clever analysis

Yuri On Ice + Background Music

Because I don’t see people talking about it enough

I just noticed that the BGM in this scene 

Which I’m sure you all remember

Is EXACTLY THE SAME MUSIC as 

This beautiful moment

By the way if you’ve forgotten the music, it’s a very cute melody and I’m linking a sample of it here for your listening pleasure

What does this mean? Well, it just makes Yuri!!! On Ice that much cleverer, using the same music at two incredibly important developments in Viktor and Yuuri’s relationship, as well as Yuuri’s character itself. It showcases a contrast in meaning. Establishing a certain musical theme, and then coming back to it later, is a well known tactic that is very often used by filmmakers etc. (an example being Pixar) to create more emotion, and YOI does it brilliantly here

Oh, and the best part? Towards the end of the song, the cutesy melody stops and alters a little part, during this exact moment

And also this moment

I swear to god, the implications of this… the ‘Yuuri buying the rings’ scene just became a whole lot more feels worthy 

YOI staff, I bow down before thee

Mycroft Holmes: All he has is being clever - a character analysis

Those are my thoughts on Mycroft Holmes after season 4. It’s long, but i was thinking about him a lot! As always, @mycrofts-kitchen told me to turn this into a post.

  • All he has is being clever.
  • He’s playing a role: The Ice Man. He pretends there is no heart inside him to cover up that his heart is actually huge and soft. He ignores it, he pushes it back so no one can break it. He saw in his early childhood what caring can do to people, what caring too much did to Sherlock: “Caring is not an advantage.” The only thing he can’t push back is his love for Sherlock: “Your loss would break my heart.” Sherlock’s his pressure point, because he already loved him before he decided to become The Ice Man. Look at his smile when he sees the video of Sherlock hugging him… I’m sure no one hugged him except his little brother. You can read so much from his smile. It’s deeply melancholic.
  • He’s an introvert that needs some love. He said Sherlock was the emotional child, so he has always been an introvert. Not showing that he needs love or human contact. But he did and he still does. It just seems like he accepted for himself that there is no one who can give him love. When he talked about his heart that’s “not much of a target”… that’s just how anyone sees him. That’s what he wants others to believe.
  • He’s lonely. “I’m not lonely” - of course you’d never admit it, Mycroft. It would destroy your role. He’s so intelligent, everyone else seems like goldfish. But he uses it as an excuse for others, to look like he needs no one. But he does… How he knows the lines for this silly movie, that projector - he’s such a melancholic little idiot.
  • He never was number one. And he knows. Not the favourite child. Not the most intelligent child. Even his sister always preferred Sherlock.
  • He never found his place, he was always lost. He hasn’t seen himself as one of the Holmes kids. He was 7 years older and when talking about redbeard… “We never found him” “we made our assumptions” - as if he belonged with his parents and not with his brother and sister. As if he wouldn’t be one of the kids; Always the grown up. But his parents haven’t seen him like this, this wasn’t his place, as well. He never felt like he belongs somewhere. Because no one ever showed him that he can be loved or be someone’s favourite.
  • He always felt responsible because of his intelligence and understanding of things. It was him who took care of Eurus after Uncle Rudy. It’s him that takes care of Sherlock. He became the British government. He feels like it’s his task to shoulder the weight of all of this. At some point he just took this role. The responsible. The adult. The parent. And that’s how he still sees himself. When looking at Sherlock after he shot Magnussen - he saw a little boy.
  • He feels like he deserves getting shot. Because he fucked up. His parents told him he fucked up. Maybe that’s what they do all the time. Because they believe he is The Ice Men and doesn’t care. And he just takes it. He’s Mycroft Holmes and it’s so hard for him to admit he has made mistakes. But he just takes it because he really thinks it’s all his fault. Maybe that’s what he was always taught to think. Parents mostly blame the older ones because they think they should know better.
  • He’s weak. When Sherlock said “He’s not as strong as he thinks he is” - he was so right. And sadly Mycroft is not as strong as he wants to be. Because he is a sensitive idiot who smiles when his idiot brother tells him he was good as lady bracknell. He’s so weak in so many ways. Physically, of course. He always was. As a child he was chubby, maybe his parents told him to lose weight - that’s why he’s so worried about it, even if there’s no reason. Now he’s so skinny - and still weak. Remember when Sherlock pushed him against the wall and Mycroft was all in pain? He’s emotionally weak. He never learned to be good with people. He understands them, of course, in an intellectual way, that’s part of his job. But he doesn’t understand them in a way of own feelings.
  • All he has is being clever! That’s what I thought so many times in TFP. That’s why he always mentions he’s the smart one. The only thing he has is being clever! The only thing he can claim for himself, he can be proud of, he can identify with.
  • He likes to be important. Why did he mention he spoke to the prime minister so many times? Look how he behaves in Buckingham Palace! The thing is - there is a difference between power and importance. You could easily think mycroft likes power - but it’s importance and that’s much deeper and purer. Because he wants to matter for someone, wants to be of value. No one shows him on a personal level. Not his parents, not Sherlock. So he searches it in business life. He became the British Government because - how could he be even more important?
  • And because he’s a complete control freak! But that’s nothing new, we know since Episode 1. The most things he’s doing is to be the one in control.

Many people said he was out of character in TFP. He wasn’t. He just revealed a side we haven’t seen before. We always saw him from the point of view of Sherlock and John. And they only see his role. The untouchable Ice Man. And this role can’t be kept up in the situation they’re in - that’s why he behaves so different, just not logical, even emotional.

  1. He always was in control. In TFP he wasn’t. He knew it was his fault. He’s not like Eurus who has almost no feelings at all. TFP shows what losing control is doing to Mycroft.
  2. “He didn’t vomit when Mary was shot!” When Mary got shot he was The Ice Men, there were so many people from his professional life around - besides, she got shot in the chest, just a little blood. This guy blew his head up with brain all over the wall and stuff?!
  3. “He never had a problem with killing people or letting them die?! People die, that’s what people do?!” He never killed someone with his own hands? Maybe there’s a little difference?! He was always sitting behind his desk, not knowing the people, not seeing them. He never was a field agent.
Types as “Emo Holy Trinity” Albums

For the anon who asked about types as “emo” songs—I didn’t feel up to sorting through so many, but there are exactly 16 albums!

ISTJ: American Beauty/American Psycho (FOB)

Fond of comparing the past to the future, and looking back at how things could have been

ESTJ: Conventional Weapons (MCR)

Traditional and authoritative, just like the more classic rock vibe of this album

ISFJ: Infinity on High (FOB)

Uncomfortable with attention and tends to overanalyze, particularly failed past relationships

ESFJ: Vices and Virtues (Panic!)

Emotionally expressive and devoted, often looking to the past for precedent or nostalgia

INTJ: The Black Parade (MCR)

Ambitious, abstract, and prone to wallowing in existential self-pitying when unhealthy

ENTJ: Save Rock and Roll (FOB)

Bold, ambitious, and possibly perceived as aggressive, like FOB’s comeback album

INFJ: A Fever You Can’t Sweat Out (Panic!)

Elaborate, metaphorical, and prone to clever emotional analysis, just like Ryan Ross’ lyrics

ENFJ: Three Cheers for Sweet Revenge (MCR)

Theatrical and showy as well as emotionally expressive, often becoming melodramatic

ISTP: From Under the Cork Tree (FOB)

Clever and witty as a classic FOB song title, only much less obsessed with media attention

ESTP: Danger Days: The True Lives of the Fabulous Killjoys (MCR)

Loves rebellion, explosions, and driving neon colored cars at death-defying speeds

ISFP: Too Weird to Live, Too Rare to Die (Panic!)

Sentimental and emotionally private, but just as much a party animal as neon Las Vegas

ESFP: Death of a Bachelor (Panic!)

Flamboyant and glamorous, just like the luxurious LA lifestyle explored in this album

INTP: Take This to Your Grave (FOB)

Not particularly emotionally fluent, but well-versed in puns and convoluted logic

ENTP: Folie a Deux (FOB)

Often considered crazy, delusional, or just plain incomprehensible by saner human beings

INFP: I Brought You My Bullets, You Brought Me Your Love (MCR)

Introspective, imaginative, and maybe a little bit morbid, just like MCR’s obscure first album

ENFP: Pretty. Odd. (Panic!)

Eccentric and often whimsical, with a romantic streak and disregard for the past.

8

When the Doctor says that he thought Clara dead for a month, he’s not being quirky or avoiding his feelings or even saying how long it felt—he’s aggregating.

In linear time, it probably was the five minutes Clara claims, roughly, but it’s not the length of time between Bonnie’s declaration and the text message that the Doctor is addressing. Or at least not just that.

He’s adding up all the time, every second, minute, hour, and day, that he had ever thought Clara was dead:

All the seconds, scattered throughout the universe, when they’re running for their lives and she gasps what he is terrified was her last breath, not just exhaustion or the cramp in her leg. The specious present of his life since he pieced together who she was after that Victorian Christmas and went off to seclusion to figure her out, thinking her dead twice over. Each minute he banged on her door having found her again only to discover her lying on the floor, possibly dead again, because he was too late. That singular yet infinite instant at his grave when he felt her in every atom and quark and string of his existence, in every Plank and chronon of his time stream, but all he could think of were her innumerable deaths, that she was dying now. 

The confused and disassociated interval he woke up from the end of the universe, and didn’t know where she was or if she was alive. Every ticking zeptosecond of the quantum lock as Clara’s brain was scanned for guilt. Those hours spent as the President of Earth where his first order to find her, when he willingly played into Missy plan to know she was still alive, when he thought she might’ve gone to the grave with Danny Pink. 

The Christmas night of dream-time intercalated to her lifespan and back again in the simultaneity correction it took him to enter the Time Vortex and remove the dream crab. The agonizing day he threatened the Dalek’s from Davro’s own chair because he’d seen her exterminated. The heart-wrenching moment when he found Clara inside the Dalek Missy urged him to destroy, remembering when last she’d died like this. The boostrap paradox he created to save her, because he wouldn’t lose her again, and the resulting temporal shift of 125 years-worth of worry that he’d gotten it wrong as the stasis chamber waited to revive him. The relative eternity while she was aboard the Mire ship. 

Summed into a term she’d comprehend, it’s a month of dread and shock, guilt and loss, fear and regret, that he’s felt over the near millennium of his timeline that he’s know her as her. 

And while that might not seem like much in comparison, as a Time Lord, he knows these times acutely and accurately. All of them, each of them, every one. And he can judge them. He could make her a list, she only need to provide a categorizing variable and an order of magnitude. 

How many times he felt that way? When and where did they occur? In chronological or progressive order? How long each time lasted? Which of the over 23.6 quadrillion vibrations of the caesium atom hurt the most?

He measures these times, notes them well, lets them drive him mad with worry and concern, because it is better than the alternative. He would rather think, feel, know that she was dead for billions of years than have it be true. He would let grief destroy him if it meant saving her. 

His Impossible Girl, his girl who was born to save him, his girl who he will always remember (until he doesn’t). His Clara. He is terrified of her dying, so he will not let her die. 

You are Why I’m Here

I’m here because of you. You took a pretty cool show and put it through a beautiful metamorphosis. Your story, your interpretation, is the one I want to read. Your ideas fascinate me. Your creations delight me. You make me want to think harder and write more. You are some of the funniest, whip-smart people I’ve ever had the good fortunate to ‘meet’. And did I mention brave?

As the community shifts around the show’s tremors and pitfalls, I’m staying because the show was merely a springboard for your brilliance.

Yes, it started with Sherlock. I was in agony. At first I loved their re-telling. I have never been so smitten with a goofy tv show. It helped that I’d loved the HolmesWatson dynamic forever. But the chemistry between these actors! The score! The sets! But it hurt, too. My beloved Watson and Holmes were clearly falling in love and doing it messily and painfully and… wait, was the show even telling that story?

So I hunted my way here, like thousands of others, looking for meaning in a messy, sometimes brilliant, story. Your clever analysis and observation, the theories and debates, the puzzles and codes, the huge array of interpretation were marvelous. Through YOUR lens, the story became what I had needed it to be.

I don’t give a fig how Moftiss mops up their mess or unveils their Reveal. I’m curious, but wary. They lost my trust years ago as storytellers. You made it right. If the writers were telling the Love Story, I disliked that they chose to do it with intense subterfuge. I mean for chrissakes I knew when I was 7 in 1987 growing up in a close-minded backwater corner of the world that these men were Only For Each Other and loved them for it. How could that be such a mindfuck to today’s audience? How could the writers blow the chance to be Storytellers on the side of Good?

But I could be mollified if the love story I perceived was being told as a Sherlockian mystery that had to be decoded in order to wow the world with its Big, Vital Statement for our times. I mean, I guess. A really well-crafted, patiently evolving love story for long-repressed historical characters would have been perfectly acceptable for our times, too, and earth-shattering and history-making all by itself (sadly).

All this is to explain why I haven’t left this fandom after a Bizarre and Deeply Unsettling s4. They have been unsettling me for years.

I’m here because of you. And it’s totally fine if you want to do other things. I just want you to know it mattered, and it was fantastic.

So there. Please reblog if you’d like to spread the love. There is no way I could possibly reach all who deserve to see this.

@deducingbbcsherlock @shirleycarlton @teapotsubtext @skulls-and-tea  @sidryan @marcespot @bbcajay @bbcjohnlock @bbcromance @captain-liddy @cupidford @currently-in-my-mind-palace @hubblegleeflower @totheverybestoftimesjohn @hudders-and-hiddles @watsonshoneybee  @gentlesherlock @consultingeastwind @hip-hoppin-hobbits @spnjohnlocked @jollabee @warmth-and-constancy @the-7-percent-solution @quirkycinnamon @inevitably-johnlocked @toxicsemicolon @atikiology @delurkingdetective @infinitelyromantic @gingerhermit @pearlrebs @theneckstroke

6

The Deducing Suit

Tokyo Ghoul Character Birthday Analysis

aka MAYBE relevant stuff?

While doing research for my fic, I realized that since Ishida Sui—the guy who loves symbolism and foreshadowing more than any sane person should—is someone who likes to drop little hints everywhere in his manga,  what’s to say he hasn’t hidden away a few of them in the characters’ birthdays? ‘Cuz if you ask me, he does not come off as the type of person to  randomly pick numbers for something as permanent as a birthday.

Sooo with that and his absolute love for tarot numbers in mind, this is what I’ve found:

Keep reading

VC Tarot

Who wants to help me match VC characters with tarot cards?
<an open invitation for fun VC discussion>  <inspired by this post>

my types so far:

The Fool - Lestat
the Fool is usually interpreted as the protagonist of a story, and the Major Arcana is the path the Fool takes through the great mysteries of life and the main human archetypes
(he IS the Fool, ok?)

The High Priestess - Maharet
Knowingness – Love – Relationships; Wisdom – Sound judgment – Receptiveness; Common sense – Intuition; Mystical vision – introspection – otherworldliness
(pretty good fit, isn’t it?)

The Empress - Akasha
Mothering — Fertility — Sexuality — Abundance; 
Material prosperity — Pleasure — Comfort — Power; 
Nature — Delight — Desire — Physical attraction; 
Health — Sensuality — Beauty — Satisfaction
(I mean, can it be more perfect?)

The Emperor - Enkil
Status quo — Order — Structure — Egocentrism; 
Tradition — Rigidity — Leadership — Experience; 
Inflexibility — Public image — Organization
(I’ve lost it at “inflexibility”)

The Hierophant - Marius
Education — Knowledge — Status quo — Institution; Leadership — Discipline — Maturity — Formality; Deception — Power — Respect — Duality; Social convention — Belief system — Group identification; Experience — Tradition
(I mean, c’mon, it can’t get any better than that)

Justice - Gabrielle
Impartiality — Distance — Coldness — Justice; Objective mind — Criticism — Being clever — Insensitivity; Decision — Intellect — Analysis — Stillness — Curiosity; Responsibility — Rationality — Clear vision — Logic and reason
(anyone has better ideas here?)

The Hermit - David
Introspection — Silence — Guidance — Reflection; Solitude — Looking inward — Reclusion — Being quie; tInner search — Deep understanding — Isolation; Distance — Retreat — Philosophical attitude
(I like how David fits here, but other character would probably fit too)

Wheel of Fortune - Daniel
Turning point — Opportunities — Possibilities; Destiny — Fate — Superiority — Movement; Development — Activity — Surprises — Expansion; Sudden events — Speed — New developments — Life cycles; Interpretation — Sudden change — Dissension — Approachability
(Daniel, born to the darkness in the midst of storm…)

Strength - Bianca
Self-control — Being solid — Patience — Compassion; Composure — Stability — Perseverance — Moderation; Kindness — Gentleness — Slowness — Softness; Serenity — Comprehension — Discipline — Inner strength
(fight me on that one, I dare you!)

The Hanged Man - Louis
Sacrifice — Letting go — Surrendering — Passivity; Suspension — Acceptance — Renunciation — Patience; New point of view — Contemplation — Inner harmony; Conformism — Non-action — Waiting — Giving up
(so Louis it hurts. What do you meen this is not the synopsis of IwtV?)

Death - Santino
Ending of a cycle — Loss — Conclusion — Sadness; Transition into a new state — Psychological transformation; Finishing up — Regeneration — Elimination of old patterns; Being caught in the inescapable — Good-byes — Deep change
(I got angry and sad just thinking about how well it fits ok)

The Devil - Armand
Materialism — Ignorance — Stagnation — Self-bondage; Lust — Egoism — Obsession — Anxiety — Ange; rHedonism — Passion — Instincts — Racist; Sexuality — Temptation — Doubt — Vice; Futility — Physical attraction — Pessimism — Insight
(sorry, not sorry) 

The Tower - Magnus
Chaos — Sudden change — Impact — Hard times; Crisis — Revelation — Disruption — Realizing the truth; Disillusion — Crash — Burst — Uncomfortable experience; Downfall — Ruin — Ego blow — Explosive transformation
(I absolutely couldn’t resist!!)

The Star - Sybelle
Calmness — Free-flowing love — Trust;Tranquility — Peace of mind — Pure essenceHope — Serenity — Inspiration — Generosity; Optimism — Joy — Faith — Regeneration; Good will — Optimism — Harmony — Renewal of forces
(I rest my case)

The Sun - Rose
Optimism—Expansion—Being radiant—Positive feelings; Enlightenment—Vitality—Innocence—Non-criticism; Assurance—Energy—Personal power—Happiness; Splendor—Brilliance—Joy —Enthusiasm
(sweet summer girl Rose)


please, please, join the discussion. This is about the half of Major Arcana, I need help. And this is super fun!


I love you Douglas… I really do but….

Stan is uneducated yes, but that doesn’t mean he’s stupid. He just never applied himself in school… but when it comes to something he cares about…

He TAUGHT himself that mumbo-jumbo to save his brother. And it took him thirty years, but his persistence and dedication payed off. 

“The man downstairs is very clever”.

Regarding TG:re Chapter 30.

Yo! So, I decided to take a break from editing my theme (I’m just missing one thing: classifying all my posts… yeah, quite a lot) and answer some questions regarding the latest chapter; I know I still have some other questions, but I thought these ones have a little priority because next chapter comes out tomorrow or so. So, here you go (by the way, to make it easier to identify the questions and answers I’ll be using a ton of Blockquotes from now on):

Keep reading

What I’m loving about RWBY right now is that there is such a definite split between the “adults” and the “children.” It’s like Qrow said, the adults work behind closed doors and don’t let the children, the people they’re meant to be preparing to protect the world, know what’s going on. Now I’m sure they have their reasons, but I reckon that overcoming that split is going to be crucial to defeating the big bad of the show.

Team RWBY are left stumbling in the dark with so much useful information that they just don’t know what to do with. They know it’s relevant, but they don’t know the context or who to tell or anything. If the adults would respect that they’re not the only ones with information, then maybe they’d be able to solve this mystery a little quicker.

And, in turn, help the audience solve it too. Because the show has done this beautiful thing where it treats us, the viewers, like Beacon students. They say they trust us with this knowledge, they say they want us to know what’s going on, but the adults don’t tell us anything.

I’m always a sucker for mystery, misdirection and straight up not trusting other people enough to communicate for fucks sake just talk to each other, and I love how this show has remained light by keeping us, and the “children,” in the dark.

“Lord John Marbury”

Previously on The West Wing: India and Pakistan are about to start kicking one another’s shins, and the situation needs at all costs to be kept from going nuclear. But President Bartlet has a plan.

BARTLET
There’s an India expert I want to bring in.

LEO
Who?

Bartlet looks at him pointedly.

LEO 
No.

BARTLET
You guys are gonna love him.

LEO
He’s a lunatic!

BARTLET
He’s colorful.

LEO
He’s certifiable!

SAM
Who?

BARTLET
Lord John Marbury, former ambassador 
to New Delhi from the Court of Saint James. SAM Where do we find him? LEO A psychiatric institution. BARTLET He’s colorful, Leo. LEO You’re really gonna let him loose in the
White House, where there’s liquor and women? BARTLET We can hide the women. But the man deserves
a drink. LEO Sir... BARTLET Let’s get him on a plane.

C.J., on the phone with someone, describes him in this wise:

C.J.
[into the phone] -- the Earl of Sherbourne, 
he is the great great grandson of a former Viceroy and for thirteen years served as
the Queen’s minister to either India or Pakistan. Lord Marbury is here to counsel
the President, and if you think this is all starting to sound like a Gilbert and
Sullivan operetta, I don’t blame you a bit.

And soon enough, the man himself staggers jovially into the Oval Office, stubbly and with a whole lot of in-flight booze on board, greets the President like a long-lost friend, and then turns to Leo:

MARBURY
[to Leo] Allow me to present myself, Lord 
John Marbury, I was summoned by your President. LEO Yes. We’ve met, ten or twelve times. I’m Leo
McGarry. MARBURY I thought you were the butler. LEO No, I’m the White House Chief of Staff. The President is watching all this unfold with a barely-
concealed smirk. MARBURY Nonetheless, would you have something with which
to light my cigarette? LEO Oh, I’m afraid we don’t allow smoking in this part
of the world. MARBURY Really? LEO Yes sir. MARBURY In this part over here, we encourage it. LEO Sir. MARBURY It’s “Your Lordship,” as a matter of fact, but
it couldn’t possibly make the least difference.

(turns to Bartlet and has a woozy moment leaning on
his desk))

So, tell me, how can I be of service to you? If it’s
within my power to give, you shall have it. BARTLET We need your take on the situation, John. MARBURY What is your “take” on the situation? BARTLET The world is coming apart at the seams. MARBURY Well, then... [hands his coat to Leo, imperiously]
...thank God you sent for me! LEO (gives Bartlet the most restrained stink-eye ever) ...Yes.

…Roger Rees plays Marbury a bit like a tipsy, effortlessly egotistical Mycroft, staggering physically and verbally around the landscape and giving every appearance of not caring in the slightest how hard he flouts the proprieties. He veers seamlessly back and forth between the feckless-multiply-titled-overentitled-unreconstructed-imperialist act and a deep clever analysis of period Asian politics, with occasional joyous forays into the what-was-your-name-again thing with Leo.

What’s interesting both from the screenwriting side of things (generally) and the West Wing side of things (specifically) is that the script’s title character doesn’t even put in an appearance until the end of act 3. Normally this is a sign of a writer who has something so good waiting in the wings that he’s intent on making the audience wait for it as long as possible, so as to make more of a splash.

Anyway: of all the once-or-twice-off characters Aaron Sorkin devised forThe West Wing, Lord John Marbury is possibly the best, and I love him to bits. (Not that you couldn’t tell…) If you haven’t seen this one, go online and see if you can scare up the episode on one of the streaming services. It’s worth a rewatch to appreciate the skill of the actor who’s left us.

BARTLET
John, there’s a quote from Revelations...

MARBURY
“And I looked, and I beheld a pale horse, and his 
name that sat on him was Death, and Hell followed
with him.” BARTLET Are you frightened, John? MARBURY Do you mean do I think we can stop a war in the
next two weeks? BARTLET Yes. MARBURY Yes. BARTLET Good. MARBURY But -- Bartlet turns to him expectantly. Marbury takes a
cigarette from his pocket. MARBURY [cont.] -- I shall require a light. Marbury catches the lighter Bartlet has tossed him,
smiles, and lights his cigarette.

DISSOLVE TO END TITLES
FADE TO BLACK

In this panel I guess there is an 11 on his face right behind his chin. And here is the 11 tarot card justice also auction is on 11 November as well. Impartiality — Distance — Coldness — JusticeObjective mind — Criticism — Being clever — InsensitivityDecision — Intellect — Analysis — Stillness — CuriosityResponsibility — Rationality — Clear vision — Logic and reason