#Crime Time Stories

[thenewdemocratus]

Crime Time Stories: 'Casino: The REAL Sam 'Ace' Rothstein/Frank 'Lefty' Rosenthal'

Source:Crime Time Stories talking about the Frank Lefty Rosenthal Story. Actor Robert De Niro played him in Martin Scorsese’s Casino, from 1995. Source:The New Democrat “Frank “Lefty” Rosenthal was a professional sports bettor who was the mob’s man in Vegas and ran their casino operations alongside his friend Tony “The Ant” Spilotro. The 1995 Martin Scorsese film Casino is based on his career in…

[inbabylontheywept]

Weird Grandpa Story #2

I remember asking my mom once, if her dad had gotten ornerier as he'd gotten old. I'd heard about that happening, and it would've made sense for him. He was already the orneriest old cuss I'd ever met. Couldn't even imagine him being grumpier than he was.

Instead of answering the question directly, she told me about what it was like going to church with him as a kid. Their church was a small Mormon ward out in the sticks of Colorado, and he served as their Bishop - mostly by virtue of being the only one willing to do that much unpaid work. He was also the ward pianist. He actually liked playing piano, and he liked having an audience, so it was more or less understood that he was willing to be the bishop in exchange for being the pianist. 

Which could've been a good trade, but there were a few problems.

The first problem was that Grandpa Dale played every song at about triple speed. He was a deeply impatient person, and that extended to how he played music. The second problem was that he had a bad habit of cursing under his breath. That would've been a scandalous  enough habit for a Mormon bishop, but was made much worse (and also much funnier)  by him being pretty damn deaf. So what he thought of as "quiet" cursing under his breath was more of just a verse hoarse way of yelling. I only visited him for a week or two every summer, and I still learned most of my bad words from him. 

So every Sunday would start with a quiet prayer, and then Bishop Grandpa Dale would go to the piano, sit down, and play the nightcore version of Praise to the Man. He would occasionally play other hymns, but he really, really liked that one. This would continue until he hit a wrong note, which was basically inevitable because his music philosophy was that if he could play a song flawlessly, it was time to play it faster. So he'd play until he hit that wrong note, at which point he would scream-whisper SHIIIIIT and, because he did not actually read music so much as memorize it, the only way he'd be able to get his rhythm back was by going back to the start. 

If it was a good Sunday, he could get it in two tries. Some Sundays took as many as five. 

I learned two things about Grandpa Dale from this story. The first was that he could play piano. I'd never actually seen him do that before. Still haven't, come to think of it. Second was that the man that I visited once a year, who always seemed on the verge of exploding, who scared the absolute dickens out of me, was actually the chilled out version of the man my mom grew up with.

And it helped knowing that, actually. I'm actually a pretty anxious person, and my mom is, also, a pretty anxious person, and as a teenager we'd sometimes get in these doom loops where we'd wind each other up until our springs cracked. She'd be worried about me growing up to be happy, and I'd be worried about letting her down, and my worrying would make me unhappy, and my unhappiness would make her unhappy, and we'd just kind of dissolve into these anxieties like cotton candy in the sea and become totally unbearable to be around for a bit. Then my dad would sit us both down and very politely tell us that we were being crazy. He had this quote how being sad that someone else is sad that you're sad is the emotional equivalent of being a Klein flask and that at some point you have to just say I am allowed one (1) single layer of emotional recursion, at most, and ideally zero. 

And it was always kind of embarrassing and silly, but when I was tempted to be more upset with my mom about it, I could remember the piano story and go: Sheesh. She has more of a right to be anxious that I do. For me it's really just genetics, but she grew up with the Cactus-Killing Gopher-Smasher. A whole 18 years of that. I spent two weeks every summer with that guy, and I love him, but I always came home feeling like I'd survived something. She's a trooper.

[hellboundhimbo]

WOE MEME DUMP BE UPON YE here’s part 1 lol

ignore the fact the last one is in a completely different format than the rest of them xoxo it wasn’t planned to be part of the dump but i figured id include it.

[pimsri]

See, this is all I ever wanted for you. For both of us.

[0ccams-chainsaw]

feeling very soft for them lately

[ask-lu-wild]

Dang. Twilight’s just takin’ stuff without permission. Tsk tsk

[bisclavret]

like many who have suffered at the hands of bbc merlin before me, i recently indulged in a thought experiment in which i outlined my own version of seasons 3-5 that stay thematically and tonally in line with the show (except they're less fucking stupid). but then i quickly realized that focusing on details is pointless: all you need is to solve the one Big Problem the show has, and the rest will follow. the problem in question? ✨morgana✨

i like the first two seasons. s1 achieves what it sets out to do and has fun while doing it, and s2, while flawed, sets up a ton of potential that the following seasons unfortunately squander, beginning with the insidious season 3. you can only distract me with cute knights and goblins and fart jokes for so long before i start seeing through you, evil, evil season of television.

my hypothesis is that if the writers had crafted s3 morgana into anything more sympathetic than a violent half-alive poltergeist that can never be reasoned with because she's suddenly terminally off her rocker, everything would've fallen into place. a sympathetic morgana would've made real, valid arguments against uther (and arthur) that wouldn't just be the ramblings of a woman possessed. her betrayal of arthur would have stemmed from her feeling increasingly morally superior to him because of his complacency in the face of their father's tyranny. under morgause's guidance she would stop believing that arthur is capable of change, and the whole point would be that she might actually be right. arthur would have to actively try and prove her wrong, instead of getting praised for doing the bare minimum because the bar is on the floor.

furthermore, morgana's prophetic dream about arthur and gwen becoming king and queen and her decision to prevent this however she can is a direct parallel to merlin learning about that same prophecy and making it happen by any means necessary. merlin's desires about his and arthur's futures are subtextually fueled by gay love and devotion, so why couldn't morgana's be? why couldn't she properly express her bitterness that arthur gets to be with gwen in a way she can't "took gwen away" from her, instead of suddenly declaring that gwen is nothing more than a servant, after two seasons of demonstrating again and again that she loves, values, and respects gwen more than anyone else in that godforsaken castle?

following this, an angry and emotionally volatile but still sensible morgana asking gwen to stay by her side during the coup of the castle in the s3 finale and gwen going behind her back to help arthur and the knights would've hurt like a bitch. double-sided betrayal! gwen having a real plot! the proper beginnings of a toxic yuri that would shape a generation!

then there's the utter hubris of having morgana shoot arrows at the same civilians she worried herself sick over for 2 seasons — even morgan, her medieval counterpart that was rooted in every sexist trope in existence, doesn't just go around killing senselessly but instead has (often petty!) personal vendettas against gwen, arthur, and the knights. morgana had every right to be sick of the pretensions around chivalry in camelot (she was always quick to mock it, even in s1), and to lash out at the knights and soldiers after years of feeling powerless in a castle full of armed men that blindly followed her oppressor. the show conveniently forgets that morgana was victimized as a woman as well as a sorcerer those first 2 seasons.

but like i said, this is not just about morgana. allowing her to remain a real and multifaceted character even as she betrays everyone in pursuit of her ambitions would've given the rest of the core four more interesting conflict to work with: merlin because he would have to experience real consequences to his actions, arthur because he would watch his sister go against his father (and his knights, and his birthright) and experience some actual internal dilemmas about it, and gwen because she would be forced to choose between morgana and arthur without the pretense that it's an obvious or easy choice for her to make.

even morgause and gaius would come off more interesting as mentors: neither one inherently evil or inherently good, both jaded by events that happened before our protagonists were even born, both heavily influencing morgana and merlin into fulfilling roles that they think are appropriate, but that morgana and merlin may not have chosen for themselves had they not been under their care.

you get the gist. if the show followed its own setup, morgana's mistakes wouldn't lie in cheap and senseless acts of violence but in alienating the people she loves because she is too hurt and jaded to trust them. meanwhile, everybody else would feel guilt over "failing" her and yet they would be too caught up in their own (sometimes flawed!) beliefs of right and wrong to truly see her point of view.

arthur would convince himself it was sorcery that corrupted her. merlin would know that isn't true but he wouldn't be able to argue without confessing everything, which is the defining conflict between him and morgana and it's cheapened when she's just an evil witch caricature and merlin is framed as inherently virtuous in contrast. gwen, too, would become a more active participant in her own life by choosing arthur over morgana and choosing to rule camelot with him instead of just waiting politely to see where things go.

and, of course, uther's downfall and death would be quick, final, and completely earned — when and why did the show even decide he of all people was the sympathetic villain, anyway?

lastly, and perhaps controversially, i think morgana should've learned merlin's true identity by season 4. her being the first of the main characters to find out makes perfect sense considering their shared history and their interconnected and mirrored arcs. even the show seems to agree, considering she does find out a little before arthur. but the narrative itself tried pointing flashing neon arrows towards this way earlier — there is a whole entire episode in s4 where merlin being emrys is repeatedly spelled out for morgana and she still isn't allowed to see it. that episode makes her look like the stupidest person to ever live, which is pretty funny im not gonna lie, but also another frustrating thing in the endless string of frustrating things that make up this show.

morgana learning that merlin has magic would've transformed the source of merlin's anxiety from a crippling fear of being outed someday to the crippling fear of knowing she could out him at any moment. this would make him want to beat her to the punch (perhaps he'd consider killing her for a minute and decide against it because she isn't a cartoonishly insane evil person in my version of events) and maybe he would even feel some tentative excitement at the idea of coming clean, now that it seems inevitable. after all, he always intended to tell arthur eventually! and i think gaius would have to admit outright that he does not want merlin to tell arthur he has magic because he, gaius, simply cannot risk such a gamble. it would be so interesting to see gaius and merlin clash and disagree once it becomes obvious that it's not merlin that isn't ready for the reveal, it's gaius. delicious!

with morgana's knowledge looming, things would inevitably spiral into a magic reveal by the end of season 4. i picture this season as an absolute mess of miscommunication between everyone at camelot, which is, y'know, canon. growing increasingly cunning and vengeful, morgana would use this tension to her advantage, destabilizing the court from the outside while she creates alliances with other sorcerers outside of camelot (instead of living alone in a hovel for no reason — morgana le fay i'm sorry i'm so sorry they gave you agravaine instead of your all-female entourage oh my god).

and here's where the events would change beyond recognition (aka here's where the meta becomes the fanfic i refuse to write). picture it with me: a militia of sorcerers infiltrates camelot and arthur and gwen have to set aside their differences (assuming gwen kissing lancelot and arthur overreacting happens, which it should) for the good of the kingdom as well as for love. picture high priestess morgana in her element, side by side with a bunch of misfit sorcerers that aren't so easily vilified, chopping down camelot's soldiers and knights and assuredly making their way to the newly-minted king.

then, just as it starts to seem that all hope is lost, in swoops merlin (the actual merlin, not his old fart disguise) on dragonback (kilgharrah hates morgana so much i know his sexist ass would stoop to anything to stop her)!!! imagine merlin showing off the extent of his powers in front of everyone and preventing the sorcerers from getting any further, declaring loud and clear that camelot is protected by him, by emrys. imagine that display of power alone being enough to send everyone home.

imagine the loyalties clearly drawn: merlin on arthur's side, morgana on the sorcerers'. imagine arthur, feeling confused and betrayed by everyone at this point, banishing merlin despite everything he's done for him in the angstiest, most emotionally dysregulated scene the show had ever put to screen. imagine merlin starting season 5 free at last but very lonesome, an embittered dragonlord like his father. imagine the absolute mess camelot would become without him, even with gwen — now queen guinevere — there to pick up the slack. imagine arthur actually earning merlin back, finally growing into his role as king as he does so. imagine the reunion.

all this and more could've been not just possible but inevitable if morgana was allowed to remain a complex character that is neither inherently good nor inherently evil: it was undeniably the biased and one-note treatment of morgana's downfall by the writers that set the precedent for literally everything else that happened after merlin chose to poison her. the show wouldn't have even had to jeopardize its tone or the monster-of-the-week vibe, all it would've had to do is admit that even the "good guys" are capable of mistakes and what makes them good is the ability to feel remorse and change for the better. (as opposed to uther, who was miles beyond redemption since way before the pilot and deserved to lose everything and die alone. OBVIOUSLY???)

in a world where morgana remains multifaceted and sympathetic, mordred would get a better arc as well, so if we really wanted to, we could still end on the same tragic note that the show ended on. with so much harm inflicted onto so many innocent people by the pendragons for so long (including mordred and the many druids and sorcerers that raised him), it could realistically end up being a little too late for anything more than one shining glimpse of king arthur and the sorcerer merlin's short-lived golden age before fate catches up to them. glimpsing that reality just to immediately lose it would've been far more satisfying and far more tragic than whatever the writers thought they were doing with all that pointless carrot-dangling.

and finally, an ending in line with morgana's new and improved arc. in this version, rather than bleeding out on the forest floor alone, she would channel the morgan le fay we know from the legends: sobered up by the reality of her brother dying, she would use her high priestess status (and perhaps also her pendragon status) to be granted passage over to avalon alongside arthur on the boat — a one-way ride — just to make sure he gets there safely. this is her penance for the harm she has caused, the same way arthur's penance is to die and leave the true ruler of camelot (gwen) behind to achieve everything he was too slow and indecisive to build while he still had time.

merlin's penance, then, would be to stay behind and watch them cross over without him, waiting and waiting and waiting until they come back or until he can finally join them. which is a bit fucking harsh if i'm honest, so i'd at least make it slightly more faithful to the legends by having him return as an old man and letting him take a long nap under a tree by the shore, his body slowly enveloped by vines like the cobwebbed fisher king in 3x08, never fully sure if he's dreaming or if there really are strange shapes fading in and out of the fog over the lake. still tragic, but nevertheless a little more open-ended and whimsical than [TRUCK NOISES] THE END!

[demonic0angel]

A girl enters Gotham with a secret… and a plan to take over Batman’s territory (click for clarity)

This is a hint towards a future fic I’m writing (and will actually publish)!

[ips-northstar-official]

Hey I love the folk lore regarding each of your frames, I'm compiling a little history for them to share with my pilot team! Any records on what the Caliban was based on, or what work it might've done to help those on the frontier? For some reason it was one of the few I couldn't find any decisive records on...

Don’t worry about it

—the Intern

[aardvaark]

im so glad that we never get a clear picture of sophie’s background in leverage & i hope we never do. however i also really like making up various, often conflicting backstories for her in my head. perhaps they’re all backstories for an alias of hers, ones she laid to rest back in season two.

[microscotch]

The only woman tough enough to keep Dusty in line - his mother. 🎶

[cocogum]

About Wakfu Season 5

I just remembered that Yugo and Amalia made some new friends that we've never seen before the Great Wave manga.

The friends in question being the unnamed male Sadida and female Eliatrope couple who got married:

I'm explicitly focusing on these two because Yugo talked about them as if they were more than just civilians they had to protect but were rather familiar faces.

Like he literally addresses them as his friends. That little detail didn't have to be there, and yet Yugo just happened to call them like that.

"Two friends." Yugo couldn't have been talking about two random people of his and his wife's race like that. That male Sadida and female Eliatrope had to have spoken to Yugo and Amalia multiple times or at the very least spent some time together before.

We haven't seen them before and have only seen them in the Great Wave manga.

Which is why I fully believe (but mostly hope) that we'll get to see their stories in Season 5.

I know I'm just randomly talking about these two with no solid concrete evidence that they could be important in the long run, but I SWEAR they have a lot of potential to show us many things.

A lot of things in Season 5 that is.

Just think about it for a second.

Yugo calls them his and Amalia's friends, they're a mixed-race couple and are probably the second couple in the world of Twelve's history to contain an eliatrope.

Not only do they look very distinct and have been addressed as friends by the freaking royal leaders of the kingdom they're inhabiting, but their relationship could also serve as a way to properly show us the relationship between the Sadidas and Eliatropes and how it has evolved ever since the Necrome war ended.

No joke, I seriously think these two will be crucial in the fifth season. Tot has always liked adding new characters for every season he puts out, so who's to say that we won't see the couple anywhere else besides the Great Wave manga?

YOU CAN'T JUST NOT SHOW ME MORE OF THEM WHEN YOU SPECIFICALLY MADE YUGO CALL THEM HIS FRIENDS ‼️‼️‼️

Seriously, I remembered how we were all reading the webtoon format and wondering who those friends were. We even started guessing who it could have been until we got the reveal! Please do something about them Tot 😭😭

(I also hope we get to see them in the second great wave volume. They did see their king getting poisoned at their wedding after all ✨️✨️)

[shima-draws]

Hm wait she's hitting different this time around,

(I started playing PMD Explorers of the Spirit 😳)

[poorly-drawn-mdzs]

One last devastating blow

[First] Prev <–-> Next

[vivika-ka]

Some instances that I feel show how some messages in MHA are detrimental, especially on how victims react to their abuser, can be gauged by responses that tend to be highly prevalent in the fandom.

(Definitely not every fan, but a great majority).

Endeavor is a great example. Whenever you post criticizing his approach to atonement (and ultimately criticizing Horikoshi’s writing), you get BOMBARDED by people either belittling you for not liking his character or essentially forcing you to like his character by frantically writing “at least he tried” arguments.

If I have the CHOICE whether to forgive his character or not, especially given he goes through an atonement arc and not a redemption arc, why is any form of criticism about his abusive behavior and essentially his abuse of power practically ignored by the story unacceptable?

The message was detrimental because people operate on the notion that for victims to be good people, they must forgive and even help their abusers. MHA presents people who choose not to forgive him as either a monster (Toya) or inconvenient (Natsuo). And if they are still unforgiving, they must admire the abuser for doing the bare minimum (taking responsibility; this is also about Natsuo).

Essentially, they are considered "imperfect victims" because they weren't merciful in their approach to their abuser.

The majority of the fandom tends to ignore the lack of actual consequences for Endeavor's actions because he vows to talk to Toya every day. Insisting that doing the bare minimum, which is recognizing his son's existence and suffering, became his "hell" is a wildly fucked up message, in my opinion.

It harps on the issue mentioned above that if a victim isn't receptive to forgiveness or doesn't act "demure," they are seen as an inconvenience—which is how the Todoroki family ultimately views Toya.

On a less critical note, I'll vent, so if you don't like this, just ignore it.

I'm so fucking tired of stories depicting imperfect victims as people who deserve death and torture. Plus, having to be on the brunt of so many people acting like you're morally fucked because you're not impressed with how a writer handled abuse. Horikoshi is not the first writer to try to atone a character who is an abuser (and he isn't the first to fail at that, either).

I'm not about to dick-ride every decision every author makes. Especially if the message convinces some audience members that victims are inherently broken if they can't bring themselves to forgive and/or admire someone who hurt them.

[tricoufamily]

how many times can i remake these sims