Give me the insane Japanese hot takes where some minor celebrity is like “You know what? I’m not scared to say it: soybeans have terrible aerodynamics. Traditional or not, soy is a trash-tier bean for idiots and posers” and then gets roasted to hell and back for seventy-two hours

“Other stores want your money: we want your actual blood!”

An under-appreciated strength of Hannibal, IMO, is that the dialogue has the same level of wroughtness as everything else on that show.

Like can you imagine if a character walked onto those sets, in those costumes, with that music, and said “Hey, how’s it going?”

Tried this once and never looked back. Cheaper, too!

“At the cycle’s center,
They tremble, they walk
Under the tree,
They fall, they are torn,
They rise, they walk again.”

www.poetryfoundation.org/poems/42711/...

But remember: the bandits are having fun too. Not during the *actual* injuries, of course. But they think they’re going to win. They advance on Kevin with malicious glee. And with each fresh round of abuse, the taste of their (imagined) triumph, and their vengeance, becomes sweeter and more cruel.

The damned in hell are not more powerful for the fact that the fires do not consume them; it is part and parcel of their torment.

But the wet bandits are also gods. They take fatal injury after fatal injury and they just dust themselves off and continue their relentless pursuit of Kevin. It should be horrifying, but
Kevin’s innocence obscures this.

(To actually see this you would have had to travel to the artist’s studio/warehouse in Long Island City and watch it on a Jumbotron)

(i.e. it’s the highest pitch of the first register, the lowest pitch of the second, and the only pitch that appears in both sections.)

But more than this it’s the way that the conserved E that pivots into the E major section is ALSO the pivot between two different parts of her vocal register that she uses in the song - the “cool detached girl telling you how it went down” of the verse and the “smol hurt child” of the chorus

Locally it’s Cmaj -> Emaj, LP
But globally it’s from a section in Gmaj to a section in Emaj, RP

which is already pleasingly symmetrical

(Yes this is a stupidly low bar to be proud of having cleared, no I don’t care. Gonna ride this validation straight into Thanksgiving break.)

We had a friendly chat, agreed that it’s kind of a complex, and I gave him the credit. (Obviously he knew what I was testing.) But then as he was leaving he said “I just thought I’d bring it up because this is the kind of class where, if I disagree about something, you take it seriously.”

My heart!

The one I cannot get over is ‘a mental object i.e. mobject’

Thank you so much! (It IS one of the coolest words.)

I mean, he’s definitely my kid.

And yet either there’s something about the part that resonates for him? Or maybe he just leveled up as an actor at the age of 66? Because scene for scene, line for line, moment for moment, everything about the performance is note-perfect, to the point that I forget that I am watching Kyle McLachlan.