#I spent way too much lately….

[glasseswearingrabbitdetective]

😳🥳🥹🫶🙏💕🎉🎉

[ineed-to-sleep]

Sometimes a girl's gotta do what a girl's gotta do

[chaotic-tired-fox]

Disaster boys

[chalkrub]

my SLOPPIEST lady muscanston, emerging from somewhere. would you give her a kiss? be honest

[br-uwu-cewayne]

Please accept this spiritual successor to #BatBanger Brucie:

Unfortunately, not only has Bruce NOT stopped dressing like a damn tourist, his association with known midwestern-origin Daily Planet Reporter Clark Kent has only made it THREE times worse and TEN time as embarassing 😔🙏

Praying for the Wayne Boys in these trying times.

ID in Alt

[luck-of-the-drawings]

"I think this is the most inhuman; and human, that I've ever felt.." MUCH CAN HAPPEN IN A YEAR. IN FIVE YEARS. A DECADE. imagine how much can happen in a century. just ONE (1). How will you grow? what phases do you find? even in 5 years, you will find patterns.

[carnivalcarriondiscarded]

I’ve been laughing for 5 fucking minutes about Howdy just wetly slapping on the floor with a slide sound affect after emerging and everyone just staring at him really amazed yet absolutely disgusted, I’m going into orbit

behold, the Majestic Product of Metamorphosis ✨

[missm0rgue]

And if the sun comes up

Will it tear the skin right off our bones?

And then, as razor sharp white teeth

Rip out our necks, I saw you there

[i-eat-deodorant]

DAY 2: GLUTTONY

“You’ll feed me well, the two of you.”

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[sampegger]

do you guys think the writers would have taken it more seriously if it had been alastair around relentlessly tormenting dean in late seasons as opposed to lucifer with sam

[leiandroid]

otayuri week | day five - workplace au

otabek works the nightshift of a movie store, and yuri is a film and photography student that comes to rent&buy movies.

@otayuriweek22

canons and scenes of this verse discussed at length under the cut >>

as usual, i can't write for shit and bridge ideas to anything cohesive or create dialogue that isn't cringe and unnatural so have this list instead (i need y'all to get the full picture ya know) >>

yuri is a film & photography student (more interested in photography over film, which ended up meaning he has a lacking knowledge of movies and the programme requires him to know and watch a lot of them)

otabek is the night shift worker of the movie store. georgi works the day shifts.

yuri started going there to rent/buy movies. at first he went during the day and had initially asked georgi for suggestions but after his third time coming back with georgi's recommendations, which was another over dramatic and terrible romance, he stopped asking. one day, he was late going home from university so he stopped by the movie place at night and that's when he first met otabek on his night shift.

otabek is a semi-pretentions "film not movies" kind of guy, when he saw the stack of films yuri intended to leave with he didn't say anything, only had a look on his face which yuri straight up asked "what's that look for asshole?" to which otabek said nothing and just rang up the tapes and asked "you buying or renting?"

when he returned the movies the next time it was during the day, and yuri went back to rent movies some nights later after evening classes. this time, when he entered the shop otabek was digging through a box of new arrivals and was stacking them on the shelves. yuri browsed whatever movies were on display til curiosity brought him to the box and he asked otabek if there was anything interesting to watch in there.

otabek, finally puts his largely useless (but in this case, useful to yuri) movie knowledge to action. he rifles through the tapes and hands him a film. yuri looks at it with with pursed lips but takes it anyway "this better be good" he warns. otabek just shrugs. yuri adds 2 other movies to take with him from the new arrivals.

this time yuri intentionally returns at night to catch otabek, he puts the tapes on the counter and says "i liked it" then turns away to go peruse the movies. he comes back with 3, and otabek rings them up as yuri watches with mild interest. then asks if he has another recommendation to which otabek stops what he's doing, bites into the lollipop (cherry) he was sucking on, and chews on it as he goes around the counter and walks towards a specific shelf and grabs a tape off of it and rings it up without consulting or showing it to yuri. yuri rolls his eyes before leaving.

yuri takes notice of several things: otabek has a barbell piercing on his left eyebrow, an eagle tattoo on his neck with the wings wrapping around the sides (the lattice of the kazakhstan flag is a band tattooed around his left upper thigh, but yuri doesn't know of it), and a small hoop earring on his right ear. (the gay ear). (also this is set in the 90s). yuri momentarily wonders if he's gay but immediately dismisses it because otabek seems painfully straight and concludes he probably just didn't know about it. it's more ironic than a rule anyway.

yuri has both ears pierced with black studs. he likes to wear rings on both hands and carries his camera with him everywhere. he develops his own photos, has developed them for a long time. he had a bugdet redroom he made in his wardrobe at home in moscow (with blackout curtains, drilling a hole into the back to put in a bulb he painted red, and lined the floor of it with a basin and enlarger). now he uses the university's lofty development studio and practically lives in it. (they are in st petersburg).

otabek smokes and when he isn't smoking he sucks on lollipops and hard candies, his preferred flavour is cherry but he fucks with cola flavour too. he bites lollipop sticks to shreds through the course of his shifts. he tries to keep it to 2 smoke breaks maximum during his shift. the nights are slow so if he doesn't have that self imposed restriction he could spend the entire night on the curb outside the shop smoking till someone came in.

there are bins of candy and snacks on the counter of the movie store, otabek helps himself to the hard candies and lollipops regularly. he drops in a weekly tenner in the register to cover the cost of what he takes (it doesn't, but he deems it close enough).

weeks pass by in similar fashion, otabek's movie recommendations keep making their way into yuri's purchases, they talk about the movies every time yuri comes back to exchange tapes for new ones. yuri rants about the arthouse movies, deciding he hates the genre. he cites that photography is for telling fragmented stories, movies are for telling complete ones. those pretentious films that tell nothing but drone on and on with useless imagery and jarring soundtracks make him furious with hate. otabek drops in an especially awful film of that genre just to piss yuri off and hear the epic rant that yuri will no doubt have prepared for the next visit.

up until that point, all of their interactions have been in the movie store. one day whilst otabek was driving through the streets on his motorbike, he spots yuri and pulls up to him to say hello. yuri had just finished class and was going to grab a bite to eat and asked otabek if he wanted to come with. they become friends. they hang out frequently.

otabek is a hacker by trade. he learns code and hacking shit and does odd jobs for companies to test their security networks by breaking into them and giving them a rundown on their weaknesses and what they need to lock their shit down better. he lives on energy drinks and cigarettes and thinks working out offsets his unhealthy lifestyle.

a handful of times otabek and yuri go into the backroom to watch a movie together from the pile yuri intends to rent. otabek keeps the door slightly ajar, plus there's a small cctv set up of the store in case a customer walks in whilst they're in there.

otabek discovers two things: one, yuri does not shut the fuck up during a movie, and two, his commentary is hilarious. yuri also discovers two things: one, otabek tastes like candy sweet ashes, and two, the earring was definitely a signal.

EXTRA

some details about the shop itself since they wouldn't leave my head and it's hard to represent it in 1 drawing. the shop in the art looks way more clean and official than it does in my head. in reality it's a more dilapidated back alley shop with shitty lighting, old movie posters and sellotape marks littering the walls. the walls have some stains from previous water damage. it smells of air freshner, dust, and a hint of cigarette smoke.

i'm operating on 0 knowledge of a russia in the mid 90s and just borrowing details from unofficial/pirating dvd stores from my home country, but the place makes copies of movies to sell. original vhs tapes are for rent, whereas copies are sold. the backroom is a work station for downloading movies on shitty dial up and copying vhs tapes. the backroom smells of stale smoke since otabek sometimes smokes in there whilst running the recording machines and downloads, etc. he was hired because he knows how to rip files and find movies and hack his way into movie databases to get new/old/obscure releases.

if they don't carry a movie that a customer wants then they can request it and otabek will click around the internet to find and download it and put it on a tape. in the picture, otabek is holding empty vhs tapes that he plans to record movies on to. the shelves have the legit movie copies, but if you want to buy them, a copy is made and you're given a regular tape with its factory sleeve and the movie title written on the label.

they sell and rent originals of russian movies bc they're not hard to obtain and are in demand, especially ones that star russia's heart throb viktor nikiforov (he is especially popular amongst mothers). christophe and the crispino siblings are actors in this verse.

yuri primarily rents the original movies and comes back to buy copies of ones he really really likes after returning them.

the shop is owned by yakov, georgi works the dayshift, and otabek works the nightshift. yakov mostly leaves them to their own devices bc they do a good job. georgi and otabek think he really should hire one more person so they can have some liberty to switch around their shifts when needed but yakov is a stingy old fuck that does his best to not have money leave his pockets. they are open from 8AM to 12AM. they're one of the more popular movie stores in the area since they carry a lot of western movies that aren't easy to find elsewhere and for so cheap.

10pm to 12am are pretty dead hours which otabek uses for pirating shit. similarly the early hours of the dayshift have light traffic so that's when georgi finishes otabek's work from the night prior.

[biillys]

BILLY WEEK → DAY FIVE

no escape, no future no luck lost on a loser no escape, no future saddle up, boys, we're headed for the brick wall

a day to remember; brick wall

[moxymaxing]

If the main pd cast had pjsk kizuna ranks because i could

[astrolavas]

it's sound weird, but i have headcanon that Hunter didn't go hexside, because he too old to shool(according to my feelings, at the end of the he is 16-17 y.o (except for the post-credits scene), and at that age it is already too late to go to school):p

i mean, well- in my opinion he rather certainly did go to hexside, since one of the things he'd said during his TTT monologue was "i'd like to attend hexside like a normal student and play flyer derby with my friends" and all of his "wishes" were supposed to sort of foreshadow his goals and his future (carving palismen, studying wild magic, etc etc) so i feel like it's safe to say he succeeded in becoming a hexside student as well. we also know he attended grom with the rest of his friend group, and like- since he's 16 before the timeskip (no canon certainty whether he's recently turned 16 or is going on 17 already though, but like... around 16 canonically) that means he'd get at least 1 year of school, but most likely 2+.

my personal headcanon is that he went to hexside for around 2 years (full or not quite, depending on when the school year starts in the boiling isles and how long it lasts; possibly even 3), and during that time he picked up a mentorship/apprenticeship at del's palisman carving shop, and after he graduated from hexside he started carving palismen professionally with the clawthornes (i like to think that he also takes some courses at eda's wild magic university in his spare time, simply cuz . funny uni hexsquad shenanigans)

[banesberry-anomoly]

Happy late Valentines Day yall