#{analyses}

[cinnamj]

michael did not embody the stereotypical and highly masculine womanizer archetype. to me, he was a seductress and a vixen. he was a doe and a fox. he was both eve biting the apple and the snake that tempted her.

[snowfox-98]

Analyse der Szene, in der Leo Adam absetzt und Esther in ihr Auto steigt.

Da wir nicht wissen, wo Adam wohnt, habe ich eine kleine Analyse bzw. Vermutung angestellt, in welchem Umkreis er wohnen könnte.

In der Szene sehen wir, wie Leo Adam und Esther aus dem Auto steigen und sich verabschieden. Bei Esther sieht man es am deutlichsten, da sie noch etwas sagt – wahrscheinlich „Bis morgen” oder Ähnliches – und dann in ihr Auto steigt. Adam selbst verabschiedet sich mit einer kleinen Geste. Als Esther schon zu ihrem Auto läuft, schaut Adam Leo kurz an, sagt etwas und schlägt als Verabschiedung vorsichtig mit der flachen Hand auf das Dach des Autos, so nach dem Motto „Bis dann” oder „Wir sehen uns”. Ein weiterer Punkt ist, dass Adam in der nächsten Szene nicht mehr im Auto sitzt.

Ihr könnt es im folgenden Video nochmal sehen.

Ich habe dann etwas recherchiert und herausgefunden, dass es die Dudweilerstraße ist, in der Leo Adam und Esther aussteigen. Entweder er wohnt direkt in dieser Straße oder in der Kaiserstraße weiter oben. Da Leo ihn aber bestimmt nicht irgendwo absetzen würde, wo er noch 15 bis 20 Minuten laufen müsste, vermute ich, dass er in eine schmale Gasse oder etwas weiter vorne an der Straße in Richtung Kaiserstraße läuft. Mehr als fünf Minuten Geh weg sollten nicht drin sein. Da dort, wo Leo Adam und Esther absetzt, zum Teil Geschäfte sind, ist er vermutlich noch wenige Minuten gelaufen.

Kleine Karte wo der Umkreis ungefähr liegt.

Und falls meine damalige Vermutung (Link unten) stimmt. Dann dürften sie 10 bis 20 Minuten Fußweg voneinander entfernt wohnen. Je nachdem, wo Leo wohnt. Dann würden beide relativ nah beieinander wohnen.

Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your

Da ich gerade für ein paar Tage in SB bin, habe ich mir die Straße dann auch mal angesehen bzw. durchgelaufen.

[vi-pete-fi]

Take #5 on season 9b's first ep (this one is just ab Buddie):

Insane of them to give Buddie the dialogue where Eddie says "Something about two perfect weirdos finding each other is... inspiring?" and Buck responds with "Uh Yeah... Makes total sense, especially coming from you." And then Eddie's offended "Why me?" "You obviously relate to the guy." AND THEN HE LOOKS AROUND BEFORE ASKING "How so?" HE THOUGHT HIS ASS WAS CLOCKED SO HARD

Ravi's face when Eddie said "Neither have you" to Buck calling him out on not looking at women. This mfer is starting to figure out why y'all haven't been interested in other people.

ALSO just ALLLLL those implications ab Buck and Eddie's love lives syncing up and how Eddie is content being 'single' as long as Buck is and Eddie only going out to appease Buck BUT HE LITERALLY HAS NO INTENTION OF GOING AFTER WOMEN

LIKE THEY JUST KEEP SAYING THAT EDDIE WOULD ONLY LOOK FOR A GIRLFRIEND IF BUCK WAS DATING SOMEONE

The FUCKING moment between Eddie and Ravi where he's asked why he's so bad at this and gives THAT look to which Ravi just goes serious and all contemplative. That was a whole ass conversation they just had with their eyes, but am I crazy to think it was like a subtle coming out soft launch for Eddie???

The way Eddie looked at Buck when he said "I'm your wingman and I'm not gonna leave your side." I KNOW WHAT YOU ARE

Eddie saying "that's buck" both despairingly and lovingly while Buck is out rizzing up an entire club is SOOOO COMPELLING FOR THEIR STORY IF IT BECOMES CANON LIKE THEY HAAAVEEE TO BE BUILDING UP TO BUDDIE

I also think that between Buck's two dates (who were a girl and a guy because Buck likes both) there is an intentional split between each love interest and the two people he's telling about them to. I think there is a reason why Buck who likes both men and women has Ravi who looks into the woman date, comments on how hot she is (notice Eddie doesn't agree or disagree), and then is looked at by the woman with interest because Ravi likes women but more importantly there MUST be a reason why Eddie is the one who looks into the man date, and is looked at by the man with interest because Eddie likes *gunshot*

All the Gay Eddie Implications or Freak Eddie Implications in this episode are something I'd need an entirely different post to talk about the entirety of...

[classystudentpartyslime]

BSD Part 1 has come to an end.

That's right. PART 1! 130 main chapters, 10 arcs, 28 volumes and that's ONLY PART ONE. How many parts will there be, you ask? I think three.

Throughout BSD, we see that the number 3 is a recurring motif. It's not in your face, but it's there. This is going to be a long post, buckle up.

Here is everywhere the 3 motif appears.

1. Odasaku's book

In Dark Era, Odasaku reads two books from a three part novel in a cafe. Here he meets Natsume, who tells him that the third part is atrocious, and is encouraged by him to "write his own ending." He hands him the third novel before leaving, but the last few pages, containing the ending, are torn off.

It's theorized that said book is Kokoro (death) by Natsume Soseki because the theme and the story Odasaku describes seem fitting. Another strong contender is I am a Cat, which is the only other 3-part novel written by Soseki, because, well, that's his ability. He literally is a cat sometimes.

We know this moment is incredibly significant because this is when Odasaku decides to stop acting as an assassin for the port mafia and decides to become a writer, because in order to earn the right to write about human lives, one cannot be a murderer and end them. This decision kickstarts everything we see in the main manga with Odasaku encouraging Dazai to "be on the side that saves people" if he sees no point in living, right before he dies to Gide. And his last words by the way, are a direct result of a line he read in that book, where the main character says to the killer:

Essentially, Natsume indirectly causes Dazai's transition from the Port Mafia to the Armed Detective Agency. Natsume, through his three-part novel, is the reason why Dazai, who saw no meaning in life and no difference between good and bad, chose to be good, and what follows is what we know as the beginning of Bungou Stray Dogs. BSD exists because of a three-part novel.

From here it's not a crazy jump if one were to theorize that The Book, the one that controls the reality of the BSD universe, the one whose ripped pages the DOA has a hold of, has something to do with this. Natsume himself is a mysterious character, but he is incredibly important to the story through even the little that's revealed about him. Bungou Stray Dogs revolves around people learning to save themselves. After all, it's a story for those who can't live without one, as Kafka Asagiri says.

2. The Tripartite Framework

The Tripartite Framework (三刻構想,, Sankoku Kōsō?) is a framework made by Sōseki Natsume after the Great War. Again, he's at the head of it all.

The entire safety of Yokohama relies on the balance between three organizations: The Military Police and Special Division for Unusual Powers headed by Santōka Taneda rule the day, the Port Mafia led by Mori rule the night, and the Armed Detective Agency led by Fukuzawa rule the twilight, working together to keep Yokohama safe.

3. Buraiha Trio

Just had to give them number three.

The real life Buraiha or Decadent School (無頼派, buraiha; the school of irresponsibility and decadence) were a group of dissolute writers who expressed the aimlessness and identity crisis of post-World War II Japan. Characters in works of the Buraiha feature anti-heroes that are dissolute and aimless.

Needless to say, this is what BSD is, it's a story about a bunch of "dissolute writers" as characters in the show, discovering the self, the meaning of life and what humanity stands for.

Oh, also, while Dazai, Odasaku and Ango are hanging around in bar Lupin, guess who's there to keep them company?

Natsume-sensei. We cannot escape you.

Not to mention, at the end of this arc, Ango is revealed to be not a double, but a triple agent. Like, damn. Give that man a rest.

4. Dead Apple

We have three masterminds/key figures driving the plot: Osamu Dazai, Tatsuhiko Shibusawa, and Fyodor Dostoevsky, the "monsters" and "aliens" in this world, engaging in a three-way conflict, and

Three daggers in the apples. We follow three others, (Kyouka, Atsushi and Akutagawa) as they navigate the fog.

If I start talking about dead apple in depth this will become a dead apple post and I will never stop talking. Therefore I must force myself to move on. But we're not going far.

5. Tripolar Singularity

Ame-no-Gozen, formally the Divine One: Ame-no-Gozen (神しん人じん・雨あめの御ご前ぜん,, Shinjin Amenogozen?, lit. "Divine One: In the Presence of the Rain"), is an incarnated singularity (特とく異い点てん生せい命めい体たい,, tokui-ten seimeitai?, lit. "singularity lifeform") that was born from the merging of Ōchi Fukuchi, the Shintō Amenogozen, and the Holy Sword Soluz Levni, created by Fyodor Dostoevsky. (BSD wiki)

In the story, this singularity allows for unprecedented power, including the ability for a "Man-God" to emerge from the combination. The amalgamation of these three forces creates a power that can transcend time, space, and conventional "limitations" of abilities, (three things once more) allowing for the potential annihilation of ability users across past, present, and future. Wait, past, present and future? That's three too, y'know.

6. No Longer Human

Let's step away from fiction for a minute. Osamu Dazai's book, No Longer Human, is framed as three separate notebooks written by the protagonist, Yozo Oba, representing his decline from childhood to madness. Given that Asagiri was heavily inspired by the real-life Osamu Dazai and his No Longer Human, making BSD three parts might end up being his way of paying tribute.

Wrap it up already!

Asagiri has been feeding us well, and I'm sure he'll continue to do so. BSD uses Chekov's gun throughout the series, and for him to introduce this and have it as a repeating motif, there has to be some significance to it. I'm especially sold on Odasaku's three part novel. The reality rewriting "book" remains one of the most speculated aspects about bsd, and he will tie it all together in the most satisfying way ever, I have faith, and that's all the reason more why I think Bungou Stray Dogs will be three parts. Asagiri won't miss an opportunity to make it just perfect, after all, and third time's a charm.

That's all for today, thank you for coming to my ted talk. To you who read this far, I have something to say, so

[empressofthewind]

It’s interesting to me that Near never seems to have any hangups about being L during the canon timeline. There’s one scene where he rules out one possibility on the basis that it's “an insult to L”, but he doesn’t get caught up on it. It’s a mild consideration, something he uses as a guide to shape his plan, and then he moves on. But when we get to the C-Kira oneshot, there’s a notable shift. His hair looks longer and spikier; more similar to L’s hairstyle. He’s surrounded himself with giant card towers each in the shape of the letter “L”. He still carries the puppet version of L that he allegedly made “ugly” on purpose. The first thing he says when confronted with the news of a new Kira is that he’s considering what L would do. He starts calling the new Kira trash, calls it an insult to give him the same name, as if he idolises the original Kira - which is a drastic departure from the Near in canon who treats Kira like an insult to humanity.

It’s such a jarring change, and I feel like this has to be because of Mello. It’s telling to me that in Near’s one memory of L that he reminisces about, he also carries Mello’s puppet, on the same hand as his own, and he reflects on the fact that L chose “Mello or [him]self” as his potential successor. But we know, from Near’s speech in the warehouse, that Near doesn’t think of them as an “either or”. He always thought of them as a pair, who could never be good enough on their own. When he tackled the Kira case, he could act only as Near, because Mello was there to pick up the pieces where he fell short; but without Mello involved, he knows that to successfully fulfil the role of L, he has to think like both of them. He’s thinking about what L would do, but in many ways, he’s also thinking about what Mello would do. He has the careful, logical, patient half of L down, but he struggles to harness the bold, active, reckless part of L, because that was Mello’s half. It’s part of the reason why that bitterness comes out towards the end, where he denounces Kira and calls that “not very L-like”. He makes that statement on a whim, without thinking through the consequences. He acts quickly, a little impulsively, with hardly enough time to think through the consequences. He does what Mello would do.

[caprisunr]

I hold my stance on the fact that Maddie and Chim know about Buck's feelings for Eddie. You only have to rewatch 7x04 to realise how they know more than they let out. We all know how Maddie probably has an idea about how Buck feels from the "Boy Crush" comment back in season two. Well, the comment goes hand in hand with Chimney's : "I am your basketball beard. I feel so bonded" Specially when we take into account how he didn't know about how Tommy and Buck would end up being a thing. The comment is directed at Eddie's persona in relation to Buck's actions. And in both situations Buck doesn't deny it.

Not to mention, Buck can't help but overshare, and he is so transparent with Maddie that he straight up confessed to want Eddie's attention this whole time. Only to misdirect his feelings later on in the episode because it just made sense that he harbored those feeling for Tommy the gay guy, than Eddie the 'straight guy' who also happens to be his best friend. —Tommy also was the one who showed up at his doorsteps and kissed Buck. So at that time it only made sense for him that 'Oh, yeah. Maybe I do like this guy.' If you guys are wondering what moment I'm referring to (Buck confessing to wanting Eddie's attention) this happens after Buck tragically sprains Eddie's anckle. He visits Maddie at dispatch to say the following: "I was pissed, you know. seeing him and Tommy become such good friends after only two weeks. I felt left out, and I guess I was trying to get his attention." Referring to Eddie's, in no moment of their conversation do they insinuate Tommy being the one that Buck has his attention set on.

"But you don't like basketball."

"I know. But now he's going with Tommy, and he's got it circled."

Buck goes out of his way to include himself back in Eddie's life in places where he wasn't before because he feels that Tommy is taking all that empty spaces he's left. All his actions are directed towards Eddie, which he is conscious of at the beggining that it is about Eddie. But at some point in the episode his feelings get mismatched and the lines blurr between the two guys who are very similar to the other. Buck becomes an unreliable narrator of his own emotions, which happens somewhere between Maddie's and his conversation at her house and spraining Eddie's ankle.

"Acdording to Christopher he's already been over three times. Eddie just met the guy like two weeks ago. Christopher thinks he's 'so cool'." I would like for everyone to notice the emotional distance between Tommy and Buck from his point of view, seeing in his monologue as he refers to Tommy as 'this guy' or 'he'. Doesn't bother to clarify who he's talking about, and the impersonal reference alludes to how little Buck actually thinks of the guy up to that point (his real thoughts slipping through). The only time he refers to Tommy by name is when he's mentioning Eddie's basketball game to show where his distress falls.

"My point is he's made an impression in a very short time." Buck is so afraid of being replaced by some guy who happens to do something cool, he doesn't even realise how hypocrital it is for him to say certain things such as this one. Considering, as we all know, how quickly acquaintance Eddie and Buck became and how quick Christopher took a liking on him. It got me thinking about how Buck must've felt like he had to work for it (introducing Carla) to be let in, and how easy Tommy's got it. And that's when the thought of how easy he is to remplace starts to kick in, where the feelings start getting misplaced.

"Get this. He said he agreed Revenge of the Sith is superior to Return of the Jedi. I mean maybe it's just me butt I don't think you lie to a child just to ingratiate yourself." Once again he shows how worried he is about being replaced, specially in Christopher's life. Buck speaks like a protective mother. And once again we've got the indirect despectiva speech; Tommy isn't just Tommy he is some guy who is trying to make himself look cool to be liked and take his place.

I have to mention again the " But now he's going with Tommy, and he's got it circled." Because not only does Buck say it once, but twice during : " Eddie on his fridge has a day calendar. Under take-out menu Thursday,"B-B-P-U-W Backlash Tommy. And it's circled". "

It's always been about Eddie and how Buck feels that Tommy is taking his place. And then later when Tommy kisses him after he says he was trying to get his attention because yeah that makes sense because he can't possibly like Eddie romantically and so intensely. That is his best friend, his straight best friend at that. So he throws it at the nearest guy who is going to actually reciprocate–most likely. Its easier to convince himself to like Tommy, than it is to like Eddie and potentially ruin his friendship. (Let's not forget how even him being with Tommy later on was about Eddie and how he would react to Buck liking men.)

Back to Chim, there's also the scene when with Maddie they were discussing children right at the beggining of their relationships. They ask each other if they're the only people without kids that they know. It takes a second until they think of Buck. Because Buck is so integrated into the Diaz family, that it's impossible to think of him without Christopher tailing behind also.

Maddie and Chim absolutely know, or at least suspect about it.

[verallis]

'The Metamorphosis' in Strangers from Hell

'The Metamorphosis' is such an easter egg in this show. I'm surprised no one has talked about it yet.

In the book, the main character: Gregor Samsa, wakes up as an insect. The society around him sees him as a vile creature, an outcast. They will not let him enter into their midst until and unless he becomes like them. Rotting garbage becomes his singular craving. Human food is no longer appetizing. His sister is the only person willing to take care of him in his insectile state, nourishing him with the food he actually needs.

In the show, the main character: Yoon Jongwoo, is a crime-fiction author living out his murderous fantasies via his characters. He is an insect, an outcast. His yearnings are inherently murderous. However, this is entirely unknown to him-or rather, he does not let this become known. He keeps up a facade, unbeknownst even to himself, to belong in normal society. Thus, he leaves the actual murders to his character. Moonjo is the only one who sees beyond the mask. He becomes the only person to take care of Jongwoo in his 'insectile state', nourishing him with the food he actually needs.