#analyses

[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...

[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.

[g4byruta]

Early Sunsets Over Monroeville — My Chemical Romance

This is my personal interpretation of the song, shaped more by how it makes me feel than by a literal reading of the lyrics.

This song isn’t meant to be understood. It’s meant to be felt, and honestly, it almost hurts to do so. At its core, it’s about love in the worst possible situation: when the person you love is still there, but you already know you’re losing them. Not all at once, not cleanly. Slowly, inevitably, almost cruelly. There’s no right choice, no solution. All that’s left is to stay… and watch.

Gerard Way’s vocals start as if he’s holding everything in. Low, controlled, like someone who already understands what’s coming but hasn’t fallen apart yet. But that control doesn’t last. When the screaming comes in, it stops sounding like music. It sounds like pain forcing its way out, raw and unfiltered. It’s not polished. It’s not pretty. It’s human. It feels like he’s breaking right in front of you.

That ties directly into the idea of grieving someone before they’re actually gone. It’s not about loss after the fact. It’s about watching someone fade while they’re still physically there, realizing they’re not the same anymore, and being completely powerless to stop it. That helplessness is what destroys everything.

Then come the memories. Not emptiness, not silence, but the good moments. The ones that made everything worth it. And instead of comforting, they make it worse. Because they remind you exactly of what you’re losing. It’s like your own mind turning against you.

And it’s not just the vocals. The entire band carries that weight. Nothing sounds overly clean or perfected, and that works in its favor. There’s a sense of urgency, of imperfection, that makes everything feel real, like it’s happening as you listen.

In the end, Early Sunsets Over Monroeville isn’t about the end of the world. It’s about the end of someone, while you still love them with everything you have. It’s about staying until the very last moment, even knowing how much it will hurt. Even knowing there’s no way back.

And maybe the heaviest part is this: there’s no catharsis, no relief. Just pain… and love still existing inside it <33

what does this song mean to you?

[pegasusdrawnchariots]

The Cyrano/Odyssey motif on this post by @oldshrewsburyian just reminded me of another way that Roxane & Cyrano inadvertently link themselves through fiction...

In the ballad duel, Cyrano compares himself to the hero Céladon, one of the main characters of L'Astrée written by Honoré d'Urfé during the 1600s & 1610s (just before Cyrano was born). Céladon was known for his sentimental/spiritual love towards the shepherdess Astrée (as opposed to physical lust) & would in the centuries between then & Rostand writing his play come to exemplify this concept of "l'amour céladonique". Not surprising that Rostand had Cyrano identify himself with Céladon then!

We now know Cyrano was reading d'Urfé. You know who else was?

Roxane swooning over Christian can find no higher praise for his looks than to compare him too to Céladon. Hmm 👀

I've seen this line translated as Christian having "the hair of a hero" or "the curls of a Greek god", which is understandable when your target audience is in the 20th century but it misses out on this little link that I just love! Roxane rhapsodising about her dream man & comparing him to the same fictional character Cyrano identifies with! Gah

Also, I just like to picture Cyrano & Roxane back when they were children reading & discussing L'Astrée together in Bergerac :')

[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.