the land of mirrors

The Final Problem being John's mind palace after being shot in TLD means the following:

1) Like Moriarty was Sherlock’s inner demon, Eurus is John’s inner demon. Notice she’s bisexual, she blatantly makes that reference.

2) All John wanted for Christmas five years ago was five minutes unsupervised with Sherlock’s inner demon. That was the Christmas during A Scandal in Belgravia, when John was hung up on whether or not Sherlock loved Irene. Can you believe this? That’s all John wanted – and you saw how that sexual tension played out in TFP. That’s all John wanted for Christmas. That’s why he kept asking “Do you think you’ll be seeing her again?” and “Has he had a relationship ever?” — John’s darkest demons wanted that sexual intimacy. Damn it, i can’t believe they’re doing this to us.

3) Eurus needs help landing, just like Sherlock in TAB. The mirrors complete perfectly.

4) Because of what water means in literary subtext, John had feelings for a boy when he was young, only for his parents to find out and place him behind glass – they repressed him emotionally. As an adult he lives behind it still, but can leave at any time if he chooses to. However, he needs Sherlock to touch the glass, to break through. Through touch, through love, can he dismantle the glass.

5) John thinks Mycroft is a prissy little bitch.

Cinema Variety’s Top Favorite Films of 2016

Well cinephiles and friends alike, my annual list of favorite films has finally arrived. I had to take these first few weeks in the new year to re-watch some of this years gems to order my list accurately. Through careful deliberation, I present to you my favorite films of 2016. Make sure to check out my top pick lists from previous years provided below! 

Top Picks of 2015 List
Top Picks of 2014 List
Top Picks of 2013 List

Honorable Mentions:
The Wailing
The Sea of Trees
The Witch
Green Room
The Odyssey
Black Mirror: San Junipero


#18 - The Childhood of a Leader
Directed by Brady Corbet

Brady Corbet’s directorial debut is a chilling fictional tale about the rise of fascism in the early 20th century. The result is a character study focusing on the origins of evil. Corbet is clearly inspired by the aesthetics of Michael Haneke, Ingmar Bergman and even a little bit of Andrei Tarkovsky. Long tracking shots and an overpowering orchestral score brings the audience on this artistic journey. The conclusion of the film left me shocked, watch out for it.

#17 - Operation Avalanche
Directed by Matt Johnson

Operation Avalanche is a true hidden gem for anyone who delights in films centered around conspiracy theories. The theory of the moon landing being a staged production might be one of the most ridiculous hoaxes out of them all - and there are groups of people who truly believe it. However, this film is made in a way that actually makes it seem like a very possible reality. The movie is cleverly filmed in a POV mockumentary format with a classic 60s filter. The film shifts in tone from a comedy of sorts and ends in paranoia. I found it to be one of the most underrated films of the year.

#16 - Swiss Army Man
Directed by The Daniels

It’s an impressive feat when a film featuring constant flatulence and directional erections can also end up being a heartfelt and existential story of friendship. There are very few comedies on this list, or on any of my other annual lists for that matter. Swiss Army Man succeeded on making me laugh multiple times. I praise it simply for its originality and the fact that the filmmakers tackled on such ridiculous themes in a way that they didn’t become immature or worthy of an eye roll. Another shoutout to the energetic score and colorful production design.

#15 - La La Land
Directed by Damien Chazelle

The musical genre is most definitely one of my least favorite ones. Other than a few exceptions (Across the Universe, The Wall, Dancer in the Dark), I have found most musicals to be unbearably cheesy. The cheese is still there in La La Land, but it is effective because that is the intended tone. It truly is a throwback to the golden age of Hollywood filled with allusions from earlier infamous musicals such as Singing in The Rain. I anticipated this film from the start both because Damien Chazelle blew me away with Whiplash and because Ryan Gosling is my favorite actor working today. Shot on a film, in a dazzling Technicolor format, it also features some of the most awe inspiring cinematography out of all the movies released this year. I believe La La Land is the film that we needed to end 2016 with - a film filled with magic and hope for a better future.

#14 - Manchester by the Sea
Directed by Kenneth Lonergan

Man did this movie crush me. It squeezed everything out of me and left me a hollow shell. I went home and sat on my couch and just cried after leaving the theatre. Don’t let this lead you astray from watching it, it’s just such a realistic heart-wrenching drama that I couldn’t help but be affected by it the entire day after seeing it. It might not be a masterpiece as such critics claim it to be, but it is a moving insight on the loss of loved ones and the emotional wreckage that can come out of it. There is no overly-done melodrama or redemption in the denouement. Instead, it focuses on little moments that end up forming a much greater whole by the end. Casey Affleck’s restrained performance was something I empathize with as he held a tragic rage behind his eyes.

#13 - Jackie
Directed by Pablo Lorrain

This was a film that grew on me days after seeing it. I was absorbed by it while I watched it in a small art-house theatre, but it was afterward where it really began to resonate with me. The JFK assassination is a momumental tragedy in history that has always greatly interested me. I remember being haunted by the video footage when it was shown to me in a college history class. While the script may be lacking in areas, the performance by Natalie Portman is the saving grace of this production. Portman has transcended her star status in this role by flawlessly emulating the former First Lady. Jackie is a film that plays like a fragmented memory - it jumps in time throughout. The production design transported me to the 1960s and Mica Levi’s score really is the standout aspect of the film.

#12 - The Blackcoat’s Daughter
Directed by Oz Perkins

I believe The Blackcoat’s Daughter is the year’s most underrated and ignored horror film. The very few critic reviews I found online all have positive things to say, while most audience reviews are the opposite. This is the feature film debut of director Oz Perkins. He has created a richly nuanced horror film that never reaches any outrageous or flashy climax, which is a breath of fresh air compared to the usual tripe that comes out of Hollywood year after year. Perkin’s directs the film with a restrained control that would make his horror-icon of a father, Anthony Perkins, proud. There is a thick haze of dread that doesn’t ease up until the film’s bleak finale. The films minimal use of dialogue works perfectly in unison with the nonstop rumbling score. The entire aesthetic of The Blackcoat’s Daughter is what made it work so well for me. Loads of unnecessary dialogue and jump scares are replaced with well executed tracking shots and genuinely upsetting violence. The end product is a deliciously evil exercise In dread.

#11 - The Eyes of My Mother
Directed by Nicolas Pesce

The Eyes of My Mother is the type of art-house horror film I feel like I’ve been waiting all year for. Everything about it speaks to me as a horror fan. The story seems as if it was ripped out of one of my worst nightmares; Or better yet, if you could visualize the musings of a demented asylum patient - the result would be The Eyes of My Mother. This film would never have been as effective if it wasn’t for the lush, gorgeous black and white photography. Camera shots are shrowded in shadows which adds to the aforementioned nightmare effect. Thank god this film has such a short runtime (it’s only a little over 70 minutes). I wasn’t sure how much more I could take of this grueling tale. The last 20 minutes of the film takes a plunge into the heart of darkness - which to many viewers could be considered completely morally reprehensible. Well, a desensitized horror junkie such as myself was pleased by the filmmaker’s decision to conclude this story as depraved as possible. I decided to celebrate Christmas this year in the holiday spirit by showing this movie to my brother. By the end of it, he just turned to me and asked: “Why do you do this to me?”.

#10 - The Light Between Oceans
Directed by Derek Cianfrance

Derek Cianfrance is one of my very favorite directors working today. His first two films (Blue Valentine and The Place Beyond the Pines) both have found a place in my top 15 favorite films of all time. Needless to say I’ve been tirelessly anticipating his latest feature. It didn’t have the same impact on me as his previous features; however, it still ended up being an impressive and heartbreaking picture. Adam Arkapaw works wonders as the DOP. His camerawork captures the coast of Australia beautifully. Michael Fassbender and Alicia Vikander work perfectly off of each other (yet another instance of Fassbender completely investing himself in a role). Keep an ear out for the perfectly utilized “Funeral Canticle” track that has never failed to give me goosebumps since the first time I heard it in The Tree of Life.

#9 - Cemetery of Splendour
Directed by Apichatpong Weerasethakul

Describing this film is a challenge in itself - let alone reviewing it. This is the second film I’ve seen by Apichatpong Weerasethakul and they both are masterpieces in my eyes. Cemetery of Splendour, much like the soldiers affected by a sleeping epidemic in the film, lead me down the rabbit hole into a deep trance state. I love films which feel like I dreamt them after they’re over, and that’s exactly what this movie achieved. The long takes, minimal use of a score, and gorgeous natural scenery worked together to create a relaxing and mind expanding experience.

#8 - Moonlight
Directed by Barry Jenkins

I might not think that Moonlight is the very best film of the year, but it might just be the most important. It’s not everyday where you hear about masterful films that deal with homosexuality in the African American community. Jenkins tackles this subject perfectly by not making this aspect of the character’s persona the focal point of the film. It’s just as much a coming of age story about masculinity than it is a story about a guy struggling with his sexual identity. I related to this film on a very personal level because I know what it’s like being harassed by peers in school on the basis of being gay. Moonlight follows the central character Little from his adolescence in grade school all the way until manhood. Although three different actors are playing the same character, I was utterly convinced it was the same person for they all adopted the same mannerisms and personality traits. Moonlight makes a grand statement about finding out who you truly are. It sends the message that it’s possible to find acceptance by people other than your immediate family.

#7 - Midnight Special
Directed by Jeff Nichols

Jeff Nichols is being praised this year on the award circuit for his touching film Loving, but it’s this film that stayed with me after watching. Never has there been a film made about supernatural abilities that has hit me on such a deep level. Midnight Special deals with a plethora of themes other than a child with superhuman abilities. These include the responsibilities of fatherhood and the special bond between parents and their child. It opens ambiguously and the intelligent plot slowly unfolds in such a way that questions are answered little by little until the absolutely soul-touching finale. Even though she has limited screen time, Kirsten Dunst added to this films perfection. The sheer humanity displayed through her performance as a mother who will do anything to keep her child out of harms way is an admirable thing. Midnight Special is a sci-fi film for the ages.

#6 - Embrace of the Serpent
Directed by Ciro Guerra

The fevered madness of the jungle is alive in this flick. Embrace of the Serpent addresses the duality of man. His ability to create yet also his sure-fire knack to destroy goodness. His willingness to help others yet also falling victim to his own egoic desires. In this film, the Westernized man leads to the downfall of an ancient Amazonian civilization. Serpent focuses on two different white men, separated by decades in time, who traverse into the depths of the jungle guided by the last living member of a tribe. Both of these men are looking for a hallucinogenic plant - one to cure his terminal illness, the other for purposes of being able to dream. The end product is a head-trip into psychedelia where plant medicine is the supreme deity.

#5 - Arrival
Directed by Denis Villenueve

Villenueve knocked it out of the park again this year with his latest film. Is there anything this man cannot do? The French-Canadian filmmaker strayed away from the dark and somber tone of his previous works and created something life affirming. Arrival is an example of smart science-fiction that has been coming out of the film industry recently (something along the likes of Interstellar). Humanity is put to the test in this movie as they try to figure out the intentions of the alien visitors. But it’s a story about love and loss above all. Arrival is edited perfectly by manipulating the viewer’s sense of time. Once I reached the ending and pieced it all together, I was a wet-faced audience member in that dead silent theatre as the other attendees sat dazed.

#4 - The Neon Demon
Directed by Nicolas Winding Refn

Is it a dazzling grand statement on the depraved narcissism of the professional modeling industry? Or is it just more pretentious artistic masturbation which has become expected of Refn? My thoughts are with the former. Refn’s auteur style that he has developed upon since the release of his magnum opus Drive has been particularly polarizing among critics and audiences alike - almost as polarizing as Terrence Malick. I believe people dislike The Neon Demon for some of the same reasons why the general masses reacted so negatively to Spring Breakers: it tries too hard to be artsy, it’s just a boring music video, the dialogue is unrealistic. At the same time I feel as if these audiences didn’t grasp onto the fact that these films which shed light on the hedonistic lifestyle of deranged young women are purely satirical. They’re supposed to be absurd. The irony is is that this absurdism is actually reflective on the types of females that move to LA for the pursuit of fame and recognition. It certainly is the best looking Refn film to date, with even banal or commonplace locations drenched in neon hues. And Cliff Martinez has outdone himself with the synth-heavy score which guides us along this fairytale of horrors. How far would you go to get to the top? In Refn’s surreal vision of Los Angeles there is no such thing as going too far to reach fame, even if it means bloodshed. As one character says in the film: “Beauty isn’t everything, it’s the only thing.” It would be nice to write off this statement as pure subjectivity, but what else has the media taught us but this ideal?

#3 - Nocturnal Animals
Directed by Tom Ford

Do you ever really know the person you love? This is the thought running through my mind while watching Tom Ford’s romance story disguised as a crime-revenge. Ford has created a highly innovating form of storytelling with Nocturnal Animals. A violent story of revenge is presented to symbolize the betrayal that Amy Adam’s commits against Gyllenhaal’s character. What made this film so enjoyable was the aspect that it was like two different films in one, yet both stories suitably complement one another. The frustratingly ambiguous ending was delightful as the audience searches for the intentions of Gyllenhaal’s character. The whole thing was a stylish story of betrayal.

#2 - Knight of Cups
Directed by Terrence Malick

My cinematic idol returned in 2016 with many ambitious projects: two different documentaries about the birth and death of the universe with Voyage of Time, a festival premiere date set for his forthcoming Song to Song, and the stream of consciousness visual poem which is Knight of Cups. I believe there is such thing as a Malick gene. His films either strike people with such awe and wonder that they come out of his films feeling enlightened or they are the cinematic equivalent of taking an Ambien for others. I have total faith that this film will be considered a classic masterpiece in decades to come. Sometimes it just takes time for a film to receive that cult status. Unfortunately, a formula which critics took such a liking to with The Tree of Life quickly became redundant and meandering in the public’s eye with his two follow-up works. Just like with all great art, it takes repeated viewings to really appreciate the philosophical mastery of this film. I’ve seen it over five times now and each time I walk away with something new -  a blossoming appreciation that such abstract and soulful cinema can be financed. If you have any idea about Malick’s life then you understand that Knight of Cups is the last film in his autobiographical trilogy. I see it as a sort-of spiritual sequel to The Tree of Life. A sense of disassociation is felt through the floating camerawork which follows Christian Bale on an odyssey of temptation in Los Angeles. Malick abandons small-town rural settings and older time periods for a tale set in the present day luxury land of LA. I must admit that when the credits started to scroll I couldn’t help but ask myself: “that’s it?” The abrupt finale left me feeling a little hollow. It left me with nothing. But I soon realized that this was Malick’s intention. This was the loneliness and isolation he felt as a big-shot Hollywood director even though he was surrounded with admirers. So to save himself, he leaves that lifestyle and finds his redemption through the glories of divine Mother Nature. I am so happy that there is a director who I feel so connected to, someone who expresses his eloquent ideology through some of the most beautiful movies ever in the annals of cinematic history. Knight of Cups is a fervent reverie on love, loss and life. A haunting meditation of redeeming oneself after a swift fall from grace.

#1 - American Honey
Directed by Andrea Arnold

A film so filled with life that I couldn’t help but feel exhilarated after it ended, American Honey is an epic road trip story for the millenial era. Its plot is open and free flowing much akin to the characters who traverse across the midwest in a van selling magazines to folks from all different social and economic backgrounds. American Honey exposes the dark underbelly of American households, especially for low-income ones. Youths search through trash cans in order to find a fitting meal. A drunken stepfather takes advantage of his stepdaughter. A junkie mother falls unconscious on the couch unable to take care of her young children. I might be making American Honey sound like a film filled with sorrow and hopeless situations. However Andrea Arnold takes the subject matter and actually gives it a twinge of hope. The chemistry between all the characters, most particularly between Sasha Lane and Shia Labeouf, makes it practically impossible to look away at could very well be a trainwreck waiting to happen. As soon as you think some awful event is going to happen to end the roadie’s journey of freedom - it doesn’t. American Honey sometimes feels more like a documentary than a feature film. The dialogue comes off as mostly improvisational and the plot is minimal at best. Arnold has taken cues from Larry Clark’s style of filmmaking when he released his controversial HIV drama Kids in 1995. Considering that film is in my top 10 favorite films of all time, it’s clear as to why American Honey was my favorite work released this year. With its unique aspect ratio, colorful and eccentric characters, and one hell of an eclectic soundtrack, American Honey breathed new life into me. By the end I felt almost as purified as Sasha Lane does as she takes a dip into a lake, descending to the bottom only to emerge from the surface a newly realized person.


まとめ By 枳犬 on Pixiv

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ok but crack!headcannon sjmaas concept...rowaelin!sonxfeysand!daughter, part 1

PART 1.5  PART 2

-so this takes place like 50 years after acowar, and like 100 years after tog6, when everyone’s happy and safe

-so rowaelin!son is the youngest, with two older sisters, and is the only one that looks just like Rowan, minus the eyes which are aelin’s

-he’s a young warrior, praised by aedion, all of the cadre, has tattoos and all, but to Aelin he’s always her baby boy

-while feysand!daughter is an only child for now, she has feryre’s hair, face, and all her powers, but everything else is rhysand, attitude, cockiness, eyes and wings

-rhys is insanely protective of his little girl, so you can imagine when she’s 17 and she, goes to nightcourt alone, without permission, she’s promptly sent to the cabin for a week as a punishment

-so rowaelin!son, 18, goes to help his sisters transport Auntie Manon’s witch mirror, from the waste lands to Adarlan, and of course the three argue about how to get it there, one thing leads to another, and he falls in

-two days into her stay, feysand!daughter hears a crash outside, and she’s shocked to see it’s a very handsome, very unconscious fae boy

-she immediately, thinks he’s from summer court, with the white hair and all, but his attire is way off, and she’s never seen the type of writing that make up his tattoos before

-despite her instincts, she can’t bring herself to leave him outside alone, so she  brings him back to the cabin

-he doesn’t move for a whole day, she has him tucked away in a guest room with a dozen blankets

- she plans to ignore him, but she’s dying to get a better look at his tattoos maybe for a painting, and her curiosity gets the better of her so she pulls up his sleeve

-aaaaand, sure as wyrd wakes him up

Collection of spells you may need in the wake of Trump’s election

Healing Yourself:

Agile Cat’s Always Land on Your Feet Spell

Heal Thy Heart Powder

Foggy Mirror Self Love Spell

Collection of Self-Care spells

General Protection:

Tough as a Nail, Sharp as a Thorn

Invisibility Glamour

Portable Barricade (Designed with autistc people/ppl with sensory issues in mind, but seems a good way to hide yourself if you’re a minority)


Gender/Sexuality Protection Jar

LGBT+ “We Endure” Sigil

Masculinity Scrub Glamour

Another post of spells for trans/nb people

To Keep Up The Fight:

Let Me Be Heard Enchantment

Sharpen Your Claws Spell

Sigil for Spoons

General Fear/Anxiety:

Banish Nightmares

Another Nightmare Repellant

Anit-Anxiety Charm

Another collection of spells, just for anxiety/stress


Candle Spell

To Maintain Happiness

Last Hope Spell

Some Curses, for those of us who do that

I searched out curses that seemed appropriate for those spreading hate and terror among minority communities

Button Eyes Curse

Curses against Trump can be found on this blog

A note: These spells are mostly ones archived on my own blog, which means they lean towards what I generally need. Because of this there’s a lean towards trans-masc spells and a lack of spells for poc. Please feel free to add on to this as you reblog it and make it more inclusive!!

Edit: This post has been updated to respect the creator of a spell’s wishes. Please reblog only this version!

ChestHair predicts

As I gaze into Killian’s beautiful matt of raven haven and become entranced by the gloriousness, I begin to piece together information and visualise the future (very badly)…..

Regina and Emma will be in the mirror land longer than one episode:

It would explain the spoilers of filming by the ‘Snowing proposal’ lake with Regina in Storybrooke clothing, JMo also on set, and Rumple and Robin in FTL clothing. 

The episode after next Sunday’s is called ‘Changeling’. The myth of a baby being taken and replaced with a fairy baby - although I doubt this is going to be about babies and more about people. Possibly Robin being a different Robin or something similar.

The episode after Changeling is called ‘Wish you were here’. This could be the episode where they finally get back, bringing Robin and Morpheus along with them somehow… leading to the fight in 6x10.

I think there will be a mirror Emma:

We’ve seen the image of Emma in a fairytale bed asleep… her hair seems curlier than regular Emma and my guess is that this is the Emma that would have grown up as a princess possibly. 

There was also filming with Killian, August and Emma that no one was allowed to take pictures of…. 

Could Storybrooke Emma plan to pose as Princess Emma? (would also fall under the whole changeling thing) 

My Captain Swan senses tell me they may just end up meeting and falling in love for the 3rd time if they don’t know each other…. And if mirror Captain Swan aren’t already eloped in some way - who knows? The ChestHair crystal ball is uncertain on this.

The ball is becoming hazy… my furry paradise is fading… i’ve lost contact. I’m sorry, this is all I could piece together… for now.

**The ChestHair predicts is purely for entertainment purposes only and not designed to predict the actual future. No profit was gained during the making of this article. Subject to availability. Batteries not included. Terms & conditions apply.**

On Chapter 845

So, I read the chapter several times now, and I think I’m finally able to make something like an analysis.

So, I have to say I have very mixed feelings about this chapter.The reasons why I will talk about further down.

So, first of all:

What the hell is going on with that food? xD Like, what even was happening? xD

We’ve seen some pretty sick stuff in op, but I really didn’t know if I should laugh or be disgusted. In the end I laughed ^^’ Look at that face when Yonji took a bite god… I probably shouldn’t have laughed so much.

Anyways, moving on to the more serious stuff.

What I found more interesting than Sanji’s scene with Pudding, was definitely Luffy’s iron will and unbroken spirit once again presented in this chapter.

He’s had to deal with an hour-long battle against Cracker form which he suffered severe injuries, his friends are stuck in a mirror land chased by slenderman-lookalike, he got beaten up by his own crewmate, he’s hungry and probably dehydrated and dead tired and he freaking lost a tooth and he refuses to leave, seek shelter, recover or tend his injuries, because he promised said crewmate he’d wait for him.

Like, we all know Luffy is an exceptional character in every sense, and again these panels not only broke my heart, but they also, once again, reminded me why Luffy is so so dear to me and to the audience.

He goes against all reason for his friends, he puts himself through horrible torments for the sake of his friends. What an exceptional man, truly.

But that brings me to two points I want to talk about.

Yes, Luffy showed us once again his unbreakable belief and willpower. However, looking at the upcoming battle long-term, he puts himself in an even worse position than necessary. Yes, his decision to not eat anything anymore is understandable and noble, but also dangerous, not only for himself, who already is injured and weakened, but also for his crewmates.

Nami, rightfully, is worried and pleads him to come seek shelter, but Luffy is too firm on his decision, too proud and perhaps too narrowminded what his choices as a captain will do to his whole crew. Half of his crew are on enemy territory, out of his eyesight, out of his reach if they need help.

Of course, Luffy trusts them all 100 per cent. And yet, he’s risking not only his own life, but also the lives of many more, who are by far not as strong as him.

However, I absolutely loved him in this chapter and we will see what happens to him battling the enraged army. I truly hope someone - a saviour? - comes to help him, because even Luffy has his limits and he’s running a race against time.

And Luffy’s firm, standfest position brings me to Sanji.

I have to say I am still not entirely sure how to feel about that scene with Pudding. For me personally, it felt very out of character, for me it didn’t really feel like a one piece chapter anymore. Maybe I’m the only one who thinks that, but whatever.

I don’t want to go into detail about what he says, I think it was more than obvious. Interesting, however, is when you read between the lines.

So, we have the talk between Sanji and Pudding, where he narrates his story.

When he refers to the wristlets, he mentions briefly that their only “recourse” to steal the keys is to defeat her entire crew. He says “our”, at least in the translation, so that includes her, and why I find that weird, I will say in a moment.

But as we read, he illustrates the helplessness of the situation, he’s aware of his friends now being in unbelievable danger as they are on enemy territory, he doesn’t expect any help from his family (obviously), and he refers to Pudding as his only saviour in this moment.

I personally thought that felt very out of character for him. It feels like he told her that information of his past and present situation to get a certain reaction from her, whatever that may be.
Maybe I’m wrong, who knows.

Point is: What about his captain coming to save him?

Has he given up on Luffy already?

Here we got the semi-romantic last panel of this chapter. I don’t know if they are kissing or not (I don’t think so), but at the very least, it is perhaps the most intimate moment of a woman and a man together we’ve ever seen in one piece. Especially since it features one of the main characters.

I thought these panels, with an injured and beaten Luffy struggling against an army and Sanji, who supposedly gave up already and is ready to go through with the wedding, these panels stand in a pretty harsh contrast with each other.

There’s Luffy, bless his heart, who refuses to let go of his hope that Sanji will come back to him, who risks everything, not onyl his own life but also the lives of his friends and goes against all odds and battle Big Mama’s army.

And then there’s tragic Sanji, who shows that he has no hope left, neither for him nor for his friends. As though he lost faith in Luffy, in Nami, in the crew he loves so damned much.

I don’t know, maybe it’s just me, but I felt it was so weird for him to say those things. It feels weird that he has given up and he wants to sacrifice himself in order for his friends to leave the island.

Sanji of all people should know that it’s wishful thinking. In 800 chapters he should’ve learned that Luffy doesn’t give up and won’t let him give up, either. He should know that Luffy will fight his way through this, he’s always done that.

As I said, for me personally it felt very weird and strange to read Sanji say he has no hope for himself left. But people interpret things differently. But I don’t quite think he’s being all that honest.

And another thought on Pudding.

To make it short, I don’t trust Pudding at all. I’m not saying she’s not a good character, but as the wonderful @samiraheaven93​ put it very precisely, she reminds one of a “too perfect“ fairytale princess mary-sue.

And that does not suit one piece at all. Nor does it fits within the range of op women, who have always proved to be very complex and multi-dimensional characters. So I’m not quite buying her innocent appearance and sweet, kind behaviour.

Why is Sanji trusting her? He doesn’t know her at all. So why go out of his way and tell her things he didn’t even tell his crewmates in all the time they’ve spend with each other.

Of course, it could be because he gave up on his journey, so might as well come clean. But again, I can’t and don’t want to believe that he is serious. That he has given up on his adventure, his journey, his friends, his captain. His happiness.

We will see how this all plays out. Obviously I could be wrong. And the strawhat crew will lose a nakama this arc.

So, all in all, I found this chapter very difficult to somewhat analyse. The story twists very quite difficult to make sense off, so I’m sorry I can’t deliver a more coherent analysis. I could be wrong in every of my points, obviously.

In any case, I found Sanji’s and Pudding’s scene very strange, however the romance was put in a pretty intense and well-placed contrast with Luffy and Nami alone against the army of hundreds of enemies.

As usual, this is just my humble take on the events of this chapter. Be nice^^

However: If sensitive people here have a problem with me uttering my personal opinion and interpretation of a character or situation, please kindly do me a favour and unfollow me, better even, block me.

Snow White and the Seven Dwarfs

by Anne Sexton

No matter what life you lead
the virgin is a lovely number:
cheeks as fragile as cigarette paper,
arms and legs made of Limoges,
lips like Vin Du Rhône,
rolling her china-blue doll eyes
open and shut.
Open to say,
Good Day Mama,
and shut for the thrust
of the unicorn.
She is unsoiled.
She is as white as a bonefish.

Once there was a lovely virgin
called Snow White.
Say she was thirteen.
Her stepmother,
a beauty in her own right,
though eaten, of course, by age,
would hear of no beauty surpassing her own.
Beauty is a simple passion,
but, oh my friends, in the end
you will dance the fire dance in iron shoes.
The stepmother had a mirror to which she referred–
something like the weather forecast–
a mirror that proclaimed
the one beauty of the land.
She would ask,
Looking glass upon the wall,
who is fairest of us all?
And the mirror would reply,
You are the fairest of us all.
Pride pumped in her like poison.

Suddenly one day the mirror replied,
Queen, you are full fair, ‘tis true,
but Snow White is fairer than you.
Until that moment Snow White
had been no more important
than a dust mouse under the bed.
But now the queen saw brown spots on her hand
and four whiskers over her lip
so she condemned Snow White
to be hacked to death.
Bring me her heart, she said to the hunter,
and I will salt it and eat it.
The hunter, however, let his prisoner go
and brought a boar’s heart back to the castle.
The queen chewed it up like a cube steak.
Now I am fairest, she said,
lapping her slim white fingers.

Snow White walked in the wildwood
for weeks and weeks.
At each turn there were twenty doorways
and at each stood a hungry wolf,
his tongue lolling out like a worm.
The birds called out lewdly,
talking like pink parrots,
and the snakes hung down in loops,
each a noose for her sweet white neck.
On the seventh week
she came to the seventh mountain
and there she found the dwarf house.
It was as droll as a honeymoon cottage
and completely equipped with
seven beds, seven chairs, seven forks
and seven chamber pots.
Snow White ate seven chicken livers
and lay down, at last, to sleep.

The dwarfs, those little hot dogs,
walked three times around Snow White,
the sleeping virgin. They were wise
and wattled like small czars.
Yes. It’s a good omen,
they said, and will bring us luck.
They stood on tiptoes to watch
Snow White wake up. She told them
about the mirror and the killer-queen
and they asked her to stay and keep house.
Beware of your stepmother,
they said.
Soon she will know you are here.
While we are away in the mines
during the day, you must not
open the door.

Looking glass upon the wall…
The mirror told
and so the queen dressed herself in rags
and went out like a peddler to trap Snow White.
She went across seven mountains.
She came to the dwarf house
and Snow White opened the door
and bought a bit of lacing.
The queen fastened it tightly
around her bodice,
as tight as an Ace bandage,
so tight that Snow White swooned.
She lay on the floor, a plucked daisy.
When the dwarfs came home they undid the lace
and she revived miraculously.
She was as full of life as soda pop.
Beware of your stepmother,
they said.
She will try once more.

Looking glass upon the wall…
Once more the mirror told
and once more the queen dressed in rags
and once more Snow White opened the door.
This time she bought a poison comb,
a curved eight-inch scorpion,
and put it in her hair and swooned again.
The dwarfs returned and took out the comb
and she revived miraculously.
She opened her eyes as wide as Orphan Annie.
Beware, beware, they said,
but the mirror told,
the queen came,
Snow White, the dumb bunny,
opened the door
and she bit into a poison apple
and fell down for the final time.
When the dwarfs returned
they undid her bodice,
they looked for a comb,
but it did no good.
Though they washed her with wine
and rubbed her with butter
it was to no avail.
She lay as still as a gold piece.

The seven dwarfs could not bring themselves
to bury her in the black ground
so they made a glass coffin
and set it upon the seventh mountain
so that all who passed by
could peek in upon her beauty.
A prince came one June day
and would not budge.
He stayed so long his hair turned green
and still he would not leave.
The dwarfs took pity upon him
and gave him the glass Snow White–
its doll’s eyes shut forever–
to keep in his far-off castle.
As the prince’s men carried the coffin
they stumbled and dropped it
and the chunk of apple flew out
of her throat and she woke up miraculously.

And thus Snow White became the prince’s bride.
The wicked queen was invited to the wedding feast
and when she arrived there were
red-hot iron shoes,
in the manner of red-hot roller skates,
clamped upon her feet.
First your toes will smoke
and then your heels will turn black
and you will fry upward like a frog,
she was told.
And so she danced until she was dead,
a subterranean figure,
her tongue flicking in and out
like a gas jet.
Meanwhile Snow White held court,
rolling her china-blue doll eyes open and shut
and sometimes referring to her mirror
as women do.

Mirror Image

The trouble is, the land behind the mirror gives Emma ideas. It gives her one idea in particular: that if she could just figure out the magic of it, she’d have a way of watching Regina without Regina knowing. Without anyone knowing.

Emma knows she shouldn’t, that it’s an unforgivable intrusion. This can’t be a good idea, not when it was the Evil Queen herself who thought it up. And Emma knows the Queen now, has seen first-hand how selfish and cruel and manipulative she is. That theatrical grace, the silky glide of her movements and the jagged edge of her wit - it should be temping. It’s meant to be. But without the warmth and reluctant kindness and that ability to love both fiercely and softly that make Regina who she is, it leaves Emma cold. The Queen isn’t the woman Emma wants.

And that’s the problem, isn’t it? What she wants and can’t have. It isn’t fair - she’s been so good. She’s made a life with Hook, and it’s pleasant and he’s kind to her, and if the guilt of what she doesn’t quite feel for him sometimes eats at her, she’s grown skilled at hiding it.

It’s only her smiles that give her away. She’s caught them sometimes in the ghost-like reflections of windows and thought how strained and false they look. No one else seems to notice, except perhaps Regina. Sometimes Regina watches at her with that worried frown of hers and her lip between her teeth and Emma has to look away. She doesn’t let herself look at Regina much these days. She’s too afraid of what she’ll reveal.

But in secret, in the mirror… She can’t help herself. She has to see the woman who’s become so vital to her and so she figures out the magic and she uses it, despite the voice of her conscience whispering its disapproval. To silence it she makes rules for herself: nothing private, no bedroom mirrors, no bathroom mirrors, no moments that would shame Regina if she knew she was being watched.

That still leaves car mirrors and the mirror in the mayor’s office where Regina fixes her hair. Mirrors in stores and mirrors in hallways, a thousand images of Regina, her face from every angle and in every light. Emma grows intimately familiar with the tantalizing nick of the scar above her lip and the fine lines around her eyes that only make her face more perfect, because they make it more real.

It takes Snow almost catching Emma to make her come to her senses. She isn’t this person, this stalker. If she doesn’t have the courage to risk everything by telling Regina how she feels, she hasn’t earned the right to watch Regina this way. She resolves to smash her magic mirror and never make another. All she’ll allow herself is one last brief look.

Regina is in her office, motionless in front of the glass with one hand against its frame. Her eyes are amber in that light, deep and dark, and when Emma stares into them they seem to stare back. For one moment she lets herself believe that Regina really is looking back, watching her as she’s watched, with the same helpless longing in her eyes.

But it’s a fantasy, a mirror world that’s only a distorted echo of reality, and Emma smashes the glass to shards and walks away from it.