i think people have said this already but like what if jack's desperation to hold onto the fantasy of being a cowboy and going to Santa Fe is directly influenced by his sexuality crisis. he doesn't feel safe being queer on the streets of nyc and is afraid of what the newsies would think of him if they found out so he clings to the idea of somewhere he could go and for once not be afraid of his own heart
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I won't meta this because I don't want to speak over anyone but I do think it would be interesting to see an asexual scum villain analysis deconstructing how sqq convinces himself that sex is what binghe needs to be happy / what will fix everything because that's the narrative all the media he's consumed (that he's literally transported into) has told him
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2024 reads / storygraph
Those Beyond The Wall
sequel/companion to The Space Between Worlds, set a decade later
character-focused sci-fi set in an area divided in two, the rich protected city on one side and everyone else in the post-apocalyptic desert
follows a woman who works under the Emperor in Ashtown, keeping the peace
when mangled bodies start showing up with seemingly no murderer, she’s tasked with finding the cause, and finds out that it’s the result of corruption spanning both cities and multiple worlds
explores oppression and messy revolution, police violence and apartheid
bi & polyamorous MC
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miguel feelings bc of the deleted scene:
people mischaracterize miguel largely because we see him from miles' pov. we see him as the guy who will stop at nothing to prevent miles from saving his dad - and that's insane, to tell a 15 year old to let his dad die, then to chase him around forcing him to let it happen
miguel was absolutely not right on that part at all and the things I talk about doesn't absolve him of that. I just wanna get that out now
we're essentially plopped into the apex of Miguel's grief in the movie. he just recently lost his daughter and is dealing w the consequences of what he believes is entirely his fault (I don't think he's right about the canon but that's another post). he's holding onto control and miles refusing to let his dad die is control slipping from Miguel
we see him snap. we see him at his worst. but I think what a lot of people don't get is that...it isn't inherently...him. he isn't evil. he isn't incapable of love. in fact he loves hard...but he doesn't know how to show it and it twists into something that hurts
the difference between a villain and antagonist etc etc
what does this have to do w the deleted scene? well I think it was detrimental that they didn't use it. we see miguel interacting in a more lax way with the rest of spider society. he banters, he jokes, he's sarcastic and snarky. I can see now what the writers meant when they said they based him off the '92 comics run. we see more if his personality. he's not just this angry and aggressive man. I wish they showed more of that.
we only really see him in the movie during high stress and serious situations.
idk why they didn't go with that cut. maybe it didn't flow with how they wanted the story. maybe it was for time. I don't know. but it's a shame because I think that small 5 minute scene really shows more of him - more of him outside the fannish interpretation of this animalistic, aggressive man (which is not who he actually is)
(btw I'm not forcing anyone or making anyone feel bad for viewing him however, I just think he isn't inherently animalistic nor is he evil. you're free to still dislike the dude if you do. and I know some people like him for fun, that is fine too. I'm just overly invested in him now)
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ok but the thing that makes Revolutionary Girl Utena so special and unique to me is that a lot of "coming-of-age stories" are about like... growing into a leadership role, or learning to put aside one's personal issues for the good of the team or society. Basically, acting like what people think of as a "mature adult". But Utena is an orphan, she's looked up to by her peers, and her life goal is already to be a leader who puts others ahead of herself. Her whole problem is that she's been forced to mature too early, the horrifying truth of which is exemplified when she ends up in a sexual relationship with a manipulative adult. Therefore, RGU's coming-of-age message emphasizes that in order to ever become adults, children have to acknowledge the ways in which they still are children.
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so i'm just thinking abt the reputation pete must have post-canon among main family bodyguards.
like as we know from pete himself, word travels fast amongst main family bodyguards and there must be a few who survived the ep 14, confrontation. obviously people would've known pete at least in passing, he's tankhun's head bodyguard that must mean something. and suddenly he's missing for a few days, rumour has it he went to the minor family's house (with the fit tankhun threw (rightfully so) surely people would've heard abt it right? right) and everyone knows what happens to bodyguards who are sent to the minor family's house. except pete returns and word spreads fast about that too. pete returned, covered in blood and injured but alive. then the family showdown happens, a lot of people die but surely a few main family bodyguards would survive. and they would hear abt it. pete left. he resigned. and they let him. which i'm sure not many bodyguards can say for themselves. rumour has it he went after vegas. and then shot a bodyguard of the main family dead for him. and that he's with vegas now.
vegas who has A Reputation, everyone knows that. so pete not only made it out of the minor family's house alive, he also managed to resign and then went to be with vegas.
and maybe they'd even see him sometime, pete coming to visit porsche or tankhun and he looks fine like he's doing well.
and like. they must be terrified of him. and like even when they get new bodyguards word would spread just as quickly. u don't fuck with pete bc pete has seen the worst of the worst of this world and not only come out alive the other end, he also willingly walked back right into it.
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You ever think about Sun Wukong and cry? Because—
And it’s just driving you insane but you can’t scream because it’s 12:11 in the morning but you want to scream so bad because you remember the only time Sun Wukong wasn’t ridiculed or criticized for his mistakes it was when he hit his lowest point and believed he failed himself and MK
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A book asks the reader to imagine any sensory input of the story, whereas a film or TV show provides both sound and visuals. Audio fiction lives in the space between these two approaches. I think there's a unique power to that middle ground. I love how audio drama asks the listener to co-construct their sensory experience of the story.
Audio drama allows me to simultaneously experience 'This character feels real to me because I've heard their voice' and 'This character feels real to me because I've pictured them myself'.
What the characters are experiencing is both directly presented to me and left to my imagination. There's no page or screen between me and the story. It's there in my ears. It's there in my mind's eye.
There's a strange sense of intimacy to that, the intimacy of feeling like a fly on the wall during a conversation or of hearing a character speaking as if directly to me. Perhaps it sounds contradictory to say that experiencing a story only through sound allows me to feel uniquely connected to that story, but that's one of the reasons why I love audio fiction so much.
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