#the finale was a PERFECT encapsulation of the themes of the show

[thelaurenshippen]

bill hader wins the prize for being the first person to ever make me spontaneously yell 'oh you're fucking KIDDING me' at the penultimate frame of a tv finale

[madaqueue]

Lost Cherry

pairing: yuta okkotsu x f!reader

themes/content: dark content. yandere/stalking. non-curse modern college au. language, smut. scent kink (?), alcohol consumption, drugging (no nsfw during), oral (f receiving), semi-public sex. 18+, MDNI

word count: 2.8k

a/n: "i love this guy and whatever undiagnosed anxiety disorder he has" is my fav yuta quote i've ever heard and honestly...me too (and yeah this is based off the tom ford perfume what about it)

Yuta noticed everything about you. How could he not, when the essence of perfection, an angel reincarnate, was here before him?

He truly saw you, his dark eyes boring into your soul as he soaked in your every move, every reaction, every thought.

When you met him your freshman year of college you thought he was sweet, albeit a little strange, his intense gaze putting you slightly on edge for a reason you couldn’t quite pin down. But nevertheless he was always the perfect gentleman, holding every door for you, driving you to class when it rained, bringing you your favorite foods when you were sick. He did it without question, as though caring about you came second nature to him, like it was his one true state of being.

The two of you continued growing closer over the years, sleeping on each other’s couches when study nights ran long, going to concerts of a band you loved together, cooking your favorite foods. It was almost uncanny how similar you two were, sharing the same taste in everything, Yuta’s smile never faltering as you gawked at him in disbelief when he recognized the obscure reference you made or when he happened to guess your coffee order. “I guess it’s just fate,” he’d grin as you laughed in awe.

But it’s not fate, he thinks. Fate would never be so careless as to risk letting you slip from his grasp; no, it was him. Time and time again he outsmarted the universe, foiling its plans to separate you. He knows you because he sees you, understands you, in a way no one else ever will (he’ll make sure of that). It wasn’t hard, really - he was always naturally observant, calculated, patient. All he needed to get close to you was a few chance meetings, accidental run-ins, where he could show you just how much he cares about you. And you, being as sweet and kind as you are, fell right into his open arms.

He loves you because he sees you.

He sees the way your lips curl into a smile as you sip your drink from across a crowded bar, a slight frown forming across your features as some pathetic excuse for a man tries to speak to you, making an idiotic joke you politely laugh at; he sees how you fidget with your hands, pulling at the chipping nail polish during class, a tell-tale sign you weren’t understanding the material (and an opportunity for him to explain it to you later while you studied); he sees the way you move when you’re alone, when you think no one’s watching, when you finally let your guard down and ease into the truest form of yourself.

It’s almost like you wanted him to see you, presenting yourself to him like a book with the pages peeled open and the cover ripped off, making it impossible for him to look away. It was only natural for his eyes to wander the words of your soul, mastering the lines and sentences of what makes you you.

So it’s no surprise when he gifts you a perfume that perfectly encapsulates your energy, your essence. After months of searching he finally found one that met his standards, living up to his mental representation of who you are. He knows you’ll love it, and you do - you begin wearing it everyday, the sweet scent of your skin filling his senses whenever you step into a room. The warm, amber notes become equivalent to you, a signal of your presence, a smile gracing his lips every time it wafts by him.

The one thing he doesn’t tell you is that he bought a second bottle, just for him, his best kept secret, the cherished liquid that evokes vivid memories of your laugh, your eyes, your skin, your voice, your everything when he smells it.

It’s harmless, really, when he sprays it on his pillow to help him fall asleep, calmness immediately washing over him as he pictures you there, holding him. He could practically feel the warmth of your body in his empty room, imagining how your soft hands would trace his body.

And when he wakes up, the scent of you still lingering, a smile graces his face as he nuzzles into the cool pillow.

It’s not his fault when he grows dependent on it, spraying the liquid into the air as he screws his eyes shut, picturing you. The way you’d kiss him, how smooth your skin would be, how soft your lips are, how your hands would feel wrapped around his cock, how warm and tight your cunt would feel around him. As he slides his fist around his length, he can’t help but moan your name, the idea of you filling his mind.

You.

One word, all-consuming. You occupy his thoughts, cloud his mind in bliss, every waking second. He loves you, he loves you, he loves you.

So when he sees you at a house party, wrapping your arms around his neck as you go in for a hug, why the fuck do you smell different?

“New perfume?” he asks, trying to hide how visibly taken aback he is as he pulls away from you.

Nodding, you take a sip of the drink in your hand. “Mhm,” you hum over the music. “Friend got it f’me. Y’like it?” you slur slightly, swaying in his grasp.

“I-it’s nice,” he stutters, his fingers beginning to dig into your arms.

How could you?

Glancing down, he notices the nearly empty cup you cling to, mind racing as he formulates a plan. “Want me to get you another drink?” he asks, steadying his thoughts and tilting his head innocently, hiding the rage he feels behind his dark irises.

A soft smile tugs at the corners of your mouth, lip gloss glowing under the LEDs, as your eyes lazily make their way up to his. Reaching out a hand you ruffle his hair, placing a sticky kiss to his cheek. “You’re s’sweet Yuta,” you murmur against his skin, holding your glass out for him to take.

This would be sweet, if it wasn’t for the vile, traitorous perfume that suddenly overwhelms his senses. It’s too floral, too dry, too not you.

“Be right back,” he purrs, placing a kiss to the top of your head before stepping away, afraid that if he stayed any longer he would do something he regrets.

Besides, he can’t pass up this opportunity: he gets to show you he can take care of you, how much he adores you, and get rid of the chance that anyone thinks they know you like he does.

When he returns, you don’t even notice the weird taste in your drink; why would you? You trust him, like you should. When your body starts to feel too heavy, legs struggling to keep you up, you lean on him, like you should. When your head begins pounding and you just want to lay down, you let him take you home, like you should.

In the comfort of your apartment, one all too familiar to him, he helps you change into pajamas before bundling you up under the blankets of your bed. You look so sweet, so innocent, as your head rests against the pillow, eyelashes fluttering as you ease into sleep.

Your mind is cloudy as you rest, body still pulsing with each beat of your heart, suddenly sensing his weight shifting from where he sits at the end of your bed. “Yuta?” you whisper weakly.

He could melt just hearing you call his name, your voice like honey. “Yes?” he responds, turning his head over his shoulder to face you.

“Stay,” you murmur, reaching a hand out to him.

God, he could die happy right here. He could afford a few hours of sleeping next to you, right? It’s not like there’s any urgency now, he’s already lined everything up, now he just has to knock it down.

“Okay,” he breathes, getting under the covers next to you.

The warmth of your body envelops him as you lazily wrap your arms around his torso, uncoordinated motions to keep him, your one source of stability, close to you. Your thoughts are fuzzy as you fade into Yuta’s softness, letting him overtake your mind. Shifting his weight he leans into you, head resting on yours as you bury your face into his chest. He holds you against him, the scent of your shampoo lingering on your hair, a familiar one, a kind one.

He waits until your breathing slows, soft snores leaving your throat as you rest peacefully against him. Gingerly untangling his body from yours he rises, making his way to your bathroom. Sitting atop your counter is the target of his task: the sacrilegious bottle of perfume. It takes so little for him to knock it off the ledge, glass shattering as it hits the tile, the strong smell suddenly overwhelming the confined space, making his stomach turn as he pictures you in it. Never again.

He softly pads back to your bed, careful not to wake you as he rejoins your shared warmth under the comforter. Overwhelmingly pleased, his heart races as a contented grin spreads across his face.

When you question him about it the next morning, it’s easy to brush off.

“Yuta?” you question sleepily after you return from the bathroom, “Do you know what happened to my perfume?”

Normally the frown across your face would haunt him, tugging at his heartstrings to see you unhappy, but now it takes everything in him to not show his excitement. “Dunno,” he shrugs, “maybe you knocked it over last night?”

“Mmm, probably,” you hum, settling back in next to him as your head rests on his chest, hoping you don’t notice how his heart races at the contact, your mind still too foggy to realize you never even told him that the bottle broke. “Thanks for taking care of me last night. Sorry I got so drunk, I don’t know what happened.”

“Nothin’ to apologize for,” he reassures, his arms reaching around you, “I like taking care of you.”

“Thanks, Yu,” you murmur, nuzzling your head further into the softness of his t-shirt.

It’s so easy, he thinks. Everything with you is just that, easy: it’s easy to make you trust him, easy to look after you, easy to love you.

So when he sees you a few days later, eating lunch outside between classes, it’s easy for him to go over and sit next to you, the grass tickling his shins as he crosses his legs.

“Hi, Yuta,” you smile, your cheeks slightly rosy in the sun as you lean your head onto his shoulder.

Before he can respond, a familiar scent hits his nose, the one that is so, undeniably, you. “You smell good,” he blurts out, unable to contain his excitement.

A giggle escapes your lips at the sudden compliment, the sound soft and sweet. “Thanks,” you laugh, “it’s the perfume you got me, so I’m glad you still like it.”

“O-of course I do,” he stammers, “I picked it because it’s perfect for you.”

Looking up at him, you don’t miss the slight redness covering his face as his adoration for you begins to slip through the cracks of his resolve. All you can do is continue giggling, the most angelic sound in the world echoing in his mind, as he melts before you. “You’re too sweet, y’know that?” you ask.

Popping one of the cherries you brought for lunch into your mouth, a comfortable silence falls between you as Yuta continues staring at you in awe - how could you be so perfect? He has to stop himself from nearly drooling as he watches your tongue work the pit from the flesh of the fruit, the way your lips move absolutely tantalizing. He has to have you.

Sensing his gaze, you turn to face him. “Want one?” you ask politely, holding the bag out to him.

As you shift the richness of your perfume again wafts towards him in the breeze, tearing down any remaining walls of shame or embarrassment left encasing his feelings for you. Suddenly he leans forward, one hand going to the back of your neck as his lips crash into yours.

The kiss is messy, needy, as his tongue slides into your mouth. His body presses against yours, desperate for more of you, as you fall into the grass. His hands are everywhere, finally able to feel the one thing he’s been thinking about for years, as they roam your body.

Pulling away slightly, you breathlessly try to get his attention with a call of his name, but he doesn’t stop, only shifting his weight to kiss down your neck. Everything about you overwhelms his senses as he sucks against your skin, leaving a trail of bruises behind. His.

Your back arches off the ground as he moves lower, lips trailing kisses down your abdomen over your clothes as his palms grasp at your tits, your stomach, your ass, any part of you he can find, his touch hot. When he begins undoing the button to your shorts, a wave of panic overtakes you as you process what he wants.

“Y-Yuta,” you stutter, your hand reaching down to tilt his chin up, forcing him to face you. As he does, your face flushes at just how feral he looks, his pupils blown wide and lips parted as he pants expectantly.

“Please,” he whispers, “need to taste you,” his eyes moving back between your legs as he continues removing your shorts.

“B-but-” you begin, worried about the chance of being seen if someone were to walk past the small field you sat in, your gaze moving across the open space.

“There’s no one here,” he explains without looking up, sensing your nervousness. “I’ll make you feel s’good, I promise.”

Glancing around, you confirm the absence of any other students or professors, biting your lower lip nervously as you acquiesce.

Frankly, Yuta didn’t care if there was anyone around - once he started, he couldn’t stop.

He tugs your pants off, pausing only momentarily to admire the wet spot in your panties before pulling the flimsy material out of the way, his mouth attaching to your cunt. He moans as his tongue meets your folds, so much better than he could’ve imagined. The sound vibrating against your skin elicits a sharp gasp from you, your hands instinctively reaching down to his hair.

“Yuta,” you whine as his tongue glides up you.

God, he loves the way you say his name; he needs to hear it again.

His palms trace down your body to hold onto your thighs tightly, nearly leaving more bruises against your skin as he pulls you impossibly closer to him. Swirling around your clit he whines as your hips move up, desperate for more friction, his heart swelling at the idea that you need him just as badly as he needs you.

After years of loving you he knows just what to do, exactly how to move to make you feel good, his compendium of your body finally paying off. Slipping his tongue into you, another whimper escapes his throat as you moan his name. Bringing one hand down he roughly circles your clit with his thumb, using the exact pattern he’s seen you do more times than he could count, one he knows is guaranteed to bring you closer and closer and closer.

As your grip on his hair tightens, he knows it’s working.

His mind is flooded with you, your smell, your taste, your sounds, your everything. He loves it, he wants to crawl inside you and live in your heart forever, just like you’ve done with his. He wants to make a home in the corner of your mind, getting to see the most private and intimate thoughts you have that not even he could be privy to.

The only thing tethering him to reality is your soft voice calling his name, the most soothing rhythm in the world as your body begins to shake, heat building as you approach your release.

“Yuta,” you whimper, “m’close.”

Warmth spreads across his body, knowing he’s the one making you feel good, taking care of you, loving you, like nobody else ever could. His motions pick up, messily grinding his tongue against your cunt as you pull him into you. Everywhere he presses feels like flames, heat pricking over every inch of your body.

His name leaves your lips like a prayer as you come undone on his tongue, a series of whines reverberating against you from Yuta as he continues messily lapping you up, desperate for anything more you’re willing to give him.

When he finally pulls his face away from between your legs he’s immediately back on top of you, his lips pressing into yours with the same feral desire. His breath is hot against yours as you taste yourself on him, the entire thing overwhelming your mind as your body comes down from its high.

Pausing for only a moment, his eyes flutter open as he looks down at you, a gentle sheen of sweat across your features, grass surrounding your hair, cheeks a soft pink. Everything about you so, absolutely, undeniably perfect.

“Mine,” he whispers to himself, so quietly you nearly don’t catch it, before his lips are on yours again.

[romchat]

In Blossom visual analysis (ep. 1-7): How to film a gothic romance

Although I'm not completely convinced about some of the writing choices of In Blossom, I absolutely LOVE the show's production design and cinematography. @mademoiselle-red wrote a great post about how main character Pan Yue fits the gothic romantic lead archetype, and those gothic elements are not only present in the script but also in the show's visual storytelling.

Lighting

A key element of gothic romance is its atmosphere of mystery and suspense.

Something I really like about In Blossom is that despite its dark subject matter, many of its scenes take place during the day. One of the show's main themes is that appearances can be misleading and the cinematography often plays with that notion by linking light to deception and darkness to truth. Note how many of the emotionally honest beats of Yang Caiwei and Pan Yue's relationship happen at night (e.g., their couple escapades at the Li Residence, Ghost Market, and Life and Death gambling house) while fakery, corruption, and evildoing happen in the day. It's with this subversion of our expectations for light that the show creates an unsettling atmosphere.

And these lighting choices also help set up Pan Yue as a classic gothic romance anti-hero, someone the female lead, Yang Caiwei, fears but still finds herself drawn to.

Look at how Pan Yue is lit when shot through Yang Caiwei's subjective point of view. The strong use of light creates a lot of contrast--through her eyes, he is a mixture of light and dark, his morality as inscrutable as his shadowy figure.

Camera Angles and Shot Sizes

The show's use of low angles and close-ups further reinforces the idea that Pan Yue is unpredictable and even dangerous.

In cinematography, low-angle shots tend to make the subject look more powerful and menacing, and the show uses this technique to great effect.

Even in the intimacy of close-up shots, we can sense the threat emanating from Pan Yue. He’s always shot just a smidgeon too close for comfort.

For example, look at how much Liu Xueyi's face fills the frame in an early "romantic" scene. The shot feels almost claustrophobic as if he's so single-minded about his goals that he has no choice but to dominate the frame (and Yang Caiwei). It's an unnerving moment despite the soft words coming out of his mouth.

Side Note: I live for Pan Yue's (vampiric) long shots. The production design team was smart for dressing the character in dark clothes with such a sleek cut and drape--he looks like a sexy bat.

The Nosferatu references in Yang Caiwei's tomb are also perfect.

Composition and Framing

And finally, like any good gothic romance, In Blossom illustrates how love can drive one to despair and even madness.

Because of this, my FAVORITE scene of the show has to be the introduction of Shangguan Zhi. Her obsessive pursuit of beauty in hopes of seducing Pan Yue has left her a shell of a human being, and the scene's composition perfectly encapsulates this with how it focuses on the elegant lines of her body--not her face or personhood.

Shangguan Zhi is trapped by her delusional fantasy of a life with Pan Yue--see how she's boxed in by the vertical lines of the screen panel she admires--and the show regularly uses architectural lines to show how her desperation has trapped Yang Caiwei as well.

[therainscene]

Stranger Things is fundamentally a story about being an outcast: coming of age while using the healing power of love to deal with abuse and pressure to conform.

And these are all very queer themes. Stranger Things isn’t necessarily about queerness, per se, but its themes do happen to encapsulate the queer experience perfectly -- so it’s no coincidence that the boy who got the story rolling and whose coming of age will be a focus in S5 also happens to be gay. A satisfying ending for him will be a satisfying ending for the whole show.

So let’s examine Will’s arc without our shipping goggles on and ask ourselves:

What sort of outcome for Will would best fit the themes of Stranger Things?

If he dies, then all those times he was saved by the power of love will have gone to waste.

Perhaps you could argue that he’ll sacrifice himself in an act of love and gratitude for those friends who saved him in the past... but he's already done that, multiple times, and it never permanently solved the problems plaguing him or Hawkins. Will needs to try something new if he wants it to stick this time.

If he becomes a villain, then he’s giving in to the cycle of abuse.

That’s too out of character. Will is Henry’s narrative foil -- they have a lot in common, but their roles in this story fundamentally contrast one another. So even if Will allies with Vecna -- perhaps out of some well-meaning effort to sacrifice himself again -- that’s not going to be the end of his story.

If his defeated acceptance that queers like him never Get The Boy in the end is proven correct, then the narrative will be rewarding his conformity to homophobic ideals.

Yes, nobody is entitled to Get The Boy in real life... but nobody gets eaten by Demogorgons in real life either. This is a story, and its job is to explore ideas through metaphor, not to be a perfect mirror.

And yes, Stranger Things is set in the terrifyingly homophobic 80s and chooses to take a realistic approach in depicting queerness... but it’s still a modern story intended for a 2020s audience.

So why should we learn the lesson that the best ending a gay boy can hope for is bittersweet at best? That queer self-actualization is rooted in waiting to be accepted by straight people instead of forging your own queerness for yourself? How is any of this consistent with the theme of resisting forced conformity?

But if:

Will overcomes his internalized homophobia and openly admits his love for Mike, and Mike likewise shakes off the shackles of compulsory heterosexuality and admits he feels the same way...

...The joy of actually getting the romantic love he thought he never would inspires Will and gives him strength...

...To finally face Vecna, symbolically addressing the abuse and societal homophobia that almost prevented him from getting that romance in the first place?

We satisfyingly resolve all three themes in one tidy, self-contained swoop.

[deconstructthesoup]

I really enjoy how the title songs of the Hatchetfield musicals capture the essence of the show pretty well.

Like---

"The Guy Who Didn't Like Musicals" is the opening number, an apt choice for a show that's a twisted parody of musicals in general. It's fun, it's got a jazzy, old-fashioned vibe to it... and it's sinister. The choreography is all jerky and wrong, the lyrics at first give off the impression that this is a story about a guy learning to love musicals but slowly devolves into tearing into him for not obeying and should we kill him? It's a bop and a good time and it's scary. It's a nice little notice that while there's gonna be jazz hands and kicklines, there's also gonna be murder. And it gives off 1960's vibes, which is fitting, seeing as TGWDLM seems heavily inspired by retro, Twilight-Zone horror sci-fi.

"Black Friday" is in the middle of the second act, which is a pretty damn good choice for a musical that's about how capitalism and consumerism is capable of bringing us to our destruction. It's slow, it's somber, and it shows our main character's life flashing before her eyes as she expresses her anger at the world and asks why the hell she was dealt this hand. It reminds us that even though there are definitely moments in this musical that are a touch absurd, it is a story that is deeply tragic, deeply horrifying, and deeply unfair at its heart. And out of the three title songs of the three musicals, it's the one that feels the most modern in its infliction, because Black Friday---while calling on some good old-fashioned horror tropes such as cosmic horror and creepy dolls---is a very modern horror tale. (Also, interestingly enough, it's the only title song that isn't a villain song!)

Finally, we have "Nerdy Prudes Must Die." The song that ends the first act, which is a perfect choice for a show that starts with the aftermath of said song, and a perfect example of the moment where all horror stories get serious. It starts out fast, heavy, and urgent, a bombastic villain song where the antagonist has fully embraced their final form and is furiously lashing out at his first victim... and then it slows down into an eerie call-and-response that starts out gentle, then surges in power again. This song, even more than "Literal Monster," is a perfect encapsulation of this show's theme---how you can never truly stop a bully, not unless they want to, and they rarely ever want to. And, of course, as this show is a wonderful homage to the classic 80's teen slasher films, the entire song has 80's vibes running through it.

So, uh... yeah. If we ever get that Miss Hollaway musical, I can't wait to see how amazing the title song will be.

[maybeasunflower]

Star Trek theme tunes: worst to best

Star Trek’s many TV series each have an opening sequence that attempts to set up the viewer for the show ahead. A good theme tune delivers a high-quality piece of music that encapsulates the show’s essence — and it is on this basis that I’ve ranked the themes. What isn’t included in my ranking is anything about the graphics that accompany the music, nor the show itself. Naturally, these are all purely my personal opinions, so there can be no argument.

Let’s get started!

11: Enterprise

“It’s been a long road…” are five words that launched a lot of strong feelings — and rightly so. The jarring mismatch between everything about this song and everything Enterprise was about relegates this theme to the bottom of the heap. The opening graphics are spot-on for the show’s premise — but I never got to watch them because I needed to skip the music, and that makes me madder.

If you want to know what could have been, search YouTube for “Star Trek: Enterprise Opening Credits with Archer’s Theme”. That music is perfect for the show: slow, dramatic, building up for the big reveal. Then finish weeping / gnashing your teeth and come back here.

This theme also meant that we can never have a Star Trek theme with words again, ever, because we have been all primed to hate such things because of Enterprise — and that’s sad.

Imagine if we’d had a good theme with words that we could all sing at appropriate and inappropriate occasions.

10: The Animated Series

You’d forgotten about this series, hadn’t you? I will confess I haven’t watched any episodes (unlike the other ST series), but that doesn’t me having an opinion about the theme music. The jaunty theme music. The theme music that speaks of hijinks and hilarious consequences. The theme with super precise drumming — the perfect accompaniment as we join our hero sipping a cocktail in his usual bar by the beach.

Wait, this show is about space exploration?

9: Discovery

Open with Those Four Notes (good), wistful hunting call horns (good), build up to a climax (good), and then… umm…

What follows musically reminds me of Fringe (a great show that also involved Alex Kurtzman and Robert Orci as creators). Fringe was a show about the discovery of new scientific things (and the consequences thereof)— but Discovery is not. The stories of Discovery revolve around battling against various things. The main theme (minimalist repeated eighth note patterns with a slow-moving melody) simply doesn’t speak to premise of the show. It ends with the ascending “Star Trek motif”, but it just feels like something bolted on to end things.

This is a theme based on the title, not on the events in the show.

8: The Original Series

I’m going to get some flak for this, but I don’t care. Yes, The Original Series is sacred. Yes, this theme gave us Those Four Notes right at the start. Yes, it gave us the classic opening words. Yes, we must remember TV was different back then when judging TOS. But I’m ranking the music, and so that’s all that matters.

This is a show about exploring strange new worlds and going boldly. The music is not that. The music is about going somewhere on holiday in your 1960s convertible, or possibly going home from work for the weekly comedic capers. It’s not going boldly anywhere, it’s not exploring new worlds, and that’s final.

… I am going to get so much flak for this.

7: Picard

This is a theme unlike any other, but this a series unlike other, so that’s OK. The wistful main melody on solo cello works for the show and its premise. The theme then gets musically developed by other instruments in a musically satisfyingly way.

However, two-thirds (!) of the title graphics are consumed by the 137 producers, supervising producers, co-executive producers, executive producers, and producing producers — and it feels the music had to be extended by a good 30 seconds to cover them all. Like Discovery, it ends with ends with the ascending “Star Trek motif”, but it (just about) feels musically connected to what came before.

Overall, I am left with a very neutral opinion. There’s nothing that bad about this music, but nothing that makes it stand out.

It’s boringly OK.

6: Strange New Worlds

After the classic opening words, the dramatic bass line/repetitive strings/drums kick in, the music builds, everything’s set up for the main melody…. and what’s that? Well, you can’t hear that melody because the orchestration that gives it insufficient body, and the sound mix gives the accompanying dramatic bass line/repetitive strings/drums far too much prominence.

The overall structure is good — repeat the main melody with some extra oomph, transition to the B melody, build to a climax with some block chords, then bring every down nicely with the hunting horn call. It ticks all the boxes on (manuscript) paper — but the orchestration and mix just means I can’t enjoy it properly.

Give the melody some more body, turn the volume down on the rhythm section, and this theme would jump up a lot of places.

5: Deep Space 9

DS9 isn’t about going boldly anywhere, but it is still about dealing with dramatic, important things. The music has a stately beauty that reflects both those things. The opening lonely horn illustrates the emptiness of space, before being joined by more horns to build drama. Then the main melody kicks in over a minimal accompaniment, raising the hairs on the back of my neck. There’s a pedal note that sustains through most of the opening — so that when the bass finally moves, it makes for a dramatic conclusion.

Later seasons brought a new version that tried to punch up the excitement a notch by increasing the speed of the main melody and adding some more texture to the accompaniment — but at the cost of the stately beauty that is this theme’s best feature. Let’s ignore it.

The title sequence is about 30 seconds too long, which means the beauty has faded somewhat by the end. (Yes, the opening for Strange New Worlds is a similar length, but the music doesn’t kick in until after 30+ seconds).

Overall, a solid piece of music that aligns well with the show’s premise.

4: Lower Decks

Lower Decks is a show that is both 100% serious and 100% affectionate parody. It does everything any other Star Trek TV series does, while turning it up 11 in order to skewer those things. Musically, that’s a tough premise for a theme tune.

So what happens? We open with Those Four Notes, followed by hunting horn calls, then a dramatic main theme on trumpet that’s repeated on all the strings — followed by gear-changing chords into the real main theme. A theme that gets a full-bore orchestra with a melody on brass that descends like someone resigned to not doing first contact (no hopeful ascending motifs here!). Then a solid build-up brings it to a satisfying conclusion.

Like the show, this theme works both seriously and as affectionate parody.

3: Voyager

The show has a tension between “let’s get home as soon as possible” and “ooh, new alien planet to explore” — and the music reflects that.

The theme opens with muted trumpets on a lonely motif (plus timpani) at the start to bring a sense of the dramatic, but without wanting to shout too loudly about it in this unknown part of the galaxy. The main theme on the horns is repeated with added texture and followed by a B melody on strings. Both bring a sense of the long journey ahead, with an ebb and flow throughout.

A slow build-up is then followed by a gentle climb back down — then a rapid (and musically seamless) build up to an emphatic restatement of the opening motif, ringing out to remind us this isn’t just about skulking back to Earth.

Voyager may be headed for home, but it’s still boldly going new places.

2: The Next Generation

Whatever you feel about Star Trek: The Motion Picture, we can all thank it for this music. TNG opens with Those Four Notes on something ethereal, followed by the best delivery of the classic opening words (sorry Anson Mount!) with a hunting call on horns underneath—then we’re into music about exploring strange new worlds and going boldly. It’s going on an adventure — journeying to places unknown to find things unknown.

Structurally, it’s simpler than other themes: after the main melody on brass, we get the string-heavy B melody twice, then back to a shortened version of the main melody to end. However, the post-words music only takes up half the opening, and those two melodies have enough going on to sustain our interest.

You’re left excited about what’s going to happen this week— because we’re exploring, damnit.

1: Prodigy

Four chords build tension, launching into drums+ostinato that tell you right away that exciting things will be Going Down.

Dramatic trombone and bells set up a musical cadence that gets resolved into the start of the heart-stirring main melody soaring out on horns clearly over the accompaniment (take note, SNW). The main melody repeats with added trumpets, and transitions into the drum-less B melody on lush strings that tells you it’s also about the journey. Then bridge into a repeat with everything turned up a notch.

Things get a little chaotic for a moment (what else do you expect with this crew?), but it’s OK, because we’re back to those dramatic trombone and bells (plus friends) to bookend things and lead us into a final resolution… that leaves just enough going on afterwards to accompany Those Four Notes, as though that was the plan all along. Then spike the ending so there’s no doubt we’re done.

Perfect.

[tellmegoodbye]

Now that I finally posted my fic, until the end of time, I wanted to make a separate post for the playlist as well!

I shared a couple of these songs for music monday, but I'm going to do a more in depth analysis of the entire playlist, listing each song in order, talking about which lyrics inspired me, and sharing which moments in the fic they reminded me of.

Listen to the full playlist here.

---

Overcome - Nothing But Thieves

This was the first song I connected to 4x18 back when I first started writing this fic back in June of last year. The playlist opens with it because it introduces the overarching theme of choosing love in life's most difficult moments.

Bringer of the calm, your arms wrapped around when the fever took Thought I was gone for good, you brought me back

But I've been thinkin', babe, maybe you're right When you said the pain weathers in time We're just waitin' for a change to follow We don't always get all that we want Redefine the pain to somethin' more And we shall overcome as we've done before

Stay - The People's Thieves

I see these lyrics as a sort of a back and forth between TK and Carlos.

The first verse is TK feeling helpless when he watches Carlos spiral. He knows that he has to wait for Carlos to come around. They'll leave the darkness when he's ready.

The second verse is Carlos understanding his own weakness. He knows he can't fight this alone even if he's too blinded by obsession to admit it. He needs TK (and Owen) to help him escape it.

The chorus is TK and Carlos comforting each other. TK was scared for Carlos, but Carlos came back to him as he always will. Carlos was lost, but he found his way back home to TK.

I can find a place where no one feels the rain We'll huddle while the storm goes Leave here when you say so Hang on I pray the day will come when you can feel the sun And wipe off all the marks of days spent in the dark love Hang on

I'm only just strong enough I'm slowly sinking through the ground below So hold me Just long enough to show me How to find my way back home

Stay When you feel afraid Where you are is where I'll always go When you've lost your way Where you are is where I'll always go

Sleep Deprivation - Chance Peña

This is where Carlos' head is at. He's lost within his grief and relentlessly persuing justice at the same time. He wants to do right by his family, but he can't do that without losing himself in the process. He still needs to realize that he is allowed to slow down to process his grief and take it one day at a time.

Lost and ambitious I've been on a mission I won't stop till I'm done I toss and turn almost every night I pray to God I'm doing right By all my family's wishes Lord knows I miss them Their love outshines the sun

So when I break down I list off the reasons I'm here and I'm still breathing I'm hanging on Try to break ground, make way for tomorrow I'll find a way through the sorrow One day at a time

Discoloration - Dawn Golden

This reminds of the scene where TK is trying to rationalize with Carlos, but Carlos isn't hearing him. He's too sucked into his obsession to see that he isn't alone.

You took my hand and brought me down in the morning And I was sitting waiting for the telephone to swallow me whole

And I watched your mouth moving like a tired machine trying to plead with me. Trying to swallow me whole

And the whites of your eyes blackened with a hardened decay And you talked to me in a broken voice

Fade In / Fade Out - Nothing More

I wrote an analysis on this song here, but I think these lyrics are the perfect encapsulation of Carlos and Gabriel's relationship. A lot of these thoughts would be haunting Carlos in his persuit of Gabriel's killer.

Son, I have watched you fade in You will watch me fade out When the grip leaves my hand I know you won't let me down

Go and find your way Leave me in your wake Always push through the pain And don't run away from change

We all get lost sometimes trying to find what we're looking for

Are You Really Okay? - Sleep Token

(cw: references of self harm)

This is a song about self harm from the outside perspective of a loved one. This is where TK really starts to realize that something is wrong with Carlos, and he doesn't know what to do. Carlos is engaging in his own version of self harm when he refuses to let himself sleep, eat, or grieve.

I raised you in the dark Caught you reading by the sunrise You wandered from the path Through the silence of the hillside

You woke me up one night Dripping crimson on the carpet I saw it in your eyes Cutting deeper than the scars could run

And don't you know I can see it in you even now And don't you know I want to help you but I don't know how And are you really okay?

I cannot fix your wounds this time I don't believe you when you tell me you are fine Please don't hurt yourself again

Promises I Can't Keep - Mike Shinoda

This is probably my favorite song on the entire playlist. In the aftermath of everything that went down, Carlos is in shock. He's upset, but he doesn't really have the chance to process the gravity of the situation until he gets home to TK. It's a feeling of relief mixed with that sinking feeling of realization when he comes back down to earth and his head is finally clear enough for him to see how bad it got, and how bad it almost became. He now has to accept the fact that he may not be able to keep his promise to Gabriel. He may not ever find his killer.

What's the difference between a loss and a forfeit I tried to make it better, but I made it more sick I tried to make it right, now awake at night I know reality was getting in the way

I used to think that I knew who I was Never saw it coming unglued I used to think that I knew who I was Now it's time to see if it's true

I had so much certainty Til that moment I lost control And I've tried but it never was up to me I've got no worse enemy Than the fear of what's still unknown And the time's come to realize there will be Promises I can't keep

I Am Not Who I Was - Chance Peña

Carlos has come to terms with the decisions that he made, and now he has to figure out where that leaves him. Is he still going to be a person TK can love? Is he going to keep going down a path of isolation, or is he going to hold on to what's most important to him? In the fic, he pleads with TK to not give up on him, and of course, this is never a question for TK.

You keep me steady on the ground When my head's lost in the clouds That spotlight, though it shines bright Could never drown you out I know it's hard when I'm away I'll just hope you don't lose faith 'Cause I told the truth when I said to you That I'll be back someday

So if I fly too far Will I still have a place inside your heart? And when you've seen what I've become Will you love me for who I am, not who I was?

Life's Gonna Kill You (If You Let It) - Man-Made Sunshine

TK approaches Carlos with more understanding than most people would have, because he's lost a parent too. He knows just how dark Carlos' thoughts are. And he has the experience to know what to expect. Carlos' grief is different from TK's, but having someone who loves him and who has been there is important when he hits his lowest point and can't see how he can drag himself out of it. TK isn't going to let Carlos get to a point where he can't come back.

You know I see your troubles from a continent away And they take me from my own And I know you feel your mind gets ugly every day And I know you know what it's like to feel insatiably alone

I won't let you get ill, I won't let you give in 'Cause this life will only kill you if you let it Don't you let me get ill, 'cause you know that I will My pain loves the company My life only kills me when I let it Yеah, life's gonna kill you if you let it

Back To One - O.A.R

This song is all about starting over. It's about changing your perspective when life becomes too overwhelming that you start to lose sight of the good things. When Carlos comes home and sees TK, his whole world who was right there waiting for him all long, he's reminded of the love he still has, and the happiness that he still has the ability to feel. He is not entirely lost. Looking back on his father's death isn't going to help him move forward. And moving forward isn't forgetting either. This song is an anthem of what it means to live through the worst moments of your life, and that's what Carlos is learning how to do. Live.

I see you there, but you don't look right You got a ten-mile stare in your eyes tonight Time ain't fair, like it used to be

We're all dressed up, nowhere to go We lost our way, about halfway home And we hurt the ones who get too close

Don't look back, you'll never find your way There's a million different people Who break the same way When everything has come undone We got to bring it back to one

I know forever always asks so much Don't you let it scare you, don't you lose your touch When your still waters start to run, bring it back to one

Can I Sleep In Your Arms - Willie Nelson

This is the song TK and Carlos were dancing to in the fic! I chose it for a couple reasons. I have my own (vague) hcs of the kind of music TK and Carlos like, and I do think there is some portion of Carlos' music taste that is dedicated to older stuff. I see him listening to old country loves songs like this one as a kid and imagining the day he'd find a love like that of his own. He found it with TK. He fought to hang on to it because this thing that he has with TK is so beautiful and precious, that he'll be damned if he ever lets it go.

In regards to the actual lyrics, this song is simply about how when you fall down, when you struggle, the person who loves you is always going to be right there by your side to help you get back on your feet. It's a song about healing, comfort in weakness, and devotion.

Can I sleep in your arms tonight, lady? It's so cold lying here all alone And I have no hold to hold on you And I assure you, I'll do you no wrong

Meet The Moonlight - Jack Johnson

This is a callback to the theme of choosing love. Carlos lost sight of it momentarily, and couldn't see a world where he could exist outside of this mission that he was on. But he can. He can choose to live and to pormise himself to TK forever. His dreams that he couldn't allow himself to have most of his life are still real and attainable. He can take control of his destiny.

Well, you can meet the moonlight Any night you really wanna It's waiting in your own backyard You can make the flame Meet the kindling, make the fire Don't let anybody say it's too hard

It's funny how blind dreams can be It seems like they look off too far But it's good to be right here It's good not to miss too many chances to follow love

Emerald Eyes - Anson Seabra

I didn't include any moments from the actual wedding in this fic because it would have defeated the purpose of the whole thing, but I do love this song for the wedding in particular. Carlos is looking at TK, this man who he loves with everything he has, who he's been through hell and back with - and he knows that this is meant to be. He knows their love is strong enough to survive anything. The road to their wedding wasn't easy, but now he's here and now he gets to take it all in. He gets to have forever with him.

A subtle breeze, it's you and me Chest to chest, no in between And every moment's better than the last Anything and everything That I could ever want and need Is standing right beside me in the grass

The birds they sang a melody My heart was keeping time and we Were dancing on the edge of something new Slow at first but still it seems That we'll go down in history As lovers from the start, just me and you

'Cause I've spent a thousand nights Lost in your emerald eyes Lost in a place where I know You can see my soul Make me lose track of time You and your emerald eyes Finally found a place that I can call my home

Tennessee Whiskey - Chris Stapleton

I had to include at least one song that had a somewhat sexy vibe, and this was it. This is the way it feels for TK and Carlos when they go home and give themselves over to each other as hubsands with a foundation of years of pining, building trust, heartache, and every obstacle in between. No matter what happens or where they go, the love that they have is never going to die.

But you rescued me from reachin' for the bottom And brought me back from being too far gone

You're as smooth As Tennessee whiskey You're as sweet As strawberry wine You're as warm As a glass of brandy And honey, I stay stoned on your love All the time

Baby I'm Yours - Arctic Monkeys

This is the "end credits" song. We revisit the theme of choosing to live. After this entire journey it all comes back to the love Carlos feels when he's with TK. He makes a promise not only to TK, but to himself, that no matter what happens or where life takes them, he will always remember this feeling.

Also, I saw that the fic title was a lyric in this song (this was on accident, I didn't come up with that title with any song in mind) and I knew I had to include it!

Baby, I'm yours And I'll be yours until the stars fall from the sky, Yours, until the rivers all run dry In other words, until I die

Baby, I'm yours And I'll be yours until the sun no longer shines, Yours, until the poets run out of rhyme In other words, until the end of time

I'm gonna stay right here by your side, Do my best to keep you satisfied Nothin' in the world could drive me away 'Cause every day, you'll hear me say Baby, I'm yours And I'll be yours until two and two is three, Yours, until the mountains crumble to the sea In other words, until eternity

Bonus: I ended up removing the song only because I didn't like how it affected the overall flow of the playlist. But an alternative "end credits" song is Adore by Prince. The lyric "until the end of time" also makes an appearance in that, and it's a song about loving someone and knowing that love will never go away.

Tagging some people who've read the fic in case y'all are interested in song analysis. I also just wanted to thank you all for being so wonderful and supportive and leaving such lovely comments. Y'all are the best. ♡

@herefortarlos @strandnreyes @sapphic--kiwi @paperstorm @firstprince-history-huh @literateowl @ironheartwriter @theghostofashton @nisbanisba

Also tagging some people who expressed interest in this fic. If you want something to listen to while you read, here you go!

@heartstringsduet @lightningboltreader @reyesstrand @emsprovisions @lemonlyman-dotcom @carlos-in-glasses @butchreyes @whatsintheboxmh

This can also double as an inspiration saturday tag. I should really participate in that more often, but I think this counts so consider yourselves tagged!

[starlight-bread-blog]

i just wanted to say your pfp reminded me of diane nyugen from bojack horseman. speaking of which, do you have any opinions on bojack horseman you'd like to share?

That is Diane! :)) My header is also BoJack Horseman with Diane's amazing quote "Sometimes life is a bitch and then you keep living". I love her and this show SO MUCH, and I absolutly have opinions I wanna share.

If I had to pick an episode that encapsulates what this show is, my picks would be:

Let's Find Out

The Shot

That Went Well

The Underground

Episodes that balance comedy with drama so well I can't even begin to dissect it. Let's Find Out's framing device being a game show is so smart, AND THE ENDING- The Shot is so objectively silly but god, it's the only time (?) we see BoJack full on cry. In The Underground they burn and eat Zach Braff✨️ That Went Well just- words can't do it justice.

I also really like the ending. It's PERFECT. (Not literally). BoJack's journey was about radical freedom, about how all of his actions are his fault, about how after rock bottom, life will still continue.

This theme is the reason why the most important episodes aren't the finales. Having BoJack face all the consequences for his actions is the best way to conclude his journey. It's not conclusive, but that's what the show has been saying this whole time.

Also also, Diane's arc in season 6>>>> Like. That's so real. Stories just kinda creep up on you sometimes fully formed. Negative emotions fuel so much art, and her need to make sense of her trauma by using art to help others, and how it parallels Penny--- the show actually stated that tragety has no meaning in season 2. Herb's death was so stupid and served nothing. BoJack tried to give it meaning, but there was none.

Also also also-- the show called out all the freaks who use BoJack to excuse themselves.

You see these writers care about what they're putting out there. And on top of that, it's also an amazing scene. It's like It's You being followed up with That's Too Much Man. Head in the Coulds -> The Showstopper.

Btw – two of the best episodes if the show are one with all words and no words. Both end with a joke that has a meaning. BoJack could have apologized this whole time. And I love that theme that played at the end of Fish Out of Water. AND Free Churro was nominated for an Emmy! Deserved.

I could keep going, but other points I'd like to touch upon deserve a full meta. Thank you for this ask, I had an excuse to talk about BoJack Horseman! Asks about Bjhm are ALWAYS welcome.

[messymindofmine]

Music Monday

Thank you to both @tellmegoodbye and @lemonlyman-dotcom for tagging me in Music Monday. As the theme for this week is redemption, I thought I'd share some songs about addiction and recovery as they remind me of TK and his journey that never really ends.

Given what we have learned of TK's music tastes, I figure it's only appropriate to put Starting Over by Macklemore and Ryan Lewis first. I know that as a fandom we clown TK a bit for this but I think it really makes perfect sense why he would gravitate towards Macklemore. And really, my respect for Macklemore has skyrocketed lately. There are actually multiple songs by Macklemore that talk about his journey with addiction and sobriety and I totally get why TK would gain comfort and hope from his music.

There is also Rehab by Amy Winehouse. Amy Winehouse to me really encapsulates the tragedy of addiction and how much society feeds into it. Sure it's a personal thing that the individual goes through but society at large is guilty of the stigma and hatred and systemic violence that addicts (and really those with any sort of mental illness) often face. In general, I feel like compared to a lot of other issues, the systemic and social prejudice and violence that those with mental illnesses and addictions face is not talked about much. And this means that a lot of the more subtle, less obvious aspects of it go unchecked even by those who are vigilant about other issues. And I would like to see more of an exploration in the show about how someone like TK would face that stigma and how it goes beyond a personal struggle for him and is a larger systemic issue. Anyway, Amy Winehouse is one of the many beautiful souls that are lost to us as because of addiction but she left us with beautiful music that is tinged with pain but ultimately hope that will live forever.

Finally, I'm going to add Recovery by James Arthur. This song instantly makes me think of TK during his first days of sobriety as he's in rehab and for the first time making the decision to get sober for himself.

I apologize for how late I was getting to this. Life and work has been very hectic lately but I really wanted to participate in this! As always, I'm going to leave this an open tag and invite anyone who wants to participate. And if anyone wants me to tag them, please let me know!

[tarisilmarwen]

Rebels Rewatch: “Spark of Rebellion”

With the Ahsoka show coming up here in August, I have just enough time for a full refresher so, you know, I Might As Well.

This is going to be different from my normal liveblogs, obviously, less real-time reactions and more commentary and meta analysis, though you’ll probably still get some incoherent nerdery and feelings spew here and there.

All right, let’s get into it.

You know with the benefit of hindsight, Vader’s speech to the Grand Inquisitor here is actually a perfect encapsulation and summary of the premise of the show.

“Hey so the Jedi are dead and the Empire reigns but the Emperor is still worried about threats to his rule, so your job is to hunt down and kill anyone a little bit too Force Sensitive and also anyone Order 66 managed to miss.”

It’s an interesting choice of phrase too.

“The Children of the Force”

Emphasizes the villainy of our bad guys in that they’re hunting down literal children and also seems to suggest some kind of protectiveness from the Force here; these are its children, people born into its “family”, so to speak.

Anyway.

OKAY WAIT NO I NEED TO STOP BECAUSE I STILL CAN’T GET OVER HOW THIS SCENE IS PARALLELED IN THE FINALE.

SHOT FOR SHOT.  SHOT.  FOR.  SHOT.

The show opens with the “boy who was lost” and closes with the “girl who was broken”, Sabine’s move into more narrative prominence S3 onward was not a writing mistake, it was purposeful, it was deliberate, the show is their coming-of-age arc, they are co-protagonists, they are each other’s Most Important Person and have so much influence on each other’s character development and it’s reflected so perfectly in that seventy-something episodes later we’re going to see Sabine standing right here where Ezra’s standing now.

*sobs*

Okay I’m good.

Right here is also when we hear our first classic Star Wars leitmotif, as the Imperial March blares out with obnoxious brassy flair.

Followed almost immediately by the short excerpt of the Rebel Alliance theme that functions as our stinger.

(I’m going to be talking about the score A LOT this time around, better get used to it lol.)

Ugh, there was this one stupid post that was like, “What’s so bad about the Empire regulating commerce anyway?  Controlling food safety is a good thing!”  REGULATIONS ARE A TOOL OF THE STATE TO CONTROL ITS PEOPLE SHARON, you notice they harass this vendor specifically because he hasn’t asked permission from the oh-so-benevolent Empire to make a couple credits selling a single basket of fruit, as if that’s something the Empire needs to control, and when he dares to complain about it they immediately want to toss him in prison.  That’s the epitome of petty state authoritarianism.

This is also such a wonderful character establishing moment for Ezra, because as much as he says he’s only out for himself and doesn’t stick his neck out for people the very first thing we see him doing in the show is surreptitiously sticking up for this harassed vendor.

We learn three main things here: 1. He’s clever and agile, 2. He’s a street kid trying to survive, 3. He actually really does care about people.  All in less than a minute.  Very tight writing.

I love the sound effect they use to signify Force use.  It’s very pretty.

Aaaaand of course accompanying it, the quiet string prelude to the classic Force theme.  An immediate auditory clue cueing us into the fact that Ezra is also Force Sensitive.  So unconsciously, we’re already primed to expect that.

Snrk, I still love how casually Sabine tosses the grenade onto the speeder.

There’s a strechiness and elasticity to the character models here that I think they lose later, as the tone evens out into being more serious, but it’s very Disney-esque.

Actually hilarious and kind of fascinating that instead of stopping Ezra, Sabine lets him keep part of the shipment and have a fair shot at escaping.

She definitely sounds like she likes his gumption.

If no supposed to ship, why let Tiya say the line so playfully here?

Zeb’s resigned thumbs up always cracks me up.

It bears repeating but the animation?  Very Disney-esque.  The whole way characters move, their design, how they emote and express.

I was always particularly impressed by the hair.

Look at it.

It’s always shifting softly around Ezra’s face and blowing in the wind and reacting to his movement shafkjghkajh.

SO much better than early Clone Wars.

No, shut up, go back and watch those awkward early episodes.

The faces don’t emote.

Kanan’s fond little smile. :)  He already loves that kid so much.

Again with the animation being very 2D Disney hand-drawn inspired in the way Kanan sloughs his shoulders here replying to Hera.

Hgnnnglllll the little shine in Ezra’s irises shifts like it’s an anime sparkle, I love this animation I love it I love it your Clone Wars could never.

If no supposed to ship, literally why have this moment with the classic Sees Her In Sparklevision trope?  (Okay so I added the actual sparkles but still.)

Seriously Filoni.  “I think there’s an automatic instinct to ship them.”  WELL WITH THIS COMING DAY ONE EPISODE ONE WHAT DID YOU THINK WAS GOING TO HAPPEN?!

Hi Kallus!

Right so after this sequence where Ezra feels inexplicably guilty for not doing more to help the people of Tarkintown despite him literally only finding out they existed two minutes ago there was pretty much no way I wasn’t going to love him.

I think my brain subconsciously recognized, “Oh, he has a Hero Complex.” annnnd yep, yep, that did it, he’s my son now.

Interestingly, this is also I believe the first time we hear Ezra’s leitmotif, which like Luke’s theme is primarily in brass but in a minor key, slower, more somber, more introspective, almost a thematic foil to the adventurous bold excitement of Luke’s theme.

Luke’s theme, AKA the Star Wars Main Title theme, by the way, is primarily used throughout Rebels to denote heroism.  Typically it comes in whenever we have a Gunship Rescue from the Ghost or some other kind of Big Damn Heroes moment.

Side note appreciating the animation again, the storyboarding and blocking is very cinematic.  The camera moves as it might on a modern Hollywood production instead of a weekly TV serial, which I think helps makes Rebels feel closer to the Original Trilogy.

And here the full Force theme breaks through. :)

Note: At this point, behind the scenes, Hera and Kanan have already discussed Ezra’s potential Force Sensitivity, and agreed to test him.  I am still sorely in need of fanfics that cover that conversation.  Just saying.

AGAIN.  WRITERS.  YOU NEED TO BE A LITTLE MORE AWARE OF JUST HOW SHIPPY THINGS COME ACROSS BETWEEN EZRA AND SABINE THIS FIRST EPISODE.

Like, there’s a reason why this conversation and footage is used in a million Sabezra amvs.

Ezra rubbing his hand on his neck, Sabine’s soft looks of concern at him, how warmly she finally reciprocates on telling him her name...

(Also notice how Ezra, empath that he is, immediately cottons onto the fact that Sabine considers the Ghost crew her family and discerns that something or other happened to her bio family.)

Gremlin child Ezra. <3

I’m sorry, I just noticed this:

What is that look, Sabine?  Lolol.

Hera going into Mom Mode immediately.  Her cheeky look back at Kanan, lol, she knows exactly what she’s doing.

Edgy TWC bros complained so much about the humor in early Season One and I say they have no taste, “rare hairless Wookie” is hilarious.

Part Twooooooooo!

For all his bluster and his devil may care facade, Ezra had that Jedi compassion and drive in him from the very start, I will hear NO slander otherwise.

Something in this escape sequence I absolutely love?  Ezra clinging to Zeb’s back.  Just the way he grabs Zeb’s legs and climbs him like a feral cat.  And Zeb does not appreciate it lol.

Oh hey, we’re at The Scene That Basically Sealed Ezra As Tari’s New Favorite Whump Target.

Yeah, protip to all showrunners, you put an emotionally vulnerable young male protagonist in mortal peril and you basically guarantee that I will obsess and fixate on them forever.

EVERY SINGLE FRAME OF THIS SHOT IS MORE HEARTBREAKING THAN THE LAST.

Hngl and you can hear him hyperventilating too ow my heart.

A brief excerpt of Ezra’s theme plays right here too, as if to compound Zeb’s guilt about the whole thing lol.

Like the score itself is saying, “HEY AREN’T YOU MISSING SOMEONE?!”

Sabine automatically assuming Zeb did something to Ezra. <3

Hera full-naming Zeb. <333333

A couple people pointed out before that Ezra flinches pretty noticably when Kallus reaches for him, and Kallus definitely marks that reaction with his eyes.  It’s such a quick little sequence but it’s fascinating in the layers it suggests.

I reiterate: The subtle facial animation is this show is fantastic.  The minute little emotions that you can pick up tell so much story.

Chopper voting with Hera to go back for Ezra. <333333333333333  The murder hobo does have a heart.

I love the little sideglance these troopers give each other after Ezra seals them in.  You can’t even see their faces but you know they’re chagrined all, “Oh.  Ohhhh we’re in so much trouble.”

And the joke is even followed up on when Kallus demands to know how Ezra escaped and this poor dude just has all the notes of, “This is the worst day of my life.” in his voice lololol.

I gotta gives props to Taylor Gray, he pulls off Ezra’s impersonations really well.

So how much do you want to bet Kallus had unfortunate flashbacks every time one of Sabine’s bombs threw him?

“I’m sure your parents must be worried sick.”  “I don’t have parents.”

*URGE TO ADOPT HIM INTENSIFIES*

(Also, same, Hera, same.)

Speaking of entire stories being told in the subtle expressions...

Tangenting here a little bit, I’ve seen more than one bad faith reading chiding Kanan and especially Hera for “manipulating Ezra into being a child soldier” and hnnghghghgkjgdksh could you guys have any worse comprehension?

Ezra’s fate, narratively and meta-textually speaking, was sealed the moment he volunteered the information about the Wookies and actively took part in their rescue.  He didn’t have to do any of that.  He could have stayed quiet.  He didn’t.  He could have made Hera drop him off first.  He didn’t.  He could have stayed on the ship the whole rescue.  He didn’t.  And yeah, some of the reason why is because Hera told him it was better to fight for others than only for himself, but also have you considered that Ezra maybe is just that selfless at heart?

(See above where his Establishing Character Moment was saving that fruit vendor.)

ANYWAY, if he hadn’t done any of that, Kallus would have never seen him leap far higher than he was supposed to be able to, and would never have marked him as a Force Sensitive, would never have alerted the Inquisitor to him and basically marked him as a target.

Any time the local Lothal garrison spotted him, their impetus would be his capture and/or extermination.  Ditto for when news eventually reached the Inquisitorius.

The safest place for him was absolutely staying with the Ghost (where he could be trained to protect himself) and they even gave him the choice about it.

To say that he was manipulated or guilted by Hera into following instincts that were already inside him denies Ezra his narrative agency; he chose to become a Rebel and fight against the Empire.  Hera might have awakened his heroism but it was Ezra who Answered The Call.

All right, tangent over.

Oh ho man, you can tell they went into this with zero plans to redeem Kallus.

I mean, I’m glad that it happened, I definitely enjoy that aspect of his character.  But there was noooooo groundwork laid for it in these early episodes lol.

Writers got halfway in and realized, “Shit, we like him.” and then had to scramble to come up with something, which, I mean... I relate.

Ah, here’s what I mean when I say Luke’s theme is used primarily as a shorthand for the element of heroism.

And for an example of what I’m talking about re: cinematic camera motion, there’s the bit right where the crew charges out of the cargo hold onto the platform on Kessel.  The camera is behind our subjects and instead of immediately cutting to an exterior shot (which would be perfectly acceptable), instead it sort of rolls out behind them, pushing down and forward with them, for a more dynamic shot.

Add several tracking shots after that, that basically follow specific characters, and with that simple cinema magic, the action sequence feels more frenetic and energized.

Gosh, Ezra was so tiny back in Season One.

I do like this cue right here, when the Imperial ship drops in, don’t know if it’s generic action filler or it becomes a leitmotif later, will have to pay attention I guess.

With context from A New Dawn, we know that Kanan has not ignited his lightsaber since Order 66, though he apparently came pretty close it in that book.  I just find it rather beautiful and poetic that the Force tells him it’s time right when he has a padawan to protect. :)

And this reveal is still excellently done, fine candidate for my personal No Context Signature Scene Test (that being a scene which, when shown in isolation, showcases off the best of a movie or show and entices watchers to check out the rest, it must do a good job of selling the work, essentially).

POV shot as Kanan stands up out of cover, cut to in front of him, the action music drops out and fades into the Force Theme and Kanan just kind of... casually walks through shots, leaning around them, the sound gets muted slightly, we get the gunslinger shot of the lightsaber pieces clicking together and then the Force Theme gets a bass drum flare to emphasize the moment.  Awed looks from everyone.  A triumphant musical cue.

Even Kallus is unnerved for a second lol.

And I love the verbal hesitation when he says, “Focus your fire on... on the Jedi.” like he can’t even believe he’s saying that.

Is it any wonder why I love the whole Rebellion Era Jedi aesthetic?  It does such a good job of encapsulating pure eucatastrophe, the sudden happy turn for good, a beacon of light and hope breaking through the darkness and despair.

The Wookies look at Kanan like a living legend has stepped out of the pages of their storybooks.

HNGH no one touch me.

And of course, Kanan stepping up immediately inspires Ezra to do the same, I love these two so much.

Wilhelm scream, lol.

See people, Kallus already associates Ezra with Kanan and has marked them as a master-padawan pair, there was no chance Ezra was going to just be able to keep his head down and live his life after this.

And again with the subtle expressions, there’s just a flash of sadness from Ezra here as he watches Kitwarr reunite with his dad, HAVE I MENTIONED I LOVE HOW UTTERLY EXPRESSIVE THE FACES ARE IN THIS SHOW?

I do kind of wonder what made Ezra decide to swipe Kanan’s lightsaber.

He had a thought to sell the holocron but honestly it seems like he wanted to keep the saber.  As a keepsake?  To use?

Honestly though I love it when writers have Force Sensitives just kind of compulsively drawn to Jedi artifacts and tools.  Like some part of them is called by the Force within the items.

There’s a really cute, almost shy way that Sabine ducks into her shoulders here.  I see it in amvs all the time but no one ever really talks about it.

I mean, along with Chopper’s sad little moan I think it’s meant to convey that they’re already fond of him and regret him having to leave.

Chopper loved Ezra from the beginning and only gave him grief because that’s how he shows affection change my mind.

Ezra does not take Zeb’s playful hit well, flinches like he did with Kallus.  Of course later he’d get used to it but right now Ezra definitely does not associate roughhousing with affection.

Ezra gets so timid in his body language here.

I... I would really love to know how Kanan got up the tower.  Where exactly is the turbolift in this thing?  Is it in Ezra’s room?  How’d Kanan sneak past?

I know we’re meant to believe Kanan is physically there and just Batmans in and out but honestly I don’t blame the people with the wild theory that Ezra’s having a vision of Kanan in this moment.

Speaking of Ezra’s timid body language, have you noticed how often he crosses his arms, in an insecure kind of self-protective fashion?  This all but goes away in the later seasons as he grows up.

Aaaaaand we hear a snatch of Leia’s theme as Obi-Wan’s message plays again, a little musical Call Forward to the princess’s iconic plea for help perhaps?

Interestingly it fades into a very understated version of Luke’s theme, without the full orchestral accompaniment, just a single trumpet and then some quiet strings playing the notes.

I’m going to have to pay attention but I’m tentatively hypothesizing that Leia’s theme will primarily represent the aspect of hope in the series, to accompany Luke’s representing the idea of heroism.

Hope and heroism, two classic archthemes of Star Wars, lol.

Maybe it’s fitting that Ezra’s theme kind of blends the feel of both of the twins’.

On a completely different note, nice to see composer Kiner keeping in the tradition of assigning the Ominous Latin Chorus to the villains, lol.

I like Grand’s theme, it’s reminiscent of the Emperor’s, all bass male voices and dark minor chords in the strings.

I warned y’all I was gonna be talking about the soundtrack a lot in these.

And that’s the pilot premiere down.  Some people said they found it hard to get into the series at first, but I was never one of them, the pilot had me hooked from the get go.  Granted it was my birthday and I was a bit, ah... sloshed at the time.

Still, there was pretty much no way I wasn’t going to be into this show.  The classic Star Wars feel, the lovely animation, the fact that Ezra was basically exactly My Type... (Orphan, tragic backstory, Hero Complex, heartwarming relationship with (surrogate) father figure, this boy was ticking off boxes left and right lemme tell ya.)

Pilot still holds up.  Not every show’s first episode does but this one does.

This was a fun exercise.  I think I’m going to try to knock one of these out a day at a time until Ahsoka drops, maybe not as in-depth and rambly as this one, but we’ll see.

Until tomorrow then.

[brainysmurfofficial]

Evolution of Brainy Smurf, Part 5: Quotations of Brainy Smurf

Years covered: 1983-1985.

(Don’t forget to check out my previous posts on this blog if you haven’t!)

Our look into the Brainy of the 80s cartoon series continues! But first, let’s return to the world of the comics for a moment.

In the story Easter Smurfs (from what I can surmise, publication date would be 1983!), we can see Brainy’s egoistic streak rears its head: he contemplates giving Papa Smurf a portrait of himself as a gift for Easter. We also see that scheming, manipulative side usually shown by cartoon Brainy, but in the comics this time: he steals Baker Smurf’s personally-made gift for Papa Smurf to pass it off as his own.

We also see the interior of his home, where we can note books lining the wall, as well as a smurfified version of the phrase “Dura lex, sed lex” (“The law is harsh but it is the law” – yeah, definitely on-theme for comics Brainy!)

Brainy’s characterisation in this comic definitely feels a little different from what it had been before in the comics – a bit more aligned with that of his cartoon counterpart. Seeing as the cartoon show was already well underway by this point, could it be possible that his depiction here was influenced somewhat by his characterisation in the cartoon? An interesting possibility to consider.

But let’s finally get back into the show then, shall we? I’d like to proceed and have a bit of a look at seasons 3-5.

By this point, the basis of Brainy’s distinct 80s cartoon personality is more than established as the know-nothing know-it-all - a bluffing egotist desperate to project an illusion of knowledge who is also prone to indulging in melodrama. He is someone who loves to boss around others, to criticise and critique, to needlessly complicate and bureaucratise… He loves rules, he loves procedures, and he loves enforcing such structures. Continuing these trends, seasons 3-5 are abundant with demonstrations of all of these facets, and more.

In Love Those Smurfs, it’s no coincidence that it’s Vanity, Snappy and Brainy who are the only smurfs not affected by the spell of self-love – naturally, in plots like that, the writers tend to have the unaffected smurfs be the ones who already exhibit given trait(s) that a spell would invoke.

We’re told that Brainy’s very first word was gobbledegook, a perfect encapsulation of… Well. One only has to look at the false diagnoses he loves to throw around:

Brainy: My diagnosis concludes that Baby Smurf has a severe case of grumpirumpititus, aggravated by rumpus moisitosis, aggravated by- Papa: Brainy! There’s no such thing. Brainy: Oh. [Laughs sheepishly]

Of course, it’s not all bad. Episodes like Papa’s Family Album and The Dark-Ness Monster certainly show Brainy’s capacity for greater depths.

That said, in these seasons, Brainy really does not hesitate to show off how exceedingly overconfident he is – considering himself a “smurf of all trades”, such as in The Gingerbread Smurfs, assuming himself to have sufficient standing to posit himself as a better baker than Greedy Smurf despite an obvious lack of expertise, to say the least.

Funnily enough, there was one episode that made me go “Huh, Brainy’s characterisation here reminds me a lot more of his comics version, and isn’t (usually) what I’d strictly expect of him in the show…” and what do you know, I then noticed that Peyo himself indeed worked on that episode! I refer to Smurf the Other Cheek and Brainy’s lecture on “the virtue of cleanliness”.

Of course, bossiness and lectures and what have you are nothing new for Brainy, but it’s really the subject matter that made it rather reminiscent of comics Brainy for me. It’s a lecture on virtue, which comics Brainy has really based himself around – cartoon Brainy will lecture others on anything and everything (including virtues, as this very episode demonstrates), however, the “anything and everything” lack of focus makes the sudden lecture on virtue all the more noticeable when it’s coming from cartoon Brainy. And while cartoon Brainy has shown a love of bureaucracy, order, procedure, etc. – all of that is still different from something like cleanliness. A concept like order certainly has its overlaps with cleanliness, but I would argue that you cannot deny they are still two separate, different things. He hasn’t really shown any strong focus on the theme of cleanliness on its own specifically prior to this point. But espousing virtues of all kinds – the theme of virtue – is a very comics Brainy thing.

All this to say: I felt that Peyo’s influence really showed through there! Both comics version and cartoon version already have their subtle influences on one another, perhaps.

One point of clarification: although cartoon Brainy does have a sort of lecturing-on-virtues theme when he, say, chastises Lazy for laziness, Greedy for gluttony, etc – but I would argue that the point of those interactions always seems to be more focused on a theme of bossiness and telling others what to do as opposed to promoting traditional virtues when 80s cartoon Brainy is the one carrying it out. He will just as readily tell Handy how he should build things, how Painter should paint, how Tailor should make clothes – and none of those things have anything to do with virtue.

The virtue/morality/prig theming is, basically, a lot more prominent with comics Brainy.

Another episode I’d like to take a look at is the one in which the smurflings were introduced. In their introductory episode, they burst onto the scene in a challenge of tradition and convention- they buck traditional smurf attire for their own preferences and also challenge other areas of smurf life with novel and unique approaches.

What they bring to the table is fresh and new. They are a force of change.

Of course, this analysis doesn’t have the smurflings as its focus – rather, what the smurfings bring about, what they represent, has been elaborated on here in order to contrast it with our dear, hapless Brainy. More specifically, I would like to highlight how the episode itself contrasts the smurflings’ arrival and their ways with Brainy. He is cast as the traditionalist, all about structure, rules, all about enforcement of the orthodox and of conventional procedures, “old-timey”. Someone who will freely declare “smurflings should be seen and not heard”.

If the smurflings are a force of change, then Brainy, as an opposing force, is one aspiring to an enforcement of a perceived or constructed status quo. Indeed, he gets outright referred to as “old-fashioned” within the episode.

Though smurfs like Tailor balked at the smurflings turning their backs on traditional smurfwear, everyone seems caught up in the thrill of the moment when the smurflings begin performing onstage – that is, everyone except Brainy. The look on everyone’s faces is akin to surprised delight, meanwhile Brainy is more baffled and disapproving. The new musical style confuses him, and he simply can’t abide by it.

Brainy: Papa Smurf, what kind of music is that?? Papa: Er, I don’t think there is a name for it, Brainy. Clumsy: Oh, gosh, it’s so new, it doesn’t even have a name!

Brainy: I’ll give it a name, it’s phooey. Papa: Now, now, Brainy, the uh smurflings are merely – aheh – expressing themselves.

And on that cue –

A wave of gasps goes up amongst the crowd that sounds somewhere caught between pleasant surprise (as one can see the smiles remaining on the smurfs in the back of the image) but almost bordering on scandalised as well, as Brainy and Papa’s expressions both turn to shock – Papa himself is momentarily stunned. Yes, as it’s then shown, the smurflings are expressing themselves – in this moment, not just through their music, but also through dance.

Brainy: Papa Smurf, that is not the dance of the hundred smurfs we’ve all grown to know and love!

Brainy sounds truly affronted – upset. He finds this new style of dancing an insult to what he knows. He is entrenched in the Old Ways, inflexible and not ready to adapt. In contrast, Papa is more welcoming of the change the smurflings bring and represent – speculating that he may be a smurf “ahead of his time”, which is a ready contrast and indication that Brainy is someone rigid and steeped in the past, seeing as Papa has only just been speaking to Brainy who had reiterated his distaste for the smurflings’ music at the episode’s end. He really doesn’t “get” it – it being the new style.

It's testament to the fact that Brainy is truly the resident naysayer, ready to (try and) shoot things down that no smurf else seems to have a problem with, to enforce norms and standards and, in this case, presents a push to “stick to what is known”. This is not to say he always presents with the latter viewpoint – but rather, that this is his role within this episode, and can indicate much about his positioning within the show, and tell us something about his character overall.

Quotations From Brainy Smurf

Finally, I would like to address another point of interest which this post’s title draws upon directly: Brainy’s authoring of his own works. I would also like to comment that the overall title of this post (“Quotations of Brainy Smurf”) is actually something of a misnomer when it comes to a consideration of how these works are actually referred to in-canon; the title of this section (“Quotations from Brainy Smurf”) is actually used with far greater frequency.

As mentioned previously, Brainy writing his own books is a phenomenon that is nowhere to be found within the first two seasons. The third season marks the beginning of references made to “the complete works of Brainy Smurf” (Episode: The Smurfs’ Time Capsule), his memoirs (Episode: Greedy and the Porridge Pot) and, of course, Quotations from Brainy Smurf (Episode: The Golden Smurf Award). (We also get a reference to “Quotations of Brainy Smurf” in A Chip Off The Old Smurf). And for the whole of season 3… that seems to be about it!

Season 4 is more abundant with references to this aspect of Brainy, now that the concept has been introduced by the writing team in the previous season – they pick it up and really run with it! Of course, within the canon of the show itself, we are lead to believe that Brainy has been writing books of his own for most of his life, and that it’s simply an aspect of his character that had not been made salient previously (nor would it have really been present in the minds of the writers prior to its introduction).

It’s not until season 5 that we’re shown Brainy actually branching out into different realms of subject matter beyond mere quotations and journal-ing and memoir-writing. It’s not enough for him to merely write about himself, or to impose his “wit and wisdom” and his quotations onto others: Brainy Smurf will write a book on just about anything, as he is under the unassailable assumption that he is an expert on all things and thus all things are under his purview to be written about. Whether it’s Brainy Smurf’s Secrets to a Successful Future or Games According to Brainy Smurf, he’ll have just the book you’re looking for! Or at least… that’s what he’ll claim, anyway.

Brainy: Mrs Porcupine, when it comes to babies, I wrote the book!

Designated Naysayer

To return to the earlier mentions of naysaying –

Fundamentally, Brainy Smurf fulfilling the role of the naysayer is done alongside being a prolific complainer. He is someone who loves to complain and will typically be written to oppose whatever thing he can be presented as being the most annoying or foolish for opposing in a given scenario. Because that’s the other thing – he is almost always supposed to be the smurf who is In The Wrong – whether that’s playing the role of the fool who falsely believes obvious untruths or the overly skeptical and oblivious fool who can’t notice the obvious, just as an example. It matters not whether he seemingly contradicts himself with his stances at different times (readily and eagerly believing in supernatural phenomena in episodes operating within a framework that suggests such a thing is ridiculous, then refusing to believe in the supernatural in episodes where it makes the most sense to do so) because the only thing of paramount importance (from a writing perspective) in these cases is that he’s usually being an antagonistic against something, whatever that something is.

(And of course, the writers frequently “have their cake and eat it too” by throwing in a nice layer of hypocrisy – when he tries to act like the staunch skeptic, he will often be the first to become afraid by something seemingly supernatural. When he does believe something that turns out to be false, he will claim he knew the truth from the beginning!)

He will support something when it’s counterproductive to do so and oppose something when it is the best solution, because Brainy is someone who is always readily available to act as an antagonistic force on the whim of the writers.

From a diegetic perspective, one can also argue that this is one realm where Brainy’s hypocrisy shines through and that even beyond a Doylist framework, the explanation from a Watsonian point of view is that he is a smurf that likes to be antagonistic “for the sake of it” and enjoys fulfilling this role.

Next time, we will return and see how his character continues to be represented in further seasons of the cartoon show. Thank you so much for reading!!

[commsroom]

Ok this is totally fix-it fic territory, just you're the only person I've seen who also doesn't love Eiffel's ending BUT What if after getting far enough away from whatever Cutter was using to block the dear listeners' abilities, Bob gives Eiffel his memory back. They have his brain almost completely copied after all. It would also be interesting to see him struggle with "would I really do THAT?" Like he just has such a hard time believing himself capable of growth and having positive impacts

oh, i honestly don't even think it's fix-it territory! i genuinely think he will regain his memory at some point; i think it makes narrative sense.

whether it's possible, with what the show sets up? the dear listeners are only invested insofar as it might impact the process, but, like you said, they could restore eiffel's memory. maybe even without active involvement. lovelace's blood was still working on eiffel (slowly, which might even make for a stronger case) a few days before the events of the finale, and memory is clearly a consideration in the 'pattern' of duplicates. maybe the regenerative properties apply to memory, too. and pryce scanned eiffel's brain back in ep 55, with the same kind of machine that was meant to instantly relay hilbert's memories back to canaveral; it's plausible there could be a backup.

... but even if none of that were the case! wolf 359 is a character drama, and what's important is what it says about eiffel. doug eiffel, who has spent so much of his life running from himself, whose character arc is about confronting and coming to terms with all of the people he's been, and his impact on the lives of the people he cares about. wiping his memory - if it's meant to be permanent - feels like a fulfillment of that wish, and it would be kind of. at odds with the themes of the show, when in every case it takes such a stance against attempted martyrdom. but as a set up for self-reflection and self-confrontation? i think it makes perfect sense, for someone who externalizes as much as eiffel does. i don't think restoring eiffel's memory is a cop out or fix-it any more than lovelace not actually dying is - it's not a tragic sacrifice, it's a narrative catalyst for character development. or, at least, that's how it makes sense to me.

i won't get too into the rest of my reasoning, since i know it gets long and it's mostly stuff i've talked about before, but! i do actually think the finale is a good narrative choice, i just feel differently about it than a lot of people seem to. maybe because the writers talk so much about their fondness for earned happy endings - that a happy ending is most impactful when you really think there won't be one - i just can't see wolf 359 as a tragedy. the simplified version: if "am i still doug eiffel?" is unanswered, then that's a whole set of unexplored themes. but if "am i still doug eiffel?" is a question with an answer - if the rest of the show, the repeated affirmation that other characters are who they decide they are despite their respective identity crises, the thematic context, "wanna find out together?", if all of that is the answer - then that final scene is an encapsulation and reaffirmation of the show itself. in my opinion, that makes for a really good ending.

[colossal-niamh]

@reneethejackdaw

Alright I promised it so here’s my top 20 matches

Now a quick heads up, this isn’t just going to be a retread of my 5-star list. That’s more of a list of what I think is the best matches in the world, while this is more matches that I in particular like and/or hold sentiment for me. Though there will inevitably be overlap

Honorable mentions:

Hangman Adam Page vs Bryan Danielson 12/15- This match is basically number 21. this is the best AEW world title match and I love it sooo much but it just barely gets eeked out by the other 20

Asuka vs Ember Moon Takeover Brooklyn 3- one of the best NXT women’s matches and just barely didn’t make the cut. If they were to do this with modern Athena this would soar in my personal rankings Bull Nakano vs Aja Kong 11/4- an excellent finale to Aja's long title chase and her crowning as the new top boss of AJW

Kaientai DX vs Gran Hamada, Gran Naniwa, Masato Yakushiji, Super Delfin, and Tiger Mask 4- great and extremely fun multiman tag and a perfect primer for Michinoku Pro's style

Daniel Bryan vs Randy Orton 6/24- One of Randy's best matches and probably the best PG era no DQ match. THE LIST: 20. Bryan Danielson vs Kenny Omega, 4/12/09- a cartoonish and lighthearted match before each man went on to dominate the world. This is probably the most farcical match on this list but for good reason. it's an excellent display of both men's comedy chops, crowd work and eventually a sprint of both men's in ring capabilities. I delightful foot note

19. Cody vs Dustin Rhodes, 5/25/19- The Match that made me go "oh yeah, AEW's gonna work." Bar none Dustin's best match as he and his brother honor their late father's legacy by drenching themselves in blood. I know Dustin getting busted open was an accident but it added so much to the sprit of the match.

18. WALTER vs Ilja Dragunov, 8/22/21- This is the best NXT match of all time. A passionate and brutal rematch of their 2020 encounter. Dragunov shows he truly does have that dog in him as with a chest made of hamburger meat and a gash on his forehead, physically clobbers WALTER into submission

17. Steve Corino vs Yoshihiro Tajiri, 5/14- This is probably my most self indulgent pick on this list as I feel a lot of people could be turned off by Corino's racist pre match promo. I justify my liking of this match by going "DID YOU SEE HOW HARD TAJIRI KICKED THAT RACIST FUCK'S HEAD?!" Tajiri gives Corino one of the most satisfying beat downs I've ever seen and it rocks so hard.

16. Tsuruta Gun vs SGA 4/20- best 6-man tag in wrestling history, every participant plays their part perfectly. Tsuruta Gun's monumental hater energy is prevalent in all 3 members, Jumbo's ongoing grouchy ace energy, Taue fighting to prove he belongs with the vets, and Fuchi's the evil old man viciously harassing his younger opponents. Meanwhile Misawa, Kawada and Kobashi are in a constant state of white hot babyface sprit that does not let up the entire match.

15. Rey Misterio vs Eddie Guerrero 10/27- The perfect encapsulation of WCW's cruiserweight division. Eddie clawing and slamming Rey with the viciousness only a rudo like himself can show off. Meanwhile Rey shows of just why he's one of the best underdog babyfaces as he uses everything in his book to counteract Eddie's harsh offence. Special shoutout to Rey's The Sprit gear here as it works with the theming of the PPV and as a visual metaphor for a Luchador's mask being a part of themselves.

14. E&C vs The Hardy Boys vs The Dudley Boys 4/1- WWE's best stipulation match with 3 of their best tag teams ever. TLC 2 is the wrestling equivalent to watching the police car pile up from the end of Blues Brothers. An insane series of mesmerizing car crashes in rapid precession.

13. Akira Taue vs Toshiaki Kawada 4/1- These 2 start their own independent blood feud while inside the bigger blood feud that is Tsuruta Gun vs Super Generation Army. Taue and Kawada go at each other like 2 beta fish in the same tank, fast and violently. Taue in particular does the rare but awesome All Japan blade job. a dark horse in the 4 Pillars cannon

12. Eddie Kingston vs Jun Akiyama 11/19- The proper match itself is a good time and one of Eddie's sleeper hits, but the post match is special to me. Eddie showing respect to one of his all time heroes and that hero showing an equal amount of respect back is the only time a wrestling match made me cry. The exact moment I realized who my favorite wrestler is, hail to the Mad King.

11. KENTA vs Ricky Marvin 10/15- This match is one of the best sprints I've ever seen. The moment Marvin launches himself at KENTA begins 2 minuets of the 2 men throwing the sickest strikes and nastiest bombs I've ever seen. Gets everyone I've shown it to jumping out of their seats

10. CM Punk vs John Cena 7/17- Punk snatches victory from the jaw of a corporation. Punk truly attains his 2nd City Saint nickname and the title of generational talent. Cena's no slouch here either as he does his patented one night stoic heel routine like it's 2006 all over again.

9. Jon Moxley vs Wheeler YUTA 4/6- This is my most biased pick as I was there live in the arena for this, but also it's the best match I've ever seen live, so it evens out. This is the match that convinced me Yuta is a guy to look out for. Jon Moxley initiates Wheeler Yuta into the BCC through blood and carnage. I was physically leaping out of my seat as Yoots bit and clawed his way to meet Mox on his level. While he failed to beat Mox, Wheeler's sheer tenacity proved he deserves to stand shoulder to shoulder with some of the best wrestlers in the world.

8. Kenta Kobashi vs Kensuke Sasaki 7/18- I lovingly described this match to a friend as "if 2 fridges worked out and hated your chest." Kobashi vs Sasaki is one of the most Dudes Rock matches ever in a medium designed for shit that makes you go Dudes Rock. watch that chop off in the middle of this match and not get hype I dare you.

7. Daniel Bryan vs John Cena 8/18- This is John Cena's best match in his best genre, all timer wrestler sets their legend in stone by surpassing Big Match John. Bryan that this point was, you know, an exceptional technician with a storied career outside of The Fed. But this particular bout cemented him as a star so bright Even the WWE couldn't look the other way as oceans of people rallied behind that little harry hippie.

6. Mitsuharu Misawa vs Toshiaki Kawada, 6/3- This match is mythical. A short hand for greatest of all time for those in the know. In the early years of their decade spanning war, Toshiaki Kawada throws everything in his arsenal at Misawa. In the face of this offence, the Ace manages to have an all timer comeback. I first watched this while on a plane ride and by the time the match was over I didn't ever realize the plane had landed, I was so enthralled I lost track of time.

5. Mitsuharu Misawa vs Toshiaki Kawada, 6/6- Buuuut this is my favorite match between the 2. Years later into the feud, Misawa and Kawada have fought so many time and have elevated into a barrage of heavy bombs, stiff strikes and tight grapples. Kawada is an absolute freak at this point, desperate for his first win and eating everything the Ace has in store. Despite all his efforts, the heartbreak sets in as Misawa once again vanquishes Dangerous K. The ending is the same as always but hits hard, Kawada was so close, but victory slips away yet again.

4. The Briscoes vs FTR 12/10- I find it fitting the late great Jay Briscoe's last great match, the last Great Briscoes match, sits atop the heap as the best tag team match. Blood and metal fly. Jay's bleed, Mark's bleeding, Dax and Cash are bleeding. hell even the ref gets in on the blood. A grand farewell to the best team, dead or alive.

3. Terry Funk vs Atsushi Onita, 5/5- This match is a beautiful as it is violent and boy, is it violent. Onita and Funk slug each other as their bodies are pelted with explosions as the hit real barbwire. The battle makes these great transitions as it goes from all out hatred to desperation as the clock winds down, then finally one of the grandest acts of kindness I've ever seen in a match. Onita, realizing Funk will get caught in the explosion, show his foe some humanity and shields his near lifeless body from the final bomb. The best ending to any match I've ever seen

2. Shinobu Kandori vs Akira Hokuto, 4/2- This. Is. War. Hokuto and Kandori go at each other from minute one with unparalleled animosity. They're snappy, they're agile, they are vicious. Kandori's murderous submission holds, Hokuto's brilliant dives and bombs, THAT TOMBSTONE ON THE TABLE. Undoubtedly the greatest women's match ever, no chance of it being topped.

Kenta Kobashi vs Samoa Joe 10/1- The perfect dream match. 2 of the best to ever do it, at the hottest time for the promotion, at the zenith of both men's careers. Kobashi is fresh off his legendary reign of fire with the GHC heavyweight title. Joe's in that mythical period of his career where he's the best wrestler who ever lived. It is 2 unparalleled greats colliding likes stars, and the explosion is spectacular

[the-epic-hiram-lows]

i would LOVE director's commentary on your favorite moodboard(s)

OMG, you just gave me license to be so pretentious, anon. Thank you. I will try to make this DVD commentary as entertaining and insightful as possible.

These will be very long, so I will do one per post. Let's go in chronological order.

Penelope Blossom

For clarity, I will go L-R from each row, starting at the top.

I had about 5-6 glove options, but they all came off too garish. I mostly settled on this one because of the unsettling normalcy of the backdrop. While Penelope is a gothic heroine, her type of evil lurks in the most mundane of places.

I swear I have a clear image of Penelope playing a piano. If not canon, it feels right. That was the cherry on top of this sundae. I searched far and wide for the right traumacore image with this theme. Lots of options were too specific. I am so happy I found this one, which is nearly the exact quote I searched for, and had a red theme.

I hate that I chose this, and keep kicking myself for doing two wardrobe-based pictures in the same row, though a good 45% of me thinks that their existing on the same row evokes a story, and makes it look intentional. Also, this is Dolce.

This one came up while searching for an entirely different Penelope-related picture. I think it is the first one I found. It felt like such a happy coincidence I didn't bother searching for anything similar. The shoe was already red, which really makes it seem fated that it showed up in a completely unrelated search. I love that it feels distinctly 80s. Not only is that the era of Penelope's origin story, but it shows Penelope's range. Who else can effortlessly flow from 80s pulp to gothic Victorian?

I spent at least a full hour trying to find the perfect photo of old Hollywood hair to crop. It didn't even have to be red. Nothing worked. I must have searched 10 terms. I even resorted to Google. Finally, I just searched 'hair extension' in hopes of an extreme close up. I ended up falling in love with the simplicity of this image. It really enhanced the 'fox in the snow' color palette I wanted- more on that later. I'm not thrilled with the color job (it was a warm blonde originally. I just enhanced the reds to the nth degree) but it'll do. I had to put red hair in the center because it defined her entire path. Had her genes been slightly different, the Blossoms would not have adopted her with nefarious intent.

This is as literal as it is metaphorical. On a metaphorical level, the keys reflect that she is a captor (and, within that, another metaphor- most of the captivity she causes is psychological.) The keys also serve as a literal encapsulation of the aesthetic she curated. Of course, that aesthetic also largely informs the genres of her story lines. The aesthetic also shows a deep attachment to the past. She chooses nostalgia over convenience (keys over doors that lock themselves,) but not because she enjoys reminiscing. Speaking of the past, though she is a captor now, she was a captive in the past she clings to.

Probably too on-the-nose. I debated this, then told myself any other representation of her poison plants would either be too ambiguous or not aesthetically cohesive.

I love this next to the previous picture. A two frame story. What really made me go 'JACKPOT' was the layers upon layers of Penelope's story it applies to. Firstly, it's a goblet. This is an obvious nod to G&G- the blue juice, the aesthetics of her campaign and the game as a whole, and the scene with Alice in the bathroom. It also echoes of the poison challenge she made Veronica and Betty complete. That brings me to the next element- the fact the photo is a representation of being poisoned. Due to cropping, I'm not 100% sure it comes through, but the photo is someone collapsed on the floor with a spilling goblet. It's a trope we've seen a million times. We know that poison is one of Penelope's signature weapons of choice. Through which medium? Gardening. And what is spilling out of that goblet? Rose petals. Specifically, red roses. It is as if Penelope left a kiss of death for someone as a calling card (fitting, given her former profession.) The flowers are as delicate as they are unassuming, like any good femme fatale. It also serves as a stealthy nod to The Flowers in the Attic.

This is what she wants most, is it not? In some ways, she reminds me of one scene in The Killing of a Sacred Deer (if you haven't seen it, please do,) where the antagonist tells his ambiguously deserving victim "I don't know if what is happening is fair, but it's the only thing I can think of that's close to justice." Penelope, pathologically stuck on the past, can only focus on vengeance. It is not fair that she suffered, so she must make others suffer. There is no changing the past, so the people who caused her suffering must pay for it. However, Penelope is lawful evil. She does not act out of apathy or a pure love for depravity. She has a code. See: the challenges she forced the core four to do. If Penelope wanted to, she had ample opportunity to simply murder them. She didn't need to provide an antidote for the poison at the end of the game, either, but Penelope has a love for the game. While you could (and maybe should) argue this is also plot armor in action, I think it shows that Penelope has some sort of internal moral code that informs her villainous logic. Sure, Hal died, but that's because someone had to pay... and Hal committed the worse sin of all: failing to deliver what Penelope needed of him. So, yes, there is some 'honor' in her evil... but, more importantly, honor is what she hopes to achieve through the vengeance. Who will give a little orphan girl the honor she deserved? Nobody did, so she must retroactively honor that girl's suffering with revenge.

Miscellaneous/broad notes now! The second I was tasked with doing a Penelope mood board, I had an immediate color scheme in mind. I wanted a pale, fiery, striking palette that still had a dark gothic feel. Looking back, I wish I toyed with it more, but I stayed true to the image of greys, whites and reds cloaked in darkness.

I also immediately knew at least 4 of the 9 image concepts I wanted. All of the mood boards were difficult for their own reasons- for Penelope, it was narrowing down options, which is a good problem, all things considered.

I decided very early on that I wanted my mood boards to be a psychological study. They must treat every delusion as reality, because they are firmly grounded in the subjects' mind set and self image. For instance, I would not put something like 'shut up you smarmy bastard' on a Bret board. That is exterior perception. I would love to do more broad mood boards later on, where I tackle the character design, including fan reception and/or in-universe reception to the character, but I nixed that for my first round of mood boards. Instead, I told myself I need to tap into every ounce of empathy in my body and tell the story Penelope tells herself. Some things, like the set of keys, do double as an Easter egg of sorts. They apply to Penelope as both a victim and a perpetrator, but I don't think that is something Penelope is exceptionally ignorant to (see: Alice Cooper.)

I originally wanted an extreme close-up of baroque applique detailing as homage to her fashion sense (baroque, Victorian, the occasional military and circus reference.) I have no real reason for nixing this, but it was one of the first images I knew I wanted.

The reason I went with Penelope for my first mood board was: I got an ask requesting a mood board, but didn't want to decide who its subject would be. I went into the Riverdale chat and said "name a character." The first response was @serialkillerbettycooper saying Penelope. One of the intriguing early replies was Caramel the Cat, which I am high key considering.

The end! I will come back with Jughead commentary next time. If you've made it this far, I am seriously impressed and love you very much. Also, I didn't proofread this, so if you see errors/repetition... no you don't, actually!

[iisthepopeoffools]

Riverdale is perhaps the pinnacle of postmodern pastiche. It imitated everything it could get its hands on (names, plot threads, tropes, etc.) regardless of the implications in the story or whether it even coherently fit with the themes of other things they were imitating. As such, plotlines would in the same episode have contradicting messages and themes (e.g. the finale both being all about how you eventually have to say goodbye and nothing lasts forever in a touching close and ending with Betty being in an eternal high school heaven with everyone she knew then in an ending straight up lifted from Titanic with all the same disturbing implications it had there) (or shifting timelines back to the 1950s after already having been an intentionally anachronistic sort of out-of-time show) and characters would be contradictory combinations of archetypes (e.g. Clifford Blossom both as American arch-conservative corrupt capitalist and as Russian spy). And, yet, there is something subversive about this pastiche in how blatant it is and how many things it tries to imitate without regard to what else it's imitated or what makes sense, which serves to bring the hidden problem of over reliance on pastiche in popular art of the postmodern age to the forefront, while also showing contradictions of popular conventions in culture by poorly putting them together, and in how clumsy and obvious it is, which makes Riverdale seem less like a bland sludge (like MCU or Bland Corporate Remake No. 976) and more like a fascinating Frankenstein's Monster of a show cobbled together from objects still visible in its strange body. Make no mistake, the writers did not know what they were doing. They were clearly making things up as they went along and any intentional subversion was only of the most shallow kind. But it is unintentionally a subversive show because of how much it plays straight and how sloppily it does so. In this way, it is perhaps the perfect encapsulation of postmodern pastiche while also unintentionally satirizing it.

A lot of this is drawn from the linked video below, which has many of the same points (albeit more in-depth and from before Season 7) and is, in my view, the best video essay on Riverdale. Though the video is only on how Riverdale serves as postmodern whereas I would argue it also unintentionally satirizes postmodern pastiche.

[audioaperture]

Social Distortion, Chicago, IL

When two legendary punk rock bands like Social Distortion and Bad Religion share the same stage, expectations soar. Their joint tour, a surprising first after decades of parallel existence, culminated in an explosive finale in Chicago, leaving fans with a night to remember. Night one at the Salt Shed showed Social Distortion closing out the show, while Bad Religion closed out the final show of the tour at the Riviera.

Mike Ness, the charismatic fron tman of Social Distortion, strode on stage with the confidence of a veteran and the enthusiasm of a newcomer. The band launched into their set with “Through These Eyes,” immediately setting the tone for a high-energy performance.

One of the evening's highlights was the debut of several new songs from their forthcoming album. These tracks, though unfamiliar, were met with an enthusiastic reception, suggesting that Social Distortion's new material is set to resonate well with their fanbase. Ness's raw, emotive delivery on these songs hinted at themes of resilience and reflection, adding depth to the band's already rich repertoire.

Of course, it wouldn't be a Social Distortion concert without their iconic anthems. As the opening chords of "I Was Wrong" rang out, the crowd erupted. This song, perhaps more than any other, encapsulates the band's ability to blend personal storytelling with universal appeal. The sing-along chorus echoed through the venue, a testament to its enduring power and connection with fans across generations."Ball and Chain" later followed, its somber tones contrasting beautifully with the frenetic energy of the previous numbers. Ness's voice, gravelly and heartfelt, brought a sense of poignancy to the lyrics, creating a moment of introspection amidst the chaos. The crowd swayed and sang along, the communal experience of shared heartache and redemption palpable.The band's performance of "Story of My Life" was another standout moment. The song's confessional lyrics and driving rhythm seemed to encapsulate the spirit of the evening – a celebration of past mistakes and the hard-won wisdom that comes from them. The band's tight musicianship and Ness's commanding presence made this performance particularly memorable, leaving a lasting impression on everyone in attendance.

The audience, a diverse mix of old-school fans and younger enthusiasts, responded with unbridled enthusiasm. Crowd-surfing, moshing, and fist-pumping were constants throughout the night, the energy never waning. The communal atmosphere, fueled by the shared love for the music, transformed the Riviera into a vibrant celebration of punk rock culture. The band closed out their set with their blistering rendition of "Ring of Fire," their iconic cover of the Johnny Cash classic. This closing number, with its rebellious spirit and infectious energy, was the perfect end to an unforgettable night. Social Distortion's final show in Chicago was a fitting end to a landmark tour with Bad Religion.