Good morning I saw this post and it rotted all three of my remaining brain cells because
Word gets around to you that sweet Matty is a virgin, and by no means are you one to take that lightly! But :-/ you know as well as I do about his MCE, and you just wanna take the horse for a ride 😔🫶 and he’s been flirting with you for months now in his own weird passive-aggressive mean way! So it’s not like your feelings aren’t reciprocated! It’s fine! You’re fine! Nothing morally corrupt to see here! So yeah just imagine your shorts get shorter as the months get warmer :-/ you ditch the hoodies for crop tops, then you ditch those for bralettes because “it’s sooooo hot Matty what the hell is up with this weather??” And you know you’re getting under his skin with the way his hands linger on you, at the small of your back, direct skin to skin, as he guides you in front of him somewhere busy; the way his eyes are absolutely lingering on your legs in your tiny little shorts :-/ you laugh at his jokes with your chest because you know it makes your tits bounce :-/ you press your whole body against him in a way that never mattered when you wore hoodies and sweatpants, but makes him shove you off now with pink cheeks. It all comes to a head when you’re getting ready to go out with some gal pals. He’s hanging out at your place while you get ready; once you’re done with your makeup and changed into your clothes, you do a little twirl to show him your outfit- which is absolutely lingerie and a mini skirt :-/ your fishnets have a few suggestive holes ripped in them, the boots you wear elongate your legs without having you teetering on a heel precariously :-/ Matt sighs, which makes you genuinely frown. You ask “What is it, Matty?” To which he responds “I dunno, it seems like you’re dressing really… provocative lately.” And you try not to focus on how that hurts because he is right after all!!! And you’re gonna respond when he mumbles “it’s distracting.” And oop! Wrong thing to say Matty! Because you drop your eyelashes and walk over to him slowly, sitting so close to him you’re practically on his lap. “Distracting? How?” It sounds innocent enough, right? No ulterior motives here! And his cheeks are sooooo pink omg baby is soooo flustered by your proximity and your question and your everything. But he’s nothing if not honest! So he says “it’s just, like, I’m straight edge, right? So the idea is that you avoid…. Promiscuous sex. But like-“ he pauses and you nod to encourage him, sensing something big is coming, “I’m just not sure what constitutes as ‘promiscuous’ if that makes sense? Like do you have to be married? Do you just have to really care about the other person? What are the parameters?” And you can’t help but tuck a little piece of hair behind his ear, thinking before you respond. “I think,” you begin slowly, “that sex is a natural part of being alive. It’s fine if you don’t want to have it, it’s fine if you do what to have it. But it seems unfair for some straight-edge higher being to decide what the ‘healthy’ limit looks like, because that limit will be different for everyone.” And his wee shoulders relax a bit which makes you fight back the urge to beam with pride but then he says “I’ve never- I haven’t like, done it before. What if I’m not good? What if no one wants to stick around because I suck at it?” And your little heart just breaks because :-( Matty :-( so you tell him that anyone who only cares about sex obviously has different priorities and isn’t worth keeping around! And then you can’t fight the urge to say “but. If you want to practice. I’m always here for you < 3” hehehehehehe and his eyes get all wide bc?? You’re so hot?? And he just admitted he’s a virgin?? And you offered to fuck him??? And maybe :-/ maybe you offer to take some of the edge off for him :-// maybe he just needs to relax :-/// and he seems perfectly willing to hear you out so you slide onto to floor between his knees and his breath hitches as you start to palm at him where he’s absolutely chubbed up and you were right- Monster Cock Energy! Yippee!
Anyways! You pull his cock out and it’s so pretty and pink and you want it in your mouth so you flutter your eyelashes and ask if you can suck on it and he stares at you open-mouthed for a minute before saying “it doesn’t. It doesn’t count, right? Because I’m not fucking you. So it doesn’t count.” And you nod because that’s what he needs right now and reassure him that no, it doesn’t count, Matty :-) what you don’t say virginity is a social construct that you can hit reset on whenever you want bc it’s not real but that’s a conversation for another time bc right now Matt’s cock is in your mouth and it’s hot and heavy on your tongue and you think he might actually pull a muscle with how hard he tenses up :-/ he’s soooo vocal ugh never learned that men are supposed to be stoic and silent so he’s moaning so so so prettily and clawing at the cushion underneath him as you take him deeper and deeper and when he hits the back of your throat he’s gargling out shit like “holy fuck, oh my god, you’re perfect, you’re so hot and perfect and I’ve thought about this for weeks now-“ and you’d be bashful if you hadn’t been so intentional in your seduction! Oops! He’d manage to get a hand into your hair and it’s over from there, once he gets a taste of fucking your mouth he’ll never recover I fear! It’s wet and messy and there’s lipstick all over your face and mascara running down your cheeks and his thrusts are erratic and fast until he finally cums with a loud, breathy moan, pulling you down to the base and keeping you there for a solid 10 seconds as he shakes through his orgasm :-/ doesn’t hesitate to pull you right into his lap to kiss you deeply, smearing cum and lipstick all over himself now too :-/ anyways that’s all I just wanted to share thanks for letting me have the conch bye!
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Wait okay omg I would love to hear your thoughts about the Broadway Mulan Rouge because I also have many feelings about it, most of them disappointment unfortunately lol. It could've been amazing!! But I just!! I don't feel it like I felt it in the movie idk man
Yeah, I am the same... I was SO hyped when I heard that they were turning it into a musical, but in retrospect it is pretty clear it was never gonna be what I wanted it to be :(
THE MUSIC. To me, MR! has this very recognizable music style where it is a jukebox musical, but every song is rewritten and its accompaniment changed so that they all fit together with the soundtrack of the film. It's percussion heavy, it's piano heavy, very jazzy/mid century film music? If you know the songs and try to sing along, you will fail, because they're just that different. That's why it doesn't suffer from the jukebox musical curse, in my opinion. However, BMR! totally removed those stylistic changes and turned them all into pretty standard musical theater arrangements of pop songs, and they all overstay their welcome because they aren't even shortened. NOW it suffers from the jukebox musical curse, bc how am I supposed to take's Christine's "I want" song seriously if it's FIREWORK by KATY PERRY. The worst example of this is what they did to El Tango de Roxanne, the most iconic part of the movie. In MR!, it's a mashup of Roxanne by The Police (representing the Argentinian's tale) and Tanguera by Mariano Mores with original lyrics (representing Christian's angst over Satine). Both songs take turns and overlap, pointing out the parallels, rising in intensity until everyone starts screaming and crying. Absolute insanity. I don't know a single person who wasn't floored by this song when they first saw the scene. In BMR!, it's Christian's solo, which means no parallels, most of the song is Roxanne and the iconic Tanguera melody shows up for like 40 seconds in the beginning and in the end just so they can say they put it into the show. There is no rising tension, there is no overlaps, no development, it's just. There. Like yes you put it into the show, but pretty much all of its symbolism and memorable aspects are gone. And the jukebox issues are stabbing you in the eyes. WHY IS CHRISTIAN SINGING ABOUT A WOMAN NAMED ROXANNE. WHO IS ROXANNE. IT MAKES SENSE IF ROXANNE IS THE NAME OF THE WOMAN FROM THE ARGENTINIAN'S STORY, BUT IT MAKES NO SENSE THAT CHRISTIAN IS THE ONE SINGING ABOUT HER. God.
THE WEIRDNESS. MR!'s aesthetic is super interesting to me because it represents its aura of sex appeal and hedonism through the lenses of grotesque. It would have been super easy to put the sex workers into sexy outfits and glam up their faces and make them sing seductive songs on beautiful stages, but no. Their outfits are eye stabbing, their makeup is garish, and they're screeching and throwing themselves around violently on stages that are dark, kitchy, claustrophobic, and loud, while the camera switches every 2 seconds and your brain feels like it's running on fumes. AND IT IS SO FUN. The club looks SO nasty and SO fun and I wanna go there. However, BMR! doesn't want to alienate anyone, so they did... Exactly what I said. Everyone is universally attractive, the stage is very clean-cut and open, the appeal of the club is played completely straight. This is best shown in the production Christian writes for the club. I know that the play from the movie is not very PC so I totally get why they would change some of it, but... They turned it from a vibrant, oversaturated opera with enormous musical numbers that lends itself perfectly to the big dramatic finale taking place during its premiere into a THREE CHARACTER CHAMBER DRAMA. Like who tf signed off on this change. WHO. LET ME SEE. WHO SAID THAT THE FINALE OF THE ENTIRE STORY WILL BE SET IN A STAGE IMITATION OF A LIVING ROOM. GOD I AM SO UPSET.
THE ROMANCE. MR! works because Christian is a naiive, innocent, idealistic poet with grand ideas of love. THAT'S why Satine falls for him - he is completely different from other men, and he makes her believe love can be more than what she'd been given throughout her life. Also, he's never been in love, so everything feels much more real and intense for him. In BMR! he is a completely different character, an overconfident seductive sexyman. Why would he be any different than all the other men in Satine's life??? Because he can write good??????? She has met many writers before, as we know, so what makes this guy different????? And not only are we less forgiving of his bad actions because he is older and experienced, HE IS SO MUCH WORSE IN THE SHOW. In MR! he sells his typerwriter to buy a ticket for Satine's premiere to go see her one last time and scream at how horrible she is - bad, and horrible to watch. In BMR!, he sells his typewriter to BUY A GUN and goes to Satine's premiere SO HE CAN KILL HER OR HIMSELF ONSTAGE - absolutely insane and horrible and how tf did we get here. AND LET ME REMIND YOU that this version of the story DOESN'T EVEN HAVE THE STORY CONTEXT OF EL TANGO DE ROXANNE, in which Roxanne's lover kills her, SO THEY REMOVED THE ONE BIT OF FORESHADOWING THAT COULD HAVE MADE IT MAKE SENSE.
THE REST OF THE WRITING. BMR! tried to give depth to side characters and their relationship with Satine, but that means they totally sidelined that Satine is a deeply unhappy person in a very unhealthy situation. They tried to make it look like she is choosing to marry the Duke (YEAH I FORGOT TO MENTION, THE DUKE IS A SEXY SEXY GUY WHO WANTS TO MARRY HER IN THIS VERSION) without any pressure put onto her by the club, but that makes it all so much more boring. MR! is far from a deep analysis of Satine's friendships, but I thought that the little bits and pieces we saw were delightfully complex. Satine is going to become the Duke's mistress because he will sponsor the club, and everyone employed there will live a better life. Ziegler is her father figure, but he is also her pimp who is pushing her into the relationship. He feels sorry for her and obviously cares for her outside of their business relationship, but he is so deep in the "underworld life" that he no longer sees a way out for anyone. But when it becomes apparent that Satine can no longer withstand the pressure, that the life they are all living is something she can't deal with, everyone just. Helps her out. They bail her out of the tower, they threaten the Duke, they stand with her, it's not verbal, it's all in the actions. It's why we can have a grand finale where everyone sings and dances while the Duke is crying in the background. BMR! has the girls telling Satine they care about her and her telling them she will protect them, but they are completely useless in the plot. No one comes for her in the tower, and the play is a THREE PERSON DRAMA so Christian is the only one there to stand with her in the end.
THE PLAY. I already said most of my issues with it but just to point it out once more. There is nothing more annoying to me than a piece of media that's about a piece of media being written, and then that piece of media ends up unseen. Throughout MR! we see the play being written, we see many scenes being added, hear a ton of songs from it, the issue of the plot resolution is a big dramatic point, and the finale of the movie is also the final scene from the play. In BMR! we see one scene, the show's end, that keeps being repeated over and over again.
SATINE'S WHITE DRESS. It deserved its own point bc what the hell is this.
This is already super long, but this show annoys me so much I could legit keep going lol. Everything is worse. Everything is toothless and clawless. It's such wasted potential.
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HELLOOO FINALLY GOT TO SEND AN ASK!!!
first of allllll…. i think the time momjo sending the child guardian paper (?) that satoru typed out of anger is a hint…. and then satoru telling yn that sachiro called akemi mama… this honestly hurts alot more, imahine carrying your baby for 9 months, taking care of baby sachiro for 3 years alone, all the sleepless nights… and sachiro just ugh u dumbass small brain toddler (literally). anyways, satoru looking at akemi during suguru and shoko’s wedding, his hand rubbing akemi’s stomach at the cabin when she was in pain. honestly this part was akemi faking her pain or…? cuz there was a line that said after satoru asked if she wanted to go home her face didnt show anymore pain ? lololll idk. i dislike (hate) gojokemi but i think theyre gonna be endgame with all these theories coming up oh godddd. and the way yn threw the necklace into the lake, satoru went to search for it but did he manage to find it ? no. but during sn yn (well, suguru) found gojos wedding band. so in sy, yn threw away satoru’s “heart”, and it was never found again, thats a hint (?) bruhhh i hate thissss (i love this so much actually it made me feel so much i love u saint) i also recall the first time satoru and akemi first did it together he said smthg like i could learn to love u ? if i remember correctly. and the morning at the cabin after yn and gojo did it, yn was crying bcs they had a heartfelt talk ? and u mentioned they both felt guilty. the guilt is…. yeah.
BUT ALSO, satoru once said that yn has always been the one, sera when she saw gojo after forever told sukuna that he looks different when hes being with akemi, like hes not being himself? but that was when they first got together so idk about now. him not calling gojokemi exclusive. oh how they were happy and loving when yn got pregnant 🥹 but well it lasted until… yeah. also u said something about gojo gonna be on his knees again, since yn is now depressed and suicidal, i think for her heart disease shes gonna sign a DNR, then satoru on his knees maybe begging the doctors idk gawd idk someone mentioned dnr and i just… 🙂 its not that she wanna leave sachiro either, but i think shes telling herself everything will be better if she dies since sachiro, still very young, doesnt even really remember yn (just why sachiro) and called akemi mama… also why the hell didnt gojo use protection when fucking akemi oh gawd pls hate u satoru if she gets preggo.
anyways, i cant wait for gen to be back. i love u gen and ian.
oooh i also remember that you said there was a scene that inspired the birth of sn/sy, was it in chapter 11 ? or we’re not there yet…
honestly why dont yn just join shoko and suguru and be in a happy poly relationship ever looollll just kidding. my heart hurts, im still all in for gojoyn endgame but it doesnt seem realistic. ive been cursing gojo and akemi ever since the chapter came out loolll gotta give myself credit for being able to do my exams while still thinking bout this. 💀
omg there’s a lot to unfold here idk where to start 😭 but i just wanna say, it’s amazing how you’re so thorough in remembering those details in sn/sy bcos i honesty don’t have enough attention span to do that !!! sdjsj now while i can’t answer everything you mentioned, i can say a few things:
- akemi isn’t faking her pain, she’s truly struggling from it
- gojo doesn’t want kids outside of marriage (or should i say if not with yn), so he’s definitely careful with it.
- yes, it is indeed sy11 that birthed the sequel :’) i had that scene in mind before sn was even finished
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SOLA — Her Innocence, Sola— the anti-innocence— turns to face you. In the distance, you hear the tattoo of propellers, turning, sucking all the air. A strong wind whips her long, dark hair around her face. Her simple black gown billows behind her. The same gown she wore the day she resigned.
She has your eyes.
“Hi, Kim,” she says simply. “You don’t look well.”
PAIN THRESHOLD — Her voice is so familiar, and yet the moment she stops speaking, you cannot recall its sound, no matter how hard you try. And you have tried. Innumerable times.
AUTHORITY — What makes her think she would even *know* the difference between you looking well or unwell? She’s being presumptuous. She doesn’t even know you.
INLAND EMPIRE — She never will.
“I’m doing great, actually. Never been better.”
“Hey, I’m trying my best.”
“I’m *not* well. I’m so fucking unwell. I can’t take it anymore. Please, help me…”
“I’ll live.”
SOLA — “Hm…” She smiles apologetically. “Well, that’s all we can really ask for anymore, isn’t it?”
EMPATHY — She wishes more than anything that this was not the case. That you could ask for the world and have it.
RHETORIC — She tried to give it to you, and this is how you repay her? You’re gonna be in *deep* shit trying to explain that insignia you stitched onto her jacket.
“Um, about the jacket. It’s not what it… well, no, it *is* what it looks like. But I don’t— it’s— there’s nuance.”
“Is that really all you have to say to me?”
“I don’t know what to say to you.”
“Where are you going?”
SOLA — Her Innocence looks away from you, toward the wind. “Away,” she says, her voice distant and strange. “Yes… I’m stepping down, you see. The world doesn’t need me. It never needed me, really. It’s best for humanity to think for itself. No… it already *does* think for itself.”
She turns back to you with a small smile. The thought brings her peace.
PAIN THRESHOLD — But what does it bring *you?* She’s leaving you forever. Abandoning you for lofty ideals.
AUTHORITY — Let her go. Let her see how little you care. Don’t give her any satisfaction.
HALF LIGHT — Stop her. You won’t be able to live without her.
VOLITION — You have already lived almost all your life without her. You don’t need her. You have *never* needed her.
“What if the world *does* need you? Who are you to make that decision for the entire world?”
“Fine. Go. It’s none of my business.”
“So you’re just going to leave me behind again.”
“Please, don’t go. *I* need you.”
SOLA — “What else is an Innocence appointed to do?” Her smile turns wry. “You see? This is why I’m stepping down.”
Distant propellers turn and turn in endless circles. She glances toward them.
YOU — “Fine. Go. It’s none of my business.”
SOLA — “I suppose not.” Her voice and her face betray nothing. No sign of remorse.
YOU — “So you’re just going to leave me behind again.”
SOLA — “That was never my intention,” she says softly. “Surely you know that.”
INLAND EMPIRE — You will never truly know. No one will.
SOLA — She stares out at the horizon through the tendrils of hair that almost seem to threaten to swallow her. Her expression is strange and ambiguous, shifting every time you try and look directly at it.
YOU — “Please, don’t go. *I* need you.”
SOLA — She looks at you, and her eyes are full of what might be genuine sadness. But they could also be full of anything else.
“Oh, Kim… You must make do with what you have. I don’t know what else you want me to say…”
RHETORIC — What?! There are a million other things she could say! Forty-one years worth of possibilities! She could say *anything!* Anything at all… Even if she’d only left you a single word, it would be better than this…
VOLITION — It’s pointless to wish. Please, no more of this. It’s too sad.
“You could say that you’re sorry.”
“Say that I turned out all right.”
“Say that you’re proud of me. That you love me.”
SOLA — “Then I’m sorry.” She closes her eyes. “It was terrible of us to leave you alone.”
Her voice is utterly calm and emotionless.
PAIN THRESHOLD — No… Wrong, all wrong…
YOU — “Say that I turned out all right.”
SOLA — “You’re a good man despite it all. That is all I ever hoped for you.”
Again, there is no warmth to her words. No conviction.
VOLITION — Lieutenant… Please, don’t do this to yourself.
YOU — “Say that you’re proud of me. That you love me.”
SOLA — “I’m so proud of you and everything you’ve accomplished. You wear that jacket well.”
Her eyes have nothing behind them. A pair of two millimeter holes in the world.
“I love you.”
PAIN THRESHOLD — Your lungs seem to constrict at her words. Your chest hurts more than it’s ever hurt. This wind is hard to breathe in.
YOU — “No! Don’t you fucking get it?! You don’t love me!”
SOLA — “Then I don’t love you.”
YOU — “You should be *ashamed* of me!”
SOLA — “Then I am ashamed.”
YOU — “I betrayed you! I betrayed everything you stood for! I’m a fucking cop!”
SOLA — “Then I am betrayed.”
She proclaims it as dispassionately as she proclaimed her love.
YOU — “For god’s sake, *say something real!*”
SOLA — She just looks at you. The propellers keep on turning.
DRAMA — She can’t speak for herself, sire…
LOGIC — Of course she can’t. Of course…
PAIN THRESHOLD — Your lungs feel like they could collapse. Empty, crumpled, dark. Hot tears prick your eyes for the first time in what feels like a long time.
SOLA — “Do you understand now?” she asks gently.
LOGIC — She cannot speak for herself because you do not know what she would say.
There are many memories that you have been slowly recovering, little by little. Your mother will never be one of them. Her, the revolution, the aerostatic brigade— they all died before you could even comprehend loss.
AUTHORITY — You did not become a detective so that you could find your lost mother. You became a police officer because you did not want to end up like her.
VOLITION — She can neither forgive you, nor condemn you. She is dead, Lieutenant. She can only be what you make her.
RHETORIC — You’re asking your own echo for answers…
SOLA — “Humanity must think for itself,” she says again, turning again toward the wind. “What point is there in asking me where to go from here? I’m a failure. We all failed…”
RHETORIC — The revolutionaries failed their children, and the children are failing their parents, and all of them are dying, dying, dead… What’s the point in any of this anymore? I cannot argue in favor of any of it.
VOLITION — There is a point. There is a way forward. But you won’t find it here, Lieutenant.
“I hate you. You made me everything I am and then you just *left.*”
“I miss you… How is it even possible to miss someone you never met? It’s like someone ripped a part of me out and all I can do is bleed.”
“I don’t know what I am. I need you to tell me what I am.”
SOLA — One last time, she turns back to you. She slowly bridges the gap between you and reaches out a hand to cup your cheek. Her fingers feel like your own.
“You are whatever kind of animal you choose to be,” she says, so quietly that you don’t know how you can hear it over the distant roar of engines. “I cannot make that choice for you.”
EMPATHY — She died hoping that you would grow up with the freedom to choose to be whatever you wanted. Instead, the world that raised you hardly let you dare to want anything.
VOLITION — But you can still make a choice. Humanity can still think for itself.
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