#Allison jones

[nezoid]

A Man on the Inside Panel with Mike Schur, Ted Danson, Mary Elizabeth Ellis, and Allison Jones - 12/06/24

[thewalkingplumbob]

[Beginning] [Previous] [Next]

Aubrie sat in class, her mind wondering, unable to focus on whatever it was the teacher was teaching. Mike had left earlier that morning, assuring her that she was safe and going over the after school plan: she was to ride back to Hiro’s house with him but in a different vehicle to make sure they couldn’t be followed. It seemed a little too much, switching cars every day before and after school, but it was Liam who had insisted on doing so. He was probably right; who knows the lengths Loretta and Jerry would go to get to her?

Mrs. Jones: Miss Burke? Miss Burke…? Could you please answer the question on page 47?

The teacher’s voice snapped Aubrie out of her wondering thoughts and back to reality. Of course she couldn’t answer the question, but thought of being humiliated in front of everyone had her flipping through her textbook, her eyes focusing on the page numbers until she reached the page she needed to reach.

Aubrie, nervous: The answer is, uh...it’s...um, uh...

Hiro: The answer is 1.9 g/ml.

Mrs. Jones: Uh, thank you, Mr. Yamazaki. Would you please come up and show the class how you reached that answer?

As Hiro got up, he quickly turned to Aubrie and winked, letting her know he was covering for her. She let out the breath of air she had been holding and tried her best to untense her shoulders. She wasn’t humiliated; Hiro had came to the rescue.

Still, Aubrie couldn’t help but think to herself, will there ever come a time where I don’t need rescued?

[literarycatchall]

“Who has the list of gravity’s costs?”

— “Incognito Grief: A Blues,” Allison Jones (2024)

[myobt]

Repost: Pop (Art) of Color

[jetslay]

Smallville by taybuni.

[kevinsdsy]

hey hi whats up. halloween is almist upon us. have u thought abt making a soc med au fir halloween maybe? if bot thats totally fine i js thought it would be rlly cute and funny w all the couples costumes

THIS IS LITERALLY THE CUTEST AND MOST FUN IDEA THANK YOU FOR THE INBOX HEHEHEHE i didn’t have many ideas (i’ve become rusty) but these are what i could come up with 😞🫣

bonus (jean putting his dislike towards lucas aside to jump on the shawn slander train):

[smallcloisville]

I have so many Smallville feels lately cuz I watched it for the first time last year around❤️🌸🌸✨

Here are some stills from pilot ep, I didn't even know it was Smallville's 23rd anniversary cuz I can't never remember dates😂😂😭😭

[geekgirl750]

Shaking, screaming, crying, foaming at the mouth thinking about if Torchwood and The Umbrella Academy existed in the same universe...

Especially if Jack and Five ever met and realized that they were both old men doomed by their narratives

[bookaddict24-7]

(New Young Adult Releases Coming Out Today! (October 1st, 2024)

___

Have I missed any new Young Adult releases? Have you added any of these books to your TBR? Let me know!

___

New Releases:

The Champions by Kara Thomas

The Dark Becomes Her by Judy I. Lin

Make My Wish Come True by Rachael Lippincott & Alyson Derrick

Killer House Party by Lily Anderson

No Rules Tonight by Kim Hyun Sook, Ryan Estrada (illustrator)

Some Like It Cold by Elle McNicholl

Heir by Sabaa Tahir

Inheritance of Scars by Crystal Seitz

Ros Demir is Not the One by Leyla Brittan

The Kiss of the Nightingale by Adi Denner

Class Act by Kelsey Rodkey

Three Things About Emmy Crawford by Allison L. Bitz

Gentlest of Wild Things by Sarah Underwood

There is No Map for This by Tom Birdseye

This Dark Paradise by Erin Luken

The Wild Huntress by Emily Lloyd-Jones

Remember Me Tomorrow by Farah Heron

New Sequels:

The Magic You Make (The Spells We Cast #2) by Jason June

Prince of Glass & Midnight (Princes #3) by Linsey Miller

The Brightness Between Us (The Darkness Outside Us #2) by Eliot Schrefer

Nothing Like the Movies (Better than the Movies #2) by Lynn Painter

___

Happy reading!

[vibe-stash]

Get Out (2017) Director: Jordan Peele DOP: Toby Oliver Production Design: Rusty Smith

[teenwolfpackincorrectcaptions]

Scott: You wouldn’t be that cruel. Allison: Relax, we could never be that cruel. Chris: But Peter sure could. Peter [walking in]: Well, well, well!

[aletterinthenameofsanity]

you know, sometimes I almost feel bad for destroying characters as I am wont to do, peeling them apart from the inside out and putting them through some of the worst circumstances any person has ever had to go through, living or dead, just so I can explore their psyche/reactions to said SituationTM, but then I remember that I'm going to eventually let them get their hug and their healing arc and I just start giggling and going "oh, my readers are going to LOVE me being a dick"

[blackinperiodfilms]

Isha Blaaker as Allison Davis and Jasmine Cephas Jones as Elizabeth Davis in Ava DuVernay’s Origin (2023).

This dynamic couple laid the academic foundation for many of the ideas explored in the film around the notion of caste in America. Their journey took them from the segregated south of the United States to Berlin, Germany during the rise of Nazism.

Isha and Jasmine beautifully embody these trailblazers as they endeavor on a landmark - and often dangerous - journey.

[blairbarely]

(In honor of Gladiator weekend, here's an essay I wrote a little while ago when I couldn't stop crying thinking about AFTERSUN and FUN HOME)

There’s a house, a house of bodies and stories. A house where death hums low and steady in the background. This is Fun Home, a musical that isn’t just a play—it’s a testament, a ledger of grief, self-reckoning, and the ache of becoming. It’s not linear. It’s not clean. It moves like smoke, circling back, consuming itself, burning.

It starts with Alison. Three Alisons, to be exact. There’s the kid, all big eyes and brashness. There’s the college girl, shaking with discovery. And there’s the grown-up, sitting at her desk, trying to stitch it all together—her father Bruce's life, his lies, and her truth.

Elsewhere, on vacation with his daughter, there’s a man, Calum, young but weary. A girl, Sophie, open-eyed and reaching. A summer sky stretched wide like a canvas. This is Aftersun, a film not bound by plot but by feeling. It’s not a story so much as a reflection in water, rippling and shifting, impossible to hold.

Fun Home doesn’t move in straight lines. It remembers in flashes, like how we live. The smell of wood polish. A piano in the parlor. A ring of keys. All these objects, these anchors, pulling Alison back to herself, forward through the haze. It’s a puzzle that will never be whole, and that’s the point.

Aftersun unfolds like an old Polaroid—blurred at the edges, washed in gold and gray. Sophie is grown now, but she reaches back, back to a vacation with her father in some sunlit nowhere. She’s not searching for answers, not exactly. She’s trying to touch what’s already gone.

Memory is like that: a patchwork of glimpses and silences. A camcorder frames Calum’s smile, but behind the lens, Sophie sees something she can’t name yet. Maybe she sees him unraveling. Maybe she sees herself.

At its heart, Fun Home is about trying to love people who are too tangled up in themselves to love you back the way you want. It’s about parents and children, about the gifts they give you and the scars they leave. It’s about the things you carry—the good, the terrible, and the unknowable—and how they shape the art you make.

Calum is kind, funny, alive in the way only the deeply sad can be. He dances in the dark, practices Tai Chi by the pool, buys Sophie birthday gifts he can barely afford. There’s love in everything he does, but there’s something else too—an absence, a shadow. He’s there, but not all the way.

He hides it well. Or maybe he doesn’t. Kids notice the cracks, even when they don’t know what they mean. Sophie watches him like he’s the sun: too bright, too far.

Bruce’s song “Edges of the World" near the end of Fun Home is a raw scream dressed up as a goodbye. He’s crumbling, dissolving. It’s not redemption. It’s a last breath, a leap into silence.

Alison doesn’t find answers. She doesn’t fix what’s broken. But she draws it. She sings it. She turns the chaos into something tangible, something true. And that’s enough.

Charlotte Wells doesn’t tell you the full story of Calum and Sophie. She shows you flashes—a dive into the pool, the flicker of a strobe light, a cigarette burning down to ash. The camera lingers, waits. It doesn’t ask for permission to be quiet, to hold space for what’s unsaid.

And the music—it drifts in like a ghost. “Under Pressure” plays, and you feel the weight of the song, how it wraps around Calum and Sophie like a plea, like a warning. Later, there’s a rave, a place where past and present collide, where Sophie and her father exist in the same moment, just for a heartbeat.

And then it’s done. The stage goes quiet, but the story doesn’t leave. It lingers, like the smell of old books, like the ghost of someone you loved.

Both Aftersun and Fun Home are pieces of art born from memory, from ruin. They don’t shy away from the hard stuff—shame, longing, loss—but they doesn’t let you drown in it either. They remind you that there’s beauty in the wreckage, that even the darkest places can hold light. Neither is just a film or just a musical. Fun Home is a hymn for anyone who’s ever tried to make sense of the mess and called it home. Aftersun is an old home movie, its edges frayed like the ribbon of a well-worn cassette. It won’t give you everything you crave, but it hums softly in the dark, keeping the memory alive, as long as your heart can bear to press play.

[kent-farm]

—Smallville, “Metamorphosis”

[housepilled]

happy lesbian month to my fave girlkissers!!