#and just talking about the scene where Vegas and Pete are both shown as they miss the other or still figure it out

[jumpols-nostrils]

I can't get over how Pete keeps living by his own words in the most poetic way

"kissing is for people that we like only" *realizes that he really wants to kiss Vegas and acts on it in a split second decision*

"there's no heroes nor villains in this world" *sleeps with the enemy* *looks at who Vegas actually is and sees he is a complex person working out his own struggles instead of judging him for his surface actions*

"If you'd like to have a good conversation with him, you must be patient and calm." *takes his time to ask Vegas and listen and gives advice without ever getting impatient*

"If you're sad, that means it is important" fuckin, that scene when he's just eating noodles, and caressing his own hand in longing, and then he stays upset even during his own welcome back party like. Bruh. 😭

And also, of course, how upset only Vegas seems to be able to make him. The whole last episode. And so on. Just incredible. I think about this every day

[fawndlyvenus]

So, I want to share something that’s been sitting in my brain since KinnPorsche the Series aired. I’m a person who loves seeing colors and their meanings in the media I consume, as well as seeing how those colors connect to characters and become like a calling card for them. And oh boy does KPTS do that often. And one thing I’ve seen over and over again is that when Pete is on screen, – and somehow Vegas is involved – the color green appears.

In either lighting, clothing, and/or background items/decorations. And yes, green lighting is shown in scenes where neither is involved, or just Vegas, but it’s most common with Pete.

The meal that Vegas barges in on at the main home where Pete is present? Green lighting.

Pete in the car with the condoms and Vegas? Green lighting.

Pete snooping in the minor home and getting caught? Green shutters and Vegas in a green robe.

Pete being tortured? Green lighting.

Pete in the safe house? Green lighting.

Pete afterwards in the tub after his escape? Green lighting.

Vegas when he is pretty much confessing to Porsche about his feelings for Pete and swearing he’ll keep him safe no matter what? Green silk shirt.

Now, I know what you’re saying, “This sounds almost like Vegas is the green color.” Or “Well green can mean this thing, so it’s not really connected to Pete.” And yes, you are probably correct, but this is where it gets interesting. (Also this is just my personal take. So anything else is also valid.)

We know how Pete is as a character, right? Well look at what we find when we look at the color green:

“Green is a very down–to–earth color. It can represent new beginnings and growth. It also signifies renewal and abundance. Alternatively, green can also represent envy or jealousy, and a lack of experience. In spiritual terms, the color green implies beginnings, new growth, vibrant health, and other ideas connected with life, rebirth, and renewal.”

Now, does some of that sound familiar? These are all things that you can tie to Pete. Down-to-earth, lack of experience (you all know), beginnings, new growth, rebirth/renewal, and even envy or jealousy (from what I’ve seen people talk about how Pete felt about Porsche at certain points.) These are parts of Pete and his journey throughout KPTS.

Even more interesting is when you look into green in terms of love:

“What does the color green mean in love?

Green is the color of the heart chakra, symbolizing love to others, forgiveness, compassion, understanding, transformation, warmth, sharing, sincerity and devotion.”

Now tell me that isn’t Pete’s love for others, but especially Vegas. That’s basically how Pete loves Vegas down to the letter in the series.

But let’s also look at Vegas while we’re here. So I know most of the fandom pins Vegas’ color as red (I do too) and when you go back and look at certain scenes (the torture and safe house scenes for example) you see both colors. And the show almost always seems to add the red once Vegas enters, and even frames them accordingly to their colors. So of course we have to look at that.

Now what’s interesting is red and green are opposites, yet complimentary colors on the color wheel. One could almost say two things that are the same yet different. (Yes, I am implying Vegas and Pete being similar, yet different right now.) But let’s take an even closer look at the colors and what they represent when compared to each other:

“Red is a color of vigor and energy. It represents passion, urgency and grabs instant attention. It can also cause you to feel hunger, which is why it is used in food and beverage logos.” Now who does this sound like? Grabs instant attention, vigor and energy, but above all else causing you to feel hunger?

“Since red is the color of blood, it has historically been associated with sacrifice, danger, and courage. Modern surveys in Europe and the United States show red is also the color most commonly associated with heat, activity, passion, sexuality, anger, love, and joy.” And now we bring blood, danger, sacrifice, passion, sexuality, anger, love, and joy into the mix as well? Seems pretty spot on with Vegas.

“Green, on the other hand, is a color of peace, rejuvenation, nature, cleanliness, and fertility.” So when compared to red, green is its opposite: bringing peace, a rebirth of some sorts, and cleanliness (like washing away the sins of your past perhaps?). But also note how some similarities still are there.

Now one last look at the colors. I feel like this one is the big kicker for these two, and really sells Pete as green, and Vegas as Red: “Green speaks to our desire to foster understanding and acceptance between people and to see the potential value and goodness of each person. Green does not represent the color of love on the level of passion between two people. Throughout history, red has been the color of passion, romance, and sexual energy.”

That to me is Pete. If nothing else, that is Pete as a character and how you see him in his time at the safe house. He tries over and over to understand Vegas, see the value and goodness in him, as well as acceptance for who he is and of his past. You can even boil it down to just how Pete is as a person and how he loves/cares for people in general.

And when we look at the love on a romantic or just simply passion level, we see how Vegas and Pete are different. Vegas – like most people in his family – loves people to obsession. Once he loves you, he will do anything for you. He cannot and will not let anything or anyone harm Pete. He brings the intensity and sexual energy that we never really get from Pete. Pete loves in a more nurturing and compassionate way. Vegas comes in like a fire, whereas Pete comes in like a gentle rain on a summer day.

But when they two come together (look at me bringing things back around again) they compliment each other, and both take from one another. Pete learns to be more rage and heat. Finds that hunger and passion that he never had before. Finds the love and sexuality that he never explored or was aware of in his life.

Vegas cools down some of his heat and rage, and brings in the compassion and understanding of others (even if we only get to see it briefly with people like Porsche and Pete.) And we even see him entering his rebirth right before he gets shot and afterwards. Him finding that peace and devotion. That warmth and his own love that he never had before.

Red and green are two colors that work perfectly (again, in my opinion) for these two as “their colors”, but also to give us more depth and insight into two characters who didn’t get as much time and development as others. Complimentary, yet opposites. The same, yet different. Two people that you would never expect to come together, yet are soulmates through and through for one another.

One ruby heart, now speckled with beautiful emeralds. One lush and green heart, now blooming beautiful red blossoms.

[chalkrevelations]

So, I’m kind of still stuck back here in that parking garage in Ep 14, where new layers just keep opening up, particularly this part:

The next time Vegas sees Pete after the scene behind Yok’s bar, Pete is back at Kinn’s side. The first time Vegas sees Pete in the minor family’s assault on the main family compound, Pete is covering Kinn …

Because the level of this only just hit me. Like, yes, Pete has repeatedly shown Vegas - since decking him at the safehouse and running off - that he’d rather be the main family’s dog than Vegas’s dog, but Vegas also has specific issues with Kinn, and Pete knows this. The first thing that Pete tells Porsche about Vegas is essentially that Vegas tries to measure up to Kinn, and practically the first thing Pete starts excavating during his impromptu therapy sessions with Vegas at the safehouse is to ask Vegas, Why do you have to compete, and they’re absolutely specifically talking about Kinn. And then Pete turns around and not only runs back to the main family but back to Kinn - in at least two situations in which Kinn and Vegas are literally faced off after that, Pete is standing there on Kinn’s side, against Vegas, because apparently, Kinn has won Pete from Vegas, and Vegas has lost to Kinn again.

Which leads to that moment in the parking garage (before the beatdown and the love confession), when Vegas tells Kinn he can’t decide where to shoot him and very dramatically says the head or the heart, and he points his gun down at Porsche on the ground, and I’m suddenly like, oh shit. Because there are a million ways we’ve seen through the course of the show that Pete is Porsche and Porsche is Pete, that Vegas is Kinn and Kinn is Vegas, in innumerable crazy-glue, bubble-gum and string parallels (including both Kinn and Vegas continually allowing themselves to be puppeted by their respective shitty fathers into doing things that, directly or indirectly, hurt the person they love most). And yeah, we’ve got that apocryphal knowledge from the book that Vegas fucks all of Kinn’s boys, but this is different, this isn’t like Vegas wanting to mark up Porsche in some hotel room to piss off Kinn, it’s not like Vegas wanting to steal Porsche’s affections as something to hold over Kinn – this is about Vegas threatening to take away Kinn’s heart, the person he loves most, forever, the way that Kinn has already taken away (back) Vegas’s heart, the person he loves most - as far as Vegas knows, forever. There’s an awful kind of symmetry here, Porsche and Pete are exactly equivalent in that moment, and this is payback rather than one-up-man-ship, in a way it’s never been before. And I’m not even sure Vegas is conscious of this at this point, but it’s super-interesting to me, because it provides another – even subconscious – reason for his suicidal agreement to follow his dumbass dad in the assault on a fortress, not just because he’s still trying to please the shitty father who’s never going to be happy with him.

Anyway, this ALSO leads me to that poolside scene, again, when Pete says he’s hungry, and Vegas asks whether someone else can take him to eat – that’s not some random hypothetical someone. That’s Kinn. Who Pete has already specifically chosen over Vegas, to be with rather than being with Vegas, and that’s why Pete’s final choice of Vegas here is so important.

[objectivelyimpermanent]

Episode 13

A very mature and thorough episode, I think. They managed to achieve a balance of the three main couples that feels pretty fair and satisfying.

Kinnporsche is in its final stages, just before the relationship incarnation. The finale should be epic.

Porsche was understandably off this entire episode. He was reserved with Kinn because they both had thought that they'd resolved this whole issue about Porsche's parents and Korn, but Scummy Uncle had to show up and immediately fuck everything. I think that Porsche felt a little guilty because he didn't want to bring it up again now that they'd moved back in to the main house and Kinn was no longer at odds with his father on Porsche's behalf. Also, Korn is dangerous, and Porschay is living in the house with them. I don't think that Porsche thinks that Kinn won't be on his side; he's worried that he will be, and that it will inflame Kinn's already difficult paternal relationship, and all that even before Porsche knows fully what's going on.

I know that some people were worried when Porsche did things like pull his hand away when Kinn was trying to hold it in episode 8 or when he was so reserved whilst showing off his relationship with Kinn in episode 12, but I think that this episode has shown that it's entirely a discomfort with PDA and not any internalised homophobia or insecurity with the relationship. Even when they were alone in front of his parents' graves, he only did an indirect cheek kiss with his fingers rather than directly returning it. That's all fine: I like how they managed to completely erase the internalised homophobia from the novel whilst replacing it with sensical character reactions that explain the same behaviour.

I liked the dinner scene with Korn—petty Porsche is great. I've missed him since Tawan in episode 9. Spite looks good on him.

Kinn was being sappy and horny, as we've learnt Kinn is when he's in love. It's as good a look on him as spite is on Porsche. He clearly knows that something's wrong this episode, but Kinn and Porsche are still having difficulty expressing their feelings verbally. I expect that this will continue until the 'I am your side' scene in the finale, which will presumably activate Kinn's horny home invasion groping. Sometimes I think that Kinn's heart is like a voodoo doll of his dick: you get him in the heart, and the dick twitches. It would explain a lot. His love kink is even bigger than his exhibition kink.

I don't think that Kinn felt betrayed by Porsche running off with Vegas. Despite them not talking to each other, I think that they're now familiar enough with each other's behaviours not to take their partner's foibles personally—it's just like after Tawan, when Kinn locked up Porsche and Porsche ran off with Vegas, but they didn't really get recriminatory with each other about it after they reunited. Porsche even left a note this time that said that he was going to come back. Their relationship is pretty secure, so I'm not worried about a surprise tragic ending next episode. Kinn followed him because he was afraid that Porsche was going to himbo something up or maybe get himself in trouble by pissing off someone that he shouldn't have, which are two of Porsche's main character beats over the series. Kinnporsche continues to manifest a mature, young adult relationship.

Also, that ending scene. Porsche is very competent when he wants to be—he managed to sneak past all of the mansion's security whilst they were looking for him, with a gun, and then put it to the patriarch's head. He just doesn't often want to be.

Vegaspete is a spectacular fuckery. The relationship is very unhealthy but very piteous. I'm rooting for it, but Pete needs to be given and to be secure in a lot more relative power.

Firstly, Vegas got hit in the face five times this episode, and it was really funny.

Pete is noticeably distressed from even the first scene. It's a little jarring coming in from the post-sex shots in episode 12 where he's smiling semi-euphorically. In hindsight, the complicated look that Vegas had in those shots seems to be pure attachment—I think that the moment when he stopped smiling is when it hit him that he cared, and he was a little spacey and numb about it. Similarly, I think that Pete was running on endorphins. He initiated sex pretty impulsively, and his expression as Vegas nears in and nearly kisses him in the pre-sex part of the scene is something I can only describe as cockstruck in the feels. He's had some time to process (what I will argue is actually at least a day or two, as I don't think episode 13 opens immediately after the sex), and he's feeling more conflicted without the hormones. Vegas has taken the bandages off, but he's also put a cuff back on, which I imagine made Pete feel pretty shitty. He lost his chance to escape, and Vegas is trying to seduce him hard with homemaking skills whilst still keeping him chained to the ceiling.

Nonetheless, his anguish is riveting, and that scene with the escape is one of my favourite for the whole series. Vegas is increasingly under pressure as he realises that nothing he does can please his father and that he has no control over his own life; Pete is taking the entirety of the emotional burden as well as serving as physical stress relief, like Vegas is for his father, until he implodes with the pressure of being both comfort object and punching bag. The first half of the escape scene is very uncomfortable: this time, rather than Pete relieving or comforting Vegas, both are distressed, and the extent of this in Pete startles Vegas from the routine, and he pretty immediately backs off and starts apologising. Unfortunately, Vegas is still our volatile little miaowfioso, and he doesn't know how to react when his comfort object starts requiring comfort.

They're actually giving me a bit of Spuffy energy, although they switch between who's Spike and who's Buffy.

That Pete escaped rather than Vegas letting him go is good for Pete's agency and emotional health, but it's bad for the Vegaspete relationship. Pete's shown himself to be self-effacing with a tendency to suicidal thinking, and his stress response, like Vegas, is to devalue himself and to self-harm (like Vegas, he slaps himself in the scene before the escape); his escape here is an expression of his valuing of himself over Vegas, which he has yet to do during their interactions, usually giving in and comforting Vegas instead. However, Vegas didn't let Pete go, and so showed that he wasn't willing to prioritise Pete over himself as Pete was doing for him—the relationship is then one-sided and selfish, and, with Vegas so volatile, very dangerous for Pete. This dynamic does leave us with an interesting relationship trajectory that compensates for how quickly and easily the first half of their engagement seemed to happen (albeit a little only because of the dearth of scenes). It also brings their relationship out of the bubble and into the real world in a way that parallels episode 8–11 for Kinnporsche.

In fact, a lot of parallels are happening between these four:

Porsche and Pete or Kinn and Vegas

In this episode, Pete expresses a carpe diem philosophy, which is the same as Porsche's as expressed in episode 3. Pete and Porsche are similar in a few ways, which is probably why they're so good at being friends: they have work and leisure faces; they're good at understanding each other; they like to have the same sorts of simple fun; they're amiable, make friends easily, and are a little silly sometimes; they shrug off of a lot of things easily (used to operating under the strictures of the powerful); and they're both duty-bound. Their hand-to-hand combat scene in episode 10 is without angst because they're not actually opposed to each other in that scene, and Pete and Porsche have never actually been in proper conflict. They get along well and they're protective of each other, and this might get them, as well as Kinn and Vegas, through the confrontation of the major and minor families in the finale.

The scene in the bathroom this episode directly parallels their bathroom scene in episode 5. This time, it's Pete that's conflicted about a dubiously-consensual and possibly-regrettable sexual encounter, and I think that Porsche recognises the signs: Pete's pleading to pretend that everything is fine and Pete's body language are so similar to Porsche's after the drugged-up sex, and this is all besides the pretty incriminating lash marks and bruised wrists; you can see on his face that he's recognising trauma and a sense of violation, if not precisely that Pete's distressed over a sexual encounter. This show continues to be really well done in its portrayal of the trauma of sexual assault and dubiously consensual sex.

The platonic wound-tending is a nice trope subversion, and it extends the series' general tendency to allow genuine emotional vulnerability to the male characters (a contrast to most other BLs where emotional vulnerability is a feminising behaviour pervading the bottom's character and/or something only to be permitted in breakup scenes or when the characters are in danger of death). It's a little ironic that the machismo is lesser in the mafia show than in university dramas.

Both of these bathroom scenes were followed by Tankhun taking them down to Yok's , and both times Vegas showed up afterwards—you can compare and contrast his genuine and ingenuine seduction tactics. With Pete, he shows up empty handed and unprepared, and he even resorts to reusing a basic tactic, appearing from the aether, lighter in hand. Unlike Porsche in both his version of Vegas' Yok-crashing and of Vegas' lighter-offering scene, Pete responds hostilely and pulls a gun.

Although, Vegas showing up can also be phrased as a contrast, since Kinn (as the love interest and perpetrator) didn't show up for Porsche, but Vegas (as the love interest and perpetrator) did show up for Pete. Vegas is here a lot more dependent on Pete than Kinn was willing to allow himself to be on Porsche; he's also admitted this to himself and he's a mess over it, in a way that Kinn remained in denial over for a while longer. Pete's hostile reaction and then surrender is something like Porsche's challenge to Kinn after he returned home to find Kinn asleep on the sofa, his flight home, and then his fond and easy forgiveness of Kinn once he genuinely apologised.

Pete appears to be more emotionally aware than Porsche—which is a bit ironic since Pete is the one better able to disguise his emotions. Porsche responds by suppressing and marinating in his emotions and both wallowing and trying not to think about them, all of which is very obvious to everyone around him; whilst Pete seems to know what he's feeling and that it's bad, and he doesn't deny it at all, but he's better at fronting an appearance of being fine to others. Miserable distress impedes Pete's function less than Porsche.

Vegas and Kinn are both trying for their domestic era. I wonder if they also got malewifing lessons alongside their hand-to-hand combat and marksmanship lessons? Did Daddy Chan give them? Maybe it was an elective option that replaced wilderness survival?

[I would love for Daddy Chan to have hosted a cooking class and a providing-emotional-comfort class for all the Theerapanyakul heirs: Tankhun was best at emotional comfort, but he didn't test so well because he spaced out a lot and was always reading fashion magazines, and he only got an okay grade in cooking because he kept adding too many sprinkles and making his bodyguards help him; Kinn got a passing grade in cooking and the best grades in emotional comfort, although he still got graded down a little for his horny pickup lines; Kim almost failed in emotional comfort, but he pulled up to a D because of how smooth and charismatic he was in pickup-line delivery; Vegas came second-best in emotional comfort because of his technical perfection but apparent complete lack of authenticity, but he came first in cooking (he was so pleased about beating Kinn, but his father still backhanded him because it was in cooking instead of money-laundering or something); Macau slept through both classes, failed them, and had to retake them, but he slept through and failed them again, at which point Daddy Chan gave up. Anyway, I digress.]

Porsche thought that Pete was a ghost for a second. I really like how he poked him. At least he seems to have learned that ghosts are intangible since that time he kicked Pol during horror movie night.

Kinn and Pete or Vegas and Porsche

The scene where Kinn and Pete come across Porsche and Vegas with Porsche's scummy Uncle's corpse parallels Kinn and Pete being the ones to run into Porsche escaping with Vegas. They're the ones with the brain cells running after the idiots. Here, they seem to have teamed up to attempt to rein in their awol lovers.

Kinn and Pete are sort of inversions in relationships also: Kinn keeps his cock in his heart, and Pete keeps his heart in his cock.

And then we have Vegas and Porsche as the awol idiots. Vegas is trying to be good, which to him means that he's trying to do the opposite of whatever he'd normally do. The issue is that Vegas is normally smart-evil, and the opposite of that is dumb-good, so he's now just sort of loafing around and trying to figure out how to emote without committing battery or homicide. I understand that it's difficult for him.

Porsche has definitely learned from his past actions, and his actions don't not make sense: he's leaving Kinn out of it in an attempt to avoid friction with the scary mafia boss who has demonstrably and repeatedly lied to them, but who is also Kinn's father. It's still a little stupid and definitely complicating things in a way that it doesn't have to and in a way that will almost certainly fuck up a few plot points, even if it won't fuck up his relationship.

I kind of actually want to see Porsche and Vegas on some type of frenemy-bromance revenge murder roadtrip on a motorbike with Pete and Kinn tracking and following along behind them and bribing off all the police officers and baffled/terrified witnesses that they attract. That would be very funny.

Kimchay is progressing sweetly, smoothly, and on-track for a BL. It's playing it straight, but it still comes off as more genuine than a lot of the university romantic dramas. I'm still not quite sure how they managed that.

Chay is emotionally withdrawing. He at least seems to have stopped self-destructing, but he's done some sensible things like staying awake from the drugs, blocking his dickhead ex, and taking down the shrine.

Kim is very taciturn, as usual, but the reveal of the polaroid stash helps to flesh out the Kimchay relationship a little and properly shows that the relationship wasn't parasocial or unrequited on Kim's part. I also like how the polaroid stash mirrors the Wik shrine. Kim smiling like he'd been stabbed in the heart whilst looking at the photos and flashbacking was the most emotionally vulnerable we've yet seen him, and I think it's the peak of his realisation that he's fucked up. I was a little worried because of how the relationship started, because of how Kim avoided returning Chay's 'I love you,' and because they showed us so little of the relationship development, but that all seems to be because Kim prefers to sing rather than to talk, and he's aware of how strange it would be for him to do that out of the blue, so he just keeps his mouth shut.

I posit that it's not Chay, but Kim that is the Disney princess—his ideal world would be one where he can sing out his feelings at will. Chay is one of the little bluebirds that accompanies his singing and comes along to help him dress, but who then turns out to be a charming youngest son under a curse.

I do want to know why Kim got recalled in by Korn just as he was about to jet off. It's a similar framing as to how Kinn was pulled away to a meeting with Korn just as Porsche was about to tell him about scummy Uncle and the reveal of the lie, and then Korn ended up being creepily lenient and ominously offering a holiday. I wonder if it's a similar thing? Korn talking to the respective lovers of both of the kids he's fucked over. We didn't see him calling in Tankhun.

Speaking of people knowing—do any people actually know about Kimchay's relationship? I don't think they do (although, again, I wouldn't put it past Korn to know and be keeping quiet).

Tankhun is the voice of reason here, for which he has become known. To be fair, it's not clear that Porsche knew that Pete was infiltrating the minor family's house, Kinn did check with Pete's grandmother, and there has been a lot going on lately with all the dark revelations about dead parents. The funeral scene was great, with the effigies: I like that there was a Yok one—she and Tankhun seem to have really bonded, and I do like that for them. It's hilarious that he burnt a paper ATM as a paper offering, and it's very Tankhun.

His singing is also pretty good. This seems to be a musical family. Someone should write an AU where they're some sort of legacy musical star family; that would be funny. And then Chay marries in as talented new blood, and the odd one out is Porsche, who would be completely tone deaf, but Kinn would always be telling him that it was good and letting him sing karaoke to everyone else's dismay.

Kan and Korn continue to be terrible fathers. Kan is legitimately disgusting. I think that the part of the scene where he deliberately rotates his family head ring on his finger so that he can catch Vegas in the face with it when he hits him is the clearest and fullest expression of his personality. It's also symbolically important—Vegas being injured with the symbol of his father's power, which is also the symbol of their family. Korn is shady and untrustworthy as usual, but I think that there are hints that he's preparing to die? The talk about his health is returning, he's smoking like he no longer cares about his health, he's trying to tie up loose ends with Porsche, and the offer of a holiday to Kinnporsche may have been an attempt to get them out of the way as he sorts out some premortem regrets. I don't actually care if he's dying. Well, I do a little in that nature gets to kill him. Honestly, all I want is some patricide.

[horrorsummerromance]

FAIZAAA THE WAY VEGAS LOOKS AT BOTH PETE AND MACAU AFTER GIVING THEM SOFT KISSIES SO FOND AND HAPPY AS IF SAYING YEP, THESE ARE MY KITTENS. SOFT BABIES I MUST PROTECT AND CUDDLE AND WRAP THEM IN SOFT BLANQUETS AND GIVE THEM KISSIES I JUST🥺🥺🥺🥺🥺

hiiii anon!!!!

Zjdhsic9f no bc listen.

i do wish the show had done more with vegas and macau, shown a bit more, but sometimes? less is more. and with that final postcredit scene yesterday, just seeing how vegas and macau were with one another, how much they dote and love and support and rely on one another, was enough. i got it. just from that 2 minute scene alone. it was enough. like i mean we already Knew how close those 2 were (im gonna say it - they are the truest strongest most honest sibling relationship in the show), and being the eldest sibling myself, i knew what their relationship was like. but that scene just. gave me everything wrt them.

and it was seeing how vegas, who's so badly wounded and hurt himself, pulls pete and macau to him, rests their heads on his lap, and kisses them both, and strokes them so gently and tenderly. there's a reverance to it.

and i feel like this is something vegas does a Lot with macau? make him rest his head on his lap whilst he comforts him and tells him its all going to be okay. that mum used to do this with us all the time but you were too small to remember so let me.

and this is all vegas has ever wanted - just to make a home. to know what a loving family feels like. make it a place of safety and warmth and comfort and peace. and he'll try his best at it. everyday. and macau and pete will know. and they'll support and love him so so much too. its all unconditional and selfless.

and vegas will do whatever it takes to protect this. safeguard this. this is his chance at happiness now and he will not let anything to come in and taint it.

and i reckon all 3, vegas macau and pete have missed out on years of showing and recieving love physically and in all other ways. so they're always cuddling. always comforting. always soothing. always holding one another. and they enjoy each other's company so so so so much. pete brings a lightness to it all and vegas cooks for them and macau is allowed to be a child that can navigate this all safely. they're always hanging out with one another and just doing things they've missed out on.

and there's moments where times arent so easy. memories come back. nightmares haunt them. a flash of the past occurs and its like life flashes before their eyes. and the other 2 drop everything they're doing and all 3 of them just come together and huddle and hold one another and ride it through together. all 3 talk to one another, yes, about their thoughts and feelings. no matter how dark it can get, they talk about them.

these 3 .... yeah. since yesterday the only way i can best describe them is that its love feeding love with love. and they ARE the best family on the show. i said what i said.

[movementsofmylife]

kinnporsche ep 7

so this was the episode that made me go from watching an ep every few days and documenting my thoughts to, watching the entire rest of the show in one sitting and staying up until 2 am. and it fully coincides with the increase of vegas and pete and consequent vegaspete for a reason.

so this shot of pete when vegas pulls out his torture briefcase. the quick once over he gives him. as if he had to rethink some of his opinions of vegas because of this.

the complete emotional flatness with which pete takes this torture in comparison to the others.

i feel like this is the scene where vegas starts becoming a whole person to pete. i genuinely think vegas's ability and desire to get in to it and not just watch the bodyguards do the dirty work changed how pete perceived him.

also like, power and kink and w.e u know. pete is definitely having a "this might awaken something in me" moment. but as we all know, when those words enter your mind it's already far too late lol.

this show is clearly doing a lot of stuff with color that i only started noticing this ep.

vegas wearing his red, and then layering the black and white of the major house's body guards and korn, colors which wipe away the personality and emotions, and then the spray of red on top. like how no matter how hard he tries his violence and the mafia blood come through.

fuck both of these men. truly the dregs.

but also the teal here is intriguing, will look out for it more.

firstly, velvet in thailand is a fucking choice.

also clearly the green is associated with the minor family, but maybe like the true minor family, so porsche? (porsche is wearing it in the final ep.)

it also seems to be related to emotionality and feelings in general maybe?

the forest where kinnporsche finally talk and learn about each other is green. and kinn is even wearing a muted green.

and interestingly porsche is wearing a blue, which i think could stand for the non-mafia world? (chay wears light blue a lot)

and then in this episode there's so many scenes where the green is a backdrop to vegas's red. in a literal way his colors are showing. (he fucking wears a leopard print jacket when he tries to force porsche to make out with him, the spots are showing idiom thing was taken to its most literal form)

this is simply another fuck this dude and his vendetta against feelings, and i'm so mad no one shot him through this entire show.

but on the theme of color theory, i think the red is the old mafia, and it's violence and familial strife. with new gen mafia being green?

and vegas is shown to be more aligned with korn's ideals of a mafia heir than kinn in this ep. vegas is constantly in red, and kinn in the light green.

over the past few episodes kinn has dressed in red a bunch of times, with noteworthy occurrences: his red suit when kp first meet, the red velvet during the auction, and also the burgundy that porsche wears when they first kiss after he finally experiences mafia life.

and i think for kinn he wears it when he's trying to truly be the heir to the major family, but i don't think it's his actual color.

i actually really like this ep with them. you can see how kim is slowly being convinced by chay's innocence and care.

back to the colors and all, i mean the green background and vegas finally not in red and it's just for pete!

it was really interesting that they showed us this madonna in green and then most of the next bar shots are from the perspective of this statue? (i do not know enough about catholicism to interpret what the madonna could mean, and would love it if someone could let me know)

and we see that vegas is looking at porsche and waiting for him to get drunk and overall being manipulative. but then we're shown pete who is reporting to kinn about what's happening and it's not the story he hears.

maybe green is a lens of truth?

and finally we finish here. porsche trapped as always but this time with a kinn asking for forgiveness and with slightly more emotional vulnerability than ever before.

it's some kind of growth at least.

so, i think at the end of this ep this is where i've landed in terms of the colors:

teal is the color of the older mafia generation

green is porsche's color, and the color of the next gen

red is vegas, and his violence and the epitome of a mafia heir

blue is kinn's color and also the color of the non-mafia world too

i think the implication being that kinn isn't made for the mafia world but vegas is, and porsche will remake it to fit himself?

and pete is there in his blacks and neutrals fading into the background until he shows up covered in vegas's red in a few episodes and things start changing for both him and vegas.

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