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melbatron5000 · 2 months

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It's a 2-man Con

Listen, I think I know a thing.

When Aziraphale comes back from talking to the Metatron and is telling Crowley about being an angel, we've all heard the theory that he's speaking code, trying to ask for help. The more I look at that scene, the more that theory tracks.

Maybe less well-known is the theory that Crowley didn't miss a damn thing, he's answering in his own code. And again, the more I look at that scene, the more this also tracks.

(When my husband, annoyingly observant beloved partner that he is, saw the second season for the first time, he said, "That whole thing was a show for the Metatron. They have a plan. Crowley slipped something to Aziraphale when he kissed him." And I said, "Nah." But now I think he's right, and damn if he isn't smug.)

I'm gonna try to break down what I think they're saying here, because it takes just a hot minute to piece it together. I've been thinking this over for a couple of months now. I think I have most of it. I just don't know when Crowley puts whatever he's handing to Aziraphale in his own mouth. I need more eagle-y eyes, it seems.

First, Aziraphale comes back from his talk. He's pensive as he crosses the road, and anxious when he starts talking, and mouths "I need help!" as he's talking. He's acting like he does when he lies to the other angels, and once it's seen "I need help!" is pretty clear.

He does the whole thing about telling Crowley he could appoint him as an angel, like old times, but even nicer. It's all very uptight and not positive at all. My interpretation? "The Metatron is here, I think he knows we're up to something, we have to go to Heaven right now and put things right before he really does something awful to one or both of us. The time to spring the plan is NOW."

Crowley stares at him. At first it seems like he's staring in disbelief, but if you really look at his face, he's listening, hard, and interpreting as fast as he can:

He asks Aziraphale if he told the Metatron where he could stick it, then. My interpretation? "The plan has changed. I can't go with you to Heaven. You'll have to go alone."

Then Crowley starts his confession -- "We've spent our existence pretending we aren't."

Aziraphale looks at him -- not with shock, or surprise, or love, or hope, but with a "Why are you doing this now?" face. Not "Why did you wait til now to tell me, you love me, oh, I love you too!" But "Why are you telling me SOMETHING I ALREADY KNOW while our ENEMY IS LISTENING??" :

He's confused, but also listening and interpreting. What I'm hearing/seeing: I don't think this is a love confession from our demon. I think they are both well aware they love one another. They can't say it in so many words, and it's a secret from Heaven and Hell, but it's not a secret between them. I'm hearing Crowley set the scene. "The Metatron either wants us together in Heaven under control, or separated. I have things I have to do here or the plan won't work, so we'll have to separate. We need to make it look good. I do love you."

I don't think Aziraphale likes this change of plan. And Crowley can't detail why the plan has changed, not with the Metatron listening. So Aziraphale insists, come with me. The plan we had will work. Do it my way. Crowley says, "You can't leave this book shop." It's easy to interpret that as "You can't leave me," but I don't think it's that. He's saying something about the book shop being safe, or even that he can't leave without whatever they've hidden in the book shop. (I THINK THEY HID SOMETHING IN THE BOOK SHOP!) Aziraphale says, "Nothing lasts forever." I hear him saying the book shop is no longer safe, and they have to move/take whatever they've hidden and they can't speak freely there anymore.

Crowley replies, "No I suppose it doesn't. Good luck." He's gotten that much, but he is still set on his "We need to fake a break up because I can't go with you."

Aziraphale still doesn't like that. "Come back! I need you!" He's scared. Whatever he has to do in Heaven is big, and scary, and he needs and wants Crowley with him. He does not want to go into the mouth of danger alone.

This is when we get, "No nightingales." What I'm hearing? ESPECIALLY since if you listen, you can hear a LARK sing as Crowley goes out the door? It's the line from Romeo and Juliet, by Shakespeare, whose plays they both enjoy, though Crowley prefers the funny ones. "It's too late, that's a lark singing the dawn, not a nightingale singing to the night, we have to part. Our happy ending isn't yet."

Then the kiss. I do not believe this is their first kiss. I don't believe they've allowed themselves many, maybe not even more than one, but I do think they've kissed before. I'm not sure when, but I suspect 1941. (Season 3, come ON!!)

And when they part, Aziraphale stops himself from saying "I love you," and instead says, "I forgive you." I'm hearing so many things in that "I forgive you." I forgive you for leaving me on my own, I forgive you for hurting my feelings like this, I forgive you for changing the plan without telling me, I forgive you because you are forgivable whatever anyone else says, I forgive you because that's what I said when we split up at the bandstand and everything was okay in the end and I hope hope hope that everything will be okay in the end this time too.

Crowley says, "Don't bother." I'm hearing, "yeah, I hope it's all okay, too. Wish me fuckin luck. My part will be hard, too."

And as Crowley leaves, Aziraphale mouths, "No." And we hear a lark sing. A lark, singing to the dawn, and so fair Romeo must away.

Just because the break up is a ruse, doesn't mean it doesn't hurt and isn't hard. It has to look real, and so it's going to feel real, too. Ouch. :'(

And then Aziraphale touches his lips. Not once, but twice. My bad, he only touches his lips once. The first long second is pure emotion. "Why now, I hate this, I want that so badly and I can't have it."

After that, though --

After he pulls himself together a bit, he has a bulge in his cheek. He shifts his jaw to move whatever he has in his mouth to his lips, and then his first two fingers go stiff for a moment as he palms something right before he takes his hand away.

And then, this.

Edit to add: someone on Facebook asked me why a kiss to pass whatever Crowley gave to Aziraphale, why not palm it or drop it in his pocket?

My answers: 1. The kiss is a message. "We're still good, I still love you, I still want this." 2. The item is too important to be dropped in a pocket and hopefully found later. 3. The Metatron is paying WAY too close attention, and will definitely see them touch hands. Seeing a kiss and the angel rejecting the demon, though? Well, the demon forced that kiss on him, the angel didn't want it. Clearly the demon thinks this relationship is different than it is. It's a bigger gesture that sells the ruse. 4. Houdini's wife used to pass him the keys to his cuffs with a kiss before the show. This is a message that magic-loving Aziraphale WILL understand: here are the keys to your cuffs, sneaked to you by your beloved in plain sight.

That's it. That's what I got so far. I still have questions.

What did Crowley pass to Aziraphale? What's the plan? Why did it change? What does Crowley need to do that he can't go to Heaven again?

#good omens #good omens 2 #good omens meta #aziracrow #final fifteen #ineffable divorce #good omens fan theory #2 man con #they have a plan #they played the metatron and we fell for it #the kiss

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hisui-dreamer · 1 year

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eyes on the sun

Pairing: Malleus Draconia x gn!reader

Synopsis: Malleus has been gifted beautiful flowers as a present, but it seems he's extremely upset by them. What could have happened?

Tags: miscommunication, flower languages, malleus is sad for a bit, fluff, crack, bot proofread

Word count: 1k+

Notes: im extremely obsessed with flower languages and so here's one of the fic ideas I have that involve different interpretations for flower languages haha

Masterlist

Malleus surveyed the bouquet of tall sunflowers in his hand, a mix of bewilderment and disappointment washing over him. Their large, golden petals stretched outward like rays of the sun, exuding a warm and vibrant energy that seemed to fill the room. The dark brown centre of the sunflowers contrasted sharply with the bright petals, creating a captivating focal point that drew Malleus's gaze.

You had gifted him these flowers, but instead of feeling joy, he felt a pang of sadness.

The flower language associated with sunflowers was "false riches." Did you really think of him as someone who sought material wealth? Did you truly think so lowly of him?

He looked at the sunflowers again, their vibrant yellow petals almost taunting him. Despite his attempts to brush it off, he couldn't help but feel hurt. He clutched the bouquet tightly, his mind racing with thoughts. Malleus let out a sigh and turned the bouquet in his hands with a pensive look.

"False riches," Malleus muttered to himself, his frustration evident in his voice. "Why would they give me sunflowers? Is this how they see me?"

He paced back and forth in his room, consumed by agitation. What had he done to make you think of him in such a way? Surely, he must have done something wrong, he couldn't fathom why you would choose sunflowers, of all flowers.

As he continued to brood, Malleus didn't notice your knock at the door before you entered the room, concern written on your face. "Tsunotarou," you called softly, reaching out to touch his arm. "What's wrong?" you asked, your heart aching at the sight of him in distress.

Startled by your touch, Malleus turned to you, his expression a tumultuous mix of surprise and sorrow. Emotions played across his features like a storm, his usually shimmering eyes lacking their usual ulster, and his lips slightly downturned, uncovering his inner turmoil. His furrowed eyebrows accentuated the lines of worry on his forehead, as if he carried a heavy burden.

He hesitated for a brief moment, his usually proud posture faltering as he let out a deep, heavy sigh. His voice was laced with confusion and sorrow as his shoulders slumped in defeat. "My dear Child of Man… I…I couldn't understand why you would choose to send me sunflowers," he admitted, his words coming out in a slow, hesitant manner. His usual eloquence seemed to falter, revealing the vulnerability that lay beneath his confident facade.

"With their negative connotation, I thought I must have done something wrong for you to see me in such a light," he continued, his voice barely above a whisper, as if he couldn't bear to fully voice his insecurities. Hurt tinged his tone, and his eyes searched for answers that eluded him.

"Negative connotation?" you replied, your brow furrowing in perplexity as you looked at Malleus. Weren’t sunflowers generally known to be cheery and bright? "What do you mean?" You asked, trying to decipher the reason behind his distress.

"Well... sunflowers represent false riches," he paused, crestfallen as he continued. "A long time ago, explorers had mistaken the flowers for real gold. Since then, it’s been used to mock delusions of grandeur."

Oh.

"Oh, Tsunotarou," you sighed, your voice brimming with tenderness, as you reached out to touch his hand. "I'm so sorry for the confusion. You see... back where I'm from, sunflowers mean something entirely different."

His eyes searched yours, curiosity flickering in their depths. "What? What do they mean then?" he asked eagerly.

"In the myths of my world," you began, "there was a story of a maiden who fell passionately in love with the sun god. She would gaze at him with unwavering adoration as he flew across the sky, and her heart belonged to him alone. In the end, she transformed into a sunflower, a symbol of her unyielding devotion. That's why sunflowers mean 'I only have eyes for you'."

Your words lingered in the air, laden with the weight of your emotions. You could discern the shock and wonder in Malleus' eyes as he absorbed your story. The parallel between the mythical girl and your own sentiments for him was not lost on him, and warmth suffused his chest at the thought of how deeply he meant to you. It was as though a veil had been lifted, and he now grasped the true significance behind the sunflowers you had bestowed upon him. His expression softened, and a loving smile tugged at the corners of his lips.

"I... I didn't know," he mumbled as he looked at you with renewed appreciation. "Thank you for sharing that with me. It appears I misunderstood the flower."

You shook your head, reaching up to caress his cheek gently. "It's okay," you reassured him, your touch conveying your sentiment. " Flower languages can differ in various regions, I’m sorry I hurt your feelings earlier."

"I'm sorry for jumping to conclusions," he murmured, his voice laced with sincerity. "Thank you for clarifying, my love."

Your lips curved into a tender smile, and your heart swelled with happiness, a warm glow spreading through your chest. "You're welcome," you replied, your voice steeped with endearment as you stare into Malleus's eyes, captivated by their emerald brilliance. "Malleus, I only have eyes for you, and my love for you is unwavering."

A flicker of emotion passed across his features as his usually stoic demeanour seemed to melt away, showing the vulnerable side you cherished. "You are the only one for me, my dearest child of man," he whispered, his voice imbued with sincerity. The endearment he used for you was so uniquely Malleus, you could feel your heart skip a beat and your cheeks warm.

In that moment, surrounded by the gentle glow of affection and the unspoken words that hung in the air, you felt an unbreakable connection with the fae prince. It was as if your souls were intertwined, bound by a love that transcended words and language. The sunflowers that had initially caused confusion now symbolized the priceless bond between you, a testament to the unique language of love that transcends worlds.

Suffice it to say, sunflowers became Malleus’ favourite flowers.

Masterlist

if you liked this post, don't forget to reblog!

#twstnexus #twisted wonderland #twisted wonderland x reader #disney twisted wonderland #malleus draconia #malleus draconia x reader #twisted wonderland malleus

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suresne · 1 year

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in my latest de playthrough i decided to throw away dora's card and was super intrigued by the passive checks that follow, especially electrochemistry

like other people have already said on here, before i got better acquainted with the game i used to think electrochemistry was just about harry's sex drive and self-destructive desire for alcohol and drugs

but if you actually invest points in electrochem, it becomes clear that it's more about the pursuing and detecting sources of joy, whether they be ice cream, drugs, sex, or making kim happy (case in point below; you get this if you give kim a shout out on speedfreaks fm)

so now i'm wondering how exactly to interpret the electrochemistry check when you let the wind take the card

is it just what it says on the tin: leaving dora behind allows harry to focus on different things, opening up new possibilities?

that makes sense, but it's strangely quiet, almost pensive for electrochem

is it because there is joy in leaving behind the burdens of the past? is harry freeing himself from the burden of the card lessening his frenetic desire for fleeting joy in favor of something longer lasting? less grasping, more content?

#i don't know. it's fascinating though #electrochemistry #disco elysium #de skills #de meta

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falmerbrook · 2 months

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Snow Elf culture?

*pulls up a chair*

Perhaps...

A wee disclaimer that I'm not particularly good or creative with developing cultures or societies, but my brain has just latched on to the snow elves in a way where I can't stop myself. But anyway

I developed a lot of this because of a big ass draft for a fic I've been writing on and off about Gelebor and Vyrthur, so a lot of my headcanons are religion heavy. I'll start there:

Gelebor seems to place Auri-El and the Chantry of Auri-El as having significant importance to the Snow Elves over the other gods/temples. He's probably got a bit of bias in that regard since he's devoted his life to Auri-El, but in order to differentiate their religion from the other elven ones I like to think that their religion in general worshipped Auri-El as not even just as the figure head of their pantheon, but almost monotheistical, while the other gods (Trinimac, Syrabane, Jephre and Phynaster according to Gelebor) were like minor divine figures or just legendary heroes even more than in Altmer myth, depending on the interpretation. My idea is that if their culture had been allowed to continue on, it would've eventually become monotheistic, but by the arrival of the Nords they were in a bit of an awkward transition period with it.

I also like to lean into the sun motif with Auri-El that they established in Dawnguard and with Auriel's Bow, partially because it's another thing to make their depiction of him more unique, and in part because it makes some very juicy irony for Vyrthur. Some ideas include:

- The more religious folk tend to pray at noon when the sun is at it's highest. - The two biggest snow elf festivals happen on the summer and winter solstices. As far north as they are, the summer solstice is during a time of year where the sun barely sets and the winter one is during a time of year where it barely rises. The summer one is more jovial and celebratory, with a grand feast. With almost 24 hours of daylight, the festivities last up to three days straight, with folks commonly staying awake for over 24 hours. Most of it is spent outside, with the celebration being focused on making the most of the weather and daylight hours to spend as much time in the sun and the light of Auri-El as possible. The winter festival is as large scale but lasts longer and is lower-key. It also involves a feast but features more winter foods and meat and alcohol. It is more pensive. At this point in the year, there is no full daylight, and so this season is seen as a test of one’s faith and mental fortitude. This festival acts as a break from this trying time, taking time to relax, build community (a strong community will allow them to make it through the winter and strengthen their minds), and bond with family and friends. It is about a weeklong break, where leading up to the festival everyone works harder to prepare for it and allow themselves to have the break. There are activities and festivities, but they remain indoors for the most part and are smaller. - I've referenced this before, but with long winters with little sunlight (due to harsh weather and short days), they see that time of year as a reflective test of will and faith.

Due to their proximity to dragons, it was hard to miss the connection between Auri-El (/Akatosh) and dragons, and so their depiction of Auri-El is either much more influenced by the iconography of dragons, or is a dragon (although their depiction of dragon Auri-El is much more benevolent than the Nord/Atmoran one). I got the idea for this one from this Reddit post (i know I dog on Reddit a lot but this one has got some fun stuff in it, even if it's a bit out there)

^On that note, later in the timeline (post Dragon War (the timeline is very fuzzy on when this and the Night of Tear happens. They are both sometime vaguely in the late Merethic Era I believe, but it's unclear which happens first or how long each conflict is)) some Snow Elves see a sort of unreturned, unofficial comradery with dragons, seeing themselves as both on the receiving end of the Nord's/Atmoran's brutality (disregarding whether it was warranted or not in the context of the Dragon War).

Ok here's some more general cultural ones:

I mentioned my reasoning for this in this post, but I like to think their general settlements were not as permanent, with a larger focus on wood and building into the sides of hills (good for warmth), while their temples tended to be made of stone and much more permanent. This is why there are so few identifiable Snow Elf ruins across Skyrim. Their cities and towns were easy to wipe out, scavenged for resources, or were in good places for Nordic cities (perhaps Bromjunaar was originally the site of a Snow Elf city?), and their temples were either very hidden (e.g. the Chantry of Auri-El) or eventually converted to Nordic temples.

I love this journal in general for gleaning ideas for Snow Elf headcanons for, but one interesting this is the use of "Old Ones" and "Young One". They're treated like established titles. From that I like to think they place a lot of emphasis on the respect of those older than you. The social hierarchy and whose opinions are most valued is heavily influenced by age. Folks call anyone older or more revered “Old Ones” as a term of respect, and anyone younger than them “Young Ones”. Old One is almost never used in a demeaning way, but Young One can be (not always). Typically, “Old Ones” is used in the third person (e.g. you wouldn’t refer to someone directly as “old one”) whole “Young One(s)” can be used as an epithet for someone directly or in third person.

When thinking about death/"burial" customs (needed for some scenes in the fic I'm planning), you have to consider that there probably wasn't a lot of land in a place like Skyrim where someone can be buried. Nords intern their dead in crypts or burn them to get around this, and I like to think Snow Elves participated in something akin to sky burials (at least sometimes). After preparation, the departed's body is left outside on a ledge, cliff, or the temple balcony to be scavenged by birds. This is seen as a metaphorical return to Aetherius, while their soul literally returns to it. They do this even in poor weather or deep winter. If it doesn’t thaw and rot/be scavenged until months later, so be it. The length it takes to rot is considered indicative of how long it takes for the spirit to let go and move on (not in a bad way though. It’s interpreted more in the way of the soul or body grieving). It's seen as if they may wish to wait until spring to finally rot if they want to experience one more warm, sunny day.

Food (I mostly wrote this in my notes in the context of the Forgotten Vale and Chantry of Auri-El, but I think it could work elsewhere as well to an extent): Plant-based food is grown in gardens in the spring and summer, and that that is able to be stored is carefully preserved through the fall and winter. Winter foods include some nuts, dried vegetables, and dried and preserved/fermented grains (like wheat, barely). These foods must be eaten slowly throughout the winter to last, and winter diets are more meat based. Summer foods include apples, cabbage/lettuce, leeks, tomatoes etc. Snowberries can be found in the wild out of season of most other fruits, and provide fruit in very early spring. Occasionally, fungus from caves is harvested, but this is seen as a delicacy (foreshadowing).

Ok, that's it for now. I gotta go to bed. Thanks for the ask!!!! :D

#charlie its always sunny in philadelphia voice 'can we talk about falmer please ive been dying to talk about falmer all day'#mine #ask #tes #skyrim #the elder scrolls #snow elf #snow elves #reading my notes doc while making this and i was really cooking on some things. didnt include them all becasue some are very specific for #that fic i keep referencing #like i had to try to elaborate on the religious hierarchies and duties of each position because that was obviously gonna be relevant #but its sorta half baked rn #also i want to have some more headcanons for later in case someone asks again :)

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ultraviolet-cello · 4 months

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Gooooood morning Trigun fandom, I'm up bright and early, ready to sink my teeth into today's analysis/detailed watchthrough episode - 11. To A New World.

I can't believe we're almost done with @tristampparty. These 12 days have been a blast and I'm very glad that I got to chat abt them!! I've been in a bout of artblock recently too, so I'm glad that I can just ramble instead!

Spoilers for Trigun Stampede and Trigun Maximum, and CWs for. okay this one is a Lot, but discussion of violation of bodily autonomy, sexual assault and trauma, pregnancy, transphobia, harm coming to children, Millions Knives in general, Vash's passive suicidal tendencies. If I think of any more I'll pop them up here but this episode is a heavy one!

If you wanna skip those first few CWs (Totally understandable <3), you can skip the paragraphs labelled with a [CW] at the front.

[CW] Okay so we're gonna tail off the end of Episode 10 for a second, but uh. Knives in this scene is using extremely Loaded Language to outright tell Vash that there is something wrong with him that needs to be fixed.

Just to be clear I do think Vash is very trans-coded (intentionally or not), and that very strongly influences how I interpret this scene - I myself am a trans man as well.

Cool, moving on! That's all really for the end of ep 10, I just needed to point out that Knives is using language that is commonly used to justify corrective sexual assault; which is pretty much what my reading of this scene is analogous to.

what in the fresh hell i got jumpscared by dub again. returning to subs hold on a moment. Like i've been checking dub occasionally to match up some dialogue and make sure I'm not being misled by Subtitle Jank but I'm one of those guys who can't listen to anything without subtitles lmao

But i also think i do get the funniest possible translation of this line - actually wait no i hate the double meaning (with Vash's body being used to kickstart the pregnancy imagery). was that intentional. who did this.

Anyway Meryl kicking Wolfwood is really funny but also like. Yeah. justified. She's having a no good awful time but like. She's so willing to believe in Vash, to chase after him even into Extremely Dangerous conditions (There's those hints of Trimax Meryl again....) and Wolfwood is being an ass here. (An understandable ass. But an ass nonetheless). Which is to say YEAHHH MERYL GET HIS ASS!!!

Knives' gay little like. bodysuit here. He and Vash have the same build but their respective clothes make them stand out very differently. Also that Knives' stuff seems to have more muscle definition (HYDRATE. You shouldn't have that Knives you need water :pensive:) which could be building towards his more intimidating appearance.

Also I'd be a fool to not show everyone my initial reaction to this

I've talked a little bit about how Vash uses his gun as a tonfa (thwacky baton) most of the time in melee combat, and I think that's a great way to show him utilizing something Knives gave him to Kill as a nonlethal weapon - in this, however, he doesn't have it and his normally very fluid very good form martial arts is flailing and panicked. Vash is pretty good at keeping his cool in most combat situations, and is a very skilled fighter. Seeing him lose that cool and just start struggling when Knives tries to grab him is :(

Once again the metal/organic dichotomy is coming into play - the creation of inorganic but the destruction that comes from the organic. Typically plant (as in flora) powers in media lend themselves to being creation powers, life, and healing. But Vash here has that plant (flora) theme but those are very much a force for destruction.

Also Knives with the angelic white, and Vash with the black.

I hate Conrad So Much (he's such a good character). Like we Know to some extent that dependent plants are self-aware enough to feel pain, to hold onto memories, to hatred, to love. They don't have consciousness the same way humans or Independents do, but they feel, they live, they understand what Vash tells them. Maybe it is a shallow form of themselves. But I think something a lot of people fail to realize is that (some, not all, because they are individuals even throughout a hivemind) plants appear to enjoy their purpose.

Once again the memory that is shared with Knives in Trimax of a woman and her child thanking the plant for her service and she smiles? After being fused, that plant held onto that memory. I've been given no reason to believe that plants in Tristamp are different, so Conrad is just,,, ignoring the subtleties of plants and taking away their agency to choose for themselves. Doubly so for Knives, who can communicate efficiently with them.

A very quick blink and you'll miss it detail is that Vash says "It was our fault humans crashed here!". The shifting blame and guilt between the two is something that is fighting the narrative allll the time, but Vash attributing to both of them as an appeal to Knives is interesting to relay how he feels.

I also don't think Vash is right, though, when he says the only reason humans abuse plants is because they crashed. Tesla was before, Chronica in Trimax has apparently seen independent fusions before (For what reason?). Like yeah to this extent it's a result of the big fall, but there'd still be problems without it. Nobody is right in this argument lmao

(except me. I'm always correct about everything ever)

[CW] Once again - violating Vash's consent and autonomy because he does not agree with or differs from Knives. Corrective violation, in this case. It's also important that it's Meryl who calls this out - she has to really really struggle for her autonomy to be important. She's small, carry-able, inexperienced, doesn't have any special powers or genetic modification. She's carrying a tiny gun from a man who can never back her up anymore. In fact, nobody is backing her up! She's out here alone! But she's sticking up for Vash. She cares about him,,,, so much

SURPRISE ROBERTO ATTACK [sobs]

Meryl pulled the nail out of him and placed his hands gently over the wound, as one might do in a casket. A memorial of cigarettes and his flask. All this will be destroyed soon, but Meryl did give him a funeral to the best of her ability.

Knives using Roberto's image is cruel as hell. Not to Vash but to ME. He's already dead you can't do this to meeee. "How do you think they'll react when they learn you caused the big fall" He will never learn it!! he never got the chance!!!

So fun fact you can actually eat geraniums. It's just that if Rem had said yes Vash probably would have eaten it right there and then. I've made that mistake before (told one of my class that nasturtiums were edible and he just ate one. right from the plant)

So; the Tesla scene. Something I do want to point out is that Rem finds them almost immediately, and Knives doesn't immediately pass out - Is he still catatonic enough to miss Rem's speech, or did he hear it? Because the reason that Vash turned out like he did is because he was awake to go through that with Rem - Knives was unconscious the entire time and didn't get to start that trauma recovery.

It's also important to recognize that these memories could be unreliable, especially as Knives tampers with them later.

I do want to know which version of the Bible Knives was reading. Because depending on translation/version, you can get Very different ideas out of that.

Anyway Knives is kind of beginning his spiral in that memory - "Humanity never learns" kinda shit, which seems to take place after Tesla. Who knows how long. But baby Vash calls that out and goes "yeah lets have faith"! Baby Knives looks a tad shocked and then Present Knives just. Cuts off the memory. What was the ensuing conversation!!! Hello???

Like he's clearly Having Thoughts (The Horror), we just don't get to know what those were.

So remember when I said it was interesting that Vash said it was "our" fault that the ships crashed, sharing the blame?

Yeah that gave Knives some ammo that just. Broke him. Shifts it allllll to Vash. Update Vash's description to running on 18 guilt complexes, CPTSD, and bisexuality.

[CW] There's so many different forms of assault, metaphorical and. Not. That is happening in this scene from mind violation to Knives literally using Vash's (specifically Vash's) body as a vessel to impregnate other plants which. Hey did you know that pregnancy is a massive fear of a lot of trans men. So many transphobes reduce trans men to their capability to have children, as if that's all they're good for (even if it would kill them.), and that often leads to corrective rape in order to "remind them of biological reality". In this case, Vash is a plant, he's meant to create, and yet he doesn't. But he's still being used to create anyway.

Again, Meryl also directly calls out Vash's lack of consent and gets shot down by Conrad. The whole scene is just. Hgnrhgnhrhnrnrn. It's So,,, everything to me, because it's a really good scene and shows you how far gone Knives is in Tristamp.

There are panels in Trimax that are,,, the imagery is there, but it's very overt in Tristamp.

Also hey yeah. Why is Conrad still alive?? Did he have access to cold sleep? or it's probably the robotics but did he not think of enhancing humans that way? It might just be a temporary solution, I guess, given that he is. Actively coughing up blood.

Alright! I have finished this part of the analysis that I always Feel Strongly about lmao - I have fun doing it but that's such an emotionally heavy episode.

#cli speaks #trigun #trigun stampede #tristampparty #cli analysis

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rokkenjimaisland · 4 months

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my friends started ep5 last night! smth that stood out to me this time was the comment that "now that he was back on rokkenjima, battler was slowly reverting back to how he had been six years ago". eps1 and 2, the only two message bottles that had been found and the groundwork for the legend of the witch, are written by sayo, who only really gets to write battler as she remembers him from six years ago. meanwhile, tohya, writing ep5, of course has all of battler's memories and is able to write him into a more nuanced person...but chooses to continue making piece!battler true to sayo's interpretation of him.

i'm not personally of the opinion that the metaworld stuff is part of the forgeries/stories tohya and sayo write, but i do also think this could also sort of bleed through into why battler is so much more serious and pensive in ep 5 and 6 after he gets his cloak...because tohya knows more about what sort of person battler ushiromiya really was and is getting closer to being able to "release" him from himself.

and you could even drag this in to why battler is constantly forgetting about ange in ep 5 lol and needs to be reminded to fight on her behalf. ange doesn't feature in sayo's stories at all and the battler she writes she only wants to be concerned about solving beatrice's mystery and nothing else. meanwhile, tohya obviously wants battler to care more about his family and for that love to feature more strongly while he also tries to parse out his own complicated feelings irt ange wanting to meet him and coping with the fact that kyrie always hated battler (the stark increase in kyrie-battler bonding scenes from ep3 on is crazy). anyway these two different "battlers" in a way might be a reason why metaworld!battler's personality is so inconsistent. because the authors who wrote the fiction that is "battler ushiromiya" have different ways they want to write him, different priorities, different "loves" they want battler to hold important in his heart. sayo and her idealism of battler means of course she doesn't want him to be concerned with anything else, but tohya has other reasons why he's writing, and that's going to feature more in his tales.

just thought it was interesting that in one way tohya actively chooses to uphold sayo's battler-oriented fictions as truth (i.e. battler still basically acts like he's 12 on rokkenjima) but also challenges them in others which creates inconsistencies in the narrative and metaworld!battler's overarching personality.

#i meant this to be just the first two paragraphs then i got carried away #red truth #umineko spoilers #j and h play umineko #idk if this should go in that tag but i just thought of it last night while they were playing so

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sixty-silver-wishes · 1 year

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My thoughts on Broadway's "Sweeney Todd"

A few days ago, my friend and I saw Sweeney Todd on Broadway, and I have a lot of thoughts about the production. I've been obsessed with this musical for years and have seen quite a few performances, so here's what I thought of this one.

Right away, it was amazing. The lighting added a lot to this production, and while the way the set was constructed was a bit unconventional (usually, there's a separate area of the stage sectioned off for the pie shop so two scenes can happen at once, but in this one, they had a bridge over the stage that some scenes took place on), I thought it was still effective. The orchestral arrangement was an interesting change (and even sounded like Shostakovich or Weill at times!), although I was disappointed to not hear the iconic factory whistle in the opening.

So, the acting. I'll go through each character/actor and what I thought of their performance, and how it impacted the overall show. "Sweeney Todd" is a play where every single action or bit of dialogue is important and culminates towards the conclusion, and so the way the characters are interpreted often offers a different angle on the play as a whole.

Josh Groban did an excellent job as Sweeney Todd, and I really appreciated that, since his voice is very melodic, he didn't try to replicate Len Cairou or George Hearn. Sweeney is a very complex character, and I've noticed that most actors who play him take on a different angle of his personality to focus on. Cairou focuses on the pensive, methodical side of the character, Hearn's Sweeney emphasizes madness and rage, and while I'm not a huge fan of Johnny Depp's performance in the movie adaptation, his Sweeney Todd focuses more on his melancholy side. Groban's Sweeney, by contrast, is sentimental. We see him express rage and impatience, two core aspects of Sweeney Todd, but where he's most effective are numbers like the "Johanna" reprise and "No Place Like London/The Barber and his Wife." Sentimentality isn't an emotion typically associated with the character of Sweeney Todd, but Groban's performance hammered in how critical it is to his character. After all, Sweeney Todd is haunted and motivated by his past- his love for his wife and daughter, and his hatred of the judge who tore them from him. This even allows for moments of tenderness- for example, during the "Johanna" reprise, Sweeney spares a man who comes into his barber shop, because he came with his wife. While this could be explained by him not wanting any witnesses, Groban's performance made this moment (forgive the pun) surprisingly cutting. Sweeney is hoping to be reunited with his daughter and is reminiscing about Lucy, and so the man who earlier declared that "we all deserve to die" is letting a young couple live. Groban's "Epiphany," probably the moment I examine the most when watching an actor play Sweeney Todd, was stunning. The insanity and anger wasn't as pronounced as Hearn's, perhaps, but with the way Groban played the character, it didn't need to be. His rage is mainly driven by grief more than madness, and it showed through his angular movements, the near-desperation mixed with fury during the "you, sir" sequence where he breaks the fourth wall, and of course, his emotional performance during the "and I'll never see Johanna"/"and my Lucy lies in ashes" sequences, which require a sudden, yet convincing, emotional shift that he pulled off masterfully.

Jeanna De Waal's Lovett was just plain fun. While I was curious to see how Annaleigh Ashford would have played her, De Waal pulled off a youthful Mrs. Lovett in a hilarious, flirty way. Angela Lansbury was perhaps the most iconic Lovett (although LuPone's performance was stunning as well), and was particularly notable for her dark comedy through the juxtaposition of being a matronly pie shop owner and an accomplice to murder and cannibalism. I feel like the "matronly" aspect of Mrs. Lovett is probably one of the most important facets of her character, which is why I tend to prefer performances by older actresses as Lovett to younger ones, but De Waal, like Groban, gave a unique performance, in her case using her youth to her advantage. Her Lovett was constantly flirting with Todd, which created some hilarious juxtaposition between their personalities, and she added a lot of energy to her comedic lines, especially during "A Little Priest," where her chemistry with Groban was a blast to watch. I do wish she had a bit more chemistry with Gaten Matrazzo as Toby, which would have made the ending scene hit harder emotionally, and her sinister side explored further. De Waal focused mostly on the comedy aspect of Mrs. Lovett, who at her core is a ruthless manipulator, so I understand she's an incredibly difficult character to pull off when balancing those two elements. Nonetheless, I thought her acting was really enjoyable to watch, although she was more effective in comedic scenes than dramatic ones.

I don't have a ton to say about Jordan Fisher's portrayal of Anthony; I liked his performance overall, but I felt he came across as slightly too mature, although maybe this came down to his voice. Anthony is a very idealistic and naïve character, meant to contrast with the cutthroat, conniving world of "Sweeney Todd." I didn't think I really got this with Fisher as much as with some other performances I've seen, but the maturity he gave to the character did pose an interesting angle in his scenes with Todd, as Groban's sentimentality meant an almost paternal dynamic between Todd and Anthony. This isn't an angle I see a lot, but it was definitely one I thought was really fascinating. His chemistry with Maria Bilbao as Johanna was good, and I felt he provided some grounding to her more neurotic portrayal.

I loved Bilbao's Johanna. Technical skill of singing "Green Finch and Linnet Bird" aside (which she nailed), I feel like a lot of productions miss the point of this number. "Green Finch" is to introduce Johanna and her trapped circumstances, yes, but I see too many productions that simply have it performed as a sad, pretty, virtuosic number, without saying too much about who Johanna is as a character, or the effects the circumstances she sings about have had on her. Betsy Joslyn's was unique in that she attempts to seem somewhat frazzled while singing it, but her purposefully-crossed eyes and overexaggerated vibrato risk coming across more as caricature than a sincere performance. Bilbao, however, is heartbreaking. Her Johanna is fighting to keep her wits together, evidently broken by living with an abusive father figure, and when she sings "teach me to be more adaptive," it almost seems like a prayer. (This also has the effect of making the following number, "Ah, Miss," darkly hilarious, as it implies Anthony was watching this random girl having a mental breakdown and immediately decided he was in love with her.) Her blocking was restricted and tense, almost making her look like a caged bird, and her facial expressions and gestures were cautious and restrained, bringing to mind a scared animal. This really brought home the essence of Johanna's character- while she's often played as a classic ingenue, Johanna is, in fact, a subversion of the archetype- a realistic portrayal of the mental strain a young girl locked away with a man like Turpin and kept from seeing the outside world would actually face. I honestly really like Johanna as a character because there's a lot more depth to her than is often portrayed, so it was really refreshing to see Bilbao apply this level of nuance to her.

Matrazzo's Toby was, of course, excellent. Toby is probably the character with the most variation across productions, as he can be portrayed as anywhere between a child to a young adult. Matrazzo shone particularly in two scenes- "Not While I'm Around" and the final monologue. Like "Green Finch," "Not While I'm Around" is a number that's frequently misinterpreted, with some performances portraying it as simply as an example of Toby's affection for and devotion to Mrs. Lovett. "Not While I'm Around," despite its lyrics, is not a sweet, tender number. In context, it's terrifying, and luckily, Matrazzo portrays this. His Toby is desperate, even frustrated. While it's not particularly dwelled on in the play, Toby has been mistreated by Pirelli, and so latches onto Mrs. Lovett, who he sees as a genuinely nurturing protective figure. However, not only is Lovett turning people into meat pies, she has no real love for Toby and is primarily focused on manipulating Todd, who, in turn, is also trying to use her for his own gain. However, from Toby's perspective, he's been abused, sees signs of abuse in Todd, and wants to prevent Mrs. Lovett, whom he genuinely loves, from meeting the same fate. Matrazzo's desperation puts this context largely into focus, adding to the suspense of the number. And in the final monologue, I got chills from the way he vacillated between a manic sing-songy tone and complete numbness, sometimes even normalcy. I've seen many productions where Toby keeps the "insane" tone throughout the monologue, but Matrazzo doesn't do that. When he says "you know, you shouldn't harm anyone," it's eerily straightforward and calm.

John Rapson (Beadle Bamford), Nicholas Christopher (Pirelli), and Ruthie Ann Miles (Lucy) were all fun to watch; I enjoyed how Rapson kept the character quirk of rolling his "R's," which not all Beadle Bamford actors do. His falsetto range was incredible, and his performance during "Parlor Songs" was both amusing and suspenseful. Christopher's Pirelli was good, but I felt he didn't place as much over-exaggeration in his lines as I would have liked to see, although I really enjoyed his facial expressions. And Miles' Lucy was absolutely haunting; I've seen a few productions where "Poor Thing" is portrayed through interpretive dance, and thought she especially stood out here, as her movements and blocking added a lot to her character.

Finally, Jamie Jackson as Judge Turpin was repulsive in the best possible way. His voice and delivery had me on edge, and I also couldn't get it out of my head that his facial expressions reminded me of Werner Krauss in "The Cabinet of Dr. Caligari," which added a whole extra layer of creepiness. His Turpin felt incredibly realistic, like that creepy uncle or skeevy politician you always read about in the news, although he was surprisingly effective with comedic lines, especially the way he enthusiastically delivered the line "ah yes, women!" in "Pretty Women." He brought an air of discomfort to the stage every time he was on it, and the suspense in every scene between him and Groban was extremely palpable.

#sweeney todd #broadway #stephen sondheim #josh groban #gian matrazzo #jeanna de waal #maria bilbao #jamie jackson #john rapson #nicholas christopher #ruthie ann miles #musical #musical review

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maybemoonout · 1 year

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Hello :) Been listening to JOTM recently and reckon there is a tenuous Milex interpretation in there somewhere - interested in your thoughts!

'Jet skis on the moat' I don't think gives much of a clue actually, as Alex has said was the first line he sang over the instrumental, so probably just an image he liked.

'They shot it all in CinemaScope' & 'Showstoppers anonymous' could referring to his relationship with MK in the EYCTE era, where they were constantly in the limelight. I think a handful of subsequent AT lyrics reference letting himself go when on stage with Miles and then after feeling ashamed/embarrassed (e.g. 'do you celebrate your dark side then wish you'd never left the house', plus clock his facial expression in the 2018 Annie Mac interview when she brings it up), so for me 'Showstoppers anonymous' places the song in that territory. And compared to the other members of AM, Miles is clearly the 'showier' stage presence, something he and Alex have often acknowledged in interviews.

'As though it's the last time you're gonna ride' & 'Come over here and give your buddy a hug; So much for decidin' not to let it slide' could be about a breakup convo, which is clearly a major theme/preoccupation for the album. Although the lyrics are pretty ambiguous, the music is sad/soulful - and Alex has said in interviews (including recent Jools Holland) that you need to interpret the more coded lyrics along with the melody/arrangement to see the romantic element at play. One reading could be that this is Alex initiating a post-breakup hook-up - getting together for one last 'ride', despite deciding they weren't going to go there. This makes sense for me intuitively if you think about the undefined nature of their relationship, and some of Miles' lyrics maybe hint in this direction too.

'Is there somethin' on your mind; Or are you just happy to sit there and watch; While the paint job dries?; When it's over, you're supposed to know' could refer to the aftermath of the hookup, particularly as 'paint' keeps cropping up as a very veiled but possibly suggestive image (e.g. in 'Body Paint' and 'Anyways). I'm imagining AT addressing a sad/pensive MK after they have slept together, but it could also just be the aftermath of a difficult convo or the general period following a breakup/rupture in their friendship.

'Lights out in the Wonder Park' has genuinely got me wondering if there was some kind of break-up convo between MK and AT in a fairground/similar. Lots of folks think MK's Caroline is about AT (he admitted he changed the name and pronouns), and that refers to 'We're sitting on the carousel [...] My god I know this all too well'. Plus Golden Trunks mentions 'Mr Winter Wonderland' - and I've always thought that tune is about MK.

'Your saw-toothed lover boy was quick off the mark' is the only line that directly tells us the person he is addressing is not just a 'buddy'. 'Loverboy' and 'buddy' taken together place this very firmly in Milex territory for me - I think buddy has got to be a male friend, and there is clearly one major candidate. for very close/intimate male friend-turned-lover.

'That's long enough in the sunshine for one night' isn't telling me much tbh, but I do think there are various allusions to be found to AT as moon to MK's sun in various lyrics?

'Didn't recognize you through the smoke; Pajama pants and a Subbuteo cloak; You know that it's alright if you wanna cry' again not telling me that much, but the cloak image kinda reminds me of when AT tied a fan's banner onto MK as a cloak during an EYCTE gig? Plus clear from lots of MK lyrics he did shed many a tear over this breakup - so the 'you know it's alright' line could refer to that?

Anyway well done if you made it all the way through that - and would love to hear your thoughts!

Hi anon! Are you the one who also talked about TDS and Ultracheese with me? If you aren't or are sorry if I don't recognize T_T I have difficulty remembering speaking patterns and stuff. Either way, welcome! And thank you for entrusting your thoughts to me and also having faith in mine! Also, I would like to apologize for this answer to have taken so long, I had been busy the past few days and I have only recently found the time to properly research and consider my answer for this ask. I hope it's not too late!

Now going back to the topic at hand, Jet Skis On The Moat. You don't even know the insane amount of happiness I felt when I saw you asking about JOTM because it is quite literally one of the first songs in the album that I had labeled my favorite. I love the song so much, very jiggly. After reading your own analysis on the lyrics I also wanted to share my own, since I think we have a lot of ideas in common.

Anyways I do have a lot of thoughts about this song so I think it would be unfair for me to not talk about it in its fullest, so I suppose this will be my first ever song analysis that's actually complete.

Some disclaimers before we start:

Of course as well as anon I do mention Miles in my analysis, although of course my entire perspective is not entirely milex based or in the milex perspective, I do have some thoughts that relate to him.

I am in no way some lyrical expert, I'm not Alex Turner or related to him in anyway. I'm just a fan who likes to over analyze. So please, if you ever read this, take it with a sack of salt.

Now that's out of the way, let's get started.

Jet Skis On The Moat Song Analysis!

[Verse 1]

Jet skis on the moat // Mentioned in this interview, Alex says its kinda just the first line he thought off when singing over the instrumental like you have said! It's exactly like the line "I just wanted to be one of The Strokes" in Star Treatment.

They shot it all in CinemaScope // Based from Genius, CinemaScope is just a specific Camera Lens used in widescreen movies. We all know Alex is a big movie nerd so this isn't much of a surprise.

As though it's the last time you're gonna ride // Based from the first two lines above, what I THINK this line is saying is like someone taking all these photos and videos, basically collecting as much memories as possible since they think it's the "last time they're gonna ride" or the last time they'll experience this.

Showstoppers anonymous // I think this line pertains to being famous for someone you're not. Like how Alex's greaser persona in 2013 is arguably his most famous one, but it's not really him. Hence "showstoppers" -> fame/famous people "anonymous" -> unknown/not really who he is. "Showstoppers anonymous" -> someone whose famous for being someone they're not. I assume this pertains to Alex.

Come over here and give your buddy a hug So much for decidin' not to let it slide // Similarly with anon, I do think this part is related to an event that happened in Alex's life that's sort of a broken relationship. What I have in my head is that possibly the "give your buddy a hug" line could be about asking for forgiveness, and the "so much for decidin' not to let it slide" is saying that "so much for not letting this relationship get ruined" or something like that. "I'm sorry that I let our relationship go, please come here and hug me" kinda like that, aksgaksahsga I hope that makes sense.

[Chorus]

Is there somethin' on your mind Or are you just happy to sit there and watch while the paint job dries? // I don't really know how to explain this one well so bear with me. In my mind the situation is like this: Whoever Alex is referring too is NOT saying anything about what's happening between them, and chooses to ignore whatever is happening and just watch everything go by because it's like an inevitable end. The sun goes down, the ocean waves, and paint dries. Like there's nothing you can do about it, and whoever Alex is referring to in this has accepted that, so they're just sitting back and "watching the paint job dry" or just letting it come to its inevitable end. BUT Alex KNOWS there's something there in their mind, they're just not talking about it, or else he wouldn't have asked in the first place, or the person in question wouldn't have stayed to watch the paint dry in the first place.

When it's over, you're supposed to know // Keeping up with the situation I said above, basically how I see it is that the other person should be the one to know when this relationship is over, because they're the one watching it go by and dry up. It's like if the other person is watching the relationship dry up, Alex is watching them.

[Verse 2]

Lights out on the Wonder Park // Probably all the mentions of a "wonder park" I think refer to some sort of like honeymoon phase in Alex's life, and how that phase of pure enjoyment and happiness has come to an end. That's also why I think every time a "wonder park" was mentioned they were in relatively sad songs. Including that one about Caroline as anon mentioned, despite it's upbeat tune have a very sad backstory.

Your saw-toothed lover boy was quick off the mark //I really like anon's mention of buddy and lover boy, since I did mention before about gendered terms in their songs and Alex has since taken a sharp turn away from using them. I think buddy and lover boy though, refer to himself. I think HE'S the saw toothed lover boy. I again don't really know how to explain it but I think saw-toothed lover boy again refers to Alex's persona on stage or in public or whatever mask he puts on in front of people. I don't really know what to think for "quick off the mark", maybe it's something like escaping from a situation the moment he can? Like the moment he can find a way to back off a conversation, the moment he can finally stop using his mask and his persona, he'll do it.

That's long enough in the sunshine for one night // Kind off related to what I said for the line above, I think sunshine could possibly mean kind of like a spotlight and/or a situation that gives him happiness. Kind of like he's telling himself that he's having too much fun and he should stop taking more of it from whoever or whatever he was getting it from. OR it could also be talking about his success as a rock star, he's already had so much, so he's been long enough in the "sunshine" now. ANOTHER one, more Milex-y is the "honeymoon" phase everyone considers ETYCTE Era to be. Ending it was basically them leaving the sunshine, because it was over and it was enough and they had to move on. Many interpretations for this one.

Didn't recognise you through the smoke // "smoke" could possibly be some metaphorical thing for persona's again but this is kind of a stretch (technically everything I said was a stretch but oh well). Possibly the person he's referring to has also covered themself up with so much "smoke" or fake persona's that when he sees them he almost doesn't recognize them.

Pyjama pants and a Subbuteo cloak // Apparently Subbuteo is this little table game where you play football with a bunch of these figurines, and the cloth for subbuteo Alex used as a cloak when he was kid (based from this interview). Hence, pajama pants and a subbuteo cloak. Little fun easter egg though which is probably unrelated to the song, but Miles has this partnership (?) (or maybe he just likes their clothing) of this brand called "Pretty Green". If you look at their Instagram you can find posts about Miles, and coincidentally enough, they launched a subbuteo line. Miles doesn't wear that line though, I just find it kinda funny and coincidental HAHAHAHAHA.

You know that it's alright if you wanna cry // I think this one is just Alex telling whoever he's referring to that it's okay to show him emotions, it's okay for them to tell him what they're feeling, he won't turn away, he won't judge.

WOW this ended up becoming long I'm so sorry T_T HAHAHAHAH. I hope I made sense and I hope you can read this without getting a headache.

Please be reminded this is all just speculation and my own person view on the song, it's in no way actually confirmed "correct". Music is an art and art is always interpreted by the viewer, so if you have your own thoughts please do share and stick with them.

Thank you so much to anon for giving me a lot of views on this song! I hope mine is up to your standards as well T_T. And to everyone else reading, I do hope you enjoyed!

To anon, if you have anymore thoughts, please do not hesitate to give me some more asks in my inbox, I absolutely love 'em, so I do hope I see you soon! Thank you so much again!

#alex turner #miles kane #the car #am7 #milex #ask #answered #tlsp #the last shadow puppets #arctic monkeys #am #my post #song analysis #I hope this made sense T_T #please take with 10 pounds of salt #so sorry again to anon for taking so long

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septembersghost · 1 year

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Something really getting me is El's covers of really famous songs are better? He put so much feeling into all of them

this is such a mood, and one of his superpowers, really. he was such a genius at delivery and so adept at emotionally and vocally wrapping his voice around a song that the covers become unique to him. maybe one of the most strikingly beautiful for me is his version of bridge over troubled water because it's...breathtaking and powerful, and he turns it more into a hymn. his cover of something (my second favorite beatles song, and my first is here comes the sun, i often wonder what it says about me that my top two favorites were written by george harrison, and then i hear them again and remember i'm right <3), makes it a little bit country, a little bit more bluesy. the pleading aspect of you've lost that lovin' feeling. always on my mind is so pretty. obviously from the start, hound dog, but a lot of the big covers he did much later, and they have such particular and moving qualities. or, like, take fools rush in. that song is one of my all-time favorites by frank sinatra (and of course it was covered by many artists, including frank himself years prior with tommy dorsey iirc), on the album of his i often cite, nice 'n' easy. it's longing and romantic, it's johnny mercer, it's the stunning perfection of nelson riddle's arrangement, it's frank's voice at a peak of rich feeling.

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trying to imitate this at all would be, well, foolish, so elvis takes it in a whole other direction. where frank's is pensive and a little heartbroken and woodwinds and strings, elvis makes it surprisingly jaunty. it's got a beat! it's got guitar! the wistfulness is intact, but instead of the more sorrowful undertone, it gains a confidence - rather than that feeling of, "will you let me in?," it's more like, "i know you're gonna let me in, but i'm asking anyway." both are perfect, both fit the artist exactly as they should, but they're almost completely different songs.

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part of the joy in listening to him cover music is the depth and individuality in those interpretations, it's captivating. he was just sublimely gifted at it.

#anonymous #letterbox #elvis presley #i love him your honor #so i keep singing a song #without music life would be a mistake #i was a dreamer

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sirowsky · 2 years

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Treat Me Right

Day 3, and this time I'm taking my first stab at Javier Gutierrez, but I haven't seen the film yet, so consider it a lose interpretation based on tidbits seen here and there.

Javi's having a day, and tries to hide from the world in a shabby old bar, when a woman walks in that instantly shifts his attention. And what's meant to be a one-nighter, might just become something much more.

Rating: Explicit 18+ONLY Warnings: Javi x ofc 'Luna', no reader insert, one mention of a failed attempt to spike a drink, intended one-night-stand, smut, p-i-v semi-safe sex (IUD). Oh, and Javi being needy and sweet af. Word Count: 3225 Author’s Masterlist Birthday Stories

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Javier Gutierrez sat by the bar, bored and a bit pensive. It had been a long day and not a very good one, which had become a trend of late. Deals had fallen through, friends had fallen out, harsh words had been spoken in anger and even though he regretted them, to some, the damage would be irreparable, because that was just how sensitive people were. He wasn’t sure if he would forgive their angered outbursts any more than they might forgive his.

The beer-bottle was sweating in his hands, and he idly picked at the label where it had started to come lose from the saturation, while his mind wandered to happier times, wishing he could be 20 and carefree once more. He hadn’t been, not even close, but memories were easily distorted, and within them, he could relive only the good parts, even if it only served to delude himself. It was allowed, wasn’t it? Lying to oneself, if it helped to ease the loneliness for a moment?

He sighed heavily, pulling himself out of the past and letting his eyes instead roam across the room for the umpteenth time that night, as if it would reveal something new. As if the loud drunks in the far corner would’ve magically seen fit to leave, or the young couples would’ve stopped looking doe-eyed at each other, or stealing less than publicly appropriate touches of one another. He was about to turn his attention back to the bar and settle his tab, conceding that this day or evening was just not gonna get any better, when the front door opened, drawing his gaze on reflex.

A woman was walking in, looking tired or annoyed, or maybe both. She was wearing a short white dress, stopping just above her mid-thigh, not figure-hugging but of a material that clung to her shapes in a very enticing way, especially when she walked. She had that powerful, confident sort of walk, even when she was just making her way across a sticky bar-floor, not even trying to look sexy, just wanting to get something done.

Her hair was short, stopping at her jaw but styled mostly over to one side tonight, so that the left side of her head was clearly visible, while the right was softly enveloped by dark-syrup-coloured waves that all peeled off towards the back of her head. She was wearing heels, but not crazy high ones. Sensible. Good for dancing without the risk of breaking a foot. And he was quite certain that those toned legs were good at anything she used them for.

Her jewellery was modest, small gold earrings shaped like stars, a wristwatch with a leather band in white to match the dress, and one thin gold ring on her right middle finger. And while her makeup made her unusual grey eyes pop, it wasn’t hiding her skin. She was the most beautiful creature he’d ever seen. So, what the fuck was she doing in this dive?

She came right up to the bar, which was largely empty since it was still only around 11pm and this was not one of the most popular venues in town, taking a seat at a stool just one removed from Javi. He noticed that she didn’t have a purse and was just wondering where she might be hiding a card, or cash, when he saw her reach into her bra to produce a few bills. Damn, he envied those little bastards.

The bartender had been otherwise engaged and did a literal doubletake when he noticed her waving her bills at him, clearly not expecting that level of class at this level of bar.

“I’ll have a mojito, please.”

The music wasn’t playing very loud, and while the guests in the far corner were still having fun, he could clearly her voice, a strong and deep kind of voice that he could imagine dropping into a honey-sweet nectar of a sound, if she decided to get seductive. He really had to stop thinking about that kinda stuff, or he’d have to walk out of the bar with what would be a very visible hard-on in these soft linen trousers.

“Never seen you here before. You lost, or something?”

Apparently, the bartender was not the smoothest operator in the room, and the woman was thoroughly unimpressed, fixing him with a hard glare.

“If I was, don’t you think I would’ve asked for directions instead of a drink?”

“Hey, it was just a joke to break the ice. Sorry.”

“I’ve heard eulogies funnier than that. If you wanna know something, just ask.”

The barman gave up at that, holding up his hands in surrender after placing her drink on the bar. But Javi saw her answer as more of an opening than a shut-down.

“Does that apply to other guests too, girasol?”

She only threw him a sideways glance at first, while slowly sipping her drink, but then turned her head to appraise him fully.

“Sure.”

Her tone clearly suggested that she was expecting him to tank, or at the very least that she wasn’t in the mood to get schmoozed. He’d have to stay at the top of his game to hold her interest. No bullshit.

“Okay. Then tell me, what has you so annoyed tonight? You’re not usually so tense, no?”

Her eyebrows flicked, just a fraction, not quite surprised but perhaps glad that he hadn’t just thrown a bad pick-up line at her.

“I’m… having a day. My so-called friends nagged me into going out when I really wasn’t in the mood to begin with, and then they tried to spike my drink to ‘make me more fun’.”

He was genuinely horrified to hear that, nearly breaking a tooth against the mouth of the beer-bottle with how firmly he pulled it from his lips to keep from choking on the liquid.

“They did what?!”

“Needless to say, they’re not my friends anymore. And this is about the last place anyone would look for me. Which is funny because I actually like places like these more than clubs. Easier on the ears. And feet.”

He just shook his head for a moment. People had tried to drug this woman? People that called themselves her friends?!

“I’m sorry, I’m still hoping to hear you say that you at least punched one of them…”

That managed to draw a small smile from her lips, making his chest soften at the sight.

“Oh, I very nearly kicked their faces in.”

“What the hell stopped you?”

She half-shrugged in that carefree kind of way.

“Short dress and a thong. Kicking requires legwork. Get’s tricky to keep from flashing people.”

He wasn’t sure if she was joking or not, but either way, the imagery sent his head into new places, distracting him from the anger. And she noticed.

“Sorry. Too much information. So, what brings you here, stranger? Cause you’re not fooling anyone; this isn’t your usual scene either.”

He dragged his mind back from the gutter, wondering if she’d mind if he moved to sit on the stool in between them. She barely even shifted on her seat as he settled in next to her.

“No? What gives it away?”

“You’re just too… preened. There’s a polish to you that doesn’t go with this décor. Let me guess… um… rich, bored and dissatisfied with either a specific part of your current circumstances or just life in general.”

He had to smile. It was too impressively accurate not to.

“Right on all counts. I suppose I’m here to hide as well.”

“Nothing wrong with that, obviously, but who are you hiding from?”

He actually had to think about that. Because while he was avoiding having to deal with the frayed friendships in his life right now, that wasn’t what had brought him to this place tonight.

“From myself. From having to admit that I’m…… alone.”

Something in her frame seemed to change hearing that. For the first time since she’d walked in, she didn’t look tough and ready for anything. She looked… kind.

“I know how you feel. Maybe for tonight… we could help each other be less alone?”

He couldn’t really believe that she’d just said that, but she had. Her eyes were bright and honest, waiting for a reply.

“I’d like that. Very much.”

She smiled in earnest then, and he had to stop himself from pulling her off her stool and into his lap, she was so intoxicatingly gorgeous when she sparkled like that. Instead, he took her hand and kissed it gently, just below the knuckles.

“I’m Javi. Very pleased to meet you, girasol.”

“Luna.”

As soon as he heard the name, he knew why she’d been named after the moon. Her eyes were that same grey colour that was in the shaded craters of it.

“What does girasol mean?”

“Sunflower, which is what you looked like to me when you first stepped in here. In this dark and shabby room, among these drunks and bathing-optional people, you look like a bright and strong flower.”

“Thank you.”

Still holding his hand, she stepped off the stool and pulled him along, but once outside, she stopped.

“So… hotel?”

“Sure. Room service in the morning sounds great.”

She smiled, and he showed her to his car, driving her to a nicer part of town and one of the good hotels. Not too exclusive, just really good, which he explained to her and then regretted it when he realized what an image that might present to her.

“Please don’t assume that I do this sort of thing often, I just know most hotels in most big cities because I travel a lot.”

“I wouldn’t judge either way, Javi. But just so you know, I’ve actually never done this sort of thing before.”

“Then I shall do my utmost to make sure you enjoy it.”

“I’m counting on that. And ditto.”

He picked a suite, just because he was used to having space, and when they walked in, she strolled along the hall and into the living room, over to the French doors that opened onto a huge balcony with a breath-taking view of the city skyline. He followed, and when she opened the French doors and shivered, he stepped up close behind her, letting his chest press lightly against her back while he placed his hands on her upper arms.

“It didn’t feel this cold downstairs.”

Her voice was low, not careful but perhaps anticipating, and he purposefully let his own drop to that soft but craving tone he only ever used in the bedroom.

“Don’t worry, preciosa. I’ll keep you warm.”

He kissed the top of her shoulder, moving up to her neck when she raised her chin and tilted her head to give him more room. His hands moved to her hips, urging her to turn so that he could kiss her properly, and gods above did she taste heavenly. It sent his senses wild, letting all the pent-up desire from the hour spent in that bar, admiring everything about her, come undone and rip through him.

But she responded with just as much fervour, pushing her hips into his when she felt him harden, seeking that wonderful friction. Unable to restrain himself anymore, he pushed her backwards into the bedroom, and didn’t stop until they both crashed down on the bed, and he could grind into her with a lot more force. She bucked into the sensation, wanting, needing even more, and he gave it to her, rolling his hips over her again and again, harder and harder until she came undone underneath him.

Fuck. Nothing so beautiful had ever existed, he was sure of it. He pulled back, ripping his short-sleeved linen shirt over his head and dropping it on the floor somewhere, before dipping down between her legs, needing to taste her release. She hadn’t been joking about the thong, white just like the dress, which he pushed up and out of his way, even though the soft fabric over her skin made his fingers tingle, before pulling the tiny undergarment off.

She was waxed and oh, so smooth against his lips and tongue as he explored her sex, from her swollen clit, down to her gushing entrance, and felt himself leak into his pants with how badly he wanted to slip in there. She was still recovering, but he couldn’t wait. He pulled the rest of the dress over her head, revealing the matching white bra underneath, into which she’d stuffed her money, keys and ID, making him chuckle.

“Good thing you’ve got big ladies, or there would not have been room for all this.”

She smiled and pushed up onto her elbows to let him get to the clasp behind her back, while also bringing her tits up to his face.

“They have their uses.”

He kissed, licked and fondled them with his nose while he worked the garment off, simply pushing her things off the side of the bed so they wouldn’t get in the way. He didn’t have the patience to put them up on the nightstand right then, he was struggling with a stand of his own. She noticed how desperate he was and reached down to help him free himself of his pants and underwear, and he felt a rush of pride at hearing her bite down on a gasp as she saw him, thick, hard and leaking for her. His brain was still somewhat functional, though.

“Protection?”

“Unless you found any stray condoms in my bra, you’re gonna have to trust my IUD.”

“Good. Because I really wanna fill you.”

She moaned at the mere thought, pulling his hips down harder into hers, once again grinding herself against him to get herself wetter for him.

“Ready for me, girasol?”

“Yes, please…”

He urged her further up onto the bed and then nestled himself onto her body, loving how her legs squeezed slightly at his sides, like she was hugging him, welcoming him home after a bad day. Reaching down to position himself, he watched her face closely, wanting to see how she reacted to him. He was big, and she was tight despite her earlier orgasm, but he could feel it when she softened, her silky walls giving to his girth, letting him move freely. And she looked hungry. Craving. Just like he surely did.

She felt better than anyone ever had. The way she responded to his firm thrusts, moving in his grasp to find her perfect angles, showing him what she needed, refusing to just lay there and be a passenger to her own pleasure, made him want her even more. It wasn’t even two minutes before she unravelled for him a second time, her cunt clutching around him so hard that he nearly came just from the incredible pulsing that tried to milk him, over and over, while she trembled and coiled in his arms.

He had no choice but to stay still while she came back down, and he was glad for that, because it gave him a chance to really look at her. To see the pulsing veins in her neck, the tiny beads of sweat in her hairline, the slight glazing of bliss cover her eyes. All things he would’ve missed in the heat and constant movement of the act.

“You’re doing so good, little moon. So good… But I want one more.”

“Oh, god… Javi, I don’t know if I can…”

“Trust me, you can do it.”

He kissed her thoroughly, then he sat up and spread her legs wider before he started slowly moving again, dragging himself against her still clenching walls, coaxing them into releasing a fresh bout of slick to make his thrusts easier. She was almost spent, her muscles already trembling from sensory overload, but still, he saw that tension start to build again within just a few minutes. Looking down at where their bodies met, watching his cock slip into her again and again, he could see her body react, and he knew that she was already close.

Perfect timing. He dropped back down, nipping at her neck and shoulder while his hands found purchase on the backs of her thighs, high up, right at the junction to her ass, and when he felt her begin to coil again, he dug his nails into her flesh. He drove into her hard while her body cramped up in her toughest orgasm yet, reaching his own burning crescendo right along with her, feeling the boundless satisfaction of his seed spilling into her core in thick ropes.

She was out as soon as the high ended, slumping underneath him while he kept kissing her neck, cheek, eyes… She was too good to be real, he had to touch her to be sure. He wanted to wake her, ask her to ride him so that he could watch her body better, because he wasn’t done with her. He needed so much more. But not now. He’d let her rest, to make sure that she would thoroughly enjoy every moment, and not feel too tired to appreciate the pleasure, or find him too selfish.

He pulled out slowly, feeling her walls close behind him with how swollen she was, reaffirming that he was making the right decision not to ask for more. But he was proud of himself for bringing her to the brink of what she could endure, it wasn’t something he managed often. He was usually a more careful lover, hesitant to take, content to just give whatever his partner wanted, but Luna brought out a different side.

Her, he wanted to claim. He wanted to smear her in his seed, his scent, so that no other man would ever dare come too close. He wanted her to reach for him, to want him all the time, and to never hesitate to demand his attention. But it was too soon for all that, so he would spend the night laying next to her, thinking and planning how to keep her in his arms come morning.

He watched the sun begin to creep in through the big windows, waiting for her to stir, excited to start actually wooing her. So, it surprised him when the moment she opened her eyes, all those thoughts vanished. A tired but joyful smile spread through her features as she located him, and her happiness robbed him of all semblances of self-control. Suddenly, all he knew was that he wanted her to keep smiling like that. He wanted her to let him make her happy.

He pulled her close and then rolled her up on top of him, holding her tightly against his frame as if he feared she might disappear if he let go.

“Stay, girasol.”

Her eyes sparkled again, even through the lingering sleepiness, turning him into a damned marshmallow.

“Stay and be my little moon, my shining sunflower… forever.”

She laughed. A light and happy sound, but not mocking. She wasn’t brushing him off, and just knowing that made him smile with her, hope making his chest swell underneath her warm bosom.

“Treat me right, and I’m yours, Javi.”

He would. Every day that he got to have with her, he’d make sure she knew that she was a treasure. His treasure.

–=¤=–=¤=–=¤=–=¤=–=¤=–=¤=–

@deadhumourist @idreamofboobear @tanzthompson @winter-fox-queen @tiffanyleen @shsoba05 @toomanystoriessolittletime @nolanell @myfavpedrothings @harriedandharassed @bruxasolta @tintinn16

#sirowsky's birthday celebration #javi g fanfiction #javi g x ofc #javi gutierrez x original female character #tuwomt fanfic #pedro pascal characters #pedro pascal fanfiction

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waiting-on-a-dream · 1 year

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𝙰𝚍𝚍𝚒𝚝𝚒𝚘𝚗𝚊𝚕 𝚒𝚗𝚏𝚘𝚛𝚖𝚊𝚝𝚒𝚘𝚗 (𝙺𝚒𝚢𝚘𝚜𝚑𝚒 𝚎𝚍𝚒𝚝𝚒𝚘𝚗)

"Have you been getting enough sleep?" Kiyoshi asks him on his third yawn for the day.

"Huh? Uh, kinda. I stayed up later yesterday to go over Noa-san's data," Haruto answers mostly truthfully. Going to sleep at 3 am instead of 1 am doesn't sound good either way.

"Its important to do your job well, but don't forget to take care of yourself too," Kiyoshi says like a responsible adult.

Haruto nods in agreement, because what else can he do? "Okay, thank you. I'll keep that in mind."

"By the way, what was going on with Watanabe-san last night? She's never been blackout drunk before," Kiyoshi frowns worriedly.

"She had a whole bottle of wine," Haruto disclosed nonchalantly.

"How'd she get her hands on something like that?!"

"Its a secret," Haruto answers just as nonchalantly.

Judging by Kiyoshi's baffled expression, he might have an idea as to what happened. Oops.

"Don't worry about it. Anyway, let's get started on your interrogation," Haruto grins, locking his hands together over his crossed legs.

"Eh? Fine." Kiyoshi definitely has more questions, but he's always been one of the more cooperative prisoners.

"The man you killed. Can you tell me more about him?"

Kiyoshi's expression darkens slightly, just slightly, at the mention of the man. "Ah. He was a drug dealer who targeted on people with financial and emotional issues. A despicable crook, truly."

"And he attacked you during his interrogation?"

"Yes. I had just been asking him the usual questions when he started smiling strangely. He lunged at me and well," Kiyoshi shrugs, "I did what I had to do to subdue him."

"Did you mean to kill him?"

Kiyoshi pauses for a split second. "No, it was an accident. I punched him to get him off me and his head hit the side of the table."

"Do you think he deserved to die?"

Kiyoshi frowns, likely confused by such a serious question. "...I think there was a chance he could have seen the error in his ways. I think he deserved to live."

Do you deserve to live since you killed him? Haruto refrains from asking the question out loud. "Alright. Now tell me about your family." Its about time to change the topic.

"I've told you before. Its just me and my parents."

"What are they like?"

"Ah... My father is a handyman. He helps around our neighborhood a lot. There's always something for him to fix. Its a tad concerning."

"What's concerning?"

"Our neighborhood breaking something everyday."

"Haha, yeah. What about your mom?"

"She used to work in finance. She's retired now, and spends most of her time watching TV and eating out (gossiping) with her friends as far as I know," Kiyoshi chuckles.

"Is she active in your neighborhood community as well?"

"Well, yes. How'd you know?" Kiyoshi blinks in surprise.

"Seems like being helpful runs in the family."

Kiyoshi chuckles again. "Haha, its not genetic of course. My parents made sure to teach me the importance of community and being helpful when I was young, that's all."

"That's nice," Haruto tilts his head.

"Yes. They're very good parents. I wouldn't trade them for the world." A wistful smile settles upon Kiyoshi's face.

Haruto doesn't think he can handle two pensive prisoners basically back to back, so he whips out his final question. "If the world was to end tomorrow, what would you do?"

"What can I do?" Kiyoshi shrugs. "Hypothetically, its going to end no matter what I do. I can't stop it."

"I'm not asking you to stop it. I'm asking you what you would do knowing the world's end is only one day away." How interesting. Kiyoshi is the only prisoner to interpret the question this way.

"Ohhh. I see," Kiyoshi nods with an apologetic chuckle. "Then, I think I'd arrange for a big party. BBQ sounds good."

"Its as if you're celebrating the end of the world," Haruto laughs.

"No, No. I'd want to spend time with the people I care about while eating heartily, you know?" Kiyoshi clarifies with an awkward cough. "Might as well spend the last of my time being happy."

"Yeah, that makes sense," Haruto nods.

#timeline wise it has been 12 hours #in real time it has been a day :D #prisoner 009: miyahara kiyoshi #prison guard: suzuki haruto

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chibitantei · 9 months

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@thedetectiveofinaba sends: Mask's Calling & Another Mask (uwu)

Interrogate me about muses | Open

1. I technically have Iwai on my Purseowner multi (no tags), but I'm still on the fence about him—I don't even have his voice down yet so I can't provide a writing sample. Everyone knows I'm a little harsh on P5's writing, so muse for a P5 character probably won't be very consistent? I also want to play through Royal before actually attempting to even test him, so he's just sitting there.

I know he kinda is Gun Dad to Joker in canon (and some other muses in fanon) but I'm one of those people who need to gel with an interpretation and mun before I can offer any found family relationships, so I'm also hesitant in writing him because of that.

2. So I think he's self explanatory :)

I just think we need more P.4 muses that aren't P4-kun and Yosuke :pensive: and he's a certified 100% good boy.

An attempt at writing was made

From his spot outside the room, he could tell they were doing it all wrong. If the fabric could speak or whatever, it’d be yelling what the hell? because that definitely wasn’t how you made a bag. And really, he wanted to kick the door down, yell—well not really, but he couldn’t think of a better word—and tell them how to fix it, but he didn’t.

Just because he wrestled and decked that stupid Shadow of his and accepted that hell yeah, he liked cute shit didn’t mean that he could just... apply it right away. The rest of the team, it came much easier, with the exception of Yosuke, that annoying shitty weasel, but with everyone else, it was still... weird.

And well, his current appearance would scare them, as if it did with nearly everybody else. He certainly looked manly, but acting the part of hotheaded punk didn’t really make him feel manly. It was just... something.

But changing gears so fast was just kinda... weird.

Point was, he didn’t feel like he could do anything but watch the two girls make some kind of Frankenstein tote bag. He balled his hands into fists, wondering if he should just leave when there was a tap on his shoulder.

He whirled around, prepared to come up with a bunch of reasons to explain why he was looking like a creep when he wasn't, but eventually, he realized the guy was just... Yu. But instead of looking how he usually did, there was a scary expression plastered all over his face and thinking of explanations was back on the menu.

“I just want to talk,” he said and Kanji wondered if he was trying to start a brawl. Sounded like he was.

But Senpai was an upstanding guy so it felt... strange to hear him say that, but maybe he really wanted to just... talk.

“...Then we should, uh, do it outside.”

What did he want, anyway?

#Ask Status: Answered #thedetectiveofinaba #ooc: outta coffee #iconing is a bitch

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missnight0wl · 2 years

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So I rewatched Akemi Stormborn's year 7 chapter 42 playthrough(because I gave up on my account) and check this out One of the vials is missing. COULD THIS MEAN SOMETHING?! Or maybe I'm just overthinking BUT i don't thinkkkk I ammm This feels so intentional MAYBE ONE OF THE MISSING MEMORIES HAS SOME VERY IMPORTANT CLUES AND MAYBE SOMEONE STOLE IT OR THE OLD DADA TEACHER KEPT IT FOR THEMSELVES

Also, I did make the old dada teacher a character now. Their name is unknown but he's nicknamed "The Hunter" Not that original but it's new so bare with me They chained up Olivia but before they could take her memories away, she placed a horrid curse on them with her remaining strength. So fun

Here’s the link to the video if anyone’s interested because why not. Go check it out! Support the fellow fandom creator! :)

As for your question, I admit I totally missed it, so good catch! It could indeed be meaningful, and perhaps the missing memory is somehow particularly important. I’m not sure how, admittedly, as it’s hard to speculate not knowing what these memories are about in general. But still, it could lead to something interesting.

Alternatively, it is meaningful BUT nothing is actually missing. See, I noticed after your message that there are seven vials, and my first thought was: “Oh, maybe it’s one vial per one year at Hogwarts!”. And even if it’s not the case, perhaps the person who extracted these memories needed just exactly seven of them. I mean, imagine them thinking: “Well, I have all the memories I need, but my box has eight slots. Should I get one more random to make it even?”. And they decided that it’d be pointless. You know what I mean? Of course, then we could wonder why Jam City didn’t design the box with seven slots. But that’s why I’m not dismissing the idea of a stolen vial entirely. I just wanted to point out that it could go either way, especially since a number 7 is usually pretty important in the HP universe, so maybe JC was influenced by it as well.

Still, I have to say that I’m kind of bothered by this whole plotline because… it doesn’t really make sense. And I absolutely don’t want to criticize your idea with the former DADA professor, but it’s actually something that bugs me. Because why in the world the vials are in the DADA office, to begin with?

Alright, here’s the thing: when you remove one’s memories, you don’t need to extract them in the Pensieve-readable form. We even saw it in the game. When Pettigrew Obliviated MC or when MC Obliviated Merula (in Talbott’s TLSQ), there was no “white, whispy liquid”. Therefore, I assume that you don’t really need to extract them to modify them either.

Another issue: I’m pretty sure that extracting memories in the Pensieve-readable form doesn’t make you forget them. If I recall correctly, Dumbledore knew what memories they’re about to see with Harry in the Half-Blood Prince, even if it was his memory. I also believe that Snape was furious about Harry sticking his nosy head into the Pensive not only because it was inappropriate, but also because he knew exactly what Harry saw. I don’t know, the way I interpret the Pensieve is that it doesn’t make you forget, but rather that it makes the memories… less intrusive? Like, maybe you wouldn’t randomly remember it during a day, but you would if you chose to. I believe Dumbledore also mentioned that a Pensieve makes it easier to review your memories. So, I assume you might be able to view them more objectively? But either way, the point is that it doesn’t make you FORGET.

And even if JC decided to make their own rules and say that you have to extract memories to modify them… it still doesn’t make sense! Because Penny was actually right in the recent chapter:

(By the way, it’s a nice reference to the “Penny For Your Thoughts” SQ.)

Olivia seems to be missing any memories of R, right? Therefore, it’s reasonable to assume that it was R who removed/modified her real memories. But then, why would they keep the real extracted memories instead of destroying them? It has to be possible to do! And I know that some criminals like to keep trophies of their crimes, but I’m pretty sure most of them prefer to get rid of all evidence. So, why someone kept Olivia's memories?

To be clear, I’m aware that logic is not always JC’s strong suit, but if you ask me… it’d make much more sense if whoever hid the vials was not really trying to hide them, but to protect them. Maybe it was Olivia herself who decided to remove her own memories because she thought it’d keep her safe from R? Then, she asked someone to keep her real memories to use them in the future. Maybe Olivia or someone else was expecting that R might remove Olivia’s memories, so they extracted them in advance to secure them? Either way, I honestly expect that R might not know about the vials, at least not yet.

Now, going back to the missing vial. I imagine that if the missing vial was indeed stolen, it had to be done by someone in a hurry, no matter what were their intentions. That’s why they couldn’t take the whole box – it’d increase the risk of being caught. But yes, it would also mean that that one vial might be the most important. And so, the vial was stolen either to be protected or possibly destroyed.

Why the box was in the DADA office, though? I don’t know. I know there is some information about it to discuss in the datamined chapters, but I want to keep this post free of those spoilers. However, all things considered, I don’t know if The Hunter wouldn’t work better as a good guy. Or just with a different profession, really, as Olivia deserves to use some horrid curse in self-defence. But if The Hunter was a DADA professor and therefore had easy access to the office, why would they leave the box there? Or took just one vial?

Finally, I mentioned it in another post already, but I’ll say it again: I kind of wish the vials didn't contain Olivia’s memories at all simply because signing them with the initials: “O.G.” is very on the nose. And I know that JC sometimes likes to be very on the nose, but still, I think it’s a potential for a pretty cool plot twist.

#hogwarts mystery #hphm #hphm spoilers #olivia green #hphm r #analysis post #ask #thedoodlecat

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cosmictulips · 2 years

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Okay, so initially I wanted to do the tarot reading but then I got an intuitive message like I never have before. I am not sure how helpful this is or will be in the future but I just have to tell you I am almost dizzy. First I was seeing you and your sister in your room. You were on the computer, I think maybe studying for a lecture or something, you were quite serious and deep in thought, pensive, but very content. Your sister was laying on the bed, she has rainbow striped kneesocks and she’s watching gravity falls with her headphones on (Idk why this specifically stood out to me but it did), there is an open suitcase with a bunch of stuff in there. Maybe you‘re going to travel somewhere? this feels all really peaceful and both of you are at ease, something tells me that this comes after a time period where you two were so tense and on edge that sometimes you couldn’t‘ stand being in the same room but not because you hate each other on anything like that!! Rather you both were soooo fucking preoccupied with life that there was no way you could allow yourselves to relax even in the slightest. But now there is peace, you‘re breathing. It is late at night but there is no rush, you both just seem to enjoy each other’s company while doing your thing. Then the next scene I saw was you driving in a dark blue or maybe black car? Not sure but you are taking a right turn then you are on the parking lot of a huge mall, you are wearing a really colorful flows dress and you‘re laughing because *now don‘t shoot the messenger* for the first time in a very long time you do not feel as if you have to care about how much it will cost (I think you might be buying a bracelet or something, because I am seeing shiny metal). Then the next scene, I saw you at the concert for a split second and your face is so bright with the headlights and all and you‘re watching the stage but at the same time you‘re seeing Apollo and he‘s giving you a smile. Then I felt Hermes presence and he put his hand on your shoulder. But this was all just in the blink of an eye. Then the next and final scene: you and your sister are sitting on the couch, feet on the table, both of you have a hot chocolate (i think? Or Irish coffee idk but like a warm dring with whipped cream). It is dark outside and starts to snow, this has to be a few day‘s before Christmas because I heard „oh the weather outside is frightful but the fire is so delightful since there‘s no place to go let it snow let it snow let it snow“ you were watching rupaul‘s drag race first and the grinch second. Both of you are laughing and this whole scene just feels so so so safe. I think, however that this is a different apartment form the first situation, so maybe you weren‘t going to travel but to relocate? Not sure, but this feels so secure, so … i don‘t know what other word to use but there is stillness, calmness. Then I was like… what does this all mean? And I saw the star card and heard „you have to be a fox. You have to take the next step“ my fingers are tingling writing this down and I almost want to take a pen and sign my name somewhere. I feel like you‘ll know what this means either some parts now already or just when the time comes then you‘ll remember this message but yeah. Not exactly an exchange reading (sorry!) but I think still worth sharing. Now it‘s up to you to interpret this I guess????? Sorry if this is vague I don’t even know what to do with myself now lol. Sending you hugs and kisses <3

Helllooo friend!

there's actually a lot to unpack here and it's funny that I get this after having a dream of my own that was kind of similiar to this reading lmao. are we just sharing the same energy? you mentioned it in your other ask and I was like lolol maybe??? but now I'm like... maybe lol

OMFG

did YOU NOT JUST GET THE FOX CARD IN YOUR OTHER LITTLE THING YOU SENT ME.

and... dude

Apollo, Hermes ... and even aphrodite have been such bros for me lately lmao. one of the songs that was played at the concert was called "satellite" and part of the lyrics are "if you lead, I will follow. I will be your apollo alone in outer space" you know referring to the rocket

but like --- I swear to you it felt like I was just singing to and with apollo the whole time LOL. and like I carry hermes with me wherever I go and I was gushing to both of them about the concert lmao.

I have been hearing for awhile now that I'll be moving. moving to where I don't really know lol. but that star card indicates that something big is coming my way. it's all being kept vague for a reason and I will trust it.

like yea, I felt my bois and aphrodite at that concert lmao. like genuinely, it just felt like I grew a stronger connection to them lolol.

but yea, as for the rest of it it's funny cause Gravity falls is my favorite show lololol. and I've been catching my sister up with rupaul xD

butttt this actually gives me a lot of hope because we've been praying heavily for the day where we can just relax and not look at the price tag lolol

#thank you my friend #this actually makes a lot of sense #me #but yea I screamed at the apollo and hermes part #I knew they were with me LOL

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