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today-only-happens-once · 4 years

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Thoughts on “Flirting with Social Anxiety”: Roman, Virgil, Bravery, and Self-Worth

I originally started by just keeping a running list of thoughts in my head as I watched the “Flirting with Social Anxiety” video for the second time through. But then it started getting long and involved, so I elected to just make a specific post for some of the reflections and analysis my thoughts started to follow down the rabbit hole.

Obligatory reminder that this is just my interpretation of the canon work. You may disagree or interpret things differently, and that’s totally valid. These are just some of my thoughts and where this video (deemed “essential viewing” for the canon story by Thomas) fits in the broader narrative with relation to character arcs (specifically Roman).

Without further ado, here are some thoughts on the new Sanders Asides video. Apologies for the length. Turns out, I have a lot to say.

I first found it interesting that the beginning of the video involves a series of scenarios in which Virgil and Roman repeatedly call out Thomas’s lying. First is the movie ticket (though Thomas rightfully defends that it’s not his fault), then the store alarm, and then several other examples--most of which we do not know the actual scenario involved. Given that Virgil has been at odds with Janus repeatedly and heatedly in the past, and the way things ended in “Putting Others First” between Roman and Janus (specifically Roman expressing concern that Thomas will not know where to draw the line between selfishness and taking care of yourself), it makes sense that they would be vigilant against Thomas lying. Perhaps it’s even directly a result of Janus becoming more accepted as a part of Thomas, though we don’t know that for sure.

I think the first big hint we get regarding Roman’s lingering and worsening self-worth issues is a brief line during the food court scene. Roman is forcing Thomas up while Virgil is pulling him back down to sit. When Virgil snaps “Roman, you’re making a mistake!”, Roman immediately shoots back, “If I am, I’ll add it to the list!” and shoves Thomas forward. And honestly, it’s not an unfounded thing for Roman to say.

He makes a mistake in the way he treats Virgil early on, he makes a mistake trying to convince Thomas to win back his ex during the Moving On arc, he makes a mistake with the lyrics in 12 Days, he makes a perceived mistake by causing Thomas to choose a cute boy over Joan’s play in Can Lying Be Good, he makes a perceived mistake wanting the callback, and then another mistake by forcing Thomas to attend the wedding instead... The list goes on. (Is it any wonder that he says “mistakes” when Thomas asks how he used to learn things in “Learning New Things About Ourselves”?) It might also be worth noting that nearly all of these mistakes are rooted in somethin Roman wants for Thomas.

And it is the most recent mistakes (relating to the callback) that have the most narrative weight at the moment. Even though the plot surrounding the callback has moved on, the aftershocks of its ramifications still are impacting characters--perhaps Roman especially. And this video works specifically to make that apparent. Just take a look at the reactions and camera/POV choices during the mirror monologue.

Thomas mentions a few times in the course of that monologue the idea that he isn’t sure what he wants anymore; the first being acknowledgement that the mall is the place you go when you’re not sure what you want, and again when Thomas says specifically that he doesn’t know what he wants. Both times Thomas speaks to that, the attention is on Roman. In fact, the second time where Thomas is speaking directly about himself and how he doesn’t know what he wants? Roman is looking at Thomas, which makes sense because Thomas is really speaking about Roman when he says that. Because all the times in recent canon that Roman has wanted something for Thomas, it has backfired and it has hurt parts of himself (i.e. other “Sides”, and sometimes Roman himself).

Though it’s also worth noting, through the course of the mirror monologue, the moments the camera/POV focuses on Virgil. Thomas makes the comment that he doesn’t know anything, least of all himself (and the focus on Virgil in that moment brings to mind that the reveal that Virgil used to be one of the Others). He also says “I know that if I don’t act on these feelings right now, I’m going to regret it” and again, we see a focus on Virgil. Because in this video thus far, Virgil is the one that has been keeping Thomas from “acting on these feelings”.

I’m not saying anything you all don’t already know. But this is sort of a “present the evidence before you state your case” kind of situation. Heh.

The vigilance and call-outs against lying that I mentioned earlier lends a certain credence to the confrontation that Roman and Virgil have with Thomas after he exits the bathroom. The fact that it is Virgil that initiates that confrontation I think is especially interesting. Furthermore, Virgil goes so far as to use the term “deceit” when he says “will deceit continue to be the answer to all of your problems?”. That term carries a very specific weight in this series. I don’t mean to suggest (necessarily) that Virgil is speaking directly about Janus. Time will tell when the script releases, but I don’t think Virgil means “Deceit”. But I also don’t think that it’s an accident that he uses that word (or that the team wrote the script having him use that word). Given that Virgil was absent in the last video, where Janus became a more accepted part of Thomas, this confrontation about Thomas’s pattern of behavior in this episode is a useful reminder for the character of Thomas and us as an audience that all Sides of Thomas need to be kept in check once in a while.

But relatedly, Thomas’s conclusion that “he’s better off without me” is an interesting echo of his on-going canonical crisis about whether or not he’s a good person. In this confrontation scene, Roman and Virgil establish that starting a relationship with lies means that the relationship itself won’t be a good one. The blow that seems to cause (or rather, bring to the surface) on Thomas’s self-esteem is an interesting turn--precisely because Roman is no small part of that self-esteem and the issues it’s having. I think it’s a useful and telling glance into some of Roman’s psyche that, while he may be reluctant to admit it, is directly influencing Thomas.

And that issue of self-worth that is first suggested by the aforementioned “he’s better off without me” gets echoed directly by Roman only a moment later. When he says “one more chance at happiness squandered”, the use of more suggests that he’s not just talking about talking to a cute boy at the mall. He’s talking about all the other chances at happiness that have been squandered--most recently, the callback. The fact that Roman follows it by saying “it’s probably for the best” is an indirect reflection of just a moment ago with Thomas’s “he’s better off without me”. They are, effectively, saying the same thing there. And it strengthens the notion that the comment from Thomas is really rooted in Roman’s self-worth issues.

Which is precisely why Virgil bein the one to shove Thomas forward to talk to the boy is such a big deal. Because Virgil--anxious, panicky (in this video) Virgil--essentially decides no. No, it’s not for the best. That chance of happiness matters, and is worth the perceived risk. What Roman wants matters. And Virgil backs that idea up with decisive, meaningful action more than just words. (I will never not be emotional about it).

And also... it pays off. And that’s so important for Roman. Because when was the last time that what Roman wanted paid off? I listed his perceived mistakes earlier. None of those, as far as I think Roman would understand, have paid off for him. It’s been a long time since what Roman wanted paid off and was seen as good by others, y’know?

I think that’s why Roman describes Virgil’s shove as “bravery”. I think it’s more than just Roman saying “I know that was scary for you and thank you for doing it anyway” (though there’s an element to that). I think Roman was afraid. I think calling what Virgil did an act of “bravery” might also be Roman saying “you were braver than I, and I am grateful for that”. Because Roman could have been the one to shove Thomas forward. He didn’t. Virgil did. And for Roman, that’s maybe a sign that someone else still thinks that what he wants can be good and right and worth it.

(Side tangent that it’s also an interesting reflection back to that first episode when Roman claimed “rejection” as something he fears, and again in Fitting In when he acknowledges that Virgil has “been a little too familiar with rejection nad has had his fill”. Just another layer added to the continuing thematic thread about bravery and fear and rejection).

Right now, its impossible to know for sure exactly why this video was deemed as “essential viewing” for the broader narrative of Sanders Sides. Maybe Nico will be mentioned in videos going forward, or maybe not. But this video definitely seems to have significance for Roman’s character arc and his continuing development, particularly as it relates to his worsening self-esteem issues. I am beyond excited to see where exactly this leads us, and the broader narrative implications of this key moment for Roman (and Virgil too).

#sanders sides #roman sanders #sanders asides #sanders sides meta #sanders sides analysis #virgil sanders #sanders sides spoilers #ts spoilers #long post

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zigtheeortega · 3 years

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For the past six months, @pixeljazzy and I have been working on a playlist we felt could top last year’s, which was so well received!

We’ve broken it up into sections by individual love interests, multiple love interests, main character, and miscellaneous, which includes side characters, general vibes, etc. Underneath each song are lyrics we believed stood out to us along with explanations as to why we chose it. Like last year, the [p] is for PJ and [j] is for Jade.

Here’s the link to the playlist on Spotify, but we’ve individually linked the songs with each explanation as well!

We sincerely hope you enjoy our 2021 RODAW Playlist!

The Bay, Soft Glas. ft. Mulherin [j]

Leaving you alone is too hard (hard, hard) / I just never know where to start (with you)

I'm not used to leaving someone broken hearted / That might be what really makes this hard (It's hard) / I've never been with anyone this long / If I did it, I really miss you

The softness and apologetic tone of the song reminds me of Logan through and through. He’s so regretful for what he put MC through, both at the beginning when he was lying to her, and by the end when he thinks he’s ruined her life by simply being a criminal and dating her. And by leaving her he’s leaving the one person who’s loved him unconditionally and stuck with him through it all.

Call Me, Nav [j]

They taught me, "Don't forget where you came from" / I regret what I came from

Do you know how it feel to feel alone? / Bought myself a house, to feel like I ain't home / Driving by myself, ain't got nowhere to go / Are you really here for me, I don't know

I hope you mean everything that you told me / I'll try to come back to you, girl, I'm sorry / If you miss me, just call me

This song honestly reminded me of Logan’s backstory that we don’t know much of, besides the fact that he was thrust into a life of crime as a teen and as an adult he hates it. The other lyrics I added are kind of a glimpse into the future I think – wherever Logan is, whatever he’s doing, if he’s not with MC, the woman he loves, everything he accomplishes is gonna feel hollow. And despite him saying that he was leaving to protect her, I know in his heart he’d want her to find her way back to him.

Cold Case Love, Rihanna [p]

I’m torn apart and you know / What you did to me was a crime

We opened up a cold case love / And it got the best of us / And now prints, pictures, and white outlines / Are all that’s left at the scene of a crime / Of a cold case love

The first line reminded me of how MC probably felt after being betrayed by Logan, the one that was arguably supposed to be the closest to them, and then the second lyric is because at the time, MC left and that was the last Logan knew of them with nothing to stand for what they used to have until they eventually came back to help save the crew.

Compass, The Neighbourhood [j]

If I don't have you with me, I'm alone / You know I never know which way to go / I think I need you with me for all-time / When I need new direction for my mind

I've got something to confess / I keep you in my pocket to use / You're my only compass / I might get lost without you / (Could you tell me where to go?)

You're always there to help me when I'm down / I'm lucky you've been keeping me around / You're the star I look for every night / When it's dark, you'll stick right by my side

Like a magnet / Hard to imagine ever changing / Can't help that I'm attracted to you, I am / Could you keep on guiding me? Please

This is a quintessential Logan song – reading these lyrics, it’s like Logan spoke them himself to MC, and that’s why I included so much of the song. All of these remind me of him and his hopeless romanticism, but specifically the line about her being the star he looks for every night? Absolutely perfect. This entire song is like a love letter from Logan to MC.

Don’t Leave Me, Blackstreet [p]

I’m searching for the words to make you realize / That I really, really want you to stay

Don’t leave, don’t leave me girl

This song was giving me Logan vibes from the diamond scene where he’s like “I can’t believe I love someone” and MC is like “you don’t get to say that to me” or some shit like that because he’s trying soo so hard to explain himself to her and to make her not hate him.

Imma Dog, Ugly God ft. PnB Rock [j]

You say you love me, shawty, tell me why / 'Cause I'm a dog and I'ma probably be this way until I die / You say you always gon' be by my side / You say you trust me with your heart and I swear, I just wonder why

Okay, hear me out, I forreal have reasons for this to be tied to Logan. The only verse in this song that’s a non chorus one is related to cheating, but I’m choosing to ignore that for the sake of the chorus. I heard the chorus for the first time and it made me think of one specific moment and point in time in Ride or Die. These lyrics remind me of Logan’s attitude when he was being mean and pretending to be annoyed by MC to get her off of him – despite the facade he’s still in awe of the way she trusts him and cares about him even when he’s treating her like garbage.

Life’s a Mess, Juice WRLD ft. Halsey [p]

Uh, sometimes life’s a mess

Lookin’ for somethin’ real, then I found it

I’m too flawed to hold you down, but / Don’t wanna be here alone

Logan knows all too well how much of a mess life really is (first lyric), and the second lyric is basically what I think he feels about MC. He told MC in the beginning that he doesn’t really stay with crews or trust anyone but himself, but MC was that exception before the rest of the crew became that exception too. And then the third lyric is because Logan looks at himself as someone who probably doesn’t deserve MC, Vaughn even said he was morally obligated to tell MC that she’s too good for his cousin (yes it was a joke (was it) but it fits), but he still wants her anyway (“Look at you...then look at me. You’re going to be valedictorian. I never even went to high school...I don’t have anything, and I wasn’t anybody, and I knew that. I always knew that….Some part of me really wants you to mess things up for me.” - Logan, Ch. 3).

Unfair, 6lack [p]

Hope my mistakes don’t make me less of a man / ‘cause lately it feel like them shits really can / I’m prayin’ I don’t wake up all alone

But know I’m stuck between / What I love and who I love and / I know it’s unfair

The first lyric I feel like is pretty self-explanatory as Logan expresses remorse for his actions (him acting weird and tryna tell MC about his dishonesty in the club, him making the effort to apologize or explain in the diamond scene after the reveal) and it especially hits if your MC is romancing Logan because he doesn’t want to lose them. As for the second lyric, I was thinking about how he was probably stuck between doing what’s best for the crew and doing right by MC

While We’re Young, Jhene Aiko [j]

Baby while we're young / I think we should do something crazy / Like say, "Fuck everyone" / And just run away from the daily routine

I'm tellin' everybody you're mine and I like it / And I really hope you don't mind, I can't fight it

'Cause it's been another perfect day with ya / Wanna lay with ya / Spend the night with ya / Then spend my life with ya, alright

I'll go everywhere you go / You know I'll go, I'll go / Everywhere you go

I'm giving you my heart, please don't break it / Take it and lock it up and put me in your pocket, love

This reminds me of Logan and MC’s brand of romance that’s sweet and clumsy and a little bit reckless when it really gets going. They’re both cautious but they fantasize about throwing caution to the wind even more than they already have.

Angel With A Shotgun, The Cab [p]

I don’t care if heaven won’t take me back / I’ll throw away my faith, babe, just to keep you safe

Sometimes to win, you have to sin

And I want to live, not just survive

Lemme explain because I feel like people may think this song is really really out there for Colt but I was listening to this song one day and thought of him, esp the last two lines I chose: I think of how Colt came up with the kidnapping plan and how it was so crazy because it was like wow he really was ready for murder if it came down to it, but Colt was basically like we need to do something big to outsmart them or else we’ll just be doing shit for them forever (‘sometimes to win, you have to sin’).

Born 2 Be Great, Lil Tjay [p]

I was born to be great / And I won’t let nobody tell me I ain’t / And I can’t stop, won’t stop

Growin’ up, I’m gettin’ old, start settin’ goals / Tryna make more money off my business and shows / And everybody gon’ hate, I’m great, I know / Everybody can hate, I’m great, I know

These lyrics just scream COLT to me all the way. He knows and believes he’s destined for greatness no matter what path he chooses because no matter what he does, he’s gonna succeed in the end. “I can’t stop, won’t stop” reminds me of how Kaneko wanted Colt to choose for himself what he wanted to do, and even though Kaneko tried to shield Colt away from the family business, that’s where Colt wanted to be. The second lyric is essentially Colt just knowing he’s gonna make money and that he won’t be liked (hated by other crews, police, etc.), but that won’t matter because he’s great nevertheless.

Chandelier, B.o.B ft. Lauriana Mae [p]

They say life’s about choices / In the face of defeat I declined / Put your soul into everything, never back down / That’s how you leave a legacy behind

Let my blood keep pumping, my heart keep beating / Shining like a chandelier

Making something out of absolutely nothing / That’s the definition of a survivor

Colt definitely felt ‘put your soul into everything, never back down / that’s how you leave a legacy behind’ because of how much he focuses on carrying on what his family has built, and taking all the risks necessary to keep that legacy alive and make a name for himself. I put ‘shining like a chandelier’ because that’s how bright Colt shines, as I believe he’s destined for greatness and wouldn’t allow himself to achieve anything but.

Down Bad, Real Recognize Rio [j]

I've been out of my head for a couple minutes, for a couple miles / Made the hair stand up on my neck / On a knife edge, comin' at me for my crimes / Got a mind that can leave you locked inside

'Cause you got me down bad, down bad, your deep desire / Carve my name on your soul, then I walk through the fire / Your voice so clear, like you say my name / You got mе runnin' for my life like this shit was a game / Got mе down bad, down bad to feel your touch

This song reminds me of Colt specifically during the gambling scene when he got shot and the last car chase scene, because MC is put in serious danger but it does nothing to shake her love for Colt. She’s scared for her life and her future but she’s still willing to put everything on the line for him and MPC.

Forever Ever, Trippie Redd ft. Young Thug [p]

You gon’ really have to hold me fuckin’ down, babe / ‘Cause I ain’t with the fuckery, that playing ‘round, babe

We Bonnie and Clyde but except the shots

He don’t love you like he should, I can love you better

First and second lyric are because they’re a team, and Colt sees MC as his right hand. In the life he lives, the people on his team gotta be down fr because there’s always a lot at stake. The last lyric is more conditional, as I feel like this could be him if MC was also romancing Logan because in the reveal, Colt’s like you deserved to know and in the car in the chapter afterwards that’s when he’s like bro we could run this whole shit etc. etc.

Impala, O2worldwide [j]

I been watching you from a distance / Sitting back and acknowledging your existence / I made a couple songs but you'll probably never listen / Shooting my shot but i'm always fucking missing / Setting my ego aside / Me and you can go together just like Bonnie and Clyde / I've been tripping over you just like my shoes is untied / And I tried to hit you up its like my confidence died but

I see you everyday but don't past corners of eyes / I'm just gonna act like I didn't see you close to that guy / Not gonna lie you got me head over ears / I'm tryna find love because I don't know just how it feels

Anyone listening to this and reading the lyrics is going to hate me because… is this the perfect “Colt pining for MC because she’s getting close to Logan” Love Triangle song, or what? I listen to this song so casually most of the time that I forget how sad the lyrics actually are. The first couple verses (not the third verse) fit the narrative so well. A lot of my favorite “Colt” songs aren’t ones where they’re outwardly admitting any kind of affection for MC – they’re the ones where it reads as Colt struggling with their feelings for MC and how to express them.

PTSD, G Herbo ft. Juice WRLD, Lil Uzi Vert, and Chance the Rapper [p]

I don’t belong, I see my past everywhere

I got a war zone on inside of my head

A million dollars ahead, I’m still angry and seeing red

I’m too paranoid, I make sure all my opps, they bled

This song always guts me because G Herbo is talking about all the people he’s lost, and for Colt, I imagined this was probably him after losing his father. Reminded of his past when he saw the remains of the shop, reminded of his past every time after that probably when he was rebuilding the shop. As for the million dollars, it’s like he could pull off as many heists as he could but he would never be satisfied until Brotherhood paid, hence the last lyric because honestly I don’t think it’s over until Shaw is dead (ik there’s a line in ROD where he’s like if we were even, he’d be dead, I just know it).

Sun God, Trippie Redd [j]

Went out my way just to love you / Right at the top, no above you / Right off the top, know I trust you / Ready or not, here I come, boo / And baby, you're hot, like the sun, too / Not too hot for me, no I'm sun-proof / Follow your lead, I'ma come through / Just you and me, baby, one-two

I think this is Colt way farther down the line if MC had the chance to really fall in love with him. He’s the type to value trust and loyalty in a bond more than anything else because he doesn’t do either of those easily at all. And I think that the line about being sun-proof is a cute callback to a lot of the fandom comparisons of Colt and Icarus – the title too and the lyrics just scream Colt to me.

Where Does The Love Go?, Maria Isabel [j]

Nightly negotiations with the moon, whoever's listening / All the miles between us got me messed up, got me trippin'

They say lovin' is easy / But not when one of us is leaving

Back on a plane / Two different coasts / When we're alone / Where does the love go? / What if you go / Forget the way home? / Running in circles but never together / So where does the love go?

The more I listen to this song the more I think this song is about Colt and MC. Colt’s not a clingy type in the slightest, but there’s no doubt in my mind that deeper into the relationship, both Colt and MC would have some doubts – the reason I say this is because I’m viewing the lyrics through the lens of Colt and MC doing long distance while MC is in college on the East Coast. This whole song is long distance relationship anxiety summed up perfectly and it’s so Colt.

Yellow Lights, 24kGoldn [p]

Don’t want no yellow light / don’t want no mixed message

For the crown, ‘cause we could achieve it

Love you now, but don’t you deceive me

Second lyric resonated with me esp because of that line in the book where he’s like “But the two of us? We put our brains together, you and me could run this whole town” so he knows he could achieve an empire with MC by his side. Last lyric is because Colt definitely doesn’t trust those around him and for those that he does trust, that trust doesn’t come easy. So MC, who managed to get past that, is loved, but would automatically lose a lot if she deceived him (now imagine….snitch MC? This line would hit a lot more because she ends up deceiving him so like he had a right to be wary of her holding his heart (like if we’re looking at the pov of him saying this lyric)).

Can’t Love, Trippie Redd [p]

She say she love me, I think she love me not / She say she love me, I know she love me not

How could you do this to me? / Yeah, yeah, I thought you, I thought you loved

Another Mona and her ex song teehee but I’m imagining this from Mona’s pov while she’s in jail like wow that girl never loved me like she said she loved me (first lyric) and how could she betray me like this (second lyric).

Favorite Mistake, Giveon [p]

Is my secret safe? / Safe with just you and me / We can’t leave a trace / This is my favorite mistake

Look in my eyes / Do you mind the lies? Do you feel alive?

Even when you’re gone / The feeling just grow stronger / Should leave it alone / But you’re getting closer

So I finally did a Mona route and GOD yes this song is about cheating (Mona and Hieron can’t relate) but we gon ignore that and just focus on these lyrics specifically because wow they really hit me like Mona for one was in denial of her feelings for MC from the jump and at some point she’s like god this is so ridiculous I can’t believe I’m feeling this way again so ofc she doesn’t want people to know she’s in love (like that time Toby is like man she is NOT happy about liking you! in the club scene) hence the beginning of the first lyric but at the same time….. she’s in love… so “this is my favorite mistake.” As for the second and third, the lies are that “I don’t like you” ra ra ra she’s only fooling herself and then it’s like yeah she knows her feelings are dumb but she can’t help but fall for MC anyway <3

Gonna Love Me, Teyana Taylor [p]

Sometimes we say things that we really don’t mean / We do things in between the lines

Please wait up for me ‘til whenever I get home / I know that you’re all alone / Thinking ‘bout what you’re gon’ do / I hope that you see it through, ooh, ooh

Why is it so hard to keep in touch

For the first lyric, I was thinking of the time MC says “Being with you makes a difference to me. It feels safer” and Mona replies that “It’s just an illusion. A blanket. And I’ve told you before not to count on me.” Yeah she said that wit her chest but ik she knows it’s more than that for the both of them. The second and third lyric both have to do with her being in jail by the end of the book (making it literally hard to keep in touch), and even though she tells MC not to wait up, a part of me thinks the vulnerable part of Mona would’ve hoped at least a smidge that MC would, and the last bit ‘thinking ‘bout what you’re gon’ do / I hope that you see it through’ reminds me of the advice in the diamond scene of driving Mona to the hospital that she gave MC which was that to move on, you just gotta keep your foot on the gas and look forward and that eventually, she’ll be somewhere better than she’s ever been.

Love or Lust, 24kGoldn [p]

It’s love or it’s lust, we just need to be clear / ‘Cause if you’re in love, then I shouldn’t be here

Would you walk eight thousand miles just to make me smile on a rainy Wednesday? / If so, then you gots to go, it ain’t mutual and I’m not pretending

Basically in the beginning stages of MC falling for Mona, Mona’s like oh hell nah (“I shouldn’t be here”) and she recognizes that MC likes her a lotttt (MC would definitely walk eight thousand miles to make her smile on a rainy Wednesday) and so she’s like fuck

PLW, Leon Thomas [j]

Left my fear right at the door (ooh) / She's an animal hunting in the wild, yeah (in the wild) / Doesn't move around or groove / But she come from the depth / That's why she's down to earth / An instrument of war

Baby ain't no beginner / I got love for my little winner / Flashing or finessing / That's why I mess with her, yeah

And you don't have to worry, yeah / 'Cause I know what's she worth / No, you don't have to save me / From my pretty little weapon

Ooh my baby smart, and she sharp, and she sharp, yeah / Pretty little weapon

I’ll never ever get over how this song fell into my lap and is absolutely perfect for Mona. This is for an MC who acknowledges that Mona’s a badass and that she loves her because of her strong personality and unwavering confidence because she knows she’s good at her job. The first verse is the best approach an MC could take – leaving her fear at the door because she knows someone like Mona could sniff it out. The line “No, you don’t have to save me / From my pretty little weapon” kills me, because it’s accurate – on Mona’s route, despite any betrayal, the MC is still in love with her and knows that Mona would never actually hurt her.

Sleeping With the Enemy, BbyMutha & Kindora [j]

Creeping around corners / I don't feel like myself / Studying your movements / It's a carousel / And I can't confirm that you / Mean what you say / And I'm pretty sure / That it's / Better that way

Why can't I trust in you / Am I slipping up / Over you / If it really turned to be the way / That I think / How bad could it be?

And I know that we could go for / Round and round like 123 / And I gotta question myself / Is it coming? / Possibly / And I gotta wonder / Am I sleeping with the enemy?

I'm watching my back / Like I got nothing left / I give you all I got / Wish I knew what was next

The first time I heard this song it was a toss up between whether or not it was a Colt and Mona song (or both) but I settled on Mona pretty quickly after a re-listen. Not only is the internal conflict in the lyrics a perfect description of Mona’s own battle, but it could be easily viewed from MC’s perspective as well. The idea of knowing it’s “wrong”, and mistrusting them but pursuing it anyways is quintessential early Mona route.

The World is a Marble Heart, AJR [p]

We could have been, we should have been / What your heart couldn’t handle

Run away, girl, ‘cause I let you / Now you found some other man, you see / I’m better off without you, ‘cause the man ain’t me!

I’m going right now / To the beginning / What you denied from the start / And now you can’t go breaking my heart

The world is a marble heart / It’s bullshit and we know it

I think the first lyric is definitely MC to Mona because Mona was afraid to allow herself to be in love, and then evidently their relationship couldn’t blossom because Mona ends up arrested (“we could have been, we should have been”). This song called out to me because Mona always comments on how MC’s heart got them into the Brotherhood mess, how MC always think the crew is something they’re not, so MC’s heart is the marble heart and the last lyric (“it’s bullshit and we know it”) is essentially Mona being like girl you know we are not what you think we are. The second lyric is because in a scene after the reveal, Mona drives MC to Riya’s house and MC goes I wish we could run off together and Mona is like just say the word and MC is like I can’t :/// and then Mona is like the only one stopping you is you, and then “I’m better off without you” is Mona being don’t call don’t write don’t text

Would You, Pink Sweat$ [p]

Would you die for me? I would die for you / Would you shoot for me? I would kill for you / Would you run up the bag if I needed you to? / Girl, all the things that I’d do for you / Would you do for me too?

I wanna know when it pops off that you gon’ be right next to me

This was giving Mona and her ex from that scene where MC got a glimpse into Mona’s past. Essentially, Mona’s ex and her were thick as thieves, and when they got arrested, Mona didn’t say anything and her ex did, so Mona was always ten toes down but her ex never had her (Mona) like she (Mona) thought she (her ex) had her (Mona)

Both of Us, YFN Lucci [j]

Stay with me when there's no one else to call / If you got me then I'm in it for the both of us

Look, ayy, do you love me like you say you love me? / Ay, do you vow to keep it cute when everythin' get ugly? / Ay, if I ever leave, girl would you come lookin' for me?

I think that this song and these lyrics fit into the title of the book and how “ride or die” each of the love interests are for MC and vice versa. I think the softer parts of this song are MC for sure, and Logan at times, and the second bullet point is Colt and Mona. For them, it’s more of a promise of loyalty rather than love like the earlier lyric is (which is why I think that’s a bit more hopeless romantic like Logan).

C U Girl, Steve Lacy [j]

I haven't seen you in a while, you know I miss you babe / When you hear this song, feel flattered, it's about your face / And how I miss it and I wish that I could see it more / But you're in college now and I'm about to go on tour

I love this song because it makes me think of the possibility of MC and the LI having a “song” – one where any time they hear it they think of each other. And that when they hear it it makes them happy but at the same time they’re forced do think about the distance between them and how much they miss each other.

Collide, Tiana Major9 and Earthgang [j]

Everybody's got opinions on our thing / Say we're flying down a path with no ending / And if I die before I wake / Ooh, don't let me wake up from this dream / When we collide / When we collide, it's a beautiful disaster / When I crash into you, you, you

And I don't care about the future or the past / Riding slow, 'cause you know the world's moving too fast

Without you, I'm just a fraction / Closing in on my demise / And I love you religiously / With everything inside of me / As long as I'm alive

So I think it fits for all three because the relationship is taboo since they’re criminals and she’s a valedictorian getting ready for college. Their relationship is sloppy and dangerous and comes to an inevitable end, and they both know that, so this song for sure encapsulates how little both the LI and MC care about that. They don’t that it’s a trainwreck, because colliding is all that matters :)

Heaven, Clairo [j]

Alone, for the last time / You're just a loner / Give it a try / And you're hard on yourself / And your laugh, it just melts in my hands / Lonesome in the streets

I'll get by with you on my mind / I'll get by with you on my side

I love the idea of this song being viewed as MC’s perspective of her LI, because I’m sure the other LI’s haven’t been appreciated in the way that she appreciates them. For example, the line about the laugh melting in her hands makes me think about how they’d react to her saying that to them. None of the LI’s probably have never been told their laugh is cute, and I’m sure they’d be confused about it at first, so this whole song gives me a cute late night summer drive vibe. Like the MC is in the passenger seat of Mona or Logan’s car or draped around Colt and she’s just appreciating the things she loves about them.

Heaven Ain’t Hard 2 Find, Tupac [j]

Simply because you nervous, let me start off with my conversation / Hoping my information, elevates the hesitation / I can see it clearly now / Catch you smiling through your frown / I'm askin' Baby Boo are you down?

Heaven ain't hard to find / In fact you can have it just have faith / Just like a little kid, still believing in magic / It takes a lot of sacrifice / With all the lonely nights on tour / I need somebody I can trust in my life

Oh god help me identify me truest thoughts / Your hidden motives full of passion who would of thought / Come holla at me baby, love me for my thug nature / Far from a player hater, label me a money maker / Straight heart breaker

I originally added this song because it’s canon that Colt loves old West Coast Rap, so that makes me think he’s a huge Tupac fan. I can see him listening to this in his car driving down a California highway at like 2 a.m. On the other hand, though, the beginning of the song reminds me of the first meeting with Logan at the party, or the second meeting when they go to the car show – young love jitters and all that.

Keep Me Up, Charlotte Lawrence [j]

My heart starts beating and my hands start sweating / My chest starts sinking and sometimes will even start shaking / It's physical and emotional

And I don't want you all inside my head / And I can feel you running through my veins

When I say, and I say, and I say / That I want you in my life / But you stay, and you stay, and you stay / And you never leave my side / And you take, and you take, and you take / And you say you feel so nice, boy / And you keep me up all night

I think this fits with all the LI’s and MC and how they cope after the LI’s had to leave. Read it from both perspectives and it honestly fits so well for both of them – like the first couple months of restlessness staring at their ceiling while reflecting on how much they miss each other.

Kitchen, Kid Cudi [j]

Hmm, you wanna find somebody you trust and lay low / But it seems they all on the same mission / You wanna find somebody you trust and lay low / But can't stand the heat of my love, then stay out the kitchen

Oh baby here we are, I made a wish on shootin' stars / I ain't even mad at it, we made it this far

The attitude of this song reminds me of both Mona and Colt’s feelings about relationships – they both know they’re intense people and that they don’t trust or love easily, and that whoever’s interested in them needs to know that. They’re not going to apologize for it, but they appreciate anyone who sticks around and loves them despite that.

Meet Me Halfway, The Black Eyed Peas [j]

Can you meet me halfway, right at the borderline / Is where I'm gonna wait, for you / I'll be looking out, night n' day / Took my heart to the limit, and this is where I stay / I can't go any further than this / I want you so bad it's my only wish

I think of all three LI’s when I listen to this, because it fits into the idea of them struggling to maintain both of their lifestyles and have them mesh together. And it plays into the distance when MPC has to scatter.

Moonlight, Trippie Redd [j]

I can still be your man / I was tryna see your plans / 'Cause I was tryna have this dance tonight / Your body, girl, I'm a real big fan / And I cannot lose this chance / So, baby girl, grab my hand / This moment I'm waiting for, I fantasize / I just wanna be with you, I just wanna be with you tonight / Under the moonlight

This reminded me of the prom scene and how despite the chaos, all three love interests took the time to appreciate MC and soak up their last “date”.

out for the night, 21 Savage [j]

Five foot five (Five), she my ride or die (Die) / Never tell a lie (Lie), we like Bonnie and Clyde (Clyde) / Lookin' at her thigh (Thigh), like, "Do it come with rice?" (Rice) / She don't like FaceTime, she would rather Skype / But I'm out for the night (Straight up) / Out for the night (Straight up)

When I heard this song I could definitely see Colt listening to it, but I think the flirtiness of the song fits for all three love interests! Also, I mean… “she my ride or die” and “we like Bonnie and Clyde”? Self explanatory.

Part of Me, Teo [j]

I believe there's no one in your place / So much lovely / You can cure my mistakes / You reside in me no room for escape

You're my darling / You're my love / You're rocking all of your diamonds / All dressed up / And girl I lost my mind, no, I messed up / So now I'm knocking at your doors with my chest up

You're part of me / Come again and see / Diamonds make you sparkle

This reminds me of the prom scene from the LI’s perspective. And even more so than that, it reminds me of post prom/car chase where they have to say goodbye to each other the last time. It’s like a bittersweet tribute to MC about how much they mean to them and how much they’ll think about them when they’re apart.

Special, 21 Savage [j]

We got something special / I was finna text you / But I don't wanna pest you / Even if we ain't together (no matter we're forever) / I'm still coming to your rescue

Ride with me (ride with me) / Tell the truth and don't you lie to me (lie to me) / You know I need you on my side with me (side with me) / Tell the truth and don't you lie to me (lie to me) / Baby, roll with me (roll with me)

I'mma hold you down forever / You my round forever / They just want to use you, but I'm tryna help you

I think of Colt mostly with this song, but it definitely fits with all of the li’s in my opinion! Logan, Colt, and Mona would all approach their relationship with MC this way – constantly affirming that they’re there for MC no matter what, even if things go South with them, they’re always one call away. And especially the last line “they just wanna use you, but I’m tryna help you” that’s for sure an overprotective LI about the Jason Shaw situation and generally people taking advantage of MC’s kindness.

Drunk on Love, Rihanna [p]

Take me away / I wear my heart on my sleeve / Always let love take the lead / I may be a little naive, yeah

I feel like I’ve heard MC being described as naive, and even in the book Mona is like man it’s your damn heart that got us into this mess because you thought we were more than who we are, so yeah this song reminded me of MC.

Final Goodbye, Rihanna [p]

Thought that you would stay forever with me / But the time has come to leave

Promise you our love will carry on

Final goodbye, MC saying goodbye to their LI, you catch my drift.

The Good, the Bad, and the Dirty, Panic! at the Disco [p]

If you wanna start a fight / You better throw the first punch / Make it a good one

I feel like this lyric specifically is saying that if you’re gonna stand for something, you better give it your all, and it reminded me of how MC came up with the plan to defeat the Brotherhood in the last few chapters of ROD, and to get out of it, they really had to go all out (AKA MC telling the police everything, meaning the gang had to go on the run). Also, MC just nose-dived into this life and I feel like this lyric is like ‘well sis if you gon be a criminal you might as well do your best’ (and she did when she bodied her first heist I know that’s right, my driver forever <3).

Harder We Fall, Jessie J [p]

So, whatever path we choose to take / There will be highs and there will be lows, the same / Oh, we’ll never run from our mistakes / The harder we fall the harder we try again

I just feel like this is a good song for MC to listen to in the car on her way to Langston yk crying but the windows are down and the wind is wiping your tears so you just keep it pushing because you’ll live and you’re stronger than your lows.

House of Memories, Panic! at the Disco [p]

If you’re a lover, you should know / The lonely moments just get lonelier / The longer you’re in love than if you are alone / Memories turn into daydreams, become a taboo

I think of you from time to time more than I thought I would

I just feel like this is a perfect song for MC going through the motions of leaving their lover behind and thinking about the times they shared because her life with the crew will always be so drastically different than the life she was went to have (going to Langston, being the ‘goody two shoes’, etc.).

Let It Out, Trippie Redd ft. Myiah Lynnae [p]

I need to know, before I tell you, can I trust you?

Idk man this song really just spoke to me.

Saw You in a Dream, The Japanese House [j]

I saw you in a dream / You had stayed the same / You were beckoning me / Said that I had changed / Tried to keep my eyes closed / I want you so bad / Then I awoke and it was so sad

Haven't talked to you in months / And I thought that I might cry / But I'm not that kind of girl

All good things come to an end / But I thought that this might last / But you came and left so fast

I wonder if you'll come visit me again / You're taking your time to reappear / I'm starting to believe that when I call your name / You just don't hear me anymore / And I know that I shouldn't even try / It's a waste of time

I don’t think I need to go super in depth as to why this reminded me of MC, but I do see this as MC’s defeated approach to it in the months/years after meeting the MPC.

Silent Nite, Tink [p]

I put your joy and your feelings ‘fore mine / These days I’m angry, angry inside / No words to say (oh) / One thing to do / Move on and fall back from you / It’s gonna be a silent night / No one here to hold me tight / It’s gonna be a silent night / No one here to hold me, oh, oh I’m lonely / Lost for words (lost for words)

It’s a short song so I just put the whole lyrics in here LMFAO but I feel like this could be MC during her first few nights at Langston. For Hieron at least, I know she went through a range of emotions processing this new chapter without the people she holds dear, angry at the way this is how things had to play out, but all that’s left for her to do is get over it, move on, and get used to not having that support anymore (i.e. like if MC is used to cuddling with [insert LI], they deadass gotta sleep alone now f in the chat).

Smile, Juice WRLD ft. The Weeknd [p]

I’d do anything in my power to see you just smile / I want you to prosper and come proper / Even if that means I ain’t by your side

I spent every day right beside you (‘side you), ‘side you (‘side you) / A hundred pics of me on your phone / Now you’re someone that I used to know

OKAY so I’m absolutely obsessed with this song and the first lyric was definitely giving me Logan x MC because I feel like this is something he could’ve said during his goodbye, like saying something that vulnerable and heartwrenchingly sweet is def on-brand for him, but the second lyric I feel like fits all the LIs. Like because they were part of the crew, they spent so much time with MC, and now that they’re gone, MC has all those pictures and memories that they want to hold on to them so badly even though they can never be together again (‘now you’re someone that I used to know’)

Stuck With Me, The Neighbourhood [j]

Now I'm feeling guilty for it / Didn't wanna leave / Realized I'm less important / Than I thought I'd be, yeah / I'm not tellin' you for any certain reasons but / I just want your empathy

Our lives keep on gettin' shorter / Losin' opportunity / There might be some other ways of looking at it but / That's just what I see / I been gettin' over myself / Thinkin' about what you need / Then I realised that neither of us matter

You always end up stickin' to me / Somehow, somehow / You are stuck with me / So I guess I'll be sticking with / You are stuck with me / So I guess I'll be sticking with

So I think this song covers a lot of topics for MC. I think the vibe of the lyrics suit MC when she’s dealing with her relationship with her father, being pressured by Jason Shaw, and grappling with whether or not she’s making the right decision despite it all – homegirl was falling in love throughout all of it, too. Reading the lyrics with that lens made me think of each of the lines as a different conversation. The first part sounds like a tidbit of a conversation she could’ve had with her dad or about her dad. The next one is like a realization that despite how careful she is with her choices, nothing matters anyways, if the MC takes a nihilistic approach to it. And the last lyric is her conclusion with the LI that despite everything, she’s happy that she’s with her LI and she’s grateful for their loyalty.

worst behavior, Ariana Grande [j]

I been on my worst behavior / But, baby, I don't need no savior / I'm way outta line / But I kind of like the way I / Feel when I just don't give a fuck

This ain't no game, won't play with you / This time I know I'll stay with you / Just promise you won't say nothin' / Don't you be actin' like that, don't you be actin' like that, babe

Said baby it's just in my nature / To be a little troublemaker

Know you really like the way I / Taste when we kiss, you reminisce / But this ain't the last time / Just stay by my side

This song reminds me of rebellious MC before the gravity of the situation really hits her – the short span of time where she’s not worrying about being Valedictorian or college or her dad’s approval. She’s just living and falling in love for the first time. This could probably work for all LI’s but the specific “troublemaker” line makes me think of an MC who is trying to reassure Logan that she can make her own decisions.

1Day, PnB Rock ft. Ugly God [j]

Momma told me that I wouldn't be shit / Told her one day / I'ma be rich (huh)

One day, I'ma buy a big ass crib / One day, I'ma buy a big ass mansion / One day, all my fucking diamonds gon' be dancing / One day, I'ma fuck a bitch in the Hamptons / One day, I'ma eat the sushi with the salmon

Dropped out of college, everybody said I'm tripping / Told them be patient, but they ass wouldn't listen / Made it big time, now they fucking with the vision / Now I'm really rich, and my diamonds really glistening

The lyrics kind of remind me of the lifestyle that they live – whether or not they fell for the MC in the process, they all kind of have the motive of money and being successful in their own way. Even though the li’s and MC have their own shortcomings and wants and needs outside of MPC, I like to think of this song as an ego booster and probably representative of their attitudes when they joined MPC at the beginning. Reminds me of Logan especially since he joined the life so early and probably romanticized it for the longest time before it really went to shit. And to add to that, the last lyric is Colt all the way.

92 Explorer, Post Malone [p]

Ooh, baby, I see these muhfuckas’ glancin’ / When my whip stop, then my wheels keep spinnin’

Made a lot of M’s, made a lot of moves

This song is literally all about Post Malone’s precious car so I was like LMFAO why not because everyone in ROD loves their cars and then the last lyric is because they be making a lot of money with their transactions/steals.

Best Friend, Saweetie ft. Doja Cat [p]

Beep beep, is that my bessie in a Tessie?

Listen... I feel like we were robbed of the peak best friend dynamic that could’ve existed between Riya and MC so this whole song is for them (also c’mon MC could’ve snatched a Tesla if she reeaaally wanted too so yup that’s Riya’s bessie in a Tessie).

Lost It, Rich The Kid ft. Quavo and Offset [p]

The Bentley don’t cost shit / I walk out the bank rich

Okay, drank sippin’, lane switchin’ / I done brought my gang with me

Ooh, I might snatch the coupe

First one because they really could get any car they wanted, second lyric because gang always together yk, and last one because they really be stealing cars out here LMFAO.

Royal Rumble, Lil Tecca [p]

My life is a movie, you not ready for that clip

It’s a Royal Rumble

ROD really is a wild ride (‘my life is a movie’) and the ‘it’s a Royal Rumble’ just reminded me of the fact that it’s basically a showdown between two crews where one wins in the end but at what cost.

Runnin’, 21 Savage and Metro Boomin [p]

Runnin’, runnin’, runnin’, runnin’

We run the motherfuckin’ city

Fuck your crew, [redacted], we’ll kill your crew

First lyric is because literally everyone has to scatter by the end of the book, and the second lyric just gave me their vibes, whether or not they truly ran the city. The last lyric makes me laugh because Colt really was about to kill the other crew, the ‘we’ is a lilll bit loose in that sense though LMFAO because I know damn well Toby was not ready to go down like that.

Stuntin’ Like My Daddy, Birdman ft. Lil Wayne [j]

What we doing? Getting money / What they doing? Hating on us, but they never cross / Cash money still a company, and, bitch, I'm the boss / And I be stuntin' like my daddy, stuntin' like my daddy

Colt and Teppei don’t get along, but I like to think that Colt not only bumps this song in his car, but secretly imagines that him and Teppei run L.A. – either together or with Colt taking the reins.

Takin’ Shots, Post Malone [p]

Drinkin’ all night, but we ain’t done yet / Waitin’ on the plug, but he ain’t come yet

Already losin’ control, this is the life that we chose

The first lyric and this song overall just give me club vibes, like the underground one they went to where MC wears that neon fit. The part in the second line that always gets me is ‘this is the life that we chose’ because being a part of this crew was a choice for most, and they knew what comes with this lifestyle.

Trouble on Central, Buddy [j]

So the entire song is pretty much the idea “I wish life were better and I’m daydreaming about how good things could be for me”. And to be honest, I think that the vibes of that fit Logan when he was young and broke, but at the same time, I could see Colt bumping this song in a convertible.

VEGAS, ABRA [j]

The whole song reminds me of the gambling scene and the high stakes of it. It kind of reads like the MC trying to fit in with dangerous criminals while she’s there despite the MPC thinking she’s not ready for it

#playchoices #choices rod #rodaw #ride or die: a bad boy romance #choices ride or die #playlist

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bts-weverse-trans · 4 years

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The Life of BTS Writes a Story Review of BE 2020.11.30

BTS released its new album, BE, on November 20 after RM announced the band’s plan to produce the record on BANGTANTV’s Log (ON) on April 17. The group was working on the album even as “Dynamite”, the single they dropped on August 21, was topping the Billboard Hot 100. This order of events is given a fresh new meaning when “Dynamite” closes BE as opposed to standing alone as a single. While the group was busy sending messages of hope by reminding us of the past where heading out happily after a cup of milk was possible and giving us a glimpse of the future that will eventually come, they were recording the emotional ride they have been on while being off stage via different tracks on BE. Such changes in emotions can be seen through different portrayals of Jung Kook’s room—the way it looks during the first verse of both “Dynamite” and “Life Goes On,” the title track of the new album. Jung Kook is captured looking chipper as he ties his shoes getting ready to go out and dances in his sunshine-filled room in the music video of “Dynamite”, but in the latter’s video, Jung Kook stares blankly out the window. BE tells the story of how Jung Kook and other members navigated their lives, which includes their time singing “Dynamite,” during the pandemic by stepping out of rooms that are distinctively less colorful than the scenes in the music video of “Dynamite”.

The seven tracks, not including “Dynamite”, embody BTS’ emotional shifts and draw what looks a lot like a V curve, with “Skit” separating each section of three songs. The album opens with “Life Goes On” where BTS asks, “there’s no end in sight / is there a way out?” to live through a reality devoid of hope and arrives at “Stay” where the group expresses their intense longing for a reunion with the fans by saying, “Thinking of you now / No matter where you are / That’s not important.” And during this journey, BTS responds to the physical limitations imposed on their daily lives by saying “They took away this whole year” while also trying to put a positive spin on it by singing, “Thoughts can change by thinking,” in “Fly to My Room”. What follows is “Blue & Grey”, where they reveal inner feelings of depression and anxiety with the line, “Still don’t know this sharp blue / Hope it’s not covered over I’ll find the exit.” “Skit” then offers a shift in direction, and the next song, “Telepathy” reveals their eagerness to meet people again, highlighted by the lyrics, “Every day’s the same and I’m happiest when I meet you.” BTS also takes a moment to let out their complex thoughts on work to reach “Stay” ultimately. It is only at the end of this process that the optimism in “Dynamite”, which feels like a conviction of hope in a time of pandemic, appears in full.

“Life Goes On” allows those who don’t know whether they should hold on to hope or give up on hope to feel what it is like to go with the flow when you don’t know what to feel. Those who want to find a reason to be positive in life affected by the pandemic can find solace in “Fly to My Room.” But it is when you listen to the album as a whole that you can get healing from the pain the pandemic has inflicted on us. The soothing ambiance offered by “Life Goes on” transitions into heavy, slow, and dark tunes in “Blue & Grey,” which is followed by faster rhythm and airy sounds in “Telepathy” and “Stay.” Then the album finally culminates in “Dynamite” where the bright sunshine lifts you up. The record in its entirety offers the chance to experience at least indirectly the emotional ride taken by global superstars BTS themselves. “Dis-ease” is the classic example of the storytelling style BTS chose for the album; the moment they let out their angst and fully devote themselves to work is when the song reaches its climax. When BTS sings, “Get up one more time / It’s morning again we gotta go out / Let’s go one more night,” towards the end of the song, the arrangement drives up the song’s tension for the peak moment, “Everyday I console myself / We’re all the same people ain’t so special / Ay man keep one, two step keep calm and let’s heal up” which tops the song off like fireworks. This ironic way of storytelling mirrors BTS’ life at the moment. There are a lot of thoughts about work and life on their mind, but they try their best to work through them. And just as they do this, their energy transforms into a musical blast.

With “On,” the single track on their previous album “Map of the Soul : 7,” BTS says “Where my pain lies / Let me take a breath.” The album covers how BTS has traveled from the past to where they stand now, and “ON” tells a story of the members having to live with the “shadow” that comes with enormous fame as discussed in “Interlude : Shadow” on the very same album. With BE, BTS finally tells the story of their lives that are still unfolding. It’s not clear whether their questions about work asked in “Dis-ease” now found answers. It’s not known how long this will last, just like no one knows when this pandemic will finally run its course. We have no way of knowing if they are still in the mood expressed in “Blue & Grey” or they’re feeling the positivity of “Fly to My Room.” One thing that is clear is that while they battle work as one would with “Dis-ease,” they still wrote songs like “Telepathy” and “Stay” to send their messages to the fans, and kept busy getting ready to perform “Dynamite” on numerous stages. BE is the album that ties together all of their real-life events, both on and off stage, as one narrative. They started as an idol group and now their lives are intertwined inseparable from their music, their very existence becoming the stories they tell.

The way BE sets up different songs is directly linked to the musical changes BTS has undergone, and thus, are evident in the album. As the members’ stories take center stage, the arrangement focuses on getting their lines and melodies across and adjusts itself flexibly to each member’s part without following a certain trend or form. The arrangement filled with sounds of guitars, synthesizers, bass, drums, and pianos or sounds similar to real instruments is fitting to songs like “Fly to My Room” and “Blue & Grey”, in which auditory shifts accompany each member’s part. The smaller number of sounds used in

compared to previous albums further emphasizes vocals, such as by accentuating the sound of Jung Kook inhaling in the beginning of “Life Goes On.” If J-Hope’s part in “Fly to My Room” reminds you of a gospel song, it’s not just because the synthesizer highlighted the gospel-like vibes but also because j-Hope’s voice that faithfully delivers his emotions as if giving witness to an epiphany with the line, “Thoughts can change by thinking.” Just like the auditory shift that takes place with SUGA’s rap part in “Blue & Grey” where the drums begin to layer, the arrangement of BE evolves constantly in line with each member’s part.

BE also takes on new challenges in format.. The chorus in “Blue & Grey” has such long melodies that it has no clear ending, and it fades out for the post-chorus that triggers an image of a lonely winter night with gloomy vocals. The post-chorus might seem like an abrupt shift but many devices contribute to giving this song the bleak wintery night vibe: RM’s somewhat distant rapping delivered through left and right on stereo that echoes through the room as well as the vocal recording that applied different echoes depending on lyrics and the solemn sounding cello. “Life Goes On” progresses in a similar fashion, starting with percussions ringing right next to your ears that create multi-layered sounds and taking you to an imagined space by blending the chorus and synthesizer. The story they tell resembles confessions about emotional states or specific circumstances, and the melodies unfold and rap flows in new ways as the story progresses While there are a lot of shifts, there is consistency in that sounds build the same sense of space. “Stay,” while being an EDM piece, ends on a rather blue note after phasing out beats that earlier set the stage for the dancefloor stomper. It makes sense given that the song is Jung Kook’s imagination of performing in front of the fans; Festivities in the song are interrupted by the fading out of vocals and overall sound layers. “Telepathy” offers a catchy hook in a song filled with bouncy spirit, just like “Dynamite” does. But the difference lies in that “Dynamite” brings out the explosive energy through repetition of melodies and variation of rhythms and that “Telepathy” phases itself out by reducing the number of sounds. “Fly to My Room” is about coming to terms with life in the pandemic, but the acknowledgment doesn’t necessarily make such a life enjoyable. Adding vibrant melodies isn’t a solution to challenges that accompany work, which are conveyed in “Dis-ease.” Such are the mixed feelings we experience in life—in which we have no control over a break or our approach—that are clearly expressed in the album by highlighting each member’s part and various shifts. Despite the numerous musical turns, the album has been produced in a way that ensures its consistency throughout the entire work; “Life Goes On” leaves you with the chorus where the seamless melodic flow seems like it’ll just keep on going.

In “Skit”, BTS is talking about how they’re practicing their debut song for performance eveon on the day after “Dynamite” became No.1 on the Billboard Hot 100. After they topped the chart with “Dynamite”, they came back with an album filled with songs seemingly the polar opposites of their hit single. Life seems to be on a loop but changes suddenly appear, and previous routines end up different because of this newness. BE is an acceptance of such peculiarity of life rather than an answer to it. BTS began with K-pop and now have become superstars of pop, and they’ve harnessed the power of their own story in the album by choosing neither path. The team that began its journey with “No More Dream” and have traveled to “Dynamite” leaves an open ending as to where they will head next. Still, the next chapter will be shared regardless of what it shapes up to be. That is why they can leave us wondering what comes after BE.

Trans © Weverse

#bangtan #weverse #201130 #2020 #weverse magazine #be album

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lsobelevans · 3 years

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Horror tropes? In my Roswell, New mexico? It’s more likely than you think!

In this essay I will...

...be mentioning a few horror/thriller movies and while nothing explicitly gory or scary will be shown in this post, those movies definitely contain scenes and themes that can be disturbing/scary/triggering, do your researches if you’ve got doubts!

...be focusing on the Maria and Alex road-trip, from the moment the car breaks down to the last scene with Travis’ twin. I’m probably going to be led to briefly mention the other scenes that are intertwined with this arc (the echo date and the Planet 7 Kyle and Isobel scene, as well as the marlex car drive when I feel like it is relevant).

...be approaching specific themes that are used in the scenes that compose this little arc and also more general ones like sound, editing, cinematography and color.

... be reaching a lot. I do not think everything I will be mentioning is 100% thought-out and voluntary (although you never know). But I’m a firm believer that in filmmaking, yes even inside a CW show, the symbolism comes through subconsciously. So like, maybe they didn’t mean to use corn field as a mark for transition, but it doesn’t take away from the fact that this symbolism works with the story they’re telling and for the journey the characters are in that moment. Additionally, lighting, decor and costumes are always a choice, just like the camera doesn’t position itself randomly, someone’s behind and thinking of the composition of shots that, even if it’s in a basic way, has meaning.

... be starting chronologically but I’ll also make jumps backward and forward, grasping on themes when they come up. Ok, then, let’s dive in!

This episode references and uses a lot of the iconic mechanisms of the horror movie genre. Alex and Maria’s comfortable road trip atmosphere, open hearted conversation in the car, breaks at the same time as the car itself breaks. The camera, steady so far, the shots following a well known pattern of shot/counter-shot, becomes more unpredictable and shakier and suddenly we’re out of the car, and bam, large shot.

From the moment they’re out of the car, you won’t be able to see the horizon. Maria and Alex are stuck in a corn field, and they’re stuck in the frame.

Then poof, Travis appears out of nowhere, accompanied with a pang of music, frightening us and them. Well, more exactly, it cuts on a shot that we’ve seen before without Travis, now with Travis, which gives us the appearing out of nowhere effect.

Alex says it best.

Well now they’re stuck with a strange guy with an axe, and in a corn field 😬

Hey, have you seen he’s got an axe??? or do you need a close-up???

Okay, this scene ends there. So, let’s take a break and talk about cornfields. There’s many examples of horror movies making use of a field of corn as a location, famously Children of the Corn (1984), Dark Night of the Scarecrow (1995) Signs (2002), that last one also involving, you guessed it, aliens.

Screenshots from the Signs trailer.

Corn fields are strongly associated with rurality, especially rural America. More largely, they can represent renewal, fertility or abundance. In the contrary, they can be seen as a very ominous location due to their immensity, a labyrinth in which you can’t see very far away and from which you’ll have trouble coming out.

Although I’m pretty sure Maria’s chase in the cornfield is more of a reference to The Shining (1980) it reminded me of one of my favorite scenes from one of my favorite movies Tom à la ferme (2013), in which Tom is basically held hostage in rural Canada. The corn field chase is a turning point, the last of Tom's attempts to escape.

Cornfields apparently also often imply scarecrows, which are inherently scary in my opinion but we’ll talk about it more later.

The next scene takes place inside of Travis' cabin.

The lighting here is pretty low, the light coming from a few small sources, creating a lot of shadows. The main color is a greenish/yellow which can be associated with nature and earth, rurality, dirty, suffocating. If we look at it, the color scheme of the entire road trip is very much following this pattern of browns/yellows/greens because of the cornfield and the color of the characters costumes (the exception being Maria’s truck which is a bright red). In opposition, the scenes that are intertwined are either blue and orange for Max and Liz or a lot of pink/blues/purples for Isobel and Kyle in planet 7 (bi bi bi).

The cabin is messy, supposedly reflecting the state of the owner’s mind. We get a nice close-up on meat + a knife and all of the creepy skins on the walls. Also, it’s noticeable that from this moment on, the camera is shakier, we experience different angles too.

We are given many visual clues that something is wrong.

I’m gonna pass on the sound of the sound of the cow parodying a werewolf + the vampire diaries inside joke.

Btw, if the fact that Travis names his cows -- that he skins for a living -- like human women isn’t enough for you to think mmmm. we are in danger. Well, don’t worry. The cw spells it out for you!!

We know Alex! We got contextual clues!

Right after this, Alex and Maria make another direct reference to being in a horror movie situation.

ALEX: This is why I don’t like horror films. The gay guy always dies first.

MARIA: ????

ALEX: Or... second. Okay, that’s fair. That look, that’s fair.

I think this bit is interesting, because not only does it denounce an horror movie cliché (the black person of the cast dies first, the queer person is second) but also in this situation I believe it can be see as kind of a callout on the fandom’s behavior that i’m not gonna spell out for you but yeah. Fellow queer people, don’t forget you’re not the only one who is sometimes badly/unfairly represented.

Moving on. In the next scene, Alex is searching the cabin for clues, and we are also given some about Travis.

Either he has a twin brother or he’s got a framed picture of himself on his wall. Oh, and he’s military.

Then Travis startles Alex and plays a little bit of banjo, which is a good excuse to stop and talk about music. The show uses a lot of diegetic music aka music that is present in the universe of the story, that the characters can also hear. It justify the use of said music and it ties the audio with the picture.

The banjo already is heard at the very beginning of the arc during a cut from the planet 7 scene to the road trip scene. We get a few notes that indicate a change of scenery and that helps smooth up the transition, and I’m pretty sure it was also supposed to be diegetic music coming from Maria’s radio. The banjo, like the corn field, is super linked with rurality and rural America (again!)

Another reference of the banjo in horror/thriller would be Deliverance (1972).

youtube

I can’t not think of this movie when I hear banjo unfortunately.

The way Travis plays, aggressively bad, and while singing I Think We’re Alone Now, is supposed to make you think about that scene in The Umbrella Academy be quite unsettling, another point for isolation horror.

So sweet of Travis to attack Alex with a guitar, and then a smol knife, and not with the axe <3.

Then we’ve got a traveling zoom-in (or equivalent I’m not sure it isn’t a steady-cam here but the effect is the same) on Maria. This kind of effect can feel a little bit over-the-top and dramatic, in a old genre movie kind of way. It is usually used to bring the audience in, make it feel like you’re evolving in the same universe as the characters (here you’re walking toward Maria). In a scene where you should feel scared, it can be a mean to make you feel more engaged, as well as underlining Maria’s expression, her fear. In my opinion, this is also a way to tell you that from now on, Maria is the main character of this arc, the one that you will be following after the commercial break (that occurs right after) and making it more suspenseful.

The scene after the break is the start of the corn-field chase. Travis steps out of the cabin, the cuts are faster, many close-shots, some even out of focus, that accelerate the rhythm, and a long fade-in of a new song: a modern, electronic song (Kim Petra’s Close You Eyes) completely in opposition with the acoustic banjo and with the atmosphere of the scene, which makes it strange and makes you think oh, what a weird choice! (at least it did for me lol). The lyrics, however, go very well with the scene.

I feel it coming on You've got nowhere to run There's no way you'll make it out alive

Yep.

We find out right after that the music is in fact diegetic but for Isobel and Kyle, it’s another use of music to ease a transition between 2 scenes that are different in every possible way.

Now, the corn-field chase. As I mentioned before, I believe it’s a direct reference to The Shining’s ending chase scene where Jack Torrance chases his son Danny through a vegetal labyrinth with an axe.

From the shots to the lighting (from behind or on the side, making the characters look like silhouettes) both scenes are very similar. Also, Travis is styled like Jack Nicholson ¯\_(ツ)_/¯

Oh look, Michael’s here to save the day!

Oh well, guess not.

Yeah, in this scene, and like we’ve been shown before, Maria is going to be the one that saves everyone. The racist cliché of the black character dying first in a horror movie is reversed, Maria is the last one standing. The scarecrow (that looked conveniently a lot like Maria) is supposed to play in favor of the bad guy, it’s a scary element, creating confusion and unease, but here the character decides to basically take it into her own hands and bend the rules. This character says i’m not that archetype, and she’s going to be using the horror movie tools against itself.

Lastly, the final horror movie recurring theme that I’m going to talk about is the twin/the double.

Yes, twins is a spooky tool used in horror movie because their similarities make them unsettling, uncanny.

There’s also the idea that if one were to replace the other, you wouldn’t be able to tell. The impostor is a very scary concept that Roswell has also dealt with before.

I can’t be the only one that has been traumatized by that halloween special of the Simpsons where Bart has an evil twin...

It’s the last twist of the arc, there is a bad!Travis and a good!Travis. The bad one kept the other locked-up somewhere and had taken his place.

It’s particularly interesting for Roswell that has a history with twins/doppelgänger, and that since the original show. It is a clear instance of in-world foreshadowing here! (howdy)

My conclusion about all this is that the people who worked on 2x06 had a great time building the episode and it shows, while also making it enjoyable to watch and yeah, we love to see it!

#roswellmarchformeta2021 #rnmmarchformeta2021 #meta #or whatever this is ahah #tw violence #i'm so sorry i'm late for this ;___;#mine*

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rukakikuchi · 3 years

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Dreamcatcher "Odd Eye" MV analysis and Dystopia storyline theory

We're finally here! Dreamcatcher has released their newest mini-album, and the final installment of their Dystopia trilogy, "Dystopia: Road to Utopia." With that title, you would think that we'd see the girls reach their happy ending, right?

Well, not exactly. This storyline and what its ending means is much more complicated than a simple "happily ever after". So, before we tie together these three music videos, let's take a look at "Odd Eye" and analyze what's unfolding here.

Cyberpunk dystopia

Right off the bat, the concept for this comeback is something we haven't seen Dreamcatcher do: a cyberpunk concept! They are shown now in a very futuristic looking dystopia with lots of technology.

Even the tree of language, something that was prominent since the "Scream" era, is shown to be affected by this futuristic setting. There are wires connecting to its roots, as if feeding off of it... or perhaps, rather, corrupting it.

In the past, the tree was corrupted by dark magic, which caused people to forget how to say good things and spread harmful words. During the "BOCA" era, they were trying to purify the tree by shutting the mouths of those who were spreading hurtful words, silencing them.

However, with the advancement of technology and social media, hate can spread much faster now. Thus, the tree is being corrupted again, not by dark magic, but because of human technology. Social media, the internet, and television can be extremely influential to a person's mind, thus easily spreading evil.

So, what happens to those who become a target to said evil?

The meaning of the "Odd Eye"

The "odd eye" is another concept that is very prominent in this comeback. After all, it's the title of the leading track. The members even have odd eyes visible in the promotional art (seen more clearly in behind-the-scenes photos), their comeback showcase, and of course, the music video.

Heck, even the starting position in the choreo is an eye!

But why do they have odd eyes in the first place? Well, through my history with watching various anime, and other K-pop groups *cough*LOONA*cough*, having an odd eye will usually mean one of two things: either you have magical superpowers (or you're a chuunibyou pretending to have powers) or you're a robot/cyborg.

Given we've already established we're in a cyberpunk setting, I'd say the latter is more likely. Yes, I believe that the girls are cyborgs in this setting, and their odd eyes are proof that they're not human.

Gahyeon, in particular, I believe is a special case. Most of the other members I feel like still have their humanity, but Gahyeon is eerily very robotic in her solo scenes. I think she might've lost all her humanity and is more close to a robot (or specifically, android) than any of the other members.

Almost everyone gets one scene that clearly displays their odd eye, namely JiU, Siyeon, Yoohyeon (hers is through her phone), Handong, and Gahyeon. SuA doesn’t “show off” hers, but her odd eye is still there if you look close enough.

The only one who I have trouble finding is Dami. I think this shot of showing someone’s odd eye might be her.

SuA also has some strange looking text written on her face. Maybe it's related to the tree of language?

But more importantly, I think the odd eye's purpose is for the girls to see just how distorted their reality is. The lyrics talk about being deceived by an illusion or lies, only to see and realize the truth about their world.

There's a shot where it shows a poster taped to a wall, and it's a tree with the word "reality" under it.

Siyeon is also in a cage with several TVs and the word "reality" is seen in the static. It might be that the use of social media is brainwashing and distorting everyone's perception of reality, and those who possess odd eyes that can see past the lies become outcasts.

Yoohyeon actually starts out in a room by herself, sitting in a mask shaped chair, with a red liquid in a glass and a TV in front of her. She might've been in that brainwashed mindset that her world was perfect before starting to see the lies and decided to rebel, drinking the red liquid and obtaining her odd eye. Essentially, she ate the forbidden fruit and was cast out of paradise.

No more utopia

Because of their odd eyes, the girls can see just how flawed the society they live in is. What they thought was the utopia they dreamed of turned out to be an illusion. By the end of the song, they realize that they will never stop facing adversity and despair because their ideal utopia does not exist.

Even at the end of the music video, it shows us a final shot of the tree with the text "In the end, the Dreamcatchers could not find the Utopia that they dreamed of."

Although it's a bittersweet ending, the girls themselves actually said this song is a message of hope for people to find their utopia within their hearts. Don't strive to find something perfect, because it doesn't exist. Find something that is real, makes you happy, and is worth living for even if you have to face hardships.

Now that we've analyzed "Odd Eye" on its own, let's see how it ties together with "Scream" and "BOCA" and the overall theme of the Dystopia trilogy.

Three eras of Dystopia

What I find super interesting is that we essentially get three distinct time periods within the Dystopia storyline, showing us three different kinds of "dystopia".

First in "Scream", the music video feels like a fantasy setting, where the girls are a coven of witches. When Gahyeon touched the dark crystal, a curse was released that corrupted the tree and the girls, causing war to break out and hate to spread. In the end, they were consumed by their anger from all the pain they felt.

Then in "BOCA", we are shown a more modern, urban dystopia. The girls are in a city setting, acting as a rebel group trying to silence those spreading harmful words and help heal the tree. They sympathized with those who were hurting and wanted to stop any more tragedy from spreading.

And finally in "Odd Eye", we are in a futuristic setting where technology has taken control of everyone's lives and the girls are now cyborgs realizing utopia is far beyond their reach.

I see these three relating to the "hear no evil, see no evil, speak no evil" proverb. "Scream" is "hear no evil" (they even say "I don't want to scream"), "BOCA" is "speak no evil", and "Odd Eye" is "see no evil".

In all of these videos, the group actually play dual roles: the goddesses who protect the tree of language, and a group of girls who are outcast for different reasons (witches, rebels, or cyborgs).

Their goddess selves did everything they could to heal the tree from the corruption, but the evil became too powerful and they had to watch their own paradise burn away.

JiU even goes from holding a beautiful bouquet of flowers, to that bouquet burning while she is now blindfolded. It kind of reminds me of the image of Lady Justice, whose blindfold symbolizes impartiality.

Again, it's a harsh and bittersweet truth of our reality; there is no perfect utopia and there will always be evil in the world. There will be people who face adversity for being different from the norm.

But just because it's not obtainable, doesn't mean we can't still change the world for the better. We need to be mindful of what we say, have more sympathy, and strive for finding true happiness within ourselves, not a false utopia.

===

And that does it for my analysis on "Odd Eye" and the Dystopia trilogy! Ultimately, the storyline in these three MVs were all focused on the toxicity of social media and online hate culture, especially with how it relates to the music industry. It's amazing how Dreamcatcher have crafted this interesting story with such a strong message.

Now that I've finished this analysis, I plan on working on another small theory regarding the Dystopia storyline, so look forward to that when that comes out.

Until then... Stream Odd Eye! Stan Dreamcatcher! 👀

#Dreamcatcher #KPop #Music #Theory #Analysis

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comradekatara · 4 years

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omg amazing do you have Thao songs you would assign to the gaang+?

instead of answering this ask like i did, for example, the fiona apple one, i’m gonna answer it like i did this ask, focusing on a singular album and the feelings it evokes. i’ve been listening to temple a lot lately so i felt that it made sense to focus on, especially considering its overarching themes.

temple is about intergenerational trauma, specifically between a mother and daughter, and the pressure of the daughter to live out the dreams her mother could not due to the ruination of war. therefore, i feel like it applies to katara in multiple ways: living out the dreams of her mother, grandmother, hama, and other waterbenders and/or women whose lives were lost to genocide, imperialist warfare, and even arranged marriages. but also, as a victim of that war herself, and reconstructing the southern water tribe as the only southern waterbender left, passing on that legacy to her daughter, and to korra, (and her other waterbending pupils, i would imagine,) knowing that they got to have the childhood free of war she had always longed for. i believe that korra would feel that mantle of responsibility strongly, as an extremely privileged kid growing up in a society that was on the brink of extinction less than a lifetime ago, and being mentored by someone who was exposed to the worst horrors of the war firsthand when she was only a child, and spent the rest of her lifetime trying to repair the damage. katara and korra’s relationship just means a lot to me okay....

phenom okay this song can definitely apply to lots of different characters: katara (”when the scorched of the earth / come back by sea”), toph (i know she’s extremely upper class but she’s also a disabled woman and as we see that puts her in an extremely tentative position that forces her into a position of docility and humiliation that she staunchly resists), mai & ty lee (irt their relationship to azula, their families, and the fire nation at large), but it first & foremost reminds me of hama, her overwhelming power, and her unquenchable thirst for revenge after the horrors the fire nation put her through.

lion on the hunt reminds me of azula’s rage & despair when she realizes that ozai doesn’t care about her and was only using her for his own ends, taking credit for all her (evil imperialist conquest) hard work while he just sat on his throne basking in the glory of having finally taken ba sing se. obviously the original context of the song itself is nothing so insidious, but the lyrics “they said I polish and astonish, and so why not me? / and then they said it's complicated and some wah, wah, wah / I made the map and you put you on it, pay me handsomely” really does remind me of that scene in “sozin’s comet” when we see azula’s reaction to ozai discarding her.

pure cinema this song is absolutely fuel for my “mai and sokka become best friends after the war” agenda because it totally resonates with both of them! they both feel like hollow shells driven by fear, a mere fraction of a person, just one incomplete piece of a puzzle. crucially, the difference lies in sokka’s eventual growth, later helping toph and zuko with those same feelings of displacement from their families by finding a new one. despite having loving and supportive biological family members, sokka is a depressed cynic with a fear of vulnerability, and it is the fact that he reaches out to them from a place of understanding that solidifies their respective places in this new family (suki too but she’s a far less developed character). concurrent to sokka, toph, and zuko’s ingratiation into the group, mai continues to feel alienated by azula’s insincerity and fear-stoking, and it is only at the end of her arc that she is able to stand up to azula and act authentically, but once she does, she is finally able to realize that she had true love all along.

marauders reminds me of the tension established in sokka’s relationship with suki in “the serpent’s pass:” how his guilt and trauma over losing yue makes him push suki away out of fear that he won’t be able to protect her. but by promising to protect him in turn, she proves to him that their relationship can be an equal partnership devoid of obligation––that their romance is not doomed despite his misgivings.

how could i makes me think of sokka’s guilt complex when it comes to not being able to protect the people he loves. katara was present for kya’s final moments, but sokka was on the other side of the village when she was murdered, and didn’t know what had happened until it was too late. and then, he considers it his fault that yue sacrificed herself for the moon spirit, because arnook explicitly told him to protect her. her physical body literally died in his arms. and as we see later, in moments such as in “the swamp” or “the serpent’s pass,” even though it was the fire nation’s fault (yon rha & zhao specifically) that kya & yue were forced to sacrifice themselves, he is still plagued by guilt.

disclaim evokes iroh’s legacy with his son(s), the guilt of realizing too late the devastation and atrocities for which he is responsible, and how he considers it his responsibility to shape zuko into the man he iroh should have been, and lu ten could have been. of course, the line “I was once an honorable man” is both incisive & ironic, since honor is an arbitrary construct, and iroh is no longer considered honorable because he developed morals. “I don't believe it's your destiny / to always chase my memory / how could it be insincere / to very clearly disappear” is interesting in this context because iroh clearly wants zuko to assume the throne and redeem the legacy of the fire nation, but in book 2, he’s also perfectly content to open a teashop and close himself off to the world outside the walls of ba sing se, along with his nephew. he knows that he and zuko have a duty to redeem the sins of their family, but there is a very large part of him that would be perfectly content with ignoring the outside world in favor of letting zuko heal. iroh is a complex character, but his love for zuko is never in doubt.

rational animal reminds me of toph’s arc: abandoning her oppressive environment (specifically, her abusive father) and choosing to live authentically: not conforming to society’s standards and limitations for her as a disabled girl (who also rejects femininity). the bridge of “i believe my own eyes” becomes even more powerful due to the fact that toph’s experiences are constantly invalidated by authority figures due to her disability. she is keenly perceptive and empathetic––and not despite her blindness, but, in large part, because of it.

i’ve got something is an extremely zuko song tbh. having the humanity & compassion stamped out of you to fulfill an imperialist agenda only to resist it due to your capacity for caring & overwhelming sensitivity that is impossible to ignore––that’s what it’s all about babey!!!

marrow is actually about all of them because they are all children of war who are capable of being loved and of loving in return! but aang and katara’s genocide trauma and their unbreakable bond over their shared grief and desire for understanding, companionship, and happiness is especially potent, as always.

#posts that are for 3 people one of them being myself #analysis #not tagging every character lmao #finally answered this cause im trying to clear out the inbox #(only 33 asks left to go!)#sorry it took so long #i have questions from february..... oof #anyway this is a hell of a lot of words for a post no one's gonna read #asks #edgarallanhoetry #synthesis #atlamusic

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uservillanelle · 4 years

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Killing Eve ― 3x04 (Review)

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

The Titles

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

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

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

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

Niko

So... THE MUSTACHE IS GONE.

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

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

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

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

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

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

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

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

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

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

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

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

Eve

Oh boy, where do we start?

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

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

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

“Set me free”

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

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

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

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

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

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

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

Konstantin

You’re in some DEEP shit, mister.

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

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

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

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

Villanelle

GO AWAY, HICCUPS

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

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

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

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

Carolyn

Never thought frog sounds could be this relaxing

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

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

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

Dasha

The old hag of the hour.

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

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

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

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

Overall Thoughts

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

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

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

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

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infizero · 4 years

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“Star” Teaser Analysis

(disclaimer: this is less of an “analysis” and more of a “pointing out possible connections to past lore without really theorizing on what it could mean” since im not good at coming up with actual theories ;;)

Well, I wasn’t expecting Loona to drop a teaser out of nowhere, but here we are! Even in this short teaser we can see that the lore is continuing from Why Not. Analysis under the cut!

ok so first off, the pairings we get in the group shot are very interesting. we get a close-up of everyone. first is chuu and go won:

who have obviously been paired together before via their scenes in so what:

as well as just both being members of yyxy. (although during why not they weren’t in the same subunit)

next, we have jinsoul and kim lip:

aside from both being members of OEC, them in particular out of the 3 are connected, as they worked together in love cherry motion to lure choerry to cosmos/the middle world (jinsoul leaving the cherry & kim lip using the flashing mirror thing)

^^^ (seen in the “reveal” teaser)

^^^ (kim lip is seen in the LCM field in the “reveal” teaser so this is most likely her)

anyways, then we have the final group before we go to solo shots of the girls sitting by themselves; olivia hye, yves, and heejin:

heejin and yves don’t have any particular connections as far as I know, (let me know of anything if there is!) but olivia has connections to both yves and heejin. let’s start with yves.

obviously they’re both members of yyxy, but as most of you know, it runs deeper than that. i’ll try to summarize since there’s a lot to their relationship.

the lyrics of egoist seem to imply that olivia trusted yves at one point (and perhaps even loved her), but something happened that severed their bond, known only as “letting her fall” - it’s unclear if that’s literal or a metaphor for something else, but the important thing is that olivia gained a deep-seated anger (what she in yyxy represents as seen in “one”) towards yves.

(this possibly led to olivia killing vivi in order to hurt yves, but that’s a whole other theory, let’s get back on track lol)

anyways, in hi high, we see olivia being reluctant to join the rest of loona, but eventually she jumps down from eden after seeing yves smiling up at her from earth, so it seems in the end olivia forgave yves for whatever happened.

they seem to be on good terms, since olivia is literally resting her head on yves’ shoulder, but if this is the same altered timeline as why not, then it’s possible that in this timeline nothing bad ever happened between them.

we get a rehash of egoist in why not, but it only parallels the aesthetics of that mv - it’s unclear if olivia was doing what she was doing because of drama with yves like in the og predebut timeline or for some other reason.

anyways, what matters is they are connected. now let’s move onto heejin.

olivia and heejin are ALSO pretty obviously connected. heejin is the first girl to be revealed, and olivia is the last. they meet at the end of egoist:

and have been seen to parallel each other during the likes of so what and other material. while heejin is often interpreted to be some kind of god-figure in the loonaverse, a force of good, olivia is often made out to be the bad guy - burning the moon in so what, refusing to join the rest of loona in hi high, etc. this can also be seen in their outfits - heejin in white, olivia in black.

anyways, that’s enough about olivia. let’s get back to the teaser. after getting close ups of all the girls in the first group shot, we get this:

a shot of two hands separating, a close up of heejin opening her eyes, and a shot of heejin waking up in a bed of pillows and looking around. now what does this remind you of?

that’s right - it’s egoist babey!! you thought we were done with olivia? HAH

ok, on a more serious note. this clearly parallels the opening of egoist in which we get a shot of hands (which from promo pictures we know to be yves and olivia’s) separating, and then olivia opens her eyes and wakes up on a matress.

it also seems to somewhat parallel olivia’s appearance in the XIIIX teaser, where she wakes up at the bottom of a staircase.

back to the star teaser, we then get this shot:

from the blurry reflection im gonna tenatively say this is hyunjin, but it could also be choerry. or who knows, maybe it’s both! they are counterparts after all.

(if it is choerry, it’s interesting that we’re getting her staring at her reflection again - perhaps another appearance of the other choerry from the flipped side of the mobius strip?)

we then see go won standing in front of the same window, looking somewhat surprised or intrigued. go won has connections to both hyunjin and choerry, so either one makes sense.

go won made the bracelet that the cat delivers to hyunjin in around you, as seen in see saw when she completes it and gives to said cat:

(along with a cat also appearing in go won’s solo mv one&only)

go won also set out a table for choerry in her castle, as seen by the cherries on the plate in one&only. choerry also directly appears in the one&only mv, delivering an apple to go won by yves:

so whether it’s hyunjin or choerry, the connection makes sense.

after go won’s window shot, we get a shot of chuu sitting on the floor. this seems to be one of many “filler shots” - there for the mv, not the lore. all loona mvs have them - most dance breaks, any shots where they’re singing directly to the camera, etc. i will be skipping these since i dont see any lore significance in them - if you or someone else does, great! i probably just missed it lol

anyways, the next shot i want to talk about is the one right after the chuu one.

we see heejin walking into a circle with the other members. there aren’t any connections i can think of so to speak, (other than the fact that heejin is standing beside hyunjin and olivia, both whom have connections with her) but we get another shot of this scene after one of heejin amongst the stars.

satanic ritual with the girls xoxoxo

ok but in all seriousness, i feel like this post has significance. loona is no stranger to magic (1/3 literally cast an “arcane spell of love” to rescue yeojin in sonatine), so it’s possible that they are doing some sort of spell or something.

the pattern on the ground seems to resemble the sun, but knowing loona’s long-standing connections with the moon, and the burning moon in why not that appeared to be the sun, this could also be the moon; specifically, the moon after olivia set it on fire in so what.

perhaps they’re trying to “heal” it/return it back to normal? we see them dancing on the (perfectly ok) moon in why not, so perhaps this scene takes place between the burning moon scenes in why not and the moon dancing scenes? who knows.

another big thing i noticed is that they’re organized by subunit AND reveal order!!!

if you start at heejin and go counter-clockwise around the circle, they’re all in reveal order!!!

heejin -> hyunjin -> yeojin -> vivi -> kim lip -> jinsoul -> choerry -> yves -> chuu -> go won -> olivia hye

that’s just... so cool to see aksjgjkagshjk ;;;

ok let’s continue.

this next shot (aside from being really cool, im sure this is gonna become plenty of people’s headers lol) sort of reminds me of the og midnight festival teaser image. idk, maybe it’s just the twinkly stars and chuu looking back at the camera. as a sidenote, the arrangement of the girls in this shot doesn’t seem to have any meaning.

we get a bunch of filler shots of the girls (looking stunning as always!!) and then we get THIS:

ONCE AGAIN, HEEJIN & OLIVIA!!! this was the first scene in the teaser to actually make me squeal out loud lol.

this part seems to signify what’s been shown before - heejin and olivia are parallels, counterparts, opposites. heejin is the first girl; she is light, good, regal and godly. olivia is the last girl; dark, “evil”, lowly and broken.

i find their expressions interesting. heejin once again has this very regal look about her, and while olivia gazes directly at her, heejin is focused on their touching hands. she looks almost.... bored. it gives me this sense of like “ugh, i cant believe im having to associate with HER” kinda vibe. idk, maybe that’s just me.

olivia on the other hand doesn’t seem to have any sort of distaste in her expression, she just has this focused, intent look towards heejin. i wonder if there’s any significance in the fact that olivia is looking right at heejin, while heejin avoids eye contact and instead looks at their hands?

a few filler shots later, and we get this one with yeojin and go won:

the first thing i thought of when i saw this was that part in the “#3″ teaser for so what with go won and chuu:

although it’s interesting to note that while in that shot, both go won and chuu turn around to peek at the camera, in this one, only yeojin turns her head while go won stays faced away.

at first i was a little confused, since connections between yeojin and go won didn’t immediately pop to mind. but then i remembered a connection between them i had been thinking about literally like a week ago - they’re both princesses!

go won seems to live in some sort of castle in one&only and is repeatedly seen with crown imagery or actual crowns:

yeojin’s princess imagery is a bit less obvious, but she wears a white dress with a tiara and is seen dreaming about princes and becoming a princess.

there’s also some theory that states that this flower thing yeojin wears on her chest in her main outfit for the mv is supposed to represent royalty IRL or something like that (i dont remember)

so there is a connection there, even if they haven’t really interacted one-on-one before.

after the shot of yeojin and go won, we get this shot:

choerry’s divorced moms

KFJSKGHJ OK IN ALL SERIOUSNESS, why do they look so.... passive aggressive?? they’re not smiling, they’re just staring at each other in this relaxed yet oddly confrontational way...

we’ve already gone over their connection, but i wanted to leave this in since i feel it has significance of some sort.

after a shot of hyunjin’s hair blowing in some unseen wind, we return to the first group shot, with them all admiring the floating stars together, and that’s where the teaser ends.

Whew! That was a lot! I’m sorry this got so long, once I started analyzing there was more than I thought there was.

Please reblog or reply with your own observations or theories, I’d love to hear them! I’m very excited to see what this new MV brings us this Wednesday!

- infizero

#loona #star teaser #star mv #analysis #theory #theories #star #teaser #mv #loonaverse #12:00 #why not #meta #?#lore

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cosmicbash · 4 years

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Famous Singer Kelly/Normal Dad Marshall AU

Everything is the same except instead of being a huge famous rapper Marshall is a close friend of Dre's who makes beats and helps produce other artists albums.

They meet when Whitney begs her dad to let her go to one of Kelly's concerts.

Marshall is of course still an over protective dad as in every AU so after taking a few peeks at footage from previous concerts and hearing first hand off Dre about how hard Kelly and his band can go Marshall is reasonably nervous at the thought of his 17 year old going by herself or god forbid with some of her ALSO underage friends.

Thus he nominates himself as chaperone. Something Whitney is at first a little annoyed with but after her dad reveals that to make up for his boring encroaching dad presence he not only paid for all of their tickets, but got them VIP passes and bought a meet and greet with their idol she's considerably less upset.

Grateful even.

The concert itself goes off without much of a hitch. The music is loud and while some of the rapping and beats do catch Marshall's interest the thing that distracts him most is just how expressive and passionate the lead singer is. Machine Gun Kelly runs and dances and jumps across the stage like he was born to be there. He plays instruments and sings to his fans like everyone of them is the only one in the room.

All in all it's one of the few concerts Marshall's taken his daughter too where he feels like he's got his money's worth.

Whitney undoubtedly feels the same if the way she's screaming and jumping is anything to go by.

Kelly actually even comes over their way a few times, leaning so far over the stage to sing directly in the girls and even his own face that Marshall can't help but instinctively reach out to steady the blonde when his body tips just that much further over one time. Kelly's own hand shooting out to curl around the back of his neck during the fumble in a move so smooth Marshall almost feels fooled himself.

The shoulder and ribs beneath his palms feel hot, but not as much as his face when Kelly doesn't falter in his singing. Their eyes locked and close as the drums rattle on and the blonde's voice puffs out warm against the older male's face.

"I can't hide, How I feel about you, Inside, I'd give everything up, Tonight, If I could just have you be mine, Be mine,"

Marshall feels utterly transfixed by the other man's gaze and voice. His breath hitching at just how close the rapper tips, their lips almost brushing before that tempting mouth curls up into a sharp smile and Kelly is flinging himself back away with such precision and ease it leaves Marshall stumbling back a step.

Even with Whitney screaming and freaking out in his ear he can't help but still feel struck.

Despite pulling away and moving back out to the center of the stage Kelly's eyes are still locked in his direction. Cementing that flush that's spread across Marshall's cheeks until the set is over and he can excuse himself to go wash his face in the bathroom.

As embarassed as he feels the brunette has to admit Kelly knows how to get a person's heart racing. In just a few seconds the blonde had somehow managed to make him go from a disinterested father to a weak knee'd mess, and he wasn't even one of the guys fans! It was no wonder the girls screamed so loudly and fawned over every simple glance.

It took more splashes to his face with cold water than Marshall would like to admit too before he could make his way back out to their spot front stage. Every look shot his way and belted out lyric just threatening to send the heat rushing back up through his cheeks.

By the time the actual concert finished and his daughter and her friends were excitedly jumping on him about the meet and greet Marshall's heart felt exhausted. He really was starting to feel too old to be going to these kinds of concerts, let alone staying after just to watch the singer smooze and grow handsy during a few private photo ops but there was no way he was going to send Whitney back there on her own. Not with her age and the ease at which he watched Kelly put the moves on every person he locked eyes with.

So of course Marshall soon found himself awkwardly standing around back stage, his wrists shoved deep into his jacket pockets while he watched the girls fawn and giggle with the band. Their attention focused over on a thankfully young looking drummer, and what sounded like a respectful bass guitarist. Kelly shockingly absent.

Marshall honestly didn't know whether to feel relieved or annoyed by the blonde's absence. Relieved because just the thought of speaking to the guy after that unnecessary serenade made his heart race and annoyed because he did pay a hell of a lot of money specifically so the girls could meet him. But his quiet grumbling to himself didn't last very long before fingers curled over his shoulder and a tall presence pressed itself up behind his back.

He actually saw Kelly's shadow in front of him before the blonde himself, his eyes widening slightly at the sheer height of the artist when he flinched and looked back.

The rapper's larger than life presence on stage translated just as physically off stage as well. With how far up Marshall had to look just to meet twinkling blue eyes Kelly almost felt a full foot taller than him.

"I was just talking about you-" The blonde's talking voice was scratchier than Marshall had imagined it would be. More than likely due to the several long sets.

It still had the father's ears burning in response. His lips drawing across into a tight annoyed line.

"Can't believe you paid extra just to see me, I was going to invite you backstage for free." The sly downright flirtatious smile being shot Marshall's way had his arms flying up to defensively cross over his chest.

It was good to know his assumption about the rapper being a bit of a sleazeball was right.

"Save the asskissing for my girls, kid, I'm only here to supervise. They're the ones who're smitten-" If Dre heard him talking to another artist like this Marshall would probably have a palm clapped aside his head by now, it was horribly rude, even for his usual grumpy persona. But something about the blonde's flickering gaze and lack of personal space had Marshall's stomach knotting up. "This aint my kinda scene."

Surprise colored Kelly's face, but that smile also just grew sharper. His eyes leaving Marshall's to glance over his shoulder at the girls.

Of course that gaze shifting over to his daughter also made that knot tighten. The urge to protect all but compelling him to snatch the blonde by his jaw and prevent any leering. Before he could even raise his hand the rapper's attention snapped back to him. The peek of his white teeth reminding the father of a shark as they grew ever closer, until they were out of sight and warm breath was blowing inside his ear. A large palm sliding up over Marshall's hip inside his jacket.

"How about me and you get out of here then Daddy? Promise the only ass I was thinking about kissing tonight was the one in those jeans you're wearing-" Just as quick as Marshall's fist had swung out the taller male had caught it. The man's free hand wrapping around his bony wrist while the hand on his hip slid back and down to squeeze his ass. "Just, think about it. Okay?"

And in the blink of an eye the blonde's hands were gone and his long lanky form was brushing past. His tone completely different from the low seductive one that had been purring into Marshall's ear only seconds before. "Yooo, we totally killed that set guys-"

Of course girly screaming followed, and the way the pitch rose and the rapid babbling tripled Marshall should probably turn around. But the father still felt frozen in place. His face burning so hot steam might as well start billowing out of his ears. The thick folded up piece of paper stuffed into his back pocket felt electric.

Marshall didn't need to pull it out and unfold it to know a number and probably some pervy message was bound to be scrawled inside.

#emgk #this has sat in my drafts #since the VMAS #so its about time i posted it #au #prompts

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a-mellowtea · 4 years

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Sarah’s Soundtrack Corner | RWBY Volume 8

Today: Episode 1 // Divide 22/11/2020: Episode 2 // Refuge

Hello everyone!

This year, I’ve decided to do something new. Rather than waiting for the Volume to end or the soundtrack to drop to talk about RWBY’s music, I’m starting this little side project: cataloguing and somewhat analyzing the show’s score and songs as they’re released.

This is also a way for me to keep myself engaged in something other than academics (’cause quarantine be gettin’ to me), as well as pointing out some details folks might overlook: there’s always a lot to talk about with the music, and it plays a pivotal role in the series.

A mini-disclaimer beforehand: I am in no way well-versed in music theory. I can’t really tell you how things are composed so much as how they more generally sound, and what the intentions behind certain choices might have been.

So, without further ado, let’s begin!

The first cue of the Volume, coming in gently against the slow fade-in from black of a young Cinder scrubbing the floor, is on piano and sparse strings. I’m hesitant to label this as anything in particular with any degree of confidence, but the progression of notes makes me believe it could be an abstract variation on Cinder’s core “theme” - specifically, the haunting choir we tend to hear around her. It would make sense: bridging the visuals with something just familiar enough to catch the ear, but also distinct.

There’s a brief pause as Cinder and Neo approach the storm, with only a small bit of ambient, tense strings; then it’s into a development of the new melody we got accompanying Salem’s arrival in Volume 7 under the usual first-episode credits. This section has a wonderful female choral element added: I’m actually half-convinced that it’s a specific “theme” for Monstra (the whale Grimm; apparently that’s her official name), rather than Salem herself. The bass percussion makes the cue feel almost literally alive, giving it a slow, steady heartbeat.

The piece crescendos as Neo catches sight of Salem, then fades away into more tense strings when Cinder kneels. A small quote of what I believe is “One Thing” kicks in when Cinder takes Neo’s credit for stealing the Relic of Knowledge.

The next quote is equally small, coming and going in the span of about 5 seconds between the 03:25 and 03:30 timestamps, and references the strings from “Party Crashers”/the Volume 7 Mantle massacre.

I can’t quite peg the following string melody - under Cinder’s declaration that she’ll return to Atlas and take the Maiden’s power from Penny - as anything specific, though it sounds similar to the opening piano.

What I’ll tentatively label as Monstra’s “theme” takes over again as Salem communicates with her, and the cue ends on a tense crescendo along with the scene.

On our heroes’ end, this is quite the episode for abstract little melodies, because I can’t seem to nail down what plays under Oscar’s respite in the slums either. What I do recognize, however, is a small section of Mantle’s melody at around 05:42, continuing until 05:52 where it’s briefly interrupted by a vague handful of notes from the Grimm “theme”.

Everything in Mantle is quite bleak, including the instrumentation: it’s soft and somber, even the gentler moments. Oscar’s melody kicks in at 07:06 on slow strings after Weiss asks how he ended up in the crater, which transitions into a despairing little quote of Penny’s established “theme” from Volume 7. This “theme” is of particular note this time around - Alex Abraham (composer) switched up the sound of her melody to a more subdued, lost quality, and it’s quite something whenever it pops up.

“Bad Luck Charm” makes a brief appearance at 07:30, and it’s interesting to me just how darkly the quote drifts off - the final note sounds almost distorted, lending it not only an air of uncertainty, but also danger (totally not hinting at things to come - no way).

Mantle’s theme makes a reappearance at 09:03, following a lead-in on strings as Yang argues that they need to help the people. The “theme” for Amity follows at 9:18 when Pietro begins talking about the titular colisseum, then drifts into Ironwood’s once he’s brought up, and then into one of the “Atlas tension” motifs from Volume 7. The orchestration of this entire section is notably quiet; almost not there, and all with a sense of unease. As the idea for the plan begins to come together, the Atlas Military “theme” (introduced at the end of Volume 6) plays, but fades out largely unresolved with Pietro’s uncertainty about it.

Once the small argument begins in earnest and the group divides, what sounds like a gentle quote of the as-yet untitled opening plays, easing into simple strings once Jaune interjects.

A sneeze-and-you’ll-miss-it soft interruption of Penny’s melody plays again, almost lost in the strings, then a third time when she volunteers to go with Ruby’s group.

And now for the fun part.

I’m not horrendously biased, I swear.

The tense silence of this scene once Penny’s Scroll begins to ring is perfect; as are the dark, sparse, ambient strings and the fourth instance of Penny’s “theme” - played on piano, with an almost music-box-like quality. The juxtaposition is horribly fitting for the moment - James is playing on Penny’s role as a guardian, her desire to protect people, her uncertainty about a situation in which she has had very little control, and that’s all beautifully reinforced in the music.

Speaking of juxtaposition.

Upstairs, we get a gorgeous rendition of “Hero” on brass; played slow, full and in earnest, with a small bit of Winter’s melody thrown in the middle once the camera briefly shifts focus to her. The way this section is orchestrated piques my interest as well - it’s not dark, it’s not particularly somber. It’s gentle. It still has that, for lack of a better term, heroic quality to it.

And that becomes such a twisted thing by the end of the scene.

Before that, however, there’s an instance of the Grimm “theme” clearly at 14:56, and it continues to be a personal favorite.

Another intriguing little reference hits at about 15:12, when the Council members show up - if you have an ear for it, you might pick up on it as coming from the scene in the office from Volume 7 Chapter 11 “Gravity”, complete with Ironwood’s “theme” at 15:33 (this cue might actually be directly taken from “Are You With Me?”) and to say it’s appropriate for a moment where James slips even further would be putting it mildly.

Closing out the episode proper is a freaky new melody for the Grimm hound that I can honestly say I cannot wait to hear more of.

Overall, the score for the premiere isn’t quite as bombastic as the last two years, but that’s fitting - it’s largely understated, with lots of tension and somber takes on the leitmotifs that crop up. This is actually one of the things about the episode that left me feeling like it was more of a firm and simple continuation from last year than the start of a brand new chapter, and that’s certainly not bad.

And now you stand alone, opening!

I don’t think it needs saying that every RWBY OP will split the fandom to some degree, and this one has a very different style. It doesn’t have a name yet - I personally labelled it as “The End” on YouTube, unfortunately confusing a few people - which is odd, but Jeff professed that he just couldn’t settle on one yet.

The standard guitar and heavy percussion are present, kicking off in the usual instrument-focused intro, and are mixed with layers of different instruments, synth and backing vocals throughout the song once Casey’s vocals start. Speaking of, our leading lady delivers with her usual grace, and her matured voice lends a lot to the tone of the song (the growl on “Some roses will never bloom” is amazing). Almost every line on the verse and pre-chorus has an echo behind it - either as an effect or as part of the backing - giving it a forlorn yet powerful quality.

In the lyrics department, it reminds me quite a bit of the second opening - “Time To Say Goodbye” - save with a darker undertone. I’d be hardpressed to believe that the line “We said goodbye / To all the things we loved” isn’t, in fact, a direct reference to “Now it’s time to say goodbye / To the things we loved and the innocence of youth”. In a Volume where a lot of people were clamboring for a “When It Falls 2.0″ - yours truly included - this was a surprise, but a welcome one.

Second opening is the best opening. That is a hill I will die on.

Come to think of it, this might become a trend. If I remember correctly, several lyrics in “Trust Love” harkened back to “This Will Be The Day”; what springs to mind immediately is the contrast of “When the day you waited for won’t come” with “This will be the day we waited for”, and “Always hoping that a lightning bolt / Is going to save you from this gravity” with “We are lightning / Straying from the thunder”.

If this is the case and Volume 8 goes as I believe it will - setting up for another Volume in Atlas where the huge fight happens as everyone struggles to hold the line until help arrives - then we could be due for some “When It Falls” references then.

I’ve heard some say that this opening sounds a little too crowded, that it doesn’t hit quite as hard as they expected/compared to “When It Falls”, that the darker tone relies on the lyrics rather than anything in the instrumentation, and those are valid critiques. Personally, this one’s an ear-worm - I love the sound of it; Jeff made a lot of interesting choices - but the melody itself isn’t as discernable as previous years and is going to take a while to grow on me.

I’m not going to rank these or anything because that feels a little arbitrary, but I really enjoyed what we got this first Chapter. Knowing the team, they find ways to step it up every year, so I’m seriously looking forward to what’s in store.

Until next week!

#rwby #rwby volume 8 #rwby music #alex abraham #jeff williams #casey lee williams #and yes #predictably that 'hero' quote is stuck in my head too #gimme an ironqrow fight and a back and forth between 'hero' and 'blc' and i will die a happy woman

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interesting-blog-name · 4 years

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Björk DISCOG REVIEW Part 1

One of the most recognized avant-garde singers in the world, Björk Guðmundsdóttir is an Icelandic artist who has been releasing critically acclaimed albums since the early 90s, and an icon in the experimental music scene. I thought it’d be an exciting experience to dive into her discography to find out if her music resonates with me, and to understand what this revered singer is all about. I decided to start with her major studio albums first, then moving on to her early work with Icelandic band The Sugarcubes and whatever else she has out there.

Debut

Björk’s properly titled debut is a wild amalgamation of sweet love songs, upbeat house music inspired by the UK’s early 90s scene, a hint of jazz, and of course, Björk’s enchanting voice. I won’t pretend to be a music university graduate or whatever, as I know close to nothing about what 90s music sounded like, what could have potentially influenced Björk on this album, nor will I try to give some sort of lecture about what is going on here; I’ll just cite what I enjoy and what I don’t, and why.

Debut feels authentic, it’s a finely crafted album, from its musical styles to its production to its songwriting. What spiked my interest immediately in it were the drums, and how fresh and varied they were; this is a very percussion-heavy album, the UK beats Björk implements are all about the infectious rhythms that enter your body and seem to control it, but even on tracks not so influenced by the nightclub life, the percussion is very good, in songs such as the opening Human Behaviour, with its fat bass drums, or the iconic, soothing Venus As a Boy, featuring tambourines, strong kicks, some rattle instrument, a prominent sampled echoing sound and a hint of bongos; these are all alongside various other rich instruments, violin passages that flow with the track perfectly, what sounds like xylophones peppering the track, all of this making this the best song in the album, in my opinion.

And when these instruments are not there, of course Björk herself makes up for it. Like Someone In Love is a beautiful ode to, well, love, comprised only of a harp, the singer’s eye-watering performance, and some ambient noise; it reminds me a bit too much of her cover of I Remember You, mostly because they’re both based on harps, but it is still very beautiful on its own. The Anchor Song is the emptiest on the record, closing the album up with some tension and overall introspection. It features only one verse from Björk sung two times, and like three saxophones? Definitely two at least, I’m not sure how they work, but it makes for a great, simplistic finisher (even if latter editions include Play Dead, a beautiful song, but not exactly fitting after the song before it).

Throughout the first handful of tracks, the pattern of “inward emotionally potent song sequenced by urban-life dance anthem, and back again” became apparent to me, but then broke after One Day did not transition into a dance track. Basically, my instant perception was that the record was this rollercoaster showcase of the hopeless romantic experience in a metropolitan, nocturnal city, and it may be, but if it is, it’s not as in-your-face as I initially thought. What catapulted these thoughts was the live version of There’s More To Life Than This, probably the most commercially-adept instrumental tune in the record, performed by Björk in a version purposefully awkward and weirdly personal, where she sings her second verse directly into a mic while the beat faintly plays in the background, fading further and further until the song flawlessly transitions to Like Someone In Love. It really makes you feel like your are at the Milk Bar, the night is packed, and Björk just pulls you into the bathroom and starts singing the rest of the song (for some reason); it reminded me of all those YouTube videos where the uploader takes a popular song, adds some background chatter, and soaks it all in reverb to give you the experience of listening to the song from the bathroom of a party. It is a distinct, creative way of spinning the original dance track around into something more, something that conveys this feeling of slight loneliness, even when surrounded by people, the central topic of the second song, Crying. The lyrics describe the big city, the huge crowds, but conversely the feeling of solitude and missing your loved one, or maybe even a place, it’s not explicitly told who or what Björk misses.

Romance is ever-present in Debut, through many incarnations. Big Time Sensuality, one of the most upbeat tracks here, is about a fresh romantic relationship, and the growing sensation of “something important (...) about to happen”, assumingly between Björk and whoever else. The house beat paints the scenario for this relationship as a club, by default. It brings you into this exciting nightlife, only for you to be pulled away immediately after by One Day, a track so cheerful it’s irresistible, and holding tight to the theme of romanticizing a loved one, then reaching Aeroplane in yet another beautiful transition. I have to admit this is the first song I don’t love in the album, I think it is good, and in the context of the album, definitely brings something new. What sets it apart is, this time around, the bongos are being used to their full extent, paired with birds chirping and a comfortable bass, incremented by occasional saxophone passages, this track ends up very tropical. After this, Come To Me is another passionate song, this time, Björk sings of comforting her partner and nurturing them, which naturally creates a super chill aura to the song. Accompanied by the violins and the lowkey guitars, it makes for a solid track, which in the context of the album I think eases the mood a bit too much, but is appreciated as a solid production, and closes out by bringing out the bongos once again, in a very nice outro (I should also note this is the first appearance of a real drum set on the album [I think]) (I should also also note the bassline sounds a little like early studio versions of True Love Waits by Radiohead, just some trivia).

Violently Happy right afterwards is the least interesting of the house tracks, with a mostly simple instrumental, and vocals Björk seeming to be compressed, or dowsed in some other effect. It’s not a standout in the tracklist to me, but the beauty of Debut is that the worst song is still solid as fuck. I think it’s a very consistent album, that delivers a unique and one-of-a-kind experience.

I didn’t expect this type of sound from Debut, but I was pleasantly surprised. It took me a while to like, but it definitely grew on me on with this 4 a.m. listening session I just had. I look forward to everything else I will listen to by Björk.

FAVORITE TRACKS: Venus As A Boy, Like Someone In Love, One Day, Big Time Sensuality, Human Behaviour

LEAST FAVORITE TRACK: Violently Happy

8.7/10

“Lately I find myself gazing at stars, hearing guitars like someone in love.”

Post

Going into Post, I was aware this would be quite different from Debut. I had listened to Army of Me and It’s Oh So Quiet before, seeing as they’re two of Björk’s biggest songs, and they obviously sound nothing like the acid house beats and soft, calming ballads in her debut, and that’s what is good about it, the sudden shift from a relatively safe musical environment to aggressive, chunky electronic production in Army of Me and Enjoy, and the absolute turnaround that is It’s Oh So Quiet.

The bold production decisions are what make this album exciting and surprising, in tracks such as I Miss You, mixing a synth-line with super loud bongos and some addictive synthesized drums, and trumpets at the end of the song, or the famous use of the Locrian mode in Army of Me, creating this menacing, dissonant melody, which perfectly fits the song and serves as an appropriate intro to the album that succeeds it. But they don’t always have to be out there to be notable and great: what I can tell from around the internet is that you can ask every single Björk fan ever what their favorite track by her is and it feels like at least a quarter will answer Hyper-ballad, and (even though I’m not nearly done with her discography) I can I say it’s with very good reason, as it is an amazingly composed song; same with Possibly Maybe, an enheartened slow jam which progresses from a cute love song about desiring to be with the one she’s flirting with, to disappointment in how they treat her, to the breakup, where she states she started wearing lipstick again, sucking her own tongue in remembrance of her once lover.

The album is very love-centered, specifically focused on the desire to be physically with someone, with how Björk mentions her love interest’s touch in plenty of tracks, such as I Miss You, a song about missing someone she apparently has never been with, where she literally asks her significant other “when will I get my cuddle?”. uwu.

(also what is this cover art lmao)

Also including this thirst for deeper contact are the songs Enjoy (“I wish I’d only look, and didn’t have to touch”, “How can I ignore? This is sex without touching?”) and Headphones (”They start off as cells that haven’t been touched before, these cells are virgins”), but the subject matter isn’t always literal and spelled out, as the tracks Isobel and Hyper-ballad seem to play with the idea of a hermit lifestyle, whether it’s at the top of a mountain or in the heart of a forest, with different meanings between the two, however. In Hyper-ballad, she’s isolated from the world alongside her lover, while in Isobel, she’s completely alone, married to herself, as she says. I enjoy the theme, but I think the vocals and instrumentation, while interesting, aren’t as good as many other examples from the album, same with the track previous to it, You’ve Been Flirting Again, which employs very faint and uniform violins under some soothing yet stagnant lyrics by Björk; it serves mostly as an interlude, I suppose, but it could go a little further, in my opinion.

To end the album, Cover Me and Headphones subdue the atmosphere by a lot. They’re very toned down, the first features some really nice windy background noise, and what I think is an oud. It’s an amazing section of the album, and from what I can gather, seems to be about her own experimentation with her music, describing a journey into what I think is this very album, a big departure from Debut for sure. It then transitions seamlessly into Headphones, which, on par with its title, is a much better experience if you are wearing headphones. The buzzing bass, Björk’s nearly ASMR vocals turning into gibberish at the end, and bubbly percussion are all super pleasing to the ears, and it continues the theme of her own musical creating process, singing how her headphones saved her life, and how nothing will ever be the same; it’s almost prophetical, and definitely one of my favorite songs here.

Post is much more colorful, daring and wild than Debut, but I don’t know if I like it better than its predecessor. I feel like Debut is obviously much more comfortable and pleasing than Post, and that even though Post has amazing tracks like Hyper-ballad, Enjoy and Possibly Maybe, as an album, I’m not really feeling it as much as the last one. The sense of cohesion in the last one, and how it used the UK beats to the best of their potentials, mixing them with much more soothing tracks and beautiful vocal performances is what attracts me to it so much. I really appreciate the direction Post took, as I don’t suppose many people were doing anything close to this in the 90s or before, and it certainly has its highlights, but I think Debut just got a tighter hold of me, and I just enjoyed it more, if looking at it from a purely superficial standpoint. The experimentation here is great, but I enjoy how fresh Debut sounds slightly more.

FAVORITE TRACKS: Hyper-ballad, I Miss You, Army of Me, Headphones, Possibly Maybe, Enjoy

LEAST FAVORITE TRACK: You’ve Been Flirting Again

8.5/10

“This is really dangerous, cover me. But worth all the effort, cover me.”

Homogenic

Alright shit got real.

This is way better than the last two albums, and they were amazing to begin with. But this album is insane. It’s focused, but also so loose and free. It’s an amazing experience, and I think Björk in her most comfortable style yet. She doesn’t miss the mark in one track of this album, they’re all at the very least good.

It starts off with the delirious drum patterns and violins in Hunter, and I tell you, I haven’t seen a better streak of amazing songs in an album yet: from the intro to 5 Years, all the songs between it are fucking fantastic, and that is only broken by Immature, a track which I don’t think is supposed to be much more than an interlude anyway; then it’s right back with Alarm Call.

I really don’t think I have anything to complain about in this review apart from 5 Years and Immature. On the first listen, I thought Howie B’s version of All Is Full Of Love was inferior to the original, which I had heard and loved a while ago, but I can’t even say that, because this one is perfect as an outro. With the drums gone, the track feels like a goodbye from Björk as you slowly descent from heaven after listening to this album; plus, it comes right after Pluto, by far the most aggressive song in Homogenic, with the singer yelling over her glitchiest production yet. Then it suddenly gives way to that incredible outro. Other amazing transitions include Unravel to Bachelorette, decorated by the overlapping violins, and from 5 Years to Immature. The serene, gorgeous sound of Unravel against the energetic, cinematic Bachelorette orchestra is easily one of the best moments in the album as well.

I find that whenever I find an album really good, I have problems describing why, but I promise this time I’ll try harder than when I listened to MAGDALENE. To start, Björk’s singing and the instruments backing her have never been more in harmony with each other, mainly due to Björk’s and her producers’ focus on maintaining a homogenous sound throughout the record, as its title implies, and this style is the mix of strings and other orchestral instruments (including an accordion at some points) with the odd, sometimes glitchy (All Neon Like, 5 Years, Pluto) other times fleshed out and bulky (Hunter, Immature, Alarm Call) production of Mark Bell, Guy Sigsworth, Howie B, Markus Dravs and, of course, Björk herself. Jóga and Unravel are my favorite Björk songs so far, and the fact that they come back to back, right before Bachelorette, is still crazy to me.

Alarm Call is a beautiful song about how your music impacts the world, and just an anthem of euphoria basically, which might be a little out of place surrounded by the very specific sound the album goes for, with its bop qualities and dance rhythm, but I appreciate it a lot just for how easily Björk can pour her feelings onto a track and make it work out of seemingly nowhere. This song demands happiness from the listener, and it’s extremely difficult not to give in to its groove (“I’m no fucking Buddhist, but this is enlightenment”).

In my opinion, All Neon Like is the perfect embodiment of Homogenic’s atmosphere: it’s not as brilliantly and enormously produced as the songs before it, but it is frigid and ethereal, the lyrics are sung fairy tales, continuing the genius metaphors in Bachelorette.

It’s slightly futile for me to try and dissect Björk’s lyrics one by one, but they do stand out more than in her previous records as well, even though the focus on Homogenic is mainly in its aesthetic. 5 Years is the first song that features lyrics that point themselves against someone, a former love interest of Björk, accusing them of not being able to handle her, and while Immature’s lyrics don’t go anywhere due to them consisting of a verse repeated twice, they follow the theme of abandoning a lover, and this time, the questioning is to herself, wondering how she thought her significant other was a cure to all her personal issues. Hunter, an amazing intro to an amazing album, centers its lyrics around some of the same topics as the outro in Post (Cover Me and Headphones) which describes a voyage into the unknown that was Björk’s musical endeavors at the time, her will to go the distance to create something brand new and exciting. In this intro, she compares it to hunting and bringing the food to the table. It starts: “If travel is searching and home what’s been found, I’m not stopping”. It’s fucking brilliant man holy shit.

Now that I write this, I realize, from 5 Years onward, the songs cease to be about idolizing another person, with tracks such as Immature and Alarm Bell being introspective looks at Björk and her current feelings, and Pluto being about batshit self-change. Even All Is Full Of Love, with its first lyrics being “You’ll be given love, you’ll be taken care of”, seems to be addressing more of the ambient surrounding the person than the person themselves, as if they’re a placeholder for all the angelic ambience around the listener. Maybe the song is literally about placing the listener in this scenario, who knows.

Definitely best album I’ve heard yet, and what excites me is that people praise the next album so much, I’ve never seen someone talk much about Homogenic. I literally don’t know how Björk can top this, but I’ll see.

WORST TO BEST: 5 Years, Immature – Mark Bell’s Version, Hunter, Pluto, Alarm Call, All Neon Like, Bachelorette, All Is Full Of Love – Howie’s Version, Jóga, Unravel

Fuck it, 10/10

“I’m a path of cinders burning under your feet. You’re the one who walks me, I’m your one-way street.”

Vespertine

I am pleased.

This is insane, man. I think I’ll be a huge Björk fan after I’m finished with this discography. Vespertine is meticulous, it’s enchanting, it’s all-around wonderful. You can tell Björk and her team put incredible effort into this album, for it to sound as effortlessly beautiful as possible; not one idea or song here sounds forced, out of its element, or simply put bad. They unite to create one of the most astounding listening experiences I think I’ll ever get in my life.

Vespertine is proud, but introverted. As a sequel to Homogenic, it serves as its lighter half: where Björk described Homogenic as “confrontational”, “active” and “warrior”, Vespertine flips that upside down, and brings microbeats, music boxes and harps to the table. This is a very effective alternative to songs such as Jóga and Bachelorette, where the instrumentals and the singer seemed to try and outdo each other, creating these grand, empowering songs; in this album, they merge together into living, breathing and deeply personal lullabies. One of the most impressive talents of Björk is that she seems to take the identity of her album to heart, and mixes her unique songwriting and singing talents and her otherworldly personality into the project’s own personality, becoming an artform much greater than the sum of its parts.

Songs like Hidden Place, It’s Not Up To You and Pagan Poetry are Björk to the bone, with their more elaborate and ear-catching production, their humongous vocals, and would be comfortable if they were to be pulled from this album into another; however, deeper cuts such as Aurora, Cocoon, Undo and An Echo A Stain are the embodiment of this album’s aesthetic, its frigid atmosphere and tiny, fragile surroundings. They are like symmetrical, unique snowflakes when softer, or huge, arctic blue glistering caves when grander. They’re precise; stable, but at the same time would not work if they weren’t organized exactly how they are.

It’s easy to get too comfortable listening to Vespertine. The tracks are almost spiritual in a way, they convey an unparalleled bliss to the listener, and getting lost in the album is almost part of the experience. Especially in the second half of Vespertine, where things get real lowkey. Songs merge into each other, starting with the wonderful music box interlude Frosti into Aurora, which features one of Björk’s strongest vocal performances, proceeding to An Echo A Stain, a standout for its weird, suspenseful and eerie instrumental, evoking a dark vibe, it sounds like a deep underwater exploration into the darkest abysses of the ocean or some shit. The lyrics are also uniquely confrontational, they don’t portray the undying passion of songs before it, instead proclaiming “Don’t say no to me. You can’t say no to me. I won’t see you, denied.”. With all the vague and spacey lyrics, and the uneventful instrumental, it’s impressive this song progresses so well, mainly due to its weird, unsettling tone that sets itself apart from the rest of the songs. In a way, these odd and abstract lyrics mixed with the ethereal and bittersweet instrumentation remind me of some Radiohead songs, such as The National Anthem, How To Disappear Completely and Ful Stop, and I’m realizing this is a style of music I’m prone to liking.

Sun In My Mouth is not much of a standout topically or sonically to me, as it doesn’t do much to expand upon the sexuality of the album, with lyrics once again referring to inserting fingers into wherever, and closing with “Will I complete the mystery of my flesh?”, the themes seem to have nowhere to go. Heirloom depicts a reoccurring dream about Björk losing her voice, and having her mother and son pour a glowing oil into her mouth, which is a cute and artsy way of saying they’re her fuel for continuing with her craft, I guess. The lyrics don’t go anywhere with themselves after this though, but the instrumental is very creative and memorable, it creates a neat little bubble of involving, resonating synths.

Employing some heavy strings for Harm Of Will, Björk doubles down on the romance of the album, in a rather stripped-down song, with a few vocal highlights from her. It finds its place in the tracklist, I guess, although the oral sex line comes off a bit too strong for the smooth sentiment of the song.

To close Vespertine off, Unison, the longest song in the album, lays back on an ambient sample by Oval, and features one of Björk’s most unique vocal harmonies on its chorus; overall a nice, upbeat outro for a wonderful album.

I will say I felt more excited listening to Homogenic, as I think Vespertine’s romantic, sexual aura doesn’t expand into much after some of the many heavily sensual verses, while Homogenic wasn’t as tight and claustrophobic for me. Vespertine, however, was freer and left a bigger impact on me, It’s Not Up To You succeeded in making me cry. At the same time, none of the songs here felt like they didn’t belong, like they took away from the experience; every sound and line collaborates to make something bigger, something I don’t think I’ll get from many other albums in my lifetime.

BEST TO WORST: It’s Not Up To You, Pagan Poetry, Undo, Hidden Place, An Echo A Stain, Unison, Aurora, Heirloom, Cocoon, Harm Of Will, Frosti, Sun In My Mouth

It is a 10

“I can decide what I give, but it’s not up to me what I get given. Unthinkable surprises about to happen, but what they are, it’s not up to you.”

Medúlla

Björk’s 2004 Medúlla is, surprise surprise, an acapella album. And to further surprise, I liked it.

After Homogenic and Vespertine, I guess there was nowhere to go but towards the more experimental. You can’t really outdo those two albums in their own game, so you gotta branch out, try different things; and trying different things is exactly what Björk excels at, apparently. With Medúlla, all that wild, bombastic or serene instrumentation her previous albums were peppered with is gone, giving way to backing vocals ranging from super deep male bass to angelic choirs, beatboxing, and occasionally an isolated instrument. The album is rooted on the most primary form of music: barely any instruments, almost no effects or audio manipulations, just many voices uniting to become one; lyrics about childbirth, the human body, oceans and, of course, love.

Listening to Medúlla is interesting because it is very familiar, while also being a completely different experience from Björk’s previous albums. Songs like Who Is It and Mouth’s Cradle are unmistakably her, while at the same time being coated with an extra layer of experimentation, and with this new direction, Björk and her team are able to channel an energy that stands shoulder-to-shoulder with some of her best production. Where Is The Line? and Oceania are intricate and complex, showing just how much can be done with only the human voice. The low male vocals and beatboxing structure the songs, the choirs in the background give them depth, all the sounds link with themselves to amount to some incredible songs.

On the flipside, however, few songs fail to achieve that, in my opinion. Desired Constellation is notably bare and empty, with few aspects to its composition. The mystical lyrics that characterize Medúlla are still here, describing Björk playing routinely with stars to form whatever she desires, but apart from that, there isn’t much to experience. Mouth’s Cradle and its successor Miðvikudags are also not of much significance to the rest of the album, as they drift from its acapella compositions by employing some pleasant, but unnecessary synths as the basis of the songs. The simpler, shorter interludes that are peppered through the album are pretty much the standard sound for this record, fleshing it out with small little vocal passages and, of course, gibberish. Show Me Forgiveness, from my interpretation, is Björk apologizing to either herself or her daughter (as implied by the last line, “The girl might live”), for letting her interior voice be drowned out by the exterior; Öll Birtan is a simple buildup to the aforementioned Who Is It, but the best of the bunch are Sonnets/Unrealities XI, the poem it may not always be so; and i say by e. e. cummings over some of the best backing vocals in the album, Vökuró, where Björk sings a traditional Icelandic song in a very intimate and gorgeous moment in the album, and Ancestors, which features some passionate, odd and intriguing growls all throughout it.

It’s remarkable what Björk came up with in this album, the mystical aura surrounding it and forming its lyrics, in particular the verses in Oceania where she takes the role of the Ocean, exploring its perspective of Earth, time and the continents, Pleasure Is All Mine, which describes motherhood and childbirth for a sublime intro, and Submarine, featuring Robert Wyatt, evoking a sense of rebelliousness and urgency. Great album.

FAVORITE TRACKS: Oceania, Sonnets/Unrealities XI, Where Is The Line? Pleasure Is All Mine, Vökuró

LEAST FAVORITE TRACK: Mouth’s Cradle

8.8/10

“When in doubt: give”

Outro

I postponed ths review for like 2 months or something, I don’t even know. Basically, from Debut to Vespertine was probably a one-month span of time, while it took me about double that time to actually write about Medúlla, because of what I think was a depressive episode. In the meantime, I started just reviewing shit on RateYourMusic (my username is fantaguarana, if anyone cares). I thought of stopping, I had this feeling that the whole “writing about everything I listen” thing was really forced and starting to become a chore, but now that I actually got to it, I think I notice how much it helps me organize my thoughts on music, compared to just listening to an album and never really reflecting on what it really means.

I’ll probably stop writing about everything I listen to, and leave this blog for the albums that really change me as a person. Have a good day yall.

#björk #post #debut #medúlla #homogenic #vespertine #art pop #art-pop #pop #review #album #album review

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rhydium · 3 years

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Info dumbo about the StarFinite story?

aright u asked for it anon GET READY [cracks knuckles] this is gonna be long so obligatory cut in 3, 2........

...1!

so the uh, the au! the story!! w/e yall wanna call it! full disclaimer, i only began working on this whole thing a while ago, but it's totally taken over my fukn brain. like, we're talking big hyperfixation hrs. am i cringe for being this invested in my own content? yes? cool i do not Care >:3€

i should also throw it out there real quick that i am kin w/ infinite, n this is actually one of my two canons (both of which are my own aus lmfao wow). i didn't go into it expecting it to be but sfsfsgdfs here we are ig!! for that reason it's got extra importance to me n this definitely contributes to the euphoria i get from it!! it's a lil odd writing ur own canon,,? but i kinda just go w/ the flow!

the au n, the story that i will start Eventually, revolves around infinite n starline (obvi) n it's honestly just ... the tl;dr is big healing momence n, what's this? uh oh sisters !!! they are falling in love 😳😳😳

uhhhh so infinite is an android, made by eggman. that's like, the most notable canon divergence here! super important context to have. i've got a whole big theory on the possibility of sega originally intending infinite to be an artificial being (which i explored in the works for my Other canon too), stemming from not only the scene in forces wherein infinite comments on sonic's "data", but a line of dialogue from tails in one of the last stages of the game where he Literally Says "so this is where eggman built infinite". that ... i mean. that contrasts w/ episode shadow pretty hard don't it?? would explain why that dlc was so rushed, n the comic too. ANYWAY adsfsfs um that's a seperate ramblepost. yeah!!!

they are also agender n use they/them (primarily) as well as he/him!! so i'll be refering to them w/ those pronouns!

after the war, infinite is taken in by the resistance n, instead of being dismantled, they're basically given a chance to rehabilitate themselves. it's agreed that they won't be reprogrammed, as despite the potential risks, it feels wrong to do so; like a violation of their free will, individuality n thinking. if infinite is to be a good person, it's not gonna be bc other ppl recreated their entire personality, it's gonna be bc it's what they themselves truly want. robot ethics idk man!! u can't tell me that sonic n co wouldn't offer this to infinite if they offered it to metal in IDW,,,, i am Standing By This!!!

it's, yknow, a bit rocky, at first. infinite has to really fight the urge to return to eggman (something they already tried once, before the resistance found them; they were cast out). it's a struggle against what they were built to do, against giving into unhealthy familiarity over facing a, while healthier, unfamiliarity. new faces, a new life, turning their back on their mission n creator, it's like, a lot.

they work for/with the sonic crew, rebuilding the world they tore down as deemed fitting justice, being closely monitored for a bit as a natural precaution. as it becomes apparent infinite truly no longer has any ambition to harm others (they don't have much ambition for anything, really), they're then granted more freedom, n start taking on more important missions!! it at least gives them something to do, keeps them occupied. they have issues with dissociation, unreality, whether they're truly a real person bc, well, android. feeling purposeless, n a lack of worth, especially. a need to prove themselves. heavy stuff. i'll kinda go into that a bit more in a sec. their work grounds them, if only temporarily.

n soooooo... IDW comic stuff happens. metal virus time. starline gets kicked out of the empire.

now, as the comics are ongoing, n as this is already an au, there's gonna be divergence, n i must admit i haven't planned out all that yet. there's a lot i have to consider!! infinite being w the resistance/restoration is a big game changer ... tho i Do believe that they were absent, likely on a far out mission during most of the chaos. eggman doesn't know abt them, nor does starline or anyone else other than the sonic crew; n some civilians that recognise them.

i'm not 100% sure of Exactly when it happens, but i think it's just after bad guys, that infinite is sent to locate n bring in starline. it doesn't prove too difficult. there's a whole, starline realising "oh fuck it's you???", some bickering n, the two don't hit it off right away. they're both kinda like. not mentally stable ddgddgdds,,,

so uh. starline ends up essentially going thru the same sorta shit as infinite. careful watch, rebuilding, all that jazz, making sure he can be trusted. he's like... very very lost, quite like infinite is. the world has kinda calmed down, in the meanwhile.

it's at this point i'm gonna go ahead n drop a bit of a ramble i subjected my friends to a while ago, to articulate the way i see the two, n their dynamic together!! i was considering making this it's own post a while ago!

analysing their characters a bit... let's look at starline. Like. so we have this, in bad guys, which SENT ME tbfh;

i feel like it's the moment that triggers starline onto the path he is rn canonically,,, he's clearly like. rly mad n bitter. the core of this?? he wants his work n his efforts to be acknowledged.

he's big angry. still kind of in denial at this stage. he has himself obsessed w/ the idea of making eggman see him as Worthy, that if he just tries hard enough, that'll happen. he's dependent on eggman's validation, n i mean, it's no surprise; he's followed him a Long Time by the sounds of it.

then in the recent issue, hold the fuck up, bc we got, This;

god. my god it's all comin together now homies. this???? this right here??? it is the CLASSIC "i have to do this to prove i'm strong n powerful n smart n worthy n should be respected please Give Me Acknowledgement" ..... n who else is Like That? can u see where im going w/ this?

i think most ppl are aware of infinite's character being extremely indicative of self worth/esteem issues n the need to prove themself, right?? the extreme adversity, repulsion, perhaps even fear toward the idea of being weak. the compulsion to prove otherwise, to show their strength, to become powerful, to conquer to make a point. their theme exudes this same energy as their behaviour in-game; an aggressive attitude, trying to assert themself, while if u rly listen...? the lyrics are actually really sad in places. it reeks of cover up, although composition wise, a v interesting thing to note is a lot of the more telling lyrics are prominent while some of the affirming ones are in the background. indicative of a desire to have their true feelings be heard but caught in a vicious loop?

okay okay that's yet Another different analysis. AHEM.

not to get deep on main (oh who the hell am i kidding that's the point of this entire thing) but i think starline has issues w/ his worth in a similar way to infinite. they both seem to have this need to Prove something, whether it's to others or themselves, n get caught in a toxic spiral of doing worse n worse things for Some kind of validation or acknowledgement. they'll go to really big lengths chasing that, n both of them ultimately sought validation in the wrong place n wrong way.

this is a big part of my starfinite dynamic,, n so, what happens, as they get closer n open up??? we have them BOTH realising together that they don't have to do fuck all to prove anything to anyone. they don't need to do all this to show they're strong n smart n worth something, not to anyone else OR themselves. they're enough as they are. they bond over that shared feeling that they have to do xyz, to prove themselves, n that desire to just finally be acknowledged n appreciated n help each other thru it. to help each other understand that other ppls approval, or lack thereof, doesn't define them, their strength, intelligence, and worthiness.

i feel like they have an interesting parallel between them in like... the above could be taken as a general analysis, but to go more in depth on this au specifically?? ...

starline followed eggman for presumably a long time n it no doubt left him feeling a heavy and deep regret for all that time wasted n spent on an unhealthy path. infinite kinda teaches him that what matters is what he's doing Now n also reminds him that if none of it happened, starline wouldn't have learnt a lot of the serious skills he has. n while starline still feels bad, he also realises himself that, he likely never would have crossed infinite's path if none of it happened. for that reason, he wouldn't take it back.

infinite has only been recently made, on the other hand. they haven't really existed long, yet, but so far their experiences haven't been very positive n it can be .... discouraging. starline sorta, shows infinite their limited experiences w/ the world are a very tiny fraction of what's out there, n things can absolutely change, yes, including for the better; that's the essence of life, a neverending, constant flow of change.

it's a big tale of moving on n letting go, honestly; made easier as they're doing it together. n as they heal n grow, well... these bitches gay. sfshshdgds like, ig that's putting it p bluntly but!! they start to trust each other, understand each other more. as they get to truly know who the other is, they both start developing The Feelings. they're both pretty oblivious n the reveal is totally unknown so far!! yeah, i know, bummer. i suck. boo. adafsfsds however i can say there will be lots of content in the making!! if that soothes the soul! i've got of ideas i hope to bring to life.

ofc there's still a lot of more specific things i haven't covered here so! if y'all want more juice hmu w/ more focused questions but !! this is the overview n i hope it was a decent read now that gave some uhhh! Cool Insight! yea!!! ✌

#jackal.txt #android infinite au #i need a proper name for this #infinite the jackal #dr starline #starfinite #long post #idw sonic spoilers

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twdmusicboxmystery · 4 years

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FTWD 6x07 - Details

Okay, let's talk details. Even aside from the major and obvious parallel I talked about yesterday, there were quite a few smaller Beth symbols throughout the episode.

***As always, spoilers for 6x07 abound below. Don’t read until you’ve watched!***

The first one was right in the opening shot. We see a deer being eaten by walkers and the camera zooms in closely on the deer's face and the eye. So, deer symbolism which points to both taxidermy elements of the episode, but also, deer symbolism = Beth. Which is important because of the Dakota both parallel, and it focuses in on the eye. (Sirius Symbolism).

When Strand and Samuels ride ahead to try and figure out what happened to Terry, there's a tree fallen across the road. And it's obvious that someone cut it down. (Turns out to be Morgan.) But we’ve seen this kind of symbolism around Beth proxies a lot. We saw fallen trees in 5x10 after the storm, and right before the music box woke up. We also saw one in 6x14, just before Denise died. And obviously she was a big Beth proxy two. So, I seeing one in this episode right before Dakota goes missing is important.

After they discover Dakota is gone, Strand says, "only one person matters right now and she's gone." So more of the “gone” symbolism and an echo of Daryl's, "she's just gone," from 4x16.

As I said yesterday, Ed's hunting lodge sort of gave me white cabin vibes from the missing S5 scenes. When Alicia sneaks in, she crawls under a chain and squeezes through the door it's holding shut. I reminded me a lot of Daryl and Carol doing that and consumed, which was when they were looking for Beth.

I’ll say it again, but the animals we see stuffed inside also symbols we see used a lot. The bear (bear symbolism), a bird of some kind. I'm not sure what kind it is. But it does kind of remind us of the blackbirds in the opening credits of TWD. A bobcat (cat symbolism associated with Daryl) and, of course, more deer. Later in the episode, we also see a boar’s head. (Pig Symbolism).

Alicia finds Ed working on a walker which is strapped to his table in his basement. The whole set up reminded me a lot of the funeral home from Alone. Just having a body on a table like that and the fact that it was a walker, not a human.

The songs playing are “Tonight You Belong to Me,” and “Jeepers Creepers.” I won’t go into either of them too much, but look up the lyrics. The first is about belonging to someone for a short time and the moonlight. The second is all about a person’s eyes. And both mention the dawn. So yeah, we can definitely read into those. ;D

I probably shouldn't read into this too much, but the names used in this episode definitely caught my attention. First, there's Ed. Carol's abusive ex-husband was named Ed. I'm not saying that has anything to do with Beth, but they could've used in the name of the world, right? And they used a name well known in the fandom due to Carol's arc. Next is that he had a daughter named Emily. Again, I'm not saying they're necessarily trying to use that as some sort of TD/return symbolism, but it was just a little jarring to actually hear Emily's name come up in this episode when there such a huge Beth parallel in it.

Ed asks if either of them plays chess and then he plays Dakota. We’ve talked about chess before. There are a lot of reasons that they may use it as TD symbolism. For one thing, the Queen is all-important in chess. It's also a strategic game, where players are lost periodically throughout. Which might be the writer's way of symbolizing all the characters who have been lost. We saw it heavily around the governor, in the two episodes in S-4 where he had a lot of parallels.

While Ed and Dakota play chess, was also a record playing. (No lyrics in this song, though.) He says, “Queen’s Gambit.” I’m not much of a chess player so I had to look that up. Aside from the mini-series that’s currently popular on Netflix, it’s a well-known chess move. Feel free to look it up on Wikipedia yourself, but let’s just say that it smacks strongly of a prisoner exchange.

Ed turns the music on loudspeakers to draw walkers in. Obviously a music theme, but it specifically ties to things like The Big Spot in 4x01, or Operation Lead the Walkers Away in S6. They did this more recently in S10 to lead the Whisperer horde away from the hospital.

Ed has an interesting line when he's explaining himself to Alicia. He's trying is tell her that everything is his fault. That it's his fault his family died, etc. He makes a point of saying, "I created them, but I couldn't control them."

I feel like this is an important theme. I'm not sure where it's leading yet, but I'm wondering if there will end up being a reveal that the virus was man-made and then got out of control. Or maybe it will have something to do with the helicopter group. I don't know. But it felt like a mic-drop moment, and like something we should remember going forward.

Also? At Grady, Joan said something similar to this to Dawn. “You can’t control them,” speaking, presumably, of the officers.

Then of course Morgan shows up, saying that he heard the music. I talked about how suspicious I am about Morgan showing up at the end of this and what it might mean for Beth yesterday.

We also learned that, had Alicia's original plan to exchange Dakota for her and Charlie being released worked, she was planning on taking them back to the stadium. That caught my ear because there's been a lot of talk recently about Madison's return. You wouldn’t think she would still be at the stadium, but you never know. Maybe she is. After all the talk in the fandom about it lately, I just couldn't help but side-eye that a little bit.

Then Alicia and Morgan quarrel about what to do with Dakota. The thing that jumped out about this part is that Morgan basically wants to do another prisoner exchange, exchanging Dakota for the others in his group (presumably June and Daniel). They don't actually end up doing it, but it was sort of a nod to Grady.

We also learned that Morgan was the one who attacked the convoy, trying to get a hold of Dakota so he could use her as leverage against Virginia. Again, something we saw just prior to Coda, with TF purposely setting a trap for the officers so they could use them as prisoners in the exchange.

It’s also worth mentioning that, for the characters in the episode (Alicia and Charlie, though this was true of Al and Dwight a couple of episodes ago too) the moment when they saw Morgan was a resurrection moment. We, the audience, have obviously known he’s alive since ep 1, but they haven’t. So this was someone coming back from the dead for them.

We learn that Virginia may have killed her own parents. But we don't know how. Me and my fellow theorists talked about how trustworthy Dakota is. I do like her overall, but one thing that bugs me is that the main characters don't press her. For more information. She said before that not only is she Virginia’s sister but that she hears everything that goes on in that house. So, I think she has to no more than she's saying. But her go to answer about anything is, "I don't know." Personally, I don't think she's going to turn out to be evil or anything, but I do think she knows more than she's saying.

Finally, Strand returns to Virginia and says that he's on her side and will help her bring back everyone Morgan has liberated.

For the record, while Strand always seems to have an agenda and to want to do things his way, I don't think he's actually working against Morgan's group. I think this is his way of being undercover and helping them from the inside. But Virginia believes him and takes him to where she's secretly hiding Grace, it was still very pregnant.

Dun, dun, dun! End of MSF.

So, yeah. That's what I have for details. Anybody pick up on anything I missed?

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theories #team delusional #team defiance #beth is almost here #bethyl

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kitty8roses · 3 years

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This is what I sent to her lol (under a cut tho bc im not that mean)

DONT LOOK UNDER THIS CUT FOR GIVEN SPOILERS!!!!

Ritsuka quickly realizes that Mafuyu is an exceptionally talented singer, and invites him to join the band. Ritsuka learns that Mafuyu's guitar was previously owned by Yuuki, Mafuyu's childhood friend and boyfriend who died in an apparent suicide. The band begins composing music in advance of a live performance, but Mafuyu is unable to write lyrics for the song.

On the day of the performance, Mafuyu has a breakthrough and sings a powerful song about his feelings of loss over Yuuki. The song prompts Ritsuka to realize his romantic feelings for Mafuyu; he kisses him backstage, and they begin dating shortly thereafter.

The band names itself – "Given", in tribute to the guitar given to Mafuyu by Yuuki – and begin to develop a following after posting a video of their live performance online. Given qualifies for a major amateur music festival, and begin preparing new material. Their efforts are complicated when Akihiko, who Haruki secretly has romantic feelings for, becomes involved with his roommate and ex-boyfriend Ugetsu.

Ok so in the beginning of our show: our first protag mafuyu sato is seen walking to school In the rain (with an umbrella tho lol) he says, as narrator, “mafuyu is not lonely.” And also some other stuff that’s all vibe you know? So THIS is repeated through out the series with him saying that “mafuyu isn’t lonely” especially when something bad happens. The thing is he IS lonely. Why you may ask? Well, his ex boyfriend from middle school killed himself and he thinks it’s his fault and stuff. They had gotten into an argument and he drank himself to death. RIP yuki. The only time where I personally believe this statement of ‘not loneliness’ is true is after Uenoyama (other protagonist and love interest) kisses him. I think that’s very swagger. Right before sed kiss mafuyu sang a song that he wrote at a live performance with da band about his heartbreak with yuki’s death. The person he truly loved. It’s called fuyu no hashi and I recommend you give it a listen it’s really good. Uhm but uhhh he realizes after da kiss that he has a new love ❤️ Ue! Yay canon gay ship time let’s party owah owah

NOW I wanna talk abt the opening and op lyrics. They are SO GOOD. they explain Mafuyu’s situation so we’ll just *mwah*. I think it’s called kizuato. There’s this one part where the singer (which could be interpreted as mafuyu despite it not be8gn his voice) says “Rainy, sunny and cloudy

Spring, Summer, Fall and Winter. 365 days. You remain in all of them.” When he says the last line “you remain in all of them” we see mafuyu holding his guitar when a pair of arms wraps around him from behind like a hug. He shifts and kind of like compresses himself? Like you know what would happen if you got a hug. These arms are kinda transparent and they disappear before the line and that clip is over. AT FIRST before I knew about yuki and all that I thoguht they were from his late dad but now I believe the arms belong to yuki. Mafuyu’s dad was abusive and hit him when he spoke and I thoguht that would be the part of his trauma the show focused on but it wasn’t, instead they focused on yuki and his death more. Anyways I thoguht that was cool and representative of what happened pretty well.

Part of it also makes me wanna cry tho. It says “Dig them out. Take away these memories. The invisible voices that wouldn't reach. That Make me suffer/ suffocate me. Search deeper and take a look at this pain inside of me.” Specifically the “take away these memories” part just,, damn. And the invisible voices thing is just too fucking relatable. I’m so sorry Mafuyu

Oh god now I’m getting emotional about fictional boys who play guitar in front of my friends. Sorry guys.

Anyways. Main statement of the song time. “Everything you left behind, became my everything.” D a m n. Not only could he be talking about the guitar the he owns that is from Yuki he could also just be talking about the memories. ‘All the memories you left me, became the only thing that brought me comfort’ and that’s just... so sad man. He LOVED this boy. So much :/ It’s equally as sad with the guitar too. Because of how desperately he wanted to learn to play. For yuki’s sake because YUKI loved music. ‘This guitar you (kinda your mom but wtv lol) gave me, became my life” because it DOES become his life. When he finally accepts new love is after singing fuyu no hanashi. He finally lets go of all the pent up grievance and emotions while singing that song.

Now that point flows perfectly into our next one. It’s a possibility This will be the last one so just bear with me, please! So, one of Mafuyu’s main things is that he never knows how to respond or react the “proper” way. First of all!!!! NEURODIVERGENT KING. Second of all!!!! He talks about how he just doesn’t feel emotions as strongly or just the right way as other people. And how he can’t bring himself to cry and can’t cry despite losing his true love. After the kiss, mafuyu cries. A started clapping for him like yay!!! An icon ❤️ not only did he find a new love and move through some trauma but he also experienced a lot of emotions that he struggles to experience! That’s so good for him 💕💕But yeah he’d been talking about in the show how he just couldn’t “cry or laugh as hard as the other people could” which I can understand very well. It can feel dehumanizing at times so I’m really happy for him. One of the main reasons I kin him!

This brings me into a sort of continuation point about how no thought brain empty emotionless kin time. Sorry o just had to write that out Bc my nose started bleeding and I had to go take care of that and also not forget my clause (again). Mafuyu talks to Uenoyama about how everyone thinks that he doesn’t have emotions or doesn’t have thoughts because of how quiet he is and how emotionless he seems. And how he’s come to kind of believe it himself (a sort of ‘am I really thinking ever’ type beat). Ue kinda-over-aggressively is liek “hell no!!!! No way brain not have thought >:(“ like a old you know? And yes KIN TIME. not to make it about me or anything but I’m also constantly told/it’s joked about how I don’t have emotions. I just kinda roll with it tho.

I wanna say one more thing to end off on a note that isn’t about me but I can’t think of one so let me think. So much for that other one being the last shsndujsjjsidj

:OOOOO ok so I’m rewatching given and I just noticed another thing

So in the beginning, the VERY FIRST thing mafuyu talks about is how he keep shaving the same dream over and over again (this is to himself when he’s walking to school). Then, we see a clip of this dream. He is standing in front of someone (but it’s kinda shadowed so I didn’t see the other person the first time) and his eyes go wide and he grips his guitar so hard one of the strings snap.

Not only do I realize that 1) that dream actually happened: hs8 is a scene from when he fo7nd yuki’s body hanging (mafuyu was the one who found him dead). You can tell from the bottles on the ground (yuki got super drunk and then hung himself). this is why mafuyu’s guitar string is broken for Uenoyama to later fix.

I also realize 2) that this dream actually happened. I realized this when watching the show the first time tho lol. Right before the big concert, mafuyu accidentally breaks his guitar string again. And then Ue has to go run to the music store and buy a new one. That’s why there’s a look of desperation on his face when it happens because, Uenoyama brought his hope back by fixing the string the first time but now he messed it up again. Thank the lord for Haruki and reminding them it can be fixed!

Last thing 3) I talked about the hug scene in the last rant right? Well, when mafuyu broke the strings the first time (upon discovering yuki’s body), he mirrored the motions that he made in the hug scene in the opening. I think I described it as him shifting his body and guitar and like compressing himself? Yeah.

I realized one last minuscule thing while writing this but I doubt you care.

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dogsliampaynedoesntinstagram · 4 years

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I'm very excited to read your thoughts on Louis' music video performances!

Thanks anon - it’s been a bit of a roller coaster ride of emotions watching all of Louis’ videos. He was so full of joy, energy and connection in early 1D videos. Then in 2012, when avoiding being read as gay became the imperative, you see him withdrawing and also trying with new performance techniques that just don’t work (the pointing!). He has this way of Performing with a capital ‘P’ that is unreal and distracting. He can’t be hammy without completely disconecting. What’s interesting to me is that he begins to find his way back and gets stronger as a solo music video performer. But there are still aspects of his earliest music video performances that he’s never recaptured. At this point he’s very good at bittersweet or understated joy in his solo music video performances, but the pure joy of the early 1D music videos - he hasn’t really found a way to do.

Two of Us: This is a spectacular performance - there’s no hiding - the entire video rests on it. Louis is incredibly open and vulnerable. But he also brings real light and shade to the video. There’s moments of joy, when he remembers his Mum (1.08) as well as pain.

One Thing: There’s nothing complicated about this performance - it’s just joy, energy, interaction with others, and easy naturalistic movement. But I love it. I particularly love the way Louis adjusts the mic for Niall and then kind of looks over him (and the way Zayn rests his chin on his shoulder) - you get so much a sense of who they are as people and their relationships with this performance. I’m on record for how much I love this music video. And I think part of my reaction is that Louis is so free and easy in it.

Don’t Let it Break Your Heart: What’s really great about this performance is that Louis brings both joy and vulnerability (and my tastes in music video performances are predictable - if I’ve got both of them I’m happy). He’s best when he’s doing something, playing football or in the pub (and he’s good at the most acting-y bits of a heist as well). But right the way through he brings out the emotion of the song. It is this song of having surviving a lot and still being there and really caring about someone - and he captures all of that.

What Makes You Beautiful: They were all such tiny babies on a beach. Louis doesn’t have the shine through the camera thing that Zayn and Harry had from the beginning. You can tell he’s a little bit less used to the camera and it makes a difference. But this has the same free ease, joy, and interaction with each other of One Thing. And Louis in particular, is very focused on the other members of the band, which makes his perofrmance more grounded.

You and I: Two years after One Thing, we have another great music video performance from Louis. He has no problem being vulnerable to camera, and connects in totally naturalistic way. In 2012 and 2013, the differece between Louis in music videos ballads, and other music videos is really noticeable. And I think that shows how difficult it was for him to find a new register to operate in. (Also this is the last time that 1D interacted as a group in a music video. After this they would always be shot singing in a line or a circle, but barely acknowledging that others existed. That didn’t improve Louis’ music video performances. Or anyone else’s).

Miss You: I think Louis’ performance is the strongest part of this video. At the very beginning there’s so much emotion in the regret in the half light. He manages to capture both real joy, and slightly hollow enjoyment in the party scenes (here some of the capital P ‘performance’ aspects that I will criticise further down are used well - as he’s not supposed to be fully enjoying it).

Story of My Life: Louis isn’t in this video much (at times it almost seems that they’re editing around him - particularly at 1.25), but his performance is still really strong. Most of the performances in the concrete bunker have a ‘I’m feeling something important’. But when Louis’ solo he gives it an undercurrent of joy, which works really well with the song. He really gives an emotional range in his performance, both with his grandparents and in the bunker. Watching was a real reminder that Louis’ always had strengths as a music video performer.

Walls: Right at the end Louis sings the line ‘Nothing wakes you up like waking up alone’ in three different scenes - in the fire scene he’s completely vulnerable, but when performing he captures the bittersweetness. There’s a lot in this performance (and of course I’ve bumped it up a few spaces just for the joy in the mask scene), and I think it shows so much of Louis’ strengths as a music video performer - particularly vulnerability and bringing joy to a song. I’m not that into the blankness in the formal wear scenes (although it’s probably intentional I don’t think it adds), but bringing a performance at the end also ups the energy in a way that really works.

Little Things: My bias towards joy in music videos is well documented. Almost every shot that you see Louis in htis video - there’s some element of joy. A lot of that comes from the interaction - he’s laughing with someone else in the video. When he’s singing - he’s OK - again the moments of joy really bring it up (love is joyful) - but it’s not as good as he would be in the future. He was still learning to connect to camera on the slower songs.

Perfect: Louis is pretty joyful for most of Perfect, joyful and naturalistic, which sends it soaring up my rankings. I think it helps that he’s interacting with Liam, but even when he’s alone there’s an easy playfulness. And then they come to perform of the roof and he just loses all of that and he’s back with a ‘Performance’. Twenty seconds from the end and you get a particularly bad example of it and it’s particularly interesting compared to the rest of the video, because it gives you a sense of what specific situations he can’t or doesn’t let himself relax/connect/be vulnerable. Because he’s good in this video, both interacting with people and not interacting with people, in these reasonably naturalistic settings. And it’s only in the admittedly quite bizzarre scenario of five people singing at a roof (without even the structure of an imaginary performance) that he enters into this false hammy register.

Back to You: This isn’t a great performance, but I think it shows how far charm and comfort can get you. It’s so interesting to me that after all these 1D music videos which didn’t bring out his strengths he was like ‘I’ll go to Doncaster and eat in a cafe with my family’. And the video still has a lot of the performance techniques that really brought down Louis’ performances in later 1D videos (the pointing! Acting out lyrics! jumping into a capital P performance mode). But he’s relaxed enough in the video that his charm comes through.

Kill My Mind: It’s hard to assess this performance, because Charlie Lightening is determined to do everything he can to ensure the audience doesn’t sit with Louis’ performance for two seconds together. I think Louis generally does well in music videos when he’s supposed to be making music, with a band and a microphone. And in general this works. There’s also some sweet moments where he connects with the audience. But the shooting style is so uninterested in connection - it does get in hte way.

Steal My Girl: Is Louis trying to look dangerous when Danny De Vito gives him a label? Or is he trying to look confused that anyone called him Dangerous. Because it definitely looks like the second. Given that most of what Louis does in this video is bond with a chimpanzee it’s hard not to be charmed, but I’m not sure that’s a result of the perofrmance.

We Made It: He’s OK in this, not a lot is asked of him. He connects reasonably well in a performance that is meant to be in the background and there are moments of vulnerability. But he could have elevated this performance so much with more range. In general, Louis has often been pretty good at bringing joy to a video - and this is a performance and a song that is crying out for more joy.

Gotta Be You: Why were they so sad in this video? That’s one of the things that makes it fudamentally unappealing (besides the song - and the way Liam scrunches up his trousers). They’re just so sad and serious all the time and why would anyone want to be with them? Louis isn’t bad at it exactly, but he’s not shining through the screen the way Harry and Zayn do occasionally. He’s obviously still learning how to connect with the camera, but he’s mercifully unawkward.

Night Changes: Louis isn’t bad in Night Changes. He’s not super awkward and you’re not worried that he’s a homocidal maniac (the standards are low when it comes to this video). He even connects once or twice (2.10 - you’ve seen it gifed and maybe looking in the mirror). There’s only one moment where he goes full 'I am Performing’ (3.20 - although I get a bit distracted assessing his peroformance once the police arrives. Both because I hate the police, and because it seems pretty telling that the only black person in a sigificant role in a 1D music video is a cop). But ultimately there’s nothing that appealing about his segments - not being awkward isn’t enough. And as usual, Louis’ version of heterosexuality is pretty unappealing. He seems far more iterested in being seen to be a good boyfriend, and his car, than acutally connecting with y/n (although to be fair, he’s more interested than usual in being seen to be a good boyfriend).

Drag Me Down: Oh dear god the pointing! The noticeable difference between this and Perfect, is how much less Louis has anything to do, or anyone to interact with. There’s this very brief moment with Niall, where you see some interaction and it’s so much better. He could always do relaxed interaction - and there are some good bits while he’s driving. But mostly in Drag Me Down Louis is stuck in the limbo of nothing in particular to do, with no solution but to point.

Best Song Ever: Is the beginning of this video the most convincingly heterosexual Louis has ever been? (Both him playing a sleazy executive and then him as him checking Zayn out). It may be, but less unconvincingly heterosexual is not part of my criteria for a good music video performance. His performance in this video is full of all the strategies he developed in 2012 to hold tension (more of that below). I think in the ‘you know/I know’ bit we start to see him learning what else he’s good at. But he’s not quite there yet - he’s not quite connecting - for all his arms are outspread.

Live While You’re Young: It was watching this music video, that I realised that reviewing Louis’ music video performances was much more emotionally charged, even than reviewing Zayn’s. Because you can see when Louis stops moving in a free and easy way, you can see the techniques starts to use to ensure he’s holding tension throughout his body, you can see when ‘don’t be read as gay’ became the first imperative for Louis’ in music videos - over engagement or connection. And it starts here.

Mostly it’s just less - less engaged, less joyful (still quite interactive, but less effective). But then there’s the moments where instead he goes for ‘Performing’ - but with tension all through his body. Right from the video diaries, Louis would go for a hammy, silly performance register (I think often to cover his nerves), and it was fine in a short clip. But Louis’ can’t be hammy and connect - so this doesn’t work in a music video. Rather than being charming, he just looks like he’s trying too hard. You see it particularly towards the end when they’re in the pool. He’s silly in a way that takes you out of the moment and reminds you he’s performing.

Kiss You: And in this video, we get introduced to Louis’ second strategy to hold tension, and that’s a very fake kind of toughness (depending on how you look at it, you could either say it’s short lived, or that he learns to be tough with a little bit of openness). There are still some really lovely moments of joy and interaction in Louis’ performance here. But throughout this video you can see Louis practicing toughness in different and wildly ineffective ways. And none of it works. All of it takes away from the joy and interaction that makes the video work more broadly.

History: So I know this was filmed in 35 minutes, by a group of very burnt out people and having any expectations is absurd. But it’s so bad. And it’s such a good example of the fundamental weakness of later 1D music videos. Who thought having them standing around in a circle singing, not interacting with each other, and also not pretending to perform in a more structured way - was a good idea? (We know who - and the only reason that I’m not saying it was his worst idea is, because his worst idea has a death toll that is still climbing). None of them are good in that environment - it’s the opposite of what makes their early music videos work (and why the very low camera? What is that supposed to add?). Anyway Louis is predictably terrible, and at 0.56 seconds his capital P performing leads to him actig out out the song in a way that makes me wonder if he thinks he’s in the wiggles.

Midnight Memories: His outfit is good. And there’s one moment in 3.05, where you get a glimpse of him reacting to being on Tower Bridge (oh and he’s OK at someone not having fun at the party in the beginning). Apart from that, this video is a combination of the worst of Louis’ music video performace techniques. He swings from fake toughness, to hammy children’s performer and back regularly and neither of them have anything to be said for them.

#Anonymous #Oh Louis #much love #I'll imagine it'll be a while before we get another music video from you #but I am really interested in where you go next #(away from Charlie Lightening!#His shootign styled doesn't bring out your strengths)#would love to hear other people's thoughts

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