Peepaw Didn’t Win Shit But He Dgaf

Over the Garden Wall 10th Anniversary stop motion short by creator Patrick McHale and Aardman Animations

I found photos of those Pallas Cat kittens born this year and bye I'm deceased

a good dog stays in its place

"Mysterious Skin" Scott Heim // 1X08 Prague // Introduction "The Odyssey" Emily Wilson // S3? lol // Things I Can't Tell My Therapist "Conversations Over Sanguinaccio Dolce" I.B. Vyache // What Can You Do? Ruth Stone // // 4X10 With Open Eyes // Where to begin? Sue Zhao

Semi-motivational quotes from Hayao Miyazaki

and i think to myself. what a wonderful world

did you hear they're gonna start publicly executing anyone with a glimmer of hope and a light in their eyes

boris: [putting out cigarette in the ash tray, hasn’t showered in 2 weeks, vomit on his shirt, black out drunk, calling popchyk slurs]

theo: the way boris leaned over, collarbones creating dark pools at the base of his neck. his nose a strong aquiline with the barest suggestion of having been broken like some ancient bronze statue of a greek boxer. he seemed to me like a divine being who had come to earth only by mistake, perhaps as a punishment for some heavenly crime or another. anyways, I tried writing a letter to pippa the other day but had nothing to say so I gave up.

logan roy voice Was it gay manslaughter son? The manslaughter. Was it gay? Was it queer

kendall is logan's biggest paradox. he hates and loves kendall the most. kendall is his least favorite child and his favorite child. and it's all for the same reason: he recognizes kendall's potential and admires his ambition. as a father, he is proud of that. that's why kendall was the original successor in the first place. but as a narcissist, he can't take it.

kendall's not afraid to make bold moves, and he will step out of line to do so. kendall has huge flops of course but he also has good ideas, and logan can't handle it. he can't handle, for example, that kendall was the one who solved logan's debt problem. he can't handle that vaulter was modernizing the company. he can't handle that kendall came dangerously close to voting him out of his chair.

that's why logan only reconciles with ken after shiv's wedding--when he has the ultimate trump card to force ken's obedience and love. logan is openly affectionate and admiring of kendall only when he knows he has control. he loves kendall this way and wants to be close to him, but he only respects kendall when he fights back. he wants a successor with whom he can do both at once, whom he can love and respect, but he necessarily never can. because he simultaneously despises all weakness and all dissent.

that's why kendall is the number one boy. he puts up the biggest fight but he's also the most vulnerable to logan's influence. he reaches the highest highs and the lowest lows. and that's why this show makes me absolutely unwell.

Is the music from Kendall’s point of view?

So I’ve had a thought. Throughout the show, I noticed that whenever it’s talked about that Kendall would inherit, these moments are underscored with music that is often absent during the equivalent scenes with the other siblings. The most obvious example of this is in Dundee, when Rhea is trying to court each of them individually by telling them they ‘have what it takes’––with Shiv and Roman this kinda falls flat, but when she says to Kendall that “it’s you, it’s always been you”, there are these dreamy piano chords which inherently lend more weight to the idea. Initially, this seems to be a foreshadowing device meant to signal that Kendall WILL one day be the successor. Similarly, more dramatic chords are played when kendall talks to Frank about his name being on the piece of paper in Logan’s office. And later in Season 4 the new composition Allegro Bellicoso––which is initially played during Logan’s terrifying ATN speech––becomes paired with Kendall during scenes when he starts to behave more like his father (blackmailing Hugo, assembling cronies after the funeral). This again feels like the show is trying to foreshadow the whole tragic ‘kendall winning but only after he becomes the thing that he hates’ ending which we are meant to expect. 

HOWEVER, knowing how the show ends, and the cruelty of the fact that kendall becomes the thing he hates (and loses all of his loved ones + what was left of his soul) but STILL doesn’t inherit.. these musical motifs start to take on a different meaning. Rather than being a meta-narrative device which we look back on and say Ah! they told us the ending all along!, these moments seem more like a reflection of Kendall’s interiority––his belief that he IS the chosen one, that he CAN become his father––than a confirmation that such things could ever be true in reality. Then I started thinking about how many of the score’s most pronounced appearances in the show come when kendall is experiencing some emotionally significant event: the press conference, the near suicide in the pool, the final walk with Colin...and I realized, is Nicholas Britell’s music basically just from Kendall’s point of view?

‘course I’ll admit I might be generalizing a bit here, because there are strong compositions with other characters (particularly Shiv). But at the very least, this has made me very curious about how they went about scoring the show, and the discussions they must have had about perspective; and who’s emotions they chose to reflect in the music.