I know, I take a long ass time to update these, but tbh I’ve been very busy. However, watching the new MV and the VCR for MAMA 2016 has been making me think a lot more about this stupid overarching plot that EXO seem to be showing through their MVs. I hate them tbh… =/
Anyway, the order of the MVs with new things included (imo) go as such:
MAMA/History/What Is Love - Miracles in December - Romantic Universe - MAMA 2016 VCR - Lucky One - Overdose - Love Me Right - Wolf/Growl - Lotto - Coming Over - Pathcodes/Call Me Baby - Monster - Sing For You - MAMA 2016 Performance.
(Note: I moved Pathcodes/Call Me Baby from after Love Me Right to before Monster because I slightly changed my mind over something I haven’t actually covered in these theory posts yet. It also fits better here with revisions concerning the new stuff!)
So, I’m sure a lot of people have theories about the MAMA stuff because it was confusing and definitely story oriented. I’ve split the VCR and performance stuff (collars and ending lights going out) up as I think they’re separate. I’ll explain why!
Anyway, let’s start with the VCR. For me, the VCR is set very early on in the story. The reason I think this is because of the setting and what happens. First thing I noticed watching the VCR were the chess pieces and trees in the background:
The chess pieces have 2 possible interpretations imo. Either 1) they represent that the members are mere pieces in a larger game or 2) because the chess pieces are white and the people (inc. EXO) are in black, that they are in opposition to the forces at play. Personally, I would suggest it’s a bit of both. The trees, I’m not entirely sure what they exactly represent, but trees are a significant piece in EXO’s storyline so I would think they have some link to the Tree of Life perhaps - or at least are a visual representation of something linking the two.
Next, the guy with the red eye goes through the thing and doesn’t get a collar. The red eye I would think is very obviously eluding to the Red Forces, so it seems like they don’t need a collar. The next person to go through is deemed human and does get a red collar. And the checker writes a character under the ‘Human’ tab: 正 which (if Google translate is correct) means ‘positive’.
I let the mice chew through the bandages. One of them was this brown and white mouse who approached the whole task with a wonderful sense of play. Sparkling little eyes so lightheartedly intent on their work. Magnificent. Every little bit helps. I would lie there, in the boiling afternoon, watching the mice come and go, and I would fondly think of you.
Albums recovered from the trailer in Riverside
Curtis Mayfield “Curtis / Live”
Lou Reed “Blondes Have More Fun” (Bootleg, Australia 1974)
The Complete Works Of Bad Company
Jerry Jeff Walker Self-Titled
Ready for the World “Long Time Coming
I began to compile lists in my head. I remembered having read someplace that making lists was a way of calming the nerves. For me it only makes things worse.
Persons thought to have disappeared into the cavalcade of monsters
Tracy in Portland
I would reach for the telephone and then suddenly retract my hand as thought I’d nearly grabbed hold of a snake. That was me: letting it slide. Watching unthinkable things on the stolen VCR hooked up through no small effort to the cheap bolted-down TV. Eating Milk Duds all day. Milk Duds and Charritos. And Royal Crown Cola in bottles. You could get it cheap up at the Viva. For real.
Champions of the World
Eddie “the Continental Lover” Mansfield
In the great heat of the old motel I could feel the part of me that had been resisting the final disconnect beginning to wither. The kind of shrinking we practice turns us into invisible towers of strength. I’m sorry I brought you into this mess but I’m sorrier still that I’m not dumb enough to sink my arms in past the elbows. I have this sick feeling there’s something really great just past the point of no return. Stupid, huh? I let the mice chew through the bandages. I sat back and let the go about their joyful business. Ripping and tearing. They were setting me free.
GALLOWAY: You wrote 87-88 West Wingscripts, basically the entire first four years.
GALLOWAY: Do you regret leaving the show?
SORKIN: Leaving was very difficult. I loved the show, and I particularly loved everyone I worked with on the show. The cast and crew and I were very, very close. We were very proud of what we were doing and we were also riding high on the hog. We had won the Emmy for best drama all four of those years. I felt like for four years I had the best job in show business. So leaving was a very difficult thing, but I think it was the right thing. I don’t regret it. I can’t tell you whether the quality of the show declined or not, because I have never seen an episode of The West Wing from seasons five, six, or seven.