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(warning: really huge-ass, super long post with many screencaps)
You know what the most amazing thing about the Yuri!!! on Ice ep 7 kiss is? That it wasn’t the most amazing thing in the episode. For real. In fact, it wasn’t amazing at all, and I mean this in the best possible way: when it came about, it felt real and organic, because the show has been leading us here all along.
The narrative has paved the way for this moment to happen—and more than that, for it not to be the end of the series, but simply another element of the story as it develops.
I am going to tackle why I think this is so, starting with…
the genre question
I think one of the things that’s struck me about Yuri!!! on Ice from the start is: this is not a typical sports anime.
This is the start, and the framing, of a typical sports anime.
Our protagonists are at the start of something new. They are there to face their sport, overcome challenges, and learn to work as a team. Along the way, they will meet allies as well as powerful rivals. In the end, they will fight their way to the top and embrace the power of nakama.
This is the start of Yuri!!! on Ice.
When we first meet Yuuri, he has already done most of that.
What’s with Victor’s weird expression in episode 3?
Some speculation about Victor under the cut:
Up until this point, Victor is smiling. Let’s walk through the scene:
Yuuri is freaking out. Victor reminds him he’s up next:
Then Yuuri tells him he’s going to be the tastiest katsudon ever, and asks Victor to watch him (though as discussed on Reddit, the Japanese is stronger than that. It’s “please watch only me”). Then we zoom into a close-up of Victor’s eyes. This shot lasts for almost two seconds:
Yuuri then hugs Victor, and he has a pensive expression:
Obviously, Victor is thinking about something important here. But what could it be?
Let’s look at another unanswered question: why did Victor cut his hair?
This episode explicitly links Victor’s long hair with sexuality. As he explains re: his costume in the Junior World Championship:
His old costumes are also quite different from what he skates in now. The old ones are flashy and skin-tight:
There’s even a scene that lays this out for us:
While Yuuko’s gushing over this costume, Victor’s secretly watching with this expression:
Compare his junior costumes with what he wore in his last program, a far more traditionally-masculine jacket, shirt, and pants:
Something drastically changed between his junior and senior years.
So what happened?
Theory: Between his junior and senior years, Victor was pressured to change his presentation to fit standards of traditional masculinity. Men’s figure skating (and the world in general, I mean) can be hostile to non-traditional masculinity. When he sees Yuri in his old see-through costume, and Yuuri very sincerely proclaim to him he’s going to be the tastiest katsudon (i.e. the most beautiful woman in town), it’s a bittersweet feeling for him - they can still innocently embrace “feminine” aspects of the sport. And not just sports, if we take this as a metaphor for queerness. It would be particularly bittersweet for him to see Yuuri, who’s just beginning to discover his sexuality, developing a really obvious crush on him.
On a skating level, I think it’s obvious that the series will show Yuuri coming into his own while Victor rediscovers what he’s lost. And something similar will happen re: their sexuality: Yuuri will discover his, and Victor will reconnect with his.
Extratextual notes (minor spoilers for Fujiko Mine)
Sayo Yamamoto also directed The Woman Called Fujiko Mine, which is about overturning narrative expectations about female characters. There’s also a subplot about Oscar, Inspector Zenigata’s right-hand man who’s desperately in love with him. This is an interesting piece about what the ending means for Oscar (major spoilers). Possibly then, Yuri On Ice is Sayo Yamamoto’s answer to the Tragic Queer narrative.
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what if you’re giving birth to twins and it’s the end of daylights savings day and the older twin was born first but the second twin travels back in time and is born an hour before the first twin, would that be fucked up or what.
You have to cheat. Ask for as many extensions on papers as you possibly can. Pretend your computer is broken. Use your charm if you have any. If you’re going to cry, don’t wait until you’re out of the room—do it where the people in power can see you. Eat the same food every day if you can’t think of anything else to make. Put other things ahead of taking a shower, even if your mom said you have to take a shower every two days. Sometimes people won’t notice you’re cheating but even if they do and are annoyed you might still get by.
My mom goes to workshops for people with ASD and then gives me the really long printouts that go along with them. The printouts tell me to sit down and make a list of everything I have to do. When I am anxious, as I have been this year, it’s hard to think about these things so I hold on to the printouts out of guilt but don’t actually read them. Then my mom finds them and gets upset that I haven’t read them and says that I’m not ready to live on my own.
But I am ready to live on my own. Badly. Just like I can hold down a full-time job. Badly. Just like I am getting my homework done. Badly. And I forget to balance my checkbook, which none of my non-disabled friends do because you can get it online, and my mom says, “Well it’s different for you because they would be able to do it if they needed to, but you wouldn’t, so you have to do it.” Theoretically I understand this is true, but my checkbook remains unbalanced.
Which is bad. And I feel bad. I do! At this rate I’ll never be able to go to college. But I do go to college. At this rate I’ll never be able to have any friends. But I do have friends. I just don’t do everything right with them all the time.
For people whose lives are controlled by executive dysfunction, I firmly believe the difference between getting stuff done and not getting stuff done is not caring about doing things right. You cannot always make a list all the time and be early for everything. You just can’t. Hopefully you’re good-looking or funny or you remind someone of their niece. Exploit all opportunities. Do not do what people who are not disabled tell you to do (unless you want to, of course).
All too often I find myself waiting for the day when I can do shit properly, which more or less amounts to waiting until I’m not disabled anymore. Then I can feel good enough to deserve everything I want. Well my cure is slow in arriving, so I’m just going to do everything I want now, if that’s okay with you.
from I’m Somewhere Else, “Max is a Miracle” (via sixohsixoheightfourtwo)
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Stargazing At The Elqui Domos Hotel In Chile | Designed by RDM Arquitectura | Photos by James Florio
In the heart of the mythical Elqui Valley in Pisco, surrounded by the Andes Mountains, 500km north of Santiago in central Chile, lies a magical place that allows for star-spangled dreams beneath the clear pure sky. Combining stargazing and specialized astronomic tours with night-time horseback riding, meditation and even tarot readings, Elqui Domos is a hotel quite like no other.
It was completed in 2005 to fulfil its owners’ desire to observe and enjoy the grandeur of the one of the world’s most star-filled skies. It is one of only seven astronomic hotels around the world and the only one in the Southern Hemisphere, offering breathtaking views of the magic skies draped over the Elqui Valley (the valley is renowned for its sharp, clear skies, as it happens to sit under one of the clearest atmospheres in the world). The lack of rain and pleasant weather all year round set the perfect conditions for astronomic tourism, where guests can gather to enjoy a unique chance to liaise with the stars.
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Romain Crelier - La Mise en Abîme, 2013, used oil, metal, at the Abbey-church of Bellelay, Switzerland
“Entitled La Mise en Abîme, the mesmerising installation comprises two large, extremely precise and impeccably finished receptacles in which vast quantities of used oil are contained. Shaped like giant puddles, the sculptures with their shiny, and lacquer surfaces (thanks to the expressive properties of oil) reflect the surrounding, allowing the viewers to interact with the architecture of the church by being pulled into the reflection so that they, in turn, become part of the sculpture itself. The installation not only dispenses multiple visual thrills and mysteries but also offers a moment where sculpture creates another reading of space.
Working in a scale simultaneously monumental and intimate, these sculptures continue Crelier‘s career-long exploration of the space through conceptual engagement with buildings as well as his experimentation with light and dark, form and void, inside and outside, surface and depth, abstraction and figuration, reflection and absorption.” [We Find Wildness]
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