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rewatching ep. 15 & 16 of team torque right now ..... yapper to yapper connection is so dear to me
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'hiç yazmayacaÄım birkaç cĂŒmle yazacaÄım. sonra hepsini kusacaÄım. kusmak zorundayım. Ă§ĂŒnkĂŒ bu arzu çok fazla. Ăąh. baÄırmak istiyorum. insan sevgisizliÄi kendine hak görĂŒrmĂŒ. her Ăąn, her Ăąnı öldĂŒrĂŒr mĂŒ. sahi, biri bana anlatsın. bir anne evladını sararken dahi, hissettiremediÄi sevgi yĂŒzĂŒnden suçlu olabilir mi. peki ya bir baba. geç kalmıà gururlu hĂąllerini sergilese, affedilmeye layık deÄil midir. biri söylesin bana. sevgi içinde bĂŒyĂŒmesine raÄmen nasıl olurda bu denli sevgisiz kalınır. biri bana anlatsın. sevgi dilenecek ama hiçbir sevgiyi kabul etmeyecek hĂąle gelmenin sorumlusu kimde, neydedir. biri bana söylesin. yazmayacaÄım cĂŒmlelerin baĆ aÄrısına maruz kalıyorum gene. biri bana söylesin. açıklasın. aklımı kaçırmıà gibiyim. beynimin içinde dolaĆan tilkileri boÄuyorum. ölmemeye yemin etmiĆcesine sallıyorlar kuyruklarını. anlıyor musunuz. biri beni anlıyor mu. artık dayanamıyorum. kustuÄum siyahımı, griye çalamıyorum. nereye gidilir. kime dökĂŒlĂŒr bu denli boĆluk. bulamıyorum. dokun bana. bana dokun istiyorum. nefret ediyorum temaslardan. tiksiniyorum. buna raÄmen, dokun istiyorum. bu laneti benden al istiyorum. anlayabiliyor musun. karamsar deÄilim ben. karanlık içim. zifiri odalara kitlenmiĆ kız çocuÄumu kurtarmaya çalıĆıyorum sadece. anlıyor musun. Ăąh. baĆım. dönĂŒyor sanki. kalbim yorgun. sar onu istiyorum. hiç anlatmayacaÄım Ćeyler anlatmalıyım. kurtulmalıyım. içimde nefesimi kesen yumrudan. aÄlamalıyım. yaĆlarımı akıtmalıyım. neden. neden akmıyorlar artık anlamıyorum. nefes aldırtmıyor bana. ölĂŒmĂŒ arzulamak deÄil bu artık. içimde sakındıÄım o kız çocuÄu dahi artık istemiyor yaĆamı. toprak kokmayı hayal ediyor. anlayamaz mısın beni. sarmalısın bedenimi. baĆımı okĆayıp kandırmalısın beni. kandır beni. elin, deÄmeli. anlamıyorsun. anlatamıyorum. gözyaĆlarımı kusmak istiyorum. yaĆamak için. yaĆayabilmek için. ihtiyacım var. anlıyor musun. bulmalısın beni. buldurmalısın kendini. sallanan kuyrukları kesmelisin. en azından, denemez misin. bir kere. sadece bir kere. sonrası yok. yemin ederim yok. toprak kokmalıyım. bulutlarım benim ĂŒzerime yaÄmalı. ay ıĆıÄını topraÄıma sermeli. sadece bir kere. yemin ederim. Ăąh. anlamıyorsun deÄil mi. peki. sende anlama beni.
DIAS SALVAJES (1990)PELICULA CHINA DOBLADA y VOSE
IN ENGLISH: DAYS OF BEING WILD SUBTITLE
DĂas salvajes (chino: éżéŁæŁäŒ  pinyin: ÄfÄi ZhĂšngzhuĂ n) es una pelĂcula dramĂĄtica de Hong Kong de 1990 dirigida por Wong Kar-wai. La pelĂcula estĂĄ protagonizada por algunos de los actores y actrices mĂĄs conocidos de Hong Kong, entre ellos Leslie Cheung, Andy Lau, Maggie Cheung, Carina Lau, Jacky Cheung y Tony Leung. DĂas salvajes tambiĂ©n marca la primera colaboraciĂłn entre Wong y el director de fotografĂa Christopher Doyle, con quien desde entonces ha realizado seis pelĂculas mĂĄs.â
LINK https://youtu.be/Y_ldEX6iXxQ
La pelĂcula forma la primera parte de una trilogĂa informal, junto con Fa yeung nin wa (estrenada en 2000), 2046 (estrenada en 2004) y Blossoms (2020). DĂas salvajes - Wikipedia IMDb 7'4â
VEASE LA PELICULA A CONTINUACION DOBLADA
Dias salvajes (1990.Days of Being Wild)
LINK https://ok.ru/video/6933287930501
VOSE
Hong Kong, años 60. Yuddy, un joven atractivo y seductor, descubre que la ex-prostituta alcohólica que le ha criado no es su verdadera madre
LINK https://ok.ru/video/3197297101437
DespuĂ©s de ver DĂas Salvajes (Days of Being Wild), quiero compartir con ustedes mi impresiĂłnâŠ
DĂas Salvajes (Days of Being Wild) de Wong Karâwai se mueve menos como una historia y mĂĄs como un recuerdo que flota â hĂșmedo, inquieto y lleno de personas que nunca llegan a tocar el suelo. Lo que mĂĄs se me quedĂł grabado fueron dos detalles pequeños que, en silencio, abren la puerta a todo el sentido de la pelĂcula: el pĂĄjaro sin patas y el minuto de amistad con el que Yuddy seduce a Su Lizhen. Juntos forman el plano emocional de un hombre que pasa la vida huyendo del momento en que tendrĂa que aterrizar.
Yuddy le cuenta a Mimi la historia de un pĂĄjaro raro que no tiene patas y pasa toda su vida volando. Solo aterriza una vez â y cuando lo hace, muere. Es una metĂĄfora hermosa y trĂĄgica, pero tambiĂ©n es un autorretrato. Yuddy es un hombre que teme el apego, teme ser visto, teme el instante en que tendrĂa que dejar de flotar y enfrentarse al vacĂo que lleva dentro. Toda su vida es un intento de mantenerse en el aire. Cada mujer que conoce es una rama en la que se niega a posarse.
Por eso el momento del âamigo de un minutoâ es tan revelador. En la superficie, es un truco encantador â una forma juguetona de captar la atenciĂłn de Su Lizhen. Pero por debajo es una confesiĂłn. Yuddy puede ofrecer un minuto de intimidad, un minuto de conexiĂłn, un minuto de posibilidad. Lo que no puede ofrecer es la hora siguiente, ni el dĂa siguiente, ni la vida siguiente. La conquista ya contiene el lĂmite de su amor. La seducciĂłn es tambiĂ©n la advertencia.
Su bĂșsqueda de la madre biolĂłgica es la Ășnica vez que intenta aterrizar. Y ahĂ la pelĂcula se abre hacia algo mĂĄs grande que Ă©l. Su deseo de encontrar a una madre que nunca conociĂł refleja la bĂșsqueda de Hong Kong por un sentido estable de origen â una ciudad suspendida entre el dominio colonial y la herencia china, sin saber del todo a quĂ© pertenece. La madre de Yuddy es la âraĂzâ inalcanzable, la patria imaginada que se niega a abrazarlo. Cuando ella lo rechaza, no es solo una herida personal; es un eco del desarraigo cultural de una generaciĂłn criada en un lugar que es y no es China, que es y no es hogar. La crisis de identidad de Yuddy se convierte en metĂĄfora de la de Hong Kong.
Por eso la secuencia del tren se siente como su verdadero final. Que Yuddy muera fĂsicamente o no es casi irrelevante. Lo importante es que desaparece â no llama a Su Lizhen a las 3, no vuelve con quienes lo quisieron, no deja de huir. En el mundo de Wong Karâwai, desaparecer es una forma de morir. Yuddy muere en el momento en que comprende que no tiene dĂłnde ir, ni madre patria que lo reclame, ni identidad a la que regresar.
Y entonces llega la imagen final, enigmĂĄtica: un joven elegante en una habitaciĂłn estrecha, peinĂĄndose, contando dinero, preparĂĄndose para salir a la noche. Aparece menos de un minuto, pero reconfigura toda la pelĂcula. No es Yuddy renacido, ni un simple adelanto de una secuela. Es la siguiente iteraciĂłn de la misma especie emocional â otro errante, otro hombre que encantarĂĄ, desaparecerĂĄ y dejarĂĄ tras de sĂ un rastro de añoranza. El ciclo continĂșa. La ciudad sigue produciendo pĂĄjaros sin patas.
Al final, DĂas Salvajes (Days of Being Wild) no trata de la vida o la muerte de Yuddy, sino de la condiciĂłn que Ă©l encarna: la soledad de quienes no pueden aterrizar y la tristeza silenciosa de quienes los esperan. Wong Karâwai nos deja con la sensaciĂłn de que Yuddy fue solo un capĂtulo de una historia mĂĄs amplia â la historia de almas bellas y sin raĂces que atraviesan la vida de otros como minutos breves e inolvidables, y de una ciudad que aĂșn busca a la madre que nunca llegĂł a conocer.
ENGLISH SECTION
Days of Being Wild is a 1990 Hong Kong drama film written and directed by Wong Kar-Wai. Starring some of the best-known actors and actresses in Hong Kong, including Leslie Cheung, Andy Lau, Maggie Cheung, Carina Lau, Jacky Cheung and Tony Leung, the film marks the first collaboration between Wong and cinematographer Christopher Doyle, with whom he has since made six more films.
It forms the first part of an informal trilogy, together with In the Mood for Love (2000) and 2046 (2004).
WATCH FILM BELOW SUBTITLED
A man tries to find out who his real mother is after the woman who raised him tells him the truth.
LINK https://ok.ru/video/9765428136475
LINK https://youtu.be/4qgqu0QJsG8
After watching Days of Being Wild, I want to express to you all my takeawayâŠ
Wong Karâwaiâs Days of Being Wild moves less like a story and more like a drifting memory â humid, restless, and full of people who never quite touch the ground. What stayed with me most were two small details that quietly unlock the entire film: the bird with no legs, and the oneâminute friendship Yuddy uses to seduce Su Lizhen. Together, they form the emotional blueprint of a man who spends his life running from the moment he might have to land.
Yuddy tells Mimi about a rare bird that has no legs and spends its whole life flying. It only lands once â and when it does, it dies. Itâs a beautiful, tragic metaphor, but itâs also Yuddyâs selfâportrait. He is a man terrified of attachment, terrified of being seen, terrified of the moment when he might have to stop drifting and face the emptiness inside him. His entire life is an attempt to stay airborne. Every woman he meets becomes a temporary perch he refuses to rest on.
Thatâs why the âoneâminute friendâ moment is so revealing. On the surface, itâs a charming trick â a playful way to win Su Lizhenâs attention. But underneath, itâs a confession. Yuddy can give someone a minute of intimacy, a minute of connection, a minute of possibility. What he cannot give is the hour after, or the day after, or the life after. He conquers her with a gesture that already contains the limit of his love. The seduction is also the warning.
His search for his biological mother is the only time he tries to land. And here the film opens into something larger than Yuddy himself. His longing for a mother he has never met mirrors Hong Kongâs own longing for a stable sense of origin â a city suspended between colonial rule and Chinese heritage, unsure of where it truly belongs. Yuddyâs mother is the unreachable âroot,â the imagined homeland that refuses to embrace him. When she rejects him, it is not just a personal wound; it echoes the cultural dislocation of a generation raised in a place that feels both Chinese and not Chinese, both home and not home. Yuddyâs identity crisis becomes a metaphor for Hong Kongâs own.
This is why the train sequence feels like his true ending. Whether Yuddy physically dies from his wounds is almost beside the point. What matters is that he disappears â he never calls Su Lizhen at 3 PM, he never returns to anyone who cared for him, he never stops running. In Wong Karâwaiâs world, disappearance is a kind of death. Yuddy dies the moment he realizes he has nowhere left to go, no motherland to claim him, no identity to fall back into.
And then comes the final, enigmatic image: the slick young man in a cramped room, combing his hair, counting money, preparing to step into the night. He appears for less than a minute, yet he reframes the entire film. He is not Yuddy reborn, nor a conventional sequel teaser. He is the next iteration of the same emotional species â another drifter, another man who will charm, vanish, and leave a trail of longing behind him. The cycle continues. The city keeps producing birds with no legs.
In the end, Days of Being Wild is not about Yuddyâs life or death, but about the condition he represents: the loneliness of people who cannot land, and the quiet heartbreak of those who wait for them. Wong Karâwai leaves us with the sense that Yuddy was only one chapter in a much larger story â a story of beautiful, rootless souls who pass through other peopleâs lives like brief, unforgettable minutes, and a city still searching for the mother it never truly knew.
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franco/alex 7
DISCLAIMER!!!!!! this is NOT an educational portrayal of hypnokink, do NOT take anything from this, the vibes here are lowkey foul and toxic and NOT what hypno is about!!!!! but anyway the vibes are rancid with this one but :3 it's fun :3 (kink meme here)
2362 words
Singapore is hot; every year it's getting worse and Alex finds it harder to go through with it. This year⊠This year it started out fine, great even! Until Franco decided to dive-bomb him out of nowhere.

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GA: None Of It Matters CA: yeah it does its important sorry but the fate of the race and purity of the bloodline is important excuse me for being concerned
Equius may be a little weird about blood, but this guy sounds like a straight-up eugenicist. What the fuck are they teaching this kid in sea-dweller school?
Plus, how does bloodline purity even work in this context? All bloodlines are mixed inside the Mother Grub, so itâs not like you can control the process by segregating marriages. Does he want to purify the âslurryâ of troll DNA, before itâs consumed by the Grub in the first place?
GA: But You Really Should Know By Now The World Will End Tonight Regardless [...] CA: wwell ok [...] CA: so did your clouds tell you that GA: The Doomsday Scenario In Particular GA: No Not Exactly CA: i got clouds and they dont tell me SHIT they hide nothin but misfortune and monstrosities [...]
CA has clouds and monsters - almost as though heâs seeing clouds on Derse.Â
We didnât see any when Rose was visiting Dave - but then again, Prospit only gets its clouds during the Skaian Eclipse. Does Derse have a dark Eclipse, where the Horrorterrors generate their own esoteric weather patterns?Â
The other possibility is that CA is on Prospit, and the âmisfortune and monstrositiesâ heâs seeing are ordinary cloud prophecies. This would bode poorly.
CA: so howw do you knoww then GA: I Have Another Source Â
The trolls are lousy with âsourcesâ, so I donât have a clue what Kanayaâs could be. Iâll throw something at the wall anyway, and predict that itâs an 8-Ball to complement Vriskaâs cueball. Â
CA: ok wwait did she talk to you today CA: wwhat did she say CA: or glub or wwhatevver GA: Something About Longing To Touch You Indiscretely CA: WWWWHAT GA: And That Shes Basically In The Scarlet Throes For You GA: As Deep In The Flushed Quadrant As One Can Be CA: wwait CA: did she actually say that CA: in confidence
Heh. Terezi already fell for this one.Â
Anyway, it doesnât take a genius to pair the concept of quadrants with the four categories of relationship that weâve seen so far. The flushed quadrant describes a âScarletâ variety of relationship - in other words, red romance - and, since it involves âlonging to touchâ someone, itâs probably not the less romantic moirail. Kanaya is implying that CA wants CC as a matesprit.Â
This is getting pretty complex - even more so than Karkatâs original description implied. I havenât needed to be on my toes this much since the Intermissionâs time fuckery.Â
CA: you dont lie but you do tease and ill tranfuse my kickass royal blood out wwith incontinent musclebeast discharge if i wwont knoww wwhen im gettin hooked
He certainly acts like a noble, doesnât he? I really donât think heâs kidding about having royal blood.Â
CA: being a kid and growwing up CA: its hard and nobody understands
And youâve got a lot of growing-up to do.Â
Mathematical Symbol Fight - https://xkcd.com/2343/
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