Vander, Vi still expresses a desire to change Zaun and free the undercity from Piltover’s oppression. At the end of Episode 1, she looks at Piltover with Powder by her side and promises that “One day this city’s going to respect us” (Episode 1, Arcane). It’s no coincidence that the show introduces Silco, the primary antagonist of the series, right after this. The idea of respect links Vi and Silco together, whereas Vander has given up on the idea of Piltover respecting Zaun.

Source: Episode 1, Arcane

It’s easy to see Vi’s desire to be respected as one of a child’s. But I would argue that what Vi wants is the respect that comes with humanizing people seen as lesser than, which is part of the goal Silco is working towards (although his is undoubtedly more corrupt and self-serving). Vi expresses this desire right after telling Powder some stories of the gang’s bad childhood experiences and encounters with enforcers and other people. It emphasizes how these are kids who are desperate for power and change in any way they can take it.

In contrast, Vander is respected because he looks out for the undercity residents and has a deal with the head of the enforcers to keep violence to a simmer. But it’s clear that this respect is running out as a new generation of enforcers (shown by Marcus) and even Vander’s own comrades such as Sevika are tired of this faux peace. They read his reluctance to fight Piltover as him shielding his children and as, worse, weakness (Episode 2, Arcane).

Source: Episode 2, Arcane

Vi is among this group, unsure of why Vander doesn’t use the collective power of the undercity to fight back. Vi argues, “We need to fight back. And if you won’t, I will” (Episode 2, Arcane). The shot emphasizes her fists, her desire to use it and take the respect she believes the undercity deserves and to protect her family. At this point, Vander realizes that just talking to Vi won’t change her aspirations. So he takes her to the bridge where the show began and tells her his story, and the harsh lessons he learned from it as a leader.

Source: Episode 2, Arcane

Vander lays out his regrets to Vi, and it’s important that he recognizes and validates Vi’s anger and feeling of helplessness. He understands and sees the desire to change things within her that he had, but asks, “Who are you willing to lose?” (Episode 2, Arcane). This goes back to Episode 1 as he’s advising her leader-to-leader on the casualties of her crusade if she continues this path, one that could put the family (specifically Powder) in danger.

It is this talk that brings father and daughter closer than ever, but it also leads to Vi sacrificing herself. She contacts the head of the enforcers and waits in the pawn shop for them to come, willing to be taken away if that means everyone else, including Vander and Powder, are safe.

Episode 3 is a master-class in how to write tragedy. Instead of enforcers taking Vi, Vander sacrifices himself in her place. He tells Vi, “Protect the family.” However, he is taken away by Silco and his crew instead, leaving Vi to mount a rescue mission. It is at this moment that Vi feels a fraction of what Vander must feel as their father. She’s willing to let Mylo and Claggor tag along with her as they have experience fighting and are older, but tells Powder to stay home. Just as Vi didn’t understand why Vander wouldn’t let them fight Piltover, Powder doesn’t understand why her sister won’t take her along.

Vi’s desperation to honor her father’s last words and to protect her sister is what makes the events that happen next even more tragic. She tells Powder, “You’re all I have left” and leaves her, which only makes Powder want to help more. Thus begins the gap that grows between two sisters.

Source: Episode 3, Arcane

Vi not only takes Mylo and Claggor with her, but also takes Vander’s gauntlets and puts the iconic weapons on for the first time. She proceeds to rescue Vander and it seems successful until Powder shows up. Ironically, Powder’s bombs work for the first time. In a second, Mylo and Claggor are dead, and Vander is severely injured after protecting his family for the last time. His last words echo the beginning of the episode as he tells Vi, “Protect Powder.”

The family has been reduced to the two sisters and, in Vi’s grief, she’s unable to comfort Powder. Powder, who thinks that she’s helped her family, innocently approaches in elation and Vi lashes out, hitting her sister and calling her “a jinx.” This moment can be divisive for viewers of the show as some believe Vi crossed a line and is responsible for the tragedy of Powder becoming Jinx. However, I argue that this is an understandable moment of a person, never mind a child, reacting to being confronted with the person who indirectly caused the death of the rest of their family. Vi is still a child who has just lost three members of her family and, after hitting Powder, you can tell that she instantly feels bad.

Vi gets some space between her and Powder, unable to deal with her sister at the moment, but has not abandoned her. She doesn’t keep running away from Powder but is taken against her will by Marcus, and is unable to help her sister when Silco approaches Powder. Vander’s last wish, his desire to keep the family together and protected, is destroyed in this moment.

Source: Episode 3, Arcane

One of Arcane’s strongest traits is how it couches larger politics within the personal lives and struggles of its characters.There are many characters in Piltover and Zaun that we see throughout the first three episodes, but Powder, Vander, and Vi’s story feels the most personal to me. That may be because the writers of the show nailed the struggles of marginalized families and because we see these three characters care and love one another throughout.

There’s plenty to be said about Vi and Jinx, but I wanted to focus on Vander and Vi because the two present many of the themes that we’ll see throughout Arcane. They represent a generational divide and the different visions each generation has for their future, i.e. stability vs change, and their relationship puts forth one of the most damning questions in the show: what would you sacrifice for your family?

#Analysis #Western animation #arcane #Arcane analysis #Vander #Vi

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jokerislandgirl32 · 3 years

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what’s some wk fan content that you’d like to see more of?

Ohhhh, this is a good question! And one I enjoy exploring through my Wild Violet AU 😄. But, to answer your question, there are a few things I would definitely like to see more of in terms of Wild Kratts Fan Content.

Read more below…I put the break in because this is lengthy…

At the top of my list is content showing the Kratts Brothers, Aviva, and Zach’s interactions as children. I would love to see more fans explore why Zach and the Kratt brothers did not get along as children, and I am always up for deeper exploration into Zach and Aviva’s summer camp experience.

I would also love to see more fan content about the Finding Your Inner Villain Seminar. This is something I feel like we all talk about, but we have yet to really write about or explore in depth. I know I will personally be exploring this topic in my Wild Violet AU, but I think it would be wonderful to have different view points of how this event unfolded.

Topics we may address include: why did they decide to attend the seminar, what types of things were discussed at the seminar, and how the three villains first interact with each other upon meeting (To be fair we know Zach made a bad impression on Donita because of the clams, but what about Zach and Gourmand? Gourmand did not mention the clams [to my knowledge], so did he not witness this, was he only at the seminar to cook?)

A tie in to this last point would be further exploration into the reasons why the villains decided to turn villain hood in the first place. I think we all agree that Gourmand decided on this path because he lost his gourmet cheif’s license, but what about Donita, Zach, and Paisley? Then, what about Dabio and Rex, even though they are classified as henchmen, more or less, why do they just go along with everything that is asked of them?

It will also be fun to see more ship content. My primary modivation for this, you guessed it, is so we can try to wash out the damage that had affected the fandom from the Krattcest ship. This is just wrong, on so many levels, and it makes no sense because there are so many ship options available. I am a personal fan of Zachmand and Koki/Jimmy, so I would love to see more content about these ships, but at this point I will take content for any ship!

I am also interested in more “adult” content…I am guilty of writing such content myself 😅. But these characters are in their 20s to 30s in the show. They would most likely do things such as curse, drink, and have/speak of steamy situations. As long as this content is appropriately labeled so only adults are viewing it, I would enjoy seeing more of it.

Then on the opposite end of the spectrum, we could churn out content that is appropriate for all age groups…I think this could really be limitless, but it might just be fan art of the Wild Kratts Crew in new creature power suits, silly little head canons, sweet interactions between the characters, future episode predictions, past episode analyses, memes, AMVs or edits. This is broad I know, but I hope It makes sense 😊.

Finally, I think more exploration may be given into how the Wild Kratts Crew was first formed. I see people on tumblr talking about this, and it fascinates me. I want to know how Koki and Jimmy came into the picture, and this is just something I can’t imagine on my own, so I just love seeing others write on this topic, and I don’t think there is ever an instance in which this could be overwritten.

So…this was super extensive, but I hope this answered your question! Thank you for asking, I enjoyed thinking about all the possibilities this topics afforded 😁.

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tuiyla · 3 years

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what do you think Quinn and Judy's relationship is like post s1? like, we know Judy wasn't the greatest mom during the pregnancy, but how do you think it progressed along the years? the popular assumption in fics seems to be that Judy becomes distant and spends more time drunk than sober, but also the slight mentions/appearances she has in the show s2 and beyond seem to imply that she and Quinn are in a good place - or, at least better than s1, but idk if that’s saying much hahah.

i also just wonder about it in terms of Quinn’s sexuality; i.e. if she ended up w a woman, i’m curious as to how Judy would react. i’m torn between her reverting back to the image-obsessed woman she was in s1 or her being supportive bc she just doesnt wanna lose her daughter again. would love to hear your thoughts, if you have any. thanks for all of these great fandom analyses!! :)

I love you Anon because a couple weeks back I misread another Quinn ask and went on and on about the Fabrays before I realized it said "what do you think of Quinn as a mom". Now's my chance! I mean I could have just posted anyway but have you guys considered that I have no will to write unless someone specifically asks me lol. Buckle up, this is gonna be a long one.

TL;DR: somewhat strained but Judy tries her best despite having so many harmful things to unlearn herself, and needing to learn how to communicate. Quinn holds resentment but they’re both terrified of losing each other. Eventually, when Quinn comes out, Judy uses it as an opportunity to get it right this time.

I've alluded to this to a few times but never actually explained it: I have a morbid fascination with the Fabrays. in the sense that I find what little of their dynamic we see to be deeply disturbing but I also want to know so much more. Russell is a whole other deal and I'll respect that you didn't ask about him haha but even if we just look at Quinn and Judy, like... how do we reconcile the events of season 1? Where to go from there? Truly Glee puts through Quinn so, so, so much in season 1 and then is it any wonder that she has several breakdowns. So this prologue to say, yes I have thoughts and I'm honoured to have been thought of. Also very happy to provide fandom analysis whenever I can!

Just a few words on how I see the Fabrays before Quinn's pregnancy to set it up. We all know they're WASPy but you guys, you need to know how much I read into the extent of that! Based on "Ballad" they might as well be living in the 60s or something. Russell isn't just traditional, he's so ultra it's really no wonder Quinn eventually had a skank phase. I can only assume Frannie had a mental breakdown or two after leaving her childhood home. Quinn even says in that episode that they don't talk about real issues, just ignore them and keep up this facade. Explains much about her, doesn't it. It's all very WASP, very patriarchal, very bad at communication. They don't deal, they pretend. Russell pretends they live in the 60s and Quinn is his perfect little girl who'll wait until marriage like the object she is. Judy pretends she hadn't known all along that her husband was cheating. There's just such a need to uphold this facade of the All-American nuclear family to an extreme that no wonder it takes Quinn several cycles to get over buying into the illusion.

I knew fanon saw Judy as a drunk but I wasn't aware she was portrayed as distant in fics. I agree with you, what little we see of her in seasons 2 and 3 implies that she's at least trying with Quinn. Even in "Ballad" when Russell kicks her out, you see how shocked Judy is. She follows Russell out and acts like the dead-inside obedient housewife she is, but for a split moment you hope that she's gonna stand up to her husband. Because she'd been ignoring the signs that Quinn's pregnant, pretending, and that was because she knew there'd be drastic consequences but she clearly is shocked.

And then a couple months later she comes back for Quinn. It took her that long to see Russell for who he is, to stand up to him, and it sucks that it took so long but I think it must have taken tremendous willpower to reach that stage. I mean, can you imagine being her? Not to say I'm cutting the woman who stood by as her teenage pregnant daughter was disowned too much slack, but still, you know.

So Judy is always going to be the parent who ultimately chose Quinn; the one who came back. But she's also always going to be the one who left in the first place. And I think you're so right to wonder about this Anon because there's just such an interesting story there. Yes, Judy came back, but she also watched her daughter sob and beg and say "I needed my mom" and just... left. How do you live with yourself after that? Not to mention, she came back but she left Quinn to live with random boys and eventually the angel on Earth called Mercedes Jones for months.

So I think, initially, there’s lot of awkwardness but also joy. Quinn’s been through so much and she has her mom again just as she gives up her own daughter. A roller coaster to say the least but finally something resembling stability for the first time in ages. 9 months. And then... they pretend. The nights Quinn spent crying herself to sleep and wishing her mom still loved her are the elephant in the room. They’re not the same and never will be but try to go back to normality. I doubt they talk about Russell often. Maybe after Judy’s had a few drinks she curses him but Quinn keeps a tight lip about him.

The way I’d put it is maybe not they’re in a good place, as such, but Judy tries. I don’t agree with fics that portray her as distant because, while I do think she struggles to get close to Quinn and get her to open up, she tries. Remember, she left but she also came back. And I’d be surprised if she didn’t carry tremendous guilt about that so she might not always succeed, certainly not in s2 when Quinn is laser-focused on pretending the pregnancy never happened, but she tries to be a good mother.

The skank phase would be fascinating to explore. Because I think it’s once again a real tragedy where Judy would watch her daughter break down and completely unravel and just, not know what to do about it. She’d smile and ask Quinn about her day still but it’s hard to keep pretenses when you’re teenage daughter gets tattoos and dates 40-year-old skateboarders. She’d try to talk it through but Quinn would shut her out and I don’t think she’d feel it’s her right to act all strict now. For some reason, I think Judy would feel it best to let Quinn rebel. But how much would she know about freaking baby-stealing shenanigans? Nothing, I assume.

And then Quinn finds herself, her more normal self again and I’d like to imagine they finally have a good talk just as she applies to Yale. Maybe an emotional breakthrough? God, for both their sakes I hope so. But here’s the thing, try as Judy might and ignore it for as long as Quinn can, I think there’s resentment there. Because Quinn was abandoned by her parents, by her mom when she needed her the most and that’s a scar that maybe nothing can heal. So she represses, as a Fabray does until it explodes, and I guess it would during the skank timeline. Maybe after Shelby leaves and Quinn is left standing there trying to process everything.

Judy is also the parent who came back and therefore the on who’s there. So when it all comes out, Quinn can’t exactly blame Russell for all of it. I mean this is just textbook lashing out at the parent who’s there so I assume Quinn would be no different. And it’s not like Judy’s blameless so there are many harsh words thrown, most of them true to some capacity, lots of tears and a big emotional catharsis. Judy tells her she’s sorry. Quinn says she feels robbed. Of a childhood, of a sense of peace, of a family. And Judy can’t ever get back what was lost. And hey, maybe watching her own mom fall apart at that realization helps Quinn move on from the Shelby business. Not from Beth, never completely, but from feeling like she needs her to be complete. Imagine how cool it would have been to actually see Quinn deal with all her shit during and post her skank phase. Alas, the writers didn’t care.

But yes, I see Judy as trying but frankly failing throughout season 2 and then the end of the skank phase brings catharsis for both. Quinn gets back on track but with more of a sense of agency. Judy cheers her on during graduation as seen in canon. Quinn’s college attempts at the old status quo, namely screwing her professor and then Biff are really a whole other topic but I think she’d try to distance herself from Lima and her mom. They do keep in touch of course but it’s quite superficial. For her sake, I hope Judy gets her shit together for real in the meantime. That woman has a ton of harmful shit to unlearn from her marriage and she’s barely holding it together.

So now that I’ve gone on and on about all that, I do also want to talk about Quinn’s coming out because I haven’t thought of it much but you’re absolutely right that it’s an interesting topic. Maybe it’s the optimist in me who just doesn’t want to see Quinn suffer but at worst I see Judy being kind of uncomfortable at the thought but again, trying her best. She’s already lost her daughter once and in my mind, Quinn takes a while to come to terms with whatever her identity is - which is okay! Realistically, I think she’d bring a girlfriend home one day, they’d have dinner, Judy would be charmed by the GF but visibly... off. Perfectly civil, just processing. And then they have The Talk and Quinn feels like throwing up because a decade prior a “shameful secret” got her disowned.

Judy does what Judy’s been doing for a decade and tries her best. It’s a bit of a shock but then again, something she’s known for a while but pretended not to. Sound familiar? Except she’s had time to learn and grow and is determined to look at this as a second chance. She’s not about to lose her daughter again and risk it being for good this time so she’s all in. Bit overeager, even, tries to learn slang and all that. And Quinn shake her head but she also lowkey cries herself to sleep, except this time it’s because she’s not afraid anymore and learns that she can have a family after all. GF holds her through the night because GF is finally someone who truly knows and loves Quinn for all she is.

Aaand those are the thoughts, for now! Thank you for indulging me Anon, thank you for taking the time to read my silly little Glee thoughts and to ask me for more. Hope you didn’t regret it lol.

#quinn asks #anon #glee asks #quinn fabray #judy fabray #thank you anon and i hope you find interesting bits in here #long post #look i have Feelings on the fabrays #can you believe i actually held back #quinn thoughts

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life-rewritten · 4 years

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Color Rush ; Power Plays and Forced Mindsets (Ep 1-4)

You all know when a show takes you by surprise, you're expecting the same repetition of storylines, the same tropes, the same settings over and over again and then one show stands out; it isn't what you expected. How on earth did you find such a gem. When Korea focused on bringing out new BLs, I was astounded, because that's what we've been secretly hoping for with the talent for production, directing and storytelling even if in a low budget, Korea is the one to beat. And if they start to take BLs stories more seriously, then we were in for a treat. There were phenomenal beginnings and exciting plots, and it felt right except there was also the little minutes and the need for the ambitious plotlines chosen to be concluded correctly, but because of short screen time, the stories ended unsatisfactorily at times. But it didn't matter because as long as we keep getting new Bls from Korea, everything will be fine, one day we'll get to a show that is above all the rest. Is it too early for me to then say that Color Rush is that show we've been waiting for?

An Introduction to Color Rush

Even though it's 15 minutes air time each episode, Color Rush manages to astound and confound us each episode. It's like being on a roller coaster, the thrill, the excitement, the euphoria and the joy that such a plotline was introduced. Color Rush sounds so weird at first; it's soulmate au trope, in a world where some people can't see color and end up finding someone who makes them do so with severe side effects. Like what? Who knew we were also falling into a story with psychological implications mirroring the issues with addiction and obsession, societal issues with prejudice reflecting LGBTQ struggles and minorities, and a terrifying, thrilling and yet sweet romance that seems never to know which spectrum it's on; if it's just a cute fluffy soulmate, au or a more psychological scarier look into obsession and power plays. It's phenomenal, and it takes me on a ride every single episode when it's over, I wonder what on earth did I just watch and why do I want more.

Why do I want these two to get together despite being frightened because of what their relationship entails, why do I feel emotionally torn about the positive and benefits these two have on each other vs the adverse outcomes that could happen the more they stay together. It's a trip. And it's become my own obsession and love too. I think like Yeon Woo I'm also experiencing some kind of color rush with this show because the way I don't want it to end, and the way I'm falling for it more is just something I never thought would happen to a 15-minute episode show. Anyways we're going to be analysing the mindsets and power plays of our soulmates and the negative and positive impact their relationship brings. Could we be falling for a psychotic twisted person (Yoo Han) or could we be being lied to by the media and society on how dangerous monos are? Let's find out.

So what do we know so far in Color Rush? We have Yeon Woo a monochromatic who is neurologically color blind, because of this condition he's been forced to think he's always going to be stuck in a grey, bleak, colourless world alone. He also doesn't want to meet the person destined for him to get out of that prison in his mind, because that person will end up being in danger as monos tend to have aggressive, violent personalities when they get addicted to the color rush they feel with their probes. That person is Yeon Woo, on the other hand, he's also forced to think life is boring because he can't recognise faces, he doesn't have a long-lasting impression with people, he is looking for something to latch onto and when he notices his monos eyes change color or receive color; he gets also excited and determined to keep Yeon Woo by his side despite the pain and suffering it could bring with them being together. Yikes right? There is a weird line between these two that shouldn't be crossed, a line of addiction and passion, the more they are exposed to each other, the possession and obsession grow, and the dependency becomes like a drug killing them on the inside but providing them pleasure because of the feelings they have for each other. Let's analyse the two mindsets of these two characters first, so we get a more in-depth look into what's going on in this world of monos and probes.

Yeon Woo: Alienation and Dependence

So we have Yeon Woo, he has a mindset of a mono. He's been forced by the world to think that he's a monster because of who he is naturally. With the role of the media and society telling him monos are destined to be alone if not they will be dangerous and hurt people. He's cursed essentially and feels that he must stay alienated and alone for the sake of people's safety. He's heard and seen rumours on how dangerous monos can get when they meet their soulmate, they can kill, they can maim, they break the law irrationally, and they even become cannibals if they are forced to a mindset of obsession and addiction to the colors they need to so desperately see. Yeon Woo's world is dark; it's quite synonymous with the feelings of depression, it's heavy, it's grey, it's stagnant. The mindsets of monos are to feel this longing despair and darkness within them because they cannot see anything else, and they are being told they are meant to stay this way forever.

It's incredible how much Yeon Woo has been forced to hate himself. We find out that he's been bullied repeatedly because he's a mono, people don't like what's different, and the prejudice is against monos because the media makes everyone see them as a monster, constantly fear-mongering everyone with rumours of one incident that happened with someone who couldn't hark the addiction to color rush. The thing is monos meeting their probes is even rare, so not all monos are ever going to be stuck in a crazy obsession to see color, they just are told to prevent it as much as possible. With Bullying making Yeon Woo move schools frequently because he reacts violently to defend himself, Yeon Woo doesn't trust or have any friends that he can rely on. This must be such a lonely, depressing, heavy toll on him. But what else can he do? The one person who can help him feel some kind of happiness or difference is his probe, but he can't be with him because he'll hurt him. It's regrettable and depressing when you think about the pain he carries. Not to mention the one person who could make him feel normal, his mother, a mono has gone missing and can't be found, and he probably thinks that again it's because Monos are cursed to be forgotten and in danger. It's awful.

Yoo Han: Obsession and Possession

On the other hand, we have Yoo Han. He's the probe, so he sees color, but he actually is also very similar to Yeon Woo's plight. He has prosopagnosia, face blindness; he can't recognise people or faces. He also has to be walking through a sea of nothing and feel like he can't make connections properly with people because of it. A person with prosopagnosia may avoid social interaction by choice, so he avoids the feeling of social anxiety and just has no interest in making connections with people. He already acts like Yeon Woo, Yeon Woo also chooses to avoid people because of his condition.

This is why it's fascinating because as Yeon Woo is terrified of becoming the mono obsessed with his probe, he doesn't realise that Han is probably more obsessed with him because he can see something different on him. He repeatedly mentions that he likes seeing the different colours enter Yeon Woo's eyes, and I think that he's latched on to that. He also receives a different type of colour rush; being able to have Yeon Woo depend on him and also being able to recognise a feature on someone's face because of colour that is distinctly different each time Yeon Woo goes through a color rush. This is why I find his power-play interesting because he wants to control when Yeon Woo sees colour probably because of trying to prevent him from being addicted and obsessed, but I don't think he takes it seriously how dangerous it is to keep exposing Yeon Woo to colour so easily especially when we can all see that Yeon Woo is experiencing signs of dependency on the color rush; something he's been trying to avoid. As Yeon Woo worries about becoming this monster, he probably should keep an eye on Yoo Han who is more determined to keep him by his side and is also forming some kind of obsession and dependency on his presence.

It's meant to be the mono who's in control, who's the one that receives the most from the probe and is the one with the most power in this relationship but Yoo Han is different. He is the one who's running to his mono endlessly, ignoring the risks and choosing to make his mono get used to color rush. I don't think he's trying to make Yeon Woo go crazy on purpose, or even he knows if he's being too obsessive, but I do believe he's not fully aware of all the information or have the ability to stop the time when they cross that line, and Yeon Woo does become the thing he's afraid of becoming. Han acts like he owns Yeon Woo and wants to control his addiction and outbursts; hence he pulls away and doesn't give into Yeon Woo's demands when he gets scared of losing the color. The basis of the addiction with these two is the fear of losing what they have. This is why in episode 4 although it's romantic Yeon Woo tells Han that he wants to be with him forever, it's also frightening cause that's a sign of addiction and dependency that we know he's trying to avoid.

Being a Mono: Prejudice and Self Hate

Looking into more of the prejudice Monos receive, we can see Yeon Woo's aunt call him and try and prevent him from listening to the media, so he doesn't see himself as a monster. She knows he's always heard and believed in how the media portrayed monos. And this is why it's fascinating to me, are monos really the way people think they are or has it been imbedded into their minds to believe that what they are is wrong. See why this is a metaphor for LGBTQ and minority struggles. Whenever something is different or against societal norms, the group suffers because of growing up with the mindset that something is wrong with who they are naturally instead of actually feeling safe to be who they are and free. Monos are treated this way; they've been told that the love they have for their probes is toxic and dangerous; when really it's probably an exaggeration or can be prevented. But society has made them stop wanting to view themselves and love themselves for who they are, but instead cages them with fear every day on the news about people who aren't them. They even write lazy news reports because they just assume that all monos kill their probes and go crazy from being together. It's really an interesting question to ask. We're feeling the tension and fear Yeon Woo has, but his heart has chosen Yoo Han from the start, he knows it, but he can't help question if it's because of the color rush or because of Yoo Han. And that's where the problem lies, can love ever be good and safe with obsession and codependency?

Macbeth: Madness and Greed

Speaking of Yoo Han's mindset and tendencies. I couldn't help but notice the book that is being mentioned repeatedly in this show, Macbeth could be shadowing him as well. He wears the orange hoody the first time when the book is shown, and this is very similar to the color of the book shown in the show. Macbeth; I've mentioned before is a story about someone who is so obsessed with power that the obsessiveness leads to craziness, violence and madness. Which is similar to symptoms that monos get when they're with their probes. But I can't also help but remember episode 4 when Min Jae says a funny quote about doughnuts in relation to Macbeth. It stuck with me because it may seem like a joke about food but actually think about it. He says the twisted doughnuts become round and the round doughnuts become twisted. And I think that's something to keep in mind we've been told the monos are the issue, the monos are the ones that are twisted and dangerous, but perhaps the probes are also just as dangerous and mad. Or perhaps it's again foreshadowing that Yoo Han is the one with the obsessive dynamics in this couple.

We may be worried that Yeon Woo is the one getting obsessed and addicted to the color rush but as I've said if Yoo Han is also somehow experiencing some kind of color rush when he sees the color in Woo's eyes if he is so desperate to latch onto the idea of someone needing him he may also go into a power trip as he's already showing he is with Yeon Woo. He might want to stay in that state of control and lose his mind. And that's scary and entertaining. I think these two will end up together. They're meant to be together despite the probe mono business. They show other affections and feelings of care, love (non-obsessive), and they both find solace in each other's presence because they both are different and get each other. I'm not saying Yoo Han is going to be a dangerous criminal but we should keep an eye on him to see if there are more signs of increasing dependency and reactions to Yeon Woo not playing by his rules.

Yeon Woo and Yoo Han: Power and Control

We have a theme of control and power with these two. Yeon Woo is trying to control his situation by avoiding ever meeting his probe; he continually tries to avoid the uncontrollable longing and feelings he's starting to have for Yoo Han. Still, no matter how much logically he thinks he can, he's already wearing a jacket and moving to the door towards Yoo Han. He's uncontrollably saying what comes to his head despite trying hard to prevent them from interacting more. People mentioned that he wasn't making sense when he says he wants to avoid people, but he's eating snacks from Yoo Han and Min Jae, and he's going into the lab with Yoo Han. But what he says is just because it's automatic to him to want to say that, he's been forced in a mindset that he shouldn't be with people, so even though deep down he wants the friends, and Yoo Han, he struggles with it yet automatically gives in and does the opposite. For me, that signifies how much control he's losing of himself when it comes to Yoo Han, again the problem is the lack of control monos have when they get addicted to the color rush. Usually with love having lack of control and your walls being broken down, and you are automatically saying how you feel is meant to be a strength to the romance, for color rush, however, signs of that just mean more worries for Yeon Woo, how long and how much more exposure can he take before he entirely crosses that line and becomes uncontrollable.

We're starting to see even more worrying effects, loss of memory. Maybe Mono's truly lose the control of themselves, their minds and more without meaning to go into a state of mania which by the end they don't recall what happened. Maybe it's in this state that they become the most dangerous. We see Yeon Woo lose his memories of how he cried and screamed to hold onto the colors of his mum in his mind, and that's again a hint that he's entering that cycle that he's trying to avoid. So we also have to keep an eye on that. If Monos are losing consciousness and having no control over their actions when they go too far, then it means it's starting to become even more dangerous for our couple as they interact.

The lack of control and power over themselves, the world and their love lives is heartbreaking and painful when you look at it. Monos have been stuck in this cycle for so long but then why are some monos able to avoid that. I'm certain Yeon Woo's mum and dad did not go through that issue, yes his dad died, but we don't really yet know the basis of his death, and I think if his mum had been involved then, Yeon Woo wouldn't think of her that fondly, so again it brings me to ask if we are all just agreeing with societal opinions on what monos are and if there is a way for them to get out of this powerless and uncontrollable situation. Can Yoo Han and Yeon Woo find a way before the dependency and blackouts increase and cause more suffering? Maybe, Yeon Woo is getting accustomed slowly to Yoo Han's color rush and they know how to reduce the fainting symptoms from too much exposure. Yoo Han may be able to do what he wants to do which is to help Yeon Woo find the control he's so desperately searching for over this condition.

We have two people who felt forced to be seen as abnormal and lonely in the world. Now they've found each other, they could be each other's companion and saving grace, who gives them more meaning to this bleak life they think they have, this happiness they feel, and yet we are also torn because they could also be each other's downfall and lead each other to a spiral of madness and guilt. It's so exciting to see where this story unfolds and what it would bring. There's still so much to analyse and look into, there's the kidnapping mystery of the mother, and with that Macbeth doughnut quote, I'm forced to believe that it might be a probe which is the actual culprit that has taken these six monos, especially for revenge or also an obsession of their relationship with their mono. The aunt is also foreshadowed to get soon hurt, and I wonder how Yeon Woo will deal with that, someone is threatening her to stop looking to the case, and she probably will find the answer before she is sadly eliminated. And we need to know more about Yoo Han, his family, background and how he knows so much about color rush and more. Is there more to his actions than just the desperate need to find someone to be by his side that he recognises or is he on his own journey to lack of control and power and madness because of his need to be with Yeon Woo. Let's find out together.

#color rush #colour rush #korean bl #kdrama #bl series #bl drama #cwg #fvete #january #not thai bl

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lucemferto · 4 years

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WE NEED TO TALK ABOUT PH1LZA (or Why Philza is a Victim of Narrative Circumstance)

Heyo! Per request I am posting the script to my video of the same name here on tumblr. I must warn you that just reading the script will probably not give you the full experience, so I would encourage you to watch the video (linked above).

There might also still be a lot of grammatical errors in the text, because I don’t proofread.

Intro

LAST TIME ON LUCEM FERTO

Okay, so! I don’t want this to turn into a reaction channel OR a Dream SMP channel for that matter! [echo]

Well, I lied.

[Intro to “Luc is pretentious about the funny blockmen. Episode 2”]

I swear, I’m working on other stuff. It’s just that my dumb lizard brain has only capacity for one interest at a time!

So, something you might not know about me, is that I am on tumblr – who am I kidding, most of you will know me from tumblr. Before starting this whole YouTube thing, I thought that website died years ago – but as per usual reality proves me wrong. I’m also on Twitter and Reddit, but I get the most engagement on tumblr – by far! – and I need those sweet, sweet numbers for the serotonin!

Anyways, one of my favourite past-times on tumblr is to razz Philza Hardcore Minecraft – that’s his full name – for being a frankly awful father [clicking away] – wait, wait, no! Philza fans, this isn’t a hit piece on him, I promise! Please come back!

This is video is meant to be a companion piece to my previous video about Technoblade and the Doomsday event – you can tell by the shared nomenclature – so you should probably watch that one before you proceed. Unless you don’t want to, which is also perfectly understandable.

DISCLAIMER: This video is mostly about the character Philza plays on the Dream SMP. Whenever I talk about the content creator Philza, I will say so properly. Also, Spoiler Warning for Dream SMP Season 2.

… What is that? You’re wondering what the Dream SMP is? Well, if you had just watched the other video like I told you to do, you would know, because I explained it pretty well there. But in case you don’t know, here’s the cliff notes.

Dream SMP is the hottest New Media Series on Twitch right now! It has it all: gaslighting, child soldiers, Machiavellian political intrigue, Hamilton roleplay, desecration of the dead, shounen protagonists, SO! MUCH! AMNESIA! Filicide, furries, a red egg that’s definitely homophobic and teenagers inventing nuclear warfare. And it’s all done in Minecraft – yes, the funny block game where the only way to emote is to crouch.

And you say the perfect brief doesn’t exist!

Now, you might be wondering, why do I want to talk about this? Well, it’s because Content Creator Philza is one of least controversial internet personalities that I can think of. That man exudes pure comfort. So, it’s just very, very amusing to me that his character became one of the most controversial figures on the SMP, only outshone by Tommy and Technoblade.

And it’s not just amusing, it’s also extremely interesting! I want to dig deep to uncover and discuss the dynamics behind why that is. How did it come to this point? How did a man who appears genuinely so pleasant create a character that inspires so much discourse!

Now, if you watched that Technoblade video – like I told you to twice now! – you might know, that I am the resident character analyses hater of fandom! And that impression is false and slanderous! Don’t tell other people that I hate character analyses! I love them!

It’s just that, in the Dream SMP in particular, there is an abundance of character analyses! Every streamer has at least two very good essays written about them, exploring every possible angle to view their characters and backgrounds and everything. All I’m saying is: I don’t have anything to add on that front.

So, instead I want to pursue a different approach – something, that I feel is a bit underrepresented in the fandom! And I’m not just talking narrative analysis – that’s right, this episode we’re going even more pretentious! – I’m talking Transtextual Analysis!

Now, what is Transtextuality? Well, unfortunately it has very little to do with actual Trans people – #transrights, just in case that wasn’t obvious – but instead describes a mode of analysis with which to put – to quote French literary theorist Gérard Genette – “the text in a relationship, whether obvious or concealed, with other texts”.

Basically, you know how the L’Manburg War of Independence heavily quotes and borrows from the hit musical Hamilton? That’s transtextuality! A lot of the analyses surrounding how Tommy mirrors the Greek hero Theseus, who was invoked by Technoblade multiple times in the series, are already doing transtextual analysis! So, it’s really not something that’s new to the Dream SMP fandom.

But how does this apply to Philza and how he is looked at and judged by his parental skills? Well, there are multiple forms of transtextuality, two of which we will discuss today.

But before we continue, I gotta do that annoying YouTuber thing. I know these videos don’t look like much, but I spend a really long time making them. I work fulltime and I try my best to keep up, but sometimes I can’t. So please, like, subscribe, comment to give me some algorithm juice – I really need it – and most importantly share it! Share it with your friends, share it with your family – I’m sure Grandma is very interested in what I have to say about Philza Minecraft.

And I’m trying to be better! If I sound at all different for this video, it’s because I finally bought a new pop filter, so I can hit my plosives without it sounding like there’s a thunderstorm in my room. I hope it makes a difference; it was a very cheap pop filter, so maybe it doesn’t. Maybe it sounds worse – that would be bad!

What was I talking about? Oh yeah, CHILD NEGLEGT!

Intertextuality: Why is Dadza?

You know what’s really interesting about the Dream SMP – aside from, you know, most things about it? Very few of the characters have concrete, fleshed-out backstories – and that’s pretty weird! In no other medium or genre could you get away with something like that – at least for long-form storytelling!

So, how does Dream SMP get away with this? Well, it’s because every character on the Dream SMP is basically a self-insert – and I don’t mean that in the “This character is based on me”-kinda way, but in the “This character, for all intents and purposes, is me!”-way. This, like many things that are fascinating about the Dream SMP, is owed to the fact that this series didn’t start off as a continuous drama – it started off as a Let’s Play.

And while we can talk about how someone’s on-camera/on-mic persona is in some ways a character, it’s still miles off of being an actual, fully-realized, separate character in a storyline.

This is where Intertextuality comes in.

Intertextuality is a subset of Transtextuality. It describes how the hypertext, which is the text, you’re currently engaged with, uses another text, the hypotext, to supplement itself. The interconnection the hypertext establishes with the hypotext, through stuff like allusion for example, uh-hum [Hamilton], can colour how an audience interprets the hypertext. Basically, Hamilton and Theseus are the hypotexts; the Dream SMP is the hypertext.

So, what does this have to do with backstory? Simple: The backstories of the characters in the Dream SMP consist basically of nothing but intertextual references. Through intertextuality their content effectively substitutes their character’s backstory.

You can see it everywhere. Wilbur’s and Schlatt’s relationship and rivalry is hugely enriched, if you are aware of their shared history like SMPLive, for example – I think anyway. I haven’t watched SMPLive, because … there’s only so many hours in the day and I cannot keep up with the Dream SMP and catch up on SMPLive and live a healthy life – which I already don’t do, so…

BadBoyHalo’s and Skeppy’s relationship, which has become the crux of the Crimson-Storyline of Seasons 2 and 3, is hugely supplemented if you know that they’re also very close as streamers and in real life.

Another great example of intertextuality is basically Technoblade’s entire deal. If you just look at him completely within the text of the Dream SMP and try to transplant his entrance to any other medium: It would be extremely weird! Like, he’s just this guy that comes in in the middle of a very climatic arc, no build-up, no explanation what his deal is, and he’s treated like he has always been there. In any other medium that just wouldn’t work – at least not without a flashback or some sort of exposition!

But because of stuff like Minecraft Mondays, the Potato Wars, his Duel against Dream and SMPEarth, we understand that he is a Big Deal!

Anyways, to bring all of this back to Philza Minecraft: What kind of hypotext informs how the audience sees his character? Well, this is where I will have to talk about SBI.

SBI is an acronym that stand for State Bank of India, the 43rd largest bank in the world and…

It also stands for Sleepy Bois Incorporated. Sleepy Bois Incorporated is a loose assembly of content creators, consisting of Philza, Wilbur Soot, TommyInnit and Technoblade. It is most well-known for its very endearing family dynamic – a dynamic that is frequently acknowledged and played up by the creators involved. Tommy is the youngest brother, Wilbur and Techno are the two older brothers and Philza is of course the dad. And when I say, it’s played up, I really mean it! Wilbur seems to be especially enamoured with the idea and leaves no opportunity untaken to bring it up – which we will come back to.

And I’m not saying that they’re faking this and this is somehow an act. While I know none of these people personally, it appears to me, that this is genuinely how they interact – if a little exaggerated for the streaming experience. Even when they’re not consciously playing into the family dynamic, their interactions still very much lend themselves to that interpretation by the viewers.

Philza especially just radiates Dad-Friend energy – so much so that it has become a huge part of his brand identity – yay, I can bring that back (check out my Christmas video if you want to hear me ramble about that). The nickname Dadza stuck even before SBI was a thing.

So, even if we completely disregard SBI – which we shouldn’t for reasons I’ll get back to – Philza has cultivated an image of strong paternal guidance. He is, in my opinion completely deservedly, regarded very positively. He is highly respected and in turn seen as a voice of reason.

All of this would eventually inform the hypotext of the character Philza within Dream SMP.

Interlude: Before Dadza & November 16th

Okay, so now we have established that a) Dream SMP heavily hinges on intertextual readings by the audience to supplement character backstory and b) that Philza’s entire deal is that he’s the dad-friend – more specifically that he’s the dad of SBI (not the bank). I think you know where this is going.

So, yeah, ever since it was on the table that Philza could join the Dream SMP, it was immediately assumed that he would take on the paternal guardian role all these traumatized people on that server so desperately needed – and with good reason! Like I said before, the audience at this point was trained to take intertextual interpretations as basically canon or at the very least canon-adjacent.

I want to emphasize that this is most likely not done deliberately. I’m sure content creators Wilbur and Philza didn’t sit there and said: “Yes! We will rely entirely on the audience’s inclination to interpret our characters intertextually to define character Philza!”. Like, obviously that did not happen.

But it’s also important to remember that unlike with traditional media and the fanbases cultivated there, the separation between the Dream SMP and its audience is almost non-existent – and purposely so. The story events are streamed live, Chats are acknowledged in canon and even outside of livestreams creators are extremely involved with the fandom. So, the weight of fan-expectations is equally amplified and will more likely be incorporated into the writing process. Case in point:

[Wilbur “I miss Philza”/Philza about Wilbur]

During Wilbur’s villain arc, even before his official involvement, Philza became a prevalent point of discussion. The hope that he would be the one to snap Wilbur out of his downward spiral was not only wish-fulfilment on behalf of the fans; it also very much played off of the intertextual reading of the SBI-dynamic in relation to the Dream SMP.

Of course, this still doesn’t make Philza and Wilbur canonically blood-related – but it definitely used the “paternal”-dynamic of SBI to build-up tension and drama.

And that ultimately brings us to November 16th. The Grand Finale of Season 1 and Philza’s first canonical appearance on the SMP.

Now, for this I want to pull back from the transtextual analysis and talk about simply narrative analysis: What is Philza’s narrative purpose on November 16th?

Philza serves as the last threshold on Wilbur’s Villain’s Journey – to appropriate Vogler’s version of the monomyth for a minute here – he is what Vogler calls the “Threshold Guardian”. He is the last enemy the Hero faces before completing his quest – in this particular case Wilbur’s quest is to blow up L’Manberg. Multiple people have at this point tried to dissuade him from this course of action: Tommy, Quackity, Niki and others. So how come this Philza moment is not redundant in terms of dynamics compared to these prior scenes?

Well, it’s through our intertextual understanding of Wilbur’s and Phil’s relationship. Because Philza does not just occupy the role of the Threshold Guardian – he is also implicitly the Mentor. Before Phil there was no character in the storyline that held a higher position of moral authority than Wilbur – Dream and Schlatt, while at points more powerful in terms of actual authority, were never positioned by the narrative as Wilbur’s superiors in the same way as Wilbur was to Tommy, Tubbo or even Niki.

Before November 16th all challenges Wilbur faced were from people narratively subordinated to him. But that trend is broken with Phil. That is why he is the Threshold Guardian, why this confrontation is at the climax of Wilbur’s arc. Because Phil is the last thing tethering Wilbur to whatever morality he held before his villain arc; Phil is the last, moral obstacle Wilbur has to discard before gaining his reward.

And, just a quick sidenote, because I’ve seen it around the fandom a bunch: When I’m referring to Wilbur denouncing his morality, I’m using that in terms of narrative analysis. I’m mentioning it, because Wilbur’s character can very easily be read as mentally ill or neurodivergent and some people have – rightly! – pointed out that the excessive vilifying when talking about his character is … problematic, to say the least.

So, I just want to make clear, this isn’t a character analysis, I’m being purposely broad when talking about Wilbur and Phil.

In the end, Wilbur takes that final step and gets his “reward”: As his final request his mentor takes his life and vanquishes the evil – the dragon of Wilbur’s story slays the dragon of L’Manburg. It’s very Shakespearean in its tragedy – but beyond the larger theatrics it’s not really used to further characterize Phil – at least in the context of Season 1. There’s not a lot of focus on his characters internal conflict during November 16th.

Phil, like Techno, is very utilitarian in how content creator Wilbur writes him: He serves as a moment of hype; an obstacle Wilbur has to face; a participant in the tragic climax of Wilbur’s character and ultimately takes on his implicit and expected role of mentor and guiding figure to the rest of L’Manburg.

I think not a lot of people talk about how Philza does not join Technoblade during November 16th. He takes the side of L’Manburg – he fights against the withers and he joins Tommy, Tubbo and the others at the L’Mantree, thus framing him as loyal to the L’Manburg administration – even though Season 2 would make his loyalty to Techno central to his character. But more on that later.

What’s also important about November 16th is that this is the day when the general intertextual interpretation became canonized text.

[You’re my son!]

Wilbur is made Phil’s canonical, biological son. The intertextual interpretation of SBI as it pertains to these two characters on the SMP was completely reinforced by the narrative. Or to put it in Fandom terms: The headcanon became actual canon. At least when it came to Wilbur … but what about Philza’s “other” children?

Well, that leads to our second form of transtextual analysis:

Paratextuality: Is Dadza?

These titles are just getting better and better.

The Paratext is defined as all those things in a published work that accompany the text. It comes in two forms: One of them is the Peritext, which are non-diegetic elements directly surrounding the text – like chapter titles, author’s notes, and stuff like that. Translated to the medium of the Dream SMP, it would be stuff like this:

[Examples]

And, trust me, I could make a whole separate video about how people on the SMP use their peritext as a tool for storytelling – I’m looking at you, Ranboo – but that’s not what we will talk about in the context of Dadza.

Instead, we will focus on the second form of Paratext, the Epitext, which consists of all authorial and editorial discussions taking place outside of the text. That’s stuff like interviews, private letters or J. K. Rowling’s Twitter Account – you know, before she decided to become a full-time asshole.

[Wilbur: Transrights]

After Season 1 ended, Wilbur indulged pretty heavily in providing epitext for the Dream SMP, something he had not done prior to November 16th. His paratextual additions ranged from the playful, like assigning DnD alignments to various SMP members, to the extremely impactful, like the whole three lives system!

You probably think, you know where this is going. Wilbur provided some epitext about how Tommy and Techno either are or are not biologically related to him … and I have to be honest I thought that too. But then I began looking into the impenetrable web that is the SBI-canon on the Dream SMP and found this!

[Ghostbur explains family]

So, it wasn’t paratext, it was just straight text. Said in character, in canon, without any implication that we the viewers should question this. The text of the SBI family dynamic was explicitly linked to Dream SMP-exclusive lore, namely Fundy being Wilbur’s and Sally the Salmon’s son. This is as clear as Philza’s anguished declaration on November 16th in establishing the intertext as text. And because Wilbur also had a very heavy hand in the discussion of paratext around that time, it gave his character’s words even more “canonical” weight. Metatextually speaking, this very much read like the author giving exposition through his character – exposition that we should understand as reliable.

And, by the way, before I continue, I need to give a huge, huge shoutout to kateis-cakeis on tumblr, I hope I pronounced that right, who was just so quick in providing me with these crucial clips. Without him I would have looked for days because these people don’t archive their shit! And the Dream SMP Wiki was NO help, by the way! I love what you guys do, but stuff like this belongs in the Trivia section on characters’ pages!

Anyways, basically during the entirety of early Season 2 the SBI family dynamic was basically canon to the SMP. Sometimes it was only alluded implicitly, again letting the intertext fill out the rest.

[Philza clips]

But just as often it was just explicitly talked about – both in the text and in the paratext.

[Fundy clip/Wilbur “Twins” clip/Tommy clip]

So, I know what you’re thinking: “Why is this part called paratext, if the entire family tree is just textual”. Well, that last clip might give you a hint, as to what I will talk about. Notice how Tommy, one of the people most directly impacted by the canonization of SBI lore, is both unaware of and seems generally unenthused about it, to put it nicely? Well, that would soon turn out to be a much bigger deal than anyone could have imagined as he wasn’t the only one.

[Technoblade decanonizes SBI]

Yeah …

This happened on 20th of December. Regular viewers of this channel will remember that I put out a 90-second joke video, where I complain about this very development. And while I was mostly kidding around, the core idea is still true. The paratext provided by Technoblade and established text were in direct contradiction with one another – and that brought a lot of confusion into the fandom. Confusion, that would soon be followed by frustration.

Because Techno only decanonized himself as part of the SBI family dynamic – but what about Tommy and Tubbo, the latter of which was incorporated into the dynamic exclusively within the lore of the Dream SMP. Was this still canon or wasn’t it?

What followed was a muddled mess of contradictions, intertextual implications, text and paratext in conflict with each another. It was for the most part inscrutable to figure out how Tommy and Philza related to one another. I’ll spare you every comment made about this – mostly because I want to spare myself from looking for all of them.

In the end, the current status is that their familial relationship is … unclear. Philza said, again in paratext, that it’s ultimately up to the writers to decide, whether or not Tommy is his son … which, I personally think he and Tommy should be the ones to establish that, but I’ll come back to that later.

But why is all of this important anyway? Why would this ambiguity create such an uproar, such controversy – especially when it comes to Tommy’s character? What makes Tommy’s and Philza’s relationship such a target for discussion in the fandom?

Well … this is where we will have to talk about the storyline of Season 2.

Interlude II: Tommy’s Exile and Dadza in Season 2

Okay, Season 2. This is where the spoilers are, so I will just sneakily drop this again. It took me five seconds to google this gif and I will milk it for every penny it’s worth!

At the beginning of Season 2, Philza’s narrative role has not changed much from where Season 1 ended. He is in L’Manburg dispensing earthly wisdom, being a paternal figure to Fundy, Ghostbur and Tubbo, helping with the nation’s rebuilding efforts; just generally occupying the role of the mentor.

[clips]

And then came … the Exile. The Exile Arc took place between December 3rd and December 15th during Season 2 of the Dream SMP. It revolves around TommyInnit getting exiled from L’Manburg and slowly getting psychologically tortured and broken down by Dream. It’s a really great arc, at least in my opinion, that explores and deepens a lot of Tommy’s character relationships, whether that be Tommy and Dream, Tommy and Tubbo or Tommy and Ranboo. One relationship, however, is noticeably missing.

So, yeah, Philza spends basically the entirety of the exile doing pretty much nothing of consequence. And that’s not a problem specific to him – One big criticism I would levy against the Exile Arc is that a lot of characters are left spinning their wheels. Which is why we get zany stuff like El Rapids, Drywaters, Eret’s Knights of the Roundtable, Boomerville – anyone remember Boomerville, that was a thing for 5 seconds, wasn’t it? – basically a lot of storylines are started and then unceremoniously dropped. Now, I will talk more about this, when I make a video about Season 2 of the Dream SMP … in ten years, look forward to it.

In the case of Philza, this inaction was especially damning, because at this point it was still a considered canon that he was Tommy’s dad. So, the fans were left with a situation, where just a few weeks prior Philza was occupying a paternal role for Fundy and Ghostbur … but now, that his youngest son was in a very concerning predicament – to put it lightly – he was nowhere to be found.

So why is that?

Well, the most obvious answer is that Dream and Tommy didn’t write him into the storyline. We’ve seen that Tommy wasn’t particularly interested in exploring a familial relationship to Philza, at least at the time. And it would just not fit in with what Dream and Tommy tried to do with the Exile Arc: they wanted to tell the story of Tommy being isolated, completely under Dream’s mercy, slowly worn down and manipulated. If Philza had been constant presence for Tommy during that time, it would have definitely shifted the narrative focus. That doesn’t mean that they couldn’t have done that, it’s just a matter of fact that they didn’t.

This also reveals another truth about content creator Philza’s character work, that I think is extremely crucial: He takes what the writers give him. Outside of a few choice moments, he doesn’t seem particularly interested in expanding or even solidifying his character on the SMP.

What I’m saying is that he is very go-with-the-flow: Wilbur wants to enact a Shakespearean tragedy? Philza’s up for it. Fundy wants him as a parental figure and mentor? Philza’s here for him. Tommy, conversely, doesn’t want him as a paternal presence, even though it would make sense for Philza’s character, as it was established so far, to be there? Philza will oblige.

The reason I’m mentioning this is because, while Tommy and Dream were unwilling to utilise Philza in their storyline, someone else was more than happy to. Which leads us back, like it always does, to everyone’s favourite Porky Pig-kinnie in a crown: Technoblade.

Technoblade and Philza, from everything I’ve seen of them, seem to be very good friends – and they share a lot of history even outside SBI. So, it’s commendable that they would collaborate on a storyline together.

A consequence of that, however, is that Philza’s narrative purpose shifts completely with very little transition. His entire character changes from being the Mentor-figure of L’Manberg to being pretty much exclusively defined as Technoblade’s ally; his man on the inside. It is a very sharp turn from the end of Season 1. Their relationship is once again informed via intertext – this time the Antarctic Empire on SMPEarth serves as the hypotext – but there isn’t a huge effort made to smoothly integrate that aspect of Philza’s character into the larger narrative framing around him.

How much the narrative utilisation of Philza has shifted can be very easily observed through the Butcher Army event on December 16th, a story event that I like less and less the more I think about. Here Philza is used to show just how corrupt and violent Tubbo’s administration has becomes. He is no longer the respected mentor, he is now the stand-in for the oppressed populace, similar to Niki’s role in Season 1. On a narrative level, he is here to prove a point.

If you’ve seen my Technoblade video, you know how I feel about … just that entire storyline, so I will not reiterate too much on it. I just want to make clear that I’m not principally against this development – if they wanted to truly explore Tubbo going down a dark path and getting corrupted by power, so much so that he would even treat the person who effectively raised him like a prisoner, I would be extremely here for it, I cannot stress that enough.

The problem I have is that it’s just so sloppily done. It is not coherent with how these characters behaved and, more importantly, how they were narratively framed prior to the Butcher Army event. Fundy gets one token line about Phil being his Grandfather – a far cry from the very emotionally complex relationship they had established at the beginning of Season 2 – and Phil then callously disowns him.

The major problem simply is that we don’t see how Philza changes from Mentor-figure to embittered, oppressed citizen. And there was enough time to build to that. During the entirety of Tommy’s exile Tubbo was pretty much spinning his wheels and Quackity and Fundy were opening up plot cul-de-sacs that didn’t end up going anywhere. This is time they could have spent on developing their relationship to Philza and the dark path they were going down – but again, Season 2 video.

There is not much to say on Philza’s narrative purpose and framing beyond the Butcher Army event. He remains pretty much exclusively Techno’s consigliere with his role as Mentor to L’Manburg a distant memory. He has some cute character moments with Ranboo, because content creator Philza is just big dad-energy whether he wants to or not, and whenever he and Ghostbur share a scene suddenly the narrative remembers that there are people other than Technoblade that should exist in Philza’s inner world. But aside from that, Philza’s storyline in Season 2 remains … pretty definitive is the nicest way I can put it.

Most importantly his relationship with Tommy continues to be completely unexplored – whether by chance or choice – and that combined with ever vaguer paratext leaves “Dadza” in a very peculiar situation.

Conclusion: Is Dadza a Good Dadza?

So, the question to end all questions. The big, obnoxious text, that I will probably have put in the thumbnail – I haven’t made it yet, but I know myself. The honest answer is: I couldn’t tell you.

I have, in the past, been expounding the virtues of narrative analysis. That is because I feel that Narrative Analysis and Textual Analysis, like in this video, can provide certain tools that Character Analysis lacks. Often times I see people trying to get at a writing problem or query and getting frustrated because they’re not using the toolset, they need to figure out what they want to figure out.

But I’d be a hypocrite if I pretended like everything could be solved through the modes of analysis I prefer. And I think the Dadza-issue is exactly such a case.

I set out to explore why the Philza-Tommy-“Dadza”-relationship has become so controversial. It’s a combination of expectations build up through intertextual readings, that were partly canonized – something that is very common for the Dream SMP – conflicting pieces of paratext, which only serve to muddle the issue further and a text that is not only completely uninterested in actually exploring Tommy’s and Philza’s relationship – as it stands right now they might as well be strangers, narratively speaking – but also completely changes Philza’s narrative purpose as it relates to characters like Fundy or Tubbo about half-way through with little to no transition.

That is why I say, that Philza’s character is a victim of narrative circumstance. Because unwittingly, through all of these factors and decisions, there is not coherent reading of Philza that frames his parental skills in a particularly kind light.

The question of how we can judge Phil as a paternal figure ultimately falls within the purview of the character analysis – and that’s a very multifaceted issue, highly dependent on which POV you focus on and how you interpret the other characters in that POV’s periphery.

To put my cards on the table, I think that Philza is a very flawed father/father-figure – and I find that absolutely okay. Flaws are the spice of character building. He is not Cinderella’s Evil Stepmother – but he’s also definitely not Mufasa. If we were to read Philza as a paternal figure, then he would have made a lot of mistakes and decisions to the detriment of his “children” – least of all everything that happened on Doomsday.

But I also have sympathies for Philza fans who are tired of the Dad-Debate and would like to have his character judged independent from his relationship to Ghostbur, Fundy, Tubbo and Tommy.

Ultimately, to bring it all to a point, I’d like to end with saying, that I think that Philza, out of all the characters on the SMP, has the potential to be on of the most intriguing, multifaceted ones. There are all of these different patches of story, character moments and narrative and transtextual implications, that, if brought together, could create a beautiful tapestry of the character Philza.

You have his relationship with Techno, which holds the potential for so much emotional conflict and vulnerabilities, you have his time as mentor of L’Manburg, which is just criminally underused; the complex relationship between him and Ghostbur/Wilbur; and – for me, personally – most intriguingly this weird, almost uncomfortably distant non-relationship with Tommy. That last one is intriguing to me, because it contrasts just so much with our intertextual understanding of the characters and streaming personas – and it just holds the potential for so much conflict, so much drama, so much angst. Which I live for!

And, yes, I do believe that most of this is narrative happenstance, that this was largely not intended by Philza or really any of the writers. It’s just what happens when hybrid-roleplay-improv a long-running, livestreamed storyline in Minecraft.

But I want them to realize the potential they have on their hands, because it could – with barely any adjustments – turn Philza from a victim of narrative circumstance to a champion of it!

Outro

Thank you so much for watching this video. Usually, I don’t record outros this standard, but after this beast of a video I felt it necessary. I hope that whether you’re a Philza fan or a Philza critical or just completely uninvolved in the whole thing, there is at least a little entertainment you could get from this.

I want to take this opportunity to say that my next few videos will probably not be Dream SMP related – a sentence which undoubtedly lost me a bunch of subs – simply because I don’t want to burn out on it. I genuinely enjoy watching the SMP and being exhausted by it would be something I wouldn’t want to force on myself.

But who knows what will happen? The Karl Jacobs video was something I did spur of the moment because the idea just came to me – so I can’t guarantee that the next video won’t be a three-minute joke about Purpled or whatever.

Anyway, my concrete plans for future Dream SMP videos are essays on Season 1 and Season 2 as well as one for Tales from the SMP.

Before that I have a longer video in the works, which I’ve already teased a bunch, so I hope it will finally be finished sometime. And I also may be working on something … eboys-related? Maybe. I’m not making any promises!

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deborahdeshoftim5779 · 3 years

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BBC Merlin 4x05: His Father’s Son

Here's a round-up of my main observations from BBC Merlin's "His Father's Son" (4x05).

1- MERLIN AS A KNIGHT

I have to admit that Merlin as a sorcerer and trusted adviser appeals to me the most, but I did write a lengthy post analysing how Arthur had turned Merlin into an excellent fighter. This refutes claims that Merlin gave more to Arthur than he received in return.

At the beginning of 4x05, we see Merlin selected to play a new role: that of knight. How did this come about? Arthur Pendragon is best known for his skills as a warrior, but he deserves more credit for his military tactics. These destroy the popular yet false idea that he is unintelligent. More on the latter in a forthcoming post.

One of Arthur’s favourite tactics is using decoys. Previous examples of him using decoys include: The Castle of Fyrien (3x07), when Arthur used Merlin as a decoy to entrap Cenred’s soldiers; Aithusa (4x04), when Arthur used himself as a decoy to get Sir Percival to safety; Arthur’s Bane Part 2 (5x02), when Arthur uses Merlin as a decoy to enrage the slave traders before they escape-- by far my favourite example.

All things considered, I don’t think it takes long for Arthur to choose Merlin. Furthermore, this decision may have taken place before they reached their selected location, as Agravaine later mentions a previous attack by Caerleon on the border. This choice demonstrates that Arthur has higher confidence in Merlin's abilities than he does of in his knights-- else he would have chosen them. We must conclude that Merlin is Arthur's best fighter, though at first glance, we wonder why an unarmed man follows trained knights into battle.

Merlin is sharp, fast, has high stamina, and is incredibly resourceful. Most of all, however, he is incredibly brave. In fact, when rewatching 1x02, I was surprised to see Arthur acknowledge that Merlin was "braver than you look." This despite Arthur’s frustration that Merlin did not try hard enough during practice ("Come on, Merlin: I've got a tournament to win!").

What’s more, in that same episode, Merlin complains about his first day, but later on, we see his fascination wth the ongoing tournament. Then he admitted to Gaius that working for Arthur (in the context of said tournament) "isn't totally horrible all the time." It took one day for him to change his opinion!

Sure, Merlin would continue to treat the fighting as pointless violence, and Arthur as having nothing more in his head than a desire to knock "the seven bells" out of other people (3x04). However, even in 1x02, when he applauds Arthur's fighting, his actions tell a different story. We associate this habit of liking something whilst pretending otherwise to Arthur, yet Merlin has it as well.

As I have said before, Merlin and Arthur have profound differences, yet are profoundly alike.

2- MERLIN AS A SERVANT

It comes as no surprise that Merlin would return to serving after the beginning of 4x05. However, what that change represents sets the tone for this entire episode: Arthur dismissing Merlin's counsel repeatedly in favour of listening to his uncle.

When Arthur says, "so please, stick to what you do know," you have to wonder whether Merlin remembered being entrusted with the role of knight. Now, Arthur puts him back in his place.

Here's another example: "My conscience is clean, which is more than I can say for my room, so just... do your job, will you?" Yet just yesterday, that job involved Merlin risking his life against enemy forces by dressing as a knight.

By the way, you can tell that Arthur doesn’t believe his own excuses, because he keeps using the passive voice to justify killing Caerleon: “...a show of strength was necessary… an example had to be made… My conscience is clean…”

Merlin’s face after Arthur claims he doesn’t need anyone is self-explanatory.

3- NEW THOUGHTS ON ANNIS

Is Queen Annis a good person? Actually, no.

First of all, she knows and approves of her husband invading foreign kingdoms to plunder their wealth. Such invasions naturally cost not only the lives of Arthur's men, but her own, too.

Furthermore, despite accepting Arthur's offer of a fight by single combat, she is prepared to cheat by enlisting Morgana's power. Perhaps if Arthur had died, too, she would have felt some remorse. Yet she still takes a monumental risk with Arthur's life in blatant violation of the knight's code. One has to wonder about her reaction had Camelot plotted against her armies in the same way.

Then we have Annis calmly ordering Merlin’s execution without giving him a chance to explain himself. The lack of emotion in her voice suggests she has done this before.

Speaking of cruelty, Annis’ champion seems to enjoy inflicting pain on his enemies, yet the Queen claims that he “served my husband well.” I dread to think what she means by “served”.

I will also note that Queen Annis disdains magic, referring to Morgana as “witch”. As I have said before, Uther did not begin prejudice against magic; sorcerers were disliked and feared elsewhere, too, including by those who disliked Uther. Many sorcerers caused this prejudice by engaging in manipulative, violent, and wicked deeds.

Examples include High Priestesses using Fomorrohs to enslave people’s minds (4x06); Cornelius Sigan using his power to change day into night and acquire vast wealth (2x01); sorcerers using special blades to murder people (3x04), and so on.

None of this takes away from Annis’ complexity, nor does it undermine her immense humility when she accepts defeat and withdraws from Camelot. After all, much of Annis' rage and desire for vengeance stems from intense grief over Caerleon's death, so we can assume her marriage was a happy one.

Forgiving the man who destroyed her domestic happiness (as well as leaving her people without a king) shows tremendous nobility on Annis’ part. I think Arthur sees that, for he is always humble and respectful before her.

4- LONG LIVE THE KING

Few people respect Arthur more than Merlin. So when he doesn’t join in with cries of “Long live the king!”, you know something is wrong.

5- CONTROL YOUR FEAR

Episode 4x03 has a hilarious scene where a drunk Arthur claims he isn’t even a little bit scared, because, “I’m a warrior. You learn to control your fear.” Then Arthur walks smack bang into a pillar. Never fails to make me laugh. Minus the drunkenness, Arthur was telling the truth about controlling his fear.

You can see this at least twice in this episode: first, when he sees how many men Annis has brought against Camelot, and secondly, when he sees the size of Annis’ giant. In both cases, Arthur harnesses his fear into determination, which is another sign of a great warrior.

Next up, we have a fascinating scene where Arthur watches his men joking by the fire. It's a great way of showing Arthur’s care for these men, as well as his guilt that impending war will end their lives. In a sense, Arthur has to control his fear yet again.

6- TRUST IN MERLIN

After the above scene, Gwaine asks Merlin if Arthur is all right, and the fact that Merlin can describe Arthur's feelings without even questioning the King once again shows the unique nature of their friendship. Merlin sees Arthur's expression, and he just knows. And Gwaine knows that, hence why he does not question the King himself.

Listen to the silence after Merlin's response. Nobody questions Merlin's judgement: they just reflect. Given the way Arthur has repeatedly dismissed Merlin's advance in favour of his uncle, I think he could have learned something from his own knights.

I wonder whether the knights would ask Merlin something about Arthur in this way, whenever the king was absent. In ancient kingdoms, kings had advisers, and in order to earn the monarch's favour, you spoke to the latter first. Did Merlin ever play that role for the knights?

7- MERLIN’S IDIOCY

Now, I have a problem with Merlin telling Arthur that 1)- he would have taken any other option but to face war with Annis, and 2)- his decision to kill Caerleon “was made in the best interests of Camelot.”

Sorry, but it wasn’t. Merlin knows that. I understand that he has to rally Arthur’s spirits so that they can win against Annis, but I am glad that Arthur knows full well he has done wrong. Both Merlin and many fans do not give Arthur enough credit for recognising his own errors.

However, even these foolishly optimistic statements pale in comparison to Merlin's reckless and self-righteous interference when Arthur negotiates with Queen Annis. I burst out laughing when he trips and falls headlong into the tent, a metaphor for his impetuousness.

Merlin eavesdrops outside Annis’ tent, gets caught (so he didn't conceal himself), and then has the audacity to say, “Sorry about this!” to Arthur! Not only that, he got angry over being called a “simple-minded fool”, when he couldn’t even walk in a straight line to follow the king, got himself caught and almost killed by enemy soldiers, and made Arthur look as though he were double-crossing Annis!

I completely agree with Arthur’s anger: “Oh, I was being kind, believe me: you almost got me killed in there!” Correct. Merlin simply could not trust that Arthur knew what he was doing, and decided to interfere. Instead of apologising for getting Arthur into trouble, Merlin remains on the defensive, claiming without evidence that Arthur was “doing a pretty good job of that yourself!”

This is untrue. Arthur surrendered himself to Annis’ men. The most injury he received was a slap. He asked a favour. That isn’t risking your life. In fact, Arthur was trying to save lives, and if Merlin had been listening properly (or just stayed in bed), he would have seen that. Only after Merlin’s sudden entrance did Arthur face serious danger from Annis.

Now, Merlin’s explanation for this is, “I’m your friend! I was looking out for you.” I don’t doubt it. But once again, Arthur is right: “I appreciate that in your very confused way, you’re only trying to help, but please: don’t do it again.”

Condescending? Of course. But this time it was Merlin who provoked him into this anger.

8- MORGANA

Despite all her power, Morgana still has to defer to non-magical kings and queens. After all, she requires their military assistance to take over Camelot.

You can also see how Queen Annis detects Morgana’s hatred, greed, self-righteousness, hypocrisy, and bloodlust. In one glance, Queen Annis begins questioning the wisdom of working with a sorceress she does not trust, not least on account of Morgana being a sorceress.

In fact, Arthur’s prowess as a warrior impresses her more: “You have as much to lose as I if Arthur wins…” Fascinating scene.

9- THANK YOU, OLD FRIEND

It’s ironic that arguably the best scene in 4x05 begins by showcasing Arthur’s cynicism. No guesses why Arthur did not tell Merlin about breaking off his relationship with Gwen earlier. That speaks volumes. If he had told Merlin, I think they would have had an argument similar to that of 4x11.

Only when Arthur realises that he may die does he ask Merlin to pass his ring onto Gwen with an apology. You can see the guilt etched onto his face as he refuses to make eye contact. Interestingly, Merlin does not ask any further questions.

Arthur’s entrusting Merlin to look after Gwen in the event of his death says a lot. For example, that ring is technically royal property, yet Arthur gives it to a servant for safe-keeping, rather than his next-of-kin, Agravaine. Despite claiming to need his uncle’s advice, Arthur will not trust Agravaine with such duties. Has Arthur made a medieval will or testament? Obviously, I have no idea, however, this episode already shows Arthur’s reliance on Merlin to deal with family matters.

Another interesting aspect to this scene is Merlin’s silence after Arthur makes an indisputable point. This dispels any idea that Merlin’s advice was always correct. On several occasions, Merlin had to defer to Arthur’s judgement, because he saw the truth and wisdom behind it. “I don’t know what will happen. But for the first time since I became king, I know in my heart I’ve made the right decision.”

Got to love Arthur’s half-amused, “You’re not about to start crying on me, are you?” He expects Merlin to be either in good spirits or confident, because that is how he, too, remains confident. Arthur is an optimist, yet Merlin becomes a pessimist, so the king must pull Merlin together with light and yet serious teasing.

Needless to say, Arthur calling Merlin “old friend” implies that they have been friends for a long time. So why do some fans still think that Arthur had trouble admitting that Merlin was his friend? Also, the word “old” in this context can imply reliability, constancy. Arthur chose that word to describe Merlin’s value, as well as the length of their friendship.

The great thing about Arthur is that while he makes some serious errors, when he does repent, he does so well. Not only does Arthur graciously thank Merlin for his concern, but he makes it clear to Agravaine that he relies on Merlin’s judgement prior to entering battle. This supports my earlier statement that Merlin is Arthur’s best fighter, as well as right-hand man; Arthur does not leave for the fight until Merlin has confirmed his readiness.

On top of this, Arthur later admits that he might be a cabbage head. “I should have listened to you, Merlin. Just this once, I think you were right-- even if you are the worst servant in the five kingdoms!”

By implication, Agravaine is wrong. Arthur won’t say that, of course, but we saw Merlin’s sound advice competing with Agravaine’s lies for this entire episode. We can only conclude that regardless of what he says, Arthur trusts Merlin more than members of his own family.

And this is a theme which will continue and grow for the remainder of Season 4.

FURTHER POINTS:

Merlin’s fighting skills

Paradoxes of Arthur and Merlin’s friendship

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sepublic · 4 years

Note

I’ve been binge reading all your amazingly thoughtful analyses and I was wondering, if you could give the Blight Twins their own episode, (like separate one for Edric and one for Emira because I’ve seen how twins don’t want to bunch together all the time and be their own person) what would you want it to be about?

OH-HO, this is SUCH a flattering ask and I really must thank you for it! It means a lot…

With Emira, I hate to be obvious, predictable, main-stream, and pick a low-hanging fruit… But I want her to meet Viney. Emira is someone who is concerned the most of the two about having an actual identity on her own, and this likely includes making friends… So why not go get to know the Detention Kids, who are already rebellious in their own way, but while still managing to flex their individuality?

Just imagine an episode of Emira getting to know Viney, maybe wanting to be close… But Viney, well. She’s someone who’s defensive because she’s been hurt in the past, and after what she’s heard of the Blights and Emira’s penchant for illusions, she is rightfully going to be suspicious. So we’ll have Emira possibly wanting to abuse the Secret Room of Shortcuts for pranks, but then Viney wants to preserve it mostly as an educational tool, and Emira doesn’t CARE for education…

And this could lead to Em perhaps being too dismissive and even harsh towards Viney, because she seems like someone who while she tries to self-reflect, she sometimes doesn’t fully realize when she’s just parroting her parents’ abuse. And so we have Emira learning to be more mature and straight-forward, to cease the pranks and mind Viney’s feelings and uncertainty… Being truthful and tender to lower her guard, and Emira actually having to openherself to another person that isn’t Edric.

Perhaps Em admits WHY she’s like this to Viney, who also introduces her side of the story… And they get to be actual friends! Emira learns to respect who Viney is as well as her interests, Viney gives Em a chance and lets her in figuratively AND literally… Maybe Emira even discovers an actual enjoyment of certain classes beyond Illusions! Or she doesn’t, but either way she may not be too much like Viney, but that doesn’t mean they can’t be friends! And not being like someone she’s close to is… HONESTLY what Emira was aiming for, only now she can still respect these differences too!

As for Edric…

Edric is a dude who prioritizes companionship over all-else. But he’s also kind of a goofy kid sometimes, and that’s worth noting. Depending on how Lilith’s character development goes, and how she ALSO was someone who was clingy towards her own sister and didn’t respect Eda’s autonomy as an individual to be her own person, insisting that being together mattered most… I’d LOVE to see Lilith perhaps give Edric a few pointers on this, maybe here them talk about their feelings of crippling loneliness! Let Ed get to be a dumb kid sometimes while Lilith isn’t sure what to make of his antics while Luz just enables him. It’d be amazing to see Lilith and Edric talk about their respective relationship towards Amity…

Ed knowing this is the lady Amity looked up to, having had reservations because she was a bootlicker; But then Lilith threw it all away –albeit not entirely willingly- for Eda and Luz! So, maybe she IS good for something after all…! Meanwhile, Lilith possibly knows of Amity’s occasional issues with her twin siblings…

And she thinks of her own time with Eda. So, she decides to impart some wisdom to Edric, about how you should always love your sibling and never go too far, while still letting them be a person… And somewhere along the way, Edric realizes this wouldn’t just apply to him and Amity, but him and Emira too.

Then Lilith and Edric form a found-family bond, maybe Ed accidentally calls her Mom as well… Maybe even Lilith lets him have fun with King and Owlbert, because the kid wanted pets as a child but never got them because of his strict parents! Not sure how King would feel about Edric though, but I could also imagine them getting into some WEIRD antics alongside Luz! And come to think of it…

Maybe a pet WOULD help Edric’s issues, though unfortunately I can’t really see Lilith being able to help by getting in a good word with the Blight Parents given her, um, employment status. And if Edric could just get away with hiding a pet through illusions, he’d have probably done it by now, so. On another note, Lilith and Edric both wear glasses (or at least Lilith used to), so I’d LOVE to see the two become more comfortable about doing that around each other.

For either twin, maybe both, I’d also like to explore their thoughts on Willow… They knew she was Amity’s best friend, but did they know WHY Amity cut ties? They seemed legit concerned in Lost in Language over the way ‘Amity treats people’, so I think the twins had worries about Amity pushing away her best friend like that, potentially because of their parents (though to what degree they had no idea)! Not to mention, how do the Twins feel about Boscha…?

Boscha is ALSO a trouble-maker, and a bit of a bully herself; Though I don’t think to the same extent as Ed and Em were, and arguably without as much of a reason for it. This was someone Amity hung around with for years, do they know it was against her will? Surely the Twins realized how little Amity smiled around Boscha and her posse, did they have concerns that Amity was being too cold to them, not realizing Amity was forced to hang out with them to begin with?

How do they feel about Boscha and Amity being on bad terms, about the former breaking the latter’s leg… And what was Boscha’s perspective on the two, and how Amity disliked them? Maybe Ed and Em are harsh towards Boscha for the Grudgby incident, but then they also seem pretty open-minded when it comes to people outside of their family… So maybe they consider Boscha’s side of the story and how Amity WAS cold to her and the others. And maybe the twins learn about what their parents ordered, and tell Boscha to give some peace of mind for her, to give closure…

Sure it hurts for Boscha to hear Amity never DID like her, but in this case, it really IS for her own good. Maybe it’ll be like Understanding Willow, only instead of Luz it’s Ed and Em, and instead of Willow it’s Boscha; Perhaps we learn more of Boscha’s background, and we get to see her and Amity reconcile, perhaps with Boscha finally learning to respect Willow and Luz on Amity’s behalf… Or they at least acknowledge that both were put into a messed-up situation, a false and thus unhealthy friendship, and decide to leave without any grudges. Who knows?

I’d honestly love to see Ed and Em perhaps act as like… surrogate older siblings to Boscha, because now they get to make more friends outside of the family (and at least their parents can’t disapprove of Boscha), and they talk about their own mutual concerns and thoughts of Amity, with the twins vouching for Amity while at the same time considering what Boscha has to say and relaying that… Maybe the twins, who are willing to be self-aware, even if they’re not the best at it, tell Boscha to cut out the bullying, that she doesn’t need to be on top or be beholden to what anyone else says!

I think it’d be sweet, honestly, and I’d love to see more of Boscha’s friends for that matter! Because we know that while Amity was never close to any of them, she’s still an inherently good person and thus felt bad about injuring them in Grudgby; Especially since to Amity’s perspective, she’s no doubt been ‘lying’ to Boscha about their friendship, even if it wasn’t her fault!

But, yeah… Sorry for getting a little off-topic, but given how much this show stresses relationships and found family, and blood-family being obligated to RESPECT the found family of their relatives… I just think it’d be fascinating to see, on top of Emira and Edric having their own personal journeys of self-discovery! Because as we see with Luz, being your own individual doesn’t mean cutting ties from everyone else, and arguably…

Making new connections can HELP one make an identity! Because you still choose to make connections not out of obligation, need, and situation… But because it’s what you want and it’s all YOU as a result, because desires are a reflection of a person! And maybe then, Emira and Edric can go back to being Twins and closest friends, now closer than ever in a healthy sense, because now they’re still their own individuals and respect one another as such, and are fine with letting each other be people!

That they know who they are, and so the Twins don’t need to worry about losing sight of that identity whenever they hang around, because in the end… While MAYBE some of their closeness came as a result of having no one else and needing companionship against their parents, I really do believe that Emira and Edric, despite potential fears suggesting otherwise, DO love and enjoy one another’s company and always will, perhaps more than they do others’! And as long as they’re their own people, that wouldn’t even be a bad thing, honestly…

Just, the idea of Emira and Edric trying to figure out who they are separate from one another, and in learning so, their bond with each other becomes even stronger and healthier! That they become more comfortable, and more close, because they can afford to be truly honest without worrying about losing the other and having nobody else!

Once the confusion of who they are is cleared, the Blight Twins can go back to enjoying one another unconditionally, neither worrying about being different nor the same! Just natural sibling love…! No more concern about losing oneself amidst the other, because Emira and Edric are truly their own people now, and thus they aren’t dependent upon one another and can be fully healthy to each other!

Maybe by the end of their respective journeys, Emira and Edric learn to respect the wishes of one another, while still staying the same… With Edric realizing that he can’t hold onto Emira possessively, and Emira recognizing Edric’s genuine love and concern for her, that she doesn’t need to ‘cut ties’ to be her own person!

…Look, I just have FEELINGS about these twins, because they’re the children of the Blight Parents and that alone implies issues, but we already SEE a few concerning things, and I just want them to reconcile after Grom and heal from the pain of rejection! Them being stood up is the last we see of Emira and Edric both in terms of official content and chronology, I demand CLOSURE and emotional reparations for these kids!

#the owl house #owl house #the owl house emira #emira blight #the owl house edric #edric blight #the owl house viney #vinira #the owl house boscha #the owl house lilith #lilith clawthorne #the owl house willow #ask

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nosferatvpussy · 4 years

Text

distorted lullabies [chapter XI]

Word count: 5,131

Warnings: vulgar language

Pairing: Dracula x female reader

AO3 link

Author’s note: My beta reader gave me a few suggestions and it's truly something that's been bugging me, so I decided it would be better to check with you guys, my readers. I'm writing this story purely for fun so I don't mind changing things. I'm not well versed in writing Character x reader stories and I'll admit the whole concept sometimes escapes me (ahem, fully does) and my beta pointed out that it's become an OC x Dracula fic. This chapter in particular touches into something that may upset some people if they're really invested into the reader POV, which is religion. You may not agree with the reader's thoughts regarding christianity, and I don't want to needle anyone's beliefs because this is a reader insert. My question is: would you guys prefer if I gave the reader a name, in which case she becomes a fully realised character? I'll still avoid describing her because then you can picture her however you like. Longwinded question, I know, but I thought it deserved some explanation. On a more positive note, I made two spotify playlists; one is oriented towards alternative songs (mostly) and the other one is purely made up of classical pieces.

Regardless, ENJOYYY

________________________________________________________

The rest of the trip would have been completely silent if it wasn’t for Portishead’s music.

I barely looked at Dracula as he dropped me off at the Airbnb I had rented. He parted with a promise to meet me at the wedding tomorrow and an indifferent goodbye, although when I made it all the way to the flat’s second floor, his car was still parked at the front door. When I turned around to throw my backpack on the bed and looked out the window again, the black BMW was gone.

Not even the wide array of DVD stacks inside the Airbnb managed to keep my mind off of Dracula.

After settling in and having a shower, I occupied myself with sitting in front of the TV in the living room and analysing the owner’s collection – an impressive one at that – however, when I picked up a copy of The Rocky Horror Picture Show I could almost hear Count Dracula laughing as I sang along to Frank N Furter and immediately put the disc back to where it belonged. So I chose something harmless to watch.

As Mulder and Scully bickered about aliens on the television in another episode of The X-Files – really, props to the Airbnb owner for supplying his entire collection to guests – I glanced at my phone for the hundredth time.

Would Count Dracula be a Scully or a Mulder? Such a silly thing to wonder about, nevertheless I was curious about it. Perhaps if he was here with me, watching TV and making his remarks about what was going on, I would manage to concentrate on the episode playing.

It had worked out fine last time. Well, for the most part. As long as we didn’t watch anything with sexual undertones such as Interview with the Vampire, I would be fine. For how long, was the question.

I frowned as I rewinded the last 10 minutes on the DVD player. Scully was lying in a hospital bed while Mulder screamed at a doctor when just two minutes ago Mulder had been talking to their boss. Obviously, I had missed more than two minutes, too stuck in my thoughts about the Count.

I glanced at my phone again.

He’d be gone tomorrow. And I needed to know if he would like Scully or Mulder better.

I took my phone between shaky fingers.

A small part of me, one that was still thinking straight, suggested that maybe I shouldn’t do this on account of that kiss earlier. But nothing of what had happened during that trip mattered anymore, not when I would never see him again. Whatever I did today would have no consequences.

Are you there?

Count Dracula replied just as Mulder screamed at the doctor, and I still had no idea why.

Yes.

I typed a message as quickly as I could before I regretted this.

I can’t sleep.

I chewed on my lip as I waited for a response but when none came, I started typing another text and then erased it. Inviting him over might develop into less innocent things than simply watching TV.

I curled my toes. I came this far. I resisted him this long. There was no reason to jump ship at the last second.

Tomorrow he’d be carted away by the Foundation and while I would very much like to do more than kiss Count Dracula, the idea of giving myself to him and then never feeling his touch again seemed unbearable.

Do you want to take a stroll through Gloucester?

I’ll be there in a few minutes.

His reply came so quick that he must have been staring at his phone, waiting for me to send another text.

I rushed to change from pyjamas into jeans, jacket and boots. I had just finished fixing up how I looked when my phone buzzed. Without bothering to read the text, I left the flat, heart beating like a hummingbird’s as I went down the stairs to the building’s front door.

Count Dracula wore the same leather jacket as earlier, waiting for me just as he had waited hours ago in London.

“Did you walk all the way here?” I asked as soon as I noticed the BMW’s absence.

“I was in the neighbourhood.” He smiled.

“Exploring?”

He smirked but said nothing.

“Eating, then,” I concluded. “Drinking, sorry. I forgot you get stuck in the technicalities.”

“You get used to it,” he said, extending a hand for me.

I gasped when I placed my hand on his. Someone else’s blood had made his temperature rise from cadaveric cold to match my own but I was too fascinated by how plump his flesh felt to care about an unknown person’s death.

“You don’t feel like a statue,” I said, squeezing his hand to make sure I wasn’t imagining things.

“You get used to it,” he repeated. “Come. I found a lovely place to break into.”

He pulled me to him so fast that my stomach lurched. I almost lost balance but he wrapped an arm around my shoulders to steady me.

“May I remind you that I’m human and next time you do this I might throw up in your shoes?”

My vision was still swimming and I had to lean my body on his until I could see properly.

“I’ll warn you next time.”

I craned my neck to look up at him, noticing absently that I had my arms around him in a hug. Light coming from a neighbouring house glowed behind his head likening a saint’s halo. Horns would be more suitable, and more alluring.

“Will I like this place you intend to take me?”

“More than I will,” he said, securing me in an inescapable hold, one I had no desire to fight. “It’s a cathedral.”

“Gloucester Cathedral?” I loosened my arms around him. “It’s a holy place,” I said and he cocked an eyebrow. “Can you even set foot in there?”

He snorted.

“I can waltz with you in there while reciting biblical verses as long as I don’t look upon the cross.”

“I’d like to see that. A healthy dose of blasphemy is always fun.”

A slow smile spread on his lips.

“Then you’ll love it.”

To my dismay, he untangled himself from me but still kept an arm around my shoulders in a half embrace. Instead of avoiding him, I circled his waist with my arm, basking on how uncharacteristically warm he felt in comparison to the chilly night.

Dracula looked at me with furrowed eyebrows, though a grin creeped on his mouth. For the first time, we had exchanged roles – he, doubtful that I was so willing to touch him, and I, sure of what I was doing ever since I struck that deal.

Pity it wouldn’t last long.

“Lead the way,” I told him.

_______________________________________________________

Except for a couple of stray cats and a dog, Count Dracula and I were the only ones wandering through Gloucester’s narrow streets and quaint façades. The moon was hidden but with how bright it glowed, even beneath a swath of cotton clouds, I would guess it was full.

I relied more on Count Dracula’s eyes than on the unsteady old street lights that seemed to hail from the 18th century, but I didn’t need his vampire eyes to catch a glimpse of a towering Gothic building, concealed behind a row of modern restaurants and stores, all closed now that it was closer to dawn than to dusk, wedged inside small houses stylised in Tudor architecture.

“Here we are,” said Dracula just as we rounded the corner and faced Gloucester Cathedral.

It was an enormous and monstrous thing yet beautiful all the same in all its complicated detail of spiking roofs and pointed narrow glass that composed huge windows amongst blocks of stone. Sculptures of saints and kings stood watch at the front, arching above the intricately woven entrance.

“Is there an alarm this time?” I asked as we approached the door.

“What for? Christians trust their god to keep it safe. There is someone sleeping inside, though. A priest if I had to guess, so we’ll have to be very quiet.”

“There goes my plan,” I said, although I had none. No space for calculated words and carefully measured tone there. All I had left was impulsivity, and saying things without really meaning them provided me with a rush unlike any other.

“What plan is that?” Dracula questioned, side-eyeing me.

I shrugged.

“What does it matter if I can’t be noisy now?” I snickered. I would have tried being reckless more often if I’d known I would earn so many bewildered looks from Count Dracula. “Open the door.” I bidded, staring at him. “Please?”

Something crossed his gaze, something that made me wish that he would press me against a wall and demand that I tell him about my sordid plan. But he did no such thing.

“Since you asked nicely,” he said, just as he had done earlier during our trip.

Dracula forced the door open with the same ease I would have opened an unlocked door.

My mouth was a little dry but the thrill of doing something forbidden still made my heart thud, despite the fear of being caught. Perhaps I’d been developing a new habit of doing dangerous things such as making deals with vampires, and getting excited at the prospect of desecrating a church with one. I would have to find a substitute to that after he was gone but I couldn’t think of anything that could compare.

I followed Count Dracula into the cathedral’s nave.

The massive round pillars surrounding the aisle took away some of the simplicity of the ribbed vaulting, which derived from early Gothic architecture if I remembered my art classes correctly. There weren’t any pews positioned in usual rows as most churches did, and from where I stood I couldn’t spot an altar. The place seemed bare without them but it was still imposing, as most religious things were, I supposed.

The ground's yellowed stone, that one day may have been white, was dappled with a luminescence of blue, red and purple. I whirled around, looking up to find out where that variety of colours came from, and grinned upon finding a stained glass window that extended all the way up to the ceiling.

“I never liked churches as a child,” I whispered to Dracula, ignoring that he probably knew it. “They creeped me out. I couldn’t understand how some people felt love inside them, when all I felt was judgement. And like I was being watched by saints, angels and Jesus.” I grimaced as I admired the pictures on the glass. Saints looked back at me with their saintly stare. Jesus Christ was pictured at the centre pane. “My parents weren’t very religious but my grandmother was one of those fervent catholics, full of guilt and fear. She used to take me to mass every other Sunday at Westminster Abbey until one time when I started arguing with the priest during his sermon about how illogical the bible is at some points.” I glanced at Dracula and saw him chuckling soundlessly. “I was 13. My grandmother was so humiliated and angry at me that she never took me to mass again.”

“And you were relieved to never have to go back again,” Dracula supplied. “How do you like churches now?”

“I like them as long as I’m just visiting. And I’m not scared of them anymore, not since I won that argument with the priest.” I looked at him. He was making a point of observing the rest of the church instead of gazing at the stained glass as I was. “You were raised christian, too. And if Wikipedia is right, you fought in the name of God.”

“In another life.” He bobbed his head, lacing his hands behind his back as he wandered down the aisle. “Not the foolish, gullible and fearful catholic as Justina was.” Dracula cast a brief glance at me. “My late wife.” He explained but I had already surmised as much.

Since he had mentioned her without my needing to ask, I felt the urge to goad him with more questions. The urge to see that odd semblance of grief in his face as I had seen weeks ago. The reminder that he was capable of emotion, still. But I left it alone. It was possible he would shut down and assume that distant and impenetrable façade, and then our last date would be over much faster than I was ready for it to be.

“No, you were more the type to rip people to shreds when they didn’t condone your faith.” I lowered my voice mid sentence when my words echoed.

Following him down the aisle, I noticed that a big apparatus was raised up in a wooden structure ahead of us and it looked like an organ. Had we been alone at the church, I would have climbed up the stairs to knead a few keys just to hear the resounding, spine-chilling noise it would make.

“Precisely.” Dracula laughed.

“Did you ever do it for fun?”

“What do you think?”

“I think you did.”

He turned around, stopping at the centre of the aisle a few metres away from me.

“For fun, for boredom, but most of all to instill fear into my enemies’ hearts. Does it still bother you?”

I stopped.

It had when I first found out about it. And although he had just admitted torturing people simply for the fun of it, it didn’t bother me nearly as much as before. I ought to have been disgusted or disapproving, at the very least. It was a little worrying that I didn’t feel any of those things, like I had just discovered a part of me that was capable of terrible cruelty.

“No,” I said. “Not anymore.”

Dracula’s grin was all teeth as if that answer was everything he had been longing to hear.

“You’re not nervous tonight.” He was still grinning. “You’re usually nervous around me.”

“Usually,” I agreed, smirking.

Was this how it felt? Not having to worry, not caring about what could happen, not being cautious about every little thing, not minding that he had done horrible deeds and I still wanted his lips on mine?

This foreign feeling swelled inside my chest and my smirk became a grin.

“Let’s see the rest of the place,” I said, beckoning him with my hand. “There is a door back there and I think I saw something interesting.”

I didn’t wait to see if he would follow and simply turned around, heading to my right where I had seen a long corridor dappled with more colourful light from stained glass. Through an arched portal, I could see the extent of the corridor but it still didn’t prepare me when I crossed the threshold.

What I thought was only one corridor, was actually two positioned in an L-shape and I stood at the cusp of both. Elaborate lines composed patterns on the vaulted ceiling and walls, fanning into long and curved designs etched in stone and ending in what resembled flowers. Light poured from a collection of stained glass windows and with the way each corridor bent at their ends, I supposed the structure continued until it formed a rectangular. I squinted past a clear glass on a windowpane, and smiled. I could make out shapes of trees and what looked to be a fountain outside. These weren’t corridors but covered walks surrounding a square. Westminster Abbey had something similar.

“Gorgeous,” whispered Dracula.

I turned around to see what he was admiring. His stare was fixed on me, and I had a feeling it had been the same way when he spoke. He moved towards me and the stained glass bathed his face in red. Dracula placed one of my hands on his shoulder and took the other one into his own, extending our joined hands up in a dancing stance.

“I’ll step on your feet,” I warned as he splayed a hand on my back. “I’m not a good dancer.”

“I’ll teach you. Waltzing is easy, and I told you we would waltz.”

In a hushed voice as to not wake whoever slept inside the cathedral, Count Dracula instructed me how, his knees touching mine ever so slightly to point me in the correct direction as I stared down at our feet rasping on the floor, his hands pushing and tugging gently as we swayed to silence.

After a little while, I felt confident enough not to step on his feet, although I had done it a few times during his lesson, and looked up at his face. We were both a mess of colours and blurry features clouded in darkness as we danced out and into the stained glass light. The air was so chilly that my lungs burned with the effort of dancing, his hand so unrealistically warm on mine as we danced pointlessly – it was surreal, and filled me with an unusual melancholy that I wouldn’t experience something like that again and happiness because I had let myself experience it.

“I dare not ask for love–” Dracula’s words cut through the silence and I drew a sharp intake of breath for what he was about to say. His next words were accompanied by the cadence people used to recite something, which removed some of the impact of what he had first said and I relaxed.

“ I dare not ask for love – with all

My many sins, both great and small,

I am perhaps of love unworthy!

But if feigned love, if you would

Pretend, you’d easily deceive me,

For happily would I, believe me,

Deceive myself if but I could. ”

I held my breath halfway throughout but continued to dance. The mention of love completely escaped me when he spoke of deceit and I could not help but wonder if he suspected me of it. Did he know I was leading him on and did not care? Or did he know about me and Zoe and this was just a fancy way of telling me so? My heart raced. I hoped he took it not as panic but exhilaration instead.

“Is that in the bible?” I asked in a shaky voice.

“It’s Pushkin. I’ve been reading Russian literature again, old and new and it’s stuck in my head. Pushkin remains a favourite of mine and Anna Akhmatova is a close second from the new generation. Well, old generation, for you.” He chuckled. “The Pushkin stanza sounds better in Russian. Most things sound better in Russian,” he said in an even voice. I raised my eyebrows at him, and he recited the verses in Russian, and although I understood none of it, it did sound better. “This, however, is from the bible. I don’t remember from which book but I remember that I liked it when I was human. I’m translating directly from Latin, though, because that’s how I studied the bible, so I’m taking a few liberties here to make it sound better, and less ridiculously holy. It goes like this: Place me like a seal over your heart, like a seal on your arm; for love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a mighty flame.”

“It could very well be Pushkin,” I offered.

“It could. Ironically, I prefer these verses more than Pushkin’s.” He laughed lightly and I fully relaxed. He sounded like himself, not at all as if he knew something he wasn’t supposed to.

I did wonder, though, why he chose those verses out of anything else to declaim. Pushkin was a hopeless romantic through and through from what I had read of him. Of Anna I knew little but what I did know spoke of bitterness, death and failed, tragic love. Why suddenly speak of love? He could’ve quoted something else from the bible. Perhaps something to do with Samson and Delilah, since we had joked about it in the past. Anything else would have made more sense, even the parts that made no sense at all and had driven me to argue with a priest years ago.

Was Count Dracula attempting to tell me something? No. Couldn’t be. He was as forward as one could be. And the idea of him feeling anything remotely close to love seemed a little silly.

He had loved Justina; more than he thought he was capable of, he’d said. But that had been centuries ago in another life.

For a moment my determination in being reckless faltered and I felt at loss for what to say.

Dracula let go of me briefly to spin me around in a move I wasn’t as deftly trained in as he was, causing me to squeal at the velocity and trip over my feet. I thought I would fall but he caught me and started moving again in the waltz pattern he had taught me. Laughter bubbled up to my throat in my hurry to catch up with him and the sound of it was amplified by the long walls. Dracula’s laughter joined mine until it became a song for which we danced.

It doesn’t matter, nothing matters. I thought as I gazed up at him. He’ll be gone and whatever I say doesn’t matter anymore. I can entertain even the wildest of things because they’ll never happen. Nothing will happen, for the rest of time.

“I’ve got one for you,” I breathed as we spun in a dizzying pace. “The Devil’s hands directs our every move; the things we loathed become the things we love.” It didn’t come out nearly as expertly as his declamation but I was out of breath, spinning and spinning as he commanded. Like a ballerina in a music box. Dracula simply stared at me, the corners of his lips in their own fight of tugging upwards or downwards. “It’s Baudelaire. Have you read it?” I wasn’t sure if I saw him shake his head. Suddenly, we were dancing so fast that I could barely see my surroundings, much less his face. “I know Baudelaire as you know the bible, only the parts that matter, but I know them from heart. There’s one phrase that I particularly relate to, especially now.” I gulped as if I was looking down a cliff. “What can an eternity –”

Dracula stopped abruptly and I gasped, strands of my hair landing on my face as my head reeled at suddenly being motionless. The world still whirled around and I swayed on my feet as if I had forgotten how to keep myself standing up still, but the Count’s grasp kept me in place.

Interrupting our dance, I realised not a second later, was for the best. I’d been about to quote something very dangerous, something that could land me with both feet on a grave for all eternity with Count Dracula. And I would’ve said it out of sheer wickedness, just because I was tempted about what could happen if I broke a few rules.

I looked up at his face, heart teetering on the verge of stopping in fear of what I would find in his expression. But Dracula wasn’t paying attention to me. His eyes were focusing past my head. And then I heard it. Footsteps.

Our laughter must have woken up whoever had been sleeping inside the cathedral.

“What -?” A male voice drifted from behind me, sounding panicked and angry. “You can’t be here at this hour!”

“Shit,” I whispered to Dracula. “What now?”

He gave me a lopsided grin.

“This is your warning,” he said, not bothering to lower his voice now that we had been caught. I had time to frown at his reply before both of Dracula’s arms pulled me into an embrace, my feet swinging beneath me. I emitted a sound of surprise but didn’t struggle. “Hold on and please try not to throw up on my shoes, they’re rather expensive.”

I had one valuable second to wrap my arms around his neck and bury my face in his chest before we moved faster than I thought was possible. My insides tossed inside of me, suddenly demanding for a way out of my body’s cage. I kept my eyes closed the entire time, too frightened of opening them. I had never gone on a roller coaster ride but I supposed the feeling was similar.

Gusts of wind assailed my hair and threatened to steal the breath out of my lungs. I was afraid the feeling would last forever until we finally stopped and I landed on safe ground.

“You can let go now, Y/N.”

“Can you give me a second?” I mumbled, eyes still shut. “I think my soul is still trying to find a way back into my body.”

Dracula’s laughter tickled my ear and I tightened my hold on him. He did, too, his fingers pressing gently on the flesh of my back. Slowly, as if in a limp, my senses caught up with me and my stomach settled on what felt like an appropriate position.

I opened my eyes tentatively and turned my head to the side. Startled, I realised he had brought me all the way from Gloucester Cathedral to the street where my Airbnb rental was located. And he’d done it in a span of two minutes, if not less.

I tipped my head to look at him, resting my cheek on the cold of his leather jacket. Dracula’s eyes were closed, sets of black eyelashes casting soft shadows on his face, and he was breathing steadily. Not because he needed to, I presumed, but because he was taking in my scent. My lips tugged up automatically; it was odd perceiving that as something sweet but I did.

His throat moved, drawing my attention. A most devilish thought occurred to me and before I gave myself too much time to dwell on it, I stretched up and nibbled at the skin of his neck. It lasted no more than five seconds but the sound that came out of Dracula would be seared into my memory forever. Raw, rapturous, and chilling at the same time. Satisfied, I let go of him, but he didn’t let go of me. Too fast for me to react, he took my hands and placed them where they had been, and then trapped me into his embrace again.

I had just blurred some very important lines with what I had just done, and yet part of me only cared about the thrill of it.

“Your scar has faded,” he said, and my heart hammered madly. A hand delved into my hair, grabbing a mass of it to expose my neck. “You didn’t really think you could get away with what you just did, did you?”

“Not really. But if you bite me without my consent, then the deal is off.”

“And I have no intention of breaking my word. Don’t think of this as reprisal. It’s more of a gift, such as you’ve just given me.”

Dracula bent his head slowly towards my bare neck, like he was giving me time to protest. I remained silent. It was imprudent, this need to know what he would do, but I wanted to garner every possibility of my time with him to cherish in my heart, forever. And the uncertainty of it made me all the more excited. I stared up at the sky and then his lips touched my throat where he had bitten me, softly, so very softly. And then again, not softly at all. Riveting pleasure sparked to life as if the scar was still fresh and I choked on my breath. Dull teeth nibbled the skin there and a flash of pulsating warmth coursed down my chest and back, spreading gradually in the same way spilled blood spread on the ground: trying to encompass everything in its wake, tainting it with inevitable appeal and fear of what it meant. I held on to Dracula forcefully, more forcefully than one would judge to be adequate, and he laughed against my skin before giving it a long lick.

“Careful,” he whispered in my ear. “I may interpret your willingness as consent. And I know you well enough to know you won’t give it to me easily. Will you?”

“No.” The word was automatic and I thanked the part of me that still harboured a sense of self-preservation above my heedless desire for him. However, I still leaned all of my weight on him and made no attempt to put distance between us, as I should’ve. “Not easily at all.”

Dracula, showing way more restraint than I had all night, disentangled my hair from his fingers and stepped back. It took everything in me not to launch myself into his arms again but I let my hands drop to my sides.

“You’re dangerous,” he accused.

“Not as much as you are.”

“A different kind of dangerous.” He licked his lips. Could he taste my skin in his mouth?

“I’ll take that as a compliment.”

“It is one.”

I smiled. Being called dangerous filled me with power. Power over him. I was delighted for only a second before wondering if he would think the same thing tomorrow when I stuck a needle with sickly blood in him.

“The cathedral was a good idea,” I said. “Defiling a church has always been in my to-do list, plus I learned how to waltz. So thank you for that.” I sighed. “I should really go to bed now, and so should you. Isn’t the sun almost coming up?”

He nodded.

“Before you go–” he looked behind me with obvious disdain at the building I was staying at and then back at me “–what were you quoting before the priest came upon us?”

I gulped.

“I don’t remember.”

He narrowed his eyes, shifting closer.

“You’re lying. I thought we had established that you don’t lie to me.”

“You established that.” I stepped back, conjuring a cheeky smile. “I didn’t.”

“Tell me.”

“I’ll regret it,” I admitted. “And I prize my sleep. I prefer not to go to bed with a heavy heart.”

He stared at me for a long moment and I waited under his scrutiny, doing my very best to keep it together.

“Tomorrow, then,” he finally said. “Tell me tomorrow.”

But I wouldn’t tell him tomorrow. I would tell him nothing at all.

“Okay. Goodnight, Dracula.”

“Goodnight, dear.”

As I laid my head on the pillow that night, I realised I still didn’t know if Dracula would like Scully or Mulder better. And would never know.

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thecoleopterawithana · 4 years

Text

Songwriting is like psychiatry

[Dear @eppysboys, your wish is my command.]

There are bound to be thickheads who will wonder why some of it doesn't make sense, and others who will search for hidden meanings.

'What's a Brummer?'

‘There's more to "dubb owld boot" than meets the eye.'

None of it has to make sense and if it seems funny then that's enough.

— Paul McCartney, in the Introduction to John Lennon's In His Own Write (1964).

When we had a party in the States to celebrate having finished the album, someone came up to us and said 'Hello, Venus. Hello, Mars.' I thought, 'Oh. no.'' When I write songs, I'm not necessarily talking about me, although psychoanalysts would say "Yes, you are, mate." But as far as I'm concerned, I'm not.

— Paul McCartney, interviewed for the promotion of Venus and Mars (1975). In Paul Gambaccini's Paul McCartney: In His Own Words (1976).

I don’t examine myself that way. I just am. I just go through it. I just wake in the morning and go to bed at night and whatever happens during the day just happens. I don’t really know how I am.

— Paul McCartney, in Music Express: ‘Paul McCartney Wings It Alone’ (April/May 1982).

I’m not a great reader into moods: I don’t naturally say that if I wrote a sad song then I was sad that day, or if I wrote a happy song I was happy. I compose songs like playwrights write a play. They don’t have to know everyone in the play, they don’t have to know anyone in the play, it’s just a product of their imagination.

— Paul McCartney, speaking of ‘Somedays’, interviewed for Club Sandwich n°82 (Summer of 1997).

“There are a lot of mindsets when you’re writing a song – and one of them is commercial,” he admits. “It’s like any job, where if you do a certain thing you’ll progress in that job. In songwriting it’s an unspoken thing, but I recognise it. I remember hearing somewhere that people like sad songs, so I thought, ‘OK, I’ll write a sad song.’ I knew what I was getting into…” So, in a way, you were acting when you wrote [Yesterday]? “Yes. I wrote from the point of view of someone who was sad. But when you’re taking on a part, it’s usually you you’re writing about. Your psychiatrist would say it’s you.” Later, someone suggested that lyrics such as, “Why she had to go, I don’t know” were about McCartney’s mother who’d died when he was 14. “I certainly felt that way when she died. So when I sing Yesterday now, it does make me think about my mum. It’s more personal than I realised it was.” You sense that the older he gets, perhaps the more McCartney is prone to analysing his gift.

— Paul McCartney, interviewed by Mark Blake for Q: Songs in the key of Paul (May 2015).

This series – I just woke up one morning and I had a germ of an idea, which is all I want really. I don’t want too formed an idea, it’s just not who I am. [...] I woke up with this thing and I thought it would be just a black canvas and these three-fingered scratches, like someone in prison and they’re either trying to get out or they’re trying to mark the dates. [...] But then a shape emerged with this blue, and I still don’t know what it is. It looks vaguely phallic, or somebody’s ass bending away from you. But that’s what started to fascinate me. It’s probably an accident, but also what I like about that is the inner content, that I have no idea what my dreams are about. I’ve no idea, yet they’re every bit as real as sitting here with you. But my interior world, I think it’s not a bad idea to try and tap it.

My view is that these things are there whether you want them or not, in your interior. You don’t call up dreams, they happen, often the exact opposite of what you want. You can be heterosexual and be having a homosexual dream and wake up, and think, “Shit, am I gay?” I like that you don’t have control over it. But there is some control – it is you dreaming, it is your mind it’s all happening in. In a way my equation would be that my computer is fully loaded by now. Maybe in younger people there’s a little bit of loading to go, but mine’s loaded pretty much, so what I try and do is allow it to print out unbeknown to me. And I’m interested to hear what it’s got in there.

I think we must be interested as musicians as often our music arrives that way. I dreamed the song Yesterday. It was just in a dream, I woke up one morning and had a melody in my head. So I have to believe in that.

— Paul McCartney, in “Luigi’s Alcove” by Karen Wright, for Modern Painters (August 2000).

I think a lot of these songs like 'Tell Me Why’ may have been based in real experiences or affairs John was having or arguments with Cynthia or whatever, but it never occurred to us until later to put that slant on it all.

— Paul McCartney, in Barry Mile’s Paul McCartney: Many Years From Now (1997).

I was standing at the door and he was in bed, and we were talking about the lyrics of 'I Am the Walrus’, and I remember feeling he was a little frail at that time, maybe not going through one of the best periods in life, probably breaking up with his wife. He was going through a very fragile period. You’ve only got to look at his lyrics - 'sitting on a cornflake waiting for the van to come’. They were very disturbed lyrics.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

I remember giggling with John as we wrote the lines ‘What do you see when you turn out the light? I can’t tell you but I know it’s mine.’ It could have been him playing with his willie under the covers, or it could have been taken on a deeper level; this was what it meant but it was a nice way to say it, a very non-specific way to say it. I always liked that.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

"Sex is something I prefer to do, rather than sing about. Hi Hi Hi was from a period when everybody was getting stoned and having sex… I suppose singing about sex is not really in my genre. [...] It’s the same with trying to write angry songs,” he continues. “I can’t do it.” Really? “Yes. I wrote a song called Angry. Recorded it here with Phil Collins and Pete Townshend. At the time I thought, ‘Wow, we’ve really slammed this…’ I can be angry but I can’t find a natural way to put it into a song. It’s the same with sex."

— Paul McCartney, interview w/ Mark Blake for Q: Songs in the key of Paul. (May, 2015)

McCartney has written some of the world’s most famous love songs, but has he ever worried about revealing too much of himself? “Yes, but you’ve got to get over that feeling quickly, because that’s the game.”

— Paul McCartney, interviewed by Mark Blake for Q: Songs in the key of Paul (May 2015).

It’s funny because just in real life, I find that a challenge. I like to sort of, not give too much away. Like you said, I’m quite private. Why should people, know my innermost thoughts? That’s for me, their innermost. But in a song, that’s where you can do it. That’s the place to put them. You can start to reveal truths and feelings. You know, like in ‘Here Today’ where I’m saying to John “I love you”. I couldn’t have said that, really, to him. But you find, I think, that you can put these emotions and these deeper truths – and sometimes awkward truths; I was scared to say “I love you”. So that’s one of the things that I like about songs.

— Paul McCartney, on the challenge of giving too much of himself away when writing meaningful and truthful songs. Asked by Simon Pegg and interviewed by John Wilson for BBC 4’s Mastertapes (24 May 2016).

Songwriting is like psychiatry; you sit down and dredge up something that’s inside, bring it out front. And I just had to be real and say, John, I love you. I think being able to say things like that in songs can keep you sane.

— Paul McCartney, interview with Robert Palmer for the New York Times (25 April 1982).

[McCartney (1970)] was kind of… therapy through hell.

— Paul McCartney, interviewed for the Q magazine (2007).

GILBERT: Do you find it easier to write good records in a darker period of your life than in happier periods? You’ve lived through more than a few bad episodes…

PAUL: That’s a good question, I’m not sure. I think the answer is neither and both. I think it’s good when you’re in a dark period, the good is [the song’s] your psychiatrist, it’s your therapy, and you know we have many tales – anyone who writes has. Going away when you’re really upset about something and putting it in your song – you come out of that cupboard, toilet or basement and go, “I really feel better.” You’ve actually exorcised the demon. So it is one of the great joys of songwriting.

GILBERT: What would be an example of a song you wrote in a very angry or dark mood?

PAUL: I think the words of ‘Yesterday’, when I see them now I think there were quite a few of my songs like that, you know, bad moods made better. More recently ‘Calico Skies’ [evoking memories of Linda]; ‘Little Willow’ [for Maureen Starkey] was one I wrote about a friend when she was dying and, in fact, she did die, so those kind of things can help. With ‘Yesterday’, singing it now, I think without realising it I was singing about my mum who died five or six years previously, or whatever the timing was. Because I think now, “Why she had to go, I don’t know, she wouldn’t say, I said something wrong…” I think the psychiatrist would have a field day with that one. (Sings) “Yesterday, all my troubles seemed so far away / Now it looks as though they’re here to say” – there’s a lot of those songs, that’s just three where I can remember going into a hiding place with a guitar, purposely to exorcise your demons. It’s like writing your dream out or something, and it’s a physical effect where you come back out and you’ve created that magic again, pulling the rabbit out of the hat. “Where did that come from? Wahey!” It’s a great feeling.

— Paul McCartney, interview w/ Pat Gilbert for MOJO: Don’t look back in anger. (November, 2013)

Q: Do you have a song that you put on if you’re ever having a hard time or a bad day, and it instantly makes you feel better?

PAUL: There’s a track [’I Don’t Know’] on Egypt Station that came out of a hard time I think would fit the bill now! […] it’s funny what inspires you to write songs. For instance, John started writing ‘Help!’during a crisis at that time in his life, which is often a good motivator ‘cause there’s a therapy aspect to writing songs sometimes - but not all songs! It’s almost as if you’re telling your guitar your troubles and a lot of composure can be found through that. So you sort of say what you might say to a therapist, but you put it into a song and you might feel better afterwards. You don’t have to be going through terrible times, just something that’s frustrating.

— Paul McCartney, in You Gave Me The Answer (28 March 2019)

Q: ‘I Don’t Know’ opens with the lyric, “Crows at my window, dogs at my door, I don’t think I can take it anymore.” This imagery does seem pretty bleak for a comeback.

PAUL: Well, I was in a bleak mood. It’s a well-known fact, you talk to a lot of songwriters, that they write good songs from being in a bad mood. It can often be a really good motivating factor, because you don’t care. You can’t just go out to your friends or your relatives, and just start going, 'I’ve got crows on my window.’ You don’t necessarily want to just go and complain about everything, but you can complain to your piano, in this case, or your guitar… It’s a great therapy.

Q: Doubt and regret [hardly] seem to be things that people associate with you.

PAUL: It’s funny, isn’t it? People think that about me, that well, when you reach my position… you end up with no problems at all. But that’s unrealistic, because you’re in life. And if like me you’ve got a big family, there’s gonna be some sort of problem, even if it’s just someone’s ill. So realistically speaking, you have to think that it’s very likely that most people you know can have problems. Even President Obama. Even John Lennon. Even Taylor Swift. We’ve all got problems, and that’s what makes us all so human.

— Paul McCartney, interview for BBC 6 (20 June 2018).

The idea is that what I’ll leave behind me will be music, and I may not be able to tell you everything I feel, but you’ll be able to feel it when you listen to my music. I won’t have the time or the articulation to be able to say it all, but if you enjoy composing you say it through the notes.

— Paul McCartney, regarding Ecce Cor Meum, which premiered in 2001.

I have to leave And when I'm gone I'll leave my message In my song

Tangents

The Walrus | A case study for John’s struggles with meaning in song

The Surrealist | Meaning and Magritte

I Can’t Tell You How I Feel | Expressing emotions and feelings [statements in songs]

This One | A case study for Paul’s struggles with expressing feelings

I’m Scared To Say I Love You | Paul’s struggle with saying ‘I love you’

#Paul McCartney #John Lennon #the beatles #songwriting is like psychiatry #I don't examine myself that way #The Surrealist #A very non-specific way to say it. I always liked that.#Did I ever open up my heart and let you look inside?#I'll leave my message in my song #but the saving grace was as usual music #compilation #macca #johnny #linda #my stuff

173 notes · View notes

uservillanelle · 4 years

Text

Killing Eve ― 3x04 (Review)

Last episode was... something else for me. Episode 3 will ALWAYS have a special place in my heart because of Villaneve’s kiss and all that, but this episode. It has to be my favorite this season and if they keep up like that... not only will we have a PERFECT season, but it will be impossible for me to pick a favorite episode. I’ve watched it probably close to 10 times already and I’m not going to wait any longer. We have bunch of stuff to discuss! So let’s start!! (This will be a LONG review, so I apologize in advance lol!)

The Titles

It’s so interesting that they chose this season to experiment with episodes. Back in episode 2 we had the very first additional credits sequence which I, personally, liked a lot. However, maybe they didn’t like it as much? Since they didn’t use it anymore. I wonder why they haven’t placed the credits sequence in the premiere instead? It would still be unpredictable gesture, so I’m still wondering about it.

ANYWAYS! By titles, I meant the NAME titles this episode. The past two seasons we were used to having titles that indicate the names of PLACES e.g. RUSSIA, LONDON, TUSCANY ect. They are still doing that, in different way, the letters are smaller now and they use this interesting “blinds” effect that the letters appear and move like blinds would if we opened/closed them? Really nice touch, I must say. It’s something different, something we haven’t really seen before in the show.

Now the names. I’ve read a couple of people saying something like “why the name titles? we obviously know who the person is? so what’s the point of that?!” I found that quite funny lol! I mean, YES, we know exactly who they are but that’s not the reason why they’re using those name titles. Name titles, in this case, are to show us WHO the show is focusing on for the time being. That also means that the normal sequence of events will be disrupted since there won’t be any scenes switching between different characters. For some reason I felt like something like this happened before but then I remembered that something like this was used in another show called Dare Me! That’s why it felt so familliar and Killing Eve is exploring that type of narrative and honestly, I dig it. Yeah, it might get confusing for some people, having to bounce back and forth between the timeline and the events, but it’s perfect for those of us who has a sharp eye for details. It’s for the viewers who analyse and put pieces together. It’s exactly what Eve is doing at the end of the day with all the kills, isn’t it? So thinking about it, makes it all even more fascinating. Damn. I’m REALLY falling for the show... aren’t I?

The titles makes it SOO much easier for me to write these reviews as they basically tell which character they are focusing on right now and that’s what I did in my reviews lmao! I’ll just follow the characters in the episode so I’m sure you guys will be able to catch up with me with no problems!

Niko

So... THE MUSTACHE IS GONE.

I didn’t see it coming. The way they released all those trailers/sneak peeks featuring Niko made it seem like he was finally getting his fresh start and like, I had a feeling we might even get an episode fully focused on him and maybe Eve or something? So, that’s how well they mix things up. My mind, yet again, has been BLOWN.

Before we talk about the elephant in the room, I just want to say that Niko was a good person. I might not have been a huge fan of him, but I felt IT. Speaking of fans, I think it’s normal to NOT like him because he is playing the boring husband type and obviously he stands between Villaneve. But other than that, he IS a good, ordinary person. It’s a fact and Eve knows it. Niko keeps Eve grounded, safe, STABLE. He is all those things she found boring before in season 1 and didn’t appreciate enough I feel, because she was too used to them as all of us are.

He gets to play the part of a normal, ordinary man who got scared when he found out that his wife is chasing an assassin, who soon enough possibly murdered Eve’s colleague and a dear friend. Yet, it didn’t seem to slow Eve down nor did she notice any of the red flags in front of her face that straight up screamed DANGER. I think most of us would’ve reacted to things like that the way Niko did. Yes, we would’ve been a boring man/woman who the viewers hate, because they crave for danger and psychotic obssession filled with hatred and lust and a LOT of craziness. It’s what we crave now, watching the show and WAITING for Villaneve to happen.

This morning I’ve been watching a few of reactions of the episode and I got to explore different perspectives of people reacting to the same thing. I love that. I want to know what other people see in things, you know? And so... one of the people made a point about KE writers killing off whoever they want, probably to surprise the viewers as they probably don’t know how else to drive the story. Meaning that Kenny or Niko didn’t have to die. But that’s the whole point... one thing is to claim that they are doing whatever they want with the show, but another is to actually COME UP with ideas for a decent, I mean.. not even decent, AN AMAZING plot that people would be shocked and amazed by at the same time. You can only go this far without having to touch any of the main characters, you know? There comes a time when you have to make big, serious choices in terms of the story and this season Suzanne is GOING FOR IT. Like I mentioned in my previous post here, the first two seasons were amazing, but it only NOW feels like things are getting real. Suzanne took over and she’s getting shit done. She’s taking this responsibility and making huge important choices that will shift the main plot AND Villaneve in certain direction and so far it’s going sooo smoothly and brilliantly.

I mean, yes, Niko deserves to start over and have a nice life but the moment Villanelle found out about Eve... Niko’s fate was decided for him whether he liked it or not. And having him simply disappear from Eve’s life AND from the show as if nothing... I’d see it as waste of character’s potential. So instead of not having Niko around but have HIM affect the story in such a profound way, I think killing him off was a great idea. This way... his character gains so much more meaning and it helps to drive the main story forward, but most importantly it will change and affect Eve in ways we have never seen before. So, I think I’ve read somewhere that Owen McDonnell (Niko) wanted his character to go out with a bang, and he truly did. Yes, it was a very brutal, shocking death but it was definitely a very strong one.

Now, the soundtracks STRIKE yet again. I’m talking about Niko’s soundtrack, Dear Diary by The Moody Blues is soo well fitting for his character while showing him trying to start over with his life. It carries this... sort of bittersweet feeling, but at the same time it’s so... freeing? And the lyrics speak his story without Niko having to say anything at all.

“ Woke up too late. Wasn't where I should have been For goodness sake, what's happening to me?”

Yeah, he WOKE UP a bit too late and realized that the life he had wasn’t really for him anymore.

“So many people by the score Rushing around as senselessly They don't notice there's people like me”

And we basically see him drive through the town and watch people going with their lives and not really notice him for who he is now, for what he had to go through. Probably none of them had to go through so much trauma and had their lives in danger the way Niko has.

“If they weren't so blind, then surely they'd see There's a much better way for them to be”

Perfect description for Niko the previous two seasons. Now that he’s “woken up” I wouldn’t be surprised if he thought that way. Again, this show picks the soundtracks for a reason and I’m not sure if in first two seasons the songs described and spoke instead of characters, but this season they are really going for it.

Eve

Oh boy, where do we start?

So... from now on Eve spends her nights at Bitter Pill office. I mean, after being shot by a crazy assassin girlfriend, who, found out where Eve’s living now, it’s more than understandable for her to NOT want to stay in her apartment any longer. But staying in the office is not the best idea either. I mean, she still can go back to her apartment to clean up and all that? Guess not this day. Which happens to be her BIRTHDAY. I was convinced that Villanelle sent her the cake of a bus was only to remind her off their mindblowing kiss, because let’s remember back in 1x04 Villanelle had just murdered Bill and threw a birthday party to Konstantin. And it wasn’t his birthday. Yes, she tried to get on his good side, but I really thought this would be yet another example of Villanelle’s behavior. Turns out.. it IS Eve’s birthday... and my mind is blown yet again. I NEED to know what day is her birthday. Like, seriously?! And.. Niko hasn’t messaged her despite it being her birthday. Like.. you two have huge issues still, but hello? It’s your wife’s birthday... or maybe he forgot? But here is Villanelle not forgetting about Eve’s special day... and the fact that it’s a goddamn bus... WE GET IT, VILLANELLE, YOU’RE A HOPELESS ROMANTIC.

Before the cake arrives, we have a scene of Eve cleaning up in the bathroom, checking out her bruise and then the moment with Bear. Everything made total sense. Eve brushing her teeth, smelling herself, probably aware that she’s in desperate need for a shower, then again smelling her hair until Bear points it out for her. Yes, SMELL is the reoccuring theme in Killing Eve. So that was alright. Everything was going smoothly UNTIL Bear spotted the UNDERWEAR. Now, I did some digging to find a confirmation that it indeed was underwear and not some random piece of clothing or whatever... and in one of the recaps online they did say it was underwear. My question is... WHY? Why did they include THAT specific bit? The fact that Eve needs a shower was established more than ONCE, out loud and through a solo scene in the bathroom. So it got me thinking... and by thinking, I almost immediately got an idea... If it’s still not clear for you, let me remind you just how the last episode ended... with Eve sitting on her bed listening to Villanelle’s recording with her eyes closed. And now... the underwear being spotted and throwin in a bin and all the smell? Okay, I’m so going to say it now. Eve masterbated while listening to Villanelle’s voice. Okay. To me it happened and the underwear bit is a confirmation of that. And if that’s not the case... please let me know because I NEED to know what the hell did that bit mean. But until someone does that... I already know what happened and I’m happy with it.

Now the cake moment. So not only does Villanelle know where Eve’s apartment is but where she works?! This gurl is putting some EFFORT for her girlfriend and on top of that buying a very expensive cake which Eve threw off the rooftop moments later. The reason for that is.. Villanelle. Duh. I was completely mesmerized by that scene. Again, THE SOUNDTRACK. I love, love, LOVE this score that was playing during the scene. It’s probably another new addition to Unloved album, but if anyone has seen it somewhere or has a link, please let me know!! The lyrics do all the work in this scene too...

“Set me free”

It all started in season 1 episode 7 when Villanelle told Agniya that she’s free to go and do whatever she wanted to. She replied with “I don’t want to be free” so she was killed off. Now, Being FREE has been mentioned SEVERAL times this episode. Including the lyrics in the soundtrack AND Sandra Oh talking about Eve trying to FREE herself from the Twelve and basically from the life she has been living before. Such a huge theme for Killing Eve. What does it mean for Eve to be free? Is it the same thing as it is for Villanelle? Again, in the scene with the accountant’s wife, Bertha, Villanelle tells her “You’re free now. You can be whoever you want.” and the other replies only with “But.. I don’t want to be free”. What an iconic parallel. So, for Villanelle, being free is being alone, as it seems. And in this case Eve is desperately clinging to Niko because she, like Bertha, doesn’t want to be free. Or more like.. she THINKS she doesn’t want to be free. So all those small gifts coming from Villanelle including the cake tells Eve that she CAN be set free. And.. as we can see from how the episode eneded.. Eve is now finally FREE.

She opens the box soo carefully, not knowing what to expect from Villanelle and then sees the cake. Immediatelly gets flashbacks to their moment in the bus and how they fought and most importantly, KISSED. And next thing you know... we see how a gush of air blows in her face with the sound of someones BREATH. The sound of it is soo familiar. We know exactly who it is. Villanelle, breathing in Eve’s face. And for a second she closes her eyes. Gives into it... into Villanelle but then something shifts, the struggle within her continues to take over and she grabs the cake once she gets emotional and throws it off the roof. Only to instantly regret it afterwards. The complexity of this scene and of Eve’s character is just.. on one hand she hates feeling like this now that she knows she has feelings for Villanelle, but on the other hand she likes it... she admits it and a part of her just wants to give in. We saw the same thing, only reversed feelings, in previous episode. She finally gave in and kissed Villanelle only to headbutt her right after, once she realized what she did and how WRONG it’s supposed to be. Here, she gives in for a moment.. closes her eyes and then realizes how fucked up that is and what a terrible person and WIFE she must be so she throws it off and THEN the feelings for Villanelle comes back... I just have to say.. I’M LOVING THIS! I hope that at the end of the season Eve WILL fully accept her feelings for Villanelle and become new version of herself, new version of Eve who is FREE. And I can’t wait to see what kind of person will independent Eve be like.

Next. Eve and Jamie. I’ve seen pictures of them in Jamie’s house and I did NOT like that atll. I still have a feeling something might happen between them and god, do I hope I’m wrong. But that scene as they were just chilling in his living room was so great for Eve because she needed someone to have this frank conversation with. She has been focusing on herself lately so much that she didn’t think other people did mistakes or terrible things like she did until Jamie proved her wrong. FINALLY we are getting some information about the dude. Even if it’s not pretty. At least it’s the truth. Eve really needed to hear it and especailly the ‘choices’ part. Someone had to remind her that SHE is in control of her own life and it all depends on the choices she makes at the end of the day.

Speaking of choices, as soon as Eve gets a reply from Niko, she gets hopeful and goes even as far as to meet him. I appreciate that she is putting so much effort in trying to fix things between her and Niko, but at the same time I feel she’s only doing this for herself... meaning, that she doesn’t want to lose the person that keeps her somewhat SANE still and used to ground her. And in the middle of this, she gets so distracted with this thing with Niko, she doesn’t even realize that it’s not actually Niko who’s messaging her and really, I don’t blame her for not realizing it, I, myself, the first time watching didn’t catch the sight of Dasha in the beginning and yeah I was also played like Eve. But this is where I noticed a nice similarity/parallel between Eve and Villanelle. Eve’s all distracted with Niko and desperate to patch things up, she’s not realizing how someone else might be manipulating/using her. DASHA is doing exactly that. And she does the same thing with Villanelle at the same time. Now, Villanelle is all about family this season, whenever she hears about family, suddenly she’s distracted and the same is with power. I mean.. is she really that naive to trust Dasha again? It looks like Villanelle believes everything Dasha tells her, or almost everything. And so Dasha gets to manipulate her into doing what she wants her to do.

Gotta mention the teddy bear Eve found in one of Jamie’s rooms she’s staying at. Literally the previous night Villanelle sent her a teddy bear with recording and even here... at some strangers house she finds a teddy bear. Seems like she can’t get away from Villanelle no matter how much she tries. “What do you want from me?” She’s asking Villanelle because she clearly isn’t leaving her alone.

The last scene with Eve witnessing Niko’s death... all I can say is GIVE SANDRA OH A GODDAMN EMMY ALREADY!!! Her seeing Niko suddenly being stabbed with a fucking pitchfork in the neck forced her to freeze and stare in terror and that chuckle of disbelief that followed afterwards.. as if saying “am I dreaming? Is this really happening? It can’t be” because Kenny JUST died... what are the fucking odds someone just stabbed Niko in front of her eyes?! I would lose my SHIT... and Sandra expressed it so beautifully... her slowly approaching the scene but then has that massive lump in her throat and she can’t breath and next second she’s losing her balance and falling to her knees in complete defeat and just stares at his body... powerless to do anything about it. This scene and the scene where Konstantin tells Villanelle that Eve is alive.. these two scenes HAVE to bring Jodie and Sandra EMMY’S because thats ART of acting and pure talent and I can’t imagine them NOT getting the awards they deserve. And they deserve EVERY single one.

So there is literally NO ONE left for Eve. Bill’s long gone, Kenny as well, now Niko. I think that will be the last straw for Eve. I really don’t know how she will be able to come back from this or.. keep going. She’ll have to do it to avenge the people she loved. But she really has no one except Villanelle now. And I think.. yeah, Villanelle will also only have Eve when she’s done with her “family” and realizes that Konstantin/Dasha were playing her and Eve all over again.

Konstantin

You’re in some DEEP shit, mister.

Question time. Why Konstantin went to visit Irina? What was the point of doing so? Was it only so he could ask about the German car that his wife’s boyfriend owns? Or was it purely on Irina’s part? Because the conversation they had proved once more that Konstantin is NOT fooling anyone. Everybody knows he’s working for himself. Eve pointed it out during Kenny’s funeral, then Villanelle with “You’re full of shit” and now Irina, paralleling Villanelle by saying “you’re full of shit” and walking off. This girl has grown so much and she’s soo mature already and smart and a fucking badass! I missed her. And by putting her father in his place she mentioned ending up “dead” .. you know what that sounds like to me? FORESHADOWING. It is exactly that, isn’t it? For Irina to straight up tell him his future if he doesn’t stop whatever he’s doing. And I guess he won’t stop.. or will he?

So... was it him who stole those 6 millions? I thought it was Sergei... but it kind of seemed like someone set him up. Was it Konstantin? Because when he went to visit Bertha and she mentioned about how her husband worked out who took the money... and Konstantin’s face during that scene... he is literally shitting his pants lol! That makes me believe he had something to do with this and he defintitely has... but what exactly did he do? And now that Bertha knows about the email and some information about it, Konstantin doesnt hesitate to reach out to Villanelle to ask her to get rid of the accountants wife only to save his own arse. Once again.

Next up: Konstantin’s relationship with his DAUGHTERS. Am I the only one who sees that Konstantin is treating Irina AND Villanelle the same way?! They basically have the same dynamic. Both Irina and Villanelle curse at Konstantin, have their small tantrums with him and can put him in his place. And both of them have already done so. And let’s not forget... the producers ALSO call Villanelle and Irina his DAUGHTERS so it’s confirmed. Everybody knows it. And recently I saw a BTS video of this latest episode about Konstantin and hearing Jodie then say “then there’s Konstantin’s REAL daughter” and then there’s dramatic close up on Villanelle LMAO! The jealousy and the way they edited it... damn. Okay, let’s just agree Villanelle is Konstantin’s daughter.

Now, did he visit Geraldine?! Because when we saw Carolyn drive back home, she saw Konstantin walking from the same direction her place is located. And her daughter was home at the time... so did Geraldine lie about Konstantin not visiting her and being there or she didn’t even know when Konstantin sneaked inside? I’m getting really suspicious now.

Villanelle

GO AWAY, HICCUPS

Villanelle? Listening to MUSIC? What did I miss? Back in season 1 she was interested only in national anthems. Now she’s listening to other kind of music?! Music to me is EVERYTHING, it’s a massive escape, it’s something that helps me get through every day and it evokes FEELINGS. It is associated with feelings so much and what does it say about Villanelle? That she has FEELINGS. The layers are slowly being peeled off her as Oksana is coming out and I can’t wait for the next episode. I’ll write another small analysis/discussion about Oksana and Villanell soon as I feel this deserves a separate discussion.Going back to the topic of music, at the end of the episode Villanelle arrives HOME and is wearing headphones indicating that she probably was listening to music on her way there. I’m sensing BIG changes. Villanelle is truly progressing and developing and we are getting to witness it!

Okay. the part we all have been waiting for. THE HICCUPS. The very first time they start is EXACTLY after Konstantin mentions “FAMILY” Villanelle is really invested in her family now and was in previous episode so now knowing that Konstantin found them probaly quickened her breathing and she got nervous/excited. The hiccups are involuntary contractions. You can’t control it. And at the same time they tend to be constant. We have never seen Villanelle have them before. And they only start after she hears “FAMILY”. This reminds me of a scene in 1x02 where Konstantin tells Villanelle Eve’s name for the first time and then suddenly the champagne’s bottle pops. It’s a sign. And the hiccups seemed to stop for a short period of time, right until Bertha approaches Villanelle and tells her that she wants to be a FAMILY and hugs her. Seconds later hiccups come back. The concept of FAMILY must be very foreign to Villanelle. It’s something she never really had and so now learning about her family, something so unknown to her, is affecting her body. And the way I see it... the hiccups are like a constant reminder to her, that yes, she never had family and that she’s finally interested to find that family again. So the hiccups symbolize the LOSS of something she never had. In this case, her family. Because we see her get off the train at the end of the episode and she reaches out to touch her neck. This scene for me has so many different meanings it’s sooo fascinating? And one of the meanings, probably the main one, is that she reaches out to her neck once she realizes that hiccups are finally gone. And that is exactly when she’s back at HOME. Back where her FAMILY is. So it’s like... she’s no longer alone, the void from before has been filled because she found her family now.

Now, the very first time I watched the episode and that last scene.. I was like “shit, did she, by any chance, feel Niko’s pain?!” I mean that’s IMPOSSIBLE. Because Niko has just been stabbed in the neck with pitchfork and yeah it just occured to me. But then... I realized that maybe it’s not Niko’s pain she’s feeling but EVE’S. We see Eve freeze and struggle to breathe and have lump in her throat and that’s when Villanelle stops having her hiccups and she has this MOMENT. Almost the same moment as Eve had when she felt Villanelle’s BREATH on her face.The connection thesr two have... I mean.. VILLANEVE IS ENDGAME, OKAY?!

We got a tiny problem now. Dasha FRAMED Villanelle. It got me thinking.. this is basically a betrayal. And could that mean.. that maybe Dasha did something similar to Villanelle in the past? Like, framed her with some kill? Could it be that huge thing that happened between the two of them? I hope we will find out at some point this season. And I mean.. the way Dasha killed Niko is NOT Villanelle’s style at all. Villanelle had PLENTY of chances to kill Niko herself and she didn’t because she knew well enough that if she hurts Niko, Eve will never forgive her for that. So she didn’t. But Eve doesn’t know that. She wasn’t a part of that conversation Villanelle had with Niko and Gemma. What Eve does know... is Villanelle’s handwriting. The iconic “Sorry Baby” should be a perfect example. Let’s not forget the postcard Villanelle sent to Eve in Amsterdam. Yes, Carolyn took it, but maybe... she’ll give it to Eve once she knows what happened? I mean there is NO way Eve will believe that crappy note is Villanelle’s. Not even her handwriting. Plus... if Villanelle wanted to kill Niko, I don’t think she would’ve done it in front of her eyes. And even if she did... I think she would have wanted Eve to SEE her do it. At the end of the day, Villanelle wants Eve to know about each and every kill she does. And Niko wouldn’t be an exception. She’d leave a PERSONAL note/message for Eve. What did Dasha leave?! “Still Got It”? Really bitch? Is that a note to Eve or Villanelle? If it’s to Villanelle... you just prepared your grave, Dasha. I can only imagine Eve finding out it was Dasha and ending up killing her to avenge her husband. And Villanelle being there to gladly assist her with everything she needs.

Carolyn

Never thought frog sounds could be this relaxing

She’s still dealing with Kenny’s death. In her own way. I mean, I understand Geraldine completely when she confronts her mom and basically tells her that she wants them to talk about Kenny’s death. If I was in her place, I would want to talk about it too. But Carolyn doesn’t seem to operate in that way. Plus, she dropped the line “there are things you don’t tell me, that are for quite different reasons” and she means it about Konstantin. She saw him leave her house. Geraldine said nothing about it. So... is she working with Konstantin now? What’s happening?

The dynamic between Carolyn and Konstantin though. Both of them are double agents and ready to betray one another at any given time despite knowing each other for YEARS. One minute they are working together as they were in season 2, then now Konstantin is doing his own thing, and even maaybe going behind Carolyn’s back with her own DAUGHTER?! I don’t believe this. I don’t think Geraldine knows about him visiting the house.. or does she?!

She comes back home, lies down and turns on frog sounds to relax herself while grabbing a pillow to press against her own face. Makes me wonder if she did it because she kept on repeating that she MISSES Kenny’s smell, but why would that pillow smell like him? So maybe she only wants to run away from the world and shut off by grabbing the pillow? Though for a moment or two I really got worried she might be suffocating herself lol! Careful with grief, Carolyn!

Dasha

The old hag of the hour.

You fucked up, Dasha. BIG TIME. But before we get into the killing, I have to mention the scene where she meets the Lady of the Twelve. That’s what I will call her from now on. So, she’s either a keeper, or someone higher. I don’t think she is one of the Twelve, but she might be very close to them. Probably an assistant or something? Because she obviously has the power to HANDLE the HANDLERS. In this case, Dasha. I mean, I only saw her once and I already have the hotts for this lady, but she’s one of the bad guys and... WHEN DID THAT STOP ME BEFORE? I’m literally in love with a psychotic assassin LOL!

Can I just point out the fact that the Twelve KNOW about VILLANEVE??? Apparently they have spies EVERYWHERE, like Eve said back in season 1 episode 3. “They are completely invisible and they could be literally everywhere”. That explains someone spotted Villanelle going around London, buying expensive ass perfume only to visit and fight with her girlfriend. And the Twelve know it. That’s a HUGE thing. They are treating it like a huge thing and they do not like Villanelle chasing Eve. That makes me think... so why would Konstantin let Villanelle know that Eve is alive if he is also working for the Twelve?! The same is with Carolyn and Eve!! Like?? Who is working for who now and who is betraying who?! I need explanations and QUICK!

Now Dasha proposing she can kill Eve... is this yet another foreshadowing moment? I know, the lady told her NOT to do it, but I have a feeling Dasha will try to hurt Eve at some point... and I hope Eve will be ready for it. As much as I would LOVE for Villanelle to save Eve.. I want Eve to handle Dasha by herself and take her revenge. I want dark!Eve at the end of this season. Am I asking for too much?! She already killed once. Might as well do it twice lol!

So Dasha is supposed to “drive a wedge” between Eve and Villanelle. And when I realized Dasha stole Niko’s phone and was texting Eve to come to him... my first thought was “Okay, so is Dasha really trying to bring Eve and Niko back together?!?” But that is complete NONSENSE! I mean, I don’t think even a professional therapist will be able to bring them back together OR let alone recommend them to try to fix their marriage so how in the HELL would Dasha do it? It didn’t make sense.. but how else can she really fuck up Villaneve? Apprently by getting rid of Niko!! Dasha, sweetie... you ONLY BROUGHT THEM CLOSER BY ELIMINATING THE ONLY OBVIOUS OBSTACLE IN THEIR WAY!!! The hell was she thinking?! Does she really believe Eve will fall for her bullshit? Or does she expect Eve to find out it was HER and that’s when Dasha gets to kill Eve?! I don’t think she’s that smart. Either way... Dasha is done. I can totally see her dying this season, or possibly somehow magically escaping but I doubt it. Eve and Villanelle will deal with this bitch and it will be SOO delicious to watch them get their revenge.

Overall Thoughts

JESUS. This was a LONG ass review. I honestly apologize, but if you reached this point, THANK YOU SO MUCH!! You’re all amazing for spending your time reading my nonsense lol! It’s just that this episode had soo many great things worth discussing and so many symbols and meanings that make the show so complex and fascinating and god... I could talk about it for hours. I probably spend around 3-4 hours writing this so yeah, the proof that I have a serious fixation lol!

But like I said.. this episode is my favorite this season. Perfect. I can only imagine how great the next 4 episodes will be. Also, can’t believe we are already halfway into the season. It’s crazy how quick the time flies!

And as always, if you have any thoughts/reactions/predictions you’d like to share don’t be afraid to message me or drop in my askbox!! I’m always up for discussing things like that!!

#ke spoilers #killing eve #villanelle #jodie comer #eve polastri #sandra oh #villaneve #ke s3 #ke 3x04 #ke review*#ke*#ke 3x04 review #this shit is LONG™#creation

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