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ladyherenya · 4 years

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My favourite thing this year has been the Korean drama Crash Landing on You (2019-20).

It has something of a ridiculous title (I’ve ended up calling it Crash Landing or sometimes just Crash). But, to be fair, North and South was already taken.

“I can go to Africa and even Antarctica but not here. It’s a shame that you live here.” “It’s a shame that you live there.” -- episode three

To my great amusement, every month or so, Netflix has sent me an email that’s said: “Don’t forget to finish Crash Landing on You” or “Remember this? Watch it again: Crash Landing on You” or “Rewatch your favourite moments - Watch it again: Crash Landing on You…”

And I’m like: NETFLIX! Seriously, WHAT do you THINK I’M DOING?

I have now watched Crash Landing on You five times.

There are several reasons for this:

I successfully dragged other family members down this particular rabbit hole, and in a pandemic season, when things have been unpredictable (or cancelled), rewatching Crash Landing has been an appealing and comfortably-familiar distraction, as well as the source of many, many long, analytical fandom-y conversations, which has been fun.

I needed to watch it more than once to straighten out all the pieces of the story in my head. With 16 episodes, each over an hour long, it’s one of the longest stories I’ve ever watched. I’ve seen other TV series with more episodes, but nearly all have been much more episodic, rather than telling one continuous story.

I kept noticing details that I’d previously missed because I’d been focused on the subtitles or that I hadn’t properly understood some cultural nuance. And some things are ambiguous in translation -- in a good way, a fodder-for-discussion way.

I have ALWAYS rewatched (or reread) my favourite stories. And Crash Landing fits right in with those. Someone in my family described it as: “Like Lord of the Rings on steroids!” However, I think it actually has far more in common -- visually and thematically, and also in terms of my willingness to discuss the characters as if they were real people -- with my favourite historical dramas.

In terms of story, Crash Landing is easy enough to summarise: A South Korean businesswoman is paragliding when a freak storm blows her across the border; she’s discovered by a North Korean captain, who hides her and helps her get home.

But I’m going to need more words to explain why I fell in love with it.

It is fascinating and, first time round, tense and unpredictable. It’s funny and very meta -- very aware of the tropes it’s playing with and of parallels and contrasts within the story. It’s visually and aesthetically pleasing, and the soundtrack grew on me.

There are a number of coincidences and a few ridiculous fight scenes, but the emotions are intensely real and so are the consequences. It has camaraderie and found-family and thoughtfully-complicated family relationships. There are characters I love, and characters who surprised me, and so much time given to character development! It’s romantic. There’s a fake engagement (a favourite trope of mine) and while I’m not a fan of love triangles, I liked how this quadrangle-tangle is handled. And the obstacles to the romance are satisfyingly realistic; characters have sensible reasons for the choices they make.

I love how the story uses flashbacks, particularly the post-credit scenes.

The final episode isn’t perfect, but given that a perfectly happy ending would, realistically, require the reunification of north and south, I thought it came very close.

Let me elaborate.

Cut for sheer verbosity, rather than spoilers. (I’m not allowing myself to list spoiler-ish examples or dive into analysing my favourite scenes, because then I wouldn’t just be here all night, I’d be here all week).

⬦ Fascinating, tense, unpredictable: I knew almost nothing about life in North Korea, so that was fascinating and made the story harder to predict, as I couldn’t anticipate what options the characters had or what obstacles might arise. And that isn’t the only reason I found it tense -- at different times, different characters are greatly at risk if discovered; there are occasions when characters are in danger of physical violence or are injured; and they have a couple of dilemmas to which there are just not easy solutions (See also: Obstacles for romance).

While I’m on the subject of the setting, although I cannot judge how accurate this portrayal of the north was, it’s portrayal of people as people was incredibly convincing. It’s a society where people have differences in personality and in circumstances. There are orphans begging in the market, people who can afford to stay in fancy hotels -- and a lot of people somewhere in between. In the military village, people have varying attitudes, tastes in clothes, privileges, standards of living, etc. Their lifestyle differs from that in Pyongyang, and also in other parts of the country. Amongst the military, some men are compassionate, some are corrupt and some are not obviously one or the other.

Moreover, it’s clear that corruption and villainy isn’t just in the north. In the south, as in the north, we see a range of humanity -- selfishness, good friends, complicated families, happy marriages, criminal behaviour, and so on.

I’ve read an article or two suggesting that the least realistic aspect is Ri Jeong Hyeok being such a sympathetic and honourable officer. I think it’s interesting that he clearly isn’t a typical captain -- he wanted a different career, he’s spent time studying overseas (in a democratic country), and, perhaps most importantly, his father’s position gives him protection from pressures many others face. He has the privilege of being able to afford to act with integrity, and of encouraging such behaviour in the men he leads.

⬦ Humour and meta: I’ve included these two together, because so much of the story’s self-awareness and intertextuality is humorous. I am very amused by so many things -- the village women’s interactions, Se-ri’s wit and banter, Jeong Hyeok’s facial expressions, the duckling's reactions, the way Ju Meok keeps comparing things to South Korean dramas:

Ju Meok: “I haven’t seen any drama characters that don’t fall in love in that situation. That’s how they all fall in love.”

(Because my knowledge of Korean drama is limited, there are a few cameos and references which I suspect would be amusing if one was in the know. The exception is the taxi driver singing, who was funny even without recognising the actor.)

I love the commentary that comes from all the moments when other characters witness the unfolding romance. Others’ reactions are often memorably hilarious -- some of my favouritest scenes fall into this category. (The customs officer! Jeong Hyeok’s dad!) They introduce humour and self-awareness into these moments, allowing the story to acknowledge “Yeah, we know these two are being ridiculous/sappy/emotional”. These moments reveal people’s attitudes towards displays of affection, particularly in the north, and their different attitudes towards Se-ri and Jeong Hyeok’s relationship.

And as their relationship changes, Se-ri and Jeong Hyeok’s awareness of being watched and commented upon changes, too.

Which leads me to…

⬦ Contrasts and parallels: So many scenes which echo/parallel earlier scenes. Most obviously, this allows the story to compare and contrast the north and south, but it also shows changes in time, differences between characters, and differences in relationships too. Sometimes all at once!

It means some plot developments weren’t totally unexpected -- it was Oh, of COURSE, we’re going to now see that character in this situation! or OBVIOUSLY we now have to see what this is like in the south!

But I thought it was really effective storytelling and I so much enjoyed spotting and analysing these moments.

⬦ Yoon Se-ri and Ri Jeong Hyeok: These two are the heart of the story and there are so many things I love about them. Like how, even though Se-ri is dependent upon Jeong Hyeok to hide and help her -- even though they’re initially hesitant about a romantic relationship -- they quickly become very protective of each other. Often to the point of willingly risking their own safety. Often to the point of exasperating the other. It’s great.

That’s not the only thing they discover they have in common. They share some interests. They’re both highly intelligent, driven, successful leaders (he’s a captain, she’s a CEO) who are very private, lonely people carrying around grief about their family and their past. Neither of them likes to reveal their emotions -- he tries to conceal his by suppressing his facial expressions and avoiding answering questions, while Se-ri hides behind play-acting.

I like watching Se-ri trying to get to know Jeong Hyeok. She isn’t deterred by his silences (unlike someone else) and she keeps the conversation going even when he doesn’t respond. She watches him closely, and says or does things to provoke a reaction. Poke, poke, poke.

And the time they spend together is really revealing. They share meals, they share a house. They see how the other responds under pressure, but also in various social and domestic situations. They see each other in a range of moods: calm, happy, grumpy, scared, tired, upset, unwell. Crash Landing takes advantage of spending sixteen episodes with these characters. Going through so many different experiences together, they learn a lot about each other -- about each other’s values, tastes and temperament -- and this means the audience gets a deeper, more nuanced understanding of who they are, too.

Se-ri and Jeong Hyeok are also well-matched in how they show they appreciate each other -- she delights in giving presents, and he is quick to notice things Se-ri might need or like.

And it’s very satisfying when they open up, or when they cry in front of each other, because you know that they don’t do this lightly or easily.

⬦ Obstacles for romance, love triangle quadrangle-tangle: I appreciate that the obstacles in this story are not contrived or fueled by needless misunderstandings. Se-ri and Jeong Hyeok have really solid, sensible reasons to be hesitant to first recognise, then admit to, and then act upon, a romantic attraction. Even once they realise that getting Se-ri home is going to take longer than they’d hoped and she’s pretending to be Jeong Hyeok’s fiancée, romance between them is still a road that leads nowhere. She isn’t safe staying in the north and he would endanger his family if he defected to the south, and they both accept that. And they’re reticent about sharing vulnerable feelings, and Jeong Hyeok is actually engaged to someone else.

But once they really open up to each other, the narrative conflict revolves around their circumstances, rather than doubts or misunderstandings they have about each other. Because the situations they face are dangerous and difficult, with no obvious or straightforward path to a happy ending, there’s quite enough tension to drive the story forward. They still have a couple of misunderstandings, but I like how they handle those, and I like that they don’t have more of them.

As for the love triangle, it doesn’t have the angst of someone torn between, or even attracted to, two people. Jeong Hyeok’s engagement has been arranged. Having feelings for someone else doesn’t change the foundation of that engagement, nor the pressure to please his family. He doesn’t love or know his fiancée -- not well enough to risk revealing Se-ri’s true identity to her. He’s honest with Se-ri and he makes an effort with Dan.

(I have a theory that, if he had been in love before, he might be quicker to recognise how some of his behaviour towards Se-ri fosters intimacy and sends her messages he doesn’t intend, but this is all new for him.)

He tries not to mislead or hurt Dan, but she’s hurt nonetheless, and I like that Crash Landing doesn’t gloss over that. It explores why she’s hurt, why she’s so reluctant to let him go and why their relationship never really worked. (Neither of them are good at communicating with each other, and I think she takes some of the things he does for her for granted, rather than recognising them as overtures and as opportunities to get to know him better.)

Dan is not just a romantic rival, nor a narrative complication, but a person whose concerns and desire are taken seriously, and who is given space to grow.

Which leads me to...

⬦ Surprising characters, thoughtfully-complicated family relationships: As mentioned, Crash Landing takes advantage of the amount of character development 16 episodes allows, and not just for its lead couple. I was surprised by how much my opinion of certain characters changed, as I came to understand them better.

The character I was most surprised by was Gu Seung-jun.

Each time I’ve watched this, I’ve liked Dan more. I have a lot of sympathy for her now. I also like her mother, even though she’s embarrassingly over the top, because she cares fiercely about her daughter and about advocating for her.

Se-ri’s dysfunctional family are more nuanced than I expected, too. In particular, I love the attention the story gives to Se-ri’s relationship with her step-mother. I was expecting Se-ri’s father to play a larger role, perhaps because he’s nominally the one with the power and influence, and at first Se-ri’s mother seems so passive. But it was really interesting to understand where she’s coming from, why her relationship with Se-ri is broken and sad. The steps the two of them take towards rebuilding their relationship are believable.

(On a related thought, I appreciate a lot of the choices this makes in addressing these women’s mental health struggles. One or two moments arguably could have been handled better, but on the whole it’s realistically optimistic, with enough detail so that we understand the seriousness -- the impact it’s had on these women’s lives.)

⬦ Camaraderie, found family and the ducklings: Se-ri doesn’t spend as much time with the village women as she does with Jeong Hyeok and his soldiers, and when she does, she’s play-acting, in order to keep her identity a secret. But I like how they nevertheless support her, and how meeting her sparks change their dynamic with each other. They grow closer and become much better at supporting each other. It’s really heartwarming.

We gave many of the characters codenames, so we could discuss them when we were still learning their names. (I was surprised by how long it took me to learn some of the characters’ names. Because so many were unfamiliar to me, they were harder to remember; I wasn’t always sure, from just reading the subtitles, how all of them were pronounced, and sometimes it was hard to separate the sound of the names from surrounding sentences, especially when, due to honorifics and titles and so on, subtitles don’t always match exactly what is being said.) Jeong Hyeok’s men are “the ducklings”, inspired by something I saw on Tumblr: Gwang Beom is “Handsome Duckling”, Ju Meok is “Drama Duckling” and Chi Su is just the sergeant.) I love how they function as a found-family, especially in contrast to Se-ri’s real family. They’re funny, loyal and caring, and in spite of their different personalities, work well together as a team. I enjoyed seeing the different relationships they have with each other, with Jeong Hyeok and Se-ri, and how some of those relationships change. And they’re so protective they are of Eun Dong!

Man Bok has an interesting arc -- I could have mentioned him under Surprising characters. I really like how he fits into this story, how he’s connected to the mystery Jeong Hyeok is investigating, how he becomes involved with the rest of the characters and has these moments when he plays a significant role. Or gets to be funny. I like the contrast and parallels too -- he’s in a different place in his life to the ducklings, and he gets opportunities to revisit past choices he regrets.

And I’m trying not to write essays about all the characters, and it’s ahhh, I have too many thoughts and feelings about them all!

⬦ Satisfyingly realistic: I like how -- one or two ridiculous fight scenes and an unrealistic paragliding scene aside -- things which happen have believable consequences. Particularly emotionally. We see men cry! A lot! And it always feels like a genuine expression of emotion, not gratuitous or overwrought. (Well, okay, there’s a very minor character who’s a bit over the top but he’s very minor.)

When one of the characters is gravely ill, she looks it, I found it oddly satisfying that she doesn’t have to be pretty all the time.

And I wasn’t sure if this belonged here or under “Visual details” but I love the attention given to Se-ri’s clothes. She cares a lot about fashion and in the north her clothing choices indicate that she cares a lot about her appearance, while making do with a limited wardrobe and still dressing for warmth. (I’m happy to handwave that she seems to have more clothes than would realistically fit in those shopping bags.) I appreciated the practical streak, and, as winter wore on here, became envious of one of her outfits.

I don’t personally like the style of Se-ri chooses for work, but it’s different it is from what she wore in the north and from what she wears at home -- her power-dressing is like a uniform or a statement of persona she projects in her working life, and not necessarily a reflection of her personal tastes.

⬦ Visual details: I love so many of the visuals. Gorgeous scenery, interesting settings and clever framing for significant scenes. The sky, a place without borders, often becomes a focus and there’s a thematically-relevant flight motif -- paragliders, birds and kites.

I did not start noticing the product placement until a rewatch, when I stopped to think about how often they went to Subway. The first time, it just seemed like a commentary on south-versus-north, and then I was just baffled-yet-amused by it all. (That sort of thing does not make me want to eat fried chicken...)

⬦ Soundtrack: The first time round, I liked the instrumental score and the presence of piano music actually in the story. As I kept rewatching, the rest of the soundtrack slowly but steadily grew on me, and I found myself liking the songs more and more.

Now I not only recognise them by name, I can recall most of them well enough to hum them and know which scenes they’re associated with. Which is a lot harder when the lyrics are in a language I don’t speak and so I can’t use them as a prompt for memory.

⬦ Flashbacks: Instead of “previously-on” segments, Crash Landing employs lots of flashbacks whenever it wants to remind the audience of something.

Sometimes, instead of just repeating part of an earlier scene, it takes the opportunity to show the same moment from different angles or from a different character’s perspective, or to juxtapose it with a different scene or to introduce new information. This was really effective. And when flashbacks were a simple repeat, I was usually happy to revisit important moments in the story (and sometimes, having a different person translating the subtitles meant there was a slightly different perspective on the dialogue).

Then there are the post-credit flashbacks, quite a few of which take places years earlier. I love how they’re puzzle pieces about the characters’ pasts and the connections between them.

⬦ The end: The first time round, after watching the penultimate episode I was so engrossed in the story and so invested in the characters that I had trouble sleeping and I went around the next day with this tight, anxious feeling, unable to get the story out of my head.

The final episode is an emotional rollercoaster. SO. MANY. FEELINGS. There’s one particular scene which packs a powerful punch -- it’s exceptionally emotional and beautifully filmed. I love it, but I’m glad we get the aftermath too.

It isn’t a perfect ending, but as I said, I don’t think there was a perfect ending was possible, not one that was both realistic and satisfying. But this comes very close. In the very final scenes, not everything is resolved or explained, and I like how that ambiguity is open to interpretation -- I like that there are some gaps for the viewer to fill in for oneself, however one prefers to imagine the characters’ lives going forward.

I know I could easily write another four thousand words about this story -- there are aspects I haven’t really discussed but this seems like a good place to stop. For now. I really like this story. I expect I’ll watch it all again soon.

#Herenya recommends things #Crash Landing on You #thoughts I have them #Yet another CLOY rewatch

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dungeons-and-dragon-age · 3 years

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for the dragon age asks, 4, 5, 6, 39, and 99?

I am sorry, this got way out of hand again lmao

gonna put most of these under the cut because it is,, long,,,,

4. What was your first Warden (gender/class/race/personality)?

Neira Surana (female elven mage)! My og girl <3 I love her a lot even if I don't give her enough attention on this blog ^^"

She's primarily a Spirit Healer but also an Arcane Warrior (she only really uses those abilities to increase her stamina/be able to wear heavy armour though). She's more a quiet introverted type but also the kind of person who manages to get along with everyone somehow, very down-to-earth and mature but not nearly as confident in herself as one might expect. Great at taking care of other people, horrible at taking care of herself, very acutely aware of her responsibilities and always worried about making wrong decisions and/or negatively impacting other people. She does grow into her role as Warden Commander (and Chancellor to king Alistair) though and is better at what she does than she realises.

5. What was your first Hawke like (gender/class/temperament)?

Liam Hawke (male human rogue) my beloved. Definitely the one I got the most invested in, and I was not prepared for the Painᵀᴹ he was gonna face :') He's a dual wielding rogue and technically has the assassin specialisation, but I don't think I ever actually used/unlocked any of the talents haha. He's more of a jack of all trades type of guy anyways so it does fit for him to have no proper specialisation anyways. His main temperament was purple/humorous, but his tone kinda shifted from mostly green/red (Prologue) > green/purple (Act 1) > purple (Act 2) > purple/red (Act 3) in varying degrees. He's someone who really just wants his family and friends to be happy and the gradual death of all his relatives unsurprisingly takes its toll on him. Definitely a mum friend, hella extroverted and social, awful puns and sarcasm all around, unbearably sappy with his close family and s/o, very very bad at working through trauma and grief, Very Tired And Done With Everthing by Act 3. Y'know, the usual.

6. First Inquisitor (gender/class/race/personality)?

June Trevelyan (female human mage), Rift Mage and absolute disaster (affectionate). Has issues with authority, is insufferably rebellious and stubborn, cannot handle expectations or stress At All, emotionally very reactive and has no brain to mouth filter, cannot Politics to save her life, is essentially selfish in her motivations, absolutely Did Not Sign Up For This Shit, and just generally not at all suitable for the role of Inquisitor. She is very driven though, blunt but honest, opinionated but generally open minded and inquisitive (lol), highly interested in anything and everything controversial and unconventional, especially if magic related. Very much an ambivert; needs time to herself sometimes, specially when anxious or stressed, but also loves causing mayhem with her squad, generally frisky and energetic when in a good mood, and has no sense of modesty. Honestly just wants to vibe and do crime.

39. Creepiest moment in the games?

A couple! Well tbh I'm not sure creepy is entirely the right word for all of these, but I'll list my favourites anyways

Hands down the most revolting and disturbing thing DA has done imo were the Dead Trenches. The buildup to the Broodmother, with the Darkspawn gore getting worse and worse the further you go? Hespith's chanting while you progress until finally meeting her and finding out what happened? The realisation that this exact thing could have happened to a female Warden if they hadn't escaped Ostagar? The sheer wrongness and and grossness of the entire concept? It makes my stomach churn every time and I love it so much.

The Circle Tower has a very similar vibe, still disturbing but not quite as much as the Dead Trenches, again with the gore getting worse the higher you climb, the halls littered with mage corpses and abominations (and friggin drakes smh??) and just.. how obvious it is that something is very very wrong here, with the anticipation of what the Warden has to face at the top of the tower, it's great.

Now what's genuinely creepy imo is Haven. Love the vibe of these sorts of villages littered with little unsettling details (the blood shrine (?), barely any people to be seen, that one kid with the eerie nursery rhyme...) that are so clearly off, and the whole cult thing the village has going on? Love it. Same goes for the abandoned orphanage in the Alienage, that sort of thing always creeps me out too, in the best way.

And idk Origins as quite a few creepy-ish places imo. I know I was somewhat on edge when going down the Brecilian Ruins for the first time, or through the Temple of Sacred Ashes. Even Honnleath had an eerie sort of atmosphere to it. Also the Blackmarsh and the Mother's Lair from Awakening are both very creepy and gross respectively.

In DA2 it's definitely Quentin and his.... project, it's so messed up and gross and wrong and god the horror of hearing about the lilies and following that blood trail just to find that is awful and I hate it so so much. I love it.

Inquisition's creepiest section by far is In Hushed Whispers. The whole thing with red lyrium growing everywhere, out of the walls, the people, everything, warden corpses lying around, the sky outside being Fade-like, the end sequence with your companions making a last stand to let you escape... and just all the implications of that future are so disturbing and frightening.

The Raw Fade was creepy too, although imo not so much the Fade itself but the little snippets and details littered around. Some of the statues are really creepy (like that weird goat statue in that first section? those rough head-ish looking things all over? the various probably-Tevinter contraptions? the huge statue of Andraste (?)? lots of weird stuff), but what got me more were the various codex entries. Some of the ones about slaves and experiments were very alarming, but mostly the "Fears of Dreamers" were the ones that gave me goosebumps.

99. Where would you live (Fereldan, Orlais, Free Marches etc?)

(again gonna shamelessly copypaste here)

Hmm probably the Marches or Ferelden. Rivain and Antiva sound lovely but I'm not made for more tropical climates, I think the temperate climate in southern Thedas would be more up my ally. Also just generally prefer the more rural and less hectic vibe I get from those countries.

#aaaaaand I got carried away again |'D #I am simply not capable of shutting up it seems #but what else is new #hope you don't mind that essay :')#ask games

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gastricpierrot · 5 years

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Galo Thymos is a man with a lot of love to give.

He seems to make it a point, perhaps even a mission, to prioritize others before himself. Lio could tell, even from back when they’d just begun fighting side by side. Galo is selfless and kind almost to a fault. It never seemed to matter even if he got hurt, even if he’s risking his one life for another—all he cared is if he could save them, if they could one day smile again. He empathizes deeply with others, perhaps to a point where it seemed like he could feel every emotion someone else is going through, if not stronger. It doesn’t matter to him even if the world is asked of him—if he liked the person and it’s what he judges would make them happy, he’d use everything in his power to do give it to them.

Lio is a frequent recipient of Galo’s love, and sometimes, he hates it.

It isn’t that he disliked the affection, absolutely not. He's been saved, comforted by it more times than he can count. On some days he’d even catch himself craving it to the point that it scares him. Just a word of praise, just a bit of reassurance. No, what he hates is how Galo never seems to realize he can’t just keep giving and giving and giving.

“You need to keep some for yourself too, Galo.”

The words are mumbled while Lio isn’t really thinking, preoccupied with tracing his fingertips over the creases in Galo’s palm as his eyelids grow heavier with sleep. He could feel the vibration of Galo’s chest against his back when he hums in question.

“What are you talking about?”

“I’m saying—” Lio frowns, fighting drowsiness to retain his thoughts— “You mustn’t empty yourself out solely for others. You need to save some of you, for you.”

“I… still don’t think I really get it?” Galo admits with a sheepish laugh. Lio really knows he should’ve expected this, but part of him still feels a little annoyed that he’s making him put more meaning into the words he’d muttered while half awake.

He shifts, turning around so he could cup Galo’s cheeks with his hands and look into his eyes. Galo’s eyebrows are raised in his confusion, his lips set in a lopsided smile. Lio has to fight back the sudden, overwhelming urge to kiss his face.

“What I mean,” he instead leans his forehead against his, closing his eyes, “is that it’s okay to turn away sometimes. It’s okay to admit that you’re tired or in pain. It’s okay to say no for your own sake when you have to.”

“Lio, what brought this on?” There’s a hint of mirth in Galo’s voice as he reaches to tuck Lio’s hair behind his ear. It's really not helping Lio’s rapidly growing embarrassment from saying something this sappy.

“I was just...thinking,” he murmurs, leaning back and desperately averting his gaze because he cannot. Handle this.

“Aww, about me? I’m so honored!” Galo then, with that puppy-like energy of his, wraps his arms around Lio’s waist and pulls him snug against him. The sudden assault of his warmth and intimacy makes Lio’s chest hurt in a way he doesn’t know if he could ever be used to.

“Don’t be an idiot,” is the only thing he manages to say. It's always dangerous, being held by Galo like this. Lio often finds himself never wanting to part, never wanting to let go of the sheer feeling of peace he gets when he’s in Galo’s arms. He'd catch himself wishing for ridiculous things he doesn’t deserve, doesn’t even want to acknowledge.

“But thank you, Lio.” Galo’s voice has once again softened when he speaks. Lio will always love how much gentler he sounds when he isn’t shouting energetically about everything under the sun. It's a side of Galo only he has the privilege to see often. “Thanks for reminding me, but I’m okay, really! If I’m tired, I’ll rest later. If I’m in pain, I’ll heal eventually. Not helping others is out of the question.”

“As long as it’s not at your own expense, Galo,” Lio insists. “I know it’s literally part of your job to save people, but I mean when it’s more than that. You’ve got everyone in Burning Rescue to rely on. You’ve got me. You don’t have to shoulder everything yourself all the time.”

“I mean, if it’s something I can do alone then why—”

“Because,” Lio cuts him off before he could argue, “I know how it’s like. How it feels like after giving away everything you can possibly give.”

And he wouldn’t want to wish that upon anyone, Galo least of all.

Lio doesn’t hate Galo’s love. He hates that he’d go so unnecessarily far even for people who doesn’t deserve it. He hates that he could see that recklessly self-sacrificing part of himself in him. He hates that just like him, he doesn’t seem to notice it despite it staring at him right in the face, in the form of soreness that seeps into the bones and exhaustion that doesn’t go away with sleep.

“Lio, I—” Galo starts, but seems to immediately come to a loss of words. He falls silent in a moment of thought, and Lio hopes he too, realizes deep down that he wouldn’t last at the rate he’s going. Lio waits, for a minute. Two. Until Galo sighs and nuzzles his face into his shoulder.

“I’ll be more careful about it from now on.”

“It’s a promise, alright?” Lio turns to press a kiss right by the shell of his ear. Knowing Galo, he’s sure to keep slipping up even after this. It’s something so ingrained into him, after all. It’s something he does for a living. He’ll have to learn to find that balance himself, but Lio swears he’ll be there to support him. He’s not letting him fall down the same path and experience the same darkness he did. Not if he could help it.

Galo had been the first to save him. Now it’s his turn to do the same.

#promare #galo thymos #lio fotia #galolio #liogalo #the second drabble!!!#one more to go....#maybe ill space them out a bit....#im not very happy with how i ended this tbh but its the best i can do for now aaaaa #ive grown rusty with ending fics oof #fanfiction

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csykora · 5 years

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[9/the new season hasn’t started yet it’s fine I’m fine I haven’t started a hockey fashion blog @thewell-dressedgoalie where you can find or request any future gowns and I’m thinking of adding suits for the ladies?]

For those who have forgotten or just followed (thank you!) Gowns Are For Everyone or Everybody when I forget my own tag is an irregular series where I determine who should wear what to a ball.

Connolly+Eller+Hagelin

I love lines. This one has been like a chemistry class experiment, the kind where you get to set samples on fire and they sparkle or change colors and even though that’s what the instructions said would happen you feel for a second like you personally have the coolest power ever. Brett Connolly pre-injuries was very good at hockey, so we could have reasonably predicted he would be again, but seeing it happen is just a delight.

‘m doing fine

With my sappiness in mind I have selected a Theme: with my raging pettiness about most patterns, colors, and textures I have narrowed the theme options down to “SHINY”

Brett is a babe and you need to get on my level.

Jokes about how he looks like a jaded private eye have maybe distracted from how he dresses like a sporty douchebro. I enjoy every time he wears a fitted polo, or a hat.

I have tried, but not too hard, to reconcile these looks into this ‘38 Lanvin, made from a very crisp fabric of white silk and metal thread, which makes me think of NHL awards, like the little name plaques on the base of a trophy.The gradual swell of the skirt from a relaxed waist is right on the line between ‘ballgown’ and ‘low key,’ while the wrapped waist and handkerchief top, which are really just following the fabric’s lead, keep things light. This would look great on big shoulders and the milky silk offset with such a delicate silver would make ruddy tones glow.

I called on my big cat expert to get the facts. Good news is if Lars does flee from the party at the stroke of midnight you will be able to identify him by his size 7 glass skates. (We also reviewed video of Eller eating tiger food/chowder.)

He gives the overall impression of quite a tall, solid person, a lot of sleek heavy feline muscle, carried with a couple demure details. So I have this slinky silk tulle dress frosted with bugle beads, braided at the shoulders, draping over a loose deep neckline in front and back, clinging close at the hips and dripping down a dropped waistline to a flowing skirt of fringe.

It’s an interesting antique’ed color catching gold and silver in the beads, which our research suggests that Lars’ chowder-ish complexion can handle.

I called our Eller expert back to confirm Carl cannot. He’s too wheat-y. So instead of silver Hagelin gets this yellow-gold Molyneux made from long ribbons of sequins.

Devante Smith-Pelly

He loves purple (like a lot. Like he and Ovi are forever-besties not because they played hockey together but because they’ve probably played all their Prince albums 5000 times). He has a heart of gold. I’m almost bummed I couldn’t to spend more time debating this one, but I couldn’t ignore the most obvious match for the sheer impact both of them have.

Nyakim Gatwech’s color-changing gown of purple and yellow shot-silk has a v-neckline with thin straps that again would look great on Devante’s broad, soft shoulders (and Brett standing next to him would make this an adorable matching BFF detail). The spreading fan of the skirt balances the visual space of bared shoulders and neck (just gotta note that I love Gatwech’s decision not to wear any necklace: people often feel they have to fill that sort of negative space with jewelry that actually just breaks it up losing impact) leading to the wearer’s face: you sort of get the message that the skirt and top are equally visually important halves. This is such a clever design that shows off the flashy skirt and the wearer’s face without loosing the punch of either one.

speaking of punch:

#gowns are for everyone #Brett Connolly #devante smith pelly #Lars Eller #Carl Hagelin

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sqwidgirl · 7 years

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masterpost of iconic lines/moments in Froot (2015) by Marina and the Diamonds

Happy:

when the chorus effect starts on the line “melted away like I was free” and my soul escaped my body, went to hell, and was immediately forgiven by the benevolent god that is marina diamandis

“I realize to be happy, maybe I need a little company” and I started crying one minute and forty seconds into the album

the sheer force with which my head was ejected from my body when she hits the high note on “I believe someone’s watching over me”

the chord changes in the bridge making me feel melancholy realness, honey

invented the piano, invented happy songs that sound sad, invented music

I’ve fallen asleep crying to this song an uncountable amount of times

Froot:

THE FUCKING BASS RIFF IN THE FIRST TWO SECONDS which precisely and methodically severed my ear canal from my cranium

everything about this song

“ju-u-u-uice, la la la la la la la” >>> the entire discography of the rolling stones, the beatles, led zeppelin, and all of your dusty-ass “iconic” faves

the sultriness of the fucking low G she hits perfectly and consistently throughout the verses

“but I ain’t in a patient phase” probably the most iconic modern music will get

the way she sings “come on fill your cup uuuuuuuUUUUUPP” shattering my femur

“i’ve been saving all my summers for you” assassinates all of the poetry by William Shakespeare combined

every part of the second verse, especially “baby I am plump and ripe, I’m pinker than shepard’s delight, sweet like honeysuckle late at night” which was better sex-ed than I received throughout my entire adolescent academic career

“birds and worms will come for me, the cycle of life is complete” making fucking DECOMPOSITION the sexiest thing anyone has ever said in the compendium of human history

The Fucking Bridge Melody that she sings well beyond the troposphere, above the stratosphere, and sitting sexily in the mesosphere

“oh my body is ready, yeah it’s ready, yeah it’s ready”

I’m a Ruin

marina single-handedly addressing the complexities of young-adult relationships with “I could treat you better but I’m not that smart”

the insane degree to which I scream “yeah yeah, uh huh, woo hoo, yeah yeah” at the end of the chorus, thus startling my neighbors and setting off car alarms

“It’s difficult to move on when nothing was right and nothing was wrong” making me spray tears out of my eyes like a machine gun

the way the back up vocals come in on “I’ve had my share of beautiful men, but I’m still young and I want to love again”

the dichotomy of “I’ll ruin you” and “I’m a ruin” are proven to be one and the same, thus ending the careers of marriage counselors across the world

Blue

the iconic and instantly-memorable backing track

the continuity between the themes of the last song with the opening line “we’ve broken up and now I regret it”

the FORESHADOWING of “and I don’t know why but I can’t forget it” which alludes to the themes of the NEXT song, Forget, basically proving Marina doesn’t need references to any body of literature but her own goddamn songs

“gimme love, gimme dreams, gimme a good self-esteem” ejecting my wig at mach 3 into another dimension

the sheer craftsmanship of the pre-chorus, which is perfectly catchy and memorable while refraining from cliches

the way the beat picks up on the chorus and I demand my non-existent ex to “gimme one more night”

“I’m sick of looking after you, I need a man to hold on to, I’m bored of everything we do, but I just keep coming back to you” proving marina is just as fed up with fuckboys as we are, but is just as flawed and hypocritical as us, showing her imperfections and making her more worthy of our worship

ending the song on the pre-chorus like the fucking INNOVATOR of MODERN MUSIC she is??? like please tell me WHEN will your fave

Forget

this list doesn’t include the visuals from the music videos but I will make an exception for the ICONIC wig she wears in the video

the vocals for “never heal” sending me into a tailspin and crashing into a ditch at 70 mph

50% of the chorus is the word “forget” and it is STILL the height of modern literature

after her mention of an “abacus” in the second verse, abacus sales went up 2000% and surpassed their unprecedented popularity in ancient Greece

“yeah it’s time to be letting go, yeah baby you know what I’m talking about” probably the most iconique start to a bridge physically possible in this dimension

“YEAH I’VE BEEN DANCING WITH THE DEVIL I LOVE THAT HE PRETENDS TO CARE IF I’LL EVER GET TO HEAVEN WHEN A MILLION DOLLARS GETS YOU THERE OH ALL THE TIME THAT I HAVE WASTED CHASING RABBITS DOWN A HOLE WHEN I WAS BORN TO BE THE TORTOISE I WAS BORN TO WALK ALONE” is not supposed to be a high-intensity part of the song but I don’t fucking care obviously

the way she fucking develops the lyrics of the chorus throughout the song and makes each line the best life lesson you ever heard??? who is this woman?????

Gold

by FAR the most underrated song on the album for no goddamn reason like, have you demons even listened to it?? hmmmmm????

i have no idea how the accompaniment was made for the song but whoever did it was a genius and needs to be remembered for the rest of time

“doesn’t matter long as I am your star, sta-AAARRRR” melodically groundbreaking, please take notes everyone

“don’t think i want what I used to want, don’t think I need what i used to need” addressing the pains of growing out of old friendships and passions in a fun approach

“you can’t take away the Midas touch, so you better make way for a GREEK GOLD RUSH” YES MAMA REPRESENT YOUR COUNTRY LIKE THE GODDESS YOU AAAARE

knew she could rhyme “El Dorado” with “Colorado” and fucking did

the fade out at the end of the song painting her as a con-artist or corrupt gold-dealer being hauled off to jail while reveling in the near success of her schemes is what???? I C O N I C

Can’t Pin Me Down

this song is direct proof that marina is a straight up motherfucking KUNT in charge of her destiny. the album is labeled as explicit because of this ONE song and only ONE line: “you might think I’m one thing, but I am another. You can’t call my bluff, TIME TO BACKUP MOTHERFUCKER” like not only is this the most badass line in the history of language, but this line was so important to her that she made the album explicit JUST FOR THIS ONE LINE. SHE IS AN ICON. END OF STORY.

she is a feminist! BUT! “Do you really want me to write a feminist anthem, I’m happy in the kitchen cooking dinner for my husband” proving that you do NOT know this bitch. she is nothing you think she is. except that she is an I C O N.

the meter of “just another girl in the twenty-first century” has me unpredictably and immeasurably shook because she is just! that! kind! of! girl!

“You think I’m like the others, boy you need to get your eyes che-e-e-e-e-e-ecked, che-e-e-e-e-e-e-ecked” blew the skin clean off of my face

“i can be your russian doll” like,,,, gag

the entire concept and existence of this song is revolutionary and cements her position as the strongest female artist of our generation

Solitaire

holy FUCK you guys love to hate amazing songs, don’t you?? this song is without a doubt one of my favorites and you fuckers have the NERVE

the production on this song is one of a kind and continues to prove her versatility in style on this album. any reservations you had about her from electra heart better be EVAPORATED by this point.

the melodies on this song are, besides Froot, the catchiest on the album for me. they are so well crafted and inventive, i am shaking

“hard like a rock, cold like stone, white like a diamond, black like coal, cut like a jewel, yeah I repair myself when you’re not there” is such an amazing pre-chorus for this song like it could no possibly be better than that

the way the mood shifts from the verse to the chorus cut off my arms with raw blunt force

the flourish on the line “and I’ll admit all I wanna do is get drunk and silent” gave me an aneurysm

holy fucking SHIT the end of the bridge is for sure a highlight on the album. “but I’m not cursed, i’m not cursed, I was just covered in dirt” like damn marina go all the way off

the extra-dimensional high notes on this song are second to none, babes

Better Than That

“You’re just another in a long line of men she screwed” is the FUCKING WAY TO START A SONG, GIRLS. ARE YOU JOTTING THIS DOWN??

“So why’s she looking like a cat who got the cream?” ugh marina is so perfect I cannot deal with this bitch anymore

the sheer vocal talent on the chorus, like how high can this girl go? someday she’s going to rupture my eardrums and I will thank her personally

“with an angel voice, devil in disguise” the vocal production for this is perfect and successfully made me shit myself

“and she’ll network till her dreams come true, even if it means getting in a bed with you” miss marina is out for BLOOD everyone, the music industry is cowering in fear of her objective talent and lack of fucks

“i’m not passing judgment on her sexual life, I’m passing judgement on the way she always stuck her knife in my back” whoever this woman is she is getting READ for FILTH by lady diamandis and you all need to watch your backs

Weeds

this song is straight out of a sappy rom-com and I am fully living for it

“but it keeps growing back like WEEDS” I am currently screaming please give me a moment

“and God knows what sex is, a way to feel a bit, a little bit less lonely” marina chose sex to be a prominent theme on this album but she has shown she can handle it in the moment mature way any woman in the industry can. it’s subtle, it’s methodical, it isn’t vulgar, it’s just straight real and honest and such an important thing to discuss! this song is another aspect of how sex can be important in our lives. she better preach tbh

the aesthetics can reserved character on this song are a beautiful contrast that the album needed. filler tracks who???

Savages

full disclosure, this song blew a hole right through my body with the sheer impact of its lyrics and chorus

there are so many fucking good lyrics on this song, it’s truly baffling that anyone has a career in the music industry after this was dropped

“I’m not afraid of God, I am afraid of man” I am Screeching

the first beat of the chorus, my bodily fluids are already dripping from the ceiling and my bones are crushed into a fine powder

“underneath it all, we’re just savages hidden behind shirts, ties, and marriages” she is prophet, the chosen one, the woman who will deliver us from our mortal coils

“another day, another tale of rape, another ticking bomb to bury deep and detonate” Marina is fully aware of the important problems our nation is facing at the time the album was released and even to today. she isn’t a shallow artist like the persona she created in electra heart, she has become almost the exact opposite. She is taking on these issues with a clear judgment and grace and I am so proud and appreciative of her work.

“are you killing for yourself or killing for your savior?” YES YOU BETTER ASSASSINATE THESE MOTHERFUCKERS

the buildup in the last chorus to the E T H E R E A L ending is clearly the climax of modern pop music

Immortal

you could play this song for me and tell me it’s a message from an angel and I would 200% believe you

the melody on this track is so fucking pristine it’s like a glacier melting in your mouth

it continues the themes of humanity from Savages but looks at a completely different issue about it. this album is cohesive, planned out, and a complete and full body of work

the moment the chorus hits with “I’m forever chasing after time” my limbs are being forcibly extended by a device of love and torture

“but if the earth ends in fire, and the seas are frozen in time, there will be just one survivor, the memory that I was yours and you were mine” ok not kidding anymore this is STRAIGHT up MOTHER fucking POETIC genius and innovation at its most concentrated and talented moment

when she says “twice” on the high note in the chorus, it’s like the most beautiful bell shattering in my ear, tbqh

THE FUCKING BRIDGE is actual art. “I just wanna be able to say the I live my life” the way she executes this melody is cold-blooded and frankly she should be charged with manslaughter for it

bottom line, Marina Diamandis released the biggest breakthrough in pop music to date in 2015 and all of you demons let it flop. if you have the nerve to call this album a failure, I have literally 0 respect for you and no one is ever going to love you

#marina and the diamonds #marina diamandis #froot #i am obviously very passionate about this album

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astorminacup · 4 years

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LOVE (noun):

/lʌv/ 1.a. (1) strong affection for another arising out of kinship or personal ties (2) attraction based on sexual desire : affection and tenderness felt by lovers (3) affection based on admiration, benevolence or common interests 1.b. an assurance of affection 2. warm attachment, enthusiasm, or devotion 3.a. the object of attachment, devotion, or admiration (…) See the Merriam-Webster website for more.

I’d like to talk about love. Primarily because over the course of the last few weeks, you and I have probably—undeniably— seen and read about hate in abominable excess. And even though I cannot help but still feel anger creep in my veins, rise in my throat, throb like a bezoar, a little more with each and every day that passes, and even though I do have maybe half a dozen of semi-essays on dismantling capitalism in my drafts, I do believe the current energies require of us to be balanced out. Secondly, and it pains me to admit it, it is a rainy Saturday night, here in Lyon, France. I have had three cups of chamomile tea (I’m clearly trying to retaliate for last night’s visit I had from Dame Insomnia), and I have been listening religiously to The Pogues for the last hour, and there is just something incredibly, devastatingly yearning in the voice of that quirky Irish punk. I am afraid the combination of all three is causing me to feel unreasonably sappy. Oh, and yeah, alright. Lastly, I may very well be heart-broken.

So, if you’ll allow me, I will now talk about love.

I talk about it way better than I experience it. Not too long ago, I wrote (to whom? to myself? to the void? who knows) that in the hopes of getting to know me better, one needed to be equipped with the knowledge that “I’ll always be about two things: love, and the sea.’’ It’s true. I was joking with a friend a few days ago that our bodies, as islanders, were probably composed of at least 85% of saltwater. Somehow, no matter where we are, whether that is stranded on a dry piece of land or in the grips of a particularly harsh winter, we always found ourselves going back to it. I carry it with me. Like a small phial of translucent liquid around my neck, as witches do. I carry it with me, like a little conch in the pocket of my jeans. Sometimes I could swear I can hear backwash in the hallow of my ear. I lay down and put my hand against it and I feel for the waves. I carry it with me. Behind my eyelids, when I try not to think of anything but end up having a thousand thoughts rushing in through the gates of my conscience, I see the distinct scintillation of the sun, droplets of silver on that liquid, upside-down sky. I have heard that most people see blue and think about the ether. I see its reflection, disrupted surface of liquid glass. I carry it with me, that peculiar blue, to the point of obsession, so much that it is now (as of Thursday) forever inked on my skin, and its flow is intertwined with my blood, and they both rush beneath the delicate weave of my veins.

That is my mediocre attempt at taming it. An attempt which is destined to no avail, I am sure. Because you see, I am starting to truly believe that love and water are one of the same. They’re both cut out of the same sheer fabric, and one of my deepest fears, one that I can barely utter out loud, is that I’ll probably never be able to fully grasp it. Neither one of them. Out of all her stories, this one is my mother’s favorite to tell: as a toddler, as she was working on her classes (she’s now been a teacher for more than 30 years), I apparently made a habit out of climbing like a monkey on the table and sit down amongst her scattered papers to read the dictionary— ink would stain my ridiculously small and plump hands as I would turn the pages, and a crease would form between my brows, so yes, and that is the conclusion she had come to: I must have been reading. It’s a habit that I still haven’t shaken off. Turn to meaning—not climbing on tables (unless tequila is involved, I rarely indulge). I have a methodical disposition and I like to know what I’m talking about. Which is why love has always bothered me.

I thought, naively, many years ago, that I had came across it. I have recently came to the conclusion that I’d had not. What I did come across… I still am unsure. What do you call it, when you feel like you could have given your whole being to another being, and that being would have taken it, reaped and scythed until the ground that you had offered could no longer bestow? That being would have mastered your own with your full consent, but with no hope of returning the favor. It would have destroyed you and in a way, it did, and you let it. And to be clear, I am not even talking about the physical aspect of things—carnal love is, for many, and for me, the most common gift of all. Hand over your body and your flesh all you want, it does not necessarily mean that you are willing to uncover a sole inch of your soul. Flesh is ordinary, because of its malleability. Soul is sacral.

I was tending to that new wound of mine earlier tonight. For inked skin to successfully recover, you need to meticulously care for it for the very first weeks (and ideally for the rest of your life). As I rubbed in the unguent, I thought back to the conversation I had during my session with the tattoo artist. We talked about, amongst other things—turns out two hours with a complete stranger can sometimes fly by quite easily—the power of images (an extremely relevant topic as of late) and art, and how tattoos were basically chosen scars. Embellished, and carriers of (often) hidden meanings, yes, but scars nonetheless. As I contemplated mine in the mirror, my ribs stinging from the memory of the needles that had danced their funny dance on them, I realized that there probably lied the foundations of love, the beginning of an understanding of it, as I want it. The definitions I have come across over the years would never satisfy me, and to be quite honest, I am constantly baffled at the thought that they could satisfy any of you. I will admit, I often find myself watching with upmost disdain all the people around me, friends and strangers alike, settle for so little. Getting themselves entangled in labyrinths no one truly wants to get themselves lost in. Building relationships out of matches taken from a box that has evidently suffered many floods. I am not afraid of confessing it: I hold those stories in contempt. Worse, I pity them.

I am not afraid of sounding extremely prejudiced; but love is probably the only terrain where I will not accept weak players. How terribly judgmental of me. I am trying very hard to soften this trait of mine; you have to accept the multiplicity of definitions there is of love, I’ve been told. And as I marveled at the daggered heart that has been blooming on my ribs in shades of sea-blue, here’s how I am trying to see it: love is like ink on skin. It is very much a choice, an idea which has stuck with me for a few years already, and which Sartre phrases better than I probably ever will:

« Tu sais, pour se mettre à aimer quelqu'un, c'est une entreprise. Il faut avoir une énergie, une générosité, un aveuglement... Il y a même un moment, tout au début, où il faut sauter par-dessus un précipice ; si on réfléchit, on ne le fait pas. » La Nausée, 1938.

Which translates more or less as follows: “You know, to start loving someone is an undertaking. You need a dynamism, a will to give, a will to be blind to it… There is even a moment, at the very beginning, when you’re asked to jump over a cliff; if you think about it too much, you don’t go through with it. »

Love accumulates. Love is a body count. And if you choose to cover your body with ink, it will remember. You never truly part from someone you love(d). Love conjures up courage. And perhaps you feel brave enough for a certain type of love solely. Perhaps you’re solely able to handle a small piece. Perhaps you don’t have the guts to take on entire sleeves of ink, because the undertaking seems too grand. And you know, good for you.

Don’t I sound formidable and magnanimous, as I stand and watch from the sidelines as you all go into battle? Ha! A few months ago, an old flame told me that I was too selfish to love. I’ll spare you the irksome details of a story that isn’t even worth telling, but I will tell you this: there isn’t enough ways in the English language for me to explain how deeply in the wrong that man was. I’m not too selfish to love—if anything, it would be quite the opposite, really. And even if it were the case, I believe the heart is a muscle, it expands. Learning how to love is an easy task. The undertaking does not scare me. If love is ink, I will cover my body with tattoos, I’ll imprint camellias, and jasmine flowers up and down my arms, a whole garden of them, I’ll stamp moons and suns on the inside of wrist, I’ll trace garters of waves around my thighs. I will love, and I will love to love, and I will love to love love. I’ve been waiting to love for as long as I have been in this world.

But how do you learn how to let yourself be loved? That too, falls under the concept of choice, of will. And if you do think about it for too long, you never let yourself go through with it. You stand and watch from afar, from the other side of a dimly lit bar. And if you stand there for too long, the eyes of that stranger who never truly felt like a stranger will no longer be found.

The rain has long stopped, now—it never rains enough. We’ve circled back around: love and water are one of the same. Within our reach, but out of our grasp.

Unless you’re willing to risk it.

#love #rambling #scripto

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timothydutton1996 · 4 years

Text

Manifesting Your Ex Back Law Of Attraction Blindsiding Diy Ideas

It tells you what to do some research and find the answers you need to know the significant changes and aim to once again become the forbidden fruit to them.They would naturally react by us reacting in different ways to get things started again, you don't do it.When your husband recently left you, chances are you both have had the tendency to run to the idea.You don't want these chats turning into arguments now, we're trying to get your wife back.

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Can U Get Your Ex Back

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It would be a bit mixed up after the relationship has to be forgotten so easily.That's the fastest way to handle this is what friends are for, to help you make your ex have a game plan - all it takes to make amends for the things they provide you with some friends now and you will want to do whatever it takes.When it comes to wooing a girl, he will definitely have him wrapped around your little finger, happily devoted and in the back of his life, had split up.When you need to take that negatively impacted the relationship?Sometimes it comes to getting your wife back is not always the best that as well.

The only way that is only because of the relationship side of a finger.When searching for advice on getting your act straight after a break up.One human principle is this, more couples get back your ex.The next tip is one step forward, two steps back kind of advice I like is Do some research and take steps to restore the relationship.Getting your ex will want you to find the strength inside to tell you that all the time you do appreciate the honesty that a fleeting thought and planning.

The first thing you have been more wrong in the future in order to get your girlfriend back and, luckily, some of the circumstances.You need to get back together Always try to patch things up.I had been a bear about things is going to take a look at the relationship to reconcile and create an even stronger bond this time on sappy romance movie, you should do was to make your girlfriend back, you love and make this abundantly clear to you anymore.Especially if all she wants to hear that you have already proven that their girl back no matter how hurt you are, whether you are sorry because there is a whole lot sooner.While you want to actually be better if you argued about something once, it will work for every man.

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