#technical analysis used

[dxxtruction]

Louis' "You're boring!" Could mean so many things, but I think what's most apparent about that line is that Armand takes no initiative just for himself. He's not really anybody, because he never goes out and finds himself or gets attached to anyone but Louis. Without Louis as his guide he's literally just sitting on a couch picking lint! That's the thing.

He orbits constantly around what would make Louis happy, and never really fully going what would make me happy? Ultimately that drive to please Louis is what drives him to torturing Daniel, not so much that he'd care to just do it. Ultimately, not giving proper care to Louis is just a way to make sure Louis knows he has to orbit around him as well, with shoving Lestat onto him just that other nail on the coffin. So, even if he fails to figure out how to make Louis happy with him, he still knows what Armand is good for, and better than.

That dependency is what drives Armand's abuse. It really just comes down to that. Armand doesn't even realize how suffocated he is by his own dependency. This is just how life is to him. (It shouldn't be lost either that dependency is a theme considering this episode also deals with addiction).

Daniel's fascinating because he's just so driven to be somebody. He's largely independent, he seeks things because he wants them. It's his drug to poke and prod at all the things that he shouldn't. Daniel's exciting because he lets Louis in to something different, lets him in to all this potential in another person that he can also do the same with for himself. It's a real connection. A two way street. It's easy to tell how Armand can be smothering then because he's never introducing him to anything really new, and most the ways both of them connect are all painful and traumatic. It's never just fun because there's always that layer of that pain. Fun died with Claudia.

50 years on they've gotten to a lot better place, both of them, but it's still that same shit. No seriously, "How is this any different from last time, Louis?"

Well... Because Armand's going to be, at the very least, making one [1] decision only for himself - and that's to hold power over Daniel's life. Fucking sick foreshadowing.

They aren't driving each other to the brink anymore but "The vampire is bored" STILL. Maybe it's even worse, despite being in better places, because Louis' sort of just been defeated by it. (I mean, can he even really leave this either?). He's accepting the dependancy cause he kind of has to. He'd literally ended up letting all the enjoyment be up where he can't reach [The book shelves]. Armand so desperately wants Louis happiness but what really ends up happening is that Louis ends up having to give Armand all his own. He's got no one or anything else to get it from. But like an iPad and an over the top eating ritual. Two extremes of what's just more lint picking.

This whole relationship is one I find just tragic inside and out. You have to just pity it, really. There's ways in which you can find yourself feeling bad for both of them. But you can only really be mad at Armand for any of it. Armand, who isn't even 'free' in any sense, having so little concept of his own independence, but is at the same time so controlling over other's. It's a tragic cycle. It's an infuriating one.

Louis at least has the mind to know when enough is enough. If just needing that extra push to get there. Armand's too scared of it being over to even try.

[heartkade]

I have attempted to make sense of it.

Green = positive

Red = negative

Blue = unknown

edit: They decided not to use the name “Darki” (due to that being too similar to a slur towards the black community- Leo didn’t know it translated so badly from the Spanish term “Oscurito”!) so instead, just call the entity “Oscuro” for now ^^

[cable-salamder]

Alright, y’all already know. It’s time for a teaser breakdown.

Before I start, I will say that I will at times deviate from the chronological timeline of the actual teaser in order to accentuate or explain my point, or just because the images correlate to each other. Spoilers ahead, obviously. And just be aware that this is probably going to be a massive read (future cable who just finished writing: it is.).

(Also, here’s the link to my previous analysis post on the IMBD pictures because I cite it a lot, in case someone hasn’t seen that one yet)

So, let’s crack in, shall we?

Right off the bat, what I noticed immediately: This is a different punch than we’ve seen in the other Lloyd vision where Beatrix punches him (right). The lighting and background are different. Maybe this could be an indication that Beatrix is close to coming back? Either way, that sure is a way to start a teaser (I will be addressing the other part of that vision later)

Yay! Roby! By that selfie stick bit I am PRAYING that he *actually* has the personality that he does in that set promo video, because it now seems ever more like that. Also, hey! That’s one of the Explorer’s Club members! I’m assuming that he managed to find work in this Temple City after the Merge (good for him honestly tho he doesn’t look too thrilled)

Okay, this. We’ve already had this image as per the IMDB thing and we already assumed that it was Roby welcoming the ninja into the temple city, and through that I am going to assume that that image comes right after this one:

Which implies what I had already kind of guessed, and it’s that the ninja will have difficulty getting into the Temple City/ there will be some force trying to stop them. I actually first assumed this was the Imperium Hunters, but it seems like those are actually the Temple Guards.

Now, as per what I thought before and what I see here, I’m going to assume that this is a challenge already. In a sec I’ll talk about all the different kinds of challenges we see, because I think they’re quite interesting in of themselves, but because of that giant screen we see projecting the ninja (Lloyd and Nya) on Jiro behind Roby, this basically confirms to me that these Temple Guards aren’t there because they want to particularity stop the ninja from entering, but that they are just a sort of obstacle that any potential participant has to overcome in order to get into the city.

So, yay, the lizards aren’t being hurt just for the sake of it! How nice.

Then we’ve got this and. Uhm. Well first off what the fuck

But now to actually be serious, other people have already been saying this, and it’s the idea that the person sitting down (in what looks like almost a throne? Idk) is Nokt, and he’s sort of… half and half between the two worlds, which could bring about all sorts of things.

Edit: I have been made aware that this, in fact, probably isn’t Nokt (neither his body nor soul)

So what do I think this is? I have no fucking clue. I could say that this was my idea about Jordana getting mildly possessed by another FF that may have gotten out (because the way she acted at the end of p1), and honestly that seems to be the most plausible answer right now. Either way, to me, it looks like the other FF are either praying/ casting, or perhaps having some sort of meeting together? No matter what, it looks ominous as fuck, and something Kai and Bonzle (who we see walk up behind Kai) should probably not be walking into for their own safety.

*THIS* I find a very curious screenshot. Because yay Lloyd in his master robe HEWLL YEARH but also. He didn’t wear that before. In that IMBD picture we see him on the screen, and he is in fact wearing the green tournament suit.

I think what this implies is that THIS is actually for the The Feast episode, wherein I think they gave this sort of formal robe to Lloyd as a way to… I guess make him stand out as the leader of the group? Not to mention that they seem to be coming from a building and going into a new building and looking at something rather grand, which I can thus only assume is a big dining hall. I know people are saying that Arin looks too happy for it to be an episode farther in, but I honestly think it could be a facade. The fact that he’s holding open the door could imply that he feels the need to do something useful, at least.

However, the fact that Lloyd is wearing his robe also makes me think of another clip that we see:

I am going to say that I’m directly assuming these two things happen within the same episode. I haven’t seen anyone talk about how Lloyd is wearing the same outfit, and I think that’s with the assumption that he’s wearing this for the entire tournament which, as said, I don’t think is true.

What everyone IS talking about tho is the cloaked figure. Which, yk, is a cloaked figure. Of course I want to know who it is, but I have attempted my best at cross referencing any of the villain’s suits, and none of them match (A further post about that here). Which brings me to…

Something that I find very curious is that we don’t see any of Ras’ crew, except for Cinder. He’s the only elemental master they’ve got, and we don’t know whether Jay is *actually* gonna be there at all now, considering we didn’t see him whatsoever. Could this cloaked figure be Jay? Sure. But the suit doesn’t match up, either. Which made me realize that we don’t see any of the other fighters at all, really, which is… interesting, to say the least. Perhaps they’re just waiting to reveal what kinds of others powers there will be present at the tournament.

And since I was already talking about Cinder, let’s look at these screenshots, shall we?

What I get from the first one is that HORRAH Wyld vs Cinder rematch!! (Which means we can’t fully trust those fighting promo cards from a while ago because the fights don’t seem to completely match up). What else I get from it is that Shatterspin is allowed in the tournament, and by extension Rising Dragon! Which means that this is likely a tournament with rules similar to the Tournament of Elements, where the rules were basically that you could do whatever you wanted.

And for the second one. Good lord, I don’t even know. It just scares me, that’s all.

No, but, fr, what is happening. Why does he suddenly have Wyld’s power. Someone said this could be also like in the TOE, but instead of the loser’s element going to one person they go to the winner, which, yk, isn’t terrifying at all. You know what else isn’t terrifying at all? This bit:

I have much thoughts about this image, but I’m just gonna say what my first thought was, and it’s that this is Wyld accidentally setting something on fire, and then not being able to control it. Maybe even IN the Cinder fight. Maybe this is someone else causing it and Wyld gets blamed.

Either way, what I think is going to happen here is exactly that: WF gets blamed, and she will have to show that she’s grown as a person and wouldn’t just set things on fire anymore without reason, that she can help. Whether that works, or whether other people even believe her, is yet to be seen, I suppose.

(On a lighter note, I fucking love the little face of the flame on her back. The second letter seems to be a F, and the first one perhaps an R? I’m not quite sure. Anyways, it’s adorable.)

And speaking of adorable things:

GEO. HE’S HERE!!! He’s here and he’s cheering and I am going to selfishly believe that he’s cheering on Cole because GAH I need Geode to become real by the end of this season. God I hope no one at that Tournament is racist to Geo I would punch my screen

Ahem. Anyways. I guess what we can get from this is that those outfits seem to be spectator outfits rather than what the participants wear! And what we can get from that is that Geo will sadly probably not participate in the tournament. To be fair, it seems like only trained fighters will be attending, and despite Geo being able to kick ass, I don’t think he would be particularity good at it against people who have been training for who knows how long.

This also might imply he left the finder kids at the monastery in Mr. Frohicky’s care— which, yk, still leaves the question of how he gets to this tournament in the first place, as we do not see him in any of the screenshots where the ninja are still outside Temply City.

What I also realised from this is that we don’t see Euphrasia anywhere in this trailer. I’m still holding onto hope, so we’ll wait and see.

Then we’ve got all the Sora centric bits (which there seem to a lot of, which kinda tells me that she’s gonna be a focus and YES this will cause issues for Arin no one can convince me otherwise)

Anyways, as I said before, these images demonstrate to me what kind of challenges there will actually be within this tournament: Not just fights, but also what looks like a parkour and a race! Oh what joys. The first one actually kind makes me think that this is a challenge about ingenuity (due to that pole Sora is holding), but I might be reaching with that.

I didn’t get a screenshot of that lil Cole we see in that third clip as well, but I think that means we can safely assume that they're driving that combo vehicle we already have a set of, for which Cole gets the white and orange wedding suit! (Why? I don’t know. In my heart I'm choosing to believe everyone gets a similar outfit to that one.)

And that fuckass little dragon? I've got no idea. It kinda reminds me of Vania's dragon, Chompy, but also of those little Source Dragons Lloyd saw floating around his head right before he had the Master Dragon vision. Idk, it confuses me, so I'm choosing to ignore it lmao

And now the screenshots that I’ve been wanting to hold off on the longest… ho boy. Okay, there’s a lot here.

First off: This is before the tournament, and the next two images that I will be looking at are also before the tournament (the one with Lloyd falling), due to the fact that they are wearing their normal suits.

Second: The Matriarch. In the Kingdom of Madness area. As many people have already been guessing, this is likely where she thought to settle next after getting forced out of their previous home. But also, she looks… bigger? Idk maybe that’s just me. I also keep thinking that it’s the Energy, the Source Dragon that was imprisoned, or that it kinda looks like a bigger Zanth, but I’m probably wrong with that, as that doesn’t make much sense.

Either way, the kids seem to have to help her with something. And, to me, she almost seems… hurt? Like she didn’t call them there to chat or catch up with Riyu, but that she desperately needs help, perhaps something about her horde. Anyways, it concerns me deeply, especially with the next image in mind, which I cannot imagine being before that first one.

Other’s have been saying it and we all know it: that in the background looks like an Administration computer. The problem is that… it’s not the usual color (which was I think green? Berate me if I’m wrong)

So, what do I think happened here? I think the pictures directly correlate. I think what’s gonna be happening here is that the Matriarch wanted to move to this place within the Kingdom of Madness, the Administration was notified of the wrong kind of dragon activity, and is then trying to get them back out, most likely by capturing and deporting them, but maybe also something worse— who knows at this point. Somehow, the Matriarch got hurt, that’s for sure. Maybe she fought them, who knows. What I think will then happen is that either the kids attempt to find where they took the dragons, or they, too, will be captured and brought back.

What happens after this is entirely illusive to me. Of course they could be seeing Jay in that second screenshot, but somehow I doubt it (if this prediction comes true I’m gonna lose my fucking marbles). Either way they are seeing something that’s not normal, which has got to be something extreme, considering Arin has been in that place and has most likely told Sora about it. Maybe they just set off an alarm and that’s why it’s blaring red? Who knows. I sure don’t.

And these screencaps are just as a mystery (as said, these are very likely pre-Tournament, as Lloyd is still in his climber suit)

But what I haven’t seen a lot of people say yet is that we do know who that dragon is, as it appears to be Heatwave (you can see his face in that split second, in the first screenshot). It looks to me as if Lloyd was either deliberately jumping to one place and Heatwave caught him as to prevent that (for whatever reason?), or Lloyd somehow ended up in this falling situation, and HW is saving him (for whatever reason???). Either explanation scares me.

And last, but oh my god definitely not least, we have this clip of Motion. She is so gorgeous I don’t know what to say.

So I’ll just repeat what others have been saying, which is that this is likely in the first episode and the way that the ninja actually get their invitation.

Also I lied I do have smth to say: I feel like this could correlate to that one part at the beginning with Lloyd’s nightmare, where he also sees Motion. Perhaps Lloyd will be convinced that following this invitation will be a bad thing, since he saw it in relation to the other bad things (such as Beatrix punching him for a second time), but the others will convince him, for better or for worse.

Either way, this means that the invitation is personal. We can assume that this will not be some sort of trick by others, but that this is really Motion, inviting them to the tournament, as she was also one of the SDs that was up for helping Lloyd. This makes me ever more so believe that whatever the prize of the Tournament is could potentially result in Kai’s return.

Anyways, that’s all from me. I hope this ramble wasn’t too unorganised, I’ve been writing this for………..an hour. I am normal about this show I swear.

[spidergvven]

if i have to see one more pedantic fan analysis of the last of us that revolves entirely around the conviction that joel was 100% objectively right for saving ellie bc "the cure wasnt real" or "the fireflies didnt have the medical expertise to create a cure and would have killed ellie for nothing" or "there arent cures for fungal infections in the real world" im going to scream. why are all of you so allergic to genuinely morally complex stories. why do you have to compulsively strip away all conflict in a narrative so that your faves are always right and correct and good. your takes are boring. they make the story boring. its so much more vastly interesting if the cure is real and joel saves ellie anyway, dooming the world. its so much more interesting if we as the audience want joel to save ellie anyway, regardless of if it dooms the world. its so much more interesting to grapple with the moral and emotional conflict in the story and in ourselves instead of cowardly shying away from it.

[magicaldragons]

Prabhas' depiction of Deva's emotions:

or more specifically, their supposed 'absence'

his character was MADE to be that way.

the only emotion we've seen him feel in the present is a child-like sort of contentment (and we've only seen that around the kids) or rage.

any peace or even the ability to express any other emotion freely does not come to Deva easily.

he is currently in a state where only rage serves him any purpose, and the only thing that can come closest to giving him any joy, is when he's interacting with children.

to add on, he does have a sense of guilt attached to his violence now, even though it comes so naturally to him, because his mother has made it something that brings him shame to express but he is so familiar with the emotion, that if he's restricted from showing it, he may as well stop himself from feeling anything.

so prabhas choosing to play the character like this, including prashanth's direction of his character, is very deliberate: it takes effort (in it's own way) to act emotionless while maintaining screen presence and intensity

adding onto that, we see deva multiple times, show very nuanced, specific emotions throughout the movie:

which shows that deva (and by extension prabhas) expresses emotion, but the state he is in right now, has him "shutting off" his emotions, unless it is in regard to his mother, or varadha, and that is definitely intentional.

[fruity-pontmercy]

Les Mis adaptations and apolitical appropriation

I think it's no secret on this blog that I love the original Les Mis 1980 concept album in French, and that I also love comparing different versions of the stage musical. I've noticed that Les Mis seems to get progressively more vaguely apolitical as time goes on, not only in the way it's viewed in our culture, but in the actual text as well.

It's natural for specifics to be lost in adaptation. It's easier to get people to care about 'the people vs. the king' in a relatively short musical rather than actually facing the audience with the absolute mess that were 19th century french politics (monarchist orleanists vs monarchist legitimists vs imperialist vs bonapartist democrats vs every flavour of republican imaginable). Still, I feel that as time goes on, as more revivals and adaptations of the stage musical come out, the more watered down its politics become. Like, Les Mis at it's core is just meant to be a fancily written, drawn out political essay, right?

In a way I feel that the 1980 concept album almost tried to modernise it with its symbols of progress. Yes, through Enjolras' infamous disco segment (and other similar allusions to the ideals of social change), but perhaps most interestingly to me, through one short line that threw me off when I first heard it, because it seems so insignificant, but might actually be the most explicitly leftist line of all of Les Mis.

"Son coeur vibrait à gauche et il le proclama" (roughly "His heart beat to the left and he proclaimed it" i.e: he was a leftist) Feuilly says, while speaking of the now dead général Lamarque in Les Amis de L'ABC.

What's that? An actual mention of leftism??? in MY vaguely progressive yet apolitical musical??? More seriously, this mention of leftism, clashing with the rest of the musical due to it's seeming anachronism, is interesting not because it's actually more political than anything else in Les Mis, rather, because it's not scared to explicitly name what it's trying to do.

But we've come a long way from the Concept Album days, it's been 43 years, and Les Misérables is now one of the most famous and beloved musicals in the entire world. It's been revived and reimagined and adapted in a million ways, in different mediums, in different languages and countries, and it's clear that it's changed along with it's audience.

On top of pointing out a cool line in my favourite version of the musical, I wanted to write this post to reflect on the perception of the political message of this work. We as a Les Mis fandom on Tumblr are very political, I don't need to tell you that, however, I feel that because this very left leaning space has sprung out of a work we all love so much, we oftentimes forget to revisit it from a more objective point of view.

Les Misérables has a history of being misrepresented, this has been true since it's publication, since american confederate soldiers became entranced with their censored translation Lee's Miserables. However, with it's musical adaptation, this misinterpretation has been made not only more accessible but also easier. As much as I love musical theatre and I think it is at it's best an incredible art form able to communicate complex themes visulally by the masses for the masses, I think it'd be idealistic to ignore the fact that the people who can afford to go see musicals regularly are, usually, not the common folk. Broadway and the West End are industries which, like most, need money to keep them afloat, and are loved people of all political backgrounds (and unfortunately, often older conservatives) not just communists on tumblr. We've seen the way Les Miz UK's social media team constantly misses the mark regarding different social issues, and the way Cameron Makintosh has used the musical to propagate his transphobia, and most of us can agree that these actions are in complete antithesis with the message of Les Misérables as a novel.

But I must ask, how does Les Mis ,as a West End musical in it's current form, actually drive a leftist message, and how are we as a community helping if every time someone relating to the musical messes up if we just claim they "don't get it"?

I'm thinking in particular of incidents like last october, where Just Stop Oil crashed Les Mis at the West End. Whether you think it's good activism or not is not the question I think, this instance is interesting particularly because it shows that, outside of Les Misérables analysis circles and fandom spaces, it is not recognised as an inherently leftist, political or activist work, and instead of just saying they completely missed the point of the musical, I think it'd be interesting to take a step back and look at what the musical as it stands actually represents in our culture today.

I don't pretend to have all the answers, so I won't try to give one, but I do hope we can reflect on this a bit.

[caligvlasaqvarivm]

wanna ask how you feel about the eridan bpd headcanon/theory(?? not sure what to call it!) you're so good at your character analysis and i'd love to see your outlook on it

Since I don't have a degree or any formal training in psychology, I feel deeply uncomfortable diagnosing characters. I've made an autism joke before but only because I'm on the spectrum. He's definitely traumatized and anxious, but I mean those as descriptors of his behavior rather than capital-D Diagnoses. I try to focus on those when I can - the cause and effect of cognition, self-image, and behavior - and those factors may very well match up with DSM criteria, but I try not to touch an actual diagnosis with a ten foot pole unless the author has explicitly stated that X character has Y condition.

[fluffypotatey]

That is, huh. A lot more of a thought out response then what I was going for lol. I was like “what little rat does that remind you of” “the dude spying in the castle just now” when I rhetorically said “what shadowpeach does that remind you of” and you debunked it 😭 but since we’re talking about this now

Wiki calls em “an interconnected, self-perpetuating cycle. Yin and yang can be thought of as complementary and at the same time opposing forces that interact to form a dynamic system. Yin and yang transform each other: like an undertow in the ocean, every advance is complemented by a retreat, and every rise transforms into a fall.” Idk about you but with Mac getting chaos powers, I figured the show might take inspo from this, what with the cycles and all too. There might be an opposite “order” power in contrast to Nines. If Pandora’s box is literal, MK is “hope” there’s a lot of other symbolism fandom likes the stereotypically portray into their ShadowPeach lol. But they have day/night too. Nobody has to think too hard to take inspo, and most shows don’t in my experience. Shout out to Ninjago and ATLA just mixing culture and language in a way that annoys people and placing it under one umbrella.

well i mean, lmk is already playing with the themes of order and chaos. except there Order was on the side of the antagonists while MK was Chaos (being the harbinger and all). we saw it with LBD and Azure and now with Nines

also, lmk’s order can be seen when it talks about Fate and Destiny and even the “story”, but in a way where they are shown as being too fixed and bureaucratic compared to the lessons being taught to MK and by MK which are “your fate (order) is your own and can only be determined by you.”

we had it with MK telling LBD “do you really think the universe cares about any of us?”

we had it when Macky told MK “if you tread the paths already carved for you, then you doom yourself into a self-fulfilling prophecy”

we have it even more explicitly in s5 from Wukong: “sometimes you need to carve your own path and fuck all the rest”

lmk is all about finding that balance between the chaos of your mind and the forced order of the world around you. our own daily ying and yang that we must balance, and that is why i don't place those themes with shadowpeach just because it takes away from the crux of the show where it’s original focus is on MK and how he changes and grow throughout the seasons

tbh i think their day/night themes with ying/yang are significantly minor. the major focus with them is the themes of betrayal and reconciliation and past haunts

[orbmanson7]

What are the others' thoughts on Logan?

Patton thinks Logan is lucky for not having to deal with strong emotions, that he isn't bogged down by them and can keep doing his job every day, seemingly unaffected and staying calm, cool, and collected all the time.

Roman thinks Logan is confident and knows everything, always able to back up what he says with facts and research, and never needs to lie to save face or feels any need to dramatize or exaggerate to entertain or win approval. He may understand Logan doesn't like failure, but he doesn't think Logan understands true rejection and betrayal and how deeply it cuts one down and demotivates them from trying again.

Virgil can more easily tell Logan does experience some emotions and sees that maybe Logan isn't quite as confident in himself as he acts, but he believes Logan is brave enough to carry on despite that, and that Logan doesn't spend lots of time thinking about all his past mistakes, allowing them to weigh down his current and future decisions. He thinks Logan keeps his chin up and keeps moving forward and doesn't ruminate on how things could go wrong or went wrong already.

Janus likely recognizes Logan's necessity to Thomas, his aim to provide knowledge and objective reasoning when Thomas makes his decisions, but he thinks Logan enjoys being useful and hardly longs for anything beyond that. However, he knows deeply well that Logan lies, both to others and to himself, quite a lot.

And Remus only had to stop and observe Logan for a tiny bit of time to realize Logan hated being ignored and that Logan was trying to fix all of Thomas' problems on his own, and while he'd rather see what kind of chaos could come from Logan demanding attention of his own, he may not believe Logan truly understands what it means to be lonely and desperate to be seen in a positive and accepting light for your passions. Even if he can agree with Logan's desire for attention, he doesn't think Logan's struggles run as deep as his own do.

All the other sides believe they know a lot about Logan, that he has strength in his supposed weaknesses, but none of them have the full picture.

It's interesting, though, that Patton and Roman seem to know him the least, but Janus and Remus seem to understand him the most.

[lavenderjewels]

Never getting over this scene. the chapters right before this of gojo thinking quickly while dozens of people get killed but not hesitating in making risks. all this cool guy behavior only to be completely frozen by the corpse of his best friend saying his name. right when there’s a flashback of jogo saying not even a thousand lives could distract him, but kenjaku knowing without a doubt geto’s could.

Then gojo immediately experiencing for the first time what he just put others through by activating his domain. Reliving years of his past actions and experiences with geto (who marked his “youth”) in just a moment.

Meanwhile, Kenjaku is taunting Gojo for not getting rid of Geto’s body or forgetting Geto when we know Kenjaku fully centered their plan around Gojo being affected by Geto. And with Kenjaku knowing Geto’s memories, Gojo’s last words to him, and the throw away line that Gojo couldn’t destroy the body after JJK 0 despite acting positive afterwards with his students... It’s so heartbreaking, but incredibly written

[setaripendragon]

JSaMN Readalong Liveblog - Chapters 2-3

Honestly, I have no idea if I'll be able to keep up with this, the first one took an entire afternoon, and while I have a lot of free time, I'm not sure I have that much free time XD Either way, I'm going to try, and see how I get on, because this is rather fun, if time-consuming. I've never actually taken the time to write down my thoughts as I read a book before. My approach to fiction is generally that if I'm not so absorbed I forget the real world exists, I'll go read something else, which makes this sort of liveblogging a bit impossible. Alright, here we go.

Chapter 2 - The Old Starre Inn (January - Fabruary 1807)

Every time I read or hear 'the old starre inn', my mind puts it to the tune of The Magician in York. (Warning: song contains spoilers up to chapter 4 of the book, I think.)

Narrator: Chapter 2: The Old Starre Inn Me: All on a winter's day~

I find it very interesting, the fact that Norrell gives them no specifics as to the magic he's done. After all, he hangs so much pride on his status as a practical magician that you'd think he'd want to show off. But it doesn't feel at all out of character, as he sees these 'pretend' magicians as so far beneath him that why would he need to?

Which is in such contrast to Honeyfoot's impression of him as 'humble' that it's funny. But at the same time, I don't think Honeyfoot is entirely wrong in his impression of Norrell. 'Shy' perhaps gives the wrong impression, but I get very vivid vibes from Norrell of that loner kid on the playground who no one wants to play with because they're 'weird', except once they settle into their isolation and do something cool because they're just trying to have fun by themself, everyone's suddenly interested in them, and their response is 'fuck off, it's mine not yours'.

"For the nation's good. He is a gentleman, he knows his duty..." This is such an alien perspective to me. I know it's a very common attitude of the time, and something of a theme in the book, but there's a whole commentary here on community and how people's sense of belonging has changed over time that I don't have the brain-power to make right now.

"Magicians in England are a peculiarly ungrateful set of men." I love this sentence. 'Magicians in England' - you mean the rich white gentlemen calling themselves magicians? Ungrateful? Perish the thought! XD

The fact that York is 'one of the most magical cities in England' with the possible exception of Newcastle is such an interesting piece of worldbuilding, and I can't help but wonder if that's a modern (to the book) thing, that simply scholars of magic happened to gather and set off a positive feedback loop, or if there is some in-world... concentration of magic. Given the connection of nature and magic, and the Yorkshire moors being so very iconic, there might be something to that?

Also, loving another little taste of the Raven King mythos, with the mention of 'the King's city of Newcastle'. Honestly, I've never been overly invested in English history (save for Arthuriana, but that's fantasy), but the way this book builds the fantasy on top of a skeleton of truth makes me much more interested in finding out about reality as much as the in-book lore of the place. (Much in the same way Assassin's Creed made me interested in finding out the truth of the history it depicts to better compare the story to.)

I might have to go on a wikipedia spiral about the history of places like York and Newcastle at some point. If these liveblogs don't swallow my entire weekend XD

"We do not care for men who build their reputations at the expense of other men's peace of mind." I do not like this man. (I know I'm not supposed to like this man, he is a representation of the worst sort of self-aggrandizing and complacent entitlement of rich white armchair-scholars, but it bears saying; I really don't like him XD Much respect to Segundus for not punching him in the face.)

"English magicians were only ever given common ivy." Ah, symbolism. I have a lot of thoughts about why ivy, honestly, and I definitely want to do some research on this later, but the phrasing here is so telling. 'Only ever given common ivy', making it so blatantly not some sort of accolade, but something commonplace and unremarkable. There's also the fact that ivy can be associated with neglect, as it's seen so often on old, crumbling buildings, and as a symbol of nature 'reclaiming' or even taking over that which people have built. (Again with the ominous whimsy of this book; the gothic imagery of an old house all over-taken by ivy matched with the tone in which the comparison is made making light of potential drama of the symbolism.)

There's also the correlation between ivy and lovers (ivy clings and binds and twines around things. And I recall reading somewhere about it being used for symbolism in the story of Tristan and Isolde?) but I don't think that's quite as applicable here, even though my brain does love to chew on it.

I'm noticing now, as well, that the author makes excellent use of 'show don't tell'. Instead of simply telling us that the room was noisy and everyone was shouting over each other, though we do get told that, we're also given the example of an old man being very passionate about some point that no one can actually hear over the noise.

I find it interesting because I've been reading a lot of things expressing frustration with the maxim because, I think, people take it too literally. That you must never tell, and only show, which of course will absolutely ruin your pacing and make your story very boring. But this, here, is what I think it means. Of course we could simply have been told 'it got loud as everyone argued', but the art of writing is not to simply tell people what happened, but to make them feel it. And by 'showing' us this little snapshot, by giving the noise a face in this old man who cannot make himself heard over the din, despite being very engaged in making his point, it makes the whole business feel much more real.

Oh, I feel so bad for Honeyfoot and Segundus in this part. Although I find it very interesting that we never actually got to see whether Norrell did do any magic for them. We cut from him confessing that he's a practical magician to Segundus and Honeyfoot leaving, and we don't actually know what happened in between.

And, of course, neither do Honeyfoot and Segundus. Which is deeply, deeply unnerving to me when I think through the implications. Not knowing where you are is one thing, but not knowing where you have been is a whole nother level of creepy. And yet, the narrative doesn't treat it as a particularly horrifying occurance. (Again with the ominous whimsy.)

There is something of a theme of this, too, in the book, with the truly horrifying things that magic makes people capable of being treated as a sort of just a thing magic can do, rather than lingering on the violations of privacy, personhood, and autonomy. Not to say that I feel that the narrative is treating them as inconsequential or in some way not as bad as they really are, but that it doesn't pass judgement on it, and lets you draw your own conclusions (which is a bit refreshing in this resurgence of purity culture in fandom at the moment).

Like, here, Segundus doesn't react with any particular horror or upset at his confusion and disorientation. Which, honestly, I find only heightens my own horror. He's just... sort of vague and fuzzy about it all, even in his emotional reaction to his memory being vague and fuzzy. (Like how someone with mind control telling someone to 'do a bad thing' is not nearly so horrifying as someone with mind control telling someone that 'you want to do a bad thing')

I find this part particularly gave me shivers, when Segundus and Honeyfoot are being questioned about the library and they're asked of the books:

"Had they been permitted to take them down and look inside them?" "Oh, no."

Like, everything else we hear from them is just... an obfuscation of the facts? There were a lot of books in the library, some of them were very rare, and that's the impression they've been left with even if they can't remember the specifics, but that? That, we know for a fact to be false.

Which then very abruptly throws Segundus's previous assertion that he knows for a fact that he hadn't seen any magic done into doubt.

Honestly I think that whole sequence is masterfully done. Because at the time, the way Segundus explains it, we're given no reason to doubt his assertion. He says he feels as though he saw magic, but knows for a fact that he didn't. Which can very easily explain away his awareness of the extra lighting and the... (I keep wanting to call it a maze-array, but that's the wrong fandom XD) directionlessness of the hallway, as him having the sense of magic, but not, actually, knowing for sure it was such because neither he nor us the audience were shown Norrell actually casting those spells.

Except then we get that blatant untruth, and suddenly that blank space of time between Norrell's confession at the end of chapter 1 and Honeyfoot and Segundus leaving at the beginning of chapter 2 just opens up with posibilities.

There's also the contrast between Honeyfoot merely being affected in the moment he tries to explain, and Segundus having felt 'heavy and stupid' for the entire week in between meeting Norrell and meeting with the Society. I do love how clear it is already that Segundus is sensitive to magic, the way he noticed so clearly the magical lighting and direction-obfuscation in the last chapter, and now this.

"Other men may fondly attribute their lack of success to a fault in the world, rather than to their own poor scholarship." "But what is my reward for loving my art better than other men have done? For studying harder to perfect it?"

Ooooo burn! He's so catty. What an asshole (affectionate)! Not to say that the Society (and Foxcastle in particular) don't thoroughly deserve it, of course. Everyone in this room is so ready to be offended, they're actively looking for reasons. Their lives must be so incredibly boring that this is how they choose to entertain themselves, holy shit XD

Oh, god. This attorney guy. Robinson. He is so... He's something, alright. "He was so clean and healthy and pleased about everything that he positively shone, which is only to be expected in a fairy or an angel, but is somewhat disconcerting in an attorney." No kidding. And during the whole scene he's so... blandly inoffensive and faux-innocent and defferential that it puts my hackles right up. He is deeply unnerving to me.

'This would be only fair' he says, of a deeply unfair and rigged agreement designed solely to punish them. 'Then surely they would recognise magic when they saw it' he says, as if he's not perfectly aware that they've just been given an incentive to fucking lie about it. 'All your friends have done it' he says, as the only argument he can come up with to try and coerce Segundus into signing the agreement. (Once again, much respect to Segundus for not punching this guy in the face.)

Yuck yuck yuck yuck yuck. Creepy motherfucker.

I love the descriptions of scenery and environment in this book so much, they're so damn evocative:

"The very voices of York's citizens were altered by a white silence that swallowed up every sound." "The winter gloom was quite gone, and in its place was a fearful light; the winter sun reflected many times over by the snowy earth."

Oh. Hmm. I can't be sure, but I think this is the first time the narrator has inserted themself quite so blatantly into the narrative. Things have been couched as observations before, but I don't remember before this the narrator actually referring to themself, or directly addressing the reader, or positing an opinion of their own? (I may have to go back and listen to chapter 1 again to check...)

"brooding blue shadows of the cathedral's west face" "sailing magisterially around the corner like a fat black ship" "he had a strong thin face with something twisted in it like a tree root" More great description and more adjective-adjective-noun phrases.

And then we come to Segundus and Childermass's second first meeting. Again, I feel so bad for Segundus, having his mind and memory messed with like this, but, if you'll excuse me a moment, -shipper goggles on- Segundus still remembers him! "I've seen you... I can picture you! Oh, where?" Can't remember so much as taking down the books that so enthralled him in the library never mind reading them, but he remembers Childermass.

"He thought John Childermass very insolent." Aaaaa, that's my blorbo! He's so cheeky, I love him so much.

"Several looked about them before going inside, as if taking a last fond farewell of a world they were not quite sure of seeing again." And we end the chapter on yet another absolutely magnificent line. Not quite the almost-cliffhanger of the first chapter, but still extremely tantalising, baiting the reader with questions about what, exactly, is going to happen next.

Hmm. Since this one isn't quite as long as chapter 1, I think I'm going to stuff chapter 3 in here, too; try and condense things a little bit XD

Chapter 3 - The Stones of York (February 1807)

"The cold of a hundred winters seems to have been preserved in its stones and to seep out of them." I have been in old churches and this is entirely accurate. I've said it before and I'll say it again, the description in this book is really top tier. Simple, but incredibly evocative and poetic.

"Bells often went with magic, and in particular with the magic of those unearthly beings, fairies." More symbolism, and this one I know less about, but at the same time, it feels right in a way I can't actually explain. Just that the vibes, the atmosphere it creates of bells being this ominous sound associated with something dangerous.

That being said, on thinking about it, I find it very odd that bells are symbols of fairies in this book for two reasons. One is the way that humans often get referred to as 'Christians' as a whole (I remember this gets explained later as a consequence of fairies being bad at telling the difference between humans, I think?), and church bells are the most commonplace example of bells I can think of. So why, then, are bells so specifically associated with fairy magic when there's such a strong connection to the way the book talks about the people who are not fairies?

And also, one of the primary uses of bells, with more significance in the past but with the tradition continuing on to this day, is to tell the time. To put order and structure on the otherwise abstract passing of the day. Which is in direct contrast to everything else we've been told about magic so far. Magic thrives in the places that are not structured to suit humans. Trying to impose scientific reason on magic kills it.

...Okay, I am definitely reaching here, but it just occurred to me that the other primary use of bells is as a warning. I can think of a bunch of examples; ye olden ships and fire-engines, castles and forts and such. All used to say 'something is wrong, action must be taken to avoid disaster'. And that makes me wonder if the bells are less a product of the fairy magic and more, perhaps, some other magic acting as an alarm.

And the only person I can think who could have cast such a wide-reaching, long-lasting spell would be the Raven King. And wouldn't that make sense? Wouldn't a King want to have a warning that some other being is trying to abduct one of his people?

...I'm reaching, but I really like this theory actually. Even though we knew the Raven King had no compunctions about stealing his own subjects away himself. (I still think it fits, as a King would feel entitled to privileges that others would certainly not be permitted.)

Which is a whole 'nother thing I have thoughts on. It's very interesting that the second real bit of information we get about him (after the bit about him having 'only three' Kingdoms being mentioned in one of Norrell's books. I think that's the only time he's actually directly named before this?), is that despite being an Englishman, he has the fairy habit of abducting people to other lands. And that ballad about it!

"The priest was all too worldly, Though he prayed and rang his bell, The Raven King three candles lit, The priest said it was well."

What is this? What does it mean? It does answer a bit of my speculation about bells, I think - they're used as a warning/warding off it seems (given that it's paralleled with praying) - but then there's that bit about the Raven King lighting candles and this, presumably, causing the priest to say 'oh alright then, do carry on'? I'm gonna have to keep my eye out for any more candle symbolism as well, I think.

"This land is all too shallow, It is painted on the sky, And trembles like the wind-shook rain, When the Raven King goes by."

-shakes fist at the author- You weren't content giving me chills with your description in prose, now you're doing it in verse?! -weeps- God. God. I don't have words for how this makes me feel. I am going fucking feral. I want to print this song out so I can eat it. Fuck.

And it's followed up by the narrator absolutely roasting the Magicians of York, which is making me cackle far more than it probably should because I'm still high off that absolutely unnecessary bit of poetry.

I love the way the narrative builds up to the magic. We get the bells, and then a voice, and then what it's saying, and then another one, and then that it comes from a statue, and then the rest of them, and between all of it we get these elaborate descriptions of the magicians reactions and fears.

Going back a little bit. The tale of the girl with the ivy leaves in her hair. This coming in the very next chapter after we were told that magicians are associated with ivy I think can't be a coincidence. And I wonder if the girl being a magician might not be a part of why the stones care so much about her murder? Not that I think murder inside a cathedral is all that common, but I find it hard to believe it only happened once in over 500 years.

"Kings, even stone ones, dislike above all things to be made equal to others." Hmm. Given how many Kings we have this story, I have a feeling this is Significant.

The fact that the stone statues that were to be repaired flinched from the chisel is... Oof. The idea of stone having a concept of harm, enough to fear it, is wild. And it raises the question of how... aware of what they are the statues are. Obviously we have the examples of kings bickering and quarrelling because they do believe themselves to be kings. But are they aware that they are statues of kings, or do the truly believe themselves to be those kings? The first statue seems aware, talking about how 'no one saw but the stones', instead of 'I saw'.

And if they know that they're stones, then... what does it say that they're afraid of the very thing that created them in the first place? Or is the fear of being 'remade' into something different? Is it particular to that statue, and another might welcome the chance to transform?

...Apparently I am my father's child.

My dad: But what is it like to be a tree??? -overthinks it- Me: But what is it like to be a stone??? -overthinks it-

I love this conversation between Segundus and Childermass. Childermass is coming at the thing so side-ways and sneaky, and yet... he's so blatant about it? It's so obvious right from the very start that he's leading up to something, and then he just... waits for Segundus to offer, instead of actually just asking? It's such a weird approach to take.

Also, the fact that we get another of those lovely poetic descriptions of the snow and the clouds as Childermass is waiting really gives the sense of a long drawn-out silence, and I can't help but laugh at the idea of this bizarre little stand-off, these two men just... staring at each other in the snow.

-shipper goggles on- "Until all the world contained was the falling snow, the sea-green sky, the dim grey ghost of York Cathedral... and Childermass." Perhaps it's an aspect of the audiobook that doesn't come through quite as strongly in the text, but the weight put on that last? Putting him on the same level as these... rather ephemeral, magical things, the natural phenomena of the snow and the sky, and the 'ghost of York Cathedral'? As well as the contrast of these... pale, dim, ghostly things, to Childermass who's so often described as dark and ragged. Even without that description here, it makes his presence so stark against this hazy, light backdrop. (And all this implied to be from Segundus's persepective =3)

And then there's all those compliments Childermass pays Segundus once he's gotten what he wanted, too XD (Even if I do kind of get the sense that Childermass doesn't necessarily mean them entirely as compliments. I don't think he thinks very well of people who are too obliging, tbh.)

You know, this is very much my brain veering off into the wilds here, but the thing about Mr Honeyfoot pursuing the tale of the girl with the ivy leaves makes me think of... this idea I've had for a while, mostly inspired by a JSaMN fanfic, On the March, where Childermass 'wakes up' the Yorkshire moors, and the notion of how magic, which in this book is so tightly tied to nature and the wild, could so easily be affected by the location in which it's done.

And if a place like York Minster can be aware of what's going on even when magic isn't being done upon it... then are the stones aware of Mr Honeyfoots efforts on their behalf? Do they see, for whatever value of sight they possess, him fighting this battle for them, and does this earn him anything from them? Can a stone feel gratitude? Is there some reciprocity or good will there? Does Mr Honeyfoot forge a bond of some kind with, or win the favour of, the Stones of York Minster?

There's a fic in this somewhere. (Mr Honeyfoot gets into a disagreement inside the Minster, and a stone drops onto the head of his adversary. Crumbly old buildings, you know, someone ought to check and make sure it's not going to happen again!)

'The Last Magician in Yorkshire' Now there's a phrase you could build an entire other story around. Another quite powerful end to a chapter, though not quite as gripping as the last two.

Well, I'm glad these two were somewhat shorter than all my thoughts on chapter 1. And I'm now more than half way through this week's chapters. I hope I'll be able to get 4 and 5 done tomorrow (or later this evening, maybe, if I feel like it?)

[revolutionary-demosthenes]

In spite of Schuylers black eyes, I have still a part for the public and another for you; so your impatience to have me married is misplaced; a strange cure by the way, as if after matrimony I was to be less devoted than I am now.

Alexander Hamilton to John Laurens, September 16, 1780

I was just re-reading this quote for the first time in a while, and realized it’s got some unique qualities that point to its integrity as a piece of evidence.

With the Laurens-Hamilton relationship, how many possible meanings a letter has is almost more important than what is said in the first place. This isn’t a quote that can be excused as humor or teasing or “how people wrote back then.” It’s a serious quote from Hamilton that talks about his relationship with Laurens, which we don’t have to many of. It’s not like the beginning of the April 1779 letter, which can be brushed off as “how people wrote.” It’s not innuendo that can be excused as “bawdy humor.” It’s a serious and non-flowery or sentimental sentence which contains many elements that point to a romance between Hamilton and Laurens. There is no other strong explanation for Laurens to be directly compared to Schuyler. (And especially the “black eyes” part-- in spite of something Hamilton is attracted to about his wife, he still has a “part” for Laurens...) The rest of the quote is even more implicating-- why would Laurens want Hamilton to be married so that Hamilton’s affection would wane? Why would their relationship need a cure if it was a socially acceptable friendship? 

tl, dr: Because Hamilton’s writing is so direct and clear, with so few opposing interpretations, (but many implications!) or the ability to be construed as a joke, this letter is a pretty unique piece of evidence, and one of the strongest to suggest a Laurens-Hamilton relationship. (And good for refuting criticism.)

[theydonthavenames]

We need to talk more about Simon's purple 'technic' t-shirt because it's iconic. So Simon wore it A LOT underneath his clothees- which I didn't notice it on my first watch but a lot of people point it out now and I'm mindblown 🤯 it's the ultimate symbol of Simon's unconditional, continuous love for Wille and it's always been there, the whole season. Sometimes it was fairly visible, and sometimes Simon tried hard to hide it but it's almost like that t-shirt had a life of its own and always found its way to the surface- it's sticking out from under his sweatshirts so many times I even noticed and got into teenager mum mode thinking 'get yourself dressed properly boy, your t-shirt it's sticking out' 😂 but omg it was there on purpose! The amount of times Simon wore it, it must be the most overworn piece of clothing they had on set. We obviously know it now but means his heart was with Wille all along, he never stopped having feelings for him.

Also, I can't believe I cried over a fucking purple t-shirt when I realised the symbolism of it. This show will be a death of me 💀

[dooodle-bug]

This is symbolism in his hair strand. it falling back down is symbolic of belos taking hold of him again and having him revert back to what he was "supposed" to be instead of his hair being back up, symbolizing who he truly is.

on another note belos was able to possess him by going through his BLOODSTREAM.....

[investsafely]

Weekend Stock Market Outlook - February 11 2024

Stock Market Outlook entering the Week of February 11th = Uptrend ADX Directional Indicators: Uptrend Price & Volume Signals: Uptrend ANALYSIS The stock market outlook shows an uptrend in place, as U.S. equities continue notching all time highs. The S&P500 ($SPX) gained 1.4% last week (again).  The index sits ~5% above the 50-day moving average, and 12% above the 200-day moving average.  Since…

[butterflieswhisper]

okay so what i've gathered is beastlife season three finale + semifinale is going to be absolutely miserable for me and i should clear my schedule to deal with the emotional impact. fantastic. swagever