“Nothing has brought Papyrus and I closer than cooking!”
I just love how both Papyrus and Undyne are both terrible at cooking. It makes me wonder what shenanigans they get up to while Papyrus is having lessons. So to celebrate today I decided to draw a fun piece of a typical cooking night.
Okay, but since the episode picked up the morning after the end of last weeks episode, that means Ezra has literally been gone for less than 24 hours. And Aria was having a fucking meltdown over where he’s at. Even so far as calling his brother looking for him.
There’s a weird smoke surrounding Erza and Lucy and for a split second, Natsu sees shadows instead, wrapping themselves around Lucy’s body. He calls out their names and lunges forward, mind screaming no no no, not this time, not again.
He vaguely takes note of Gray moving to grab onto Erza, but he’s too focused on grabbing hold of Lucy, of any part of her that he can still see through the grey smoke.
In vain. His fingers never manage to reach her, fist closing around only smoke, the girls’ echoing screams ringing in his ears.
There’s a moment of stillness and disbelief before he sees red. He‘s prepared to tear this guy a new one because he‘ll be damned if he‘ll let anyone else take Lucy away from right in front of him. (Erza too, but for the moment, he’ll let Gray worry about her, not that she couldn’t handle herself, even without her Ex-quip).
“Hey!! Where’d you take Lucy and Erza, you bastard?!” He’ll get Lucy back, he’ll get both of them back.
'I Spy’ is my favourite Pulp song by a very, very, very long way indeed. It is the apex of Jarvis Cocker’s preoccupation with class hatred; it is the ultimate example of Jarvis-as-intellectual-threat. The Jarvis of this song is trapped and seething, filled with genuine contempt and disdain, but utterly aware of his own value exactly. He’s not merely coming back for everything, he’s doing it just because he can, and because you deserve it, and he’s using his body – that discarded, disrespected, societally valueless body – as his weapon, because revenge is a dish best served freezing.
It’s crucial to understanding this song to appreciate that it appears on the same album as 'Common People’. (A post just about 'Different Class’ is coming up, so hold on.) It is especially important to appreciate that it appears immediately after 'Common People’ in the tracklisting. The Jarvis of 'Common People’ is impotent and angry, and there is an implication in the song that he is being used for sex by a woman of higher social status, which he might not be enjoying all that much. The Jarvis of that song was eloquent, but powerless. The song can have impact on you, the listener, but the narrator is fundamentally unable to change anything. Not so the Jarvis of 'I Spy’.
As I’m sure engenders in you GREAT SURPRISE, this song is also very meaningful to me personally, which I’m going to talk about, in more length than you or I or probably anyone needs. I’m also going to talk more about how much I hate Britpop – I’m still not sorry – and why this song is important re: class dialectics and Britpop. And now: I’m putting it under a cut so you can ignore it you want. I’M NOT THE BOSS OF YOU, COMRADE.