#this frame is making me insane

[pastelpool]

i want him to [redacted] my [redacted] so hard till i [redacted]

[pygmypouter]

This place is a message... and part of a system of messages... pay attention to it!

[bloodsbane]

Kitchen Nightmares, S5 E1

[mummer]

just saw asteroid city last night, pls explain the proposed significance of the kiss!!

answering this publicly hope thats ok! cant do a readmore im on mobile *****asteroid city spoilers below beware*****

i dont remember anyones names so this is gonna sound partly unhinged. okay so the edward norton playwright and jason schwartzman actor (not character, in the black and white parts) are lovers right. tbh i thought this was kind of a gag and forgot about it. but later we find out that the playwright died 6 months into the production. i didnt make the connection that THAT’s why the actor-jason has to suddenly leave the stage and freaks out backstage about how he’s not sure he’s Doing it right. hes not talking about acting!! because he himself is literally grieving his lover while he’s playing a character who’s grieving his wife written by his lover so obviously it’s too much!!! actor-jason is trying to find meaning in his death through his writing but there isnt any meaning in death [gerris drinkwater voice] which is what the play is trying to say anyway. he doesnt think he’s performing grief right even in his own life!!! (and tbh it’s the 50s so he wouldnt be able to perform grief publicly anyway!!!!) the play starts with a car accident… anyone would search for some hidden meaning there, some sign…. so when he talks to margot robbie outside it’s not really about finding the CHARACTER’s motivations it’s about the actor himself being able to process the playwright’s death! and adrien brody director was probably also dealing with that too (him and norton seemed to be good buddies) so the whole “sleeping backstage” thing gets a bit sadder maybe? maybe everyone else got this in the theatre and im just stupid lol but crazy making stuff to me!!! the whole story is about sublimated gay grief that cannot be expressed?!?!

the tweet that caught me onto this was here which posits that the playwright’s death was a suicide but i think that’s pretty stupid and unnecessary because the whole thing about the play asteroid city is that death is random and meaningless. im pretty sure that’s what the alien represents— a shocking and absurd event that isnt outright evil or menacing, not something anyone can predict or make sense of, it’s just a thing that happens to you out of nowhere, it doesnt mean anything. he’s a little black figure, he’s death! giving and taking! aagh

[ponchcronch]

If I had a nickel for every time I had an alien with a portable pocket dimension who's likely the last of their kind as a comfort character, i'd have two nickels. /ref

[tabithatwo]

[chrollohearttags]

FUCK ME LIKE YOU GOT SOME PAIN IN YOU—

[hum--hallelujah]

actually we're going to talk about Folie more because it makes me frickin insane that the two songs that took lyrics from to you unfinished are Coffee's For Closers and w.a.m.s. and in both cases the words are twisted to make them so incredibly painful. because to you is basically to my reading a huge love letter to the band's through all their ups and downs, "all us believers still believe every time we sing "two more weeks'," "you put my head in such a flurry," "send my love, to everyone above" etc etc etc and then not only does CFC take "preaching electric to a microphone stand" and pair it with the words I will never believe in anything again, but w.a.m.s. pulls "worry worry you put my head in such a flurry/ freckle freckle what makes you so special" from the heart of a poem about a band that is also a family and then IMMEDIATELY AFTERWARD says I'm gonna leave you, I'm gonna teach you how we're all alone. everything about the spirit of to you unfinished is flipped on its head, recontextualized and handed back poisoned. Folie is almost a breakup album and What A Catch, Donnie sounds like a farewell going into a hiatus that no one knew if they'd come off of. the way to you unfinished fits in feels almost like the same sentiment behind I Don't Care, lyrics taken and twisted around and pointed back, extra sharp, extra venomous, without concern for the harm caused. Pete going down with the ship, maybe. my love and hate for you are infinite, etc etc etc. do you get what I'm saying here?? *shaking you* do you get it?!

[wafflesrisa]

Carlos using Charles as a stressball

Or: Charles is so used to Carlos absolutely bodying him as a sign of affection that Charles has no reaction to Carlos doing it anymore

[definitelynotshouting]

girls (gender neutral) when they decide to get a little sillay with texturing

[daydadahlias]

pretty man x loaf of bread

[chamaleonsoul]

It's The 5 Seconds of Summer Show!

[anderscim]

✦ i did make an insane reach, but not about what i expected

(for your information, this is not about the Elliot Cuevas MV that was recently released. this is actually about something else.)

// DRDT spoilers up until ch2 + spoilers for the Literature Girl Insane MV

i guess i’ll just get straight to the point.

admittedly, i have no idea as to how to crack the number code / footnote #14 at the end of the Literature Girl Insane MV. i think i delved a bit too deep into the mathematics and tried to find some sort of symbolism in the numbers, before realizing i was going nowhere with it. if anyone does solve it, however, let me know. (￣^￣)ゞ

but i did make a couple of observations about the specific text shown during that portion. about a week ago i found something that could be a hint regarding what the text is about—and if it holds any ground, a possible clue to a certain character’s past before the killing game.

(take this theory with a huge mountain of salt)

———

there’s nowhere i can really start from, so i guess i’ll begin by talking about one of my observations.

this screen. this specific frame may not look like anything important, but out of curiosity i decided to count the number of question marks on this screen. there’s 32 in total—16 question marks for each row.

other than it being a factor of 256 (16x16), there’s something else that’s also linked to the number. the number of students (total) that participated in the killing games. every killing game has a total of 16 students, at least when it comes to the official series. and with the assumption that DRV3 is a killing game that takes place entirely separate from the other two—this means that Hope’s Peak Academy is associated with two past killing games, which combined, involved a total of 32 students.

aside from that, the footnote “256 words” seems to connect to one of Karasuyasabou’s other songs known as “Jabberwocky Jabberwocka”—and funnily enough, Jabberwocky Island is where the second killing game (SDRA2) takes place. it seems to be too much of a coincidence to brush over.

however, we know that this part of Hope’s Peak Academy’s history has been covered up—so only few have any access to information about it. there’s even direct dialogue that supports this fact; most characters in Despair Time have no knowledge of the previous killing games.

(this does raise questions as to why Teruko has any knowledge of the previous killing games—but i don’t think we’ll be able to answer those for a while as it seems to be a major part of her character.)

in that case, why this number? (here’s where the insane reaches begin. get ready.)

if we go back to the LGI MV, there seems to be an indication that this specific code is linked to a character—which is seen by this frame here.

the roman numerals that appear throughout the MV are linked to a crossword that appears earlier in the music video—and this number (I) is specifically linked to Xander, as seen by the solution to this puzzle by @/raspbeyes here. since the code, the ampersand, the equal sign, and the question marks that follow are all in the same font, color, and transparency (as well as general format), we could also say that the text that appears during this portion is linked to Xander.

as inferred from this theory by @/1moreff-creator, it’s likely that Xander (along with Mai) was heavily involved in a (secretive?) operation or at least some sort of research involving Hope’s Peak Academy. the bonus episodes that released in between chapters 1 & 2 seem to hint at these efforts as well:

and as far as we have inferred, this project proved to be an incredible risk—leading to not only Mai’s death, not only the new killing game, but also the memories of the remaining Hope’s Peak Academy students being reset to when they were first heading to the orientation ceremony. someone was adamant about covering everything up and leaving nothing behind, but Xander and Mai’s project shattered those efforts, if only for a brief moment. but, how exactly does this relate to the LGI MV? if the dev intentionally placed 32 question marks—one for each participant of the past Hope’s Peak Academy killing games—during a frame associated with Xander, then there’s a possibility that said past killing games are also associated with Xander one way or another. and the fact that this was deliberately placed where a numerical code (possibly related to a message) appears, it’s likely that by extension the message is linked to that association as well.

putting all of this together: the question marks from the LGI MV may contain a very specific clue about the numeric code associated with footnote 14—but not how to solve it, rather what the decoded message is actually about. or, if i can word this better, Xander and Mai’s “discovery” regarding Hope’s Peak Academy was about the killing games that took place there, and the message associated with Xander in footnote #14 will be one that talks about this discovery more in detail. if the information Xander and Mai uncovered was actually about these killing games, i think the reason why it was so risky would make sense—coupled with the fact that the Academy seems adamant about covering up that part of history. though this doesn’t actually provide any proper information as to how to solve the code—and i’m sure there’s a much simpler explanation for the question marks during that specific screen in the LGI MV—i think these observations were at least worth sharing.

as always, take this theory with a huge mountain of salt. and i mean, huge. (- -;)

[isalabells]

- And we pulled that stupid prank on you. - Wiener schnitzel and sauerkraut. - Yeah, we thought we were so clever. Eva von Braun, right? But you– you just set it aside, and you put your head down and got to work.

FOR ALL MANKIND 1.02 He Built the Saturn V || 3.03 All In

[densitywell]

"Ashton, you're so special." "I know. That's why I'm fighting for you. It's because you are fucking special, and we all know it."

[theriverbeyond]

so i was thinking about this post, specifically the comparison between Ianthe/Babs and Silas/Colum. because on the surface, they're both necromancers whose relationship to their cavalier seems wholly consumptive. but: Silas differs from Ianthe on one big, key point -- he refuses to ascend to lyctorhood. he has been indoctrinated since birth to view his cavalier as only a tool for him; Colum was quite literally made for him, the 8th house breeds batteries, but when the chips are down silas refuses. he tried to kill Ianthe for it!! like, he was the only one in the room who thought what Ianthe did was so fucked up that she should die for it.

and this is so fascinating!! because one could potentially interpret the 8th house's treatment of their cavaliers like Mercymorn trying to innoculate her house against the grief that destroyed her for 10,000 years. she loved Cristabel too much, and she never wanted that to happen to anyone else. but the thing is, I don't think it worked. at best, I can see Silas becoming like Augustine "human plex" the First. you are not immune to grief etc.

and i think this is going to be important like, idk. the 8th house is the only dead Canaan House pair that hasn't yet had their arc concluded. and IMO, i think the 9th house wasnt the only house to have their dynamic be challenged by and radically shift due to the events of GtN!! that scene where Silas invites Gideon to "take tea" and then tells Colum to kill her -- Colum refuses, Silas lets Gideon go, and we never see the conclusion of that fight. and of course, despite refusing to wholly consume his soul, when fighting Ianthe Silas falls back on old habits to steamroll Colum's agency, and ends up opening the path for the River Devil that comes and kills them both. I think it is very intentional that this is framed as a consequence of Silas overriding Colum's agency and treating Colum like a tool and not a person, and I think the rest of their arc is going to address this. in HtN, when Silas fled Harrow's bubble, I am convinced that he went to go find Colum's soul.

im very interested to see where their arc leads re: forgiveness, atonement, etc, especially in the context of Gideon's forgiveness of Harrow in the pool scene, Hot Sauce's forgiveness of Nona, and Ortus & Harrow's mutual forgiveness of each other. how do we make it right when it can never be made right, how can we move forward without ever being able to erase what we have done to each other?