#song analysis series

[kingthunder]

Analysis of Jaskier's songs from s1—

—and how they reflect the narrative events and Jaskier's character arc through the show. I'm trying to keep this as canon as possible and not look at it through shipping goggles, but there is textual stuff about Jaskier's relationship with and love for Geralt that's impossible to ignore.

Toss a Coin to Your Witcher: Jaskier’s first big break, the famous and famously annoying Toss a Coin. He wrote this when he was around eighteen and it definitely feels immature. He’s cracking bad jokes like “elf on a shelf” (god I hate that one, it grates me every time) and substituting “bleat” for “beat.” He’s taking enormous creative liberties with facts. And he’s being a little thoughtless; in his enthusiasm to hero-wash Geralt, he’s throwing elves under the bus, calling them devils and pests while he’s talking about Geralt as a friend to “humanity.” (more about this when we get into some of his later songs and his time as the Sandpiper)

This is an upbeat, catchy (and kind of shallow) song that I mentally classify as one of his “narrative” songs. It tells a story. It feels optimistic, much like Jaskier himself at this point in his life. After all, this is the kid who saw a big scary witcher brooding in a corner and decided that nothing could go wrong by following him around. He’s got a head full of heroics and heartbreak and nothing is going to dissuade him, not even being nearly killed. This song is a perfect time capsule of the beginning of Jaskier’s career and also the beginning of his long-running relationship with Geralt.

The Fishmonger’s Daughter: Jaskier plays this at Calanthe’s court when she orders him to play “a jig.” It seems like a pretty typical bawdy tavern song, the kind where you try to drum up audience participation. Most of the court seems to know it and sing along with it. No idea if Jaskier wrote this himself. He probably didn’t. It seems like one of those songs that everyone just knows.

Her Sweet Kiss: This song makes me feel deranged. This is definitely a Jaskier original. We see him writing and noodling with it at the beginning of The Mountain (tm) and asking other people if his lyrics are scanning well. He’s been traveling with Geralt on and off for about twenty years now, so he’s forty years old or close to it. He’s seen some shit, and part of the shit he’s seen has been Geralt and Yennefer’s relationship. He is not a fan. He is so deeply not a fan that he’s writing a whole song about it. But also? He’s putting himself in the song too, and he’s putting his heart on his sleeve, the same way that he tries to do when he talks to Geralt about going to the coast. The lyrics of this song are about three people—a man (Geralt), a woman (Yennefer), and the singer (Jaskier). It’s about how the woman is bad for the man, and how much the singer loves the man.

Whether you see Jaskier’s feelings for Geralt as romantic or not, these are the facts:

He doesn’t like Yennefer or think that she’s good for Geralt, and says so, repeatedly, both in casual conversation and in his music. In the song, he writes, “She’s always bad news, it’s always lose-lose” and that, “She’ll destroy with her sweet kiss.” 

In the song, Jaskier calls Geralt “my love” and says, “I’m weak, my love, and I am wanting.”

He asks Geralt to go to the coast with him, so they can “work out what pleases” them. He wants them to stay together and not go their separate ways like they often do.

Immediately after this plea, Geralt goes straight to Yennefer and (just in case anyone was doubting that Her Sweet Kiss was about the three of them) Geralt and Yennefer fuck while an instrumental version of Her Sweet Kiss plays over the sex. I still can’t believe the showrunners did that. That was A Damn Choice. (deranged, I am deranged about everything about this)

The kicker is that the song wasn’t even finished when Geralt flipped his lid and shouted Jaskier off The Mountain (tm) and out of his life. Which means that Jaskier, alone and heartbroken (his own words from s2), finished this song and published it afterwards, even knowing that the entire situation had gone tits up and that he might not even see Geralt or Yennefer again. Maybe it gave him some catharsis to sing it, who knows.

This isn’t a shallow catchy tune like Toss a Coin or even Fishmonger’s Daughter. It’s deeply personal and a tonal shift from his previous music.

(and it makes me deranged)

Stay tuned for my season 2 thoughts!

[fogwitchoftheevermore]

ok so. forgive me for a second but i've been abnormal about skizz and ren since the hiatus between third life and last life and holy shit this season is already not helping.

let's talk about skizz, ren, undying loyalty, and golden apples, shall we?

so the thing that you need to understand about skizz is that he is loyal to a fault. impulse literally says this exact thing about him in limited life, and skizz himself says himself: "you know me and my factions, i never turn." the second thing is that the first person their loyalty manifests for in third life is ren. he and ren run into each other on the second night when ren is getting accosted by mobs outside skizz's door and skizz gives him a place to stay the night. ren decides to trade skizz for his leather, for the upcoming enchanting buisness, and gives skizz a golden apple in exchange. skizz thinks this is wildly more than he deserves but is very thankful. skizz doesn't say it here, but this is the moment he swears his loyalty to ren.

throughout third life, he is willing to do or get basically anything for ren. the two of them literally die together to the tnt trap. when ren dies on the alter and everyone thinks martyn betrayed him, skizz is the first person to get there in the morning. he's in half broken gold armor and borrowed tools from bigb and he still tells ren "get behind me", still tries to protect him from martyn. when skizz is on red, he goes a bit crazy, but he channels that bloodlust into protecting ren. he kills jimmy in the red desert, he kills cleo when she tries to attack ren, he chases down impulse when he betrays dogwarts and dies trying to kill him.

when skizz dies in third life, he's got an unused golden apple in his hotbar. after he dies, he remembers the first time he met ren, etho, and martyn, and he spends quite a bit of time on his memory of ren and ren appears in his first memory of etho. after he dies, ren wields a blade named in his honor.

skizz spends third life loyal to ren- he dies for him and he dies with him.

in last life, ren and skizz end up on completely different sides, and it very quickly gets bad because when ren becomes boogey, he kills skizz. he lures him into a trap. he tells skizz he loves him. skizz literally says "i am broken hearted" when ren kills him. ren holds no regard for the relationship they used to have and yet skizz cannot help but compliment ren's skill with the trap, outright says he can't be mad at ren.

and then it only gets worse because skizz tries to storm ren's tower with impulse after they've gone red. and that! doesn't go well! and while skizz is retreating, while he is eating the golden apple in his hot bar, ren shoots him dead.

and that is the last time they've spoken. two years ago.

because skizz isn't in doublt life. and ren isn't in limited life.

and when skizz's time comes in limited life, he ensures he doesn't have a golden apple in his inventory this time. this time, he hands the apples off to his teammates, where he knows they will go to good use. and then he hands etho a diamond fucking axe (red winter is coming) and asks him to execute him for the sake of their alliance. ok! sure! fill ren's role more explicitly, why don't you!

and that first session of secret life genuinely only made it worse. when skizz is talking to tango and cleo about their alliance, skizz says he wants to give leadership over to someone else: "i want to be more of a soldier than a leader this time." cleo says she'll fill the roll of leader- she doesn't take orders well - and then seals their alliance by giving tango and skizz a golden apple each. because of course she does.

and well, we all know that didn't really work out, so that's one person off the list that skizz can fill the dogwarts shaped hole in him with, so then he goes to bdubs. he says he'll lay his sword at bdubs' feet. he says he'll win bdubs with his loyalty. he calls bdubs "my leige", jesus christ dude, you couldn't be less subtle unless you straight up called him ren's name.

skizz has been (whether accidentally or on purpose is up to you) trying to recreate the experience he had with dogwarts, and particularly what he had with ren, since the moment dogwarts fell. he can't have it with ren because he missed his only chance in last life, so he'll fill the void with whoever he can. his fellow soldier. ren's successor. ren's new kingmaker. anyone. and it's never gonna work. i need ren to come back for like, 900 reasons, but i especially need him to come back so skizz can have a shot at making it to spring.

[uxini]

Thinking about the blue sword boys and the fact that even though they were one of the first alliances in the entire series the three of them never teamed up together with only two of them ever teaming up and the third being an enemy.

In 3rd life Grian was serving Scar and was opposing Martyn and BigB of the red army

In last life Grian and Martyn were teamed up as the southlanders with BigB in the fairies of the castle alliance (hilariously Martyn then betrayed the southlanders to join BigB and become the shadow alliance)

In double life Grian and BigB were secret soulmates with Martyn joining Ren (the guy BigB was cheating on) and Pearl to become the broken hearts club. Grian and BigB were part of the red team and Martyn the yellow team.

In limited life after Grian lost his bad boys he joined BigB's alliance of the nosy neighbours who were enemies of the Mean Gills, Martyn's alliance (not 100% sure I haven't finished watching the finale)

Somehow it was only until secret life that the three of their paths (at least in terms of actually being allies/enemies) never crossed which hilariously means that this alliance has a more convincing "bound by faith" narrative than desert duo, renchanting or box boys (not to throw any hate to them I LOVE those duos don't worry)

Something also needs to be said about how back in 3rd life BigB was the ONLY one to still use a diamond sword with Grian switching to a netherite sword (he no longer uses diamond, he's no longer by their side but he's still the same Grian from day one, a Grian who still loves BigB) and Martyn a diamond axe (he's still blue, he's still by BigB's side but their dynamic has changed into something unrecognisable, no longer two blue boys but rather a hand and a soldier in a brutal war).

I just think there's a lot of untapped potential with this trio that the fandom is sleeping on.

[mcytanti]

Venus planet of love - Cleo victory portrait

[creator-savannah]

⚠️🚨WARNING UTY SPOILERS AHEAD🚨⚠️

Clover is such an interesting character and silent protagonist. They are selfless, compassionate, kind, brave, and most importantly they are just. All of this is shown through the actions they take throughout all the routes and the little bits of dialogue we get. That being said, I want to put them under a microscope and analyze their whole being, dissecting them one by one till I understand how we can get so much personality from this little guy.

For today's analysis, I'm going to be using Canary in a Coal Mine by The Crane Wives (one of my favorite songs) to help put my thoughts in a coherent way and because I personally think that it suits Clover well. The song is rather short since it mostly comprises of instrumental sections with little bits of lyrics in between them which honestly does remind me of Clover and their very few sections of dialogue.

Right off the bat, the second verse of the song hits us with,

"But I still hold out hope that maybe someday,

I'll be worth more than all the silence left in my way".

Before I get into how that relates to Clover, I'm going to first explain how I interpret Clover's past. During the game, little hints of Clover's past are given when interacting with certain objects, such as the couch and TV in the Feisty Five's house and the sink at the Ketsukane mansion. When interacting with the TV and couch, we can infer that Clover's living conditions were not the greatest with them being reminded of cramped living spaces and having their favorite channel be static. On the other hand, when interacting with the sink, they are reminded of the duties they used to have back on the surface and the people they used to live with. All of these small hints lead me to believe that Clover came from a dysfunctional family who did not have the proper capabilities to support a child, this could have resulted in Clover being neglected and having to grow up to be independent.

This conclusion is supported by the fact that Clover when given the opportunity to, chooses to stay in the Underground with the exception of Pacifist. The two monsters who ask them to stay are Toriel, as shown by Flowey during the Neutral route and the secret ending that you can get if you stay for more then 5 minutes in the room you fell down in after pulling the lever, and Martlet in the Neutral route and Pacifist route. These are both characters who show and give Clover positive attention. I find it hard to believe that a child who climbed Mt. Ebott to find the five missing children and has the soul of justice would give up their mission that easily if they weren't starved from affection and attention.

This verse easily relates to Clover going to the Underground not only to seek justice for the fallen humans but also to be recognized and be given the attention they crave, whether it's by returning the missing children or by the monsters that lay below.

"Feed me promises, keep my heart well,

I'll sing you songs until the darkness does recede"

Can easily be connected to Clover just by playing the game. "Feed me promises, keep my heart well," can be seen through the way most of the main UTY cast promises or tells Clover that they'll help them to get back on the surface such as Martlet, but I relate this particular lyric to Ceroba, especially during the Steamworks.

Ceroba throughout the Steamworks tells Clover of Kanako, Chujin, and her supposed plan of rescuing Kanako from the lab which is the reason Clover even goes through Steamworks during Pacifist (and Neutral if you kill Axis) aside from the fact that it's the only way to get to New Home. She tells all of this to Clover when in truth her actual plan was to steal their soul to hopefully heal Kanako after she fell down and got sent to the lab. Clover has no clue of this and during the trip, Ceroba keeps them safe and even helps them on several occasions such as fending off Axis.

"I'll sing you songs until the darkness does recede" connects to Clover constantly assisting Ceroba in puzzles, exploration, and in battle (Guardener's fight). Additionally, this also applies to the other events before this where Clover helps other monsters in their problems in the mines and around the Honeydew Resort (if you did the side quest of getting the silver bandana).

"But if in the end I lose my voice

Will you forget about your love for me?"

This hurts me to think about since it's so angsty but let's get on with it. This very obviously can be applied to Clover thinking that without their supposed 'usefulness' they would be discarded and returned to being ignored. This especially when they find out about Ceroba's true plan and Chujin's tape, all regarding their soul and how it could save Kanako and help monsterkind regain their freedom. During this, Clover is hurt but at this point they've made up their mind. At this point of the game, I believe Clover already knows what the end of their journey holds and what they're going to do.

After Ceroba's fight and in the True Pacifist ending as the cast is arguing on how they can keep Clover, Clover decides to sacrifice their soul, their very being, their use. To bring justice to monsterkind and help in bringing them closer to the surface, they give up their soul. This was their purpose and if they didn't do this, they would've been useless. After all, this was the reason why Ceroba befriended them and why Martlet tried to capture them. Seven human souls are needed and they are the sixth. They most likely think that if they weren't human, Starlo wouldn't be interested in them.

"And when you break the surface, oh, without me

Please don't return me to the dark of all the memories, yeah"

This one is self explanatory and the lyric that hurts me the most when I think about Clover with this song. Clover's sacrifice is essential to freeing the monsters and that means they would not be able to join the rest of the cast. Despite this, they still choose to give up their soul, giving them the chance to see the rising sun that has been stolen away from them all those centuries ago. I don't think any of the UTY cast would forget about their selfless sacrifice post UT True Pacifist when the barrier is broken.

"Know that all my love will be your breath

I will save you when your lights go out"

Again, this could apply to the UTY cast but I raise another scenario. It could be aimed towards Frisk calling for help and Clover answering the call, saving Frisk from Flowey when they had no one to turn to. This is canon in both UT and UTY seen in the post end credits scene of the True Pacifist route.

Thank you for reading me yap about Clover and one of my favorite songs for like 1.2k words and I hope you understand where I'm coming from when I say this song is so Clover-coded. Also @loud-whistling-yes I hope you enjoy this analysis and I once again repeat, YOU ARE SO RIGHT AND YOU GET ME!!

[thefiresofpompeii]

sea devils thoughts. the plot of the episode was middling, the cgi was terrible and everything to do with the sea devils themselves overall kinda flopped. almost everything… apart from the inevitable thasmin resolution.

some people call it queerbait, but i firmly disagree. it’s completely convincing and fully in line with thirteen’s past characterisation: after having lost so many people during her previous incarnations because (as she believes) she let herself get too attached to them, allowing codependency to flourish (even in a platonic sense with the likes of bill or donna) she has set a perfectly lucid, yet tragic mental boundary with herself in her heart of hearts: never again. no more opening up unless there’s no other option, no more letting people close, no more romance that sooner or later turns sour and ends in forced separation, grief and pain. if it was going to be anyone it would have been yaz, but the doctor doesn’t “go on dates” anymore (funny how casual she tries to sound even regarding the language she uses — “dating” sounds impermanent and nonchalant, doesn’t require the commitment and self-sacrificial devotion that every romantic relationship the doctor has ever shared with a companion entails).

it’s no accident that out of all people she mentions River Song: one of the greatest loves of her impossibly long life, one that sacrificed herself in a library all those years ago to keep the flame burning. and the doctor can’t allow this scenario to repeat itself over and over, even if that means barring herself from emotional closeness in the process

she’d rather spare herself the hurt by denying yaz the intimacy they both so desperately crave. it’s a paradoxical act of what is simultaneously extreme selfishness and extreme selflessness, and so, so quintessentially Doctor.

[athousandbyeol]

discussion #13 (only friends): 'fire' as a prominent and reflective symbol of topmew's relationship

this is so random, but i just realised that topmew's relationship has a lot to do with fire.

top's trauma, mew burning the drawing (we can really see how top flinches when the paper is caught on fire), another fire alarm set off (?) in the final ep, and their relationship (also their personality) in general.

it's like their relationship (or mainly top's story arc) centres around the fire. the fire—in this context—varies. passion. fear. pain. love. sacrifice. i love how there's a connection between top's trauma and the nature/dynamic of their relationship. because even though top is afraid of fire—a traumatising turning point in his life—liking mew is like playing with fire, too. but he shows resilience, perseverance, and effort to make it work. although i do believe he's afraid of this new journey—he even said he couldn't bear the idea of not holding mew again one day—the feelings he has for mew surpass everything.

additionally, liking mew also gives top purpose. i think this is a recurring theme in some dramas i'm watching right now. kanghan from dangerous romance, for example, is becoming a better person after he meets sailom. because sailom has expectations on him—sailom believes in him. and it's similar to top. we know top dates for a maximum of three months (but one thing i realise is topmew have dated for four months because the drama starts in august, and since in the previous episode, mew helped his mothers hang the christmas ornaments, it's literally four months! mew is indeed special, and top is definitely serious in this relationship).

ok. i regress.

what i'm trying to say is, after meeting mew, knowing mew, falling in love with mew and losing mew, top finally found his purpose—he wants to make mew happy. it's the only thing he wants to do. and in episode 11, top said he wanted mew to believe he wouldn't take this second chance for granted. he would be better, for mew, for this relationship. why? because he loves mew. he loves mew. that's all there ever is.

(side note: this is the most heartbreaking thing about top, in my opinion. he just looks so peaceful and happy when he's with mew. it's really devastating. he can do anything to make mew happy—even if it causes him pain—and i somehow believe it's the humblest and most selfless definition of love: when we put someone's needs higher than ours. and top is doing just that and so much more for mew. so if i see anyone says top doesn't genuinely love mew, i'm going to fcuking cry tears of blood... t_t)

so ironically, top has been living 'with' the fire—mew—all this time. but he isn't running away. mew isn't something traumatising but life-changing. he's the 'fire' that top needs to realise and understand that love is real when it's with the right person. and mew is the right person for top. and vice versa; only top can put out the fire in mew.

mew is like the oil to top's fire. the more he pours himself on top, the brighter he burns. even though it's painful, it's still oddly beautiful. they're like the fire—destructive and dangerous. but they just can't walk away from each other's life. because the fire connecting them is none other than love.

[1 | 2 | 3 | 4 (i) | 4 (ii) | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13]

[crystaljellie]

An Analysis of My Scott Playlist

Big long post as promised <33 roughly 40 songs

I've Had Enough by Melina KB

This song in the context of double life is very interesting to me, but I also like to see it in Scott talking to Jimmy (Sorry flower husbands truthers I love soft and kind flower husbands too but we have all seen what happened in limited life they do have some slight issues)

"Cause you miss the way I let you walk all over me" | Again could work in both contexts, Scott never really went out of his way to stop Pearl from doing what she does with the powdered snow, sure he did retaliate but you can tell at some point he just gets used to it. And then in the context of Jimmy I'm thinking very especially about limited life flower husbands and Scott giving up time for Jimmy.

"I'm done with shutting up I've learned a lot better" | Maybe in this of Scott thinking he's learnt to stand up for himself? And I say think because I'm talking about how he thought he was in the right in double life (None of them were) It's also funny because he has the confidence so strongly in double life where he makes his feelings known and then it's just like... 'Oh yeah you can kill me!!' And I know it's part of his whole making everything fair thing, but still

"Admit you did it we all know you did it" | We all know you're the one who left me when you went to the nether, tormented me, screwed me over repeatedly. Both Pearl and Scott do not understand each others perspectives of the situation and villanize the other for it.

----

Washing Machine Heart by Mitski

"I know who you pretend I am" | Limited life Scott and Martyn, Martyn pretending he's serving his king again, Scott being alright with it because he knows Martyn is by his side for more than just that reason, and he's right Martyn is.

It's a pretty short analysis here but it's mainly I guess about Scott wanting allies and wanting to be loved by them but they always have someone else more important to them than he is

----

The Moon Will Sign by the Crane Wives

"All those empty rooms" | Something about Scott being alone after Jimmy died in 3rd life, empty rooms with no noise to fill them

"We made our peace with weariness and let it be" | The weariness oof being forced into death games over and over, the blood brings chaos the familiarity of death brings peace

"I shine only with the light you gave me" | OKAY NOW HEAR ME OUT ON THIS ONE You might be saying "But Scott was the one who lived longer in that relationship and is literally seen as the stars" But have you ever considered Jimmy was the one everyone loved more, jimmy was the one to make strong alliances, Jimmy was the one there was fuss over when he died. Scott was only able to be strong because he had Jimmy by his side and without that 'light' he was simply a tool of vengence

"Instead you hoarded all thats left of me" | In the sense that Jimmy unknowingly kept Scott's ability to love another other than him, and all his courage and faith in the world. Not that Jimmy was doing it on purpose but it still happened anyways

"I want to feel the fire that you kept from me" | NOBODY TALK TO ME THIS IS 100% SCOTT TALKING ABOUT RANCHERS. I DON'T CARE IF YOU LIKE RANCHERS AND HATE FLOWER HUSBANDS OR WHATEVER BUT YOU CANNOT TELL ME THIS IS NOT SCOTT BEING BITTER THAT JIMMY GAVE MORE LOVE TO TANGO THAN HE EVER DID TO SCOTT. HE WANTED TO FEEL THAT FIRE OF A LOVE HE NEVER GOT TO KEEP

----

Two Slow Dancers by Mitski

Another double life-coded song

Very much Scott and Pearl

"And We've both done it all a hundred times before" | More so in reference to last life, they've played the death game before they know how it goes

"it would be a hundred times, easier if we were young again" | If they were young and still filled with faith, if Scott hadn't won last life and learnt the pain of winning and become bitter in the season following

"We get a few years and then it want's us back" | Not necessarily a few years but more so like the gaps between the games, a bit of freedom and then the watchers want them all at each others throats

----

Evelyn Evelyn by Evelyn Evelyn

Surprise surprise another Pearl and Scott one

"Why do we bother to stay? Why are you running away" | Scott and Pearl with their conflicting feelings at the start of double life, with Scott wondering why he should stay and Pearl not wanting him to leave her

"We grew up closer than most, closer than anything, closer than anything" | In either they grew up close in last life or their soulbound in double life, either way their fates are intertwined

"What if they find us? They're not looking anyways" and it's counter part line "I want to be famous, they're watching us anyways" | WATCHERS WATCHERS WATCHERS!! There's so much about this that just gives, hiding away from the watchers or giving into their whims

"At your side I feel like a ghost" | It can go either way in my mind, Pearl not feeling adequate enough to be seen and Scott feeling like she's killing him

"A parasite needs a host- I'm only trying to do what is best for us!" | because Pearl only wanted to help her soulmate, not that Scott didn't but he felt so betrayed and then it turned to a feeling of her leeching onto him

"You're always trying to be somebody else" | THIS!! Because Pearl wasn't acting like who she used to be and who Scott became friends with, she became 'somebody else' in an attempt to bring him back.

----

Little Soldiers by the Crane Wives

"Beneath the table you would offer up my bones And all the dogs would lick your fingers" | As in how Jimmy does things at Scott’s expense to get people to trust him or to get time and hearts and such

"And I dragged you through every room inside our home" | Scott struggling to get Jimmy to do anything with him anymore and feeling like the effort he puts in is not enough

----

November by Sparkbird

"Admit it, you were never going to get it I was always going to get it" | Can't explain why but this gives last life Scott killing Ren

"Maybe that's relevant somehow, can I explode now" | ....boom boom at the end of double life :3

----

Allies or Enemies by The Crane Wives

"And I swear I didn't mean what I said" ...I live by the belief that Scott didn't actually mean to tell Pearl he was 'breaking up' with her, guys trust me it was the watchers. But also apart from that it could be anything

"Are we allies or enemies this will be the death of me" | Scott in secret life, not understanding what his teammates actually think of him

"All is fair in love and war but I can't fight with you anymore" | FLOWER HUSBANDS LIMITED LIFE GUYS!!

----

Canary in a coal mine

CANARY IN A COAL MINE IS SCOTT’S SONG NOT JIMMY’S I WILL DIE ON THIS HILL

"Am I the only thing that keeps you safe when the light is gone?" | Scott being the only person to protect Jimmy in third life and protecting his memory even after he’s dead

"I’ll be worth more than all the silence left in my way" | The silence referring to how Jimmy doesn’t really interact or talk to Scott outside of third life, he is silent towards him, and Scott is hoping that he’ll be more than that to Jimmy if he tries hard enough

"I’ll sing you songs until the darkness does recede" | Scott calming Jimmy down when he needs it always being there to reassure him, keeping his hearts safe and him armoured in 3rd life

"Will you forget about your love for me?" | If Scott is no longer able to keep chasing after someone that won’t come back from him will that love that they once had in 3rd life be forgotten for good?

"And when you break the surface, oh, without me" | When Jimmy meets new people achieves new things and finally manages to break the curses all without Scott because no matter how much Scott tries Jimmy won’t let him help

"Please don’t return me to the dark of all the memories, yeah" | The dark actually being hope don’t give him any more hope that those memories could be recreated

"I will save you when your lights go out" | Scott is giving him time which continues to live being his breath, Scott’s love for him keeps him alive and that act of love is letting Jimmy kill him for time, saving him when he needs it most

This song is so so Scott coded most if not all the lyrics fit his perspective of things, the song is associated with Jimmy mainly because he is the Canary in the coal mine which sure fair enough but the lyrics themselves don’t fit his personality or his view of things, I guess some things could refer to how the winners and others have left him behind and he is weighed down by the curse but nothing else really fits him. 

----

Misery Meat by Sodikken

"You want a taste of my brain? Okay, it's yours anyway, A bite of my eye alright I won't put up a fight" | Scott giving his time away and hearts away for other people with little complaint

----

This is going to be part 1, and I will reblog this later with part two

[cannibalovers]

Do i post too much depeche mode related stuff? Maybe but i think they fit the show so well, especially hannibal

Hannibal song of the day: song no. 10

A bit about the song:

"It’s No Good" (released in 1997) is a song by Depeche Mode and was written by Martin Gore. The song fits genres like synth pop, alternative rock and electro-pop, involving a smooth, dark sound with minimal sound-effect clutter and lots of reverb. It has a deep, recognisable melody and bass accompanied by various ambience sounds or synth sounds. The meaning of the song is quite vain and dark, presenting the protagonist who can’t accept their crush not liking them - They’re convinced that they are made for each other, divinely intertwined. They were most likely rejected and hit the first stage, the stage of denial.

i love this song along with the whole ultra album sm, i was so shocked to find out not many ppl like it????????? like what

but okay anyhow, another song that reminds me of how Hannibal views Will omgggg no waaayyyyyy

I will forever stand by the fact that Hannibal is a hopeless romantic (but i think all of us know that like... the whole human tree boquet, all the flowers being carefully picked? Hanni killing the judge for Will? giving himself up to the police so will always knows where he is? um? do i need to say more) - that why I even have this song in my playlist, as the protagonist seems like a hopeless and very persistent romantic themselves (and any depeche mode song tbh)

------------------------------

Verse 1 "I'm gonna take my time I have all the time in the world To make you mine It is written in the stars above The God's decree You'll be right here by my side Right next to me You can run but you cannot hide"

The protagonist feels like the person they're crushing on has to and will love them back - They feel like they have all the time in the world, they aren't planning on stopping liking them or trying to charm them, and are willing to be patient and wait for the day that their interest does like them back. Quite tenacious. The protagonist seems to be quite spiritual and a hopeless romantic, believing the two are meant to be together as it's written by the universe in the stars and pre-planned by God himself. The last line can be quite dark and desperate, considering that the protagonist says this is unavoidable and their crush should accept it. Overall the protagonist seems to be quite obsessed (totally not another reason as to why i chose the song...).

This feels like Hannibal so so much - no matter how many times Will seemed disinterested (Will stop fucking lying) or even tried to literally kill him, this bitch ain't giving up. He's really taking his time, never giving up on the idea of Will and him becoming closer, he doesn't want to give up. Will is the only person that seems to understand him, a person Hannibal sees himself in and he can also understand Will; He doesn't want that to go to waste. He made his goal to make Will his and he will achieve it; If he wants something, he will find a way to get it. It's pretty easy for him to do so, considering his vast knowledge of human psychology. He can understand people without them even saying a word about their emotions and he can influence others easily, it's an quite advantage to him(Will doesn't find him interesting? ok bet, he'll make him VERRRRYY interested:3).

And also to my surprise, Hannibal seems to be quite spiritual, even comparing himself to God or "playing God": "Killing must feel good to god too, he does it all the time. And are we not created in his image?". He enjoys the power and control it brings him, retaking what God took awy from him. He decides who lives and who dies at his hands. He is in control of his life and any person that appears in his life, it's like he writes the course of his and others lives - That's what happened with Will; Hannibal, the "God" that he is, has decided that they are soulmates and are meant to be in each other's lives forever - be it a delusion or correct, they are always coming back to each other, mainly due to Hannibal's actions. As I said, he will find a way.

------------------------------

Chorus

"Don't say you want me Don't say you need me Don't say you love me It's understood"

The protagonist is assuming that their interest likes them - possibly telling them not to say it out loud in fear that it's not true. They prefer to assume and think that their crush likes them back as that's what feels real and secure to the protagonist, clearly not taking rejection well as they're trying to avoid the situation of a rejection completely. also, perhaps it's more romantic this way. Maybe they are sure of the fact that their interest likes them back, but the protagonist doesn't want it confirmed because they feel like they fully understand their interest telepathically, which they find more romantic. Could also tie to another Depeche Mode song, "Enjoy the Silence" - one of the interpretations for this song from a romantic perspective being that the protagonist wants to indulge in silent moments with his lover, not wanting to worry about words and just enjoy their lover's presence - for this song, the protagonist might also find words harmful and prefer silences.

For Hannibal, I feel like it's more the second one. One thing about hannigram, they can read and understand each other without speaking about it, well most of the time. Direct words don't seem to really do it for them, it doesn't feel as intimate as whatever gay shit they got goin on apparently. like really these bitches suck at communicating, they really don't wanna hear it or say it cuz rejection or they will get a boner and explode and cry and be vulnerable, the worst thing on this planet (i hear that "do u wanna be my big sweaty guardian alpha boyfriend WHAAAAAT WHO SAID THATWHOSAIDTHAT" sound as i type this)

"Don't say you're happy Out there without me I know you can't be 'Cause it's no good"

The protagonist really won't take the rejection and even though they assumes or wants to believe that their interest likes him back, since it isn't confirmed, they're afraid that it isn't true and are in denial, still trying to remind themselves that the two are made for each other and that their interest can't be happy without them, simply because it's no good(mainly for the protagonist).

cough cough Hannibal when will breaks up with him and gives himself up to the FBI cough cough

But no fr, this lyrics represents Hannibal's reaction so well. He can't accept that Will believes he can be happy without him, because he knows he won't be. He saw how he can be, he saw the adrenaline rushing through Will's veins turn into satisfaction, a genuine, though involuntary reaction - Hell, Will even confirmed it. He knows that Will felt understood by him and that's Hannibal's driving force, unlike the protagonist, for whom this is most likely just about his delusions and hopefulness(unless the protagonist interests is a sweaty anxious dog lover empath idk that he connects with at a spiritual level idk). Through the show it just becomes clearer and clearer that Will cannot be his genuine self with anyone else other than Hannibal. Will knows that, tries to ignore it, Hannibal knows it and isn't giving up, Bedelia knows it and is fed up with their shit. EVERYONE knows it (and everyone knows how destructive it is).

The two together are absolute menaces to society, but Will being away from Hannibal also makes everything worse. The longer Will doesn't accept that Hannibal understands him and accepts him, and he feels the same way about Hannibal, the longer he runs away, the worse it gets. He isn't happy, although he pretends to be. He built a carefully crafted, perfect family where he's a good father, caring for a widowed mother, living in the woods peacefully with their lovely hoard of dogs and are incredibly happy. But is Will happy? He thought he would be. He knew it isn't socially acceptable nor good to embrace that dark side, he has seen the effects of people who accept it. It isn't good, he shouldn't do it, he shouldn't succumb to his dark nature. Perhaps getting a stereotypically ideal family will help him feel normal and ignore it. Yeah, that will make him feel good and satisfy his need to care and nurture and feel like a white knight saving the day. It will definitely make him happy. Fake it till you make it. But is it really worth it when you have to put on a mask in front of your wife, someone you choose to marry and devote your life to, who fully trusts you and expects the same from you? How mocking it feels, when she's this open and sincere whilst you're lying to her every second about who you are. In the end she doesn't care for you, she cares for the person suit you carefully tailored out for her. But this is who you're supposed to be right? You designed this, it's genuine, no? It's just a heavily mediated version of who you are. Well, clearly not, since you see the ex that ruined ur life (tried to make u accept who u are) and immediately fold and leave ur wife lol

(man i need to be careful about my tenses and perspectives what is that, but not rewriting cuz idk how else to write it)

In the end, it's not good for Will, it's not good for Hannibal, no good for the rest of the people who gotta play fucking matchmakers and third wheel them as they flirt, this repression does nobody any good.

------------------------------

Verse 2

I'll be fine I'll be waiting patiently Till you see the signs And come running to my open arms When will you realise? Do we have to wait till our worlds collide? Open up your eyes You can't turn back the tide

The protagonist is waiting, although getting impatient. They keep having hope that finally their interest will like them back, see that they are made for each other. They aren't giving up and seem to be so obsessed that they will continue to choose their interest over anyone else and be patient with them. They're hoping that their crush just needs some enlightenment and will suddenly love the narrator back after "opening their eyes". The worlds colliding are support to represent their minds and the tide, the inevitable and strong feelings the protagonist feels - it's like the protagonist already felt the tide, the emotions, powerful and sudden, hitting him, and is now waiting for their interest to be hit by the same tide.

Well, Hannibal does wait patiently. In the comfort of the psych ward Alana takes care off for him, having all the privileges, all the comforts he needs. He has enough patience to last the 3 years without breaking any rules. But ultimately, after Will said goodbye, he has left Will the option to come back and "run into his open arms". Hannibal giving himself up to the FBI was to make sure that Will can come back to him, if he changes his mind. He kept his arms open, expecting Will to come back. He knew he just has to let Will decide if he wants to do so for himself.

Will knew it was dangerous, he wanted to keep away from his as far as possible, be blind. He was well aware that Hannibal would be like a tide, powerful and merciless, he would swallow him whole once he gave in, which is why it took him so long. Like literally Jack had to come and fucking intervene and force Will back into the goddamn field like. fgfjoigfdigjjew

The only way that they would ever be back together was if their worlds, their minds, collided, and they did. Before, Will's and Hannibal's worlds were about to collide before Will hesitated and Hannibal didn't appreciate it. Jack and everyone encouraging Will, pushing him into the trap, made Will's and Hannibal's worlds collide. There was no coming back to who Will wanted to be after reconnecting with Hannibal - their worlds have merged and the damage done is way too severe now as his eyes opened, and he finally accepted his demise, letting the tide swallow him whole (just like that tide when they fell off the cliff💯).

in conclusion hannibal is pathetic and whipped, the dick is just too good

------------------------------

additional notes:

i missed this

if this is hard to read due to me trying to sound formal and professional but succumbing to humour WAY too much and not balancing it well enough then pardon me

------------------------------

my playlist post

thank u, hope u enjoyed<3

[mortimerlatrice]

KinnPorsche Music in Context: Episode One

It needs to be said: I started thinking about how a few of the songs used as KinnPorsche background music had incredibly apt or punny titles months ago. It’s been sort of poking around in my head that it might be some light, surface level meta to collect!

Ho boy was I wrong. I don’t know what I expected because absolutely nothing in KinnPorsche is just surface level. In episode one, I have already found several hysterical jokes, commentary on the shifting power dynamics, water symbolism, and many more gems.

Here is the link to my episode one Spotify playlist. I know there are quite a few playlists out there, but even scouring three of them, I still found additional songs that were not cited or mentioned.

There are 37 (yes, you read that correctly, 37!) songs in episode one and that's in addition to a handful of reprisals, so the insanely long list is under the cut.

For other episodes (as I get to them), go here!

We start, of course, with our beloved theme song, เพียงไว้ใจ (or PhiangWaichai) by Slot Machine. There’s plenty of thoughts on this, I’m not digging into it.

Introducing Kinn – Quantum Sonata by FormantX.

Kinn and Big head into the Italian’s den – Our Final Mission by Christoffer Moe Ditlevsen. This is the last time Big will join Kinn on a mission as his head bodyguard (I’m not crying, you’re crying.)

Introducing Don and the Italian gang – Waltz for Little Italy by Bireli Snow.

Introducing Porsch – Diggin' the Drama by The New Fools.

Kinn making accusations and  Porsche mixing drinks hoping to get lucky – Covert Affairs by Christoffer Moe Ditlevsen.

After Kinn's iconic "I'm more like my mom," we are introduced to the song that makes the most appearances this episode: Concerto No. 2 in G Minor, L’estate (Summer) composed by Antonio Vivaldi. Now here’s where the KinnPorsche crew start to do what they do best: give us things to obsess over and over analyze.

The concerto has 3 movements and to be honest I’m not 100% sure that they pull from only one of them for the show. Remember when I said I wasn’t musically inclined? If anyone wants to chime in, please do.

Another fun thing about this Concerto? It is traditionally associated with or accompanied by a trio of sonnets (one for each movement). Oh, did I mention Vivaldi was Italian? Themes.

Anyway, the sonnets translated from Italian to English:

I. Allegro non molto– Under the heat of the burning summer sun, Languish man and flock; the pine is parched. The cuckoo finds its voice, and suddenly, The turtledove and goldfinch sing. A gentle breeze blows, But suddenly, the north wind appears. The shepherd weeps because, overhead, Lies the fierce storm, and his destiny. II. Adagio; Presto– His tired limbs are deprived of rest By his fear of lightning and fierce thunder, And by furious swarms of flies and hornets. III. Presto– Alas, how just are his fears, Thunder and lightening fill the Heavens, and the hail Slices the tops of the corn and other grain.

Source

Porsche and his fanclub at Hum Bar – Late Nights by Daxton.

When Yok calls Porsche over to the bar – Mysterious Madeline by Lucas Pittman.

As Kinn is driving over the bridge and they realize they're being followed (and when Porsche is making eyes at the woman across the bar) – Road of Fury by John Abbot.

Big and Kinn fleeing into the tunnels when Big is shot and Kinn is being chased down – They Are Coming by Hampus Naeselius.

There is a brief snippet here with a snare drum and a cymbal (I think?) when Porsche is cheekily asking Kinn for money and pissing in a bottle, but I couldn’t isolate it enough to find it. Any help would be appreciated!

Here, we’re introduced to the perfect fights song, Absolute Power by Hampus Naeselius, when Porsche beats down the street thugs and drives off with Kinn.

She Knocks by Lukas Amil plays when Porsche is being a brat and leaves Kinn at the gas station.

When Porsche comes home to Chay bandaging up Arthee – In Rain - Indigo Days. Can you say water symbolism?

The Joys And Sorrows of Life by Johannes Bornlöf gives a little hope when Porsche and Arthee are sitting and talking about finances and how much they could make off Kinn’s watch.

Porsche at the underground fighting ring has three songs in quick succession: Back to Where it Began by Rockin' For Decades,

Second Hand Slide by Lucas Pittman,

And Around the Bend by Pip Mondy as he turns the fights to his favor. [It is worth noting that they use a sort of stripped down version during most of it, but I couldn't find that version, so they may have done it themselves]

When Porsche comes home to Chay and Arthee celebrating making so much money off the watch we get Gentleman at Heart by Indigo Days. I think this one’s interesting because I’m actually not sure if it’s about Arthee or Porsche…

When Don finds his men tied up and (maybe dead?) – Let Me Introduce Myself by Rune Dale. This comes right after the scene where Korn chastises Kinn for his decision to enrage Don instead of “giving him gifts.” This is Kinn telling Don exactly how he plans to run things and how very different he is from his father. Kinn's mother must have been ruthless with a good sense of humor.

When Kinn asks Chan about finding Jom/Porsche, we're back to Vivaldi’s Concerto. Like the shepherd, Porsche's Destiny hangs over his head.

College Porsche and his stolen pastry get Moonshiner's Turn by Martin Landström.

Jom is approached to act as "a waiter who's actually the greatest boxer undercover,” our dear theater kid gets Concert Hall Hideout by Stationary Sign.

A moment later when Porsche realizes he's been caught? Cheese! by Alexandra Woodward. [This one is not on the Spotify playlist but I did find it on Epidemic Sound.]

When Porsche calls Chay, worried that Chay may be targeted or even taken by Kinn? Extraction by Christoffer Moe Ditlevsen. Which is a truly horrible double entendre because the very next song is

Clogged Up by Jerry Lacey. I'm not even dignifying this scene with a response.

Kinn sweet talking Yok (with veiled threats) – Infiltrator by Christoffer Moe Ditlevsen.

Porsche’s kidnapping – Honor the Brave by Hampus Naeselius. 

Kinn reading Porsche his own biography – Beryllium - Farrell Wooten. Beryllium is, according to a brief google search, a natural metal that is expensive, brittle, and dangerous to work with (toxic).

Porsche's fight theme – Absolute Power. Except who has the power this time?

Brief reprise of She Knocks as Kinn once again watches Porsche walk away from him (or throw himself off the boat in this case).

When Korn and Kinn discuss how to force Porsche, and moving into the next scene when Porsche finds Chay cleaning up after another break-in, and through to Porsche finding Thee being beaten up – The Stakeout by Christoffer Moe Ditlevsen.

When the loan shark tells Porsche that Thee still owes despite Porsche believing they had paid things off, leading to Porsche forcefully kicking Thee out of his and Chay's life? Ghosting by Christopher Moe Ditlevsen.

When Porsche finally tells Thee to leave and after, when Porsche goes home alone to clean up his ruined house, we get one of my all time favorites – Bitter Heart - Instrumental Version by Memi. Although the soundtrack presumably uses the instrumental version, I would argue that the lyrics were taken into account when choosing it:

“Suddenly you look like a stranger A face I knew, but I must've forgotten … We know we could've done it better Fought for the little things that we wanted … Oh, I wish that you hadn't pulled the trigger Shot me down with my bitter heart My blood is getting thicker You shot me down, you shot me down With my bitter heart”

This is getting way too long, so I cut some of the lyrics but I strongly recommend checking out the original.

As Chay tells Porsche that their parents would be proud of him, there is a very brief reprisal of In Rain.

It then switches to No More Drama by Eric Feinberg as they hug and Porsche tucks Chay in. This calls back to the song that first accompanied Porsche, Diggin’ the Drama, and Porsche has made his decision. He can't keep living like this and he can't let Chay live like this either. 

Porsche's letter and Kinn pouring himself a drink – a reprisal of Gentleman at Heart.

During the famous "your life is mine" scene where, at least in the translation, Porsche asks if Kinn is a god, we get a third reprisal of the Concerto. Porsche's destiny is set, the storm has blown in and ruined his life leaving him desperate.

When Porsche confronts Korn and asks to be Big and Ken's boss and through to Korn Playing Chess – So to Say by Taylor Crane

At which point we get one, final reprise of the Concerto as Korn places the Queen on the board and the game begins.

Finally – Free Fall by Slot Machine.

And, in the interest of being thorough....

Episode Two Preview – Global Impact by Philip Ayers.

[autism-alley]

if any of y’all know of a pjo/pjo show crit friendly discord server hit me up or so help me i might make one myself

[melit0n]

Would anybody like to see a horrifically in-depth, essay type analysis of Euclid because I've been working on it bit by bit and I'm getting to that weird point that if I don't talk about it in the next two months I might just explode

[bugsaan]

Just autisticly reordered my Petrigrof playlist to put every song in order of their timeline, and every song corresponds to an event. :] I had brain worms so I had to get my thought process put down into words here

[hatchetation]

friend: how are you

me: *thinking about how the three sisters in gap the series, neung, song, and sam, represent the social change that can occur over time within a heteronormative society that values filial piety.

neung, the eldest appears to be the most free of all, having cut off lady grandmother, but she also clearly feels embittered by her experiences, deeply misses her family, and regrets not being able to protect sam better. song pushed back against the traditional framework and tried to escape lady grandmother but ultimately died, and, arguably worse from a narrative perspective, had her identity denied even in death. and khun sam pushed back as well, choosing mon despite her deep love and respect for lady grandmother. after returning to lady grandmother out of a sense of responsibility and familial love, sam, the youngest, was able to bring the family back together by showing lady grandmother that society is progressing. finally, the series ends with sam and mon’s marriage, with marriage acting as a symbol of the emergence of a new social order where filial piety and queer love can exist in harmony*

me: i’m fine 🥲

[secretly-a-catamount]

Thinking again about how The Crane Wives and Robert Beatty must share a brain, because of how well so much of their music matches with the Serafina Series.

Curses is Serafina talking to Braeden, a girl who is so tired of everything, a girl who, in her own eyes, will never be good enough, who thinks she’s cursed, a girl who feels so guilty about dragging her lover from his world into hers, a girl who creeps down the empty corridors of a house — her lover’s last named engraved on it like an elegy — with cobwebs in the corner, the backyard full of bones, knowing full well that war is always about to knock on their door, and burn them, ashes to ashes and dust to dust, because her enemies are after them both.

Tongues and Teeth and Never Love an Anchor is Rowena’s justification for leaving Waysa after he helped her heal from her wounds before the events of Splintered Heart, how she believed that every kiss would just leave Waysa bleeding, how, due to her father’s abuse and her own past actions, she thought that she could only ever hurt him, because she thought it was simply her nature to hurt and ruin and destroy.

Allies or Enemies is Rowena and Waysa’s relationship during Splintered Heart, once enemies who were then allies, Waysa having nursed her back to health in what Rowena considered a “moment of weakness”. Rowena, who felt guilty about how she treated him and the people he loved, Waysa, who forgave her for what she’d done, for disappearing. Waysa, who never doubted that she could change, even when she denied her feelings, even when she spoke words made of thorns and plagues and the cloying smoke of a wildfire.

The Garden is how consumed by grief and borderline suicidal Braeden was after he buried Serafina. Braeden, whose world was torn down by Serafina’s dying breaths. Braeden, who buried his best friend and lover — who was both his shield and his stone — with a spade and dug her up after she returned to life with shaking fingers. Braeden, who lied to his aunt and his uncle and the Estate as a whole. Braeden, who longed to make her grave their bed on his darkest days, who longed to give the crows who laughed at him their pound of flesh. Braeden, whom her ghost whispered to, when it returned in her blood-stained clothes, drifting into the manor from the window, pressing her lips to his neck, her teeth to his throat. Braeden, who considered a deal with the devil, the Black Cloak, if it meant saving her. Braeden, who fell to his knees and ripped up the ground with his bare hands until they bled.

Thinking about love and tragedy and broken children.

Thinking about the Serafina Series and The Crane Wives.

[onehundredandeleventropicalfish]

so, anyone who knows me from previous blogs knows i’m an absolute music nerd who’s worked on both film score and musical theatre book before (and is still working in that vein, though i’m combining it with script writing these days)

and, god, i would be doing such an injustice to whoever is writing the soundtrack for the sandman if i didn’t talk about it at least once, because it’s one of the best tv scores i’ve ever heard, i wanna teach this as an example of how to do it right

i’ll be here for days if i try to cram all of it into one post, so i’m gonna focus on episode six, the sound of her wings, because that’s the one that really gripped me

(under the cut though to save dashboards bc this is still me and it will still get long)

so, to break this down, there’s a lot of different ways to add musical motifs (leitmotifs) into tv, but sandman is a show that does it (mostly) by character. in this episode we see a lot of dream’s motif, death’s motif, desire’s motif, and a slight appearance of johanna’s when the earlier constantine shows up (hob doesn’t have one, but i’m betting that’s deliberate). which makes sense for such a character driven show, especially in a story that’s got many anthology aspects - not much stays the same in this show but the characters, they are the through-line, and even the changing characters from episode to episode help give each episode its own musical feel

(people have said that sandman would work better with weekly episodes than binging, and this is part of why - they're very self contained, each episode a new vibe, and whether you notice it or not the soundtrack is contributing to that)

back to our episode 6 breakdown - so this is death’s motif, in its simplest form. and (barring a little of dream's when he's explaining why he's upset) this motif is the only motif we hear in the entire first half of the episode

the reason i’d wanna teach this is mostly that it’s not easy, developing a motif without making it stagnant. it’s actually the first thing we ever covered when i studied music composition, because they really wanted to get it into our heads - anyone can make up a melody, but our brains notice patterns. and the really effective patterns consist of, at most, four notes. in a sense, the notation i’ve added above is actually the motif four times, just phrased as a question, a pause, a question, and an answer. and developing a motif into a score means changing it enough to give it direction, but keeping it similar enough that it’s recognisable. and that’s a hard thing to do! but we spend a full 20 minutes with just this motif, and it not only never gets boring, it’s developed into such a beautiful moving score, going from this very simple theme that just exists in the background to a huge emotional orchestral piece

and in terms of what it's actually doing character wise, i wanna focus on those gaps in the original. bc those are some long pauses between each three note repetition. and i think that is a good representation of death, and her patience, this theme isn't trying to rush you into anything, it's just sitting there reliably for when its time comes.

but as we go through that development, those pauses start being filled. it's still just as much about death as ever, but we understand it more. and the development starts to take on a more hopeful character the more of these snapshots of people's lives that we see. and the music is telling us how dream is feeling, as he goes from not understanding death, to learning a lot more about her, to being overwhelmed by how easy it is to care about these random people in the last moments of their lives, and how death isn't a bad thing

it simplifies back down, near the end of their walk, because she's still the same person she was at the start of the episode, it's dream that's changed, but it doesn’t go entirely back to the motif we heard at the start. those gaps are now filled by gentle woodwinds, the understanding remains. and as soon as we say goodbye to death (specifically “i thank you, my sister”), we switch immediately to dream's motif

(technically, dream has two, but i associate one more with dream and one more with the dreaming, so i'm talking about the former)

now, we’ve heard this one a lot already, it's the title music for the show, here it is for the sheet music fans (you may notice it’s asymmetrical, the contrary bastard)

and we’re about to hear it even more - it's playing constantly from that goodbye right up until the start of the flashback (in more medieval sounding instrumentation than usual, alluding to the fact that hob is at the forefront of his mind), and we’ll hear the same thing coming back out of the flashback, too

now, within each flashback scene, there largely aren’t repeating motifs. and i mentioned this was probably deliberate - the music we hear in the background of each scene is fitting to the time period, and i think that in a way is hob’s musical identity. the thesis statement of sandman as a story is that you have to keep changing to keep living, and you have to keep living to keep changing, it’s why hob’s never ending immortality isn’t angsty like so many other immortals - he’s going to keep changing and keep living and it’s always going to be worth it. so his musical identity changes too, relative to wherever and whenever he happens to be living.

but then we get the moments where dream’s motif overtakes that -

1389, we actually get death’s first, when we first hear hob talking about how death is stupid and he’s not going to die, and it switches to dream’s with “why would any sensible creature crave an eternity of this?” (and back to death’s with “very well, little brother”, all three play off each other for the rest of that scene)

1489 is very much hob’s scene, there’s elements of dream’s motif in the arpeggios that pick up after “it’s fucking brilliant”, because now he’s caught dream’s interest, but it’s still largely the 15th century music, we only hear dream’s motif properly once he gets up to leave, and hob has to shout after him “you never told me who you are!”

in 1589, it starts to creep into the music (though still in hob’s native instruments), when shakespeare says “to give men dreams that would live on long after i’m dead”, and it overtakes it fully when dream leaves the table

the only moment in the flashback sequence which doesn’t have era appropriate music, is 1689, when hob is telling the story of how miserable the last 80 years have been. the music matches his mood, but it’s using modern digital instruments - this isn’t hob, not really. and while there’s no element of dream’s motif in this scene that i can spot, when we get “death is a mug’s game”, that’s when we switch back to the 17th century instruments, because this is the hob we know, the one who is always willing to live, no matter what

1789, dream’s motif when dream says “you need not have come to my defense”, through to the rest of that scene, this one stands out as a moment where he's not grabbing power, but sharing it

1889, when else - it comes in with “then i shall take my leave of you and prove you wrong”

1989, it’s so faint. it took me a minute to actually confirm that was dream’s motif - it doesn’t show up at all in the main scene, but when we switch to the view of dream in the cage, we hear a very hidden version of it, changed to the point of being almost unrecognisable

and then 2022. and we hear it in full again, but not just it in full. it gets an orchestral, uplifting development, both in tribute to the fact that this scene is very hopeful and heartwarming, but also explicitly mimicking the development death’s motif had when dream was watching her work, realising how much he cared about these random people, realising how much he therefore cared about people he’d known for much longer. her influence and her lesson is extremely present here, as she was the one who pushed him into returning

and as that scene ends, the music overlays with Desire by Bob Moses and Zhu, which is the cleverest part of the whole episode

because yes, the song is named desire, and has the word desire in its lyrics, telling you who this is, and yes, in an episode that has so far been full of medieval or orchestral music, the EDM is a sharp vibe twist, which fits with both desire’s character and the fact that their gallery in the show is styled to be very modern art/avant garde compared to dream's more renaissance style

but that’s not all it’s doing

because here’s the thing about desire. they absolutely have a motif in this show, that plays in the background every time they are on screen or talked about. but it’s not a melodic motif.

desire’s motif is the sound of a heartbeat

(often with accompanying ambient synths, but no melody)

and you don’t notice it when you’re just watching for the story, but every time you see desire on this show, there is a heartbeat playing in the background. and if you listen to this particular song, the dance beat is also mimicking a heartbeat, allowing it to blend in perfectly with desire’s existing motif, which is also playing in the background here

it’s just. brilliant