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itsclydebitches · 6 months

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Zevlor: An Angsty Character Analysis

Hey, Zevlor simps. Can I interest anyone in 4,000 words about our favorite disaster tiefling? 💀

“We can’t stay, but we’ll be slaughtered if we leave—we’re no fighters.”

Back during my first play-through this is the line that turned Zevlor from another dime-a-dozen, exposition spouting NPC to a character I was legitimately interested in. “We’re no fighters.” My DnD ignorance abounds, but even I could see that wasn’t an accurate statement. Here’s a mountain of a man sporting fancier armor than my level 2 Tav knows exists yet, having wrecked half the goblin hoard with his crossbow and, if you let him, he'll happily turn to punching as a solution to verbal disagreements. Plus, he’s clearly the one giving the orders, so what do you mean you’re not a fighter?

Having explored the Grove a bit I chalked it up to a generalized assessment of the refugees as a whole. They’re mostly kids, civilians, and would-be protectors who only look the part of fighters in cobbled-together armor. One woman is grappling with the guilt of killing someone for the first time, even an enemy. Lakrissa is sure they’re all going to get slaughtered and is willing to put money on that fact. Meanwhile, the couple you meet are more concerned with what pet they’ll get when they somehow, someway, make it to the city. Don't worry about how that'll happen. You learn later that even those like Ronan are small potatoes compared to most of the baddies you’ll face. On paper he looks and sounds like the real deal—dressed in robes, talking up an apprenticeship with the famous Lorroakan—but scenes like the celebration light show and his own fury at needing to be saved, again, highlight how far he still has to go. The point is that Zevlor is right: these aren’t fighters and he at 18 strength, paladin, former commander, is definitely the exception.

However, BG3 is the sort of detail-heavy game where I’d expect them to include that exception in the dialogue. “We can’t stay, but we’ll be slaughtered if we leave—these people aren’t fighters.” Zevlor’s inclusion of himself in this assessment continued to nag at me and it didn’t start to make sense until I delved into his tag here on tumblr, with more patient players than myself posting everything there is to know about the tiefling. (Thanks, all.) Zevlor is fascinating to me in part because he has this contradictory nature, one example of which is that he’s a very talented fighter who desperately doesn’t want to be a fighter anymore.

…but also he totally does.

We overhear in his dialogue to Tilses that Zevlor is adamant about shedding the titles he’s earned through combat: Hellrider, Commander, Sir. He insists that they’re just civilians now and it’s not like he’s being disingenuous here—note that he introduces himself as just “Zevlor” to Tav. Zevlor means what he says to Tilses and we can see that he’s trying to both reinforce his point and lesson the blow by referring to her as “Tilly.” The nickname is a sweet one, hinting at their close bond in just a single word, reminding her that he’s not saying this to hurt her, he cares for her… but the nickname is simultaneously something he never would have used as her commander. The intimacy meant to comfort is also a hard blow to weather. They're now people who use nicknames inappropriate for the hierarchy of battle.

So Zevlor means what he says here, means it enough that Tilses is convinced and drops her use of “Commander,” but there’s definitely a hint of bitterness in his voice. At least, I’ve always heard it. Zevlor is steadfast in his conviction here, even going so far as to say, “I’m done soldiering, Tilly” when discussing what will come next at Baldur’s Gate. Yet for all of that his tone conveys (understandable) anger and disappointment that it’s come to this. Zevlor doesn’t act like someone who truly wants this change, but rather someone who’s been forced to accept it.

Is it outside forces unwillingly influencing him then? Did Avernus truly change things irrevocably? No, not really. At least, not in the way Zevlor likes to claim. Tilses herself states that being a Hellrider is for life; nothing can take away that title. You lost your post? Your whole city? Most of the people under your protection? Doesn’t matter! You’re a Hellrider forever, no matter the circumstances. I can easily picture a time in Zevlor's life where he would have agreed with Tilses wholeheartedly. They are Hellriders, dammit, and so long as there’s one person looking for their help they will wield that title alongside their blades. And right now, Zevlor has a lot more than just one person in need of his assistance.

So it’s not that Avernus truly stripped them of that identity. Nothing can do that. Zevlor is not rejecting titles and planning retirement because the mechanisms of fate are forcing him to.

He’s doing all that because he’s lost confidence in himself.

Even as someone with a shaky understanding of DnD classes, I love the parallel between a broken oath and the rejection of a lifelong title. If Zevlor can fail in his oath—or in his faith entirely, according to the memories stemming from his pod—why-ever would he think that any other ‘permanent’ part of his identity was worth fighting for? If you can loose the very thing you’ve built your entire life around, every important aspect of yourself, tied to your very soul… what’s a bestowed title compared to that? Zevlor doesn’t believe himself worthy of being a Hellrider anymore, but I think that goes deeper than a string of horrific circumstances making him feel incompetent. As an Oathbreaker, Zevlor likely believes that if he couldn’t uphold that, he can’t uphold anything. Calling himself a Hellrider would be a lie. A fiction. A pathetic, dangerous, insulting fiction at that. It’s like calling yourself the “Hero” while continually failing those around you. Sure, others might insist it’s a title you’ve earned, one you will always carry with you, but you don’t believe them anymore and at a certain point calling yourself that feels worse than embracing the title of “Villain." You don’t want to be the villain… but you want to pretend you’re the hero even less. Pretending is exhausting.

We see this struggle in the many ways that Zevlor fails, or almost fails, to uphold the ideals that originally guided him. I use the term “villain” above deliberately because Zevlor is not merely a former hero-type who’s self confidence has been shattered, or who has been reduced to a civilian, or who thinks themselves useless; he’s actively fighting against temptations that, under less stressful situations, he’d never even consider. I don’t think he is a villain, I think he’s a flawed, struggling victim who sees his own, inevitable mistakes as villainous—and the longer that warped perspective continues the easier it is to fall into bad behaviors. This cycle is perfectly summarized in the autobiography Zevlor keeps by his bed:

“When every passer-by thinks you a thief and a heretic, it is deeply tempting to become one.”

We don’t know if this is Zevlor’s autobiography (as far as I’m aware, anyway) but even if it’s not the words have clearly resonated enough for him to keep them nearby. This particular line paints a pretty clear picture of Zevlor’s struggle. If everyone you meet says you’re devil-kin, vermin, or would-be criminal, isn’t it easier to just give them what they want? If you can’t persuade them otherwise, why put in the effort of trying? If he can’t be Faithful to his God, why have faith in anything at all? If he can’t save these people—setback after setback, mistake after mistake—why is he even making the effort?

Zevlor obviously is trying, very, very hard, which is why such thoughts are merely temptations rather than actual, questionable actions. Still, the Grove gives us numerous examples of the precipice he’s balanced on—and the ways Tav can tip him in one direction or another. You can talk Zevlor down from his anger and get him to acknowledge his disgust in nearly sinking to Aradin’s level. You can also let him boil over and punch the human at a time when the last thing anyone needs is more violence. You can convince Zevlor that there are peaceful ways of stopping Kagha's ritual, or you can help him in pursuing the darker temptation to kill her. It’s a “low” thought, but at his own admission he hasn’t been above entertaining it. Zevlor’s requests for help, though always polite and humble, carry a spark of manipulation in them too. He’s not above leveraging your previously selfless good deed to his advantage—"She owes you for saving this grove"—and if you approach him before speaking with Kagha he’ll claim that the ritual will “be trouble—for all of us.” Except, no? Not really? Tav can make it clear that they’re just here for a healer, they’re only passing through, and as a fighter they are not beholden to the Grove’s sanctuary as the teiflings are. It’s not trouble for everyone involved, yet Zevlor frames it as such in the hopes that (unnecessary) self-interest may motivate you if selflessness fails. Finally, if Zevlor dies in your play-through and you use Speak the Dead on him, he will admit to having “plenty” of secrets, none of which he’ll share. Admittedly, this may be the result of cut content, specifically a story-line in which Zevlor knowingly betrays the tieflings rather than being tricked by the Absolute. Still, the game as it stands is the story we have and within it we’re given a man who is both fighting against these dark urges (ha) and has a past riddled with secrets. If Zevlor is anything, it’s blunt when it comes to his own failings, accurate and otherwise. So how terrible must these secrets be that he outright refuses to divulge them when, generally speaking, most corpses speak freely in death?

However, out of all of this the struggle I’m most intrigued by is the one surrounding the gate. Zevlor represents the tieflings: persecuted refugees, vulnerable civilians, people seeking to survive through cooperation, specifically by joining a community. Kagha represents the druids (or at least a vocal subset of them in Halsin’s absence): bigoted individuals, powerful fighters, people seeking to survive by giving in to their fears, specifically by keeping themselves isolated. This is the moral dichotomy of the Grove and it is symbolized through the gate. Zevlor wants to open it to everyone whereas Kagha wants to close it, permanently.

So isn’t it odd that Zevlor is the one ordering it shut?

When the scene first starts Kanon shouts down that no, he won’t open the gate. Zevlor said that no one is allowed in. Notably, he’s saying this to Aradin and his crew, people that the Grove is at least passingly familiar with, given that Halsin left with them to search the temple. It’s also notable that Zevlor isn’t expecting goblins to attack the Grove. He’s shocked that this is suddenly a problem, brought about by Aradin’s decision—“You lead them here?”— and the entire point of staying at the Grove is that it’s at least comparatively safe. Yes, there have been more attacks lately, but Zevlor seems to be relying on the Grove’s relatively unknown location, as well as the fact that goblins are normally disorganized. The safety is only compromised because Aradin brought a hunting party back, so Zevlor has no reason to expect any visitors, let alone ones that would be a threat.

More importantly, he should welcome such visitors even if he did expect them. After all, that’s precisely what the tieflings are: strangers with no ulterior motives other than to survive. Broadly speaking it makes perfect sense why he'd shut the gates. Zevlor’s first priority is to his people, so anything that keeps them safe is, theoretically, a good thing. But through the lens of his specific characterization and this specific, moral dilemma, it’s an awfully hypocritical decision. Based on everything we’ve seen, our party would not have been welcomed by Zevlor if we’d arrived without danger on our heels and a rescue to endear him to us. So his people should be welcomed, trusted, kept safe, given the benefit of the doubt… but Zevlor isn’t necessarily willing to extend that same trust to others. At the end of the day, he and Kagha want a version of the same thing: safety for those they deem are worthy of it.

It’s precisely these flaws and temptations that make Zevlor such a great character to me, even before he’s tricked by the Absolute. The fandom has leaned hard into Zevlor’s self-loathing and let me tell you, I love it (kisses, hugs, and cookies for you all), but canonically I think he has more reason to fear himself than we tend to portray in the H/C fics. I’m not saying he’s a bad person. Rather, it’s precisely because Zevlor is such a good person that he has the capacity to fall so far. It’s his all-consuming desire to protect his family that leads Zevlor to do and consider so much that a paladin would normally balk at. Denying others the safety you’ve been granted. Subtly manipulating others to do your dirty work. Considering murder.

Zevlor is someone torn between doing the Right Thing and the thing he believes will help those under his care survive. Importantly, when we first meet him he considers these to be two separate courses of action. So can you imagine what goes through his head when he first sees Tav saving everyone and doing so righteously? I think it’s integral to Zevlor’s characterization that the game all but forces you to play the Good Guy in that initial encounter. A cut scene starts, you’re thrown into combat immediately afterwards, and unless you plan to start attacking the Grove members alongside the goblins (which the mechanics discourage through the coloring that distinguishes enemies from allies) you will always finish this fight as Zevlor’s hero. Sure, you can be an asshole afterwards and demand payment. You could already be plotting your betrayal and the slaughter of all the refugees. But in this moment you are nothing but a miracle made flesh in his eyes. Right from the start Tav is succeeding in all the ways Zevlor feels like he's failed. You're the hero.

More specifically, you’re an Every-Man Hero. We might have epic backstories for our Tavs, but within confines of the game you’re largely a nobody when not playing an Origin character. How powerful must that have been to witness then? A total stranger, someone who has no ties to the tieflings or even, depending on your class, any sworn reason to help others, putting their life on the line to save what is most precious to Zevlor? I think a lot about the fact that he never asks Wyll to step in and try to change Kagha’s mind. She owes him just as much as she does Tav—Wyll is an equal participant in that fight and, if your shoddy play style is anything like mine, he likely did more damage—and Wyll is clearly invested in the tiefling’s survival, training the kids as he is. Now, obviously Zevlor’s reticence is largely a question of assigned roles (we need to be the one engaging with Kagha because we’re the protagonist/player) but, like Zevlor’s choice to include himself in the Not a Fighter group, it would have been all too easy to explain this away within the narrative. One comment about how Wyll already tried and failed, or how Kagha doesn’t trust Warlocks, or hell, maybe you don’t meet Wyll in the Grove at all. It’s an easy thing to accomplish and though this is edging more into the realm of headcanon than anything else, I can’t help but think that Wyll isn’t the kind of person that Zevlor could turn to for help right now. Because he’s a folk hero. The Blade of Frontiers, known far and wide for his impressive, selfless deeds. Zevlor is struggling so hard to keep the tieflings safe, tempted by all the unsavory solutions that might achieve that, drowning in self-hatred as his past and current failings catch up with him, wanting nothing more than to be his peoples’ protector:

“I would be a paladin again—with a god’s purpose, a god’s power. Everything I needed to protect my people. And all the while, the cult tortured them. They fought, and ran, and died around me, while I imagined myself their savior.”

Three of the things Zevlor mutters while trapped in the pod are “Hellrider… for… life…,” “Trust… in me…,” and “Children… look away… look at me…” He wants to be the protector, the one children look to for reassurance, he wants his words to Tilly to be a lie and he wants a way to prove that he is a Hellrider for life… but he’s not. At least, Zevlor doesn’t believe it. He lost his titles while Wyll still proudly bears his. Wyll trains the children to fight while Zevlor can only get swept up in anger at them being threatened. The people trust Wyll, adore him, he’s the hero and Zevlor… is not. Not anymore.

It’s too painful to approach Wyll and admit all that. That would be a hell of a blow to Zevlor's pride. But Tav? A stranger? A nobody? The Every-man who had no reason to help or reputation pressuring them, saving them anyway? That’s inspiring. Someone like Tav could be the answer and even, perhaps, the proof that Zevlor could redeem himself. Neither of them are folk heroes, untouchable in their assumed perfection. Tav is a living, breathing example of how the flawed, everyday adventurer can be everything Zevlor strives for.

No wonder he won’t shut up about them in the Shadowlands.

All of this is why it’s so tragic that Zevlor wasn’t given a redemption arc. Sure, you can recruit him for the final battle against the Netherbrain, but there’s no quest to change the cast’s opinion of him—or change Zevlor’s opinion of himself. All his content at the end of Act 2 and Act 3 reinforces that self-hatred.

Let’s make a list, shall we?

Nearly every line of his reunion with Tav has Zevlor painting himself in the worst light possible, from “a lie kinder than the truth” to his refusal to join you because he believes he’ll stab you in the back. You cannot convince him of the Absolute’s manipulation and there’s no response to his belief that such horrors start within the person like, “Of course it does! Because we’re all flawed and equally capable of good and evil deeds! That potential doesn’t make you irredeemable, Zevlor, it makes you mortal!!”

He’s utterly failed as his peoples’ champion and he’s also deemed “unworthy” of being a True Soul. Obviously not being chosen by the Absolute is a good thing, but for a man drowning in self-loathing that’s one hell of a complicated rejection.

Nearly all the tieflings hate him now, all those people he’s been sacrificing his soul to keep safe. I found it particularly devastating that this is one of the rare occasions where nailing a persuasion check doesn’t change the person’s mind. There’s at least one tiefling at Moonrise (I’m drawing a blank on her name) who will believe you when you explain how the Absolute influenced Zevlor, but that doesn’t lead to forgiveness.

Zevlor is deemed unimportant on a literal, narrative level. He is very easy to miss in the pods (I nearly did on my first play-through) and the game does incredibly little to dissuade you from that mistake. Putting aside for a moment that obviously an Origin companion is more significant than a minor NPC, compare this to Shadowheart screaming from her own pod, the game making it abundantly clear that this is someone in need of help—someone worth rescuing. She’ll even say later that you could have run past, more concerned with your own survival and the big picture heroics to bother with her. How must it feel then, if Zevlor ever learns that Tav was there and never stopped for him?

If you do miss Zevlor… oh boy. We’ve probably all seen at least a recording of Orin’s so-called gift. There are plenty of characters who can meet untimely and devastating ends, but very few go through this level of horror. Zevlor—after being held captive, remember—is tortured by God’s Favorite Torturer. He is stripped of his personhood and reduced to a mere “message,” a “pet.” Zevlor is further humiliated in death by being literally stripped of his armor—not just vulnerable in his nakedness, but denied the last symbol of his faith, his status, his power—and it’s always struck me that this is the closest we see to him 'enjoying' an intimate moment, this parody in Orin’s painting. Zevlor is one of the NPC’s most in need of physical comfort and instead he’s forced into this torturous mockery of a sex scene. It also hits hard that when Tav first spots his body the narration says that Zevlor “might almost be sleeping.” Undoubtedly this is a man who isn’t taking good care of himself. He needs a good night’s rest, yet this horrifying trick is all he gets.

As if all this weren’t enough, most of your companion are VERY critical of Zevlor while commenting on his demise. It’s one thing for the tieflings to believe the worst given their ignorance and the fact that they are the ones who suffered from Zevlor’s failure, but your company understands the Absolute and the ways that she gets her hooks in people. Still, Astarion calls him a “wet rag” even if he did deserve better than this. Shadowheart wouldn’t have wished this on him either, but she can’t help but slip in a “no matter his failings.” Lae’zel, often the most blunt, straight up says that he was “always destined to fail his people—and to fail us.” Wyll shakes his head and intones that “even good intentions can lead us down deadly paths.” Only Gale and Karlach stick to mourning the dead rather than airing his shortcomings.

When I spoke to my allies before the final battle Zevlor didn’t have a cut scene. It became clear to me later that this must have been a bug in my play-through, but at the time it only reinforced my feelings that his story was incomplete. Looking on Youtube I’ve found recordings of him saying that he is a Hellrider once more and he would “die a proud man if [he] were to die this day”… but that rings as terribly hollow given where we left him. Last we were together, Zevlor was saying in no uncertain terms that he could not be trusted, he would fail again, he was unworthy of forgiveness. Where did this change of heart come from? It makes perfect sense that he would help Tav in this moment—he begs to be of some use after getting free—but not that he would present himself with such confidence. Within the story as it’s been told this feels… fake. Like Zevlor is putting on a mask to fit the mood of this lively, optimistic party. Which, in turn, gives the “I would die a proud man” line a terrifying implication to me. Does Zevlor expect to die this day? Does he intend to? What would persuade him not to lay down his life here and now? His mission is complete. The tieflings are safe—though not by his hand. There's no hero's welcome waiting for him after this battle. They hate him. He hates himself, and by his own admission the one thing that could still make him proud would be to die at Tav’s side, trying to do one last bit of good. If someone said that to me after everything Zevlor has been through I would keep them far away from the front lines.

(I did, for the record lol.)

I’m not saying anything new then when I go, “Larian, PLEASE add more to his story.” Give us a Zevlor side-quest to renew his oath. Let us invite him to our camp. Something to link the broken man mid-game and the confident fighter at the end so that the latter doesn’t feel like an alarm bell with two legs and a tail. I mean yeah, I get hooked on minor characters so 75% of this is simply me wanting more content of a fave, but I also I do legitimately believe that BG3’s story would benefit from tying up loose ends like this.

Zevlor is a fantastic character, someone who contains an astounding amount of complexity for so little screen time. You have to follow up on that complexity though. If he’s meant to be a purely tragic figure, okay, fine, that’s the ending you get with Orin. But one where he joins you with a smile and reclaims a title he's previously rejected with such fervor requires more work in the middle; a through-line that explains how someone with so much self-loathing learns to think of himself as the hero again.

Because it does all come down to Zevlor’s perception of himself. He was always a hero, flaws and all. He always was and always will be a Hellrider.

The UI knows what's up :)

#BG3 #Zevlor #bg3 Zevlor #wow this took forever #someone cry over this wet cat of a tiefling with me #mymetas

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luuxxart · 6 months

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evil win! the ones plotting for your mysterious death are uncle and nephew!

#persona 5 #persona 4 #goro akechi #tohru adachi #uncle Adachi au #this came from the idea of apophenia #which means connecting dots that aren’t there #every time I see these two in fanart I go ‘wow . Adachi is so uncle coded here. akechi is totally his nephew. everyone is thinkign this’#false. my au has not reached enough eyes #so I just idk wanted to draw them next to each other to inspire further apophenia in both me and perhaps my followers lol #i was inspired by someone who like. literally just drew them beside each other and I was like. yeah i could do that #NO I COULDNT. NOT EASILY #my brain was like ‘you should do a comic abt how Adachi can’t help but see his sister in akechi bc they look almost exactly the same’#and there was a lot more angst in the arsenal as well #took me forever to just. draw this. like literally I thought I was gonna go insane #i cant. not. draw. a comic. or something with the vaguest of stories it is SO HARD idk why #so this was definitely a struggle. hope y all like it

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uhbasicallyjustmilex · 3 months

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♡ handwriting analysis: alex turner and miles kane ♡

as promised, here is the analysis my wonderful friend (who used to work as a professional handwriting analyst) did of miles and alex's handwriting! a couple of important points to read before you dive in:

my friend analysed these blind - to avoid bias, she always makes a point of never knowing whose handwriting it is she's looking at, so she had no idea that these samples were from alex and miles while analysing them (not that it'd have made much difference if she had, she can't even name one am song lol)

she stressed that her analysis should NOT be taken as fact - it's just one person's interpretation of the material, and handwriting analysis is ultimately always subjective

the two analyses below are based on notes i took while she was talking and is pretty much verbatim - none of the wording is my own and i have changed as little as possible in typing it up

she noted that it was harder to provide a full and accurate analysis just working with photos of handwriting, as you can't see things like pressure on the page etc. she also stressed that context is significant when it comes to interpreting someone's writing, and it's important to bear in mind that how someone writes in one context, e.g. signing autographs or writing something for the general public could show quite different characteristics to how someone writes in another context, e.g. personal letters to someone they're close to. in an ideal world she'd have access to samples from a different range of contexts to provide the most detailed and accurate analysis. in other words, this analysis is quite rough

alex's handwriting:

(samples taken from roughly 2011 - 2018)

block capitals suggest this is someone who don't want to show themselves, makes it hard for people to reach them

someone interested in thoughts and ideas, would engage with these in a way that's intelligent and very original

a lot of emotional and social inconsistency, suggests someone pulled in different directions. they might show very different sides of themselves with different people and probably have complex and/or conflicted feelings about identity

very creative, someone who'd make interesting and unusual connections about the world around them

highly intuitive but also lacking harmony from an emotional perspective. lots of internal emotional conflict and changeability

someone who fluctuates a lot socially as well as emotionally - might go from being quite sociable to withdrawing completely. ultimately struggles to reach out socially and holds back a lot, but there might be certain situations or people they feel particularly at ease with where this is different

really hard to read, don't give much of themselves away

thoughtful and enquiring, interested in ideas

someone who feels things very strongly

signature:

implies someone hiding themselves or presenting as someone they're not. they want to look confident and exciting, but they're actually much less confident that they'd like to appear. lets their creative and artistic tendencies hide them and take centre stage.

miles's handwriting:

(samples taken from roughly 2022 - 2023)

a little sharp, could suggest humorous wit and/or being critical (either of self or of others)

ambitious and incisive, intelligent and enquiring mind

fearful or wary about opening up and reaching out to people, emotional inconsistency. potentially quite restrained - looks like someone used to hiding a lot of hiding of emotions

has an enquiring mind but isn't particularly interested in abstract thought, more grounded in reality and social/emotional things

someone with strong feelings, they get held in and confused. could be warm and open on a surface level, but looks like they'd be reserved about their innermost feelings

could be sharp tongued to avoid dealing with their own feelings

lower zone suggests someone who might not be completely comfortable in their own body and/or sexuality, or have a complex relationship with these things

someone with a tendency towards strong feelings and devotion/worship (could be religious, or could just be to do with the way they relate to people or ideas)

signature:

someone who wants to look more confident they feel. sense of changeability and flashes of insecurity, but ultimately suggests strength of character, not someone who's a pushover. they know what they want and what matters to them.

interesting extra notes:

the wonderful @ballad-of-what-could-have-been managed to find this sample of alex's handwriting not in capitals from when he was much younger (from what i can see, it looks like it was early fwn era):

so i showed this to my friend too (after her analysis of alex's usual writing) and noted that it was probably done when he was a lot younger. she said that all her points from the original analysis still stood, and that despite the fact this writing isn't capitalised it was actually still very hard to read and definitely someone not comfortable with showing themselves. she also said that it was more emotionally conflicted and uncertain than the later sample of their handwriting. the phrase "emotionally all over the place" was used, and she noted a greater sense of inconsistency with identity. overall though she said the earlier sample confirms that this is someone with a high level of intuition and originality, and she said they're someone she'd be fascinated to have a conversation with!

thank you for reading! if you have any questions, please feel free to comment/drop me an ask and i can always pick my friend's brain again the next time i see her!

#wow this took me forever lol #please feel free to share thoughts/comments! 💗#i don't know how everyone else feels about this but i personally was BLOWN AWAY and honestly i haven't recovered yet 😭😭#so much of it just feels spookily spot on #in terms of my personal sense of each of them anyway #like when the first thing my friend said about alex was to do with identity and being pulled in different directions?? fuck #and then all the stuff about miles and devotion/worship???#i don't even know how to talk about everything i'm feeling rn actually #god my heart hurts 🥺#anyway #i'll stop rambling #i hope everyone found this as fascinating as i did!#alex turner #miles kane #the last shadow puppets #tlsp #arctic monkeys #lulu posts

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bradshawsbitch · 1 year

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“hi, i’m miles teller and i’m currently on the set for bleed for this. . . [doing illegal shit with my hands]”

#miles teller #miles teller gifs #vinny pazienza #bleed for this #mt*#my gifs #tgm cast #bradley rooster bradshaw #if you squint #god this took me forever cause my laptop kept crashing #but it’s worth it cause wow he looks hot as fckkkk

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answer2jeff · 4 months

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when it rolls in like thunder:

chapter 1.5 — anyone else but you.

DISCLAIMER: half chapters are much shorter and used as wholesome, or not ;), fillers for the series! they're essentially palate cleansers so you can be emotionally prepared for more angst + hurt/comfort in the full chapters. however, you won't need to read these half chapters to understand context in full ones.

husband!carmy x hispanic!wife!reader

teaser. chapter 1. next chapter.

warnings : reader occasionally speaks some Spanish that Carmen hasn't picked up on. he thinks it's endearing. nothing else really. just very fluffy and touching. just good ol' sappy carmen and his wife going out for the day before the honeymoon!

authors note : this series is not doing well and it's kinda killing me inside but that's okay! just for funzies. also, the end is mostly dialogue. got a little lazy. sorry!

word count : 3k (not as short as i thought it would be ngl..)

highly recommend listening to the series playlist.

song(s) for this chapter : anyone else but you, & everyone adores you (at least i do)

"14.56? You're kidding me!"

Your eyes scan over the rainbow assortment of fresh, boxed fruit, the overpriced strawberries immediately grasping your attention. But not necessarily in a good way. Neither you or Carmen can totally remember who's idea it was to walk to the farmers market in this dry heat. It's not like you don't enjoy long walks, but it comes with cons. Pollen irritates your nose and the wind always messes up your hair.

You tug at Carmen's shirt, which, for once, isn't a tight-fitting pure cotton tee. It almost looks a little big on him, the sleeves rolled and cuffed perfectly so they still hug his arms. It's collared too. That ring on his finger makes your knees weak. He smells like the cologne he used to snag from Mikey's bathroom as a teenager. Richie got him his own bottle for Christmas the year after his passing and he's been wearing a spray or two on his neck and the insides of his wrists every 'special occasion' ever since.

And a hint of cigarette smoke. But you like it.

You always have.

He looks good. Fresh. Clean. Yours.

"Wow. I mean—" Carmen lets out a breathy chuckle that isn't quite loud enough to be a laugh, "it's a massive box. And it's strawberry season: May."

Still, despite his persuasive tone and the big hand that sits in the back pocket of your jean shorts as he stands beside you, it's not enough to convince you it's reasonable.

"But—"

"And we're at a farmers market, like, 10 minutes away from our place. Convenience costs money, baby."

Carmen peers down at you, retracting his hand from your rear and teasingly pushing your head into his shoulder. You pout. You don't want him to be right. The dramatics are fun.

"Pero, que es eso? Quieren que yo pago casi quince dólares para unos pinche fresas?" You throw your hands up, directly pointing to the tempting, fresh, and beautifully red fruit.

Carmen only nods. Even after 2 years of accidentally eavesdropping on your conversations, filled with the Spanish slang and sometimes vulgar language you've been using your whole life, he still hasn't quite learned much. Most of the time, he's too anxious to ask you what you're saying. He worries it'll make you stop doing it in front of him.

Until he comes to Tina, desperately. She'll ask him for the details but he can only remember bits and pieces of your one-sided conversations with him. She laughs for a moment or makes her eyes go theatrically wide just to fuck with his head. But eventually, she tells him the truth.

You only know this because Tina immediately started cracking jokes after she spent 15 minutes crying over your engagement, and then another 25 over your official elopement. 'Sacaste con un puré, gringo, mi vida! He needs patience!' she'd say to you whenever Carmen did the most minuscule thing that not-so-accidentally set you off.

"Mi amor," you turn to him, pinching your fingers and widening your eyes to make sure he's really paying attention, even if he doesn't understand you, "podemos comprar la misma cosa en Walmart, or algo así!"

The look in his eyes suggests that he didn't catch most of that. The only words he picked up were "mi amor" and "Walmart," obviously. He just assumes you're continuing your pointless bicker. But he doesn't have the heart, or even the want, to stop you.

He does love the way your nicknames for him roll off of your tongue. It warms something in him. Almost as if he believes your words capture your feelings and fully encapsulates him better than boring English ever does. They're smooth and they stick to his brain hours, or even days after they're spoken to him. In fact, he's been pretending he didn't faintly hear you whisper into his curls as he drifted off to sleep 'te amo con todo mi alma' last night, all fucking morning. It's the only full sentence you've ever spoken to him that he's been able to engrave into his memory.

"Uh-huh," he chuckles as he nods his head slowly, his dimples cinching in near the corners of his mouth. His skin looks a little tanner and brighter than usual. The veins in his eyelids are nearly invisible now, and the little moles that are scattered around his face and body are so much darker now. You thank the spring, nearly reaching the tips of summer, sun for bringing some life back to him. But you're not done complaining. So, you try not to smile in awe of your husband.

"Ó sea, que, are they gonna make me grow a magical straw-baby?"

"What, like—like how people say you'll grow a watermelon in your stomach if you swallow a seed?"

"Yeah! Like that!"

"I don't know, peach. Maybe?"

"It's not worth finding out."

"Yeah. Definitely not."

Despite this, you guys buy the damn strawberries.

You continue walking through the market and stopping at every other intricate little selection of produce, picking up ingredients for tonight's, tomorrow's, and the next day's dinner. You're still snacking on the overpriced strawberries, the entire carton in hand. Carmen occasionally lets you pop one in his mouth. He contently bites right before the stem and swallows. They're perfectly ripe, sweet, and juicy. And unfortunately a tad bit sticky. In the end, they're worth the aggressive price tag.

Finally, you stop in your tracks at a flower stand. Bouquets tied together with white ribbonYou're immediately drawn to the vibrant red of the roses and the pure, angelic white of the mums. Oh god, and you're convinced the baby's breath tucked in neatly between each gap that couldn't be closed by blooming petals could remedy the need for plant life in your living room. The fantasy makes you feel like you just can't leave without taking some of these gorgeous flowers with you.

"Mm—" you point, your mouth full of mushy strawberries, "those look really nice."

For a moment, Carmen hesitates. Those flowers will shrivel. They will lose their once attractive and captivating saturation of color. He's not even sure if they'll last more than 72 hours, given how bloomed the petals are. But you still have those clay vases from your engagement party. And he still loves to make you happy. Despite their fleeting nature, your appreciation for his gestures will last forever. Even if their lifespan doesn't.

Carmen's had this tendency for longer than either of you can pinpoint. Having money he doesn't need, money he doesn't use, has led to him making some questionable decisions. All in good faith. But impractical nonetheless. Take, for example, that time he bought you a Cartier love bracelet for your 1 year anniversary.

Yes, you heard that right. Cartier. The gold and shiny flat bands that required the disassembling and unscrewing of 18 karat gold bolts with a miniature fucking screwdriver. Oh, and this was even after you and him agreed to 'no gifts,' as you were already planning a trip to Copenhagen. The reaction he received from you wasn't quite what he expected. Tears streaming down your face and the kiss on his cheek to compensate for the lack of a proper gift for him was not part of the thoroughly walked through plan he wrote in his head. But your happiness is his, in the purest and pathetic and shameless way. He realized this the moment he screwed that last bolt and secured the thin piece of gold against the circumference of your wrist.

It's around 4pm, and the glistening sun is just slightly past its highest peek. Bright transparent blue and green spoons made from hard plastic swirl around in the cheap, (and definitely not authentic) gelato you share. Outdoor seating wasn't the first option, now that spring was slowly evolving into another scorching hot Chicago summer, but the AC of the parlor was sure to give you hypothermia.

"Fuckin' hot out here. Can't see," Carmen mutters, taking a small bite of the creamy pistachio mixture. He squints at the blinding beam of the sunlight. You felt a little guilty for letting him sit right in the direction of the sun. But he insisted.

"Did y'know blue eyes are more sensitive to sunlight?" You raised your brows, wiping the corner of your mouth and licking the gelato residue from it.

"Seriously?" Carmen leans forward, putting his hand above his eyes as a makeshift visor. His hand reaches out to adjust the heart shaped sunglasses that started to fall off of your head.

"Here," you hand them to him, feeling bad that you'd completely forgotten about them.

"And yes, seriously," you nod, hovering over the table and adjusting the sunglasses so they'd rest perfectly on Carmen's nose before sitting back down, "It's because blue eyes have less melanosomes compared to green and brown eyes."

A simple, "thank you, baby," would've sufficed, but kisses your lips, gently cradling your jaw and barely letting a breath of air slip through the empty space between your mouths after the 3rd kiss. Alas, you remove your lips from his and sit back down.

"Is there, like—"

"An exact number?" You finished his sentence.

"Yeah."

"Yes, actually. Blue eyes have 3 in each, green eyes have 5, and brown eyes usually have around 9 to 12 depending on how deep the color is."

You smile, shrugging your shoulders as you try to remain humble. It's impressive, he has to admit. Carmen's always been fascinated by your knowledge of pointless information. He wishes he could store and retain so much of what you know. But for now, he'll just admire you for it. He'll contemplate his lack of ability to remember things like patterns and bullet pointed facts that didn't relate to culinary arts later.

"Huh," he crosses his arms against his chest, his button up shirt squeezing his flesh and showing his slightly faded tattoos "kinda makes sense."

Letting out a laugh or two, you take another disappointing bite of the fake gelato monstrosity. It's not that it doesn't taste decent, but the texture is off and the crystallized ice that formed around the sides is unappealing for the price. Carmen had doubts since the moment you dragged him in by the hand like a greedy kid spotting a candy store. But he didn't say anything. What's the point of using his knowledge and skills to crush making you happy? It wasn't necessary at the time.

But, much to his pleasure of being correct, but his dismay of your disappointment, you aren't the biggest fan of it in the end.

"This isn't great," you swallow, shaking your head and dropping the spoon back into the paper cup in defeat as the green and nutty mixture went down your throat for the last time.

"It's not real," Carmen joins you, just to end up dropping his spoon in the same unfulfilling manner, too. "Most gelato places aren't. Gelato's dense. Not fluffy."

You nod, pushing the cup to the side and interlocking your fingers into his. His calloused fingertips gently caress the back of your hand and go over every little vein and mole that shines through your soft and soothing skin. He's become pretty fond of the whole hand-holding thing. Especially with that pretty rock on your finger. It's delicate. You're delicate. You're his.

"You've been doing that since the day we met, y'know," you hold onto his hand tighter, smiling and snatching your sunglasses back from his face with one swift motion before he can protest.

"What? Explaining shit about food you don't care about?" Carmen chuckles, his teeth showing. Sometimes he was embarrassed of his info-dumping, but he's learned to not be so shameful of it. You find it interesting. He doesn't really notice that he does it anymore.

"Yeah. But it's cute. It's what made me wanna keep talking to you. You don't do it to make me feel stupid, or something. You just.."

You paused to think.

"You know a lot about what you do, Carm. You're passionate."

Ah. The day you met.

Around 3 years ago, you'd just moved to the bustling city of Chicago after writing and successfully selling a beautiful script to an indie short film, which ended up being undeserving of your work due to the poor execution of dialogue. It didn't even end up showing at the film festival you were practically forced to attend. Even after co-writing and directing film projects and not-so-popular cinematic pieces, you hadn't tasted the pleasure of success. You dreamed to write something all on your own and conjure up a moving script of the century. You figured moving to a brand new city would get the creative juices flowing. Eventually, it did, but it took a boring circle of friends and a couple sleepless nights before you were successfully back and thriving in the industry.

You decided celebrating with an appletini or two at a shitty Karaoke bar down the block from your apartment was the best option. And thank god you did.

Carmen caught your eye the moment you detached yourself from your social circle to smoke a cigarette or two outback in the alleyway to melt the anxiety that started to consume you once you got a little tipsy for the first time in months. The tattoo on his hand and the way he crouched down on the asphalt beside Richie who complained endlessly about the complexities of his divorce was intriguing.

You butted into their conversation and lit a cigarette of your own, politely greeting them. Richie didn't say much. It's like he knew it would be Carmen's opportunity to function like a normal person and have a pleasant conversation with a random bar girl in black pantyhose and combat boots. The two of you discussed moving back to Chicago, discovering that Carmen actually grew up there and started a new life of culinary exploration and expertise, while you just needed a sense of control and escapism.

After the conversation had reduced to mundane small talk, visibly making both of you tense up, you finally got his name: Carmen Berzatto. His use of his full name was a little displacing. It made you wonder if you should've known who he was, considering his surprisingly humble background check. You couldn't help but want to know if there was more to him than his career. More than his cigarettes and his tattoos and his weird love-hate relationship with his family friend he called 'cousin' for no real particular reason.

More than the restaurant he'd been trying to revive.

That night caused him to come to the realization that he didn't actually know if there was more to him. Ever since that conversation and its rude interruption of Richie's right hook into some random guys face landing him in a cell overnight, he's been forming into a real person instead of the outer shell that is his job as a chef. He asked about your films, your projects, what made you start working in cinematography, and who your inspirations were. You answered completely honestly and wholeheartedly with every question, never making him feel a burden for his curiosity.

You could tell he was nervous with the way his voice shook and his breath went uneven with every look.

"I was kinda scared to talk to you when you came up to me," Carmen smiles, running his free hand through his dry and defined blonde curls. You squinted in disbelief.

"What? Me?"

"Yeah. I don't know, I–" he shrugs, leaning forward to get even closer to your again "you were cool right off the bat. You still are. Possibly a lot cooler than me."

You roll your eyes playfully, refusing to take the compliment in a fit of flattery. Constantly being humble around Carmen was kinda hard. Especially with the way he unintentionally showered you with compliments that were really just state of facts to him. But he didn't want you to be humble. He wanted you to own that shit.

"And you're beautiful. So, so beautiful. I think that scared me a little, too."

"I think I might've been more nervous than you were. I was just so determined to talk to the hot guy with tattoos and a blue apron over a slutty white t-shirt that I tried desperately to hide it," you joked, laughing harder at the sight of an eyeroll of his own.

"Yeah, well, look at us now. Married," Carmen smiles, gently pushing a strand of your hair behind your ear and exposing your decorated lobe with earrings Natalie gifted you for your birthday last year. "I'm glad you stuck it out. You always do. All the time."

Carmen gushes over your ability to 'always know what to say,' when you know deep down your life is just a constant cycle of 'figuring it out' and 'going with the flow' of inevitable highs and lows of life as you go on. Your brilliance is so organic. Everything about you has always been the purest form of excellence and love to him. Even when he barely knew you.

"Can I ask you a really stupid question?" You bite at the inside of your cheek, your hand releasing from Carmen's so you could clasp your palms together in a pleading motion.

"Sure."

You pause, swallowing the familiar lump that hasn't formed in your throat since the first time you told him you wanted every part of him in your life.

"When..." you breathe in sharply through your nose, "did you realize, 'oh yeah, I need to spend the rest of my life with her.' Was there any specific moment?"

Almost without a second thought, Carmen answers with a blush against his cheeks and his hand grasping yours again at the loss of physical contact.

"Probably the first time we kissed."

That response surprises you more than it probably should. That night in your apartment changed his course and perspective on love and life for the rest of eternity. He learned to slow down and let himself fail and pick the pieces of his mistakes back up.

"I love you, Carmy."

"I love you."

He says it back hungrily like he needs it to be branded into the ridges of your mind. And at this rate, it might've already been stamped into your memories of him.

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goginaporter · 6 months

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lyrical analysis of love you forever

or, breaking down ricky's love (confession) for gina

we're a little under three months out from the series finale of high school musical: the musical: the series. I've spent those months freaking out over rina and appreciating the beautiful arc they got in s4 that closed out their story over the course of the series. there are a million special moments that rina has in s4 (I mean, a rain kiss? can I have this dance? a duet together about their commitment to each other despite uncertainty? we really got it all) but one definitely stands out among the rest. love you forever is ricky's declaration of love for gina that he sings to her at her press conference for her new movie that, as far as he knows, is about to send her across the world. this post is gonna be a line by line analysis of the lyrics, as well as talking about everything that brought them to that moment and that made it special. enjoy <33

I've been wishing on a falling star for too long

this line opens the song and is such a beautiful callback to when there was me and you, the song ricky all but serenades gina with in 1.06 (the lines it references: I thought you were my fairy tale / A dream when I'm not sleeping / A wish upon a star / That's coming true). wtwmay is a song that gabriella sings after troy's betrayal in hsm and when ricky sings this line, to me, it represents a callback to his past relationship with nini. he was holding on to nini and that relationship too tight, wishing on a falling star. as gabriella says, wishes on stars just "don't come true" and for ricky, this relationship ultimately ended in failure. however, as much as this line signifies the crash and burn nature of that relationship, it's also a reference to the start of his relationship with gina in that bunker room as he strummed on a guitar, in a similar fashion to love you forever, to these lyrics.

I've been running, I don't know what from

this line references the conversation that ricky had with ej in 4.05 when ej forces ricky to reckon with the fact that he runs away from those he loves when faced with hard realities and that this tendency hurts both those around him, but also hurts him. it's incredibly full circle when you pair this with the fact that ricky is singing the song on the guitar ej gave him after they sang speak out, where ej tells him that "you'll probably get more use outta this than me" (4.05). i think it's really cool that this line also references gina's similar character flaw of running when things get hard, which she also sings about in second chance (Maybe I'm safer when I'm on the run / No time to open up my heart / Maybe I'll hide behind my walls again / Instead of tearing them apart) (also important to note that second chance is non-digetic and ricky has never heard gina sing these lyrics). so fascinating that ricky and gina have the same habit of running, with ricky running back to things that are familiar and gina pushing forward to leave things in the past before they can hurt her.

But you and I've become a sacred kinda home

this is one of my favorite lines of the song, especially because this theme of finding a home is such a critical cornerstone for both ricky and gina's arcs throughout the show. ricky's home life in s1 turns on its head when he discovers that his parents are separating. pairing this with his breakup with nini nearly sends him into a spiral, but he finds a new home of sorts in the theater program, telling gina "it's just nice to have somewhere to go after school every day, y'know" (1.05), which she herself resonates with, affirming his feelings.

of course, at the beginning of s2, we find out that ricky and his dad are moving to an apartment after his mom moves out. this drastic shift, the loss of his childhood home, is again disorienting, and again paired with changes with nini, what with her moving to denver. in 2.02, he tells nini that she is his home, which is really interesting, placing that kind of pressure on her. but what's even more interesting is that he knows he's moving, knows from the beginning of 2.01, and yet nini does not find out about his new home until 2.03 on valentine's day, months later. this is juxtaposed to gina showing up to his apartment that same episode. it's especially special that ricky is placed in the same situation that gina typically faces, the unpacking and getting accustomed to a new space. it is those undertones that serve as the undercurrent for their conversation. the apartment is in disarray when gina arrives, and remains that way for much of the season. gina, however, is endeared by the messy environment of the apartment and jokes along with ricky to put him at ease. by the time we return to it in s4, it's (naturally) much more lived in, with clothes strewn about, pictures of gina, and aptly placed posters lining the wall of ricky's room.

as I mentioned earlier, ricky calls nini his home in s2. this line says that he and gina together have become a home of sorts for each other. singing this to gina is important for ricky, but it also speaks to the unpredictable nature of gina's childhood, where she moved from city to city, never staying in one place for more than a few months, which she tells ricky in 1.05. by the end of s1, we think that she has to move again, something that's harder for her now that she's made connections with the wildcats, namely with ricky. as we see in the flashback scene in 2.06, she tells ricky that she wouldn't quit on them if not for her move, that they would essentially remain close if she weren't leaving salt lake. of course, she doesn't leave and instead moves in with ashlyn. it's her first taste of stability that she can really remember, but as she tells carlos in 2.04, she feels out of place living in a house she doesn't own and with a family that isn't hers. these feelings culminate in gina wanting to leave, a subplot we see primarily in 2.05 and 2.06. after revealing to ashlyn what she said to ricky opening night of hsm, ashlyn sings home from beauty and the beast to gina, telling her that she has a home with ashlyn, not just physically, but within their friendship. there is so much symbolism in that one scene that we don't have time to get into but this moment definitely shifts gina's perception of what a home can look like. in s3, we learn that her mom is moving back to salt lake city where she'll be staying long-term to allow gina to complete her time at east high. in fact, it's in this very house that we get our first scene of rina in s4, with ricky sneaking into her window. one's room is a reflection of oneself, and ricky and gina are all over each other's rooms, both literally and figuratively, throughout the season. combining this with the connection between the two that only strengthens over the course of the season, it comes as no surprise that ricky sees his and gina's relationship as a sacred home.

I'm in love, I'm in love, I'm in love and I know it / No net, no fear, right here in this moment

my twitter account was littered with theories and thoughts and hopes for ricky's love confession to gina, but whether it was public or private, planned or spontaneous, the one thing that I knew I wanted was for ricky to say that he is in love with gina. so on august 9th when ricky got to the chorus of love you forever, tears started pooling in my eyes because the confession, which was already literally perfect, delivered my biggest wish. one of my favorite aspects of the song is how much it reflects their journey because these are all the words that ricky would tell gina in some big speech, evidenced by him practicing all throughout 4.07. but when it comes down to it, after references to moments between them and beautiful metaphors, it builds to him telling gina not only does he love her, but that he's in love with her. there's no doubt in his mind of this fact. the sky is blue, the sun shines, and ricky bowen loves gina porter. so much of ricky's love for nini was tied to fear, especially a fear of change. that his love for gina transcends fear, that he is confident in what he tells her both shows his growth in romantic relationships but also in how much gina has redefined what it means to love someone for him.

I've never been more sure of what I got, yeah / Cause this is so much more than puppy love, so

continuing with the theme of confidence, ricky tells gina that he's never been more sure of what he's got in their relationship. I know I'm bringing rini up a lot but that relationship is a perfect frame of reference for how much ricky has changed when it comes to love. both his singing of I think I kinda you know in 1.01 and his love confession to nini in 1.10, while genuine, are riddled with stuttering and uncertainty ("I think", "I don't know", etc.). when you compare the ricky of 1.01 and the ricky of 4.08 and how he attempts to use song to profess his love, the differences are stark, and that's the point. as he all but said in 3.08, everything he's known about love has been changed by gina and that is reflected in love you forever. I love the puppy love nod and think it's narratively important for so many reasons. for one, it's a reference to their first date, as well as to gina's childhood. in that vein, it seems to mirror what gina tells ricky in 4.02, that mack was a crush of her childhood. calling what they have "more than puppy love" also nods to their growth, not just over the course of the series, but even throughout the season. from dealing with scrutiny in the fallout of the documentary to gina's increasingly busy schedule to their temporary pause to gina nearly moving across the world, they've been faced with many problems, and while they didn't handle all of them perfectly, they handled them together and came out that much stronger.

I'll say it first, no matter what the cost / Here I am full heart, full stop / I love you

in 3.05, ricky talks to jet following the fallout of the real campers of shallow lake drama. he asks jet what he's running from and tells him that sometimes when feelings are hard to articulate, it helps to sing instead. with love you forever, we see ricky taking his own advice. I love that ricky is insistent that he tells gina "I love you" first, both because he wants to rectify mistakes from his last relationship, but also because gina says, in a talking head, that she doesn't want to be the first to say "I love you," (4.06) further cementing the connection that rina has. it also affirms that there is no doubt in either of their minds that they love each other and want to say it to each other. it's also important to note that ricky understands the risk of singing this song at this point in time. for all he knows, gina is about to board a plane that will be taking her to the other side of the world for six months. however, he sings this song, affirms his love for her, no matter the cost, because he just wants her to know. he loves her in salt lake, he loves her in new zealand, and he loves her forever. ricky sings that he is there with a full heart, full stop I love you. in an interview after s3's finale, tim federle, the showrunner, states that while nini will always have a small part of ricky's heart, gina has a way of making hearts race. this line, to me, symbolizes the notion that gina is his heart, that his love for her encompasses it. there's a beautiful analysis of ricky being gina's heart canonically that I think helps tie all of this together, establishing that gina is ricky's heart, just like he is hers.

of course, I would be remiss to not talk about the full stop of it all. as we see in a flashback in 4.06, ricky opens up to gina in their first meeting about how he struggled saying I love you to nini, his ex. after hearing this, gina presents him with a possibility you can tell he's never considered: "maybe you just don't love her, full stop." ricky stutters in response, but doesn't fully negate gina's statement, in fact telling her that he's "kinda" planning on telling nini through song later that night outside her window (ironic that this plan doesn't pan out for him twice in the show, both here and in 2.03). that he brings up this notion of full stop, where there's no room for doubt, in his confession for gina further proves how deep and real and true their love is for each other. super small thing before I move on but I love how "I love you" gets its own special moment of pause in the song to fully communicate the gravity of such a statement.

I never knew that I could feel so sure and so strong /How can three old words feel so brand new?

Again, this idea of being sure comes up again in this second verse/buildup to the chorus. ricky has done the love confession before. he's been in love before. but again, with gina, it's different. it's deeper, more strong, more secure. and so when he says these words, in a situation that mirrors his audition for hsm, of course it feels different. in that auditon, he was singing nini's words back to her. love you forever, in contrast, is all ricky. those three words do feel new because now he's singing them to gina and for gina, where previously he sang them for himself. also a really cool note about the parallels between ricky's audition and love you forever is that tim federle released the initial script for love you forever, and one of the descriptions writes that ricky "launches into the audition of a lifetime." this song, this confession, is the start of his forever with gina. of course these words feel new.

Mm, so rare, so real right here in this moment / And I'm starin' at the only thing I want, so

I tear up hearing ricky say that the love that he has for gina is both rare and real. both ricky and gina, at different points throughout the show, cast doubt on love. ricky says in a talking head in 1.01 that love is dead (fun fact: ricky is wearing the same denim jacket from that talking head during love you forever teehee). gina, in the 4.06 flashback, calls love lame. their faith in love ebbs and flows throughout the show, but once they are together, there's no question. it's why ricky encourages the seblos reconciliation in 4.06 or why gina tells jet to confess his feelings for kourtney in 4.08. if they've found this beautiful love in each other, where they got a second chance on love in every sense of the words, why wouldn't they want that for everyone else, for the people that they love?

the second half of this lyric, of ricky "staring at the only thing he wants," is my absolute favorite line of love you forever. ricky's eyes are naturally drawn to gina in nearly every episode of the show, whether she's looking at him or not, whether they're speaking or not. even before he recognized those feelings in himself, we could see it because she was always the apple of his eye. this rings especially true during love you forever, where ricky does not take his eyes off of gina the entire song, except when miss jenn turns the lights on. gina is the center of his universe and who he has been drawn to since she entered his life. there was a tweet after s4 aired that stated that ricky looks at gina as though he's falling deeper in love with her every time and this line captures that.

I wanna finish what we started in the stairwell where we met

the bridge opens with this line and it's so fitting. to suggest that committing to loving each other forever is finishing what they started when they had that first conversation in the stairwell is so insane and will always make me spiral when I think about it. this line all but confirms that ricky and gina began to fall for each other in that moment. that their conversation in the stairwell is what catalyzed their respective character arcs also all but confirms that they're soulmates, that there was an invisible string that connected them, inexplicably tying their fates together forever.

I wanna live like I have never even heard the word regret

both ricky and gina have instances that they look back on and wish they had done things differently. gina says so explicitly in 2.05 when speaking to kourtney. she alludes to her goodbye to ricky after hsm's opening night, stating that it was something she wishes she could take back. in 3.06, ricky tells jet that he wishes that he didn't let color war gina slip through his fingers, suggesting that he would've done things differently if he were more cognizant of his feelings for her. ricky never wants to feel like that again, that he's missed his chance with gina due to fear. he wholeheartedly embraces his love for her because he knows what it was like to live without it and doesn't want to live in a world where gina isn't his reality.

I wanna scream what's in my heart and I won't ever take it back

ricky and ej's duet in 4.05 is about speaking your truth and speaking even when it's hard. the song even has a line about "screaming out." where in speak out, screaming out solicits no sound, ricky singing this line in love you forever is him being able to vocalize the feelings in his heart. he also commits to never taking these words back. his feelings for gina are eternal and everlasting. this is important for gina to hear because words have always been unreliable to her. people that she cares about, whether her mom or jamie or even e.j., have made verbal commitments to her at one point or another, and each one of them has later reneged on that commitment, whether intentionally or not. ricky can say these words, can say "I love you" to gina, because he's been saying it through his actions the entire show. gina doesn't always trust words, but she trusts actions. ricky has more than proven his love for her, and it's this continued declaration through his works that allows these words to ring true for her.

'Cause I love you feels a lot like high school and forever after that

I made this observation a couple weeks ago but this line is so fascinating. when the season first dropped and I heard the line, I was a tad confused. what does it mean for love to feel like high school? I was listening to the hsm3 soundtrack when it all clicked for me. in high school musical, the final song they sing in hsm3, the last line is "I want the rest of my life to feel just like a / High school musical" with this line, ricky is basically saying that he will love gina for the rest of his life. throwing in a hsm reference is also incredibly fitting given that they've just completed the first night of their run as troyella, further cementing their legacy as the troyella of the show. i love that, even when the bridge is repeated, ricky and gina are the only ones to sing these lines. when the bridge is sung for the third and final time, ricky and gina are now together on stage singing the words "I"m in love, I'm in love, I'm in love" to each other in between the lines of the bridge. the song closes with ricky singing "I love you feels a lot like high school" with gina singing "and forever after that." I love this ending for two reasons: ending the song with rina singing together re-emphasizes that they're in love, and in love together (for the first time), as tim mentions in an interview. I also love it because even as the wildcats join to sing the bridge near the end of the song, ricky and gina are the only people to sing the lines "I'm in love x3" and "I love you feels a lot like high school." even though their friends step in to sing some lines, ultimately, the song is a love song for gina, about gina, and that's why it ends with her. as tim (love how much I'm referencing him) mentioned in an interview, rina is the beating heart of the romance of the show, and their friends coming in to sing along to ricky's love song for gina fully solidifies this.

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