#tragically i will not have time to watch the last ep before long drive...

[crehador]

boyfriends who get mike wazowski'd together stay together

[lizacstuff]

Sen Çal Kapımı / Edser ask from episode 43 (2x04)

AKA Serkan’s episode. 

There is also speculation about episode 44 based on the fragmans and a few random asks

 (Asks under the cut)

Anonymous asked: Hey, Liza! How did you like the ep? I still get chills when watching the diary x video scene and the final one.. Finally the truth is out to both Serkan and Kiraz! And that fragman! 😍 but It seems like Aydan filing for custody will be the new drama, do you think it will last long? Because I highly doubt that they will give solely happy edser and Kiraz in remaining episodes..

My full episode thoughts are here,  but I agree the diary and video scene was spectacular. It makes me teary every time. 

I’m also psyched that the truth is out. Truthfully, I was one that wanted Serkan to find out at the end of the first episode, but now I concede that it was better to draw it out a bit to really build everything up to this episode and his journey to letting go of his fears. What a character arc they gave him. They really explored Serkan and what drives him this episode and it was a treat-- a painful treat-- to watch it all unfold and for him to finally admit what had driven him to push her away all those years ago and what was still holding him back in the present. 

As for what’s next, that’s a great question. I agree that it’s unlikely we’re going to get happy Edser family from here on out, there has to be some obstacles and drama before we get to the end. The Aydan custody drama will clearly be the conflict in episode 5, but I don’t see it as any real barrier for Eda and Serkan. We see in the second fragman that Eda is already confronting Serkan about it, so if Aydan is doing something underhanded they can’t draw it out too long. 

I assume that while the custody thing may cause a wee bit of miscommunication between Eda and Serkan, I think it mostly will serve as fodder for Aydan and Ayfer’s relationship dynamic and give the supporting characters something to run around and chase after while Eda, Serkan and Kiraz actually start forming their new family unit. If anything it might serve as a catalyst for Serkan. Picture it, Eda confronts Serkan about it and Serkan is like “I don’t know anything about that, I wouldn’t do something that would hurt you or Kiraz, but I do want her, I want us.” You know, serve to clarify things.  

There are probably a few episodes of family drama in store for us as everyone, including Eda, Serkan and Kiraz adjust to this new reality. I assume once the euphoria of having her Baba back wears off for Kiraz, she might ask some questions that are hard for Eda and Serkan to answer. We shall see. 

Anonymous asked: i don't think i've cried THIS much at an sck episode... in like ever lmao. i was full on silent sobbing at serkan watching kiraz's baby videos.. but the scene i really loved the most was the one where they have it out after that fancy dinner. it was EVERYTHING we needed to hear serkan's POV and i almost can't believe a lot of us got the "can't have kids" theory right. i have loved so much this season how edser have communicated, even when it's painful and hard.. it was sorely missing for them.

I know! The communication! I don’t think they’ve ever communicated like this. Of course their issues were not as deep and nuanced back in the first batch of episodes so going this in-depth wasn’t necessary, but they didn’t communicate like this when dealing with Babaanne or when it was really needed after the amnesia era.  

Honestly, so pleased the “can’t have kids” theory was correct. It goes so far in explaining his actions and thought process when pushing her away, as distorted as that thought process was.  It truly was selfless, because I’m sure all he wanted was to hold her tight and never let go, but it was also so unnecessary. Their love story has just been so tragic, but if you think about how many things were stacked against them, it’s also stunning that their love has persevered. They were so opposite and unlikely to fall in love to begin with and then you add in all the things that stood in their way, meddling mothers, family secrets, Serkan’s father being responsible for her parents death, evil, rich, powerful grandmother using everything in her considerable arsenal to keep them apart, psycho stalkers, kidnapping princes, crashing planes, amnesia, brainwashing and abusive exes, plotting “friends,” tumor, cancer, separation!

To come out of all of that and to see they are clearly still in love with one another... well they really don’t have any other choice. They should get married immediately with no pomp and circumstance just so they are legally tied together. So when the next tragic, catastrophic thing comes along it will be that much harder to pull them apart.  

Anonymous asked: deniz and burak are the most harmless "3rd party" characters we've ever had in the show that it almost makes me laugh when ppl get so insecure about them.. especially with burak, knowing that he's gonna be melo's love interest, even if i don't want it. like, sure serkan is naturally gonna be jealous, maybe possessive, because of "buba" but it's all being shown right now as light comedic relief.. i've seen some people REALLY take it to heart when it really doesn't seem like it's that deep lol.

I know, it’s all so mild. They also aren’t actually even third party love interests, because there is absolutely zero interest from either side of the main pair. Both are there to a) serve plot purposes and b) show that neither Eda or Serkan is interested in anybody else. It’s nice, we get to see that while they both have had options, neither has been able to move on and both have chosen to remain alone. 

As for driving the plot, Burak’s presence was necessary because they needed someone who Serkan thought was Kiraz’s father, and Deniz was necessary because they needed someone who would do whatever Serkan wanted when Serkan wanted to force proximity with Eda. 

Looking at the fragman, the real “triangle” might be Buba - Kiraz - Baba  but I also think that will mostly be played for laughs.  A way to give us some “Drain the pool” and “Burn the flowers” type jealousy moments from Serkan, since that was a hallmark of Ayse’s early writing. 

However, I can see why some folks were put-off by that vibe. Because, yes, if you’ve been standing in as a male-figure for the 5-year-old daughter of the woman you’re tying to woo (let’s not pretend that’s not why Burak takes such an interest in Kiraz) and the father that the 5-year-old has been wanting and pining for actually re-enters the picture, maybe you don’t need to force your way in and have “Buba day” the day after he returns. I’m not saying you can’t have it ever again, I’m saying you let the family have some alone time and figure things out. Anyone with any emotional intelligence would postpone such an outing. However, it looks like Serkan is not put off so easily and we know he doesn’t lose, so it will probably lead to humorous scenes. 

The good thing about this is that it shows that Serkan won’t sit passively by. Here Burak is giving him an out, Serkan can have his day back, go to work, he can slide into fatherhood slowly, but looks like Serkan is going to have none of that and is going to crash their fishing outing. How’s that for someone who said he wasn’t ready for fatherhood a mere 24-48 hours earlier?

Also it’s worth noting that Kiraz doesn’t see Burak as a father-figure, if she did she probably would have joined Ayfer and tried to get her mom to marry him. Instead she’s been almost obsessed with her father, talking about him, dreaming about him, wanting him and was very quick to correct when someone mistook Baba and Buba. Also she wanted Buba to meet her father.  So Kiraz wanting to spend time with him isn’t a slight, in her mind he’s a friend, an uncle and with all the upheaval keeping their plans might feel safe to her. We’ll see.   

 martha0206 asked: Hi! I love your pinned post. That moment was perfect. Also, I loved the sad and emotional scenes as well as the funny ones. The episode was amazing!!! ❤ Serkan made Kiraz dream come true and I've rewatched that scene and cried because it's too beautiful and touching 🥺 K: Dad? S: Happy Birthday, my daughter 🥺😭❤

Ahh... this post that was pinned.  Thank you for the kind words, I also love that scene. I just love it because it’s such an EXTRA thing to do, putting on the astronaut costume and making an entrance like that, but both Serkan and Eda have always been so extra that it works for their little family. 

I love that he made Kiraz’s dream come true in the most dramatic way possible.  But beyond being dramatic, it was the perfect way to signal that no matter what fears or hang-ups Serkan had, he’s committed to getting over them and he’s ready to go all in on fatherhood. A perfect way to show not only Eda that he’s serious, but to show all their friends and family he’s serious. DO YOU HEAR THAT, AYFER? He’s back and he’s going to be her daddy, and there is nothing you can do about it!

Anonymous asked: do you think the writers goal is to make us hate Ayfer and Aydan? because its just a deeper and deeper hole for these two and I don't understand if they're supposed to be a happy family at the end. I actually realized going back that Ayfer never really developed into liking Serkan/Edser, she just accepted him one day and that was that but with Aydan, her character development was top tier up until episode 29 came along and she never recovered. Now I just want them gone.

LOL, I think this is a pretty popular sentiment among fans.  

Personally, I need to see how badly Aydan is meddling in the next episode. If it’s fairly inept meddling that just causes some mild misunderstandings but also serves as a catalyst for an Edser conversation about the future, I probably won’t get too upset with her.  However, if her meddling is more competent this time and she gets them into real trouble or causes real problems, then I’ll get annoyed with her. Although, I have to say if we need a few episodes of drama, I would rather this sort of controlled, family drama (meddling mamas causing a misunderstanding about custody) then, you know, other melodramatic things that certain other writing teams used to do... like kidnappings and obsessed stalkers. 

As for Aydan, I can’t help it, even though I can never forgive her transgression in 29, I feel sorry that she lost out on so much of her granddaughter’s life.  So if she wants to come in and cause headaches and drama for Ayfer (not Eda, Kiraz and Serkan... but Ayfer) then I have no problem with that. As far as I’m concerned those two can run around for the next few episodes playing cat and mouse while Eda/Serkan/Kiraz quietly form a family.

Honestly, I don’t think they want us to hate Aydan, because they give Aydan funny scenes and relationships outside of Serkan with Kemal and Seyfi and even Engin and Piril, but I have wondered if they want us to hate Ayfer. Because Ayfer doesn’t get any redeeming scenes.  I mean we’re talking about a woman who managed to raise her orphaned niece and her niece never wanted for love and turned out to be a strong, smart, confidence, successful woman... sooooo she must be awesome, right!?!  NOPE. I mean to take a character like that, who had to have been so instrumental in Eda not feeling lonely like Serkan did, but then make her so unlikeable... it has to be on purpose.  

Anonymous asked: I loved this episode of sen cal kapimi. I wasn’t so mad at the pregnancy thing. I know lots of fans are but I really liked how they made Eda and Serkan emotional and we could understand them better. I just hate how all the people who don’t like the show anymore have turned into toxic haters. It’s so frustrating. If she show isnt working for you, then why do they keep watching? 🙁

This happens in every fandom where the show keeps going and takes turns that some fans don’t like. My best advice is to not expect others to change or to stop watching or stop hate tweeting/posting, but to take steps to change your own experience so they don’t ruin it for you. I can’t tell you how many people I currently have muted on twitter. Lots. I don’t want to see the cynical, nasty tweets day in and day out about this show, the writers etc. Twitter has always been hard to take because so many people post their knee-jerk responses there and often choose to word vomit their first emotional response which for some people is mostly negative. That is true for every fandom, and has been true for this fandom since I started looking at responses there. 

So to protect yourself, seek out people who are enjoying the show and post content that you want to see and mute, unfollow or even block those who make your experience worse. 

You’ll never regret curating your experience. 

Also I don’t really consider this fandom toxic. Sure there’s negativity about the storyline and internal drama about a variety of things, but after you’ve been though shipwars that get hella toxic and include fans trying to destroy actor’s careers and who attempt to use social justice issues to bully their fanon ships into existence on a constant day-after-day basis for years, this is nothing. This fandom is a daisy-lined, sunlight walk in the park in comparison.  

Anonymous asked: For the way they treat their child's SO, I prefer Aydan over Ayfer. Ofc Aydan has been selfish & rude to Eda but Aydan saw her as a respectable foe even when she didn't like Eda. Even now her ire has been directed more at Ayfer than Eda. Ayfer eventually accepted Serkan but never seemed to like him. I get why she thought he was bad for Eda but often her anger has been unwarranted. Ironic how mad she was at him for keeping a secret from Eda for 2 weeks. Even now we see how Ayfer's anger sways Eda

I also prefer Aydan over Ayfer, here’s my recent post on it. 

The problem is not that Ayfer never liked Serkan, the problem is that Ayfer never care that Eda did like him. Ayfer can dislike him all she wants as long as she doesn’t interfere, but oh wait, she has interfered, time and time again. She’s used guilt and manipulation in attempts to control Eda at every turn, to the point, at times, of not caring that she was forcing Eda to sacrifice her career as well as her love. 

It will be interesting to see Ayfer’s response when she realizes Eda is going to let Serkan into their lives. Will she double down on badmouthing Serkan and pressuring Eda not to get involved with him, or will she smarten up and back off? I think we know the answer to that. 

Anonymous asked: Hii! I’m curious what they will come up with for the remaining episodes, I mean, drama-wise, cause no way will Ayse give us 7 episodes of Edser x Kiraz happy family time 🥺 but sure, that is also reasonable since Turks need drama to keep watching

You know, as I said above, I’m very curious about this. To be honest I didn’t really expect Eda and Serkan to be at this emotional place by the 4th episode. I mean they’re not totally ready to get back together, but they’ve both made it obvious that they still love one another, and that is kind of a big milestone in a romantic story. 

Seriously, my assumption prior to the season was that we’d have these initial finding out episodes, and then Eda and Serkan would still be sort of outwardly pretending that they didn’t want to get back together, or still angry at one another, but then they’d be forced together by Kiraz. You know there’d be some parent trapping, and a handcuff episodes and then Kiraz would manipulate them into living together and we’d get all sorts of domestic sexual tension scenes.  Now these things may still happen to some degree, but Edser is starting from a very different outward emotional place than I thought they would be. I assumed we’d get another 4-5 episodes of slow burn, forced proximity before they admitted things and got engaged. But now it feels like their feelings are out in the open and they could decide to get married at any moment. 

So we’ll have to see how the writer’s decide to chart their emotional journey over the remaining episodes. One thing I’m sure of, there are some wonderful scenes coming our way.  

Anonymous asked: I'm back and happy to say that Engin delivered!! THAT is how you use a side character. (Not whatever they were doing with Ayfer for what seemed like half the episode) This was a perfect scene for these two and had no business being as emotional as it was

Oh, yes, as I said here in my episode thoughts, the Engin/Serkan scene is the one that really started me crying on first watch. Anil was really fantastic in that scene and it made me realize how sorely I had missed Serkan/Engin as male best friends who actually talk about their emotions. Where was that guy when Serkan was being brainwashed and manipulated by Selin!?! Oh yeah he was in the hands of inept writers. 

Glad the real Engin is back!

Anonymous asked: Serkan's vehemence against wanting kids, and his dislike of kids in general, make so much more sense with what was revealed.. we just had to be patient! I can't imagine wanting something so much, having it be your "dream" and being told it's impossible.. Serkan's method of dealing with it was trying to convince himself he never wanted it in the first place and trying to dislike the topic altogether. no wonder he was never close with Can either as an uncle... how heartbreaking!

Yes, I absolutely think that was part of it. He dealt with the fact that he couldn't have children by outwardly adopting the attitude that he never wanted it, even though he still knew deep down that it’s all he wanted with Eda. 

Heartbreaking indeed. 

Anonymous asked: i hate to think of more drama when it seems like we have such a fluff-filled episode next week.. but this week's conversations b/w edser have me thinking.. do you think a possibility of reoccurrence of his tumor, or just a scare could be coming as one of their "final" hurdles. except this time instead of making his mistakes from the past, he'll do it right this time. obviously everything will be resolved happily, but i was thinking of the possibility of this when serkan was discussing his health

While anything is possible, I don’t see a reoccurrence of his tumor happening because they had a scene where the doctor said he was in perfect health and that since it had been five years he now had the same chance of occurrence as an ordinary person.  However, I suppose it’s not impossible that they give him some sort of scare so that he can prove he’s changed and that they won’t abandon his family if that sort of adversity comes again. 

Honestly, if I was Eda, I would make him go to therapy as a condition of them getting back together. Make sure he develops some coping skills for the long haul. 

Anonymous asked: the ending of the last episode was equivalent to ep 11 but kiraz version for me.. the whole build-up of serkan initially thinking he can't be her father - a good father - and his fears about leaving them both halfway culminating in him saying kiraz is a miracle, that she's perfect.. watching her home videos to showing up WHEN IT MATTERED!! for his daughter.. ugh i'm so glad there was that build-up, but also that it wasn't stretched out over multiple episodes.

Yes, I agree it was all really well done. It did feel like we had all the build up we needed to truly appreciate the moment and to appreciate Serkan’s extraordinary character arc. 

He truly rose to the occasion at the right moment, and I love that his grand gesture not only made Kiraz’s dream come true, but it showed everyone his growth and acceptance of his role as her father. 

Anonymous asked: can they just bring back Tahir - him and Melo had so much potential. let's just say he finally quit working for Babaanne and decided to come back to Istanbul to find Melo 😊

Yes, please!  He really liked her! Though she never really liked him, lmao. She could have gotten there with time. Though, I guess if she really likes Burak I can get behind it. And by that I mean I won’t bitch about it too much. No promises. We shall see. 

Anonymous asked: Anon here! Thank you so much for that explanation!!!! It seems really interesting, might just have to give it a chance now! Thank you kindly 😊😊

It’s a fun show and I do recommend it. Let me know if you start watching!

[theorajones]

OR IS HE?

I present to you, the Michael Knight Manwhore Index! 

This was shamelessly ripped off from inspired by Sara_merry’s Michael Knight Sex Project on LJ, which tragically appears to have been abandoned after the first 14 episodes. But having a) a ton of spare time on my hands due to the ongoing Coronapocalypse, b) a steadfast dedication to sitting around in my pajamas watching Knight Rider instead of cleaning the gutters or replacing my car’s valve cover gaskets and c) a burning need to know how accurate my estimate of Michael’s conquests was in my last trashy fanfic, I persevered.

Methodology: I assigned each prominent female guest character (and the occasional male and/or regular character) a probability of having gotten it on with Michael, based on my subjective interpretation of how much they flirted/made out/made plans for a romantic getaway/actually went on a romantic getaway. Episodes in which at least one character had a 50% or greater probability (including with characters who were talked about but not seen onscreen) were assigned a value of 1. Episodes with a 49% or lower probability were assigned a value of 0. Values were totaled to calculate each season’s MKMI number.

TL;DR results:

 (# denotes probable sexytimes with someone who wasn’t seen onscreen, * denotes Michael’s participation was most likely non-consensual)

Season 1 MKMI number: 13

04 - Good Day at White Rock 05 - Slammin’ Sammy’s Stunt Show  Spectacular 06 - Just My Bill # 07 - Not a Drop to Drink 08 - No Big Thing # 09 - Trust Doesn’t Rust # 10 - Inside Out 11 - The Final Verdict 13 - Forget Me Not 15 - Give Me Liberty... or Give Me Death 16 - The Topaz Connection 17 - A Nice, Indecent Little Town 20 - Knight Moves

Season 2 MKMI number: 6

06 - Return to Cadiz 07 - KITT the Cat 08 - Custom KITT 14 - Diamonds Aren’t a Girl’s Best Friend 18/19 - Goliath Returns * 23 - Let It Be Me

Season 3 MKMI number: 7

09 - Dead of Knight 12 - Custom Made Killer # 13 - Knight by A Nose 14 - Junk Yard Dog 15 - Buy Out 17 - The Nineteenth Hole 22 - Circus Knights

Season 4 MKMI number: 5

03 - KITTnap 08 - Many Happy Returns 12 - The Scent of Roses 16 - Redemption of a Champion 22 - Voo Doo Knight

Conclusion: Michael is not nearly as much of a manwhore as people think, at least based on what we see onscreen. Although he clearly does have a social life outside of what we’re shown in every episode, so there’s still a world of possibilities...

Detailed episode analysis below the cut:

s1e01/02 - Knight of the Phoenix

Lonnie - Don't seem to know each other very well, no signs of other than professional interest. Probability: 0%

Tanya - Some kind of working relationship as Michael Long, but she doesn't seem to recognize his voice as MK. Plus he was possibly still engaged to Stevie as ML.

T: "I can promise you a very rewarding... *partnership*." M: "Not this time."

Probability: 5% (as ML)     0% (as MK)

Maggie - She expresses regret at not going for him at the end, but also seems more interested in finding a father figure for her son. It's implied that Michael left town before anything could happen. He did say he'd come back and visit. Did he ever? Would Maggie be up for a fling even though she knows he can't settle down? Potentially but not necessarily.

Probability - 30%

s1e03 - Deadly Maneuvers

Robin - They keep things mostly professional during the investigation. Michael goes to his own hotel room. At the end, it looks like he and Devon are leaving together. Michael is wearing a different shirt in the last scene than in the one where he rescues Robin from the munitions range so it's unclear how much time has passed. Theoretically sexytimes could have transpired but there aren't really any strong suggestions that they have.

Probability: 10%

s1e04 - Good Day at White Rock

Sherry - "Keep driving." "For how long?" "Until one of us runs out of gas."

Probability: 95%

s1e05 - Slammin' Sammy's Stunt Show Spectacular

Lisa - She's definitely interested. And he's sticking around for another 3 weeks, so definitely some opportunity. He doesn't seem as flirtatious with her as he was with Sherry but it's definitely a possibility.

Probability: 70%

s1e06 - Just My Bill

Sabrina (offscreen) - Devon breaks Michael's date with her. Not enough info to draw any conclusions about whether it's a first and/or last date. A definite possibility.

Probability: 50%

Senator Maggie - That would have been subversive af, but alas, no.

Probability: 0%

Jane - Doesn't seem that into him at their first meeting. At their breakfast date he asks her how she slept, which presumably he'd know if he'd been there. She does go out to lunch with him and Devon at the end. Possible but not conclusive.

Probability: 25%

s1e07 - Not A Drop to Drink

Francesca - They have kind of a "channel the sexual tension into arguments" thing, but like Maggie in the pilot, she's probably looking more for somebody who can settle down. Another one where he talks at the end about coming back to visit but we don't know if he ever does. Maybe?

Probability: 50%

S1e08 - No Big Thing

The Unnamed 200-Mile Diversion Girl (offscreen) - I doubt he drove 200 miles out of his way just for coffee and friendly conversation.

Probability: 90%

Carol Reston - They have dinner together but seem to be keeping things strictly business. No apparent indication that they're romantically interested, no "Come back and visit sometime."

Probability: 0%

s1e09 - Trust Doesn't Rust

Rosalyn and/or Rosalie (offscreen) - "What's wrong with a little 'companionship'?"

Probability: 90%

Bonnie - They almost kiss after defeating KARR, but mutually think better of it. Presumably the moment passes and stays passed for another few seasons of UST.

Probability: 0%

s1e10 - Inside Out

(This ep has a higher than average amount of sexual innuendo, including KITT's breathless response to Bonnie adjusting his components, Michael commenting that Bonnie knows how to turn KITT on, KITT straight-facedly giving Michael an accounting of Bonnie's measurements after Michael wonders whether there's a real woman under her jumpsuit, and Michael & KITT's "Maybe I can get something from the girl"/ "I wouldn't touch that line with a 10 foot driveshaft" conversation. "Don't worry, I'll distract her."/"I'll bet." "What was that all about?"/"Biology.")

Linda - WTF was up with him grabbing her in the woods like a skeezoid rapist when he just wanted to give her dinner? She doesn't kick him in the balls so I guess that counts for something. They hug after a conversation in her room later, hold hands and smooch before she goes off to do... something mission related. She saves his ass and helps him drop off the bad guys at the prison. Do they celebrate later? Maybe.

Probability: 70%

s1e11 - The Final Verdict

Cheryl - They're pretty touchy-feely when he visits her in jail, and she gives him a pretty good kiss at the end. Odds are good that they had/will have a romantic relationship at some point.

Probability: 90%

s1e12- A Plush Ride

M: I wanna search Margo's room. K: I've heard that one before. M: It'll give you something to brood about during the night.

Margo - (spoiler alert) She's a terrorist. They get physical when she catches him searching her room but it doesn't turn into anything more than fighting. He kisses her (in front of everybody, wtf) after she (supposedly) saves him from being murdered by Jacobs. But the next time we see the two of them together, she's taking him prisoner. She's pretty touchy-feely with him while he's tied up but there's no time for her to do anything (and presumably he wouldn't be into it if she did, what with her being a terrorist and all).

Probability: 0%

Bonnie - Uncharacteristically flirtatious, appears to be a bit tipsy. No real implication that anything happened, though.

Probability: 0%

s1e13 - Forget Me Not

Maria Elena - They're flirting up a storm in their first scene. And their third one. And fourth one. Also she's frequently scantily clad around him. Michael to KITT in the last scene: "See you in two days, buddy." Oh yeah, he was planning something.

Probability: 95%

Micki - She's a little flirtatious too before she loses her memory (although he starts it by fake-flirting with her). And also feels comfortable enough to just run around in Michael's shirt and little else after she loses her memory, although she says she doesn't just meet guys at parties and go home with them (she thinks). He tells her she's a nice lady but doesn't seem that romantically interested in her.

Probability: 10% Until...

Maria Elena & Micki - They've become fast friends by the last scene and both kiss him on the cheek at the same time after he brings them both flowers (at KITT's instigation). Why do I get the feeling "Anybody wanna cruise a hamburger joint?" was as close as they could get to implying a threesome on 80s family hour tv?

Probability: 60%

s1e14 - Hearts of Stone

M: KITT, don't fall in love with one of these beautiful cars and run off on me, huh?

K: I wouldn't dream of it.

Angie - She's with Roberto. Also (spoiler alert) a scam artist criminal.

Probability - 0%

The blonde lady at the bar - They flirt and she tells him she hopes to see him later, but no indication that she ever does.

Probability: 5%

Devon - Oh man, the way he's eyeing Michael up in his hotel room. And if we're still in the pilot universe, Michael is a dead ringer for a young Wilton, whom I will never be unconvinced Devon wasn't either secretly in love with or a relationship with, s2 Devon Miles Heterosexuality Minutes be damned. We never really get any indication that Michael swings that way, though (at least with non-automotive males, *wink*).

Probability: 0%

The nurse - In the novelization she flirts with him and kisses him, but no indication of romantic interest in the actual episode.

Probability: 0%

s1e15 - Give Me Liberty... Or Give Me Death

Bonnie - He tries to ask her out, but she's busy spending the night with KITT. :D She also doesn't seem very impressed with his Liberty drama.

Probability: 0%

Liberty Cox - When she shows up in his room, he seems a lot less interested in her than she is in him, but he doesn't exactly fight her off when she starts kissing him. He tells KITT he went to bed and she went back to her room, but she's sure more pissed about not getting to ride along with him the next day than you'd think she'd be if all they'd done was smooch. Also she's back at FLAG HQ at the end so maybe she's spending some time in town.

Probability: 90%

Dorothy Ackridge - He tries to be flirtatious but she has no time for his shenanigans. she's grateful when he saves her life but doesn't express any romantic interest in him.

Probability: 0%

s1e16 - The Topaz Connection

Lauren Royce - She takes half the episode to warm up to him but they have fun in Vegas. "You do the cake, I'll do the champagne, and we'll see what else comes to mind." "Deal." Things look like they might be headed in a steamy direction as evidenced by the romantic music playing but they get cockblocked by Bob. They smooch before she gets on the bogus plane. In the last scene they kiss some more and she tells him they have some unfinished business.

Probability: 95%

s1e17 - A Nice, Indecent Little Town

KITT: Michael is... indisposed. Devon: Oh. That means he's either with a young lady or in jail.

Jobina - He's definitely turning on the charm. She helps Michael escape from jail (with KITT's assistance). "Is there anything this car can't do?" "I think a woman would be a better judge of that." "I beg your pardon?" I don't even know what that's supposed to mean but I want to believe it's something saucy. Not actually much indication onscreen that anything happened but in the last scene Michael says he hopes Jobina will stay in town and Bonnie asks if that's so he'll know where to find her. Michael responds, "Yeah, that's a thought." Possibilities here.

Probability: 50%

s1e18 - Chariot of Gold

Dr. Charlene Litton - He chats her up at the party, but it's in the line of duty. She's kind of condescending to him. She does break away from the creepy IQ cult and help Michael foil their plans, but isn't seen again.

Probability: 0%

Bonnie - They do their usual UST thing, and dance at the party until Devon cuts in. He's extremely protective of her. He talks her out of her brainwashing by telling her "We're a team, we love each other." He makes her breakfast and brings her a rose at the end. Still, no overt indication that anything beyond camaraderie happens.

Probability: 0%

s1e19 - White Bird

Stevie - Presumably they've gotten it on in the past but there was too much going on in this episode for anything to happen. Also presumably Wilton didn't do any renovations below Michael's neck so if they'd gotten it on she would have known with 100% certainty who he was.

Probability: 95% (as ML)     5% (as MK)

s1e20 - Knight Moves

Terri - He asks her to go dancing. She turns him down but finds him likable/trustworthy enough to let him give her a lift home. They seem to be bonding but when he goes in for a kiss she says goodnight and goes in the house (alone). His little smile afterwards suggests he's up for the challenge. After he saves her life and her other driver threatens to quit she tells him she really likes him and hugs her but doesn't push it further than that. She tells him the next day that it was the first time she ever wanted to kiss a man (but that she had before anyway D: ). At the end they do go dancing (and she puts on a dress because heaven forbid a tough woman should ever fail to embrace conventional femininity immediately upon being found attractive by any halfway decent dude) and it's a reasonable assumption that they did more than just *dance* until dawn. I kind of want to roast Michael a little for not being more aghast about the fact that she's kissed dudes she didn't really want to and for encouraging her to give up her Tomboy Terri persona but it was a less enlightened era and at least he didn't hit on her when she was vulnerable which is more than a lot of dudes of his time (or this one, for that matter)  would have done so I'll cut him some slack.

Probability: 90%

s1e21 - Nobody Does It Better

Connie - He's checking her out on the tennis court but (spoiler alert) she gets murdered.

Probability: 0%

Flannery Roe - Things are off to a rocky start. She seems to take his "do you like to play?" at the club as a come on, pulls a gun on him (not entirely unjustifiably) when he corners her in the cul-de-sac and has him arrested on suspicion of being a stalker and/or rapist. She warms up to him a bit after he provides a comforting hug when she finds Connie's body but still gets a little shirty with him at the restaurant and turns down his offer of a ride home. She's antagonistic toward him when they meet again at the club. He saves her from the bad guys and for some reason she's back at the Foundation HQ at the end but they don't do any huggy-kissy stuff so odds are minimal.

Probability: 1%

s1e22 - Short Notice

K: Since you haven't asked, I'll tell you. It was demoralizing, demeaning. M: What? K: Police impound. M: Oh. You had me worried there for a minute.

Nicole - She keeps him at arm's length initially (understandably since she's hitching). Turns out she's another single mom, so her main preoccupation is getting her kid back, and she doesn't really care if she dicks Michael over in the process. He does get along well with her kid when they find her so that probably gets him a few points in her eyes. They hold hands after he beats all the bad guys in the western town and hug at the end but don't kiss. She's probably looking for a new dad for Natalie. He tells Natalie he hopes they'll see him again but nothing conclusive.

Probability: 10%

s2e01/02 - Goliath

Rita Wilcox - Another one where there was possible interest but probably wasn't time for anything to happen. She spends half the episode either pissed off at him or faking a relationship with Garthe, and then they're busy trying to take out Goliath. They hug after Garthe and Goliath are out of commission but don't kiss. At the end she's on her way out of town. It's unclear how much time has passed between that and the last scene but when she implies he should look her up if he's in LA, he doesn't mention that the Foundation's home base is in SoCal (or so it appears)? I don't think he's the type who wouldn't go for a woman he was interested in just because she'd hooked up with his evil twin (even if he was a little judgy when he found out she was shacking up with Garthe again), so maybe he's just not that into her.

Probability: 25%

s2e03 - Brother's Keeper

Lisa - Things aren't exactly off to a great start when he kidnaps her. She warms up to him a little by the end and they give each other a fairly chaste goodbye smooch. He says they'll see each other again and she says she hopes so. Maybe?

Probability: 30%

April: He's on a kidnapping spree and drags her to the beach at the end. Still, no real indicator that anything romantic is going to ensue.

Probability: 5%

s2e04 - Merchants of Death

Camela - They seem to keep it professional except for a goodbye kiss. Not even a "We'll see each other again." Odds are minimal.

Probability: 5%

s2e05 - Blind Spot

Julie - She's in some kind of platonic lifemate relationship with John, which may end up being more than platonic thanks to Michael's yenta-ing.

Probability: 0%

s2e06 - Return to Cadiz

Jennifer Shell - They have dinner together and she seems to open up to him but it isn't overtly romantic. They have a spat but hug and make up when he finds the secret treasure cave. She kisses him after he rescues her from the bad guys. An undisclosed amount of time has passed before they have dinner and he heads out but they do the "Will I see you again?/count on it" thing before she kisses him goodbye. It's possible, maybe even likely.

Probability: 50%

s2e07 - KITT the Cat

Grace - She's definitely flirting with him when she invites him to the party. And then tries to convince him she's not the burglar by making out with him. At the end he kisses her goodbye pretty interestedly while promising to keep a closer eye on her. Odds are good.

Probability: 85%

s2e08 - Custom KITT

Suzanne Weston - She's pretty overt about her interest in him, but when she shows up in his room he seems relieved when KITT beeps him on the comlink. She tells him he knows where to find her if he's ever in the mood for something other than "good, clean" fun, so by implication he hasn't been.

Probability: 0%

Carrie - She's into him enough to get jealous when she thinks he hooked up with Suzanne. "If our plan works and the thief tries to steal KITT tonight, you can thank me." She kisses him first, but then he kisses her and tells her that's "very close" to his way of wanting to be thanked. The implications aren't particularly subtle. They enthusiastically hug after catching the bad guys. When she wins the car show, they smooch with more "I don't know how to thank you... but I'm sure I'll think of a way" innuendo. He tells her he'll see her later, and I think it's a strong possibility that he will.

Probability: 90%

s2e09 - Soul Survivor

M: Devon, I felt something in here... I don't know, a presence... KITT's presence.

K: Oh Michael, do I look just dreadful? Be honest. M: KITT, what matters to me is who you are, not what you look like. Sure we don't have the car. So we can't turbo boost. So we can't go over 200 miles an hour. It was all icing on the cake anyway. It wasn't you. K: It wasn't? M: No, the car was fantastic but if you break it down it was steel, rubber and glass. We can always make another one. But you, you are a lot more than silicon chips and fancy circuitry, You're my buddy. You're my partner. KITT, you're one of a kind. K: Thank you, Michael. The feeling's mutual.

K: What was it like, Michael? M: What, KITT? K: Seeing my body functioning without me? Or you? M: A little spooky, let me tell ya. K: Did it seem like me? M: Yeah, it did and it didn't. It looked like you, but somehow it just wasn't the same. K: I don't understand. M: It didn't have your soul, KITT. Without that, it could never be the same. K: Thank you, Michael.

Adrianne - She techno-roofies him and the way Randy sticks his head in the door and then guiltily ducks back out as she's leaning over him on the couch kind of suggests he's walking in on something he knows he shouldn't see. Still, Michael appears to be fully clothed when he wakes up in a ditch. Adrianne is totally a creepy douchebag and/or rapist (as we will see more of in Goliath Returns) but she was probably too preoccupied with stealing KITT to do anything in this ep.

Probability: 20%

s2e10 - Ring of Fire

(This is one of two eps where Michael utters the phrase "come on, baby" to KITT while trying to get out of a jam. Obviously NBC's censors had to ruin our fun because it never happens again after this season.)

Layla - She's still married. Doesn't really express romantic interest in Michael and the hero of an 80s family hour tv series probably wouldn't have gotten it on with a married woman no matter how much of an abusive dick her husband was. They do kiss goodbye at the end and he tells her if she ever decides to leave the bayou, she knows where he'll be. If anything ever happens, it's probably in the distant future.

Probability: 5%

s2e11 - Knightmares

M: Whoa, you are hot! K: Quite true, Michael.

Cara - She tries to look out for him after he gets amnesia, but not a lot of indication that she's romantically interested in him, and he's too busy trying to figure out wtf is going on to hit on her. They hug after he rescues her from drowning but we don't see any more of them together.

Probability: 5%

s2e12 - Silent Knight

Marta - No real indication of romantic interest on either side. We  don't see what they're doing as Tino is saying goodbye to KITT but considering he offered her a handshake and not a kiss or even a hug, it's probably safe to say nothing happened.

Probability: 0%

s2e13 - A Knight in Shining Armor

Katherine - She's a little young for him (Michael tells her the treasure was supposed to be her 21st birthday present so presumably she's legal but the fact that she's still in prep school makes her seem younger). Also this is another episode where he begins their acquaintance by first rescuing, then kidnapping the female lead. They don't particularly like each other at first, but hug after his "if nobody can hurt you, then nobody can love you" chat with her, again after he rescues her from the bad guy (again) and after escaping the cave collapse. It seems more friendly than romantic, though.He takes her hand in the cave but it comes off more as sharing a moment than a romantic overture. They kiss at the end but he tells her goodbye and leaves. No indication that they're going to see each other again.

Probability: 5%

s2e14 - Diamonds Aren't A Girl's Best Friend

Lauren - She makes out with him when he first shows up as part of her cover story and he clearly doesn't mind. He's pretty committed to maintaining their cover in subsequent scenes. In the last scene she tells him she'd like "to do it for real" but she's pretty clearly referring to kissing, not *it*. By implication they haven't done more than kiss at this point but when she asks if she'll see him again, he tells her "unless you change her name and move to Okinawa." Future potential.

Probability: 50%

Lauren's boss - She's kind of flirtatious with him when they first meet but no indicator that anything happens.

Probability: 0%

s2e15 - White Line Warriors

Cindy - She's with Ron, who is apparently pretty understanding since he doesn't seem to object to her giving Michael a thank-you kiss at the end.

Probability: 0%

s2e16 - Race For Life

April - He's emotionally supportive and her niece has been introduced to Michael and KITT but no significant indications of anything romantic.

Probability: 0%

s2e17 - Speed Demons

Sabrina - He comes to her rescue when Wade is harassing her at the party, They hug after she talks to him about Kelly. They give each other a chaste goodbye kiss but no real indication of romantic interest.

Probability: 0%

s2318/19 - Goliath Returns

Adrianne - This one gets an asterisk, because whatever happened in Garthe's creepy dungeon after the cutaway to a scandalized KITT didn't look consensual on Michael's side. She pretty obviously went down to there to sleep with him, and the way she staggers out in her bathrobe the next morning while Garthe bitches about how she slept in pretty strongly implies that she actually did, but Michael really seems the opposite of into her and her basically telling him "please me [in bed] and maybe I'll make sure my psycho boyfriend doesn't murder you" is rape by coercion if not by force. Did he grit his teeth and do it just to hedge his bets? Maybe.

Probability: 80%*

s20 - A Good Knight's Work

Gina - He's obviously interested and kisses her before he goes to MMM, but (spoiler alert) she's playing him. Except maybe she's not so bad because she lets him talk her out of shooting him and then they hug. They kiss goodbye at the end but she's going into witness protection and there isn't really any indication that they'll see each other again or that anything romantic transpired.

Probability: 10%

s2e21/22 - Mouth of the Snake

Joanna - She was more interested in Dalton. I deeply want to believe Dalton's invitation to Michael to hang out with them at the end was really an invitation to join them for a threesome because it's the only thing that would make this episode interesting, but Michael takes a rain check and heads out of town.

Probability: 0%

s2e23 - Let It Be Me

Stevie - She's still pretty broken up about her boyfriend's death. He kisses her when they go back to her apartment and she tells him she still dreams about him. The next scene they're wearing different clothes and seemingly some time has passed so maybe something happened after the cutaway?

Probability: 50%

s2e24 - Big Iron

Lucy - She was the woman who was coming out of the hotel room at the beginning. He seemed to be checking her out in that scene but obviously he's not going for a married woman even if she didn't have some other drama going on.

Probability: 0%

s3e01/02 - Knight of the Drones

Bonnie - They hug when he shows up at the university and he makes the "You can sail with me anytime" comment to her at the marina at the end and they link arms to walk to the boat, but not really anything more romantic than that.

Probability: 0%

Margo - She fakes romantic interest in him and he plays along, but (spoiler alert) she's setting him up to be murdered.

Probability: 0%

s3e03 - The Ice Bandits

Bonnie - They walk arm-in-arm into the diamond place, but Michael was making innuendoes about other women when she was sitting right next to him in the car 30 seconds previously so probably nothing really going on.

Probability: 5%

Jody - She's engaged to Charlie. Michael tells Charlie "She's not the one I'm interested in, it's *you*," with his standard flirtatious grin and god, that's hot. Spoiler alert: Charlie is a crook. Even after she finds out the truth she doesn't really express romantic interest in Michael although she does paint his portrait.

Probability: 5%

s3e04 - Knights of the Fast Lane

Diane - He's too preoccupied with Stacy's case to flirt. She hugs him after he rescues her but we don't see them together again.

Probability: 5%

The random cheerleader - She seems interested, but we don't see them together again either.

Probability: 5%

s3e05 - Halloween Knight

Bonnie - He's very protective. Tinhats would probably make something of the fact that her costume is Scarlett O'Hara and his is Rhett Butler. Still, nothing too overtly romantic.

Probability: 5%

Esmerelda - She'd probably put a love spell on him in a hot minute but I think he finds her a little terrifying.

Probability: 5%

Denise - She's friendly but not overly flirtatious. Also she gets murdered before anything can happen.

Probability: 0%

s3e06 - KITT vs. KARR

Mandy - She's with John. No indicators that they're interested in a threesome.

Probability: 0%

s3e07 - The Rotten Apples

Marilyn - They're hardcore flirting and she says she hopes to see him again. They kiss after he wins the mechanical bull contest, but then she catches a bus out of town. She kisses him goodbye and he does this "oh yeah, I still got it" move but we don't get any strong evidence that anything else happened.

Probability: 10%

Rebecca - Not a lot of flirtation, and the kids are always around cockblocking.

Probability: 10%

s3e08 - Knight in Disgrace

(I was almost too distracted by KITT and Michael in this ep to pay attention to the GOTW, lol. KITT's hurt confusion when Michael leaves and him being a total bitch to Michael's would-be replacement and the way he goes with Michael even when he thinks he's on the wrong side of the law, I'm *dying* here...)

Linda - She comes onto him and roofies him at the bar and he wakes up with his shirt undone, but she's Boyd's girlfriend and (spoiler alert) another hapless single mom so she probably didn't do anything untoward, assuming he was even conscious enough by the time she got him home. After she gets to know and trust him she doesn't make any moves on him and they don't smooch or anything at the end.  

Probability: 5%

s3e09 - Dead of Knight

Cindy - It's not entirely clear what their relationship is. At the beginning it looks more like he's trying to pick up on her than they're actually dating. He's obviously really invested in helping her but he'd undoubtedly do the same for anybody who was in mortal peril because of him. At the end in the ambulance he calls her "baby" and says they have a date. In the last scene Cindy is leaving for Broadway soon but they're all together at the Foundation and it's unclear how much time has elapsed. Not conclusive but suggestive.

Probability: 50%

Renard's girlfriend -  She's putting the moves on him while he's feverish and loopy and somehow his shirt has gotten unbuttoned but there's a guard in the room so probably nothing happened.

Probability: 10%

s3e10 - Lost Knight

"If I may be so bold, what on earth were you *doing* down there?"

(LBR, Michael is too busy angsting about KITT to try and get laid in this ep.)

Doug's mom  - In a relationship, although at the end she decides to break things off with her boyfriend so she can focus more on her son. She and Michael kiss goodbye but it's improbable that there's anything more than that since she just said she doesn't need another man around right now.

Probability: 0%

s3e11 - Knight of the Chameleon

Tonie Baxter - They seem to know each other from a previous case. He kisses her on the forehead at the end of their first scene. They don't really seem to interact romantically during this episode. Michael gets distracted by KITT's contest winnings before they have a chance for a goodbye kiss.

Probability: 10%

s3e12 - Custom Made Killer

Unnamed Dancer (offscreen) - Devon: "You've been rather difficult to reach lately. Particularly last night." Michael: "I got a weakness for dancers." HIs protest that they're "innocent girls working their way through college" leaves little doubt about what kind of dancer this was.

Probability: 95%

Joan - No evidence of romantic interest. Also (spoiler alert) she's collaborating with the bad guys.

Probability: 0%

Debra - He flirts at the end and she kisses him goodbye. Lewis says "He'll be back" and she gives a suggestive eyebrow raise. Possible but not conclusive.

Probability: 25%

s3e13 - Knight By A Nose

M: KITT, how close are you? It's getting stuffy in here. K: Any closer and I'll have to marry this limo.

Maxine - They hug and he calls her "sweetheart" when he shows up. Devon accuses Michael of being biased because Max is attractive but he describes her as "a very, very close friend." Yet we never actually see them kiss. Maybe they really are just friends?

Probability: 25%

s3e14 - Junkyard Dog

Fran - He's too preoccupied with KITT to do much flirting for most of the episode, but they're having a picnic/makeout session together in the semi, seemingly alone, at the end. It's a reasonable assumption that things escalated at some point, even if they didn't want a scandalized KITT watching and commenting at that particular moment.

Probability: 80%

s3e15 - Buy Out

Mel - They keep it professional for most of the ep but after he catches the bad guy he tells her she's attractive without her welding mask and they kiss. We don't see them together again but it's possible that more happened.

Probability: 50%

s3e16 - Knightlines

Janet Morgan - She's recently widowed and not in the market yet. No romantic interaction.

Probability: 0%

s3e17 - The Nineteenth Hole

Daisy: Is that thing blown? KITT: I beg your pardon?

Jamie - After they fake being married at the hotel she kisses him before the race. Not a lot of other romantic interaction but he and Bonnie and Devon do seem to be sticking around to watch the race so something could happen.

Probability: 50%

Daisy - He flirts with her a little at the meetup but no indication that it goes beyond that.

Probability: 0%

s3e18 - Knight and Knerd

Allie - She rides off into the sunset with Elliot.

Probability: 0%

Receptionist at Gifford's - He flirts but no indication that it goes anywhere.

Probability: 0%

Vanessa Sutton - Apparently he gives a really good massage but she's (understandably) pissed off that he wasn't who she was expecting the massage from. Also she's a villain and is too busy setting him up to get murdered for anything to happen.

Probability: 0%

s3e19 - Ten Wheel Trouble

M: Hey, are you hungry back there, partner? K: Perhaps a little lonely, Michael. But rather enjoying my independence.

Sally - He turns on the charm when they first meet but things go south rapidly when he talks her brother into going to jail. By the end he's back in her good graces and she likes him enough to steal a kiss from him before he says goodbye. You know her hormonal teenage brain is thinking about it but for reasons that should be obvious, he isn't going there.

Probability: 0%

s3e20 - Knight In Retreat

KITT: Of course, there is one other possibility. Devon: What is that? KITT: The lady of the retreat. She's quite attractive. Of course, knowing Michael the way I do, it would strictly be in the line of duty.

Bianca - She seems to find him physically attractive, and maybe if she hadn't been so busy torturing him she would have tried to have a little fun with him. But considering what he suspects her of, he probably wouldn't have gone too far unless he absolutely had to.

Probability: 0%

Monica - She flirts with him at the bar and comments on what a waste it is to kill him, but nothing is likely to have happened due to both time constraints and her being Bianca's henchwoman.

Probability: 0%

s3e21 - Knight Strike

Sheila - She acts jealous when he makes the date with Tyler but he seems more exasperated than romantically interested in her. They kiss before he goes into the warehouse but it's fairly short and chaste. At the end, she goes off with O'Malley.

Probability: 0%

Tyler - She makes a date with him at the gun range but it's just a distraction. He flirts with her but it's all in the line of duty.

Probability: 0%

s3e22 - Circus Knights

Bonnie: I have to admit, Devon, he looks fantastic. Devon: Yes, in spite of that ridiculous costume he's wearing. Bonnie: No, I'm talking about KITT!

Terri - They keep things professional at first, although when they're in the car together she asks if circus-folk camaraderie is the only reason he's interested in helping her. He says he's be lying if he said yes and presumably she reads it as him being interested romantically. After his near-murder in the ring they have a heart-to-heart talk and kiss. At the end he tells her to call him if she needs anything. *Anything?* Hmmm...

Probability: 50%

Tiger - She hits on him but he's not into it.

Probability: 0%

s4e01/02 - Knight of the Juggernaut

K: I'm asking you how I look. M: You look great, same as always!

Marta - They have some chemistry in their first meeting. He asks her out when they get back to her apartment. But (spoiler alert) she's part of the conspiracy to steal the cernium and sets him up to get murdered (twice). He cools it on the flirting after the first incident (understandably, since if he takes her story at face value she was assaulted and possibly worse) although he still acts protective of her. After she helps them get the bad guys she's hanging out with the Foundation crew at the end but we don't see any more romantic interaction.

Probability: 25%

Jennifer - No overtly romantic interaction. They're antagonistic for most of the episode although they make up at the end.

Probability: 0%

s4e03 - KITTnap

Karen - She's doing her doctoral thesis on KITT and spending a lot of time with Michael in the progress. Judging by the way they're holding hands in their first scene and then making out at her apartment, there's obvious romantic interest. And she clearly has more than academic interest even after (spoiler alert) she gets held hostage by the bad guys so it's a reasonable assumption that if they weren't already banging they're going to at some point.

Probability: 95%

s4e04 - Sky Knight

Bonnie - He's pretty touchy-feely at the airport and they hug after saving the day but no overt romance.

Probability: 5%

s4e05 - Burial Ground

Susan - They keep it professional for most of the episode. He tries to hit on her at the end but she's in a relationship with Eagle. That doesn't stop her from giving him a goodbye kiss but no indicator that it goes any further than that.

Probability: 0%

s4e06 - The Wrong Crowd

Ann - She spends most of the episode being menaced and/or held hostage by the bikers and we don't really see them interact with each other in a non-case-related way.

Probability: 0%

RC - Michael is very tenderly concerned when he finds him knocked out by the side of the road. But probably neither of them swing that way.

Probability: 0%

s4e07 - Knight Sting

Gaye - She seems young. And also kind of annoying. He hugs her in the hospital but it doesn't look particularly romantic. No evidence of interest on either side.

Probability: 0%

Bonnie - He flirts with her when they're planning the operation and she shows him her dress. The rest of the episode they're too busy with the mission for any shenanigans.

Probability: 0%

RC - He's clearly been raiding Michael's closet for that sweater. But Michael is cool with it. No overt indication that they're more than bros, though.

Probability: 0%

s4e08 - Many Happy Returns

Amy - He's flirting up a storm but whoops, Devon is cockblocking and she's actually there with a mission for him. However, it's not all business and she surprises him with a birthday cupcake and some birthday smoochin', until duty calls again. She makes some innuendo about "getting to adolescence and maturity later" as he's leaving so she's obviously willing to take a rain check. She's back in the semi with them at the end and Michael invites her on vacation with him. We don't see her answer but it's a safe bet it's a yes.

Probability: 95%

s4e09 - Knight Racer

Elena - At first it's all business but they seem to be having fun dancing at the reception. They have a heart-to-heart talk in the parking lot until the hit man shows up. They hug after the big reveal about Elena's dad and the fight with Wayne's partner but don't kiss. Maybe Michael would think twice about getting involved with a friend of Bonnie's.

Probability: 10%

Unnamed track bunnies - Michael says it wasn't easy ignoring all those trophy queens and their phone numbers, implying that he did indeed ignore them (maybe more because he had to get back to the office than out of disinterest).

Probability: 0%

s4e10 - Knight Behind Bars

Julie - He agrees with KITT that she's cute, but they don't really express romantic interest to each other beyond a hug after he tosses Nelson into the ocean. Also at 20 she's a little young for him.

Probability: 0%

Gymnastics instructor - She flirtatiously tells him she's free the rest of the day, but he isn't. No indication that they see each other again.

Probability: 0%

s4e11 - Knight Song

Bonnie and/or RC - They're all playing hookie together and conspiring to keep it from Devon. Shenanigans?

Probability: 5%

Sanford - No indication of romantic interest, also she's a villain.

Probability: 0%

s4e12 - The Scent of Roses

K: I'm sorry, they don't allow cars in hospitals. I would have been closer. M: I know you would.

Stevie - They appear to have been staying at the beach house together so it's a safe bet, even if (spoiler alert) they never got to consummate their marriage.

Probability: 95%

s4e13 - Killer KITT

"Not now, Michael. I have a headache."

Bronwen - She and Michael barely interact, plus she's probably Berio's girlfriend.

Probability: 0%

s4e14 - Out of the Woods

Sam - He's flirtatious when they first get reacquainted but too busy working on the case for anything to happen before it's revealed that (spoiler alert) she's a villain. He does hug her when she surrenders at the end but I assume that trying to murder him is a dealbreaker.

Probability: 0%

Ellen - No real evidence of romantic interest and she says goodbye with a handshake rather than a kiss.

Probability: 0%

s4e15 - Deadly Knightshade

Bonnie - She's more preoccupied with Templeton. He does give her a swan in his magic act at the end.

Probability: 0%

Nancy - He's too busy with the investigation to even do much flirting.

Probability: 0%

s4e16 - Redemption of a Champion

Miss Cooper - Michael obviously has a hot date that most likely would have ended with some lovin' if he hadn't once again been cockblocked by KITT and Devon. At the end, Michael is dressed up for Date Night, Take 2, but gets called back to the semi again. Does she give him a third chance? I mean, *I* would...

Probability: 50%

Nurse Tremount - He flirts with her to get info and comforts her after she breaks down and confesses to the scam but no indication that it goes further than that. Plus she’s in an adulterous relationship with the villainous doctor.

Probability: 0%

s4e17 - Knight of A Thousand Devils

Claudia Terrell - She's a villain. When she makes a pseudo-date with him it's just to set him up.

Probability: 0%

Agent Jonas - They bet dinner on the arrest and Michael seems to be taking his death extremely personally. Juggernaut slash ships have been built on less. If he were a chick I'd say "extremely probable" except for the fact that Jonas was married with kids. Not that it stops some people, but it would most likely stop Michael.

Probability: 0%

"Ana-Lucia" - She keeps him up all night working on her car and he says he's going to come back after the race is over and demand equal time. Her response: "You won't have to demand." Plot twist: She's actually a Federale. We don't see her again after they apprehend the bad guy so it's questionable whether their flirtation was still valid for her real identity.

Probability: 10%

s4e18 - Hills of Fire

Sandra Rusk - Barely any interaction and also she's a villain.

Probability: 0%

Tess Hubbard: No significant romantic interaction. Probably too busy with her charitable work to go chasing after pretty-boys.

Probability: 0%

s4e19 - Knight Flight to Freedom

Lisa - Too busy dealing with a revolution for any shenanigans.

Probability: 0%

s4e20 - Fright Night

Karen - They keep things mostly professional but she buys him lunch at the end. No real indicator that it ends in anything romantic, though.

Probability: 5%

Liz - They flirt a little when he interviews her ("I appreciate your interest." "I'm interested!") but it doesn't really go anywhere.

Probability: 5%

s4e21 - Knight of the Rising Sun

N/A - No female guest characters and nothing particularly shippy with Bonnie.

Probability: 0%

s4e22 - Voo Doo Knight

Harana - She's a little flirtatious at the party. When she puts one of her zombifying earrings on him, she gets a little touchy-feely and tells him they could have had a future together but there are two of her goons in the room and she's sending him to the soon-to-be-demolished building so she probably doesn't have time to take advantage of him even if she wanted to do it with an audience.

Probability: 0%

Elizabeth - Michael nudges Devon into letting her stay an extra few days, and she seems pretty good with that. We don't see them kiss but they're engaged in a pretty intense hug at the end.

Probability: 90%

...at least he got to go out with a bang?

[shinygoku]

Top 10 CSatM Episodes (2/2)

See part 1 here

As a few paragraphs and pictures for 10 episodes in a row makes a rather long, unruly beast of a post!

The second half of my personal preferred picks for a Top 10, though the order they’re being listed in doesn’t correspond to my favour, but the order how I watch them on my DVDs. I still suggest you read the first half of the list before this one, all the same~

Spoilers below the cut, be warned! ✂

Crater 101

So this ep is pretty much a sequel to Lunarville 7, and is followed up with Dangerous Rendezvous. Neither of those made the cut of my list though, and even isolated from those it makes a solid story. The most Space-y of all the episodes and a visual treat, cause while we mostly stuck to the stark accommodations of Lunarville 7 in that episode, here we see the grey grimy gloom of the outside of the Moon, and the sharp, delightful contrast of the Mysteron’s fantastic plastic Complex. Here, vivid marbled colours and flashing lights join inorganic shapes that suggest something of the Mysteron’s nature, but as always, nothing conclusive.

Moving away from the lovely Aesthetics, this is also a strong one for characterisation. We get some sweet interactions with The Lads and for this episode only, the Best Female Character in the whole show. Linda Nolan is the controller of Lunarville 6, a smart, capable woman who had her own cool space mission referenced and in fact critical to the plot. She is also relatable in that she catches feelings for Scarlet, so while she’s barking up the wrong tree I still have nothing but respect for her, hehee.

Eerie, tense, interesting and still somewhat funny, this is another episode that eeks into an even higher ranking list than 10, I could comfortably put it in 5 and mmmaybe 3. Though I’m not gonna be able to say definitively as the best episodes all bring something different to the table, and this may just be the strongest in the uniqueness regard.

Fire at Rig 15

I get the feeling this may be an unorthodox choice, somehow? But yeah, I just really enjoy it. It’s not a funny episode, but it is rather exciting, and contains some lovely new music and a sweet scene at the end. The Mysteron’s plot is pretty simple, but should it succeed, devastating as it would be crippling Spectrum’s operations by removing the unique type of fuel all the craft uses.

In a way, it’s kind of like a dark mirror to a typical Thunderbirds setup; whereas in that show the initial fire would be more likely to be accidental or just maybe some ne’er do well like the Hood, this time it’s as simple as the Mysterons reopening the master valve. When traditional firefighters would eventually retreat to make room for International Rescue, here Spectrum themselves have a rather passive role as a professional rolls in. And of course, said man finds himself very, very dead due to further Mysteron interference (see picture), with Black seemingly hypnotising the poor bloke into standing too close to the explosion.

From there his duplicate half buries his original corpse and later receives direct instructions from Black to suicide bomb the nearby refinery, and it’s en route to this is where the thrilling car chase takes place! Scarlet saves the refinery but the whole SPV he was driving is completely ablaze at the end of it. Like my thoughts on Point 783, I really appreciate the human touch to the last scene, with soft music as arrangements are made for Scarlet to recover from the horrible state we’re spared of seeing. Seeing how his ability to recover from death is one of the cornerstones of the whole premise, I love it when we’re allowed a bit more insight into what the other Spectrum personnel do in the situations, in this case White specifically instructing Dr Fawn to make sure Scarlet is comfortable as the process takes place.

Treble Cross

A notable and unique spin of an episode, where a rather routine Mysteron threat takes quite the turn when their assassinated target is brought back to life! It seems by the 2060′s we’ll have cool machinery to do CPR for a couple of hours as well as doctors ready to play god when they happen to drive by the car crash scene, heheh

Seriously though, this is a really fresh premise, that the villains who have been using doppelgangers for their devious schemes get the tables turned. This time the duplicate gets perma-killed while the original Major Gravener willingly participates in an undercover mission to help draw Captain Black into a trap at last... However, an easily overlooked factor in the driver who was also killed had been duplicated offscreen, so even with this amazing chance Spectrum can’t catch Black. But the World Capital, Futura City, is saved and Spectrum find the Mysterons themselves can’t tell their own copies from the original person, so it’s all in all a net gain!

Also this episode contains the World’s Happiest Clock, so that’s a neat plus.

Flight 104

We start this story on the incredible note of Captain Blue singing in the shower of the Hotel room he shares with Captain Scarlet. Scarlet then orders them both room service for some lunch. And if that sounds like the start of a fanfic plot, it may well be, but it’s also literally right there in the episode, baybee!

Charmingly domestic opening aside, I love this whole shebang. Again it’s the usual Mysterons threatening of an individual who Spectrum are bodyguarding, but the way both our heroes and villains go about this is different from the norm. Scarlet and Blue are trying to avoid drawing attention, so they spend the whole episode in normal clothes (Blue spending 1/3 of this in that comfy bathrobe!), and don’t have their comms. What’s more, they get a pair of reporters suspicious, and the two trail them looking for a Big Scoop.

When I was first watching this, I was expecting the journalists to get killed by Black to be the Mysteron Pawns, but no! They’re both fine from the start to the end! Then we find Black doing ....something.... to the Flight Crew of the titular Flight 104, but they aren’t killed either, just drugged. Instead, the Mysterons remotely pilot the plane on a slow collision course with the Alps, but are undone when an Electrical Plant interferes with their control.

As breaking into the pilot cabin had the side effect of jamming the landing gear, the plane has to crash land at the airport, but almost everyone being unharmed makes this one of the most gentle episodes of the lot... of course, Scarlet himself is still heavily implied to have been killed from the crash, but even his injuries seem pretty minor this time. And yet, it’s not lacking in excitement, as the tension of Spectrum trying to communicate with the two without their Comms and the inability to override the Mysteron’s control until that pre-established Electrical weakness kicks in holds for a while.

Inferno

Those who know of me from Thunderbirds are Go (the 2015 TV series) discussion are likely to know how much I love the episode from Season 1, Tunnels of Time. It heavily features my favourite ship in that show as they explore an ancient South American Temple which is full of peril. The temple is destroyed by the end of the episode.

So anyway, Inferno features my favourite ship in this show as they explore an ancient South American Temple which is full of peril, and tragically the temple is destroyed by the end of the episode! Heheeheheee~

Ok seriously though, eerie parallels aside this is another utterly beautiful instalment, with set design and lighting that really blows other episodes out of the proverbial water. And the pyrotechnic team clearly had fun with the seemingly unending explosions at the end of the adventure. An all-around visual feast!

Main plot is relatively simple, like in White as Snow, the Mysterons kill a Satellite and its crew and steer the reconstructed version towards their target of the week. Unlike WaS, they succeed in the end, a reminder that they’re still not to be underestimated. No human lives are lost, but the important complex and more tragically, the 800 year old temple that’s otherwise intact, get bombed to smithereens. Something something additional cost of warfare on Culture and History.

But while this is the end of my personal Top 10 list, it’s not all bad, because the Scarlet and Blue antics in the temple are utterly lovely and [chef finger kiss] splendid cinema~!

That about wraps up this Two-part post of mine! Picking 10 out of 32 is easier than 10 out of 100, but it’s still tricky as most of the episodes are very good, with only a few I’d promptly write off as a candidate for the list. And in some ways I wonder if I went about this the right way, some eps I only saw once and might feel strong enough to pip one’a the ones I did choose.

I have been rewatching each of the eps covered, and a few that didn’t make it, but my initial choice was made looking at the full list and letting my gut grab a few, having to think over more as the slots filled. Some fan favourites like Lunarville 7 came close, but I hope I’ve been able to clearly convey what it is about this selection that gave them the edge ;3

I will write further posts on Captain Scarlet and the Mysterons in the future, but after this mammoth and also the Notable Episodes list I’d quite like to enjoy it for a while without thinking about points to talk about, haha

[its-chelisey-stuff]

‘Love and Redemption’, eps 41-50 (at this point I just feel pain)

I wanna take a moment and address the situation properly: WHAT THE ACTUAL FUCK SIFENG? YOU DO THIS EVERY.SINGLE.FUCKING.TIME. You sacrifice everything for this woman everytime. You have a 99.9999999 % of disregard for your person is actually a wonder you came this far into life or maybe not if we take into account the other 9 incarnations and the one in heaven.

I can't believe the biggest reason why I love this character so freaking much is also the only reason that makes me mad at him, because it leads to his death, demise, destruction, ending, fin, whatever you want to call it, always. His only flaw is also his biggest strength depending on what day of the week or in which part of the drama he is living.

He loves Xuanji impossibly too much.

I mean... this is a drama that has deities, demons and mortals, all aware of the others' existence. I've seen dragons and weird creatures that rank from adorable to wtf scary. There are mermen who are doctors. Snakes that can turn into people and become spiritual pets!!! All of that is okay by me. I barely react to any of it. Oh, sure, you can fly on your swords? Pretty cool. By far the most fantastical thing on this drama, the one that makes me react with incredulity and wonder, is the love Sifeng feels for Xuanji.

Never ever in a million years could it be true in real life (and not only because of the fantasy elements) but that's the greatest thing about this drama. That's why I love it so much. And it makes me angry.

The whole time on ep 45 when Xuanji almost killed Sifeng by using something her senior gave her, had me screaming in desperation. Xuanji, you moron!! Thank goodness for WuZhiQi.

When the drama started, I kept looking for the big bad TM guy. As I've learned with the few costume cdramas I've seen, villains never show themselves right away. So, I wasn't expecting Dijun to be the crazy manipulating possessive obsessive bitch he turned out to be and I wasn't prepared for how much I was going to hate his character. In these last ten eps, I reached the height of my patience, my sanity limit, and I just really wanted someone to kill him everytime he opened his heavenly mouth. Damn, I wish Sifeng had really done that, instead of just being framed by the crazy bitch. 

To me, Yuan Lang nor the star of Mosha are the bad guys. It's him. 100% him. I want OTP to take revenge on him because I fear he is guilty of a lot more than we know. But woud I be lucky enough to have it my way? *sighs*

Listen, I love Tengshe and apparently someone in the drama does as well I said it on my previous post but it's important to say it again because he keeps solving things and moving the plot ahead. This is the kind of character you want introduced (if you need to) later in any story. He went to heaven and snuck onto the forbidden library, snooping on top secret records and even went into Dijun's private chambers, to look for information or any clues on Xuanji and her past. And once he did it he descended to the mortal realm and helped Sifeng stop a catastrophe and even lectured the stupid mortals on their stupidity. On these eps, he was my fave character along with Sifeng.

The mortals are stupid, as I've stated. My Linglong went through a bunch of shit, so I dare not to say anything about her, but what about the rest of the mortals? The sect leaders with their hypocrisy and so called good ways, I almost spit blood from anger lol cdramas would make you say that. But seriously, why is it that no mortal dared to think rationally? Why are they so dumb? Xuanji's driving force in believing Sifeng was her love for him and how much she didn't wanted him to be bad, but she didn't really used her brain to think about the fact that the the evidence and what she knew were contradictory. Oh, Xuanji. You were never the brightest but I always thought your love for Sifeng could work as your conscience. And because of that, you deserved to suffer a bit when you found out how mistaken you were. Karma.

The only resourceful people here are the demons (good and bad). They get things done and I'm so happy that even though Sifeng had a crazy suicide plan that was making every mortal hate him, he had a support system and good friends by his side, that knew the truth and trusted him. Hell, Wu ZhiQi had just met him and he was already saving his life and trying to stop him from doing something crazy spoiler: he failed. These demons were such a heavy contrast with the humans. Is ironic, truly, that the "monster race" was being more honorable and actually using their heads unlike the "civilized" mortals. *Sighs deeply and shakes head* Tragic.

Wasn’t expecting to like Wu ZhiQi so much, so fast, but I do. And he is such a mood! Plus, anyone who likes Sifeng and tries his best to help him, is on my good list.

What a creepy nauseating move, to try to take her away on her wedding day eww disturbing as heck. I don't know what forms of therapy are like in this world, this period of time, but if killing her kidnapper/rapist/stalker is going to help my Linglong heal and put the nightmare behind her, then I cannot tell you how happy I was that it was her, the one who sent him to hell. And I got to see her fight like the badass she is. Please, please, drama. Let her be happy now. She deserves it. 

Is so Sifeng of him to try and save Xuanji literally 15 minutes after she just tried to kill him. As angry as I was, I couldn’t help but swoon lol because here he is, desperate to save the woman he loves, no matter what things she’s done. He can’t just stand there and watch her die.

Sifeng fell for Xuanji on the Heavenly realm a thousand years ago! We still don't know the full story, but I was so happy to get a confirmation on it, and do correct me if I'm wrong, but I think Dijun didn't recognize Sifeng? Or maybe he pretended not to? Everybody from 1000 years ago recognizes Xuanji, but no one has done it with Sifeng. And yet, he clearly was there. That's weird, right? I mean, he took a few heavenly lashes for Xuanji. And he freaking was the one to stop her punishment AND he descended after her (more like fell, heh). Who on earth was this guy? Why did he have so much influence or power over what gets to be done about her? I'm not curious anymore. That doesn't describe what I feel. I'm craving for the answer, I need it.

Ah. These two. Maybe this isn't the one sided love I thought it was, after all. Maybe Xuanji did like him before becoming a mortal. But... There are so many things that I still don't get. I got a few answers but also way more questions.

I don't want this story to end, but Sifeng and tbh Xuanji too, have suffered too much already. I gotta say that I wasn't so happy with Xuanji, in fact I was very annoyed with her especially when she drew in a sword through Sifeng's chest wtf but I can't hate this girl and tbh my love for Sifeng is greater than my annoyance/hate towards Xuanji, which means that as long as Sifeng is happy and smiling, I don't care if it's with Xuanji and if she doesn't suffer nearly a half of as much as he does. There has been enough suffering on their tenth reincarnation alone that we don't even need to take into account the other 9 lives. They deserve ALL the happiness in the world.

Hehe but that won't come easily. I'm bracing myself because I think the very worst (and the painful answers) is in the last 9 episodes but hey, it'd be worth it, theres a happy ending. That's what keeps me going 😜

Edit: lmao I just realized that I didn’t talk about the biggest revelation of all, which is that Xuanji is not only the God of War but ALSO the Star of Mosha. How does that even work? Sifeng has tried to investigate and Tengshe as well, but there’s only so much that’s recorded on the official papers, so far they’re the only ones that know the truth and Sifeng’s best bro (who found out bc there’s only one person/reason why Sifeng would ever say he’s the Star of Mosha). Looking forward to finding out the whole story.

[fizzingwizard]

Okay I really enjoyed this week’s episode! It set up a bunch of cool stuff that I can’t wait to see, and it was a fun watch. We got a number of desperately needed partner/Digimon moments, and we got some much needed Taiyama friendship action going on - as well as some other stuff I super appreciated (but still want more of). I’m so stoked for how the team is coming together.

We didn’t get a few things I normally would have expected, and I’m never quite sure if I feel that way because it’s truly missing or if it’s just that “this ain’t your momma’s Digimon Adventure” yadda yadda. I don’t think i’ll ever get used to Taichi being so serious in comparison to his 99 incarnation (but, I get the feeling he is more in line with original V-Tamer Taichi, so there’s that).

So not a slam dunk for me, but all in all, it was good!

I just took as many Taiyama pics as I could so why don’t we just knock one out of the way before we begin xD

They look so coooool all beat up and windswept

More below!

Sooo last week, the aptly named Eyesmon evolved into the equally well-named Orochimon. I always think “hydra!” (thank you Hercules) so initially my thought was that the plan would be for each of the kids to take out one head. Then I remembered, we only have six kids so far... and then I got a better look at it:

(this cap’s from much later but it shows the whole body so)

there was clearly one head that was significantly different from the others and appeared the most connected to the body! So the strategy was clearly lop off the central head because that’s what’s controlling the rest! A la VenomVamdemon only slightly less gross hahaha

Meanwhile back in real Tokyo, as Koushirou explains, the electronic pulse generated from this freaky Digimon’s battle is affecting anything digital, or even just anything that uses electricity.

Kaaaboom!

Our kids try to fight but it’s pretty obvious they’re out of their league. I did totally love MetalGreymon and Zudomon leading the charge together sort of. Because I continue to be a sucker for Taichi/Jou growth parallels! Anyway they both get knocked out and de-evolve so Taichi calls for them to regroup.

Aww piggyback

The way Jou carries Gomamon like an infant though ;___;

Sora and Garudamon lead the retreat, scooping everyone up and carrying them out of danger and omg look at Gomamon he looks so cozy gaaah

but not before Taichi realizes someone’s not with them... it’s Yamato of course... he’s just standing there... staring...

Why? Because “my little brother’s in danger in the real world!” That is adorable. Stupid but adorable.

Also stupid yet adorable... Taichi immediately runs to go get him. I have no idea WHAT his plan was but I am eternally grateful that he is such a dork because it gives adorable dorkiness like this:

and this

and ultimately this

pffffffftb

weregarurumon tries his best he really does

(no but really this is now my PREFERRED method of transportation for these two, one each tucked under WereGarurumon’s armpit and just dangling like that while he runs like crazy protecting his precious cargo... also look at Taichi holding onto Agumon’s arm the whole time eeeeeiiiii I love those detals it almost distracts from WereGarurumon’s expression of shock when they inevitably get shot and fall to their doom x’D)

yeah so everyone gets shot and falls to their separate dooms, and this was 100% just an excuse to put Taichi and Yamato alone together. The shonen action anime equivalent of “and there was only one bed!”

Jou continues to cradle Gomamon like his very own son

The kids wonder what to do and Jou has a cool moment here and there (like legit cool, where he acts all responsible)

... er, I did say “moment” :P

Meanwhile Koushirou is all cryptic and scary. That is his main job after all. You may think it’s to be the team brain, but it’s actually to make sure we viewers know just how terrible things really are so we can lose all hope of survival even though we already know they’re going to win x’D

I mean that is pretty scary tbh

Taichi breathes a sigh of relief. I wasn’t exactly surprised that he’s not running out to fight - even 99 Taichi usually understood when it was time for a strategic retreat. At the same time, maybe it’s just me, but I totally got the sense that he was scared in this scene. Not out of his head with fear, but definitely worried, I mean none of them seemed to have any effect on this monster earlier. It’s interesting to feel his tension.

“Yamato why did you just stand there in the street while we were trying to make our getaway?”

“Because... my little brother’s right in the center of danger back home... I can’t let this monster continue its rampage or he could get hurt...”

“Yeah man that’s all fine but I mean why did you just stand there in the street like an idiot I’m pretty sure you won’t be much use to your little bro if you’re steamrollered?!?!”

He looks so surprised that all this has been because of brotherly love. I can’t remember, is this the first Taichi’s hearing of Takeru? I know he wasn’t there when Yamato told Sora & co but maybe it was mentioned way back when they jogressed... Either way I wonder why he doesn’t say “I get it, I have a sister back home too that I’m worried about too.” Seems like a moment for bonding ya know?

That is the one thing I felt was missing here... we went through all the trouble of getting Taichi and Yamato alone together, and all that happens is Yamato confides something in Taichi that he’s already shared with the others. I mean, Taichi also shows his willingness to help Yamato and work together, and I think that is the important thing we’re supposed to take away, as Yamato’s all touched by it... but uh, for the most part I felt like not much happened in this scene, at least not that we haven’t already seen before.

Takeru’s phone, he’s waiting for a call from “oniichan” T-T my precious boy

And we actually get to see him!! His face!! His adorableness!! Ahhh Takeru I miss youuu!

Family photo! Parents’ faces not shown in the usual tradition of “divorcees in kids’ shows”! Also the tell-tale brothers are holding hands, but parents are standing as far apart as possible...

Meanwhile Taichi’s mom and sis are trying in vain to evacuate while their car flips out. Hikari sees an image of Orochimon broadcast on a nearby building and flinches away. No one else seems to notice it so maybe this is just her special ability like in 99 Adventure?

Traffic’s at a complete standstill and everyone’s electronics are going bonkers so Mama Yagami has them get out and head for the trains. Unfortunately this is what everyone else decides to do as well, and Hikari winds up like Simba in the wildebeest stampede, only there’s no one to jump in and save her so she tragically dies. :P

taichi: I see your ‘brother in danger’ and raise you one ‘dead sister.’

yamato: screw you

“You did great Mimi!!” A JOUMI MOMENT WE GOT A JOUMI MOMENT sort of okay but beggars can’t be choosers HE PRAISES HER (FOR STUFF HE WASNT EVEN THERE TO WITNESS THO LOL) AWWWW ITS SO CUTE

Then he remembers to praise his partner!!! All by himself! (Finally!) Gomamon’s so happy! It was so unexpected and he’s ecstastic!

Piyomon instantly gets jealous!!!! It’s so adorable!!! Sora is quick to reassure her that Garudamon is indispensable.

“And I’m the prettiest, right Mimi?”

“When you’re Lillymon, anyway.”

“D:”

lol the return of Mimi only appreciates Lillymon’s sense of fashion tickles me. an essential Mimi characteristic

Tentomon shyly and awkwardly tries to wring a compliment out of Koushirou too. It works, Koushirou is quick to tell Tentomon that he’s super cool as AtlurKabuterimon. I will be honest though, I wanted him to fail, just because we need to let these kids actually develop!! Their arcs are over so quickly! It took 99 Koushirou 52 episodes to be able to say “I love you” (I think it was “thank you” or something in the original Japanese but the point is he was being super honest and vulnerable at long long last). Imagine what an important moment this would have been if Tentomon’s “and me?” had been met with “huh? uh uh... I was thinking about how to defeat Orochimon... what are we talking about?”

That is something I continue to miss, not just with Koushirou but with everyone... their personal weaknesses just don’t really feel like weaknesses the way they did in 99 Adventure. And I’m just wondering why? For me, that was a driving force of what made 99 Adventure really great. It wasn’t afternoon special “stories with a moral” type drivel, because what they learned in the moment still had to build upon, and they would fail again, and learn again, and become their best selves slowly. And they’d risk a lot in the meantime. It was powerful to ten-year-old me. We are at ep 17 now and by this point in 99 Adventure, we’d had tons of scenes like that. I keep thinking “okay it’s early, we’ve got time!” but at this point it’s not so early anymore! But comparing with 99 Adventure is also a useless effort and I continue to choose to enjoy this show as its own separate thing and believe there’s still lots to come.

Taichi expresses his willingness to fight alongside Yamato even though as Yamato warn’s “it’s gonna be totes yabai”

Taichi: “I eat yabai for breakfast”

Yamato: “smiles”

jokes aside... the way Yamato smiles at Taichi is so cute! It’s hesitant, but once it’s there it doesn’t waver. He’s clearly starting to get used to relying on Taichi for backup, at least, and it’s no question that he feels friendship for him and the others, he’s just reluctant to admit it. The question is how all this will hold up when the situation’s reversed.

I LOVE this particular cap, Idk, there’s something about the sheer determination on Taichi’s face and the trust in Yamato’s as he looks back at him while they ride Garurumon directly into Orochimon’s line of fire... Fizz I think you’re reading too much into the animation. DON’T MESS WITH MY DREAMS OK I KNOW THESE KIDS BETTER THAN I KNOW MYSELF

obligatory Best Boy cap

Suddenly, in the real world, the fight is broadcast on the screens!! I was expecting this to happen every time a screen flickered, but once it did, I was like wow!! they’re going to let the whole world in on the secret of the digital world already!? and I wasn’t sure how I felt about that

BUT... that’s not what happened, maybe. Because so far the only ones who for sure are seeing these images of Digimon and the Chosen Children are Hikari and Takeru. No one else reacted to Orochimon and Mama Yagami doesn’t go “hey, that’s my son!” We could argue no one noticed because they were busy evacuating like maniacs, and Mama Yagami was busy looking for Hikari on the ground and not looking up at the screens. But it feels impossible that someone wouldn’t notice! So my current theory is only Hikari and Takeru can actually see these images... at least for now.

The fight rages. Meanwhile, the others soon catch up, as the only reason they were separated in the first place was to let Taichi and Yamato have a Moment. One thing I really liked though was Sora more or less leading the charge to join Taichi and Yamato. I want more of “second in command Sora” now and forever. (My personal headcanon since I was a kid was always that if something happened to Taichi, Sora, not Yamato, would take over. Tri did not go that way though :P)

Burning eyes of courage!!

They beat Orochimon by taking off his central head, as predicted. Then they all go and take a nap in the street. It is full of d’awww.

Gabumon and Agumon mimicking their partners’ body language always get’s a mega d’awwwww

Taichi: “That was yabai!”

Yamato: “I warned you it would be.”

Taichi: “Yeah, but we made it somehow!”

Yamato: “... smiles”

Uggggghhhh I can’tttttt with these two

Like Koushrou, Yamato is totally whipped by Taichi’s smile... oh dear... my heart is pulled in two directions... Taiyama... Taishirou... “my number one my number two...” (anyone else remember that dumb song there used to be tons of love triangle amvs on youtube set to it...)

I mean just look. look at Yamato looking at Taichi. he can’t make himself look anywhere else. ToT

Sora and Piyomon also win Adorable Award of the Day.

Honestly everyone gets it... I apologize for not having any cute Tentomon resting on Koushirou scenes capped! It’s because they drew Tentomon’s head freakishly big and I just couldn’t do it bahahaha but they were cute too

And that’s the end of... oh oh wait, did you think the battle was over? YOU NOOB. xD

every veteran Digi fan was not at all surprised to see this countdown appear and what looks like yet another bad guy evolution next week. Also next week...

... looks like Takeru’s finally going to join us!! Yaaaay! Very dramatically too it seems!

We got a glimpse of Hikari in a similar moment BUT... I’m not convinced Hikari will truly be joining us. She was separated from her mom and is clearly going to have a Digimon interaction of some sort like Takeru, but I think this is “eighth child” build up, one because the current ending theme is completely Takeru centric, and two because it just makes sense to me that Takeru would be Crisis One and Hikari will be Crisis Two. Idk of course it’s just a hunch.

Fizz before you said Hikari was killed in the stampede I WAS KIDDING

kidding about children dying??? OMG Y’ALL

maybe though Hikari’s swept away by those people, gets her Digivice, then is promptly captured by... idk evil Digimon, or shady government officials? More likely, she gets her digivice and helps but keeps it a secret and plans to show her brother when they reunite... we’ll see!

This ep I give 8/10!!

Ending with one more cool Taichi cap from next week’s trailer!

[yescs2020]

apparently this list was blocked in Canada and Cuba and all it is is somebody’s opinion:   By Hannah Mylrea- 8th September 2020 “Every Taylor Swift song ranked in order of greatness She's one of the greatest pop stars in the world, and she's released the official lockdown album in 'Folklore'. But which is Tay's single best song of all time?” article with rankings starts here:

A few months ago Taylor Swift did something totally un-Swiftian, and surprise released her latest record ‘Folklore’. The indie-inspired album, which featured collaborations with Bon Iver and The National‘s Aaron Dessner, was remarkable and unexpected, and another example of the bold moves Swift has navigated throughout her career.

From the country of her early albums to the glittering synth-pop of ‘1989’ and experimental sounds of ‘Reputation’, this is an artist who’s constantly reinvented her sound. Yet at the core of it one thing remains: Swift’s sheer songwriting talent. It’s worth remembering that Taylor is the person who wrote ‘Love Story’ in 20minutes on her bedroom floor when she was only a teenager.

Now, almost a decade-and-a-half into her career, we look back on Swift’s glittering discography and rank every single one of her songs. That’s right: all 161 of ’em.

A few caveats to begin with – no officially unreleased songs have been included, nor songs that are “featuring Taylor Swift”. Anything written under a pseudonym has also been forgone (so her credit as Nils Sjöberg ‘This Is What You Came For’ isn’t given a look in). We have, however, included officially released cover songs – so that includes all of the Swifty renditions on the ‘Speak Now World Tour Live’ record and her bevvy of Christmas covers.

Additional words: El Hunt, Nick Reilly

161‘Christmases When You Were Mine’ (2007)

There’ve been a handful of Swift-does-Christmas moments over the years. Some are truly lovely – but this original tune from 2007 EP ‘The Taylor Swift Holiday Collection’ is not one of them.

160‘Superstar’ (2008)

A syrupy song about Swift fancying a celebrity, the puppy love of ‘Superstar’ is innocuous but bland.

159‘You Are in Love’ (2014)

A sweet bonus track from ‘1989’, it’s inoffensive but you can see why it was only bunged on the end of the deluxe edition of the album.

158‘White Christmas’ (2007)

This festive cover is absolutely fine – nothing more, nothing less.

157‘Silent Night’ (2007)

A cover of the classic Christmas carol, Swift well and truly puts her stamp on Franz Xaver Gruber’s song. Growing to a melodramatic finale, it’s an overblown rendition.

156‘Beautiful Ghosts’ (2019)

Written by Swift and musical theatre composer Andrew Lloyd Webber for last year’s film adaptation of Cats, this is a bit slushy. But, no, we wouldn’t say it’s a CAT-astrophe.

155‘Christmas Must Be Something More’ (2007)

Another festive tune: this time Swift questions the commercial nature of Christmas over rootin’ tootin’ country instrumentals, concluding that December 25th is actually about “the birthday boy who saved our lives”. Happy birthday JC!

154‘Umbrella’ (2008)

An acoustic cover from Swift’s ‘iTunes Live from SoHo’ EP. It’s nice, but little more to it.

153‘American Girl’ (2009)

A cover of the Tom Petty classic, you can’t deny it’s a beast of a song. But this slowed down rendition saps some of the energy out of it.

152‘Last Christmas’ (2007)

There’s plenty of Christmas joy in this cover, but it doesn’t have a patch on the Wham! classic.

151‘King of My Heart’ (2017)

This electro-pop moment has a sweet sentiment: that the extravagance of past relationships isn’t what Swift wants anymore, and now this new love interest could be The One (“Is this the end of all the endings? / My broken bones are mending”). But this soppiness is delivered over jittery instrumentation, which three years on already sounds dated.

150‘If This Was A Movie’ (2010)

A bonus track from ‘Speak Now’, ‘If This Was a Movie’ is frustratingly repetitive. With its droning guitar licks and dreary chorus, it stutters towards the finish line.

149‘Last Kiss’ (2010)

A plodding waltz from ‘Speak Now’. Fine, but by no means vintage Taylor.

148‘Santa Baby’ (2007)

A twee cover of the iconic Christmas song, it’s a sauceless version of the usually sultry festive bop.

147‘I Did Something Bad’ (2017)

A cavernous slab of EDM, this was basically Swift proving that she’s a good girl gone bad. The devilish lyrics are fun (“They say I did something bad / Then why’s it feel so good?”), the dubstep-laced hook of “Ra-di-di-di-di-di-di-di-di-di-da-da” less so.

146‘You’re Not Sorry’ (2008)

Imagine Swift doing Eurovision – this is what ‘You’re Not Sorry’ sounds like. Filled with melodramatic piano chords and overdone vocals, it’s a histrionic ballad that you can imagine accompanied with bombastic visuals and a ton of pyro.

145‘Girl At Home’ (2012)

The bubbling ‘Girl at Home’ fuses the driving country of ‘Red’ with bleeping 8-bit sounds, and is a sweet but bland tune.

144‘Come Back… Be Here’ (2012)

A weepy ballad where Swift reminisces over a lost love, this is uneventful – but fair play to Swift for managing to get “nonchalant” into a pop song.

143‘I Want You Back’ (2011)

A cover of The Jackson 5 taken from the from live album ‘Speak Now World Tour – Live’, this 90-second cover is short, sweet and absolutely fine.

142‘The Way I Loved You’ (2008)

A bit of a head-banging country moment, ‘The Way I Love You’ lacks the radio-ready hooks and megawatt moments of Swift’s other tunes.

141‘So It Goes…’ (2017)

An ethereal synth-pop moment laced with EDM and trap, this ‘Reputation’ cut is sleepy filler.

140‘Sweet Escape’ (2011)

This Gwen Stefani cover is deliciously entertaining, with Swift spitting out the tongue-twister pre-chorus of “Cause I’ve been acting like sour milk that fell on the floor / It’s your fault you didn’t shut the refrigerator” and almost nailing it. Taken from the Target DVD version of ‘Speak Now World Tour – Live’, is an intriguing rendition.

139‘This Is Why We Can’t Have Nice Things’ (2017)

This song was written as a response to the media after they criticised her decision to throw big parties for her pals and get them up on stage during the tour for ‘1989’ – things she considered “nice things”; a powerful sentiment, but an acquired taste.

138‘Haunted’ (2010)

Sounding like it should be accompanying a wild fantasy movie, with over-the-top strings and belted vocals, ‘Haunted’ feels like the younger sibling to Swift’s fairy-tale epics such as ‘Love Story’. They’re fine, but lack the nuance that some of her enchanting, happy ending filled romances boast.

137‘Long Live’ (2010)

A fairly pedestrian song from ‘Speak Now’, ‘Long Live’ is a fairly generic slice.

136‘Ours’ (2010)

With its muted acoustic instrumentals and mawkish lyrics, ‘Speak Now’ is sickly sweet.

135‘Breathe’ feat. Colbie Caillat (2008)

A sleepy, acoustic number that sees Swift teaming up with American singer-songwriter Colbie Caillat, it’s a largely forgettable tune taken from ‘Fearless’.

134‘Drops of Jupiter’ (2011)

Another cover from the ‘Speak Now’ live album, this rendition of Train’s 2001 hit ‘Drops of Jupiter’ is a stripped-back version of the bombastic pop rock song.

133‘…Ready for It?’ (2017)

This slab of industrial pop opens Swift’s ‘Reputation’. With its dubstep wubs, EDM beats and trappy instrumentals, this messy number feels like a tug of war between this collection of different genres.

132‘September’ (2018)

Earth, Wind & Fire, but make it Swifty! Recorded for the Spotify Singles series, this stripped back cover is lovely. Plus it features a typically Swiftian Easter egg, where she changes the opening line of “Do you remember the 21st night of September?” to the 28th night, a cute tribute to her anniversary with boyfriend Joe Alwyn.

131‘This Love’ (2014)

A weepy moment from ‘1989’, ‘This Love’ feels remarkably maudlin when nestled in-between the bevvy of synth-pop bops that Swift’s fifth album holds.

130‘A Place In This World’ (2006)

Written when she was just 13 years old, ‘A Place In This World’, it feels like a glimpse into a Swift’s secret diary. Opening with the wonderfully teenage: “I don’t know what I want, so don’t ask me”, it’s the musical equivalent of telling your mum that she just doesn’t understand you!

129‘Superman’ (2010)

If you were ever imagining what Taylor Swift covering McFly would sound like – this could be it. The cheesy ‘Speak Now’ bonus track is filled with adolescent lyrics (“I watch superman fly away / Come back, I’ll be with you someday”), and is topped off with a pop-punk tinged chorus.

128‘I Heart?’ (2008)

Taken from Swift’s second EP ‘Beautiful Eyes’ – one that was exclusively released in Walmart in the US – this is a lovely country bop.

127‘A Perfectly Good Heart’ (2006)

An absolutely fine slice of country-pop from TayTay’s first album. On ‘A Perfectly Good Heart’ Swift depicts her very first experience of heartbreak. It’s one of her earliest breakup ballads, but quasi-emotive couplets like “It’s not unbroken anymore / How do I get it back the way it was before?” fail to pack the emotional punch some of Swift’s later tunes do.

126‘Untouchable’ (2008)

This cover of rock band Luna Halo’s ‘Untouchable’ is sweet, but largely unexciting.

125‘Jump Then Fall’ (2008)

A bonus track taken from the platinum edition of ‘Fearless’. Swift herself has described the song as “really bouncy and happy and lovey”. It’s an accurate description, as the bouncing banjo-led number is sickly sweet, but lacks much depth.

124‘Sad Beautiful Tragic’ (2012)

A weeper taken from ‘Red’, this gloomy tune sees Swift reflect on a relationship that was a “sad, beautiful, tragic love affair”.

123‘Bette Davis Eyes’ (2011)

A song popularised by Californian singer-songwriter Kim Carnes in 1981, Taylor’s live cover of ‘Bette Davis Eyes’ is nice but innocuous.

122‘Breathless’ (2010)

A uninspired cover of American alt-rockers Better Than Ezra’s ‘Breathless’, Swift performed the tune for Hope for Haiti Now: A Global Benefit for Earthquake Relief in 2010 (with her version later appearing on live album ‘Hope for Haiti Now’).

121‘Look What You Made Me Do’ (2017)

It’s only TayTay sampling Right Said Fred’s ‘I’m Too Sexy’! The bolshy ‘Reputation’ lead single  saw Swift giving a massive middle-finger up to the haters, and accompanied her comeback after a year-long hiatus. It impact was huge at the time, but in the meantime ‘Look What You Made Me Do’ feels like a bit of a mis-step.

120‘Crazier’ (2009)

It appeared on the soundtrack for ‘Hannah Montana: The Movie’, and critics said it was the best song in the film. Bad luck, Miley.

119‘Eyes Open’ (2012)

From the soundtrack to The Hunger Games, ‘Eyes Open’ sees Swift go stadium rock. Too bad hair-whipping number’s repetitive chorus begins to grate.

118‘Nashville’ (2011)

A cover of Nashville-based singer-songwriter David Mead’s ‘Nashville’, this cover (taken from the Target exclusive version ‘Speak Now World Tour – Live’; yes, we’re really into the deep-cuts here) is pretty impassioned .

117‘Invisible’ (2006)

On this lacklustre cut from Swift’s eponymous debut album ‘Invisible’, she laments feeling invisible to the boy she fancies. It’s a bleak sentiment, and the emotive instrumentals in ‘Invisible’ mimic this.

116‘Hoax’ (2020)

The least memorable moment from the fantastic ‘Folklore’, this slow, waltzing tune is inoffensive, but lacks excitement.

115‘London Boy’ (2019)

The lyrics to this ‘Lover’ cut are wild. On ‘London Boy’ Swift proudly asserts her love for the nation’s capital, listing her fave places (including Brixton, Shoreditch, Highgate and for some God-forsaken reason “walking Camden Market in the afternoon”). With a bizarre spoken word intro from James Corden and Idris Elba, it’s cringe and weirdly entertaining in equal measures.

114‘Wonderland’ (2014)

It’s Swift does EDM, and it’s total chaos (albeit with a chorus that’ll be frustratingly caught in your head for weeks on end).

113‘Tied Together with a Smile’ (2006)

A bonus track from the debut album, ‘Tied Together With a Smile’ was written the day Swift found out one of her best mates was bulimic. An early indicator of Swift’s impressive turn of phrase (“And you’re tied together with a smile / But you’re coming undone”), it’s a lovely country moment.

112‘Beautiful Eyes’ (2008)

The title track from Swift’s EP of the same name, ‘Beautiful Eyes’ is an underrated stomper from TayTay’s extended discography.

111‘This Is Me Trying’ (2020)

A slow-burner from ‘Folklore’, this soft ballad sees Swift grapple with accepting blame for a crumbling relationship.

110‘My Tears Ricochet’ (2020)

This Jack Antonoff produced tune from ‘Folklore’ is about an “embittered tormentor showing up at the funeral of his fallen object of obsession.” Although fairly unremarkable, it does include the brilliantly Swiftian put-down: “And if I’m dead to you, why are you at the wake?” Ooft.

109‘Me!’ feat. Brendon Urie of Panic! at the Disco (2019)

A saccharine collaboration with Panic! at the Disco’s Brendon Urie, this semi-irritating (and unbearably catchy) tune is an absolutely fine single from Miss Swift. Although it gained several places in our ranking after Swift removed the “Spelling is fun!” lyric.

108‘Come In With the Rain’ (2008)

‘Come In With The Rain’ sees Taylor showing off the country-pop that defined her early years. It’s a nostalgic snapshot at Taylor’s life before world domination became the main priority. NR

107‘Cold As You’ (2006)

As Shakespeare once wrote in ‘Sonnet 18’ – “Shall I compare thee to a summer’s day?” If it’s Tay Tay you’re asking, then absolutely not. Instead, this break-up ballad compares thee to a grey, dreary and completely sodden wash-out of a day. EH

106‘Never Grow Up’ (2010)

Taken from ‘Speak Now’, this ballad moment peers out into a dimly lit crowd, and sees Swift dealing out her best life advice for younger fans in particular. “I look out into a crowd every night and I see a lot of girls that are my age and going through exactly the same things as I’m going through,” she’s said. “Every once in a while I look down and I see a little girl who is seven or eight, and I wish I could tell her all of this. There she is becoming who she is going to be and forming her thoughts and dreams and opinions. I wrote this song for those little girls.” EH

105‘Bad Blood’ feat. Kendrick Lamar (2017)

This Kendrick Lamar-featuring cut would have been right at home on Taylor Swift’s villainous ‘Reputation’ – a record on which she embraced her false depictions in the media, and ran with them. Instead, though, it felt like an outlier on ‘1989’. Swift herself said that it’s a song about a friendship with a fellow pop star that turned sour: “She basically tried to sabotage an entire arena tour,” she told Rolling Stone. “She tried to hire a bunch of people out from under me.” EH

104‘Afterglow’ (2019)

It’s a crying shame that the track fails to live up to its title. There’s little that live longs in the memory about this drum-driven number from ‘Lover’. NR

103‘The Other Side of the Door’ (2008)

A slightly slept-on fan favourite, ‘The Other Side of the Door’ features a deliciously dramatic guitar solo and even more melodrama. Like so: “I said, ‘leave’, but all I really want is you to stand outside my window throwing pebbles screaming ‘I’m in love with you’’. Exquisite. EH

102‘Soon You’ll Get Better’ feat. the Chicks (2019)

Featuring country music icons The Chicks, ‘Soon You’ll Get Better’ is one of Swift’s most personal songs; both of her parents have had cancer, and this year the singer confirmed that her mother Andrea has been diagnosed with a brain tumour. It’s a difficult listen precisely because it’s so incredibly honest. “I hate to make this all about me but who am I supposed to talk to?” she asks. “What am I supposed to do if there’s no you?” EH

101‘Miss Americana & the Heartbreak Prince’ (2019)

A slow burning, electro-pop moment that’s meant for soundtracking a moody walk to the shops in the rain.

100‘Ronan’ (2012)

One of Swift’s most affecting ballads, this song pieces together quotes from a blog by a mother named Maya Thompson, who wrote about her journey with four-year-old son Ronan, who died from a rare cancer called neuroblastoma in 2011. Swift credited his mum as a co-writer and donated all the proceeds to charity. EH

99‘Stay Beautiful’ (2006)

This twanging debut cut is dedicated to the high school crush that Swifty never worked up the courage to ask out; and by the time he moved away, it was too late. “After hearing my songs, a lot of people ask me, `How many boyfriends have you had?’” she said of the song. “And I always tell them that more of my songs come from observation than actual experience. In other words, you don’t have to date someone to write a song about them. This is a song I wrote about a guy I never dated!” EH

98‘Tell Me Why’ (2008)

Despite including the brilliantly searing take-down of “You could write a book on how to ruin someone’s perfect day” this up-tempo bop is errs on the side of humdrum.

97‘The Outside’ (2006)

One of the first songs Swift ever wrote, ‘The Outside’ speaks to the feeling of being a misfit growing up: “So how can I ever try to be better?”  she asks, “Nobody ever lets me in”. EH

96‘Getaway Car’ (2017)

This banger from ‘Reputation’ references novelist Charles Dickens, epic war film The Great Escape, a runaway Bonnie and Clyde and even various meta details from Swift’s own romantic life. EH

95‘Mirrorball’ (2020)

In her candid 2020 documentary Miss Americana, Taylor Swift speaks about the struggle of your every move being followed by an audience and remarks that many women, particularly in pop, are “discarded in an elephant graveyard by the time they’re 35.” Broadly, this is what ‘Mirrorball’ seems to be about; balancing her skill for performing with the huge pressure of constant reinvention. “All I do is try, try, try I’m still on that trapeze,” she says, “I’m still trying everything, to keep you looking at me””. EH

94‘Change’ (2008)

Delivered as an official anthem for the 2008 US Olympic Team, here’s a track that sees Swift exploring the idea of overcoming adversity on the road to success. It’s easy to be cynical about it all, but it gave Swift her first US top 10, so maybe that message got through after all. NR

93‘Innocent’ (2010)

Sometimes the best revenge is to take the moral high ground. And performing at the MTV VMAs – where Kanye West infamously snatched the mic from Taylor Swift mid-acceptance speech – Swift appeared to get hers by playing ‘Innocent’. “You’re 32 and still growing up now,” she sings. Guess how old West was when he declared “I’mma let you finish, but…” Yep. EH

92‘Begin Again’ (2012)

Marking one of ‘Red’’s more pointed returns to her country roots, ‘Begin Again is, according to Swift, “about when you’ve gotten through a really bad relationship and you finally dust yourself off and go on that first date after a horrible breakup, and the vulnerability that goes along with all that”. EH

91‘I Know Places’ (2014)

Ahead of making ‘1989’ Swift long harboured ambitions of working with Ryan Tedder – most recognisable as the lead vocalist of One Republic and record producer for everyone from Adele to Lady Gaga. And their eventual collaboration came about on ‘I Know Places’ – a song that explores falling in love amid high pressure fame, and finding places to outrun the cameras. EH

90‘The Lucky One’ (2012)

Speculation orbits around ‘The Lucky One’ – which dissects the more taxing sides of fame that people don’t speak about. “Now it’s big black cars, and Riviera views, and your lover in the foyer doesn’t even know you,” Swift sings, “and your secrets end up splashed on the news front page”. Fans reckon it’s about everyone from Joni Mitchell and Shania Twain to Kim Wilde. Possibly, it could also be a reflection of Swift’s future fears. EH

89‘You Need to Calm Down’ (2019)

Delivering an effective riposte to endless streams of internet trolls can often prove to be the toughest of tasks. It’s testament to Swift then, that she managed to deliver a swift fuck you, all packaged up in the shape of a bonafide banger. Bow down. NR

88‘How You Get the Girl’ (2014)

The 10th track from ‘1989’ is like the less sabotage-hungry answer to Robyn’s ‘Call Your Girlfriend’ – here, Taylor’s full with useful tips for winning an ex back after an unwise dumping. She’s even got a script ready. “And then you say: “I want you for worse or for better, I would wait forever and ever,” she sings, “broke your heart / I’ll put it back together.” EH

87‘New Year’s Day’ (2017)

The groggy clear up that takes place after a raucous New Year’s house party has never sounded so idyllic – despite the fact their entire floor is splattered with glitter and stale old beer spilling out of half-empty bottles, Swift’s just happy to have a worthy clean-up buddy. “I want your midnights,” she sings, “but I’ll be cleaning up bottles with you on New Year’s Day” Sometimes those small, mundane moments are just as romantic. EH

86‘Dress’ (2017)

By a mile the steamiest cut from ‘Reputation’, this slinking song details the pang of secret lust in breathy falsetto. “Carve your name into my bedpost, ‘cause I don’t want you like a best friend,” Swifty pleads. “Only bought this dress so you could take it off.” Get it, girl! EH

85‘Mary’s Song (Oh My My My)’ (2006)

This debut album cut is archetypal vintage Swift, drawing on the people around her for storytelling material. Twanging and country-pop, ‘Mary’s Song (Oh My My My)’ borrows Swift’s next door neighbour – and her long, rock-solid marriage – as a protagonist. “I’ll be 87, you’ll be 89,” she sings wistfully, “I’ll still look at you like the stars that shine in the sky.” EH

84‘Christmas Tree Farm’ (2019)

Sure, it’s cheesier than an explosion at the Kraft factory, but this track sees Taylor successfully using the festive season to look back on her own childhood (she grew up on a Christmas tree farm). Christmas is now Swiftmas. NR

83‘Everything Has Changed’ feat. Ed Sheeran (2012)

Warm, fuzzy, and firmly hanging onto its rose-tinted glasses, this collaboration from ‘Red’ has a cutesy video to match, featuring miniature child versions of the pop stars. EH

82‘Should’ve Said No’ (2006)

“It’s strange to think the songs we used to sing, the smiles, the flowers, everything is gone; yesterday I found out about you,” sings Swift in the opening lines of this debut album cut – which exposes a boyfriend for cheating, and proceeds to rip him apart atop country-rock guitars and a ripper of a string solo. EH

81‘The Last Time’ feat. Gary Lightbody (2012)

On this intensely catchy anthem from ‘Red’, Swift teams up with none other than gruff-vocaled Gary Lightbody from Snow Patrol – lighters in the air, everyone. EH

80‘Starlight’ (2012)

This ‘Red’ cut sees Swift transporting back to the 1940s – inspired by a photo of two loved-up teenagers dancing together. The teenagers in the photograph were actually US senator Bobby Kennedy and his future wife Ethel, and ‘Starlight’ imagines their adventures early on. “I ended up meeting Ethel and going and playing it for her,” she wrote of the song, “and she just loved it,”. EH

79‘The Best Day’ (2009)

R’The Best Day’ is one of Swift’s earliest odes to her mother Andrea. Recalling her happy childhood, it’s a sweet, if somewhat cloying look at the early years of the planet’s biggest pop star. NR

78‘I’m Only Me When I’m With You’ (2006)

Easily one of the more head-banging moments of Swift’s debut – with the hardest slapping violin solo of 2006 – ‘I’m Only Me When I’m with You’ is dedicated to the singer’s best mate Abigail Anderson, who also features in the video. EH

77‘It’s Nice to Have a Friend’ (2019

A minimal intermingling of steel drums and choral backing vocals, ‘It’s Nice to Have a Friend’ arrives near the end of Swift’s ‘Lover’ – and also features some snow-tinted nostalgia, and slightly rogue but highly enjoyable brass solo. EH

76‘The Moment I Knew’ (2012)

Nine years ago, Taylor Swift had a right stinker of a 21st birthday – her ex boyfriend never showed, and left her sobbing beneath the Christmas lights (her birthday is on the 13th December). Still, at least it inspired this deluxe edition ‘Red’ song. EH

75‘Paper Rings’ (2019)

This fidgety cut from ‘Lover’ is Swifty’s big jitterbug moment – singing about her current boyfriend Joe Alwyn, she declares that she’s willing to chuck aside all her magpie tendencies just to be with him. “I like shiny things, but I’d marry you with paper rings,” she sings. Loved up – and thrifty! EH

74‘Only The Young’ (2020)

‘Only The Young’ saw Taylor truly nailing her political colours to the mast for the first time. Tackling gun violence and providing a message of hope for the next generation, Taylor emerged as the activist we all need right now. NR

73‘Treacherous’ (2012)

One of the quieter moments from ‘Red’, ‘Treacherous’ eventually grows to a subtle roar, and details a pairing that’s gradually unravelling like a ball of twine. “All we are is skin and bone, trained to get along / Forever going with the flow,” she sings, “but you’re friction”. EH

72‘Better Than Revenge’ (201)

Across Taylor Swift’s entire back catalogue, ‘Better than Revenge’ is perhaps best suited to soundtracking an angsty high school drama; think along the lines of 10 Things I Hate About You. It has its fair share of cutting one-liners, too. Case in point: “no amount of vintage dresses gives you dignity”. Burn. EH

71‘I Wish You Would’ (2014)

Co-written with frequent collaborator Jack Antonoff, ‘I Wish You Would’ started with a guitar line Antonoff sent to Swift during her Red tour – and it eventually evolved into this slightly Haim-ish pop juggernaut. Lyrically, it tells the story of a heartbroken protagonist who watches her window in the middle of the night and notices that headlights keep flickering past at the same time. “It’s two AM, here we are,” she sings for the big reveal, “I see your face, hear my voice in the dark.” EH

70‘Stay Stay Stay’ (2012)

If there’s anyone who specialises in nailing the many sides of romance, it’s Tay Tay – case in point, ‘Stay Stay Stay’. The song’s placed immediately after the defiant break-up anthem ‘We Are Never Getting Back Together’ on ‘Red’ – and in many ways, it’s that song’s foil. Atop chronically catchy ukulele, she details a more generous kind of love that’s still worth fighting for. EH

69‘Sweeter Than Fiction’ (2013)

Taken from the soundtrack for the movie One Chance, this John Hughes-channelling tune is a new-wave belter that forecast the shimmering synth-pop of Swift’s fifth album ‘1989’.

68‘False God’ (2019)

A sultry, R&B ballad filled with religious imagery and trap beats, ‘False God’ finds Swift all grown up.

67‘Don’t Blame Me’ (2017)

This thundering, foot-stomping, fist-pumping moment from ‘Reputation’ will make you want to set fire to your ex’s car (in the best possible way).

66‘August’ (2020)

This Jack Antonoff co-write from ‘Folklore’ is a melancholic dream-pop ballad. Part of a trio of songs that Swift has dubbed the Teenage Love Triangle, ‘August’ is the tune that comes from the point of view of the other woman, telling the story of forbidden love.

65‘The Lakes’ (2020)

The ethereal ‘Folklore’ bonus track sees TayTay channel the Lake Poets in a romantic number about love, resilience and the Lake District.

64‘Daylight’ (2019)

The lovely final song on ‘Lover’ is wistful number about healing, hope and healthy new relationships.

63‘Welcome to New York’ (2014)

The opening track on ‘1989’, ‘Welcome to New York’ ushers you into the sleek synth-pop world of Swift’s fifth album. With its bouncing bassline and hand-clapped beats, it’s a bombastic tribute to the Big Apple.

62‘I Forgot That You Existed’ (2019)

There comes a moment while growing up when you just stop caring about what everybody else thinks of you. The fizzing opening track on ‘Lover’ celebrates this, with TayTay rejoicing in the peace and quiet brought on by not giving a shit about the haters.

61‘Hey Stephen’ (2008)

‘Hey Stephen’ is the stuff of gooey rom-coms. “‘Cause I can’t help it if you look like an angel,” Swift sings over warm instrumentation, “can’t help it if I wanna kiss you in the rain”. It’s wonderfully schmaltzy stuff, and comes with a chorus you’ll sing full belt after a Tinder-date-gone-right – just don’t let the date hear you.

60‘I Almost Do’ (2012)

‘I Almost Do’, Swift’s explained, is “about the conflict that you feel when you want to take someone back, and you want to give it another try, but you know you can’t”. Exploring the internal battle between moving forward and looking back, the poignant ballad fuses country-pop with soft-rock, and the result is a brutally honest and quietly powerful song.

59‘I Think He Knows’ (2019)

This sharp-edged, upbeat moment from ‘Lover’ would have stood up well as a single – charting those early will-they-won’t-they moments complete with suggestive sighs. EH

58‘Mad Woman’ (2020)

This ‘Folklore’ track skewers the sexist trope of angry women being branded hysterical. “Every time you call me crazy, I get more crazy,” she claps back, rising to the challenge, “what about that?” EH

57‘Peace’ (2020)

Like much of ‘Folklore’, the sparse ‘Peace’ ponders how much life has changed, and celebrates a partnership strong enough to withstand the soaring highs and painful lows alike. EH

56‘Picture to Burn’ (2006)

Peak debut album angst, ‘Picture to Burn’ is jam-packed with sizzlingly mean one liners. Case in point: “I hate that stupid old pickup truck you never let me drive / You’re a redneck heartbreak who’s really bad at lying”. EH

55‘Fearless’ (2008)

Taylor Swift wrote the title track for her second album while touring her self-titled debut – whisked away from everyday life, the song muses on the perfect rainy first date. “I wanna ask you to dance right there, in the middle of the parking lot,” she says. EH

54‘Seven’ (2020)

Chiming and reflective, this string-adorned ‘Folklore’ track sees Swift hark back to childhood: “please picture me in the trees,” goes the opening line, throwing back to the Pennsylvanian Christmas tree farm where she grew up. It’s a snapshot of being young and carefree while real life gradually creeps into the picture – the song appears to be addressed to a friend who had a difficult upbringing. EH

53‘Call It What You Want’ (2017)

As far as years go, Taylor Swift’s 2016 was relatively tumultuous, featuring the whole ‘Famous’ lyrics debacle feud with Kanye West and Kim Kardashian and two very public break-ups. ‘Call It What You Want’ appears to address the singer weathering that particular series of storms, and finding quiet contentment with partner Joe Alwyn. “Call it what you want,” sings a smitten Swifty: she doesn’t care what people think any more. EH

52‘Death By A Thousand Cuts’ (2019)

Apparently inspired by the 2019 film Someone Great (which in part took influence from Swift’s ‘1989’ closer ‘Clean’) this upbeat track from ‘Lover’ seems to get inside the head of the film’s music journalist protagonist right before she flees heartbreak to another city. “I ask the traffic lights if it’ll be alright,” Swift sings, “they say, “I don’t know”. EH

51‘Dear John’ (2010)

Is ‘Dear John’ about Taylor Swift’s short-lived relationship with the musician John Mayer? Well – John Mayer certainly thinks so: he told Rolling Stone he was “humiliated” by the song, and added that “it was a really lousy thing for her to do.”  Tay Tay remained tight-lipped “How presumptuous!” she told New York Daily News. EH

50‘End Game’ feat. Ed Sheeran and Future (2017)

Taylor’s own homage to the R&B-laced slow jam, ‘End Game’ is less spiky than the rest of ‘Reputation’ – instead Swift muses on wanting her relationship to last forever, while Ed Sheeran and Future chip in with punny takes on reputations that precede them. EH

49‘White Horse’ (2008)

The dual-Grammy winning ‘White Horse’ is wonderfully understated moment. Filled with romantic, fairy-tale imagery, it’s run through a realist filter that makes it like the older, more sceptical sister to ‘Love Story’. It’s one of the best Swift heart-break ballads.

48‘Epiphany’ (2020)

The warm, unpretentious ‘Epiphany’ is an exquisite ‘Folklore’ song. Filled with powerful instrumentals that could have fallen off the latest Bon Iver record and Aaron Dessner’s glittering production, it sees Swift go full-on indie.

47‘The Archer’ (2019)

The minimalist The Archer is a meditative moment from ‘Lover’. Filled with ambient synths and soft instrumentals, as Swift discloses her own insecurities in a remarkably vulnerable way.

46‘Holy Ground’ (2012)

This galloping soft-rock moment celebrates whirlwind romances, and comes with a chorus perfect for shouting along to on road trips.

45‘I Don’t Wanna Live Forever’ with Zayn Malik (2017)

Look, it might have come from the soundtrack to the Fifty Shades of Grey sequel; but that doesn’t mean that Taylor’s collab with ex-1D member Zayn isn’t a bit of a banger. All sensual electro-pop and breathless vocals, this sultry number deserved better than the film it was soundtracking.

44‘Betty’ (2020)

This swaying folk-rock tune tells the tale of a cheating boyfriend trying to apologise for his indiscretions is a highlight of ‘Folklore’. With its woozy harmonica riffs and chiming vocals, it’s a beaut.

43‘All You Had to Do Was Stay’ (2014)

A sweltering synth-pop banger that comes off like Carly Rae Jepsen’s ‘Emotion’ meets Lorde’s ‘Melodrama’.

42‘Fifteen’ (2008)

‘Fifteen’ is one of Swift’s greatest ever songwriting moments. The cautionary tale of young love it as a country epic – complete with the utterly shattering line “Abigail gave everything she had to a boy / Who changed his mind and we both cried”.

41‘Back To December’ (2010)

‘Back To December’ is a musical apology, with Swift explaining that she decided to write it as “sometimes you learn a lesson too late and at that point you need to apologise because you were careless,”. With an accompanying orchestra and grandiose instrumentals, it’s unflinching and honest, with Swift taking responsibility and asking for forgiveness after a breakup.

40‘Cornelia Street’ (2019)

A highlight from ‘Lover’, ‘Cornelia Street’ is a dazzling tune that’s made even more powerful in this acoustic version performed in Paris last year.

39‘Safe & Sound’ (2012)

Before Swift took a trip to a metaphorical cabin in the woods for recent album ‘Folklore’, she dabbled in writing indie-folk tunes with ‘Safe & Sound’. Taken from the soundtrack to The Hunger Games, this pretty, stripped-back track is enthralling.

38‘Red’ (2012)

The hair-whipping, chorus-screaming title track of Swift’s fourth album is an adrenaline-charged ride.

37‘Gorgeous’ (2017)

‘Gorgeous’ is about having your head turned. It’s about seeing somebody who is so unbelievably hot that you develop a massive crush, existing partner be damned. It’s the perfect song to soundtrack a particularly juicy episode of Love Island and comes with a killer chorus to-boot.

36‘Today Was A Fairytale’ (2010)

Written for the soundtrack to 2010 film Valentine’s Day, this song was one of the only redeeming moments of the trite rom-com. A classically Swiftian country ballad stuffed full of romantic lyrics, it’s lovely.

35‘Forever & Always’ (2008)

On ‘Forever & Always’ Swift manages to evoke the crushing feeling of a crumbling relationship in under four minutes, but no couplet cuts as deep as the utterly millennial “And I stare at the phone, he still hasn’t called / And then you feel so low you can’t feel nothing at all”.

34‘The Story of Us’ (2010)

Swift was inspired to write ‘The Story of Us’ after running into an ex at an event and both of them trying to ignore the other. A break-neck tune, it’s a catchy nugget of country-pop.

33‘New Romantics’ (2014)

‘New Romantics’ was done dirty. The stomping synth-pop knockout was relegated to bonus track on ‘1989’, when it deserved pride of place. Hell, it should have even been a single! The sparkling success is pure euphoria.

32‘Dancing with Our Hands Tied’ (2017)

This electronic, beat-heavy song from ‘Reputation’ is basically as close as we’ve ever come to a Swiftie club remix.

31‘Invisible String’ (2020)

Filled with unusual turn of phrase (“Green was the colour of the grass / Where I used to read at Centennial Park“), ‘Invisible String’ is a sweet ode to Swift’s past relationships, and how they lead her to where she currently is.

30‘Illicit Affairs’ (2020)

Taken from Swift’s most recent record ‘Folklore’, ‘Illicit Affairs’ is a heart-wrenching story of complicated infidelity. Over scintillating stripped back production courtesy of Jack Antonoff, Swift manages to spin a whole tale of secret meetings, lies and clandestine romance, and the emotional impacts it can have.

29‘Tim McGraw’ (2006)

Swift’s debut single ‘Tim McGraw’ isn’t actually about country legend Tim McGraw, but instead about a boyfriend she had whilst at school who was a senior. In it, she warmly reminisces on their past relationship, with Swift knowing he was going to break up with her when he headed off to uni. It’s pretty emotionally astute stuff for the then-teenage songwriter.

28‘Mean’ (2010)

The dual-Grammy winning celebration of self-empowerment sees Swift slamming bullies over joyous banjo strums, reminding them that: “Someday, I’ll be living in a big old city / And all you’re ever gonna be is mean”.

27’22’ (2014)

Before ’22’ nobody cared when you celebrated your 22nd birthday – but then along came this gargantuan cut of bubble-gum pop, and somehow Swift turned it into a milestone.

26‘Sparks Fly’ (2010)

Swift wrote ‘Sparks Fly’ when she was only 16 years old, when she performed at small bar shows back in the late noughties. A video of one of these SHOWS made it onto the internet and fans started to request she released it. This lead to her reworking it for her third album of the same name, with euphoric results.

25‘Wildest Dreams’ (2014)

Channelling her inner Lana Del Rey, this breathless ‘1989’ moment is a synth-pop beauty.

24‘Speak Now’ (2010

‘Speak Now’ features some of Swift’s most vibrant storytelling. With lyrics that detail a wedding, giving you the full picture of the snotty bride “dressed in a gown shaped like a pastry” and how the groom’s marrying the wrong girl, it’s a brilliantly intricate story.

23‘The Man’ (2019)

A searing take-down of sexist double standards wrapped up in a synth-pop bow, ‘The Man’ sees Swift getting seriously feminist.

22‘You Belong With Me’ (2008)

A country-pop thumper from Swift’s second album ‘Fearless’, Swift was inspired to write ‘You Belong With Me’ after hearing a friend arguing with his girlfriend on the phone. Rotten for him – but we got this catchy number out of it.

21‘Enchanted’ (2010)

‘Enchanted’ is one of Taylor’s most underrated songs. A fairy-tale epic that acts as an elder sibling to ‘Love Story’, it captures the dizzy infatuation of a new romance, with huge swooning instrumentals and a heartfelt chorus.

20‘Exile’ feat. Bon Iver (2020)

2020’s been a strange year and brought with it a ton of surprises – one of these being Taylor Swift’s eighth album, and another that she managed to wrangle Bon Iver’s Justin Vernon for a guest appearance on the cinematic ‘Exile’. The gorgeous duet sees the two singers singing over each other, as the two portray ex-lovers seeing each other after a breakup. It’s an emotive cut, and one of Swift’s most impressive collaborations.

19‘Our Song’ (2006)

Taylor wrote ‘Our Song’ as she needed something to perform at her high school talent show. Built around a jangling banjo riff, with bouncing vocals which see Swift dissect how her and the lad she was dating didn’t have a song, it went down such a treat with her classmates that she stuck it on her debut album. With its enthralling lyrics, that paint a vivid picture of the young couple, it was an early indicator of Swift’s songwriting capabilities.

18‘Shake It Off’ (2014)

There’s no two ways about it: ‘Shake It Off’ is a stone-cold smash. It’s got bolshy brass, several hooks that are catchier than a rash and Tay Tay even does a rap. The uptempo tune ushered in Swift’s sixth album ‘1989’, paving the way for her new era of pop belters – but none of them slapped quite this hard.

17‘Teardrops On My Guitar’ (2007)

Swift’s breakthrough single, ‘Teardrops on My Guitar’ is pure country-crossover star. With its soft guitars, and Swift’s early earnestness, unrequited love has never sounded so good.

16‘Clean’ (2014)

‘Clean’, the Imogen Heap co-written closer to ‘1989’, is an understated moment of clarity. It’s the feeling when you’ve started to move on with your life post-breakup and you realise you haven’t thought about your ex for several weeks, and when you do, you don’t want to key their car. With chiming soft-rock instrumentals, and gorgeous layered vocals, it’s an unfussy song that’s filled with Swift’s impressive turn of phrase, including the particularly devastating: “Ten months sober, I must admit/Just because you’re clean, don’t mean you don’t miss it”.

15‘We Are Never Ever Getting Back Together’ (2012)

There’s a lot of reasons that Swift’s Billboard Hot 100 topping, Grammy-nominated ‘We Are Never Ever Getting Back Together’ is excellent. There are the snarky lyrics, the ear-worm guitar riff and the megalithic chorus. But perhaps the best moment in the entire song is the delicious spoken word interlude in the middle-eight, where Swift deadpans: “Ugh, so he calls me up and he’s like, “I still love you” / And I’m like… I mean, this is exhausting, you know?/ Like, we are never getting back together – like, ever.” Wickedly savage.

14‘I Knew You Were Trouble’ (2012)

Back in 2012 things were different. David Cameron was still Prime Minster; Corona was only a type of beer and Taylor Swift experimented with dubstep. ‘I Knew You Were Trouble’ was a bold step for Swift, marking a departure from her trademark country crossover songs, but somehow the genre-melding smasher just works. From the icy kiss-off lyrics that raise a middle finger to fuck-boys everywhere to the thumping dub bass, it’s Swift’s most brilliantly bombastic release.

13‘The 1’ (2020)

“I’m doing good, I’m on some new shit” Taylor begins on ‘The 1’. It’s a punchy way to begin a song, let alone ‘Folklore’. The new shit could be Swift accepting her past fights over her discography, or the indie-folk direction she took for her most recent album. But whatever “new shit” TayTay is on, if it means she makes songs as good as this, we back it.

12‘Lover’ (2019)

The slow-dancing title track of Swift’s seventh album is a celebration of being smugly, head-over-heels in love. Ready-made for waltzing at a wedding, this enchanting, romantic tune is a sepia-tinged dream.

11‘Mine’ (2010)

The lead single from ‘Speak Now’ is pure Swift. In under four minutes Swift manages to spin an expansive story of a girl who’s parents’ broken marriage caused her to put up walls and avoid putting themselves out there – who gradually falls in love and has to deal with the fear of something potentially going wrong. It’s a country-pop epic, with more of a narrative in each verse than an entire Nicholas Sparks novel.

10‘Delicate’ (2019)

This vocoded beauty was a highlight of ‘Reputation’. Whilst the bulk of Swift’s seventh album was bold and brash, ‘Delicate’ offered a gorgeous moment of vulnerability. From the exposed opening (“This ain’t for the best / My reputation’s never been worse, so /You must like me for me…”) to the lush instrumentals that mesh the woozy vocals with tropical twinkles and slinky house beats, ‘Delicate’ is dazzling.

9‘Style’ (2014)

This slice of ’80s pop from ‘1989’ embodies the change in Swift’s sound for her fifth album. Filled with chugging synths, strutting guitar licks and glittering production, it’s an effervescent, hook-laden nugget filled with sleek electronics that dissects an unhealthy on-again off-again relationship (that “never goes out of style”). It’s Swift at her best: clever lyrics? Check! Earworm melodies? Check! A chorus that you want to sing at the top of your lungs? You bet.

8‘State of Grace’ (2012)

Ever wondered what Swift singing a massive arena-rock song would sound like? Well, just listen to ‘State of Grace’ and you’ll find out. The huge, U2-flecked opener to ‘Red’ is filled with guitar reverb and vocals that are meant to be screamed back by a stadium full of fans.

7‘Out Of The Woods’ (2014)

With shimmering indie-tronica-laced production and its anthemic, exhilarating chorus, ‘Out of the Woods’ is another belter from ‘1989’. Written about a high-profile relationship that was cut short due to fear of the media’s reaction to it (Swift explained it “that song touches on a huge sense of anxiety that was, kind of, coursing through that particular relationship”), it’s a breathless, honest depiction of a lost relationship; and one of Swift’s greatest triumphs.

6‘Cruel Summer’ (2019)

‘Cruel Summer’ should have been a single. It could have been the lead single. We all know it’s true; yet it was cast aside for the likes of ‘Me!’ and ‘You Need to Calm Down’. A standout moment on Swift’s seventh album ‘Lover’, this synth-pop bop was co-written with indie legend St Vincent and Jack Antonoff.

It was written about “the feeling of a summer romance, and how often times a summer romance can be layered with all these feelings of pining away and sometimes even secrecy”. Swift recounts the feelings of anxiety and uncertainty that plague a new relationship; before revealing her feelings and finding them reciprocated: “And I scream, ‘For whatever it’s worth/I love you, ain’t that the worst thing you ever heard?’”

It’s the musical version of a perfect romantic comedy ending, complete with a chorus perfect for riding off into the sunset on a lawnmower a la Can’t Buy Me Love.

5‘Love Story’ (2008)

What would you do with a spare 20 minutes? Watch an episode of Friends? Aimlessly scroll through Instagram? Well, if you’re Taylor Swift, you can use that time to write ‘Love Story’. Her 2008 country-pop fairy-tale epic remains one of her biggest hits – climbing charts worldwide and receiving near-constant radio rotation. It’s still one of the biggest-selling songs ever. With its Shakespearean narrative (it sees Swift reinterpret Romeo and Juliet), and huge, megawatt chorus, ‘Love Story’ remains a classic from Swift’s bountiful back catalogue.

4‘Cardigan’ (2020)

The lead single from Swift’s latest record is a swirling amalgam of glittering production, swooning strings with flickering piano, and lyrics that evoke the pain of young love. From the searing “When you are young, they assume you know nothing”, to the heart-wrenching “And when I felt like I was an old cardigan / Under someone’s bed / You put me on and said I was your favourite”, Swift conjures up a story of teenage love and betrayal, all anchored by the Aaron Dessner’s jittery production.

We’ve all felt like someone’s old cardigan at one point in our lives, and Swift stunningly manages to convey these complex mixed emotions – the hurt, jealousy and heartbreak – in a gorgeous folk-laced package.

3‘Blank Space’ (2014)

Swift’s got a lot of chart-smashing pop gems in her armoury, but ‘Blank Space’ is surely one of her crown jewels. This megawatt electro-pop tune sees her most cutting, satirising the media’s perception of her dating life and relationships. Knowingly spitting out wry couplets that hit back at the media’s portrayal of her reputation as a man-eater (“Got a long list of ex lovers / They’ll tell you I’m insane / But I’ve got a blank space, baby / And I’ll write your name”), it’s brilliantly wicked – and it absolutely slaps! A work of art.

2‘The Last Great American Dynasty’ (2020)

Swift’s latest album, ‘Folklore’, saw her write more regularly from the point of view of other people, telling their stories as opposed to her own. ‘The Last Great American Dynasty’ was an intriguing case of this – as Swift depicts the life of American artist and socialite Rebekah Harkness, who had previously owned Swift’s Rhode Island, dubbed ‘Holiday House’. Detailing how Harkness married into a wealthy family, was hated by the town and then blamed for the downfall of the Harkness family (including the death of her husband) , Swift pithily compares her scrutiny in the media to the criticism Harkness has experienced.

It’s an impressive song, managing to communicate a huge amount of Harkness’ life across in only a few minutes; and Swift does all of this and tops it off with a banging chorus.

1‘All Too Well’ (2012)

‘All Too Well’ is Swift’s magnum opus. Beginning life as a deep-cut on ‘Red’, it’s become a favourite of both critics and fans – and there’s good reason for it: it’s the perfect example of Swift’s song-writing skills. On it she movingly conveys the heartbreak of a painful break-up, spinning a tale of lost scarves and autumn days as she jumps between different points – both good and bad – in a relationship.

There’s a focus on small, painful details, which are offset by some of Swift’s best ever couplets: “And you call me up again just to break me like a promise / So casually cruel in the name of being honest” can’t be beaten, can it?. Swift takes you on the entire journey of a relationship, and its masterful – just as we’ve come to expect from her.

[ramblian]

Jericho Thoughts

HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHhhh

okay so. i’m rewatching jericho. i first watched it sometime around 8th-9th grade, I think maybe somewhere in the first half of 2014. I basically remembered this: the main character was the black sheep of the family, he came back to town, and atomic bombs destroyed most of the US, and the show was about the town dealing with the aftermath. the guy from continuum and one ep of flashpoint played a character i liked named dale (eric knudsen) who liked a popular girl who ended up befriending him, and the asking-for-flowers flashpoint ep guy was the responsible brother. Someone used to be a teacher. The main character looked like Skeet Ulrich, but i didn’t know who that was, just the name.

turns out the main character WAS Skeet Ulrich, and 2 characters (heather and emily) used to be teachers, and i apparently forgot almost all of the major characters. I’ve been rewatching it with the knowledge of which characters die, so that’s good. the show is really good, and it’s really intense. I’m almost done, and it’s tough to keep watching both because it’s so intense and because i know a character i like is about to die tragically. 

watching this show makes me so TENSE. i think it really got bad when goetz showed up and i knew bonnie’s death was coming up. i’ve been watching the same episode for like an hour and i started 6 minutes in from another viewing. i don’t know why i’m so stressed. well actually i do it’s because things in this show are AWFUL but i know that no one dies after bonnie.

i also really like that the plot is very much what drives the show. romantic relationships somewhat matter (eric/april/mary, dale/skylar, and stanley/mimi in particular get screentime, while jake’s relationships with emily and heather are there and meaningful but not something that drives the story or gets a lot of attention. dale and eric’s relationships have also been less important in season 2) but they are regularly sidelined while the character deal with the latest crisis. characters have backstories that aren’t always super expanded on, like johnston’s chaotic neutral dad or stanley and bonnie’s parents, because they don’t have a meaningful impact on the plot- how mimi grew up isn’t going to change how the Greens deal with food shortages. 

also, i love that it’s a post-apocalyptic show where there’s a lot of fighting and lawlessness and not once have they used rape as a plot device. the closest it ever came to being mentioned was when maggie, a survivor pretending to be military to get towns’ supplies, said that ‘out there, men only want women for one thing’ and that’s IT. i respect that so much. way too many shows and books and movies are like ‘things are bad... and we can only express that through rape’ but this show never does

also the grey morality is very well done in season 1 (the bad guys are clearer in season 2). characters fight and do shitty things because everyone is just trying to survive. Constantino was wrong to start a war with Jericho, but i also understand where he was coming from. Ravenwood ransacked New Bern and left them with almost nothing, and Jericho never bothered to warn them. There were some people considering not honoring the deal to repay the windmills in food. New Bern was on the brink of destruction and Constantino tried to get the resources for survival where he could, by force. The thing with the refugees too. There isn’t really enough food for everyone, and it’s true that Jericho’s been getting a lot of refugees when it’s barely managing to sustain its own population. Some of the refugees have been stealing from them, and sometimes you have to make tricky decisions to survive. But the refugees are also probably going to die if they get sent away, and understandably they cannot accept that. they’ve been stealing food to prepare for this possibility, and they are willing to be violent to secure their place because jericho is much better off than just about anywhere else and they don’t want to die. Roger gets in a fight with Gray and accidentally shoots him, but then actively chooses to hold him at gunpoint and refuse him medical help unless he guarantees the safety of the other refugees. That’s obviously awful- but he’s also trying to protect the lives of the 50 innocent people he brought here. In the end, the refugees get to stay because some Jericho residents volunteer to share their rations, but Roger does not because he obviously committed a terrible crime. He’s not a bad person, but of course he can’t just be forgiven and integrated back into Jericho like nothing happened, and he accepts that and leaves with only a gun from Jake to protect himself because at least the others and emily will be safe. 

also that emily and roger’s relationship wasn’t made meaningless in order to further her relationship with jake even despite their history as high school sweethearts.

oh god i just watched the scene where stanley’s talking to bonnie in the morgue and it’s so well done and i’m just in bed crying- not sobbing or anything, but plenty of tears. i don’t know what the last show to make me cry like this was; i’ve been watching so much youtube that i haven’t been watching a lot of hard hitting shows lately i guess. Barry was extremely Fucked Up, that might have made me cry, but it might not have- it had me fucked up for weeks, but i don’t know if i cried.

anyway the scene with stanley and bonnie in the morgue is so good. Stanley talking to her like she’s still alive the way they always did for their parents, and talking to her sign language bc that’s her language. Telling her to say hi to their parents. Letting her know that mimi is still alive, that she succeeded in protecting her, and thanking her for it. Still joking around a little even though he’s obviously heartbroken and just being so genuine with her. Neither of them deserved this. 

wow can’t believe heather is a fuckin bootlicker, knowing that the government is extremely corrupt and that she and beck are destroying new bern and choosing to continue to work for that government.

oh beck just has to be some sort of a stupid son of a bitch. absolute goddamn buffoon. siding with the govt, arresting jake in the shadiest way possible in the middle of a crowd, choosing to torture jake (which if he knew a goddamn thing like hawkins did he would know was ineffective), and then thinking that after everything this town and those rangers have done to protect themselves and their loved ones that it was just going to work out for him like the others aren’t going to come for jake immediately and efficiently. i liked beck well enough before but any fondness or respect for him is fucking absolutely gone.

at least eric is really getting to show off his leadership skills now. johnston’s dead, jake’s been arrested/kidnapped, hawkins is busy with other shit. eric’s always one of the second-in-commands but this is one of the few times he’s just plain in command.

“your friends have escalated this to a level i will not tolerate” right but you dragging jake to a fuckin blacksite to torture him was fine???? YOU ESCALATED THIS YOU DUMB STUPID SON OF A BITCH. you have really been given so many chances this season to not serve an evil government and try to protect these people and you’ve failed almost every time, huh? he’d also have to be some sort of an idiot to think that a clearly faked note with jake’s signature saying ‘this bad’ would stop anyone. god i haven’t escalated to hating someone this much so quickly in a long fuckin time.

love how beck is leveraging the entire town of jericho and choosing to oppress them in order to get the rangers to turn themselves in <3 i love punishing innocent people to use them against others just like goetz did last episode <3 what a good guy

i dont know why there are so many beck fics on ao3 because this man fucking sucks. like, can you imagine refusing a whole town food, power, and lights as a bargaining chip, blaming someone else (”don’t forget, you caused this”) and then still thinking you have the moral high ground? incredible mental gymnastics when will beck be in the olympics

heather: your actions are so blatantly terrible that i am just now beginning to consider not defending you to everyone. take responsibility for what you do

beck: hmm. no. my choices are jake’s fault

i know beck is probably going to ‘redeem’ himself by the end of the episode but i don’t fuckin care. too late for him now he can’t just say ‘oops’ and pretend he hasn’t done all of this shit. wild how his actions are now literally being compared to those of nazis during wwii and people still like this guy.

hey do you think beck is an idiot asshole or just pretending to be one for fun

commanding officer: go ahead and destroy everything in the area

beck:  🤔 is killing all those people wrong?

oof rip eric sure is rough when you have to ally with the guy who tortured you and killed your dad to protect ur city but sometimes you gotta do what you gotta do. also where the hell has dale been? i’ll let it go bc the show isn’t consistent on when he shows up and is a major part of town but in universe it sure is fuckin weird, and you know beck would have dragged him in for questioning too

oh wow beck finally decided to actually try thinking critically and addressing the obvious evidence about cheyenne’s corruption. that makes up for everything and i can stan now /s

‘i’m no longer taking orders from the cheyenne government. i believe it’s corrupt at its core. its actions are criminal’ oh so like everyone’s been telling you this whole time? the actions like the ones you’ve taken, not even at anyone’s command? idiot.

lmao i’m not as opposed to constantino’s methods as the show thinks i’m supposed to be. a revolution against a corrupt, oppressive government is not peaceful. it cannot be. the only good fascist is a dead one.

[eponymous-rose]

Talks Machina Highlights - Critical Role C2E50 (Feb. 5, 2019)

Are any of us ever, really, on the internet?

This week’s guests are Taliesin Jaffe and Matt Mercer!

Brian shames Taliesin and Matt for (to be fair, accidentally) pouring coke in with their 22-year-old scotch. I am also physically pained by this. I may need a minute to compose myself. (@loquaciousquark: “I like how you’re Brian in this and I’m Matt.”)

Announcements: MAME drop airs three hours before Talks every week! Next week’s Between the Sheets will feature Will Friedle, and last night’s episode featured Quyen Tran! Critical Role will be taking this coming Thursday off, and Talks Machina will be taking next Tuesday off, but the show returns on Valentine’s Day!

But for now, let’s jump into Episode 50: The Endless Burrows

Stats for this week’s ep: Fjord got the 50th HDYWTDT in the 50th episode! The Roper’s crit on Caleb would have one-shotted him had Caduceus not reduced it by negating the crit. Spurt is the first on-screen guest player character death in the history of the show. Chris Perkins was at the table for 22 minutes and 15 seconds. Taliesin: “That’s an episode of network television right there.”

Chris was in town unexpectedly, and asked if he could come watch the show. Matt had written Spurt as an NPC character, just to see how the M9 would react to him. As he was driving to the studio, he realized it could be a lot of fun to let Chris play the character instead. Chris was on board, and Matt told him “You’ll know when to jump in,” and that was that. Nobody else had any idea he was going to be playing.

Caduceus is “in his element but out of his element” underground. “He’s looking for things to be excited about. Not a lot of things to be excited about here. It’s kind of awful.” Taliesin is trying to let him be a little more tactical, to just take care of things and do what needs to be done. “He’s on edge, but it’s a healthy edge.”

Matt clarifies that the party haven’t really emerged into the Underdark---they’re just skimming the edges of it. After spending a lot of time there in the last campaign, Matt didn’t necessarily want to bring it back there again.

Caduceus doesn’t see the group as being deceitful so much as just people who haven’t had the option of being open before. “He’s trying to make that option available.” Part of his training at the temple involved talking to people, helping them feel better, and helping them open up, so this is nothing new to him. Matt: “The solitary therapist.” Taliesin: “He really, really likes them.”

Spurt was originally intended to be a potential hindrance to keep the group from getting past the fire giants stealthily, if he wound up coming along with them. Turned out he... sort of removed himself from that equation.

On the parade of tragic backstories: “I don’t think Clay fully comprehends how bad this all is. I don’t know if he can comprehend art film horror. ‘That’s rough, man.’“ Matt: “He’s the Fred Tatasciore of the group.” Everyone is delighted by that comparison.

Matt was looking for opportunities to bring tragic backstories together. Taliesin calls it a “car crash” approach.

Why are D&D characters often so tragic? Taliesin: “It’s harder to make an interesting happy person.” Matt: “That’s true, but it’s not impossible.” He talks about how it’s natural to try to build something into a character’s backstory to propel them into the dangers of adventure. It’s also the opportunity for a player to work through something they’re going through out-of-game in a safe, cathartic way.

Caduceus is “still a little lanky”. Taliesin points out that this is to be expected because he’s a “vegan on the road”. There’s a long discussion about how the food he makes is “basically semi-firm tofu”.

Matt freaks out a bit about the unintentional callback... VM also being a mid-level party descending into the Underdark in search of a halfling and almost losing a rogue’s foot to lava. A lot of things had to go a particular way for that to happen, and he definitely wasn’t expecting it, especially since he was consciously trying to avoid familiar territory with the Underdark this time around.

Brian: “Which is funny, because the writers never even saw the first campaign.”

Taliesin points out that a trickster cleric is meant to be more of a toolkit, whereas a grave cleric build is more of a medkit.

Taliesin: “I’ve learned my lesson, and I have like three new character ideas ready to go, for this campaign or the next.”

There’s a lot of debate about where the hell Spurt got a skunk, which leads to the creation of the magical item Skunk Jug, which produces a skunk.

Caduceus enjoyed the romance novel, but it hadn’t “entirely clicked”. “He’s aware that: ‘Ah, they’re doing the hanky-panky stuff.’ It’s not really in his wheelhouse.”

Matt was very proud of the group coming up with their plan to get past the giant, and he felt a bit bad that Nott rolled so low (although he also loves the “magnificent clusterfuck” moments that are the hallmark of D&D). Brian: “That’s just a testament to how bad Sam is as a player.” 

Caduceus took Warcaster as his next feat. “This seems to be in-character and useful.”

Fan art of the week: Nott running across the lava! Taliesin: “I want to play that game. That’s an 8-bit game I want to play.”

Brian asks Matt if the game’s about where he thought it would be at episode 50. Matt: “We’re charging into Xhorhas earlier than I was expecting. We need to get Ashley back soon.” (They’ll get her back in a couple months.) He also points out that some story beats have happened in the world in the group’s absence. He didn’t want to tailor the story’s trajectory to manufacture a big moment in episode 50. The group’s involvement in the Empire has been less than expected, but the direction they’re taking is much more direct than he was expecting. Taliesin points out that if the group had been Vox Machina, they would’ve involved themselves in the politics of the war instantly. Matt reiterates that he loves DMing in a reactionary way when the players push in an unexpected direction.

All Taliesin wants to do right now is fix that sword. He’s expecting it to be, like, a +1 cursed sword that just sings constantly and can’t ever be put down.

Taliesin: “I’m enjoying corralling all the kids.” Matt points out that he’s a much-needed influence on the group. Beau is the one that Cad considers to be his best friend. Dani: “You two can’t not be best friends in this show.” Cad thinks of Fjord as an angsty teen. He thinks Caleb is occasionally up his own butt a bit. He hasn’t figured out that Jester’s an adult yet. “’Oh, she’s happy and fine. Thank goodness someone is.’ And obviously she’s not, but he hasn’t figured that out yet.” He’s disappointed in Nott for the amount of drinking, although he hasn’t said it out loud.

Taliesin: “Cad thinks dangerous things have wisdom. Sometimes just walking up to something and asking is very useful. Sometimes you can avoid getting arrested in front of a coffee shop by offering the officer a hot pocket.”

Matt talks about how getting players to avoid combat is a teaching process that involves incentivizing out-of-the-box approaches. That’s in direct contrast to the more traditional grind-through-fights approach to D&D that was prevalent in the early editions, so it can be a process. He points out that you can talk to players out-of-game, or you can change your own plans to allow players a non-combat win even if it’s a bit of a stretch.

Taliesin and Matt both own a pair of chaps. As you do.

Taliesin’s personal inspiration for Cad’s staff was very Dark Crystal-driven. The crystal comes from the land he lives on. He dug up the crystal and made the staff himself; the beetles crawl into and out of the stick continuously.

Talks Machina: After Dog

Brian: "Are you relaxed right now?” Taliesin: “Yeah, there’s something in this Coke that’s really...”

Taliesin got started with eyeliner in high school with Vampire LARPing. He had a (mumblemumble)”furk idee” that got him into goth clubs early. Matt first learned to apply eyeliner for cosplay, then wore it for the first time outside of cosplay clubbing with Taliesin (they also had an industrial goth karaoke night).

Dumbest way they’ve managed to injure themselves? Matt was editing There Will Be Brawl’s final episode, which was a bit too overambitious and he was the only editor, and he didn’t sleep for 72 hours and threw his back out horribly from sitting too long. Taliesin was doing a student film as a teenager, and was asked to do a stunt that involved holding someone up to a moving train (Matt: “What the fuck, Taliesin?”). He had really long goth nails at the time and managed to break all ten of his nails off entirely doing that stunt. “I didn’t drop him into the moving train!” Matt: “That’s why unions are good.”

Brian: “I lit myself on fire with a molotov cocktail.” Yes, really, but he wasn’t badly burned. Taliesin: “Did you at least hit the man? Did it stick to him?” Brian: “It was not a man. It was a porta-potty.” Matt reiterates how grateful he was not to have grown up with cellphone video.

Matt: “So you’re saying...” Taliesin: “I was Emperor Norton, yeah.” Matt: “Aw. I’m proud of you!”

We all learned... a lot today. See you in two weeks for episode 100 of Talks Machina!

[starbuck09256]

A picture in the sand

Episode Fic

Unruhe

Pictures in the Sand

Author: @starbuck09256

For: Kasey Slippin Mickeys

Rating: Teen (I did use the f word not sorry)

First a huge Shot Out to @gaycrouton for putting this goodie together. Girl you are fantastic. I can’t wait to read your fic and everyone else's! 

My prompt was Unruhe and that it should take place in Traverse City with another woman goes missing. I followed it mostly. I rewatched the episode about 9 times, which isn’t bad I like the ep anyway. Here is my angsty (as requested) interpretation.

Not gonna lie, I’m really terrible at procrastinating so this is very much not Beta’d I apologize for spelling and grammar errors. Just happy to barely make the deadline. 

6am Dana Scully's Apartment

She wheels her suitcase next to the end table. Not paying attention she swings it to far and the picture frame on top falls and shatters to the newly stained wood flooring. “Shit” Scully mutters before moving her suitcase to find all the shards of broken glass. She picks up the frame staring at a picture of her and Melissa at a family picnic at the beach from a few years ago. Melissa’s glowing smile staring back at her, she traces the pattern of Melissa’s dress remembering Melissa spinning them around in the sand, letting the tiny pebbles crush against their toes. Like they used to do in San Diego.  Melissa had been galavanting around the world and had just gotten back her smile to be with family, the lightest Dana had seen her in the last few years.  Scully thought it was just because Melissa had finally gone to all the places she talked about endlessly in the dark confines of their shared room. Scully sighs, she remembers that dress Melissa wore in a different context too, one where she is helping their mom pack it away in a donation bin. Melissa so much taller than Scully, it didn’t make sense for Scully to keep it in the back of her closet as a reminder of the women who embodied the bright color and flowy design. The picture inside the jagged frame not scratched and torn right on the side of Melissa dress. The irony isn’t lost as she sits there on the floor where Melissa bled out in between the wood slates a bullet meant for Scully, a life meant for Melissa. She can’t help feeling that the last two years have been so unfair, she is no closer to justice for her sister, no closer to finding the answers of where Duane Berry took her. Now as the nightmares have increased she thinks of the women in Allentown all dying slowly, she wonders if she is next in line. If this picture of her and her sister will find its home on her moms mantle along with catholic candles that flicker in and out of all the lives tragically cut short by senseless violence. Scully presses the picture into the front pouch of her suitcase. Vowing to find a new frame to hold the precious photo right when she gets back from their new case in Michigan. 

She’s only been to Michigan a couple of times. The only real fact about the state that she loved is no matter where you are you are within 7 miles of water. The water calls to her, always has, from years of watching her father navigate it’s depths to summers spent at camps with giant lakes that at night made you feel like you might as well be in the middle of the ocean.  She remembers briefly staying once and seeing the shores of the great lake as it extended out for miles. From her seat at the window she looks out to the expanse of trees and meadows the clouds just above the horizon. Mulder shifts against her. His head resting in her lap on his coat. It’s been a weird few months between bounty hunters and his moms stroke he is more restless than normal. The case brought to them because of the weird photo of a girl seemingly screaming into the camera. Mulder ever elusive with his information he likes to dangle clues and hints to her but never the full story. It use to be fun, this game they play him trying to get her to open her mind to the fantastic to make connections and leaps with scraps of information. Now though it just gets on her nerves. Why not just tell her the facts? Does he think she is so closed minded that she will refuse to go? She wants to refuse. Start standing up for herself more, part of her is tired of seeing these women taken, beaten, lives destroyed in the end does it even matter the how? Is the why so important? What about stopping it? Lately she feels like they are only there for the aftermath, taken to a point so far outside of plausible. She’s getting tired of being taken herself. He mumbles in his sleep and shifts closer to her. That’s the real problem she thinks, how close they are and yet not at all. While they spend endless hours together, eating, sleeping in crappy motel rooms, driving miles and miles of road and for what? to be put in danger constantly?

The larger part of her though finds it still so thrilling. The challenge the way his eyes light up when he gets a new case and they go back and forth it's why he dangles clues and hints. He loves seeing her mind work, and in truth she loves the challenge.  She looks at the photo again, the edging is distorted the colors blending together. She isn’t sure how you would capture an image like this, how the abductor took such a photo. She presses her finger down on the edge looking at the long lines on the side, a face to the far right what is that? A reflection? She wonders what the image is trying to say. She thinks of the photos of her and Melissa torn and stuffed into her roller bag under the seat. She thinks back to all the photos she has taken over the years the others that grace her mantel in tiny rows. Her brothers photo with his new wife how he blames her openly for Melissa's death. As if she didn't already blame herself. She thinks of those women in Allentown how they said they are all dying, the photos they showed her of others like them that have passed on. She has an appointment in 3 months for more scans. She joined the mufon group and has been getting emails of members passing away one by one. Leaving children and husbands behind. She would only leave behind sad plants and half finished articles for medical journals and Mulder. How would he do with a new partner, she thinks back to Jerry whom he just described as a colleague. Is that all she would be to him in the end? A colleague a good friend? There have been moments when she thought they would be more. Melissa certainly thought they would be. Melissa's’ constant insistence that Mulder was the compliment to Scully's stubborn soul. Scully wonders if this is going to be the end will he be her last? She's never missed having a lover. But lately she wishes her bed wasn't so lonely. Now as Melissa has pointed out she has in fact put everything and everyone on hold for this search of theirs, to find answers for him and now for her. In the past she has found men who are obsessed with things it seems. The latest one resting in her lap. She swallows hard, sleeping with Mulder would be a terrible idea, but if there weren't consequences because she would be gone in a few months? She tries to clear her conscience about it all, her recent scans were fine but the emails of more and more members with the same type of cancer in exactly the same spot are more than scaring her. Mulder is scared too, she now stops mentioning when another one has been laid to rest. She’s seen his fear shining into her eyes when she gets even a cold. Imagine what cancer from a lover would do to the man?  She would never do that to him. If the dedication he has for his annoyingly little sister is anything. The rabbit hole he would fall down if they were more and she was taken by the disease from her abduction would kill him. 

She thinks about her mother and father, how after his death the strong capable of anything Margaret Scully faltered. At first her mom said she could pretend for a few minutes in the morning that he was still at sea, that his smile would grace her eyes soon as he would sweep her into a deep hug that warmed her bones. Then she would remember, remember that time was short. Missy's death certainly didn't help. Losing a child is something that no parent should ever bare. She had asked Dana to give her antidepressants, and while it scared Scully to the core it renewed her mother's faith in God. That that was the only way she could keep going, knowing that her Ahab would be there waiting for a life eternal and her sweet daughter's spirit would be free. But Melissa's death had done the opposite for Scully, she has scene so much injustice so many things that make her doubt God's word that now she has become skeptical and even cynical  in so many ways. Mulder has seen it in her and while she wears her cross everyday part of it is just because it reminds her of Melissa. It reminds her to try and fight. She will fight till the bitter end. Even if that is sooner than she wants to believe. Mulder shifts slightly again and she moves the picture through her fingers. Tries to put that skepticalness to the side. Tries to think like Mulder would. Why would the killer leave it at the scene? How did he get it beforehand? Was he stalking her? She taps on the photo again and moves back to the case file, shifting just slightly careful to not disturb Mulder. 

She reads the report over and over until her eyes want to water at the dry dead air of the cabin. The sun is seeping through the light onto Mulders hair now, his features almost boyish in sleep. She is usually the one sleeping against him even if flying isn’t her favorite thing. She squirms in her seat a bit wishing secretly that Mulder would wake up so she can lay against his shoulder and catch a few minutes of sleep herself. She moves her hand, fingers brushing through his hair. She knows he doesn’t mind, though he still teases her a little when she does it in doctor mode. She sees his small smile and he starts to move. She gives him a soft smile back as he rubs his eyes looking at her with the translucent clouds shading the sun as it shines dimly on her hair. He reaches up and touches her cheek to sweep a stray strand off her face. “Your turn” it’s almost a whisper. She smiles gratefully as he moves and positions his jacket against his shoulder for her to rest against. She sighs as she snuggles into the warm fabric. Mulder pulls the shade down against the morning dawn as they continue to soar through the air. 

2 hours later

She wakes dimly to the voice of the captain letting them know they are starting their dissent into Grand Rapids. Traverse city looms another 2 hours away along the lake coast. It’s interesting the rules they have made through the years. They never discuss a case on a flight and so that time has been devoted to them reading books sometimes playing cards. Arguing over which mythical creature is the most likely to exist. Or more often than not it’s like this morning's flight snuggled against each other asleep. She hears Mulders soft snores against her head. The last few months she has been more worried about his sleeping habits especially after she told him what she found in Allentown. More often he comes in with dark circles and the extra coffee through the day has not gone unnoticed. She can’t complain though, because despite all of this he still is there in the morning to greet her, with a steaming cup to chase away her own night terrors. Places like planes offer a few moments of peace that the other one is safe, and that they are together. She tries not to analyze it too much. Tries to rationalize the fact that they have been through some truly horrible things and are bound to have some strong ptsd and codependency issues. She doesn’t want to love him that way. She likes them just being friends. She wants a bit more out of life, especially if there is less available to her, seeing all of these things over the years she is wondering what she is really fighting for anymore if not for Melissa maybe she would have already left. Is it to be flying off to save women from abductions? Is she trying to find validity in her choice to prove to herself that giving up medicine to become an FBI agent was really the best decision? Is she now leading herself down a path to have another Jack or even worse another Daniel? 

She knows that Mulder is in love with her. She knows that he has become just as dependent on her as she has on him. She doesn’t want that, she doesn’t want a world where the two of them can only exist with the other. She has become consumed by this quest of his and paid so dearly, and now here they are chasing a lead on a case they really have no business on. She knows that it’s about the picture. He sees something or knows something she doesn’t. She’ll have to wait for the drive into town to find out.

As they reach the drugstore she is lost in the sea that is the investigation, while she looks at expired film heating beneath it parts of the edging make sense, if the film is expired and the heat has distorted the edges. But the screaming that is odd, when she points these things out to Mulder he finally explains his theory. She sees a photo booth in the drugstore small and yet she wonders if the film has been tampered here too. Mulder must think something similar as he grabs her hand just as she finishes her questions to the owner.  “This film shouldn’t have the same distortion if my theory is correct.” he mutters pulling her into the small intimate photo booth. She sighs “Mulder,” she starts but he pulls her down and she is sitting right next to him and he’s smiling and pointing to the camera. She gives him the look, the one that shows she is not amused, but he wraps his arm around her leans forward to start the series of 5 photographs of them. He tries to do bunny ears and the camera catches her laughing at it. She sticks out her tongue in the next and so does he.  The third picture is just them stern and serious. The fourth a soft smile from both of them. The fifth begins to click and he makes a kissy face and her grin lights up the tiny booth. Its short lived and while she thinks the exercise is pointless the film proves to be unaffected. She waits for Mulder to throw the pictures away but he doesn’t he pulls out his wallet and tucks them in with a 20 dollar bill and 2 ones. She shakes her head, he asks the owner if they can take a few more photos with the same film. “I think the picture is the key to this Scully,” he leaves and she follows him out. 

They drive to the girls house, pictures on the fridge of a normal couple. Lost in moments together, traveling, and laughing. She wonders if they will find this girl alive, if these will be the last time she smiles. She thinks of moments when her and Mulder where sure that it was the end. She thinks of the pictures of them in his wallet. What a stranger would think. What she thinks of this closeness that has grown between them. 

He takes the camera “Watch out scully it’s loaded,” and he points it right at her but the picture that comes out is of the girl distorted again and she looks up at him confused. He starts to tell her more about his growing theory, how these pictures are the key  Psychic photography. She hates this, she hates looking at cases and having him come up with something so crazy she has to try and wrap her mind around it. She always gives him the benefit of the doubt listens to his theories, but sometimes she just wants a simple explanation. Maybe she is just burned out. It happens to everyone with all the things that have happened to them she hasn’t had a chance to take a break. She wants to talk about this more but as always he is already getting ready to leave. “He was here I think he stalked her.” As they step out into the bright sunshine her phone starts to ring, letting them know that Mary has been found wandering and disoriented.  

At the hospital Scully is faced with looking in the hollow eyes of the woman on the fridge, one that won’t be smiling again as pain and inevitable death beacon her near. The scans don’t lie, Mary is facing a very difficult road of recovery if that is even possible. As Scully stares at the scans as Mulder goes to grab them something resembling coffee she thinks of Betsy in Allentown, about those women with tumors at the same spot as Marys unfortunate lobotomy. Mulder has sense Scully's distance and luckily has chosen to back off, leaving her with the time she needs to figure things out. Scully is deep in thought when Mulder returns he sets down the coffee letting the steam rise up and wafted into her nose. It’s a beautiful smell coffee, seems the fine people of Traverse City understand its importance. Mulder touches her shoulder gently a sad smile across his lips as he stars at the scans once more. Just as the uniform officer comes in and tells them another woman has been taken. Anger boils through Scully, whomever this guy is he has no idea what he is doing and unless they find him soon she is afraid of another poor woman facing the same fate. Mulder throws the rental keys to her knowing that right now he needs time to look over the details from the officer, starting working up a profile right away. Precious time is ticking fast as she presses her foot down on the pedal. This is her strength driving fast and a little more reckless than Mulder ever has. It annoys him, how much she speeds and whips into places. It’s why he drives most of the time in reality. Because she got tired of hearing him complain about her going to fast, but time is of the essence.  They are following a patrol car the blue and red lights flash into the fading sun. As they race around the corner. Mulder finally looks up at her his voice catches in his throat. “Mary will never be the same will she?” Scully shakes her head in sadness. “We need to find this person, and fast” She nods and throws the car into park, throwing her seatbelt off dashing to the scene. They need a clue, a hint, and hopefully something more than a screaming girl in a fucking polariod.  

Just as they get there they realize that the rush wasn’t necessary, Scully needs to review the file as Mulder heads right inside to assist.  Another man dead another woman taken and nothing to go on. Mulder doesn’t find any cameras or film, in the car as he was thinking through the profile he wonders about the word Unruhe, a place? A thing? A person? It sounds like it’s a word. He asks one of the officers to use the computer quickly typing the word into a search box as he continues shuffling through 1040s and spreadsheets. Scully walks in the file in her hand, a killer like this she thinks might have been there might have been at the scene. As they argue again over the photograph she feels the frustration of the day, of the inevitable failure that might await them if they can’t find something quickly.  Mulder is ready to head back to Washington, to find the clues that have eluded them so that she can save the next victim. Both of them know that time is limited and Alice doesn’t have long, while she thinks him going back to Washington is a mistake, it’s really not that long of a flight and the bureau does have some fantastic resources. She sighs hangs her head and works her connection. It seems that for them, when they go their separate ways they form a complete picture in the end. 

 She watches as he races out leaving her the keys to the rental car as he hitches a ride back again. She works through the evening and well into the night in a small motel with a view of Grand Traverse Bay on Lake Michigan. She opens the window and listens to the water softly kissing the sand while the moonlight shines off the lakes black opals and into the darkness. Mulder calls her lets her know his planes has landed and he has been able to get a forensic photographer to help him first thing in the morning. She lets him know that Mary Lefont died and she fears that the same will be true for Alice if the construction owner has hired men off the books. Mulder sighs, “You caught that Scully, you found us a tangible lead as soon as I find something out with this photo I’ll call you it should help you refine it” She hums in response right now she is looking at a list of 300 people in the apartments next to the latest abduction. She sighs and says she is tired before hanging up. She knows that sleep will be hard fought tonight, it’s already almost 3am. She walks out of the hotel towards the Bay listens to the waves as they crash against the shore with a dullness. While the stars shine brightly out beyond the black depths of the lake she thinks of Mary, about those pictures of her smiling in those photos on the fridge. Her toes are in the rough sand from the lake, not like the sand that she and Melissa danced to in the photo. She wonders of Alice's family will have similar photos on their mantel of another woman taken in her 30s. She hopes that the station can pull up something on the construction workers, they need this lead. Regardless of the success Mulder thinks he will find she needs the tangible investigative skills of the mortal realm. She walks back to her room, letting the moonlight chase her form across the soft swirls of the water. She falling into a lifeless deep sleep while the dull ticking of Alice's life lingers in the background. 

In the morning after she wrestles Gerry to the ground. She thinks back about the pictures she has of Ahab of the two of them at her medical school graduation, her white coat and his proud smile. She wonders after all the terrible things that have happened to her would he still be so proud? Or would his smile have dimmed like that glossy paper it was printed on. Would her own eyes shine as brightly as they did that day ever again? Or had the 3 months she missed, the sister she mourned be evident through the lense. She knew the risks was aware of the horror she would face. Lately she feels as if she is facing a far more looming nightmare. Another birthday another lonely night with no prospects of changing. Mulder and her might be pushing that line in the sand between acceptable partnerly behavior but it’s a not a road she is ready to take, nor is she sure she wants too. She loves him, she knows this after so many dangerous situations, hours and days spent together how could she not. She thinks of the other pictures she knows he keeps in his wallet. The one of him and Sam, sometimes she thinks she still sees that young innocent kid staring back at her. His devilish grin when he shows her the fantastic. The way his face lights up just a little when she pulls out his favorite sunflower seeds when he was sure they were out. Does he see it in her? Does he see the young agent who was new to the field but prepared for the boys club? Does he see the same smile and young ambition she once was so consumed with that she let the rest of her life slip away? She’s getting older her birthday just passing and she thinks about the fact that now she is as old as Melissa was when she died. She thinks about the pictures they won’t take, about the people now missing from the Christmas dinners, the Sunday brunch, the nephews birthday parties. Her phone rings and it’s Mulder he booked the first flight back and is already on his way to the precinct. She wants to know where Alice Bryant is she wants them to win one for once. Mulder wants her to wait until they can interrogate Gerry together. They are so good together, she knows. The two of them play off each other so well with suspects. Mulder seems crazy and she seems scary and she loves it. She loves the power it gives her. She loves seeing justice and fear mingle together in the room. She hopes they are scared, hopes that the suspects feel even the small degree of fear that they cause their victims to feel. It is that feeling that has kept her with the FBI, she loves being the one to find the evidence and then confront the suspect with her findings. Mulder is in a way the perfect partner for her. He steps back lets her take the lead, knows that if anyone will find something tangible to hang a case on it’ll be her. 

Gerry gives them a location, and as they race to find her, she can’t help but be angry at Gerry seeing her as troubled. She isn’t troubled is she? Conflicted? Scared? Maybe. She doesn’t want to overthink a psychopaths words. She learned long ago from Mulders profiles how they use words and gestures to gain trust. Luther Lee Boggs being a prime example for them both. 

Scully races up the hill hoping and praying that they can find Alice alive, and hopefully not as damaged as Mary, but as she makes it to the top, Alices still form crushes her thoughts. She touches Alices’ cold skin, her cheeks. Watches as the CS tech starts to take photos of the scene. More photos, more death, and now another body. At least Gerry is in custody. At least they saved the future woman that he might have tortured and killed.  Mulder meets her at the car, her anger rolls off her in waves like the lake shore. Maybe tonight she will sit on the shore and cry, no one would be able to hear her sobs over the water. She wants to leave to go home and fix her broken frame try to not think of photos and sand and lives that could have been. She can’t drive and though she wanted to be in control she hands the keys to Mulder so they can drive back to their hotel and clean up. She needs to wash the failure she feels down the drain. It doesn’t work that way, Gerry shot the police officer that was processing him, they put out an APB but her mind can only race about possible new victims he already might be on his way to take. 

They look at the photo of the officer on the paperwork, Mulder is right the photos are probably the key. God who else did Gerry take a photo of? Who else is going to deal with a madman telling them they are troubled and killing them to fix it? 

Apparently the benefit of Traverse City being smaller than most major metropolitan areas is when you need to steal something you pick the same drugstore you stalked your victims. Gerry has assaulted the owner and taken more film. They walk through the drugstore one more time, she thinks of the apartment complexes on each side and tells Mulder as such as he once again puts money into the photo machine. She looks at him in curiosity, last time they went in this time he is letting it roll without them. HIs theory has developed and isn’t ready to share just yet, she knows he will explain in the car. She wants to get going, he tosses her the keys and she walks out into the bright sun. 

She doesn’t remember much she remembers her foot hurting from the injection remembers the struggle as she tries to get her gun. She wakes strapped to a chair with Gerry in the dark corner as her eyes try to adjust to the light. Her arms taped down roughly the large sheetrock tool on the shiny metal table. She wants to plead in a responsible way. Gerry knows that this is the end, she can’t let him think that she will be part of his prize. She doesn’t remember much of her German important phrases and it takes her a few moments to come up with what to say to him. Especially since conversational german was the only class she ever got a B in. Luckily the words are there, as if her mind knows to channel the knowledge buried so deep. Gerry gets up to grab the camera, she sees her chance if she can get the tray she can cut her restraints and take him out. She needs to stall, she needs Mulder to have time to find her. She wants to give him time, She asks Gerry about his own Howlers about the trouble with his father. She channels Mulder and knows what brothers will do for sisters. Her own brother would do for her and Melissa. Gerry pulls the tray away and takes the camera to take her picture once more. She struggles with thinking that the photos she took with Mulder in that small cramped little booth won’t be the last ones he sees of her. He will see her on the floor of the padded room in a weird distorted photo that will filter into his dreams for years to come. But luck is on her side and she is able to convince Gerry to take a photo of himself. The camera flash is almost blinding, she knows he is sick she just needs to show him that this has always been about him and not anyone else. The photos come out in a small series of flashes, they wait for the polarization to show the image. She feels vindicated when they show him dead, show him his fate. That justice is finally with her. She just hopes it doesn’t plan on taking her with him. Gerry flips through the photos over and over. Questioning the images, like Mulder did. What do they mean? She hopes they mean that her life will be hers again, that she will be able to see the waves and shore once more. But Gerry thinks it’s about time, that his time is ending and he must hurry. Fear runs through her body a surge of adrenaline as she tugs and struggles against the restraints. She thinks about the time she almost drowned, how it felt struggling in the water, wondering why something so beautiful and peaceful would try to take her life. How she would gasp and flail her arms in sheer panic, like now as she hears Mulder calling her name. God Mulder please please prove that picture true and he does. Thank god he does. She feels him release her final bonds reach out his hand to take hers. She feels the storm calming inside of her, like Mulder is a life preserve her around her waist pulling her up against the tide. She walks out of the dark trailer, walks past the paramedics straight to the lakeshore. She takes off her heels, the prick of the injection still stings but the sand and the wind and the waves cradle her in their embrace. She takes a deep breath, lets the air of the misty water fill her lungs up. She takes a moment to look down at her feet in the sand and as she looks up she almost swears she sees Melissa in the distance dancing on a distant shore. 

tagging @today-in-fic @gaycrouton @xfilesfanficexchange @improlificinsarcasm

[dramayeoja]

Goblin ❣︎ 도깨비

Kim Shin, an undefeated war general, is ultimately killed by a jealous young king named Wang Yeo. After death, Shin is revived by the gods—but his revival is by no means miraculous. He becomes a 도깨비 (dokkaebi, goblin), and is cursed. He will have to pay for all the lives he took in battle by living alone in immortality, witnessing everyone he's ever loved, die. Remaining lodged in his chest is the very sword that killed him. There is only person who can see that sword, and draw from his heart so that he can finally rest in peace: his bride... whom he's yet to meet.

Things get spoilery under the cut—you've been warned! ;)

Chipper, yeah? Haha so, right off the bat, the premises of Goblin remind me of like, a much more morbid version of the legend of King Arthur. You know, a man draws a sword from stone to prove himself the greatest king in all of Britain? Yeah. Just to be clear: this is a good thing (imo). Like, I personally think this is just such a cool idea for a drama 😍

Let's jump right in. I'm gonna be honest and say that, at first, I felt a little turned off at the female lead, Eun Tak, being nineteen (in the beginning of the show), meanwhile the male lead, Shin, is 900+ years old (but physically looks to be in his thirties). It just... rubbed me weird. But hey, the Twilight series (both the books and the movies) is exactly the same—high school girl, century-old man, bananas yet somehow romantic storyline... And I loved me some Twilight as a young adult. So I mean, I have no right to judge, really. Plus, Eun Tak soon turns twenty anyway. So that's an improvement I guess 🤷🏻‍♀️ We follow her character into her late twenties, nearly thirty. So things are definitely fine by then haha! 👍

Don't let that previous bit make you think I didn't enjoy Goblin—I LOVED it. That detail is just a lil funky to me, is all. Back during my Twilight obsession days, I was nearly twenty myself, and the thought of being pursued by an older man was exciting. Hell, I mean, it still is! But now that I'm two years shy of my 30th Birthday, I feel differently sometimes. I think, LAWD get that girl away from that man, she too young for him LOL. I am definitely getting old... Enough about Twilight now, apologies! I'm only using it for the sake of conveying similarities seen in Goblin 🙏 Let's talk cast!

Kim Go Eun as Ji Eun Tak and Gong Yoo as Kim Shin

Eun Tak is a bubbly young woman with limitless energy! While still in her mother's womb, Mama Ji was involved in a hit-and-run incident which, sadly, took her life. During Mama Ji's dying moments, she prayed to anyone above that her child's life be spared. Sat on a rooftop from afar, beer in hand (lol), Shin hears her prayers, as he is a god of sorts. He appears before Mama Ji, and shows mercy to her unborn baby. Eun Tak grows up with the ability to see/speak to ghosts. Said ghosts tell her constantly that she is the goblin's bride. How do they know? A strange birthmark on the back of Eun Tak's neck tips them off. Eun Tak unfortunately was taken in by her abusive bitch of an aunt, who jabs Eun Tak every chance she gets. Her cousins are assholes. Eun Tak's aunt really only keeps her around in hopes of collecting Mama Ji's savings (intended for Eun Tak) one day. Sad, right? I mean, isn't Eun Tak being born without her mother enough as it is? Life can be so cruel 😔

Lee Dong Wook as Grim Reaper/Reaper/Wang Yeo

This is Grim Reaper (or Reaper for short), portrayed by the handsome Lee Dong Wook. His character is just this strange, not at all tech-savvy man with a constant deadpan facial expression. Said facial expression provokes so many giggles during funny moments, and drives home the longing and desperation during sad times. We learn quite a ways in that he, in his previous life (again, just in case: spoiler), was Wang Yeo G A S P ! The young king that is essentially responsible for Shin's death, as well as all the misdeeds that were done to Shin's family. Again, this is something I don't want to spoil. Well, more, anyway 😆 You gotta see it!

Yoo In Na as Kim Sun/Sunny

Kim Sun, or simply, Sunny (she loves to spell her name for people lol, S-U-N-N-Y!) is the second female lead. Yoo In Na is so gorgeous that one look at her makes you feel like such a potato hahhah. 🥔 This fact about her beauty bleeds over into the show itself—every time another character meets Sunny, the camera does this slow motion pan into her lmao. She really is that pretty! Sunny's personality comes across so odd at first... Having watched all of the episodes now, I feel the intention of Goblin's creators was to make her seem like a soul searching for something it has lost in a previous life. idk if that makes sense, but yeah. She has this way about her, like she's disconnected from others, and is sifting through the haziness to find this thing she feels she's lost.

Yook Sungjae (my BtoB bias 😍) as Yoo Deok Hwa

Sungjaeeee ahhhh 💘💘💘 I had to gush, sorry! Hehe. Meet Deok Hwa: unofficial nephew of Shin. Deok Hwa is a third-generation chaebol (heir to a family-owned corporation) and spoiled man-child, always seeking his credit card hahaha 🤣 But I love him so much. Between Gong Yoo, Lee Dong Wook, and BtoB Sungjae? Man, I'm dying over here! Deok Hwa's true identity is revealed later in the show, which if you haven't seen it yet, I won't spoil it. Just watch. But his ending sucked. Like where did he go? Everyone else's endings got tied up neatly except for his. What gives, man? ��� Edit: I was actually reading an online conversation about what happened to Deok Hwa online—someone jokingly said he was reincarnated as BtoB Sungjae LOL 💯

Other various comments

AMAZING OST 😍😍😍

Good pace, episodes drag at times. A little confusing in the beginning, but you get there eventually. Maybe this is just me though, viewers who are a little more keen than I will likely catch on sooner ;) My mom was a little confused as well, and actually said at one point, "This should be called the 'what-the-hell-is-going-on' show," hahaha. Like I said though, we quickly moved on from this, and loved all the things. There are actually, I think, three (?) specials that were made to aid viewers in making sure they understand the complex events and relationships clearly. I haven't watched them yet, but want to!

Quite repetitive tbh, as there are unnecessary flashbacks often. Probably for two reasons: the obvious of reminding you what's what, but also to create suspense. Typical duration of most tvN dramas seems to be about 16 episodes, so it's possible these flashbacks and things are, for lack of a better word, filler. I don't know how rigid or lax tvN is about having a drama set at 16 eps, but I get the idea this is their preference. Seeing as so many of their programs on average last that long, I feel this must be what they want. Such has the potential to affect the writing, either positively or negatively.

A continuation of the previous bullet: I think Goblin's creators oversimplified the plot at times. I'm unsure if this is due to possible pressures to meet a specific requirement(s), or what. I'd rather forgo ALL restrictions and let creativity flow, let the story be told without pressure to fill a specific amount of time, etc. but TV production is weird. And contracts are weird. tvN might not to blame for these issues, could simply be that storytelling isn't always easy, man. I'm a writer myself, it's hard! I'M being redundant now lmfao! Anyway, yeah ~

Absolutely LOVED all the scenes that were filmed on location in beautiful Québec City, Canada 🍁 Tall, romantic trees, the fall foliage, historic buildings... sigh. Now all I need is Gong Yoo chasing me and we're all set! ;D

In addition to Shin being revived, my crush on Gong Yoo has been revived as well LOL. He fine 🔥 A classic K drama crush, can't go wrong with GY👌

Gong Yoo is always stellar at doing kiseu (kiss) scenes, and in Goblin, he does not disappoint. He really goes at it 🙈 which is preferred vs. the typical person kissing a stone statue that you see so often. He even did a lift kiss with Kim Go Eun that was reminiscent of THEE Coffee Prince kiss he did with actress Yoon Eun Hye! 😍

I never saw it coming, how the sword would wind up being removed from Shin's chest. I worried what the writers were going to do, how would they approach this, and just wow. The way things turned out is such a relief. It also told me that Shin's love for Eun Tak is true. I mean, I didn't need that scene to occur for me to know that, rather it just adds extra oomph that yes, Shin really does love Eun Tak. He didn't want her to suffer knowing she was responsible for his "death," so he thought quick and used her hands WITH his hands asdfghjkl. How dumb (bc noooo now you're gonna die) and amazing he is at the same time 💜

I love how Shin made his way back to Eun Tak after passing away, it was such a powerful scene. I could really feel his struggle, and kept yelling at my TV for him to stand up lol!

Devastated that Eun Tak died 😭 I really thought as many times as she'd cheated death before, she would somehow continue cheating death again and again for the rest of her days. But no... What a selfless person, Ji Eun Tak. Her being reincarnated as Park So Min gave me some closure. Not the closure I wanted, but closure.

The relationship between Shin and Reaper is ADORABLE. Whenever they interact with each other, they just have this great dialogue. Shin pings, Reaper pongs, Reaper pings, Shin pongs. It's great 😄 I still laugh about the slow-mo scene of them returning from the market with green onions HAHAHA 😂

I love Sunny & Reaper ~ However, their history as Kim Sun & Wang Yeo in their past lives is so very sad. I don't even know where to start RE: my feelings on this 💔 imo, their ending kinda sucked. I just wasn't satisfied with them having had this complicated, tragic story, only to be reincarnated in this fashion that I ultimately found to be just... idk, disappointing 😩 Again, closure, but not the closure I wanted.

I thought Reaper, the other grim reapers, the name cards, the depiction of what happens immediately following death with the brewing of the tea, the afterlife, etc. was all very creative. We really don't know what awaits us when our time comes—it's interesting to wonder if it's anything like it is in Goblin 🍵

Can't stop thinking about Goblin, even though I'm now watching Thirty but Seventeen & Mr. Sunshine! I'm emotionally cheating lol halp.

Photo credits: tvN & AsianWiki

Yo yo! I'm sorry I took so long to watch + write up this review! It's been a long couple of weeks for me, I wasn't always able to watch when I wanted. It was maddening 😆 But I have finally watched, and feel like the most accomplished person on the planet hahaha. xoxo 💜

[totaltozier]

Song 101 - Finn x Reader

REQUEST: @cxxl-gall Can I get a Finn Wolfhard imagine where his band comes in a bit early to the studio while you’re just finishing up recording and when reader comes out he asks her to stay and listen to their stuff (so he can show off lmao) and to just hang out when he’s not playing and like watching the others play (bc they’re all talented blessss) and like he compliments her voice etc. Like proper cute and fluffy

NOTE: Yo yes I really enjoyed this one. I left it sort of open ended so I was thinking about maybe making it a series? LET ME KNOW IF THAT’S WHAT Y’ALL WANT! 

The song I mention by The Tragically Hip can be heard here. The song Calpurnia is recording is this one!

PLOT: Calpurnia is using the recording studio after you and it turns out that Finn loves your music a little more than you though he could.

WORD COUNT: 1675

Recording was your favourite part of making an album. After your debut EP was released over a year and a half ago, you could not wait to get back into the studio. But before that, you had to write the music and collaborate with others which was a long process but it was totally worth it and you could really feel it in the studio. There were only two more songs that you needed to finish up before you were done. Today you had been working on your favourite song, one that was reminiscent of The Tragically Hip’s song Grace, Too. It was mellow bit still alternate rock.

You were in the middle of the final run when you noticed a small group enter the room just outside of the booth. You couldn’t quite make out who it was since you were trying to concentrate on your harmonies but once you had finished you removed your headphones and made your way out.

“Who’s our guests?” You asked at no one in particular to the room full of people.

The boy with the mop of black curly hair who was bent over a guitar case stood up and turned to you. “We’re Calpurnia.” He introduced. “I’m Finn- “

“Finn Wolfhard” You interrupted. “Yeah I’ve heard your guys play before!” You said.

Finn looked around at his other bandmates with a smile. “That’s awesome!” He exclaimed. “We’re fans of your work actually, Ayla won’t stop singing your songs”

“Your voice is amazing, you’ve got such a unique sound” Ayla said.

Your face turned into a great smile. “Wow thanks, that really means a lot” You said sincerely. You were still a small artist, so it really felt great to hear people say that they loved your music.

“We’re recording some new material today,” Finn said. “It’d be cool if you stayed and listened but uh, only if you wanted to, you don’t have to!” Finn stumbled, spitting out his words nervously.

You looked at your phone and checked the time. You didn’t have to be anywhere for a few hours so you figured you might as well hang around and listen. “Yeah sure, I’d love to” You smiled.

A huge grin came across Finn’s face and he nodded before moving around to get everything set up for their session.

Malcom was the first to record on the drums. They were recording their first original song during this session. It currently didn’t have an official name yet. Finn only referred to it as Song 101. While Malcom was recording, you were sat on the old purple couch outside of the booth watching everything going on inside. Finn came and plopped himself down next to you and started talking.

“So how did you get into music?” He asked right off the bat.

“Well my dad was a sound engineer, like one of the people who works on producing music sort of, and so he would always be playing all kinds of music around the house and I just sang along. My mom stuck me in piano lessons which I loathed but reluctantly did anyways. I wanted to take guitar but she said that piano was the base of understanding all instruments so I didn’t start guitar until I was like eleven I think.” You explained. Your music history wasn’t that interesting yet everyone wanted to know it.

Finn eyes were lit with excitement. “That’s so cool, I’m not great at piano, like I wish I was better but guitar is my thing.”

“It suits you,” You said. “Your voice is great too but the guitar makes the complete package.”

“You like my voice?” Finn asked.

You shrugged. “Yeah, you’ve got this cool indie rock persuasion sound which I totally dig.”

Finn’s already there grin slipped into a full smile. “Thanks, that means a lot” He said sincerely.

Before you two could talk more, Dan, the man in charge of recording, announced that Finn was needed in the booth. Finn looked at you with a look of excitement before pushing off the couch and picking up his guitar.

“Break a leg!” You encouraged and Finn let out a deep breath before pushing open the door and entering the booth.

“Let’s do vocals, yeah?” Dan said into the mic so Finn could hear. He nodded his head before Dan pressed some buttons so Finn could sing. You watched intently as Finn closed his eyes before starting.

“See you driving round town with a chip on your shoulder

Well it’s you who gets the last laugh after I call her

I feel cold, oh lord I feel cold.

I feel cold.” Finn sang.

Dan stopped to comment. “That sounded great. Let’s move on to the next part, okay?”

Finn nodded and Dan cued him again for singing. This time you noticed as Finn didn’t close his eyes as he sang. Instead he looked right at you.

“When I’m gone you’re there,

When I’m gone you’re here,

When I’m gone you’ll be older,

When I’m gone you’ll always be cold.

I feel cold, oh lord I feel cold. I feel cold.”

Finn sang with a look of both aspiration yet desperation at the same time. You could only wonder who he was singing to.

Nonetheless, he sounded great. He was able to move his voice around, creating a crisp sound that only he could. You’ve listened to Calpurnia before, once live at the Strange 80’s show. Their cover of Weezer’s El Scorcho was your favorite. You knew that this band was going to go far.

Caught up in your thoughts, you hadn’t noticed that Finn finished with the vocals and now Dan had him working on guitar. Now as you paid attention, you watched as Finn waited for Ayla to join him in the booth. Until she was ready Finn decided it was time to goof around.

First, he was trying to play with his opposite hand but the sound it was making was as atrocious as it was funny. Finn enjoyed seeing you laugh so he continued on. He swung his guitar behind his head and tried to play the chords without being able to see. He was actually pretty decent at this, something that can only be done with lots of practice. Finally, you watched as Finn attempted to play the chorus while only standing on one leg. By now you had already pulled your phone out and was snapchatting the whole experience. Finn was holding his balance pretty well before toppling over, guitar and all. At this point, Ayla was ready to go and Dan was not impressed but you were doubled over with laughter.

“Finn, please get up.” Dan said over the speaker before glancing back to you with a look.

Finn quickly jumped back up, adjusting his guitar to the right place. “Yep, sorry Dan.” He said with a nervous smile but as soon as Dan looked away, Finn was winking at you with a smirk.

Ayla and Finn worked together, strumming out the chords and swinging the melodies. You couldn’t help but stare at Finn as he played. On stage, he has such a persona that was completely different from what you were seeing. Here he was concentrating, rocking to the rhythm and letting it take over him as he played. It was a whole other Finn. And for some reason you felt lucky that you got to see it.

Soon enough, Finn’s time in the booth was over and he was walking back to you, slinging his guitar off his body and into its case.

“How did that sound?” Finn asked slightly out of breath.

“It sounded amazing.” You said. “You sounded amazing!” You added.

Finn blushed and sheepishly looked away. “Really?” He asked.

“Yeah! You’re like a whole other person in there, completely different from when I saw you on stage!” You explained.

“You’ve seen us live?” He asked with wide eyes.

You nodded with a grin.

“When?” He asked, hungry for your answers.

“Strange Eighties.” You said. “I know El Scorcho was an exception to the theme but you guys killed it! Best version I’ve ever heard, hands down” You added.

Finn looked like he was about to pass out. He threw himself down onto the couch beside you.

“No way!” He said astounded. “I’m going to need you to write that down for me because no one will believe me when I tell them that Y/N L/N likes my music!”

You laughed at the boy next to you and reached for a scrap piece of paper on the table nearby. “Okay sure” you said shaking your head. You quickly scribbled out the sentence you had just said and held it out to Finn.

He glanced at the paper before accepting it. “You should also write your number on that too” He said with a cheeky grin.

You leaned back into the couch and crossed your arms still holding the paper in your hand. “Are you asking me out Finn Wolfhard?” You raised an eyebrow smirking back.

Finn blushed but didn’t give up. “Well technically I am asking for your number, but since you seem so willing I guess I could ask you out as well.”

You uncrossed your arms and started to write your number on the scrap paper. “Okay, but I’ll only say yes if there’s ice cream involved.” You stated with a smile.

You held out the paper for Finn and this time he took it from you. “Are you serious?” he asked with wide eyes. You looked at him with confusing face. “You’ll actually go out with me?”

You nodded your head while tucking your hair behind your ear. “Yeah, of course.” You smiled.

“Fuck yeah” Finn said, excitement all over.

From across the room Jack piped up. “Swear jar, Finn.” He said in a monotone voice. He must have to say it often.

Finn reached into his jeans pocket and pulled out a quarter. “It was worth it” he said as he threw the coin over to his bandmate.

[dylanreviewsthings]

Mike Shinoda Goes Face To Face With His Demons In "Post Traumatic" EP

There comes a time in all of our lives where we stand in the face of our greatest opponent: ourselves. We are the product of a lifetime worth of love, anger, sadness, happiness, and pain. From those negative experiences come our demons, the memories and the constant questions of "what could have been" that haunt us every day. 

The world has been mourning Chester Bennington since he passed, but the people who were damaged the most by it were undoubtedly his family and his bandmates; and some would say there's not really a difference between the two. The band have been here for the fans as the fans have been there for them through these last six months, and the scars are still healing. Mike Shinoda has been doing his own healing, and in the past months he's been coping with the pain in the best way he nows how: his art. Today, Mike Shinoda goes face to face with his demons in the Post Traumatic EP, channeling the last 6 months of pain and insecurity into truly powerful songs that have him wear his heart on his sleeve.

There's few words that can really describe just how powerful Post Traumatic is. It's highly visceral, a catharsis of the highest degree. The short 'Place To Start' introduces the record, the ambience of intro leading into a sweet, unassuming electronic instrumental with the occasional rising cymbal to add some drama. The real magic behind this song is all in Shinoda's voice. The song finds him trying to understand the messiness of his mind, attempting to find clarity in the chaos of his life. The very first lyrics of the EP are tragic in every way imaginable, Shinoda somberly admitting "I don't have a leg to stand on / Spinning like a whirlwind nothing to land on." The ethereal nature of the instrumental brings the grief a step further, making it feel like it's not just something that's internal, it's all around him almost like an apparition that hides in his shadow.

Post Traumatic is not about overcoming Shinoda's demons. It's an album about attempting to understand them. Shinoda claims "'I'm tired of the fear that I can't control this / I'm tired of feeling like every next step's hopeless" in the chorus of 'Place To Start,' showing that he is ready to move on from these feelings but as he continues, saying "I don't want to know the end, all I want is a place to start," it becomes clear that he's not searching to get rid of his demons just yet. He's looking where to get started with it all. 'Over Again' follows through, and this song is just a pure masterpiece. Simple with its beautiful progressions, the song's chorus simply states "Sometimes you don't say goodbye once / You say goodbye over and over and over again," as the waves of grief after losing Chester come and hit him again and again. The song has a sense of progression to it; as Shinoda explained on Twitter, he recorded the first verse of the song on the day of the Linkin Park's incredible tribute show to Chester at Los Angeles' Hollywood Bowl. He expresses his fears and insecurities of the show before it happened, and in the second verse, recorded the day after the show, Shinoda channels all his anger about being constantly being urged to speak of his thoughts after Chester's passing, when he doesn't even quite understand how he feels. He gets caught in a cycle, being forced to say goodbye over and over again when all he's trying to do is understand his own thoughts.

'Watching As I Fall' follows through with more drive, Shinoda's melodies notably more anthemic and the song more energetic. It goes along with the nature of the song's meaning: Shinoda explains how it felt going through Chester's suicide, how everything seemed to happen in a flash  while he was rushed to find an answer (as he expressed in 'Over Again'). The song comes complete with effected guitars á la 'Waiting For The End' and big, almost aggressive raps as Shinoda fights not just the world that's placing pressure on him, but himself, as well. The second verse is very introspective, Shinoda admitting "And honestly I buy that I can sound cold / Still upset from shit that's 15 years old / I don't know what it takes to make me let go." He's angry at himself as much as he's angry with the world, and as the chorus sings "They're watching as I fall, to somewhere down below / But maybe I'm just falling, to get somewhere they won't" once more, Shinoda continues down the road untraveled to look for the answers to his suffering.

Chester's music wasn't amazing solely because of his singing talents. All of Linkin Park's music was defined by its raw emotion and Chester's ability to make that come across with nothing but the pain in his voice. That's what Post Traumatic is. Mike Shinoda captured each of these incredibly painful and hard moments in the grieving process as they happened, immortalizing that moment of time in order to try and understand the grief he's feeling. This EP is progressive emotionally, growing with each song just as Mike's thought process changed over the last few months. Like any of us hurt by Chester's passing, there's still a long road left to walk down before we find the clarity we're searching for. Mike Shinoda goes face to face with his demons in the Post Traumatic EP to show that he's healing, slowly but surely, and while the battle's not done being fought, nothing will hold him, or you, back from reaching the end of this road.

Favorite Tracks: Over Again, Place To Start, Watching As I Fall

Least Favorite Track: doesn't exist.

Rating: 99 / 100

Stream or buy Post Traumatic on Apple Music, and follow our 2018 Playlist for the latest music.

[idontneedasymbol]

12x20: Twigs & Twine and Tasha Banes

As an episode of TV, this is a pretty powerful story; tragic and disturbing, true psychological horror. Steve Yockey writes some of the best side characters of any writer on the show; he brings to life interesting, sympathetic people who are human enough to be capable of horrible things.

That being said, as an episode of Supernatural, I found it less than satisfying.

Which isn't the episode's fault, really. If this had been an episode in another season I might've really liked it; I love the Banes twins, and even if their story is going even worse than can be expected for SPN supporting characters, it's definitely still compelling.

But having yet another episode in which Sam & Dean are only there as observers, not driving and barely even participating in the story, continues to frustrate. Their only real role was to evoke exposition, to externalize the Banes' inner lives. For Alicia to have someone to explain her and her brother's relationship with their mother, for Tasha to have someone observe how good a mother she was, for Max to have someone to verbalize his moral quandary. Dean didn't really convince Max not to take the deal the first time; he just served as a mouthpiece to express Max's dilemma.

This isn't a bad storytelling style. Using familiar characters to explore a new cast and story is how a lot of mystery series work. If you want a stunningly gorgeous example check out the anime Mushishi, in which the main character serves as a common thread to loosely tie together evocative, beautiful portraits of humans touched by and touching something just beyond our ken.

But Supernatural has always been the opposite of this, in which the stories of the people they meet and help are more used to illuminate the inner lives of the Winchesters. And after 11 seasons, season 12 is jarring, in that suddenly we have almost no grasp of Sam & Dean's inner lives at all.

Alicia and Max's story has strong, obvious parallels to elements of Sam & Dean's past. But the episode doesn't reference any of them directly. So it's difficult to say how many are deliberate -- when in just the previous episode, the script removed Dean's role in the Gadreel arc, are we really meant to see Max's choice as paralleling Dean's then? And it doesn't directly call on the emotions there. Sam & Dean don't expose their own pain to try to help Max -- Dean doesn't say, "I took a demon deal for my family and went to Hell; you can't imagine how much it will hurt them, if you do this." Sam doesn't say, "I've lost my whole family and had no one; let us be there for you."

Nor does Max's pain seem to really affect them that strongly. The Winchesters’ attitudes at the end are rather, well, that sucked, but he'll be okay, moving on. And yeah, maybe that's the only thing they can do; maybe they've taken on too much of their own pain and others' to be able to shoulder another burden from someone they hardly know. But it makes them seem less heroic, more callous. Not to mention, there's no sense that they've suffered a loss themselves. Max & Alicia were fellow hunters, people they could bond with, potential friends in a world that has precious few of those. If the Winchesters didn't know them well enough to really mourn them, they could have still been saddened by the loss of what might have been.

And again, yes, this might be the healthier way to deal, to not be so involved, to keep an emotional distance. But after 11 seasons of Sam & Dean feeling things too keenly, this sudden ability to bypass empathy doesn't feel like growth but damage. These aren't the characters I've loved watching all this time; they feel like simulacrums themselves, dolls with the memories of past experiences, but not the feelings that drove those memories.

And I hate to say it, but I think it's more than the script to blame this time. --Though maybe this is a good thing? This ep and the last are some of the only ones of the show that it's kind of felt like Jared Padalecki is phoning it in. Which is unusual -- he's not always the strongest actor (though he can be excellent) but he almost always puts a lot of effort and heart into it. But he had a couple lines in this ep that he could have sold better (in particular, at the end, when he says Max is strong and will be all right -- for Sam to sound so sure about this seems wrong for Sam, who has never been all right when he's lost his own sibling. If he'd had more doubt, sounded like he was trying to convince himself, it would've played much better.)

The reason this could be a good thing is because this is the episode Jared's daughter was born, so it totally makes sense that his head wouldn't be in the game, especially not for such a dark and sad story (that happened to explore parenthood, no less.) So maybe he'll be more engaged in the episodes to come.

(I also do think this is part of why the last couple of episodes have bugged me more than ever; it's gone from it feeling like Sam is suppressing his emotions, to feeling like Sam isn't feeling anything -- putting aside the Banes, is he actually worried about Cas at all? or just concerned about finding the nephilim and whatever's happened to their best friend and brother isn't really bothering him? Dean's not the brother who expresses emotions badly; he's the brother who expresses emotions, period, while Sam persists in being calm and rational in the face of everything, and I don't get why, or if we're supposed to see this as unusual and disturbing, rather than just who Sam is.)

--Also, there was Mary in this episode. And while I think Yockey writes a better Mary than any of the other writers this season, it's hard to fit her in with her portrayal in other eps. If they wanted her to be a heroic protagonist now, they should've tried a little harder to make her sympathetic before. I find it difficult to care about her except in abstract, 'ow that hurts', 'fuck I don't need to see another woman being tortured'. I'm not feeling, "Oh, no, Mary, not you, get away!"

And Yockey does write a genuinely scary Ketch. Could've done with less misogyny, and it makes one question Mary's judge of character that it took her this long to notice this side of him (I mean, she was right there when Ketch said that Sam & Dean leaving the soldiers alive was "unprofessional," that was some of the first she ever saw of him?) But maybe with the BMOL finally 100% established as villains (like there was any doubt, still annoyed that the show tried to pretend otherwise), this arc can move on.

...and kill Garth, I'm positive. Sigh. My only hope now is that Eileen makes it out of next ep alive. (This last ep sacrificed three women, two of color, doesn't that sate your bloodlust for at least a little while, Show?)

[cadpadawan]

Day #2 in the Music Challenge

Music Challenge – Day #2: A Song With A Number in the Title

So, I'm a day late, but I think it shouldn't compromise the balance of the cosmic Space-Time Continuum. Not too drastically, anyway...

The challenge of day #2 was to pick a song with a number in the title. No brainer. As a typical 90's post-pubertant, who spent most of the dark 80's listening to heavy metal, I could instantly come up with two options, starting the count from the number 1: Metallica and U2.

Why didn't I start from zero?

A good question.

I did listen to Zero by the Smashing Pumpkins quite a lot in the summer of 1997, so it could be a rather good choice for a song that reminds me of summertime (challenge for day #3), and Absolute Zero by Stone Sour, in turn, could serve as a perfect candidate for a song that reminds me of someone I'd rather forget (challenge for day #4)...

Whatever.

Metallica released their war-themed song One as a single from their 4th studio album ...and Justice for All that came out in 1988. My schoolmate Jarno showed me the music video one day after school, maybe a year later, as the video debuted on MTV on January 1989. The grainy footage on a worn-out VHS-tape rather emphasized the feeling of experiencing some sort of freeze-frame-shot in the passage of time. I had no previous knowledge of the band at the time, and just like that, out of the blue, the WW1-themed thrash metal epic kicked me in the nuts. If I remember right, the music video had just premiered on Finnish national TV also, in some awkward boomer music program of the era. In the aftermath, in the course of the next couple of weeks, Metallica was the talk of the town at school. There was a handful of aspiring young guitar heroes in my class, and in no time at all, the guitar tabs for this Metallica classic were doing the rounds, from hand to hand, photocopied with a second-grade resolution at the work office of some guitar geek's mom. Everybody just had to learn the song, or, as in the case of some lazy fuckers, learn at least the iconic, arpeggiated chord sequence in the song's intro. I was one of those more determined sad individuals, who spent night after night repeating the riffs and licks of the song. Excluding Kirk Hammett's guitar solo, which I honestly didn't think very highly of, in terms of musical taste, anyway, I finally learned to play through the song! Of course, it sounded a bit awkward, played through my cheap 15W amplifier, that had an integrated distortion circuit, which sounded like crushing dry bread, to be honest. The matters of sound quality nicely provide me with an awkward transition to the continued issue regarding the nothing short of legendary lack of low end on this classic Metallica studio album. Some internet scholars assume, that the band deliberately turned down the bass tracks, played by the freshly recruited Jason Newsted, as if to suggest that the band had not entirely resolved the psychological trauma caused by the tragic death of their original bass player, Cliff Burton. A theory like that sounds a bit far-fetched. I have played in a ridiculous number of bands, during the past 25 years. I haven't yet met anyone, who would choose to make the collaborative effort of the band sound bad, for whatever reasons. So, I can fully accept James Hetfield's later account of the situation: the band was totally burned-out. Nevertheless, the herds of teenage metalheads, such as me and most of my friends, didn't really mind. When the album came out, it was the best-fucking-shit-ever for some time. One was Metallica's first top-40 hit on the Billboard charts, and in Finland it reached #1 spot in the charts. Yeah, I'm lucky to live in the land of 1000 lakes, and 1.000.000 tr00 metalheads: we eat cast iron I-beams for breakfast, and shit barbed wire after...

One was also the title of the third single from the brilliant U2 album Achtung Baby, that was released in 1991. The album was recorded at the legendary Hansa studios in Berlin, under the supervision of two producer legends: Daniel Lanois and Brian Eno. Whatever we may think of Bono's later trademark way of playing Jesus to the lepers in his head, there is no denying that this particular U2 album is a fucking rock classic. On this album the band kinda re-invented itself.

When I got my driving-licence, on the brink of the summer 1992, Achtung Baby was one of those killer albums I had copied from vinyl to C-cassette, in order to expose my blissfully unaware passengers to some quality music, during those restless weekend odysseys, when I was the appointed driver. With the price of gasoline being as it is now, I'm not sure if the youth today follows this fine tradition of driving around, aimlessly, at the heart of every Saturday night anymore. Probably not. Maybe they're too busy exchanging make-up tips and eating tidepods in YouTube. Times, they are a-changing... However, there probably is no feeling that can come even close to that special feeling, when you're driving home at 6 AM, after a hot long summer night of driving around, watching your dearest friends being entangled in the grandiose act of mental butterfly strokes, in the whirlpool of alcohol and bad decisions, and U2's cordial 90's hit One comes on in the car stereos.

So, I could settle with either one...

Metallica: One

U2: One

Or, I could keep the streak going, and see how far I can get...

For a song with the number two in the title, I could also come up with two options, that both have some personal meaning to me: Iron Maiden and Jonny L. The latter released some quality drum & bass in the 90's, and everybody should be well-acquainted with the heavy metal classics this first-mentioned British outfit released throughout the 80's. After all, the band pioneered the New Wave of British Heavy Metal movement.

I musta been something like 10 years old, when Iron Maiden released one of their best albums, IMHO, titled Powerslave. Heavy metal was something that my mom strongly disapproved of, and at the time, my family did not yet have a record player. We did have a cheap ghettoblaster, that I frequently used to record contemporary rock songs on C-cassettes, especially after the brand new rock-oriented Finnish radio station, Radio City, started on the first of May, in 1985... So, I had a habit of going to the local library, that had pretty street-credible music department. My usual after-school activity was to pick a freshly released, kick-ass heavy metal album from the vinyl bins, and then hand it to the library clerks. Then, they would hand me the earphones and show me to the first vacant listening booth. That's how I discovered shitloads of contemporary metal albums, such as:

Van Halen: 1984

Iron Maiden: Powerslave

Kiss: Animalize

and:

Duran Duran: Seven and the Ragged Tiger

I guess, you're wondering now, what kind of contemporary metal did that last band perform, or did I, by any chance, refer to the 80's new wave synth-pop band? Oh, yes! I'm talking about that notorious pop band, that was part of the new romantics movement, or something. It was my guilty pleasure, at the delicate age of 10. Maybe it was also one of the subconscious reasons, why I switched my main instrument from electric guitar to synths and keyboards a decade later. At some subliminal level, I was magically drawn to the textures of analog synth sounds...

Or whatever...

Quite appropriately, 2 Minutes to Midnight was the second track on the vinyl A side of Iron Maiden's gigantic classic album Powerslave. It's a kind of protest song about nuclear war, with the title referring to the Doomsday clock used by the Bulletin of the Atomic Scientists. That symbolic clock represents the countdown to potential man-made global catastrophe. When the clock hands align at midnight, quite frankly, we all will be fucked. The clock was originally set to seven minutes to midnight in 1947. The current reading is 100 seconds to midnight. So, in a way, it's pretty evident, that the world is progressing forward – because it's going downhill in every fucking way possible. I've been listening to this timeless Maiden classic since the time of its' release, on a fairly regular basis, for the past 36 years...and I still can't get tired of it.

British jungle producer Jonny L released an EP in 1996, titled 2 of Us, on a prominent electronic music label XL Recordings. A few years later, I was practicing the haute couture art of flaneuring at the music department of the now-defunct Finnish chain retail Anttila, right next to the Helsinki main railway station. I chanced to lay my eyes on this drum & bass gem among all the one-hit wonders at the discount section. The sight was so disheartening, that I simply had to rescue this poor and misplaced music artefact to a good home. At the time, I was fooling around in the role of some kind of an art director of a project band, that sought to mix acid jazz, organic drum & bass grooves, and various electronica elements into a unique and coherent whole. I had written shitloads of original material for the project, that initially started as an instrumentals-only outfit. However, the band lacked a prominent lead instrument, like saxophone, for example. So, when we met a promising vocalist, we thought it might be a good idea to adjust the concept a little. The title track on this 2 of Us-Ep by Jonny L was one of the songs we auditioned the singer with. Alas, the project turned out to be short-lived, due to numerous non-music-related reasons. We never even coined a name for the band. At some point, though, some of those original song ideas were brought to a fruition, with a temporary line-up, that was pieced together for a special occassion. We warmed up for an underground funk outfit D-Note Unity in a private funk-themed party in Helsinki, in the late 90's. I can't remember the year. The headliner act of the party later evolved into Kemopetrol, so I think it must've happened before 1998? The funk party was a night to remember, to borrow the title of an old 1958 British drama movie recounting the final night of RMS titanic, as the night culminated in an impromptu freeform jam session, that lasted for hours...that is, until the members of both bands were too damn shitfaced to play anymore...

So, to cut to the chase, the nominees for a song with the number two in the title are:

Jonny L: 2 of Us

Iron Maiden: 2 Minutes to Midnight

Next up: the number 3.

Again, it's almost impossible to make the choice between two options: Jane's Addiction and Between the Buried and Me.

I guess, it was a pure accident that I found out about Jane's Addiction's alt.rock in the early 90's. I cannot remember hearing the band's songs on radio, until much later in the 2000's. I have to thank the Finnish grunge band Slumgudgeon for that. I never actually listened to this band, but I remember reading an interview in the Finnish music press, in which one of the band members praised Tom Waits. Or, if I recall right, the band actually deemed Rod Stewart to be downright gay for deflowering the beauty of the Tom Waits original Downtown Train. The interview was so clever and funny, I just had to check out, who the hell was this Tom Waits, anyway. On a side note, the musical primus motors of Slumgudgeon later ended up as the founding fathers of the Finnish metal juggernaut Mokoma. So, one day I went to the local library to check out whether they had any of those mythical Tom Waits albums...and voilà! I actually spotted the magnificent Heartattack and Vine album! But I spotted something else, too. My eyes were exposed briefly to the exquisite cover art of the Ritual de lo Habitual album by Jane's Addiction, while I was looking for something else completely. I thought: if a band has balls to put something like that on the cover, the music simply cannot be that bad! I borrowed both of these albums. I just had to check them out! And I think I must've been happy like a dog with two tails, for hitting such a bull's eye – twice in a row! I guess, that by now, most people of my age are familiar with the more radio-friendly tracks on that Jane's Addiction album, such as Been Caught Stealing and Stop! In my honest and humble opinion, though, the absolute pinnacle track on that album is the 3-part meditation on death and rebirth titled Three Days. It would make a perfect choice for a song with a number in the title...on the other hand, though...

Fairly recently, some two years ago, or something, Devin Townsend was performing in Helsinki, with the warm-up acts being none other than the Norwegian prog-metal mindfuck Leprous, and the band that I wasn't really that familiar with, Between the Buried and Me. To be honest, BTBAM did not exactly win me over with their performance. Such AD/HD metal sure had its' moments of high entertainment, but an hourful of circus music was a bit too much to chew in one take. In a way, the band's music was like a perfect auditive match for a bad crystal meth experience. However, my wife later spotted the band's magnificent cover of the King Crimson original Three of A Perfect Pair. After hearing this, I simply had to re-adjust my view of the band. Actually, this BTBAM interpretation of the song is much better than the original. I guess, Robert Fripp is going to sue my ass for saying this in public, but that's the undisputed, motherfucking truth. It's not a matter of taste, nor is it an opinion. It's a fucking fact. With all due respect. The song lyrics resonate in me with a particular clang of irony, now that I've got my midlife issues sorted out.

So, the most touchy-feely songs with the number three in the title would be:

Jane's Addiction: Three Days

Between the Buried and Me: Three of A Perfect Pair

Then...the number four.

Well, whadda'ya know...the number four proved to be the easiest so far: I could only come up with one option: Four Chords that Made a Million by Porcupine Tree. I refrained from resorting to any progressive rock suites with multiple parts. This particular Porcupine Tree song is from the album Lightbulb Sun. I think I was introduced to the band by my dear bandmates in Souldump, with whom I played for a couple of years cirka 2005. I kinda passed the torch, by introducing the magnificence of Porcupine Tree to my wife later, in 2009. I've got my beloved wife to thank for quite a lot of new artists, that I mighta never discovered, if it wasn't for her tireless hunt for new music via Spotify and such. So, just before this magnificent British post-prog band, fronted by Steven Wilson, went on to an indefinite hiatus, it performed in Helsinki in 2009. I bought the tickets, and took my wife to see the show. After the gig, she was a full-blown fangirl. This particular track here might not be the exact Porcupine Tree song that I love the most, but it's good stuff nevertheless.

Porcupine Tree: Four Chords that Made a Million

I guess, I could go on forever...

Maybe I'll just list the rest of the songs, and see what number I can reach up to:

The Dave Brubeck Quartet: Take Five (one of the first jazz tracks that I fell in love with)

Sneaker Pimps: 6 Underground (everybody had that triphop phase in the mid-90's, right?)

Sting: Seven Days (Ten Summoner's Tales is a kick-ass album!)

The Beatles: Eight Days A Week (who's to NOT like the Beatles?!?)

Jimi Hendrix: If 6 was 9 (the best guitarist of all time, no questions!)

Juan Atkins: Track Ten (Techno is intriguing stuff)

Sigue Sigue Sputnik: Love Missile F1-11 (this was in the Levyraati TV-show, back in the day...)

Creamstar: The 12th of Never (A random finding from some discount bin, Anttila, probably...)

Pantera: 13 Steps to Nowhere (It's a shame I didn't find Pantera any earlier, like when I was 20...)

Swallow The Sun: April 14th (from a killer album!)

Radiohead: 15 Step (In Rainbows is probably their second best effort, after OK Computer!)

Billy Idol: Sweet Sixteen (Nice song, despite the dubious connotations, considering the artist...)

Stevie Nicks: Edge of Seventeen (yet another song about death...)

Skid Row: 18 and Life (Nostalgia...eww...)

Paul Hardcaste: 19 (the chorus was a reason for much laughter as a kid...)

Isis: 20 Minutes/40 Years (went to see their last ever gig in Finland, with a fever of 38 degrees...)

Green Day: 21 Guns (who didn't like skate punk in the 90's?)

Iron Maiden: 22 Acacia Avenue (and who did NOT listen to Iron Maiden in the 80's?!?)

The Brother Johnson: Strawberry Letter 23 (via Jackie Brown, obviously...)

Stevie Vai: Ballerina 12/24 (One of the few guitar wankers that I like, in moderation...)

Chicago: 25 or 6 to 4 (that particular track that converted me to like this band in the early 90's!)

Tuomo: 26 (one of the best Finnish nujazz-or-whatever-jazz artists!)

Walking Across Jupiter: -27 (a recent finding, interesting stuff indeed!)

John Murphy: 28 Theme (one of my favorite film composers, check out Adagio in D minor, too!)

Robert Plant: 29 Palms (This too, was in the Levyraati TV show, back in the day...)

August Burns Red: Thirty and Seven (I guess, djenty emocore is my guilty pleasure nowadays...)

Aimee Mann: Thirty One Today (she has a way with words, been a fan since mid-90's...)

Carpark North & Sandra Nasic: 32 (there's something rotten in Denmark, their indie/alt.rock scene rocks! Awesome bands, like Mew, Carpark North, Veto, and I think Vola is Danish, too...)

Protoculture: Thirty Three South (of course, everybody needs a bit of trance music now & then)

Cult of Luna: Thirtyfour (awesome sludge!)

Egotrippi: Asunto 35 (Class A Suomi-rock)

System Of A Down: 36 (is AD/HD metal an official genre now? It should be.)

Drowning Pool: 37 Stitches (everybody went thru a nu-metal phase in the late 90's, didn't we?)

Eclipse: 38 or 44 (a random finding via Spotify, decent enough to include here)

Tenacious D: 39 (you simply cannot dislike this band!)

Static-X: Forty Ways (I guess, you could write this band off as a Korn rip-off, but they DO have a few decent tracks...)

Azam Ali: Forty One Ways (Enigma-esque etno artist, with nice ambient soundscapes)

Coldplay: 42 (not entirely crap band, though this is not their best track)

Karma to Burn: Fourty-three (Some stonershit is called for here...)

Megadeth: 44 Minutes (I'll hafta admit, that I'm more of a Greatest Hits-type of a fan, when it comes to Dave Mustaine's endeavours...)

Shinedown: 45 (this band: pure fucking awesomeness!)

Tool: Forty Six & 2 (Ruisrock in 2006, a gig to forever remember...)

Boards of Canada: Seven Forty Seven (these electonica bastards are onto something...)

Bones: 48843 (A fresh finding...not sure yet, if this is pure genius or not...)

Röyksopp: 49 Percent (from the kick-ass album The Understanding)

Paul Simon: 50 Ways to Leave Your Lover (killer drum groove by Steve Gadd!)

Van Halen: 5150 (The soundtrack of my childhood)

That's how far I managed to go...I counted that I've got 37 of these in cd format, in my personal collection, and the rest of the songs are ”just” in my Spotify playlist, or as a mp3 on my laptop. Tomorrow I shall challenge myself again to dig into the dark depths of my conventional wisdom, in terms of music.

Stay tuned! Cheers!

[esonetwork]

Movie review: Star Wars Episode IX brings an epic, emotional end to the Skywalker saga

New Post has been published on https://esonetwork.com/movie-review-star-wars-episode-ix-brings-an-epic-emotional-end-to-the-skywalker-saga/

Movie review: Star Wars Episode IX brings an epic, emotional end to the Skywalker saga

I love “The Last Jedi.” In fact, it’s my favorite Star Wars film. Even two years later, I still enjoy talking about it, although I do have to admit, the Star Wars fandom has made me feel a little…well…weary.

Due to the realities of online fandom culture, it’s tough to tell just how divisive “The Last Jedi” was, whether it was actually a 50/50 split of like/dislike or what more casual fans like the general public really thought of it.

Needless to say, it generated a lot of debates within the fandom, and those fans were not always nice about it. It has always seemed weird to me how other fans have gone out of their way to be mean, rude, and/or condescending to people just for liking a Star Wars movie. Like Luke Skywalker in “The Last Jedi,” sometimes I just want to run away to an island populated solely by Porgs and hide from the fandom.

I had hopes that maybe “The Rise of Skywalker” would be a break for the Star Wars fan community, giving us something new to talk about and maybe quieting some of the debates. But alas, I should have heeded Luke’s warning from “The Last Jedi”: “This is not going to go the way you think.”

Log onto Facebook, Twitter, Reddit, or any other social media platform, and you’ll see an ongoing debate about this film. Even Rotten Tomatoes is divided amongst fans and critics:

It’s really tough to review this film without spoilers, especially since the controversial stuff is very spoiler-heavy. So before I dive into my VERY spoiler-filled thoughts, here’s my one sentence review:

Go see this movie.

There’s a lot of chatter online — some positive, some negative. My advice is to just go see it, and form your own opinion. Any time you have a movie in a franchise with a fanbase that is this passionate, it is really tough to produce a movie that pleases everyone.

“The Rise of Skywalker” definitely needs to be seen on a big screen, and it will no doubt be inspiring lots of conversations for many years to come.

Warning: MAJOR SPOILERS ahead

So yes, “The Rise of Skywalker” has some flaws. Yes, there is some stuff I would have changed. But darn it, I just love this movie so much. It felt like a great ending to the saga to me — bittersweet but full of hope for the future. I loved it even more the second time I saw it, and I’ve already got plans to see it again!

The movie starts off rather abruptly; instead of easing us into the narrative, they drop us right into the story. Kylo Ren is off to confront the undead Emperor Palpatine, as the Resistance scrambles to face this new threat.

I kinda wished they’d saved the Palpatine reveal till later in the film, because it makes the first few minutes of TROS a little jarring. However, I will say that some of the early pacing issues, which bothered me on first viewing, did not bother me as much the second time. It was nice knowing what to expect, so I could just relax and enjoy what was happening on screen.

“The Last Jedi” was a more introspective, character-focused film that dived pretty deep into larger issues about the Jedi and the Force, while “The Rise of Skywalker” is more of a fast-paced adventure about chasing an artifact across the galaxy (it actually reminded me of Indiana Jones in some ways).

Now, I happen to enjoy both these styles of movies, but based on your own personal tastes, you might like TROS more or less than TLJ.

I really loved seeing Rey, Finn, Poe, Chewie, and the droids go on an adventure together. Daisy Ridley, John Boyega, and Oscar Isaac have such great chemistry, and it was really fun to see their dynamic.

Rey is one of my favorite Star Wars characters, and I have way too many cosplays for this character (I finished my Dark Rey costume in time to wear it to the theater for Ep. IX). I was really curious and nervous to see where this film would take her character.

Initially, I wasn’t a fan of the revelation that Rey was a “Palpatine.” I liked the idea of her being a nobody, to really drive home the idea that you don’t have to come from a powerful Force lineage in order to be great.

But, that being said, I think they handled the reveal well in the film, and the twist landed more smoothly for me the second time I watched it.

It’s interesting because Rey was so desperate for belonging and to find her family, only to discover that her only surviving family is literally THE WORST person in the galaxy: Emperor Palpatine.

TROS does a really great job showing Rey grappling with her anger (Force lighting!). She isolates herself because she feels no one understands her, and the one person who potentially does — Kylo Ren — is still trying to convince her to turn to the dark side.

The complicated relationship between Kylo and Rey is, to me, the best thing about the Star Wars sequel trilogy. Their fight in the ocean on the ruins of the Death Star ranks among my favorite Star Wars scenes now, and it’s made even more powerful as Kylo finally makes peace with his family and rejects the darkness.

I was nervous how this film would handle the character of General Leia after Carrie Fisher’s death, but I believe TROS gives the character a fitting and respectful end. She willingly sacrifices her life and becomes one with the Force in order to reach her son one last time. And Kylo’s vision of Han Solo made me more than a little misty-eyed; I hadn’t heard that Harrison Ford was returning, and it was a lovely surprise.

Speaking of Kylo Ren, Adam Driver is great, once again, as the tortured final Skywalker. I didn’t even realize that Kylo had such minimal dialogue after his turn back to the light on the Death Star ruins, because Driver is that powerful of an actor and does so much with his expressions and body language. I loved watching him transform back into Ben Solo as he fights the Knights of Ren and Rey passes the lightsaber to him through the Force.

There’s been a lot of debate surrounding the character of Kylo Ren, whether he should or shouldn’t be redeemed, and whether he should or shouldn’t make it out of TROS alive. Personally, Kylo Ren’s redemption arc was my one “must” for this film, and I’m really thrilled that I got it.

I am a little sad he didn’t live, because it would have been super interesting to see a dark sider coping with their mistakes from the past and searching for atonement. However, if I only got to pick two of the three things I wanted for Kylo — Bendemption, Reylo, and Ben surviving — I’d have chosen the two we got, because I do adore an angsty, tragic romance. I love the fact he crawls out of the pit, despite his pain, and then uses the last of his life force to heal her. (Yes, I’m still swooning over that!)

And, as we’ve heard before, no one is ever really gone. Ben is now at peace within the Force, and who knows? With places like the World Between Worlds introduced elsewhere in Star Wars canon, he may show up again in some way.

This film has a good balance of the new and the nostalgic. Lando Calrissian was used well; it’s always a pleasure to see Billy Dee Williams again. “Fan service” is sometimes used as a negative term, but it can be really powerful when done correctly (such as Cap catching Thor’s hammer in “Endgame”). I was initially hoping to see more Force ghosts, including Anakin’s, but I think the way the movie handled it was actually better (Rey hears the voices of past Jedi, inspiring her to get up and keep fighting).

I appreciated how the ending was bittersweet, like the endings of the other two Star Wars trilogies, blending love, loss, and, above all, hope. That’s why I’m a fan of Rey’s ending; even though all the Skywalkers are technically gone, their legacy isn’t, because Rey chooses to take on the name. She is reclaiming the Skywalker legacy and leading the Jedi down a new path.

As you probably gathered, I could talk about this movie forever, but this is turning into a really long review (if you’re still reading, bless you!). Since Star Wars is my favorite franchise, it’s really hard to look at these movies objectively/critically, and I find myself wanting to gloss over the little parts I didn’t like and just focus on what I loved.

So, to close this out, here are some of the random little things from this movie that made me smile:

I’m pretty sure what Finn was trying to tell Rey and keeping a secret is that he can feel the Force. Does this mean he can become a Jedi, or is he more like Chirrut Îmwe from “Rogue One”? I hope future books/comics in the expanded universe will explore this!

Seriously, Oscar Isaac is so good as Poe in this movie; he’s really funny and charming, and it was cool to see him grow into a leader after learning from his mutiny in “The Last Jedi.”

I still don’t really know who the Knights of Ren are but they sure look cool. My favorite shot of them is when the camera pans around them on the desert planet of Pasaana. They look like they’re about to drop this awesome rock music video, like one of them will reach out his hand through the Force and a guitar will snap into it. I need a Knight of Ren cosplay for a future con.

Loved Kylo and Rey’s Force fight where they jumped between locations.

General Hux is the spy! I just adore General Hux as a character, and while I wish we’d gotten more of him, I love that he is so petty that he will help the Resistance just to spite Kylo.

Porgs! I was hoping we’d catch a glimpse of one of the Porgs from “The Last Jedi,” and I wasn’t disappointed. I won’t confess how much Porg merch I own, but just know that I’m obsessed.

The Sith planet Exegol was so creepy and cool. The flashing lights were definitely unnerving and added to the otherworldly aura of the place. I wasn’t originally a fan of Palpatine returning in this story, but it was done really well, and his final showdown with Rey is awesome. I think the fact that he created Snoke is a cool detail, and I’m glad they showed it.

I loved seeing Rose again, but I also have to share that I was disappointed she was not given more screen-time. She should have had a much larger role in the plot.

The festival at Pasaana looks so fun and I really want to go.

Ex-Stormtrooper Jannah is a cool character, and I hope to see more of her. Plus, seeing those “space horses” charging across the surface of a ship just made me so ridiculously happy.