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I have decided to pull some cards about my questions and concerns with Boss & Noeul’s performances in their latest series, Crazy Love Moo Moo, and keeping in mind all their work since their joint debut as Phayu and Rain in Love in the Air.
I’m personally and particularly worried about Boss and his ability to be beautifully in the mood and feeling of the more intimate scenes.
To clarify, my worries are about what is in the way of making their scenes feel connected and full of wonder and wow for us the viewers and what that has to do with behind-the-scenes issues around care, communication, personal and interpersonal health and safety, etc.
I don’t know what will come up but this is for the love of their work and wanting to respond in some way to a general issue I see across the board with so much art and it’s artists over time in my favourite media.
This is not an attempt to do something like airing them out or shaming them in any way. I know nothing. I’m concerned about what tools and abilities are available to work this point of strange quiet for myself but also to make it sit in conversation with the media, its enjoyers and makers.
To make things easier for me, I will be using ‘you’ and ‘your’, etc. in place of the person and people experiencing the issue I’m reading on. This is also appropriate considering that the reason why I decided to make this public is because this is an issue I experience in my own creative work and collaborations as well as in the layers of other peoples’ stories so often. The work of these actors is also experienced both collectively and personally so, yeah.
I pulled 6 tarot cards, here’s what comes up in order:
1. The Tower (in reverse)
2. Three of Swords
3. The Fool
4. Ten of Swords
5. The Devil
6. Ace of Pentacles
Here’s the reading:
The Tower card came up upside-down and I immediately thought that this has to do with an internal (I feel that again in my sacral chakra) confrontation and digesting of the current state of things. There’s a lack of connection and support [between your body and the ground] regarding saying ‘Yes’ and ‘No’ and the health that that sustains from deep within and through all which your life affects and is involved in. The position of this card in this spread dictates the general theme for this reading, the point of view it’s working with.
Next, we have the 3 of Swords. This card at a glance represents grief. I’m feeling deep inability to have pain be expressed and represented in the world to mirror your internal state; so this is loneliness. Defences that have been erected at the last minute, coming from your good intentions and ideas but not feeling powerful enough to fight what now and looking back seemed inevitable in how big and hurtful it would become. There is collective mourning here, about this. Many are holding in this darkness of feeling and concern for you. A sense of vulnerability and again, a lack of safety in a way that feels deliberate, cold and lacking in response from places and people who could do something about your fear of such conditions continuing, let alone having started in the first place.
This is the point in conversation, this grief that feels part and parcel with this work (acting, playing, the way you initially showed up), that is the moment when things feel like they will not and cannot change. I want to be clear now, what is being said is that this is also the point that is actively preventing forward movement and change. So it’s both the performance of a block (which has deliberate uses including overwhelming, isolating, confusing and disabling you, its recipient) and the point that when addressed, becomes the place of most clarity regarding what was in the way of the goals you have in doing your work.
The next card is The Fool. Spring. In terms of the opportunities and connections and the need to keep going in the directions that your desires, goals and plans point to, there is no shortage of avenues you can take. There is a whole world of feedback when you will ask, it will be ready to back whatever request you set forward! This is a force that will answer, not just an option to try or something available but a position held by others around you and your work, specifically in response and at the ready for you! It is interesting that this card comes up after the 3 of Swords. The two cards’ dynamic highlights the boundaries of pain and the available relief and therefore exactly where and what the pain is about as it is so concentrated so early on in the conversation and so close to the beginning if we are to think of this reading as an outward-running spiral - just before The Fool’s position in this reading begins to speak about another layer of space (and relief) so soon in the widening circle as this story unfolds for you.
Up next in the reading is the 10 of Swords. Okay, so this is about having given up. Giving up is not wrong. You are completely alone physically and waiting for a response to the fact that you are on the lowest of ground and cannot give anything anymore [in terms of what would be praised as getting back up by the people immediately around you and benefitting from your running on empty]. You are awaiting an end, a suspected fizzling out, unless there will be external intervention of some kind. This is how you’re currently posed. This is an inability to keep driving forward via your own interests and desire, or to use and fold into your efforts something like the uplifting air of The Fool. What you expected and were excited for in doing this work initially is not reaching you at all! Let alone the animation it could naturally spark within you, especially in good community. You are asking if this is all everything has come to.
The second-last card that comes out is The Devil. You are being encouraged (in a way that believes in you and would love to see how you do this) to go as deep and and as far as whatever is concerning and bothering you goes. ‘Concern’ and ‘bother’ as light words and indications of style because force and heavy-handedness as perhaps expected from feeling completely weighed down is not necessary to begin engaging this pivot. This is not about poking and prodding at oneself but about following oneself to be shown and to look at what is truly going on in your reality. This will go past most understandings and conversations that you will have tried to engage so far. There is sense and language and a path forward available to you in this way. You will be taking care of yourself as you go, you will be recovering an experience that you only understood in one way and unbinding and loosening what is tight around you and your throat as you take each breath. There will be smells and sensations that will make sense and scare you at the same time. You are going to fetch and retrieve what is yours, be brave.
And finally, The Ace of Pentacles is the final card that comes up. Your body is where this experience is taking place. Your body’s knowledge can answer questions about your most basic as well as complex needs and desires. Your body’s wisdom is how you started this work in the first place. Your body says ‘No’ to protect you. It calls attention to threats and has the ability to rescind any attempt to override a decision in its jurisdiction once made. But your body also wants to keep playing and exploring and living with you, and if you change course and begin to respond and respect the result of a choice already happening for you; things cannot keep going as they currently are, you will be able to take this opportunity to come home and learn what your pleasure and your knowing of fulfilment is actually connected to for you!
I hope this reaches those who want and need it.
On the wings of love, up and above the clouds, the only way to fly is on the wings of love. - Jeffrey Osborne
I also think that this series or rather its makers seem to really like the style that the show sits in and are impressed by this. I don’t necessarily want to go too much into that but the feeling of it was kind of annoying for me, overall.
There were so many interesting and fun things about the show that I really enjoyed but in the end it felt like most of it was undercut by the lack of seeing the girlfriend-characters as humans and not projections for the personal stories of the three main men-characters of the show! 🧐🙄
Even with Makiko being a main character; they had her sitting in jail, Day 1 in jail, traumatised doooowwwwn and Junichi has to now run-up to tell her that he loves her? Okay, but that didn’t sit right in my spirit and I saw that as the lack of consideration that it was (at the least). Kissing hollywood-style just as I step out of jail?? Junichi, Keisuke and Naoto gave Makiko ZERO amounts of space, the whole show! Not a straw to breathe through!
What the hell was Junichi doing asking Keisuke of all people for his permission to take care of Makiko (and their/her son)? That baseball they kept throwing between themselves in the last scene of the 3 boys altogether, and then the leaving of Naoto out of the catch-rotation says enough! The ball is Makiko. 🤢
I don’t necessarily believe that the people behind the scenes or the pen specifically are men but the way that this whole show does the character, Hiromi, makes me sick! And it also tells a whole lot about the point of what we’re watching, me thinks.
Why would you give us the part, for example, where Hiromi explains to Junichi that she usually doesn’t meet the ways that other people see her when they find out that she’s a nurse and then naming her kind and aspirational for it. Only for the show to turn around and have Junichi say that he felt accepted and safe with her through all the nightmares and confusion. Okay? 🫣 For some reason I didn’t like it when he said that. Then for him to then dump her?! Wooooooow 😪🤡 Hiromi, I personally would never do that to you! Never dismiss you like that!
Hiromi, were you silent or were you silenced - when they only let you get a spin-hug (that you had to ask for) and they forced you to say from a dry throat that you loved Junichi, hm? 👂 Tres upsetting.
I really wanted to stop watching when they started ramping up on the Makiko vs Hiromi competition because it was so strange, the addition of that angle to the story. Especially because it isn’t something shown from Junichi, or Makiko, or Hiromi’s perspective.
I won’t even get started on Keisuke’s situation, I shan’t!
I’m just over it because in the end the world is just a boys’ club right! 😒 Wrong! I feel so frustrated at how confusing of a watch this was for me.
It was delightful to hear Spanish in 10 Dance, but I always find it interesting how Netflix tones down the familiar and playful aggression of Spanish like by translating "maricón" to "bro" or some other non-offensive term (it's closer to "fag"), so the Spanish conversation in the bar in 10 Dance was interesting not just because I want the bartender . . .
But because the bartender is saying that Suzuki is "enganchado" as in hooked or addicted to Sugiki. The emphasis is on the nature of Suzuki's feelings, so it's not a soft love, but an obsessive one in which he keeps going back to Sugiki for more . . . like a drug.
Which makes sense because Suzuki just describe his relationship with Sugiki like this:
But Suzuki seems to take humorous offense to the bartender's comment implying he is addicted to Sugiki.
So the bartender tries a different approach saying that people "lust" ("lujuria"), sexually. In a sense, the bartender is shifting his question to make Suzuki's attraction to Suguki carnal instead of something deeper.
Which causes Suzuki to pause again before he laughs it off.
But it's clear that the bartender is actually trying to approach this in a "no big deal if you like a dude" way because he says "contigo" as if he is saying "I'm being serious with you."
And follows it up with this which is close to the word-for-word translation ("el mismo sexo también se puede sentir? -> "the same sex also can be felt (by one)"), so he is reinforcing that a man can have the same addictive or carnal feelings for a man that he could have a woman. No biggie.
But Suzuki brushes it off and calls the bartender a "cabrón" -> bastard (affectionately) rather than just merely saying "come on!"
However, the ending line of the conversation is where I get a bit confused with the translation because the bartender isn't saying to back off. In fact, the bartender is saying the opposite. The bartender says, "Bueno, si no te importa hacer un tarrudo, entonces vete" -> "Well, if you don't mind making a mess, then leave!" but "vete" implies force and finality, like a command. It's kind of like telling him "to shit or get off the pot but you have got to quit bullshitting about it because nobody is holding you back from fucking a man, coward." Like, "vete" is heavy.
Then, the music in the background reinforces what the bartender just told him.
So when he leaves the bar and immediately sees Sugiki dancing, he approaches.
And I think that Spanish conversation is the reason he gets upset at Sugiki. He has just been told to make a mess with a man if he wants and he has been sitting in that this entire time only for Sugiki to leave the conversation and their interaction with simply asking him not to mention his previous bad treatment toward Fusako to her. That's the secret he wants Suzuki to keep.
Like "what a fucking waste of a bisexual awakening, man."
¡VETE!
"Bueno, si no te importa hacer un tarrudo, entonces vete"
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Discovery never gave a name to Book’s empathic link (the head glowing). So I decided to call it his “okan”. Ọkàn (pronounced 0h-Kahn) is Yoruba for soul, heart, mind or conscience. I really liked the aspect of the soul. Like, it’s a part of his soul reaching out to connect with the soul of another entity.
Disclaimer: This is based on what I found online. If you are Nigerian and have more insight or need to correct this, please do so.
I was listening to an interview with David Ajala and he said when Star Trek Discovery approached him about being in the show, they originally wanted him to play a Starfleet officer.
In the interview, he said he told them he was feeling "rebellious at the time" and wasn't really looking to play that type of character.
So they offered him the role of Cleveland Booker, and as the saying goes, the rest was history.
Knowing this and rewatching the "Leutinant Booker" scenes in S3E3, feels more like Discovery having fun with an inside joke.
uhh. thinking about lestat and louis invading claudia’s privacy by reading her diaries. lestat saying her diaries are ‘inked with ungratefulness’ asserting his parental right over her body -> claudia writing that she couldn’t dream in 2.01 driving louis to despair until he realises that ‘it was just something she wrote’. she was no longer necessarily writing truthful accounts about her days anymore -> claudia altering the way she makes entries in her diaries so that it no longer records her history, but idle thoughts instead, after her initiation into the coven in accordance with the great laws -> claudia handing over her diary to santiago confidently in 2.04 when he creeps up on her without fearing judgement/punishment for her opinions because she’s probably not recording her feelings with any honesty at this point -> claudia no longer recording her story in her diaries once she escapes paris with madeleine. she’s editorialising and shaping her own narrative even through her diaries, refusing interpretation because she knows her privacy is not being respected by the people around her. this is largely in response to the various men in her life insisting on imposing their largely inane laws on her and constantly denying her agency. of course she gives up the exercise entirely once she’s able to liberate herself from the patriarchal/familial/institutional frameworks that rule her life up until this point.
i fucking hate when characters call louis "arrogant" "pretentious" or "haughty", because hes actually none of those things. hes literally just passionate for once in his god damn miserable life and these people love to tear him down. no wonder hes lived a century of depression, everytime he gets happy or enthusiastic people give him shit for it
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do you ever think about how the night louis and lestat hooked up for the first time they'd been having dinner with louis' family and lestat likely hadn't fed yet and had instead spent the evening eating human food which canonically tastes awful to vampires and obvs does nothing to slake their thirst for blood so he was no doubt Very Very Hungry when he took the little drink from louis yet he was still able to control himself and not take too much because he was so in love with louis and had been in love with him for months hearing the pumping of his heart when they were together watching the blood slide down his veins wanting to taste him So Bad but not enough to kill him never enough to kill him...
do you ever think about how this is the way lestat looked at louis after................
WHY? MARCUS, EBRA, ANGEL MANNY VERSUS The ICK. SEASON 3 THE BEAR
WHATEVER THIS IS. NEEDS TO STOP.
CLOSE THE LOOP AND GO AWAY.
Seriously just. Stop
No more of this group on the Bear. Carmy can be developed without them. We get it.
We get the whole thing about a TIME LOOP. we get the hints at the train station etc.
WE DON'T NEED the groundhog day time loop hints from this group . Since it's this group nobody will believe it anyway.
Christopher, we don't care
Ok they are a distraction for Carmy to stop him from his purpose. Thanks for pounding that into us.
This pic is gratuitous I HAD TO add it 👇👇👇
I've should have said this from the beginning but I didn't want to seem like a hater. But looking at this group, this FAK GROUP in relation to the show, makes me have a physical reaction. It's visceral and grosses me out
It's really horrible when you have Ebra, Angel, Manny, and Marcus (even Sweeps) with stories to develop.
You mean to tell me Carmy lost a brother and is grieving all this time, but Marcus has a brother and lost a MOTHER and we can't get him crying on Sydney's shoulder?
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society if s3 was an AU of sydney signing the “push me/push you” partnership agreement kink form and we got the most sick, twisted, sexy and unhinged co-chef dynamic ever to be put in a show
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