#Material Costs

[roofinsightblogger]

How Roofing Contractors Charge for Services: A Complete Breakdown

Introduction:

When hiring a roofing contractor, one of the most important factors to consider is how they charge for their services. Roofing projects can vary greatly in scope, size, and complexity, and understanding how contractors price their services can help you make an informed decision. From hourly rates to flat pricing and material costs, each contractor may use different methods for determining the cost of a job.

In this post, we will break down the common ways roofing contractors charge for their services and what you can expect, so you're better prepared for your roofing project.

1. Hourly Charges for Minor Roof Repairs

For smaller tasks or less involved projects, many roofing contractors charge an hourly rate for their labor. This pricing method is common for minor repairs, such as fixing a few leaks or replacing a few shingles. The hourly rate can vary depending on the contractor's experience, geographic location, and the complexity of the job. In general, homeowners can expect hourly rates to range from $50 to $150 per hour, though it may be higher in certain regions or for specialized work.

It’s important to clarify the estimated time the job will take to avoid unexpected costs. Ensure that the hourly rate includes all labor charges and ask if there are any additional fees for special services or tools required to complete the job.

2. Flat Rate Pricing for Larger Projects

For more extensive roofing projects, such as full roof replacements or large-scale repairs, roofing contractors typically offer flat-rate pricing. With flat-rate pricing, you will be quoted a single price for the entire job, including labor and materials. This pricing method is ideal for projects with a well-defined scope and timeline, as it helps you avoid surprise charges.

Flat-rate pricing gives homeowners certainty and predictability. However, it’s crucial to confirm what the flat rate covers before signing any contracts. Make sure to inquire whether the estimate includes things like waste disposal, roof inspections, and any additional services such as gutter or skylight installation.

3. Material Costs: A Key Factor in Total Pricing

In roofing projects, the cost of materials can make up a significant portion of the total cost. Roofing contractors typically provide a separate estimate for the materials required for the job. Common roofing materials include asphalt shingles, metal roofing, slate, and more. The material you choose will directly affect the overall cost of the project. For example, premium materials like metal or slate tend to be more expensive than traditional asphalt shingles.

Before proceeding with the job, contractors will provide a breakdown of the material costs, which should include everything from roofing shingles to underlayment and flashing. It’s also a good idea to ask if contractors charge a markup on materials or if the prices reflect the cost at their supplier’s rate.

4. Additional Costs for Special Services

Roofing projects can sometimes involve additional costs that go beyond basic labor and materials. For example, if you are scheduling Roof Repairing Services in San Antonio that require extra services such as gutter replacement, skylight installation, or attic ventilation, these services may be priced separately. Contractors typically provide a detailed estimate that outlines each service offered, so be sure to review these carefully.

Additionally, if your project requires a roof inspection or permits for work to be done, these can add to the cost. Contractors may charge for the inspection process to assess the roof’s condition before the actual work begins. Be transparent with the contractor about any additional work you might want or need, so that these costs can be accounted for in the estimate.

5. Payment Structure: Deposits and Payment Schedules

Many roofing contractors require a deposit upfront before starting the project. This deposit typically ranges from 10% to 30% of the total cost. The deposit helps secure the project and ensures that the contractor has the necessary funds to purchase materials and mobilize labor.

The remainder of the payment is usually due upon completion of the job. Depending on the size of the project, there may be multiple payment milestones throughout the process. It’s essential to discuss payment terms and ensure you fully understand the schedule. Be sure to ask if there are any financing options available, especially for larger projects, as many contractors offer payment plans that can make roof replacement or major repairs more affordable.

6. Complexity of the Roof and Site Conditions

The complexity of your roof and the site conditions can also affect the cost of roofing services. If your roof has steep slopes, multiple levels, or additional features like chimneys or skylights, it will likely increase the labor time and difficulty of the project. In such cases, contractors may charge higher rates due to the added complexity and potential safety concerns.

Conclusion:

Understanding how roofing contractors charge for their services is essential for managing your budget and expectations. Whether the contractor charges by the hour, offers flat-rate pricing, or factors in material costs, being informed about pricing structures helps you make confident decisions for your roofing project. Make sure to request a detailed estimate and confirm what the price covers to avoid hidden fees. By considering the complexity of the roof, the materials used, and any additional services required, you’ll have a clear picture of what to expect when hiring a roofing contractor for your home.

[marlequinncos]

I couldn't get Fitzjames' cunty little fur-lined coat out of my head after finishing "The Terror", so I decided I needed my own version. I found the base coat secondhand, modified and tailored it, and hand sewed on the faux fur trim. Maybe one day I'll make the screen accurate version, but I'm very happy with this for now.

[dinrelsanddragons]

so for this post from ovegakart i'm imagining spell rules going along these lines...

Nayru's Shield: Level 3 Abjuration Casting Time: 1 Action Range: Self Components: V, S, M (A blessing from a Great Fairy worth 1000 rupees) Duration: Concentration, up to 1 minute The love and protection of the goddess Nayru shields you. You gain resistance to all damage for the duration. Additionally, this spell also summons a magic shield into your hand, granting the benefits of wielding a shield even if you are not proficient with shields. If you do not have a free hand, the shield does not appear, and this benefit is not granted. Finally, this spell also generates an emanation of protection around you, granting a +1 bonus to AC for any ally inside it, you excepted.

Nayru's Mirror: Level 3 Abjuration Casting Time: 1 Action Range: Self Components: V, S, M (A blessing from a Great Fairy worth 1000 rupees) Duration: Concentration, up to 1 minute The love and protection of the goddess Nayru reflects damage directed at you. You gain resistance to all damage for the duration. Additionally, creatures of your choice within 5 feet of you must make a Dexterity saving throw, taking 2d6 force damage on a failed save or half as much damage on a successful save, as shards of Nayru's protection strike them. Finally, ranged weapon attacks and ranged spell attacks that hit you are reflected off of you after dealing their damage, striking the original attacker for half their damage.

Notes: I split Nayru's Love into two spells, for Link and for Zelda. For Link: I figure this should be a hefty spell given the immense benefits it offers, but still accessible to an Eldritch Knight like Link. So I made it level 3. I'm also not sure about the concentration on it, since you can get smacked but it doesn't drop, I just wanted to make it slightly less busted by making it eat the caster's Concentration. For Zelda: More offensive, I originally thought like Armor of Agathys but re-read the handwriting and realized lol nope. So I made it so enemies who attack and hit you take the half damage that the shield stops you from eating.

Farore's Wind: Level 3 Conjuration Casting Time: 1 Action Range: Self Components: V, S, M (A blessing from a Great Fairy worth 100 rupees) Duration: Instantaneous Briefly surrounded by the divine gales of the goddess Farore, you teleport to a location within sight. Using a Higher-Level Spell Slot: You can teleport to any location you know within 1000 feet (4th level spell slot), any location you know within 5 miles (5th level spell slot), any location you know within 100 miles (6th level spell slot), or to any location you know on this plane of existence (7th level spell slot). If you cast this spell at 5th level or higher, there is a cumulative 15% chance for each level above 4th it is cast at (up to 45% with a 7th level spell slot) for a mishap to occur, sending you to a false destination. Holding or carrying an object linked to the intended destination removes this chance.

Notes: I figure the inspiration spells for this should be Misty Step (but range increased to 'anywhere within sight'), Dimension Door (range increased), and Teleport. It's a sort of catch-all spell. The only issue is that, in order to make it NOT BUSTED AS FUCK (which is already is tbh), I had to level-scale it, which seriously kneecaps Link as an Eldritch Knight. I also had to add in that a mishap can occur because even Teleport isn't perfect.

Din's Fire Level 3 Evocation Casting Time: 1 Action Range: Self Components: V, S, M (A blessing from a Great Fairy worth 300 rupees) Duration: Instantaneous An explosion of Din's holy flames blasts from you in a 20-foot emanation. Each creature in this emanation makes a Dexterity saving throw, taking 8d6 fire damage on a failed save or half as much damage on a successful one. Flammable objects in the area that aren't being worn or carried start burning. Using a Higher-Level Spell Slot: The damage increases by 1d6 for each slot level above 3.

Notes: It's Fireball as an emanation, why not.

Zelda's Light Level 3 Transmutation Casting Time: 1 Bonus Action Range: Touch Components: V, S Duration: 1 hour You touch a nonmagical weapon. Until the spell ends, that weapon becomes a magic weapon with a +1 bonus to attack and damage rolls. Additionally, when a creature hits another creature with that weapon, a bright flash of light accompanies the strike. The target must make a Constitution saving throw (using the caster's spell save DC) or be blinded until the end of its next turn. This spell ends early if you cast it again. Using a Higher-Level Spell Slot. The bonus increases to +2, and the weapon deals an additional 3d6 radiant damage with a 4-6 level spell slot. The bonus increases to +3, and the weapon deals an additional 6d6 (instead of 3d6) radiant damage with a 7+ level spell slot.

Notes: It's magic weapon but added blinding and radiant.

Lens of Truth Wondrous Item, Very Rare (requires attunement) While wearing this lens over your eyes, you have Truesight with a range of 120 feet.

Notes: Should this be legendary? True Seeing is a 6th level divination spell, so maybe! I made it attunement so you can't just pass it between people for a free action or whatever and you need to know it well to use it.

BONUS POINTS (or rather, an edit)

Ocarina of Time Wondrous Item, Artifact This ocarina has been protected by the royal family of Hyrule for ages, and is said to have a powerful connection to the unnamed goddess of time. You can take a Magic action to play a song on the Ocarina of Time, with each song producing a different effect or casting a spell. You must know a song in order to play it.

Zelda's Lullaby – When you play this song, this Ocarina opens a magical lock, or has other magical effects based on other locations which specify this song. This song has no effect on nonmagical locks. Epona's Song – When you play this song, you can cast the spell Find Steed at its base level of 2. Saria's Song – When you play this song, you can cast the spell Sending. The only possible recipient of the spell when cast in this way is the Fey known as Saria. Sun's Song – When you play this song, you can cause day to become night or night to become day, depending on what time it is when you play it. The passage of this time is instantaneous to the Ocarina's player, and does not confer the benefits of a long or short rest, nor does it impose the penalties of forgoing a long rest. Song of Time – When you play this song, you can open the Door of Time or cause obstacles bearing the symbol of the goddess of time to permanently disappear. If this song is played in the realm of Termina, it has an entirely different effect: You can go back in time to a maximum of three days, although in doing so you must forfeit all ammunition (nonmagical and magical) and rupees to go back. Upon returning to the past, all magic item charges are restored, and you gain the benefits of a Long Rest. You cannot use the Song of Time again for another three days. Song of Storms – When you play this song, you can cause the weather around you to suddenly and inexplicably become intensely stormy and rainy, complete with thunder and lightning. This storm lasts for ten minutes, after which time it vanishes. Effects of the storm remain. Warp Songs – When you play any of these songs, you can cast the spell Teleportation Circle, with each song being linked to a specific circle and sending those who stand in the circle's area there: the Minuet of the Forest will send to Kokiri Forest; the Bolero of Fire will send to Death Mountain's crater; the Serenade of Water will send to Lake Hylia; the Nocturne of Shadow will send to the graveyard of Kakariko Village; the Requiem of Spirit will send to the Desert Colossus in the Gerudo Desert; and the Prelude of Light will send to the Temple of Time in Hyrule Castle Town. Scarecrow's Song – When you play this song, you magically summon a wooden scarecrow to a location you can see within 60 feet of you. The Scarecrow is a Construct with 10 HP, AC 10, a movement speed of 0 ft., and immunity to psychic and poison damage. It vanishes when you play this song again. Inverted Song of Time – When you play this song, you can cast the spell Haste on yourself. Song of Double Time – When you play this song, you can magically cause twelve hours of time to pass by. The passage of this time is instantaneous to the Ocarina's player, and does not confer the benefits of a long or short rest, nor does it impose the penalties of forgoing a long rest. Song of Healing – When you play this song, you can cast the spell Calm Emotions, with the added ability to affect any creature capable of having emotions as opposed to solely humanoids. Song of Soaring – When you play this song, you can cast the spell Dimension Door. Elegy of Emptiness – When you play this song, you can create a lifeless statue of yourself. This statue is an eerie reflection of you and weighs the same as you do. It is a Construct that has an amount of Hit Points equal to half your maximum Hit Points, your Armor Class, and it has immunity to psychic and poison damage. It is also incapable of moving on its own.

Notes: No Sonata of Awakening, Goron Lullaby, New Wave Bossa Nova, or Oath to Order because they have extremely specific purposes.

[germiyahu]

Actually don't listen to me. I'm an impulse buyer with credit cards. You want a nice looking pitcher and basin to perform the hand washing mitzvot? That's an excellent opportunity to go thrifting! You might even find Judaica there, like a Chanukkiyya perhaps?

You don't want to wait 8 years for Shabbat candles to arrive from Israel? Ask your rabbi! When I asked her if you can reuse a Havdalah candle, she sensed I was worried about the cost of buying all these candles and said her shul has tons of extras.

You absolutely do need a Chumash, a Tanakh, and probably a study Bible too... but Sefaria has all that and more! Especially the Talmud and other Rabbinic sources! It literally blows my mind that this site exists and is free.

But what about all the books on Jewish history and philosophy? What about textbooks for Modern and Biblical Hebrew? See if there are scanned versions online, or go to your local library. Invest in notecards, you're going to want to write down prayers and such, this will especially help if you don't own the books you're studying from.

It's a good idea to have a Siddur, but your shul will most definitely have their own, and as others have told me, you can ask your Rabbi if you can borrow one to take home (make sure to treat it with reverence).

If you want to start baking Challah and are living on your own, or maybe in a dorm room, see if there are community cooking spaces so you don't have to buy your own materials, or just ask your parents if they can gift you some kitchenware because "You want to get into baking."

You literally don't need anything other than a cup that you think is pretty and has meaning to you for the Kiddush. And don't splurge, I've seen hundreds of very attractive Kiddush sets and candle holders and all that for modest prices.

And take it slowly! Don't buy everything at once. We're nowhere near close to Chanukka right now, so don't even put that in your mind. If you want to acquire holiday items, focus on Pesach and worry about other festivals in their due time, let your wallet recover a little. This also goes for Shabbat! You don't need a pristine set of everything all at once, I'm just an idiot. You can slowly build up your perfect beautiful intricate table as the months go by.

[beemovieerotica]

not commenting on that post about the AIDS retroviral injection directly but people here (again) don't totally understand the staggering cost of R&D for any medicine that successfully makes it to market, nor that there are government programs and programs run by the manufacturers themselves that will cover the cost of these drugs and ensure that the companies that produce them don't all go, you know, bankrupt

[republicansaredomesticterrorists]

We are going to pay more for everything and hundreds of thousands will lose their jobs.

[unproduciblesmackdown]

always enjoyed the Chess Set In The Foreground perspective framing used here

now also noting like, huh, a chess set in a general store just visited by marigold competitors who killed one of their guys and are now on the way back from their rendezvous point w/suppliers

[wasabi-gumdrop]

thinking about modern au Kabru

ivy league college student, probably studying law and political science on a full scholarship. first time living away from Milsiril so he has to promise her, yes mom i’ll call you at least four times a week, no mom i don’t need your amex black card, yes mom the normal credit card is fine i need to learn how to budget like a Normal Person (it has a limit of $20k — that’s not normal Kabru).

Milsiril insists for a long time that she’ll just get him a house off campus so he can have his own space (aka a place she can drop by anytime and possibly live a few months out of the year just to be close to him) but Kabru puts his foot down and tells her the best way he’s gonna make friends is by living with other students (bye mom).

his floor in the coed dorms is the party floor and he always makes sure to invite everybody (his nightmare is accidentally leaving anyone out and having them think that he doesn’t like them). somehow it’s always a good time, everyone leaves with more friends than they came with, it never gets totally out of control, and plenty of girls who are interested in him (and a lot of guys too tbh) bring tons of baked treats so there’s always free food. Kabru is the RA’s favourite person to have in the building (even though Kabru himself is messy but most of the people he’s friends with are nice and clean up after themselves).

he has a porsche (Milsiril gift for his 16th bday) but he’s adamant about not driving it unless he absolutely has to (because he doesn’t wanna look like a douche). BUT he never says no when his friends ask for rides (so he ends up driving all the time anyway). he actually contemplates selling the porsche and going for a more practical car but Mickbell is like ‘dude you are not taking this away from me.’ Kabru sighs and decides to keep it because his friends (Mickbell) like being chauffeured around in a fancy convertible (Rin, Holm, and Dia don’t care, they’re just glad they don’t have to walk to the grocery store).

he’s probably on a casual texting basis with most of his professors and you know he’s going to all their office hours, grabbing beer with them just to keep chatting about life outside of school. and that’s how he winds up in some super secret faculty group chat where he’s now privy to all the college administration gossip.

Kabru is elected for student council during his freshman year and he’s probably the favourite to be sc president one day.

he doesn’t really date (gets too in his head about how he doesn’t wanna ruin any friendships) but he does hang out one on one with a lot of girls and treats them all really well. he probably goes so far out of his way to be platonic that he flies a little too close to the ‘Just Like One of the Girlies’ sun, he kinda forgets that most people interpret it as flirting coming from him. which leads to a few awkward conversations. people feeling led on, a few angry jealous boyfriends, scathing dms about him being a girl stealing homewrecker.

it’s such a nightmare for him and he needs it to end right now. so he begs Rin to ‘date’ him for a week or two and then publicly dump him just so the entire student body gets the message that he is Just A Friend.

Rin stares at him for a few seconds. then she laughs. she laughs and laughs. she laughs for a crazy long time. and then eventually she goes, ‘wow you’re an asshole, Kabru. no i won’t be your fake girlfriend. you’re gonna suffer and i’m going to enjoy it.’

and that’s when Kabru has a moment of enlightenment. ok yeah. asking for that is probably really selfish and mean. maybe he needs to think about girls’ feelings more and that’s maybe more important than his deep seated need to be liked, and when has Rin ever been wrong about anything.

he apologizes. and so begins one of the more serious talks he’s ever had with Rin about being okay with not being liked.

he thinks he can really turn over a new leaf. the whole ‘not worrying about what other people think’ thing goes pretty well — up until Kabru meets the aloof professor for his Monsters and Myths class who keeps forgetting and mispronouncing his name.

Kabru has never needed someone to like him So Bad, he needs Prof. Touden to like him as a matter of life and death, and he’s willing to look stupid for it (fails a midterm on purpose to justify begging for one on one tutoring)

[somecunttookmyurl]

someone (blocked immediately for total lack of reading comprehension) in my notes proclaiming they make jewellery with "real gemstones" in that they can't even get people to "pay the cost of the stones" on because that would be $200-300 and i have never read a bigger load of bullshit in my life

ma'am if your supplier is charging you two hundred fucking dollars for enough gemstones to make one piece of jewellery you are a victim of the biggest scam since ea nasir. you can go and buy fully made fine jewellery for less than that and deconstruct it.

[lilia-calderus-pet-goat]

The Self-Fulfilled Tragedy of Agathario - Study / Analysis.

Agatha met Rio over the bodies of her original coven. She was scared, at first. “I didn't do it.” She said. Rio simply said, “I saw.” In a soft voice, “your power is beautiful. Don't ever feel guilty about your talent. You survived.”

Death was the only consistent comfort in Agatha's life — “this is the me you fell in love with.” Agatha wasn't scared of it, not for a long time.

Why should Agatha value life, when death loves her so intimately? When only Death understands her sorrow? When Death is the only one who tells her that she wasn't born evil—because Death is the natural order of all things?

They did live together, in that cottage, for a while. Agatha, “took power from the undeserving—” who *she* deemed undeserving, as said in WandaVision—and Rio collected the bodies. They never had to be apart. Death was her satellite, orbiting around her endlessly, holding her hand because no-one else would. (“I hold Death's hand in mine.”)

But Rio cannot be present for long if there is no body to collect. She needs to be everywhere, in every place, all at once. So she'd be gone for long periods of time, back whenever Agatha would kill and stick around to see her. Split across the fabric of reality, always reaping, collecting, guiding the souls to their afterlife. She may not be the only reaper—but she's the personification of Death, not merely a deity who carries the title. She is finality. She is the “end,” the “goal” the “completion.” The “telos” where all roads lead to. She isn't “decay” but a cycle coming to an end. Transformation. New Beginnings. Change. Growth. She is thr Green Witch, as all living beings return to the earth that gave birth to them.

Nicky came from Agatha's love for Rio, just as Billy and Tommy came from Wanda's love for Vision. There was no spell, no need for incantation. Nicky came from Scratch. Life from Death, like the Green Witch's trial. And that, indeed, is why he was a stillborn.

And because Rio merely appears wherever there is death—the moment she appeared during the childbirth, even though no one else was around, no bodies to collect—Agatha knew immediately.

Rio was inevitable—and she could offer only time. She bent the rules for the woman she loved, because she couldn't bear the thought of Agatha hating her.

And suddenly, the form she fell in love with was terrifying. Because she now had something to love other than death. She didn't find it to be a beautiful comfort amidst her darkness anymore, but a cruel reminder of her son's mortality.

And though once she killed and stayed—to keep death close—like the protagonist of an ancient tragedy, seeing beauty and eroticism and peace and quiet and divinity in Rio—she was suddenly met with discomfort and fear and grief. And so she killed and ran—to keep Death busy. To keep Death occupied. To keep Death away. To earn more time, to delay the inevitable. To not see her face again. “Why do we kill witches?” - “To survive.”

The same Death that rescued her from her mother's cruel arms and cradled her in hers was now the very reason she couldn't be a mother herself. The very reason she couldn't see her son grow.

The very Death that once re-assured her that she wasn't born evil was now a cruel reminder that maybe she was. And you know why?

Her mother treated her as evil because her magick 'takes'—and 'gives' nothing. For Agatha, that's what evil means. That's why she insults Rio by telling her she gave nothing—she *took.* “And that's usually your move, right?”

And the real tragedy of Agatha Harkness is that her villainy was self-actualized. A self-fulfilling prophecy. Agatha hates her powers, even more so when looking at her son. Because, “I cannot heal you, (Jen) I cannot protect you from what's coming, (Alice) and I cannot divine (Lilia) when she (Death) will return.”

So she hates her power, because unlike the others, Agatha cannot—by design—give anything to her son. She can only 'take' from others. She can only 'give' to *Death,* and that's why only Death has ever loved her. And that, now, to her, verifies her mother's statement: “you were *born* evil.”

Not like other witches—like Jen—the 'deserving.' “I left you alone, because what you were doing was important.” “It was bind or burn.”

Because she couldn't save her son. She never could have. And to Agatha, that's because she was “born evil.” Because she never was living—she was surviving, with Death's hand in hers. Her power could only drain life, not better it. The very song that Lorna Wu used to protect her daughter was a cruel reminder that Agatha couldn't protect ber son.

Agatha could never see Rio the same. She could never face her like she had before. Because now, Death was her deepest shame. And she was Death's scar.

She left the world thinking that she sacrificed her son because it's better to be feared than pitied. Easier to blame herself and blame Rio than to admit and register that it was inevitable.

She slept that night without killing witches to spare Nicky's feelings—because he wasn't evil, like her, and she'd never let him think it like her mother did to her—and she assumee that Rio would wait. That she wouldn't strike in the night. What Rio saw as mercy, Agatha saw as the cruelest betrayal.

Rio never stopped pursuing her even as Agatha could never face her. And their love was so powerful, so passionate, but it couldn't overshadow the pain and the grief of something so human as losing a child. Though despite the baggage, they never could be too far from each other. Even within Wanda's hex, even when Agatha didn't remember her own name—she remembered her deep feelings for Rio. Her love, her hate, her passion. Even when she didn't remember why

Rio can't understand why Agatha doesn't want her. “No-one in history has had special treatment like you“ - “Why don't you want me?” - “this is the me you fell in love with” - Because as The Green Witch, the personification of Death—she is the natural outcome of all things and cannot conceive the human aversion to death. “Evil? You're calling me evil?” She doesn't **get it.** She doesn't find her nature cruel, just as she doesn't find Agatha as “born evil.” She sees her as she always had—affectionately. She bent the rules of the universe for her sake. And so she doesn't understand the aversion at all. She feels rejection. And all she wants is to have Agatha again, who keeps evading her for something she couldn't help. And she's devastated, because once, Agatha loved her for the very thing she now hated her for.

So Death can't fathom humanity finding her cruel. Because she knows she can be gentle, and kind, and patient. Because she has been, a million times over. Because she's the one thing that everyone has in common, as Lilia's Maestra said. But what she *can* fathom is grief—because she knows love—“because what is grief, if not love persevering?” And so grief is a feeling of longing, beyond Death. More powerful than her.

And the longing never stops, even for death. And so Agatha tries to kiss her on the road after the “she's my scar” scene. She can't stop herself. Is it because she's desperate to convince herself that Nicky's soul lives on in Billy, meaning perhaps that Rio allowed it to? Is it because, despite knowing it's not her son, she's vulnerable, and thankful that Rio didn't take him too? Is it because she's reminded of the past—and love is beyond death? Beyond fear? Because grief is love persevering?

Regardless—because I could not stop for death, she kindly stopped for me. And Rio doesn't take advantage of the vulnerability. She reminds Agatha of the raw, cruel, heavy truth. “That boy is not your own.” Nothing is better. Nothing is fixed. Agatha isn't kissing Rio here because she's accepted Death, but because she's denying it. And so it's not real. They can only kiss when Agatha finally accepts Death.

So in the finale when Agatha turns to Rio and kisses her, at first Rio doesn't believe it—that she finally wants her again, that she finally accepts her. As if finally letting her grief settle, accepting it as natural, sharing it with Rio.

She forgives Death, but she doesn't necessarily forgive herself. Because she HAS become a villain, because she has used her sweet boy's innocent song to kill, tainting it as to not face Death all these years, when she was stuck in limbo between blaming Rio and Herself.

Now, she only blames herself. She doesn't let it happen again, with Billy. Agatha embraces Death just as Nicky once did, because she wouldn't.

But she's still not ready to pass on. And maybe she never will be. She is a tragic figure with no catharsis, even as she's faced both hubris and nemesis.

And that is the real tragedy of Agatha Harkness, who loved Death above all and feared it all the same.

[dead-winter-reigns]

disaffected youth

[afloweroutofstone]

"taxi for my burrito" I mean yeah, it's more expensive delivery, but it's still like $4 if you buy it at the store. It's gone up 3x in 15 years, that's a lot.

The reason that the cost of a Five-Cheese Beefy Burrito has risen the way that it has over time is not because of traditional inflation, but because it was originally sold at artificially low prices

Fortunately, we have ways of measuring inflation that do not revolve around promotional fast food items!

[arc-hus]

Zen Houses, Liberec, Czechia - Petr Stolín Architekt

[uncanny-tranny]

I think people are too normal about just how much goes into making things.

I've gone through nearly sixty-six yards of yarn on my project so far. If I stacked myself up, it would take thirty-five mes just to equal that. And that's only after ribbing and two and a half rows of normal single crochet on a project that will be done in five pieces.

There is so much that goes into art. There are so many hours, material, blood, sweat, and tears that go into even the most simple of projects. Once you start realizing this, you start to truly appreciate everything about art.

[symeraid-s]

Watched the new episode of Alien Stage. I'm in pain.

[tj-crochets]

Today I learned that while I can now walk around the neighborhood to look at yard sales that does not mean I should, because I will spend the afternoon with super low blood pressure I mean, I did figure that out after walking like half a block, but then I cam home and set up my own mini yard sale of just plushies, baby blankets, and quilts, and apparently "sitting outside in the sun for an hour" is too much for me physically at the moment? Definitely a learning experience lol I did sell a few plushies, a pair of baby booties, and a quilt! And the quilt went to someone super excited about it! It was her favorite color (it matched both her nail polish and her ring)