RIP Kim Jonghyun. You Stood Out To Be A Very Talented Vocalist In The K-Industry. I Hope You Are In A

Maknae line going drinking pt2

*after all the ruckus Jimin calls hoseok for help*

Hoseok: Faints when arrives because of alcoholic fumes and very low tolerance.

*calls other Hyungs for help"

Yoongi: Doesn't pick up the phone.

Namjoon: Which dim witted idiot gave Tae alcohol?!

Jin: Screams at them like an ahjussi but finally brings Namjoon and Yoongi to help them back home.

*after reaching home without managers knowing*

maknae line: Still pretty drunk and tipsy.

Yoongi: Gives death glare -_- "If any of you little shits do this thing again, I'll burn you alive."

maknae line: Instantly sober.

Taehyung: Yoongi Hyung, let's hold hands?

A few more thoughts

This art by @Doodlemunster is just gorgeous. Doesn't she look like one of the Muses here? Actual goddess, I am telling you. From the moment we saw Miss thang on the screen, she has not been coded as human.

Siren? Of course

The first time we see Pearline, she is standing at the station, admiring the way Sammie's gift lures people in. His voice is something else; no wonder folk can't resist. As a siren, it's usually the other way around. She sings and men are at her mercy. I think this is why her gaze looks so curious. Pearline clocks his shit immediately. She can see something supernatural within this boy. Not to mention, the sinful nature of their interaction. She is the ultimate temptation for Preacher Boy. A married woman who adores him and his guitar? A blues singer that knows her way around a shotgun? A harlot who spends her nights entertaining fellow sinners? Jedediah would have a heart attack.

Werewolf? Absolutely

Why else do we learn nothing about her personal life? Her job? Her husband? She only really interacts with Sammie over the course of the night. That Juke Joint was packed with Black folk who've spent their whole lives in Clarksdale, Mississipi. Why doesn't anyone recognise her? As a lycanthrope, it is safer for Pearline to live on the edge of society.

Vampire? Eventually

Her last words before she turns are 'Sammie, run'. Does that sound like a woman who is happy in her married? Who longs to see her husband again? Scratch that, does that sound like a mortal? When Annie gets turned she refuses to live as anything but a human being. Her disgust was plainly stated, and thankfully Elijah respected that.

Pearline, on the other hand, accepts what is coming!! There is nothing to run from because she is already a creature of the night. From where I'm standing, Pearline is a werewolf in her mid to late 20s. She has experienced gruesome transformations before and with the full moon outside, she knows how ugly things could get. Her final warning to Sammie is a profound act of love and confirmation of her familiarity with the supernatural.

TLDR: This woman is not human. Never been human and I love that for her.

When Life Gives You Tangerines

This drama is so unique in it's storytelling. I'm watching it with my mom and I told her that I love how the pacing isn't in any order whatsoever. It feels natural, almost like being told by memory. And memories aren't always in chronological order.

It reminds me of sitting with my grandma in the garden, asking her stories about her childhood, starting from when she was a little girl to when she had my mom and my uncles, to her own siblings, then to her marriage. It leaves me with the same fluttery feelings, all warm and joyful. Yet the drama also offers so many perspective about life, about how people become when they grow up. As kids, we had big dreams and even bigger ambitions, but then as adults, we just try to do our best. Sometimes we fail but we try to make do and give ourselves a little bit of grace. Because this is our first life, everything is a first time.

The episodes just wreck me every. single. time. I don't think there's ever been an episode where I didn't cry. So many of it is just being grateful to my parents. I know I'm luckier than most, and I know that sometimes I'm a brat who doesn't appreciate it enough. But I know that nobody else would love me as much as they do and no amount of gratitude would ever surpass everything they did for me. Oh my God this is turning out to be so sappy. But I think that's exactly what the drama wants us to realize, that life goes on and always goes on. Don't have too many regrets. Tell your parents you love them. Find a partner who would treat you right, who would be your ally and your friend, someone you'd want by your side even if the whole world comes crashing down. And love yourself deeply(!!). When you do all this, everything just follows.

Needless to say I love this drama. I believe it's one of those that'll stick with me for a very long time.

BTS while watching horror movies

Namjoon: Pretty chill in the beginning, with time jumps at sudden scares.

Jin: Screams like an ahjussi every single time a jump scare appears, brushes it off like nothing happened.

Yoongi: Doesn't give two shits, finds the movie mildly amusing. Probably aready asleep.

Hoseok: Scared shitless, probably inside the couch cause he's too afraid.

Jimin: Formed a ball with himself by crouching to his knees, hides his face at scary scenes.

Taehyung: Literally just a huge ass koala and snuggling up to everyone and probably just latches onto Jungkook cause everyone else shoved him away.

Jungkook: Bored AF. Wants the movie to get over with so he can play overwatch.

BTS while shooting love yourself teasers.

Namjoon: Probably spacing out in the bus but looking beautiful as ever.

Seokjin:"Well don't you look dapper in that suit"

Yoongi:"This is the most acting I may do in my life"

Hoseok:"Well this isn't much of acting but more of dancing so I am happy."

Jimin:"Why am I always affiliated with water?"

Taehyung: Probably playing with the girl and having lots of fun.

Jungkook:Probably playing with the wheelchair and probably having wheelchair races with tae during behind the scenes.

⋅ʚ Aftersun: Are we happier in our memories than in reality?⋅ʚ

➴ January 23, 2025. ₊˚ෆ

While this is a transposition that has nothing to do with Seneca's entire statute, I firmly believe that Charlotte Wells's film is so multifaceted that it allows for opposing and complementary readings of its characters in equal measure.

────────────────────── ୨ৎ ─────────────────── The situations are pleasant, simplistic yet heartbreakingly human, with Calum's (Paul Mescal) tender witticisms and his father jokes concealing conflicts that slowly escalate into their reality. The film shows us, without much fuss or show, that time does not heal everything, that we are happiest in our memories because they sometimes fade for our sake. What are we but the pictures of our happy moments, or the silly dances in places where no one knew us? Aftersun is a subtle visual and narrative treatment of pain, but it does not completely erase it. Like time, the film navigates in our memories, in what we may have overlooked unintentionally or by force. We are Sophie in the past and in the present, sometimes also Calum, trying his best not to ruin the moment at the cost of our own peace.

It would be foolish to pretend that this coming-of-age film, full of emotional mirrors for the viewer, is a film of tissues and snot for the simple pleasure of appealing to our empathy.

Aftersun works on a micro level with vital elements such as nostalgia and loss in all its forms. Action, or the lack of it in the face of different situations, is also what makes Wells' work so special, for aren't we the ones who deform past events to the point of unconsciously changing them? the ones who miss not having noticed things we couldn't intervene in? The powerlessness of an isolated space like the present of the past, Sophie's position as a child not allowed to help her father, and Calum's willingness to keep everything to himself in order to make her happy.

The intimacy of the film goes beyond the superficial analysis of its subject, because visually it feels alive, with a pastel, almost dreamlike texture, and a camera that allows the characters to exist in silence, to be more than their careful dialogue. The lighting plays an important role in the expression of the characters' minds, like the clue that is removed by the first experience, which, from a spectator's point of view (like Sophie's), makes all the sense in the world. His narrative does not replace the aesthetic, but accompanies it, without in any way overlapping it.

One hour and forty-two minutes condense weeks of experience, years of pain and the innocence of two characters who are nothing more than ghosts to us and to themselves, and all that time is not enough to heal the emptiness Aftersun leaves in its viewers or to dry the escapist tears of those who say they never cry at the cinema. It's a film to live and relive, because your own memories will be there, and it will look more beautiful with every viewing, even if it hurts.

-ˋˏ philocalistherzˎˊ

I thought we wouldn't be like them, but I was wrong. You won't leave your husband, so I'd rather go away. In the Mood for Love 花樣年華 (2000) dir. Wong Kar-wai

nettles (teeth eater)

@/mothercain. twitter, 14 mar 2022.