Jul 19, 2022
Well, I laughed, anyway
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Well, I laughed, anyway
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Someone should call Barba.
My salty butt this whole episode
eyüp caminin şadırvanında o kadar pisi pisi dememe göz bile kırpmadan uyuyan kedi şu sıralar tam olarak ben canım kedi
Herkes diyarında muhabbetinde bilmem bizi ne civara yazmışlar.
Russian Theatre in Pictures - 19.14 ( Moscow Art Theatre, dir. Aleksandr Molochnikov)
The production brings World War I out of the abstract – in a carefree stand-up-style, actors talk about war in the trenches, about lice, effects of gas, the advantages of a pioneer spade as opposed to the bayonet in a hand-to-hand battle.
The red curtain uncovers the festive space glowing with red lights. The set designer Nikolai Simonov turned the stage into a sophisticated acting instrument where every element is workable and transformable. The floorboards can instantly become grave pits. The red cube running on rails becomes the Archduke’s car or a death-inflicting military aircraft. Modern Deus ex machina appears here in the guise of a jovial Entertainer. The actor literally dances through his starring role. He is on stage all the time changing from a professional patter to an unexpectedly confessional tone. He intervenes in every scene, pushing the action on; he slips the microphone into the hands of other characters saying: "You must sing, this is a cabaret!"; or lounging in a chair at a table right where the audience sit he casually refers to the audience: "They are dying over there, while we here can enjoy our dinner". (x)
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Hayır. Martılar mutluluktan kahkahalar atmıyo bu şehirde. Hep kandırıldım. Martılar, olsa olsa ağlar bu şehirde. Rezilliğimize. En ufak sebepten insan öldürdüğümüze. Kediyi, köpeği taşlayan, bundan zevk alan insanlara(?). Daha 5 yaşında ağzından küfür eksik olmayan o teni kavruk çocuğa. Onun küfür etmesini bi halt sanıp, pişkin pişkin sırıtan yanındaki kavruk tenli, zayıf diğer genç adama. Silah seslerinden korkup, ağlıyo martılar bu şehirde. Korna seslerinden. Evlerden gelen kavga seslerine. Her yerden yayılan gri dumanlara. Griye ağlıyo ulan martılar. Her yer gri kodumun şehrinde. Her yer yol, her yer bina. Ha bir iki insan kahkahası duysalar, yine ağlarlar, “iyice delirdik ulan, kahkaha atan insan mı olur” diye
Kirishima is worried about Asami's wound reopening and about possible re-injury and tear--not even mentioning how painful it must still be. don't get me wrong, I love shirtless Asami, but it must be pretty for him to allow his followers to see how wounded he is. He doesn't seem to have brought a very large task force with him, but like his bullet wound, he doesn't give a fuck. it's much too important to him to get Akihito back.
for all that Asami knows (or can reasonably guess) that Akihito is going through, Asami's concern for his safety rests on his mental and emotional health, not the physical. Asami might be an absolute brute sometimes, but in his own mind we have proof that for him it's really the personality, not the appearance
once again we have very possessive Asami and, because it's about Akihito, we see a worried (almost fearful) Asami. that sense of urgency doesn't come easily to him as usually he's very much in control or has someone he can rely on to take care of things. his impatience shocks his own self (don't think we've ever seen that expression on him lol) and his thoughts are so very focused on Akihito as the priority, rather than getting back at Feilong, his own benefit, or even his own safety
Akihito has him losing his head and forgetting himself; so Asami disregards the pain he is feeling and strengthens his resolve.
these few pages really seem like Yamane-sensei is trying to emphasize how much Asami cares for Akihito--his feelings are strong enough to overcome physical pain, to make Asami act out of his usual character, how his very priorities are about getting Akihito back "no matter what it takes." Asami is a very serious man with not very many things he wouldn't do already; statements like these are actually pretty scary, though since it's for Akihito, it's almost a love letter