#pastel's posts

[pastel-junkyard]

My sibling got me this for my birthday !!!

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Bonaparta's other books?

I was watching episode 56 to help with my Nina meta (which is almost done) when I noticed just how many books Lipsky has on his shelves. All supposedly the works of Bonaparta.

Posts by Erich-Springer on other background details inspired me to look closer, as I haven't seen anyone else do it here, at least not on Tumblr.

Here are some images.

(Had to put it on ×0.25 speed to get this one.)

I don't speak Czech, but I did find a website that allowed me to search a word in multiple dictionaries without having to type it over and over. Link below in case you want to try:

Czech Dictionary Online Translation LEXILOGOS

Czech English Dictionary Online Translation, Language, Grammar

Some of the titles repeat and have a different pen-name attached to it. Also, the versions vary in thickness, to the point where I wonder how the publishers have been bulking up such short stories (if the ones we know are anything to go by).

In no particular order, the ones I've found are:

Rukaviče Bohu (Glove of God) - Emil Šebe/Jakub Faroubek

Rukaviče = glove | Bohu = God, of God (same root as Bůh in Bůh Miru/The God of Peace)

The phrase Glove of God reminds me of a stop-motion film by beloved Czech director Jiři Trnka called The Hand (Ruka). In it, a large disembodied hand demands an artist to only make sculptures in its image -- its generally accepted to be an allegory for the Soviet government censorship of art. (Wonder if it's a reference?)

Datel Tomaś (Woodpecker Tomaś) - Emil Šebe

Datel = woodpecker

Tomaś was one of the names mentioned in The God of Peace and was quoted by Johan in the 511 tape.

Loupežnik a Tři Žaby (The Bandit and the Three Frogs) - Emil Šebe

Loupežnik = bandit, robber, highwayman

How very... prophetic, provided Bonaparta wrote it before the break-in.

This may explain why, in Nina's initial flashbacks upon seeing the sign, the three frogs each said, "Hey, welcome home." They may be a folklore motif in this version of Czechia.

Babička a Osamélý Pes (The Grandmother and the Lonely Dog) - Klaus Poppe

Maybe it's more like "Grandma" than "Grandmother".

The only dogs I recall in the series are 1) the one being kicked by its owner who was then beaten up by Reinhardt Dinger in Griesheim, and 2) Ludwig, the labrador/golden retriever that was getting on people's nerves in Rühenheim.

Nestasný Netopýr (The Unhappy Bat) - Emil Šebe

Nestasný = unhappy, unfortunate

Netopýr can also be vampire apparently? Bat is the meaning that came up more though.

Billy doesn't seem all that unhappy

Oblibený Netvor (Favourite Monster) - Jakub Faroubek/Klaus Poppe

Netvor = monster, beast, behemoth

I'm not exactly sure what this could mean.

There are others that I'm not as sure on:

Pan Král(?) a Tři Poddani - Emil Šebe/Klaus Poppe

Something like "Sir King/Prince and the Three Subordinates/Thralls". Not sure on the second word but it looks like it begins with K.

Ponozky, které chvéta letat - ???

"Socks which hurried away"?

Ponozka is a sock, ponozky is pair of socks.

Chlapec z Velkýma Ušima - Klaus Poppe

"The Boy with Big Ears"

Chlap seems to be slang for a young man, whippersnapper, lad.

The big ears thing does make me think of the surveillance state again.

So yeah, that's what I've got so far. If you can make out anything I missed, please share :-)

Edit: thank you to mzencute for helping with the last example - changed chlapuc to chlapec

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Some Ninalotte Headcanons,

because now that I finally have a break I cannot stop thinking about Them, and they need more content!

Series

• Lotte fell for Nina the same way she fell for Karl (or thought she did, depending on your headcanon) - it began as an anthropological fascination based on surface features and was able to progress deeper thanks to their friendship and acceptance, having a "click" moment some time in where she looked at them differently. As seen in the show, she quickly gets invested in both of their stories and tries her best to help them - that'd be her love language.

• Nina was very slow to fall for Lotte by contrast - she struggled to see herself as someone worth loving in that way, fearing that it may be dangerous for anyone who gets too close to her. (In general, I believe she is inexperienced with romance and never really connected with the few she accepted a date from in school.) I believe she only accepted it or was able to express it fully after the events of the series.

• That said, Nina ended up staying over at Lotte's house after the dance party fiasco, so she ended up meeting her parents and seeing Lotte's bedroom before insisting on taking the couch to sleep on.

• The sound of Lotte's voice and her scent are a source of comfort that helps Nina ground herself in the present moment. It all started in the hypnotism sessions and was something she only really realised in Prague.

(More under the cut...)

• Lotte found the gun and bullets when searching through Nina's bag for new clothes to leave the hospital with, but it was only when she walked in on Nina cleaning it that she dared to ask anything.

• Despite all her efforts to separate from everyone at the second departure from Munich, Nina still had a little thing (not sure what yet) Lotte gave her that day when she left. She couldn't bring herself to throw it, so it ended up at the bottom of her travel bag instead and maybe got a little smile out of her on the way back to Munich.

• Lotte was understandably worried at every point of the series, especially at the above point and Rühenheim. She had trouble concentrating on her work with all the new developments and so had to get help from the lecturers and perhaps an in-house counsellor like Dr Geitel. Your mileage may vary on the extent of this, but I think she may have used religion as a coping mechanism for the uncertainty, praying for Nina's safety and for her to not have to use her gun. (Really just extrapolating from the references to God she makes in ep. 32/ch. 61 here. But certainly by Rühenheim I can see even a more secular Lotte making an appeal to the Divine.)

Post-Series:

• Long-distance relationship for a good while, with plenty of carefully-worded letters and emails updating each other on events in Munich and Heidelberg. They take turns visiting each other's cities and are trying to figure out a way to live together while still paying homage to their regional identities. (That's apparently fairly important in Germany, as people who may travel a lot may still want to bring up their kids and end their days in their home region. Well, it may be less so now. Anyway--)

• Phone calls are where they feel most free to be affectionate when not face-to-face - no paper trace means no snoop can go through their (more likely Nina's) bins for an exclusive. They are still somewhat careful not to let anyone overhear, so prefer to call in the evening or night.

• They both like sending little gifts with their letters and pictures with their emails (when that becomes a thing). Nina likes sending brochures and article clippings of things relevant to Lotte's interests, like medieval history or cultural exchange events. Lotte sends pressed flowers and leaves, as well as little doodles of her original characters.

...that's all I've got for now.

[pastel-junkyard]

Honey girl

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Characters as dancers (on Strictly)

Eva = super good at passionate ones like Argentine tango and pasadoble or elegant ballroom dances. Has trouble with jive, quickstep and charleston - speed isn't her strongsuit and neither is comedy.

Grimmer = jives, charlestons and other quick ones are pretty much impossible for his long limbs. He's real good at fun and romantic ones - a good leading man. Flat-footed.

Tenma = surprisingly good at dancing, but his confidence needs to be built up. Likes the waltz the best, but comes to appreciate more aggressive/passionate ones.

Nina = an all-rounder with lots of energy, but she has trouble trusting her partner with lifts or being super connected with them. Weakest at slow dances and may forget to finish her hands.

Lunge = mix of Eva and Nina - very precise but has trouble embodying more fun or sexy characters - he will never dance open-shirted or be good with hip actions.

Heckel = prefers the suave roles, may be accused of over-acting to the detriment of his technique. His stature would necessitate adjustments to choreo, and may make footwork and certain angles more difficult. Jokester.

Jan = enthusiastic and very new to this, his previews involve much exasperation at how technical Latin ones are. Trouble with lines and posture.

Reichwein = a little heavy-footed and bad with speed, but makes up for it with sheer strength and determination - his partner will be flying in his arms.

Johann/Anna = perpetually almost there, technically sound (if perhaps a little stiff hip wise) but encumbered theatrically by blunted affect. Gives the vibe of a ballroom professional whether as Johann or Anna.

Christof = cannot do the fun dances, seems fake even out of character - just too smiley, would frown at critique and play favourites. Shame 'cause he's not a bad dancer at all, surprisingly quick and light on his feet.

Carmen = queen of Latin dances, likes them fun and sexy. Doesn't quite know what to do with herself in floor-length gowns.

Meryem = runs in heels like she was born in them - her footwork is quick; her line is the weakest aspect

Characters that would never: Gillen, Karl, Lotte, Lipsky, Rung/Huong