#THEY'VE FINALLY COME TO SAVE THE INDUSTRY

[ladyelainehilfur]

OMG!!!!!!!!

[terresdebrume]

for the prompts - "i'm not worth saving. please." and/or "a few more steps. we're nearly there. i've got you" for a ship/ships of your choice?

Hey friend! Thanks for the prompt :D Sorry it took a bit, you know how it is with work^^" Still, I hope this AU without a cause will satisfy! Prompt list here, if anyone wants to send me another one!

Edwin huffs as he leans backwards, suspending his entire weight at the end of Charles' arm and still not managing to move him more than a couple of inches. He pauses, heaving for breath, and watches as Charles heaves himself up the last few steps with a painful-sounding mechanical whir.

"Come now Charles," he pants, forbidding himself from sitting down. "We only have a few steps left."

"I can't," Charles says.

His words comes out flat, mechanical. His voice modulator must have given up somewhere between the bottom of the stairs and now. His chest is rising and falling too fast, cooling circuits working overtime, but the audible sound his systems make tells Edwin it isn't quite working. Charles must be approaching overheating, and there is nothing Edwin can do about it here, in the hallway to the agency.

"Charles, please," Edwin begs, but Charles shakes his head.

"I can't," he repeats. "My left knee's piston is malfunctioning."

Edwin inhales, sharp and loud, and ignores the beeping in his systems that say his shell is too warm. They found spare parts for his cooling system last month: he can handle a little heat, but Charles--

"Charles, you must keep going, you can't--we have to plug you in!"

It took a lot of time, and even more money--although they are lucky Crystal never asked them what it was for--but they finally got their systems up to a point where they can handle one of them, at least for a time. Charles' software isn't as solid as Edwin's, but ROWLAND persocons had a reputation of hardiness for a reason. They have the memory banks required, and more than enough compatibility coding between the two of them to keep Charles safe until they can find him a new chassis, but none of that will matter if they can't get him connected before he shuts down.

"You should leave me here," he says, Edwin gasps.

"Do not say that," he warns.

"You should," Charles insists, eyes closing. "I'm not worth saving."

"Do not say that!" Edwin all but shouts, not caring about the time, or the human neighbors whose suspicions they've been trying not to arouse. "I forbid it, Charles!"

"Look at me!" Charles exclaims.

Edwin, electrical core on overdrive, looks down at Charles. Some of the hair is missing from his skull, burned away in the accident that nearly tore Edwin's head off a few years back. There is a long streak under his eyes where the synthetic skin peeled away, revealing the gray of his chassis, and the open jacket he wears fails to conceal the three large dents in his chassis, left there by the older ROWLAND model he used to live with. He looks resigned and, impossible as it should be, exhausted.

Even so, even pulling up the necessary softwares to run a simulation of existence without Charles prompts half a dozen alerts in Edwin's system, and he shudders. Crouching down, he puts a hand to the side of Charles' face.

"I am looking at you," he says, voice modulator struggling to keep his tone even through the shiver of his cooling system going overdrive.

"I'm old," Charles says, bitter. "I can't even move. Even if we do preserve me: I won't even have a body. I'm an industrial unit--what good am I if I can't even move around?"

"Charles," Edwin says, surprised to get an alert from the hardware around his throat, "please stop. You haven't been a dockhand in decades--"

"But I am!" Charles cries, or must try to. "That's why I'm the brawn, isn't it? Stronger chassis, longer batteries, building routines--that's what I'm for! What am I if I can't do what I'm for?"

"You're my friend!" Edwin says, fiercely, bringing his face closer to Charles. "You're the man who got me out of the scrapyard I'd been stuck in for seventy years! You're the one who made me look human enough to go out again!"

"Yeah, and now I'm the one who looks like a rogue!" Charles retorts, closing his eyes in distress. "If anyone from Endless Co. sees me, they'll do more than scrape us--"

"That will not happen--no!" Edwin insists, louder, when Charles looks like he is about to protest again, "That will not happen! I will never let it happen. You are my friend! You are my confident, and my companion, and you must stop talking about yourself like you are a glorified forklift!"

"That's what I was programmed for!"

"And I was supposed to be a sex unit!" Edwin breathes harshly in the stunned silence, gathering himself closer to Charles, until he can curl up around him and touch their forehead together. "I don't care chat they made you for," he whispers. "You're the one who decided to download all those fighting programs. You're the one who saved me. You're the one who came up with the name of the Agency. I don't care that they think we're not alive, Charles, I know they're wrong. You and I, we're alive in all the ways that matter, and I--"

Edwin stops talking. His voice modulator refuses to add even one word, some previously unnoticed subroutine cutting off his access to his dictionary. Fantom code, perhaps: a glitch. Or maybe the people who programmed his model line back at Payne Industries wanted to make sure they couldn't evoke certain feelings. Either way, Edwin's voice absolutely refuses to shape the words he is thinking, and so he does the only thing he can possibly do in this situation: he leans forward and presses his lips to Charles'.

Charles twitches under him, unnatural and poorly coordinated, but when Edwin pulls away to look at him, he is met with eyes filled with wonder, and joy, and that same word Edwin's core software won't let him say.

"Oh," Charles says, and brings a hand up to touch Edwin's cheek.

"Yes," Edwin replies, arch and haughty, "oh. Now, if you would please help me. It's only a few more steps."

[zonedelicious]

An analysis of Ultraman Blazar's ending:

Going into the last episode I was expecting a simple but enjoyable finale. Blazar is a very simple show after all. It didn't have a big plot to keep me on the edge. I even thought about not watching it live and just going to bed. It was late and I wanted to sleep. But I didn't, and ended up watching one of the most beautiful endings to a show.

Throughout Blazar we see Gento's struggle to protect those close to him. As well as his struggle to understand the kaiju and Blazar. He was ready to die to protect the Earth, and I was actually worried that he would die while watching the last episode. But the kaiju are a part of that Earth which is what Gento comes to realise through his role as Ultraman.

There is no villain in Blazar. Well besides the military industrial complex of course. But besides that there's no role of a villain character or villain group that a superhero story usually has. Instead the final opponent of Blazar are aliens who are just as scared of humans as the humans are scared of them.

If the final message is meant to parallel current real world events I don't think it works. Might even be in poor taste. The wars in Ukraine, Syria, Palestine, etc. aren't simply about equal sides fighting for no reason.

But as a more universal message of peace I get what they're going for. Blazar was about protecting the beauty of Earth as well as humanity. And it showed that not caring for the Earth and all its beauty leads to our destruction.

This parts stuck out to me as it showed how all the fighting only lead to more destruction. No side was winning. They were both planning to fight until the other side was completely exterminated. All because they saw the other side as simply an obstacle. A hazard that needs to be taken care of. They did not consider the humanity of those they're destroying.

They needed to stop fighting to save themselves.

But while the humans are struggling to come to a decision, we see the Earth kaiju coming together to save the world. These are kaiju that humans have been fighting throughout the show. And they're now the ones helping the Earth, as they're part of it. The planet itself was fighting to survive.

Which ties well with the final message the humans send to the aliens. The message is only one word. Future. This single word was able to convince the aliens to stop fighting. Because that was when the aliens realise that humans too are people who want to survive. That they both want to live. The aliens realised that they've been destroying someone's home the entire time.

And then to further seal that message, the final power up that saves the day is the bracelet that Gento's son made. Being the bond of a father and his son, the bracelet represents the future of humanity. A better future without violence. A future worth protecting.

Blazar is a very simple show, but I think through its simplicity it ended up with a very heartwarming and deep story.

This is the final frame of the show, and it is the perfect frame to end it on. Because this one frame perfectly captures the show's message.

[nemovanilla]

YOU HAVE A BOOK?????

tell me everything everything everything

wait when did you send me this????? My mobile NEVER tells me when I have asks and I just opened desktop to make a shitpost...

anyway. yeah, I originally got the idea six years ago and revisited it about three years back. (This answer is extremely long and theres a fair bit of violence in here.) It has completely transformed since the inception lmao. It starts out with these two kids, Liam and Alice, 14 years old, who hear a screech, almost? And they wonder if its supernatural, or secret tech, or whatever, and when they go looking a portal opens up and takes them to another universe. The political climate is really horrible, and there are these mass burnings where the government just takes a whole bunch of people into one area and sets them all on fire. This rebellion saves their lives and is like, "hey, you look like these two missing noble kids, would you like to go undercover for us?" and they agree. So they go around the country, help repair industries and meanwhile do some snooping. They find out that their missing predecessors were hermits since their parents were assassinated (their dad found out he wasn't their bio father, that was actually a foreign spy, and hired an assassin to kill him and his wife in their sleep. Nobody except the two kids knows this) and they totally went off the deep end. They ended up employing the previous minister of tech and science to build them a new set of computers that would be unhackable, and he does. They gradually become even more fucked up and they make him build a server that is even MORE unhackable, and he does that too. A little while later, he is also assassinated. Fast forward a few months, those kids go missing.

This information is known to three people; Alice, Liam, and the new (undertrained as a result of the last guy's sudden death) minister of tech, Tshweu, who cannot for the life of them crack the server open. But they know they need to, because they found info about the rebellion (which was established SINCE the disappearance of the noble kids) on the computers. No one else has been in the computers since their disappearance (as far as they know).

Alice and Liam used to be best friends when they were kids, but something (this is not revealed until the last volume so I'm not saying it here) happened between them and now there's a lot of animosity. Liam is implied to have had an ED but he is doing (relatively) okay now, and is trying to repair their relationship. Alice still openly hates him and isn't having it (except, obviously, as the book goes on she gets over it and her mental health starts to improve despite the circumstances).

There is also famine, so they go around the farms, and find out that the drought is a result of the neighbouring country building a dam over the lifeblood-of-this-nation river, with the intent of choking them out. 100 years ago, it was a really powerful country, but they refused to sign a bunch of treaties that were actually capitalist/imperialist tricks. Now 99% of the world hates them, the borders are closed to almost everything, and they just barely have enough to support themselves. UNTIL this dam started being built--now things are getting dire, but not quite there yet.

War is also brewing on the borders with the aforementioned neighbouring country, so they go to the military camps, under the pretense of defending the nation, and snoop around their military tactics. When they finally get back into the capital, all they have to do is open the server and actually organize the overthrow. Lucky for them, the president wants to organize a party/meeting with the other global leaders to show off how far they've come and to hopefully start fixing their international relations. Literally like ten seconds before the party starts (Liam, Alice, and Tshweu are all mandatory attendees since they're a part of the govt.) Tshweu finally manages to open the server-- and they have to leave exactly then. They figure, whatever, it'll be here when we get back.

Throughout the entire party, Alice cannot stop thinking about this server. She knows something is wrong, she knows the answer to all these inconsistencies and outright lies (there are a lot which I have glossed over--the burnings being associated with a terrorist org by the civilians, for one) is on the thing. She manages to convince Tshweu to tell her how to get in and she leaves the party to check it out.

She finds a series of journal entries left by the noble kids, and the last one says (more or less, I haven't written that part yet) "We're going to the rebellion's base to explain the plan to our forces. Our father will meet us there. Will update with further info."

So basically, their parents' death caused them to realize the corruption of the system, they then established the rebellion and placed their bio father at the helm. They were working as spies inside the govt, but their bio dad got jealous of their power, lured them into a trap, and killed them (I should mention, he was a spy for an america proxy. His original job was to cause political instability in the region. He does this well). He then kidnapped Alice and Liam, set up the mass-burning and framed the govt, so he could use them in a vulnerable state, manipulate them into being his perfect soldiers. And in the end, he gets exactly what he wants. The overthrow is successful, and now the terrorists have taken over from a halfway-decent govt (that definitely did have flaws, don't get me wrong).

Alice tries to tell Liam what she found out, but he doesn't believe her. Despite all his talk of repairing their relationship, he turns his back on her at the one time when she actually needed him. He chooses the terrorists, who he still thinks to be the saving grace of this country, over her. She deserts with another soldier, a middle aged woman named Ariel who happened to overhear (she was actually very high ranking and was starting to wonder about some things herself) and at the end, Alice shoots and kills a soldier (allegedly in self defence) without hesitation. End of volume one.

There are three books total. It only gets darker, and neither Liam nor Alice turns out to be a good person. She goes trigger happy and he becomes a dictator, more or less.

Its basically one giant metaphor for colonialism and imperialism, and kind of like a warning/explanation/play-by-play of the immediate and long term effects of fascism. AOT was my main hyperfixation when I was coming up with the plot and I took a lot on inspo from them (but let me reassure you! The women have their own personalities!) I have written it up to the military district arc, except there is one really big scene in the middle I skipped beccause I haven't finished doing the research. I hope to have my first draft fully penned by the end of summer. Right now it sits at roughly 35 000 words. By the end I'm hoping to reach 80 000 (after revisions and editing).

Thank you for asking!! I hope you read it all... sorry if it was really long. This is my life's work and I'm passionate (writing this book kept me from killing myself for two years. It has a special place in my heart). I really hope to publish it one day, and it's a pipe dream of mine to become a famous author that has interviews on talk shows and such. I have ideas for other books too but they're not nearly as detailed.

[destinyc1020]

It is not Sunday yet but I have a confession to make.

I’m so done of seeing Sydney in everything she is to me a medium core actress that only is known for her big boobs. And suddenly she is everywhere. I blocked her name on Twitter I blocked her name on Instagram. And still see her everywhere help me! With the succes of anyone but You she is even more obnoxious. I constantly see story’s about her lying about her upbringing or other stuff and everybody lovesssssss her WHY!!!

What I’m most upset about is the fact that she get so much more and faster while Zendaya has worked her ass off and is not getting the same treatment as her. Also it doesn’t take longer and she will be on the same level or even bigger than Z unfortunately.

Hey Anon!

Thanks for your confession! 🥰 As promised, I saved your ask for Sunday lol.

So, first of all, I can sort of understand how it might feel seeing an actor/actress "everywhere" and it suddenly feeling annoying to you. I used to feel that same way about Jennifer Lawrence tbh lol. 😅

Don't get me wrong, I LOVE JLaw, and I actually find her to be a great actress, but at one point in time, prior to the #metoo movement, it just seemed like she was "Hollywood's Darling", and that she was being PUSHED in our faces everywhere lol. 😅 And then you look at other Black actresses around in the industry and you wonder, why JLaw and not [insert Black Actress Name Here]?? 🤔

I'm sure there are probably some people out there that feel the same way about Zendaya tbh lol. 😅

I think it just happens?? 🤷🏾‍♀️ I think a LOT of people in the GP start to dislike an actor/actress JUST because they are seemingly "everywhere" lol.

I've always felt too though that some actors will have a special "year" or two where they have a HUGE movie coming out, or they have some things to promote, so, of COURSE they're going to be "everywhere", because their projects that they've worked hard on are finally coming out and they are obligated by the studios to promote their work. But after, they go back into hiding, and remain under the radar.

That's how most actors work tbh. Their fame/exposure comes in waves. Right now I guess it's Sydney's turn to shine lol? 😅

I literally don't know much about her work/acting talent since I've only seen her in "Madame Web" lol, but so far she seems decent to me? And if she's working "Euphoria" then I know she must be a good actress cuz most of the actors on that show are pretty decent I feel?

What I’m most upset about is the fact that she get so much more and faster while Zendaya has worked her ass off and is not getting the same treatment as her.

With that said, I can definitely understand this sentiment above. Sometimes it feels a bit unfair when you see certain White actresses (or even actors), especially NepoBabies being promoted more or getting "instant success and fame" over other Black actresses/actors who've been working in this game for a longer period of time (sometimes, decades) and they don't even have HALF the amount of fame or "buzz" and success surrounding their names. It's even WORSE when you feel like SOME of these White actresses (or actors) aren't even as talented as some of the POC that you like, but yet they STILL get fame and attention over POC actors. 😔 That can definitely be annoying, so I get it.

Idk much about Sydney or her background growing up (I don't really follow her like that tbh), but I'm not even surprised that she gets a pass tbh. She's an "All-American"-looking (hate that term btw lol 😒🙄), blonde, WHITE woman with BIG BOOBS. Oh, and apparently she comes from a very MAGA Trump-loving family. 😒 That right there should tell you everything you need to know and why she might be given a pass and liked by certain demographics in this country.

Also it doesn’t take longer and she will be on the same level or even bigger than Z unfortunately.

Hold up hold up here....

This is where I have to disagree with you lol. I don't believe Sydney will EVER be on the same level as Zendaya popularity/fame-wise. No way. Zendaya goes by a one-name basis.

The type of level of fame that Zendaya has in Hollywood only comes like once in a million lol... 😅🤣 In fact, I'd venture to say that MOST of her peers won't be on her same level in terms of fame-level....just being honest. Plus, Zendaya has dabbled in so much stuff, music, acting, modeling, brand deals, etc.

Not saying that Sydney can't do the same thing, but do I really think she will be at the same level fame-wise worldwide that Zendaya is? No, not really. I don't think you have to worry about that Anon lol.

With all that said, I don't really know how I feel about Sydney yet. Some things she's done has seemed kinda sus to me (specifically regarding Tom/Zendaya, and then there was the whole Glen Powell PR stunt), so I give her the major side-eye. 👀

But do I think she's a "mean" person? No. There are just some people I don't think I really trust. And I kind of feel like I follow Zendaya's lead on some things. If Z seems like she doesn't trust her, and she actually KNOWS her and has worked with her, then I trust Z's "spidey senses" lol. 🤭

[onsunnyside]

i’m thinking about rockstar!ari and his past in the music industry. if he’s the same age as chris, that means he could’ve been brushing shoulders with xtina and eminem and destiny’s child in the late 90s and early 00s. ugh. i’m imagining this gorgeous boy that looks primed to be in a boy band being anything but squeaky. korn was on trl, so i could definitely see his band going on trl. - bratty spice

sleazy rockstar daddy was the bachelor who couldn't stay out of the media, from dating rumours to his acclaimed work with other musical icons, he finally got his big(ger) break after he made a band with his close friends and fellow producers/musicians. they were primed to be the boyband of the decade but as time went on, they went from clean and sweet wild guys "just making music and having fun" to unstoppable, uncontrollable powerhouses in the industry. shaping their own sound that the world loved, which made them into legends, and set them for life. sweet reader is a childhood star now actress/singer, the media's beloved darling who has never been in a scandal. unfortunately, her relevance decreases by the day and with her stardom in danger, her team comes up with a brilliant plan:

"People only care about drama and celeb's personal lives, so we have to publicize yours."

"And to do that..." You've gotten used to being marketed and made into whatever your team wishes, but they've never brought up something like this, "I have to do something bad?"

"It isn't bad. It's just a few appearances for the next few weeks. We'll see how it goes and if it helps, there's always a chance to extend the contract."

"I have to lie." You frown. It was a grey area, but you always thought that lying was different from beating around the bush, through avoidance, you weren't confirming anything or being deceitful. "To everyone, to my fans... What about my friends and family?"

Your manager sighs softly, peering over at your publicist. "Oh, sweetie, everyone in the industry lies, plenty of relationships—even friendships are fake. You lie every time you play a character."

Performing was an art, it was telling a story bigger than yourself. It wasn't lying... Unless it was?

"This is to save your career." The one your parents made for you since they've been in the fame game long since before you were born. "All of your hard work could go to waste. Your dreams—don't you want to make them a reality?"

You stare down at the magazine, the headline coloured a bright yellow: "Rockband The Damned set another world record, the same weekend their Monster Man is involved in another cheating scandal"

[itsnothingofinterest]

Hey 👋, can I ask you how you feel about the recent episode of bnha? And specifically about the heroes?

It's pretty much exactly the same as in the manga, although for some reason danger sense wasn't in the anime, despite it being clearly shown on the page, that was weird, do you think?

It's meant to be so inspiring, the whole scene, but all it really says as a whole is that people should treat the heroes better and that the heroes will then 'bring everything back', both points being the exact opposite of what needs to happen in the setting/series, as if the heroes are the ones that need saving and didn't cause half the problems/threats they now face in the first place. There's zero accountability and awareness with their side, and they still want more, hawks is straight up delusional, saying that 'thinking about everybody' even though they're obviously not thinking about everybody.

The part when ochako is thinking about toga being the only thing that wasn't oblivious to the big picture. Do you feel similarly or differently?

Yup, same as ever for the heroes; we're waiting on any hero-driven societal progress and they're just worried about themselves and the status quo.

And yet you know, the funny thing is that the scene is probably the one piece of progress in the entire series that might (though that is a BIG might) prevent one type of villain from our League appearing in the inevitable next League made up of people Class 1A fails when they're pros.

See, one of the big things that led to Tenko becoming Tomura Shigaraki was everyone leaving everything to the heroes. And while this episodes' developments were more inspired by cutting the heroes some slack than reflecting on how impossible it is for the heroes to handle everything wrong in the world and how irresponsible it was for all parties to act like they could; the result is still this promise to reduce the citizens bystander attitude, that could see them helping the next Tenko...maybe. So the next League might (again, might) not have a Tomura.

It's just a shame that, like we said, this came about for the betterment of heroes rather than from any self-reflection on their villain-generating failures. This means atm we can't exactly expect any societal faults that benefit heroes, such as quirk profiling, letting heroes get away with murder or domestic abuse, Tartarus, or other forms of corruption in the industry, to get fixed or stop coming up.

Nor do we have reason to expect heroes to do anymore than they've been doing about issues that don't really affect them at all like hetemorphobia. Not to mention the issues in HeroAca taken from real life like the transphobia that inspired Magne or...just everything about Japan that led Twice to the streets and then the League. So already, if this is the final arc, I can already see Hero Society and the next gen heroes dealing more Togas, Dabis, Spinners, Twices, Compresses, Magnes, & Nagants. Very likely forming their own teams and re-destroying society within 20 years. Lather, rinse, repeat.

Hence why I keep hoping this arc in the manga isn't the final arc. The series clearly wants Deku & his class to inspired hope; so the fact they don't really leads me to believe they need more time in the character development oven.

So like I said, this thing with the citizens at UA is technically progress. But I wouldn't call it "inspiring" or "a step in the right direction," because that direction deadened after this one step. It's all business as usual otherwise unless things change in the heroes' mindset.

[mollymauk-teafleak]

top gun/daisy jones and the six au

So like the little magpie I am, I have once again stolen one of my lovely gf's hyperfixations in a piece of media I haven't even consumed. Because what better way to consume media than just having your gf @hangsters tell you all the best bits and then help you make a top gun au?

So there is an up and coming rock band in the 70s music scene called Top Gun, consisting of Nicholas 'Goose' Bradshaw on drums, Ron 'Slider' Kerner on bass and Tom 'Iceman' Kazansky on lead guitar and vocals. They've recently added a relative unknown called Alice Duong on keys to round out their sound (who keeps drawing the eye of their bassist) but they're struggling to climb the charts.

Their success and their struggle is all down to their lead and originator, Iceman Kazansky. Fellow musicians can't stop raving about the technical flourishes in the songs, the skill and effort put into every solo, the way Kazansky seems to live and breathe music. But that experimental nature is struggling to capture people who'd just be listening to the radio on their way to work.

So their manager has an idea. Guess who he also represents, whose was a massive hit before the drugs and alcohol and partying caught up with him, who works a crowd like no one else and just oozes raw charisma and just got out of rehab and needs a comeback? Pete 'Maverick' Mitchell. And he could be just what Top Gun needs.

Instantly, Mav and Ice struggle to get along. Mav comes into the recording studio like a hurricane, messing up Ice's perfect riffs and technical genius with improvised solos, lyric changes and a general disregard for anything Kazansky (or anyone who ins't him) has to say. The rest of the bad worry that this could wreck the band entirely rather than save them. But the songs that come out of this battle are genius and sell like gangbusters.

So they tour and Ice and Mav are still butting heads but it seems to have...shifted. Like they hate each other but they love it? So no one is really surprised when one of their arguments over a song turns into the hottest sex.

But there's a problem. Maverick has never ever had a relationship like this where it's with someone he actually might love? And he panics about not being good enough, about letting Ice down and the pressure of having a gay relationship in the 70s. And yeah, he's always bucked gender roles (he's trans but not out publicly) and played with sexuality in his music but Ice feels real and he's so scared.

So one night Ice finds him high and shaking in the bathroom after a show. And he just helps him into the bath, washes him, gets him to drink water and takes care of him. But he tells him 'you have until December 1st when the tour ends and then you're done with this. you're going to get clean and be a good man for me'. And Maverick does.

Meanwhile, Goose is struggling being away from his high school sweetheart and love of his life Carole. They get the whole adorable 'if I say I have a record deal will you marry me?' thing and they have a cute backyard wedding when they realise she's pregnant and then along comes little Bradley who Goose loves more than anything (I have hangster stuff in this AU also but this post is getting long)

And eventually, after show after show of Slider staring at her, Alice finally confronts him. She's met guys in this industry that see her as a muse, see her as a skirt and nothing else and she's so done with all that. She just wants someone who treats her like a person and if Ron's gonna be that person he'd better hurry the fuck up and kiss her before she gets sick of waiting. And slider was just scared to be like one of those guys so he was holding back but now he has the go ahead he's kissing her like there's no tomorrow.

But yes I'm so deep in this AU it's not even funny and I'm looking how I can get some fics or maybe even a multi chapter thing out of it so! Ask questions, send requests, please enjoy!

[expirednostalgia]

[ quintessa swindell, non-binary, they/he ] — whoa! RIPLEY DAVIS just stole my cab! not cool, but maybe they needed it more. they have lived in the city for 7 YEARS, working as a SERVER + MUSICIAN. that can’t be easy, especially at only 27 YEARS OLD. some people say they can be a little bit CHAOTIC and SELF-DESTRUCTIVE, but i know them to be CREATIVE and HUMOROUS. whatever. i guess i’ll catch the next cab. hope they like the ride back to STATEN ISLAND!

▷  currently  playing  ——  HOW WILL I REST IF I'M BURIED BY THE HIGHWAY?// BY KENNYHOOPLA. 

Quick Stats !

FULL NAME: Ripley Davis

NICKNAME: N/A

AGE: 27

DATE OF BIRTH: April 14th

GENDER: Non-Binary

PRONOUNS: They/He

SEXUALITY: Queer

RELATIONSHIP STATUS: Single

PLACE OF BIRTH: Yuma, AZ

CURRENT RESIDENCE: Havenwood Suits, Staten Island, NY

OCCUPATION: Server/Musician

AESTHETIC: Blown out speakers, phone battery never higher than 40%, chasing after something but not knowing what it is, inspiration striking in the middle of the night, notes app full of ideas, the sound of a bass drowning out the traffic, screaming into your pillow, never asking for directions, smudged eyeliner

Bio !

If asked about their life while growing up, Ripley would say that it was painfully average. It didn't help matters that they were the middle child of their family and often felt overshadowed by their siblings who seemed to overachieve in academics and athletics while Ripley was still trying to figure out what their own interests and talents were.

Feeling like a shadow and plagued by averageness lasted up until they entered middle school and decided to give their school's orchestra a try. They quickly found out the instruments and music weren't necessarily their cup of tea, but they did have a natural talent for music.

Despite not loving it, they stuck with it because they didn't have the means to afford private music lessons in an instrument they liked more and because they finally felt like they were performing something well enough to get the same attention as their siblings did.

Halfway through high school, they started working a part-time job and managed to save enough money for a bass and lessons. They promptly quit orchestra to solely focus on that. As time marched forward and their parents and teachers started to hound them about making plans for their future, they started to realize they wanted to do something in the music industry.

Graduation rolled around and instead of going off to college, they spent a couple years remaining in town, trying to figure things out until a friend invited them out to New York for a summer. They ended up enjoying their time their and even auditioned for a local band.

Since then they've been working towards their dream and enjoying life with their bandmates/friends with little complaints (outside of their side jobs).

Misc. !

Extremely dedicated to their music + band. The same cannot be said about their day job. They're constantly jumping between jobs either because they hate their current job or got fired. They just want to do what they're passionate about without all these side jobs.

Their savings account is nonexistent because they're trying to get a tattoo after every minor inconvenience.

Legitimately wants to fight the Spotify DJ (VALID, why is he bringing up my past music interests like that) and yet they still occasionally use it.

As frustrated as they sometimes get with it, writing music/coming up with new stuff with their bandmates is their favorite thing about being in the band (aside from the strong friendships obviously).

Not the type of person to sugarcoat things. They'll tell you exactly how they feel about you even if it's way too blunt and borderline rude. That's unfortunately paired with a resent and remember attitude.

Bit of a commitment-phobe when it comes to romantic relationships and prefer short-term flings to long-term relationships that they will purposefully sabotage whenever they get too serious. Honestly just prefers the freedom that comes with not being seriously attached to someone like that.

Not a morning person at all. Like they will fully request no one speaks to them before 9am or at least until they can get some caffeine in their system.

Wanted Connections/Plots !

Ex-Employers/Co-Workers: They hopped between a lot of retail/food industry jobs so anyone who works in those fields! Maybe they got along when they worked together or maybe they despised each other and were happy when Ripley got fired.

Ghosted: They unfortunately ghost a lot whenever relationships get a little too serious for them so basically someone who got dumped and ghosted without much of an explanation by them.

Double Trouble: A friend that really brings out the worst in them. The two are constantly getting into trouble together and are generally quite destructive whenever they hang out.

Rival Band(s): Honestly thinks it’s funny if the bands themselves don’t have issues with each other, it’s just them and 1 member from another band that are constantly going at it and competing for better gig spots. (maaaaybe with a side of enemies with benefits)

Tattoo Artist: Pretty straightforward, the person Ripley gets all their tattoos done by.

Siblings: Growing up there was definitely a rift between all of them as they all were very competitive with each other for their parents' attention. Now that they're all adults and doing their own things in life they could've possibly mended that relationship!

More Ideas

[thesinglesjukebox]

YOASOBI - "IDOL"

Not a Jocelyn cover -- though there are parallels...

[7.79]

Ryo Miyauchi: You can call "idols," in particular the human exchanges and the parasocial relationships built around them, a lot of things. Using the words of Ai Hoshina from the manga-turned-anime Oshi no Ko, Ayase and Ikuta Lilas call it a lie. A performance would have neutralized, artifice would have made the critique more academic, and maybe fake would have softened the blow. A lie digs deep because it implies that I, the fan, am partly complicit in believing what I'm convinced to be true, whether or not I am aware of being sold to. And YOASOBI say the quiet parts fucking loud, starting from the most bombastic production they've made: a monstrous blast of brass, a blinding flash of synths, a trap-pop breakdown, and a gothic choir singing "you're my savior, you're my saving grace." But as "IDOL" places the onus also on the idol herself for knowingly selling a lie to her beloved fans, how could anyone resist buying into the spectacle? Ikuta embodies the superhuman ability of Ai Hoshina via her vocal performance: not only does she seamlessly maneuver through the trickiest melodies and a demanding production, she inspires in us the feeling that we can recreate the magic, too, as evident from the countless TikTok dance snippets and YouTube vocal covers uploaded this year. She fakes it until she makes it, fabricating her value before her reputation catches up to the level of work put in. But she also convinces herself this is how to love until her little fib starts to feel true. In a macabre, perfectly meta way, it's the idol's own dying words that give the song its most validating, emotionally moving moment, as she finally speaks her love into actual being: "I, I said it at last/I know it's not a lie as I'm voicing these words/I love you." I, for one, know all this is a lie, though it doesn't make the feelings any less real. [10]

Crystal Leww: Structurally and sonically, "IDOL" borrows elements that I associate with the two major, somewhat external-facing Asian pop music scenes -- the racing feeling and sweet vocal of J-pop and the cut-and-paste nature, especially second-verse half-time rap, of K-pop. It's been fun to observe this cross over into both -- on TikTok you can see not only J-pop idols covering the dance but a big contingent of K-pop idols doing the same. Ironically, all these idols are doing the little dance with a smile to a song about the dark side of the idol industry, which I guess is something that all idols from all countries can agree on after all. [7]

Jacob Sujin Kuppermann: There's too much going on here! Which, frankly, I love. Every single second of "Idol" feels stuffed to the gills with sonic ideas, burning through riffs and hooks like they've got an infinite supply. Some of it is more familiar to YOASOBI's earlier work (those mathy guitar-synth-piano passages, some of the more bombastic orchestral touches), while other parts feel more novel (those cadences on the verses call to mind J.I.D and Ski Mask; the "Heys" at the end are so very Mustard-coded; someone please tell me where those choral touches are drawn from). But it all comes together mostly by virtue of the raw power of juxtaposition. If you slowed this down and tried to dissect the individual parts of "Idol" I'm not sure it would all hang together, but why would you want to do that? The sick thrill of "Idol" -- both in sound and in lyrical message -- is in the rush and overwhelm of Big Pop Moments TM, of the joy of each individual detail as it wears you down in turn. [8]

Dorian Sinclair: Ayase is a hell of a writer and producer, and on "IDOL" he makes something that feels new for Yoasobi, even if he falls back on a few of his favourite tricks (that busy keyboard line does not feel meaningfully different from the one in "Yoru ni Kakeru" or a half-dozen songs since, even if there's a lot more around it to distract you). But if there was any doubt that Lilas Ikuta is as essential, "IDOL" should conclusively lay that to rest. It's two, or even three, unrelated songs that have been glued together, asking completely different things from the singer and doing little to ease the transition between sections. She navigates the transitions effortlessly, skipping between registers and delivery styles and making the whole thing cohere with her performance. The song's about a fictional character, but it's Ikuta's coronation. [9]

Taylor Alatorre: "IDOL" serves as an interesting companion piece to another viral Japanese smash of 2023, "INTERNET YAMERO" from the game Needy Streamer Overload. Both tread similar thematic ground: the tyranny of the public image, the codependency of entertainer and audience, the desperate search for a "savior" or "angel" in the wreckage of a mediated age. The latter, however, due to its origin in an indie visual novel, is able to shed all concerns of good taste and indulge its most ear-piercing denpa fantasies, of the kind that would be unbecoming for the theme to a Doga Kobo anime. The constraints placed upon "IDOL"'s composition may be necessary, and even beneficial to the franchise as a whole, but they are palpable throughout. It stretches against its need to serve as both a credible idol song and as a fashionably cynical take on idols, and as a portent of dark events to come -- a tough mandate indeed. Even with all of its trap interludes, wotagei chanting, and Square Enix gospel choirs, Oshi no Ko's theme ends up sounding not all that different than any random OP on the MyAnimeList top 200. Which is to say, it still pretty much bangs. [7]

Katherine St Asaph: Blurbing Stray Kids' "LALALALA" last month, I wrote: "I'm a complete mark for any pop song that sounds like its true spiritual home is on a Warcraft soundtrack." Nothing has changed, nor will it. Other things I'm a complete mark for: orchestra hits, key changes, faux harpsichord. [8]

Joshua Minsoo Kim: The half-time, militaristic reprise of the intro sequence got a chuckle out of me, as did the swiftness with which it abandons the idea. I've heard countless songs that have given me constant sonic whiplash, but "IDOL" is the rare one where you can envision that everyone involved was full-on grinning, excited to see what they could get away with. [6]

Brad Shoup: The audacity! My favorite bit is Ikura's swiping the "HUMBLE." flow for funsies: just one tool furiously, cartoonishly tossed out of YOASOBI's bag. It's like watching someone solve a Rubik's Cube while setting off a series of controlled demolitions. [9]

Nortey Dowuona: The hammering of the rap parts is so deafening; the rapping, filtered and compressed to the nth degree, has to be left alone to capture your attention. The piano line emerges at the pre-chorus but is quickly squashed by the drum programming that lightens the farther it stretches away from rap, leaving the voice to settle into the song instead of battling the synth horns stolen off a Southside beat from 2014. The theme rewards you with a brief piano line and the overly processed voice singing in the comfortable center of their range, allowing you to appreciate the creative excitement with which the producer and composer combined all these stylish sounds. But next time the production team composes a song like this, either find a vocalist who can comfortably handle the heavy-handed hammers of the rap verses, or tamp down to let this light uwu cutesy vocal shine. [8]

Michael Hong: YOASOBI's songs often sound like they could afford to be a touch faster than they are, and it's no different here. The topline of "IDOL" comes off as stiff, particularly across the opening clangs and the jumps of the chorus. As the duo race through all these ideas, Ikura stalls into a moment of exhaustion, as if the track's punch has started to weigh heavy on her. [4]

Ian Mathers: This one is genuinely baffling to me. I can't really parse out why some parts of it make my brain feel like it's fizzing pleasurably, while other parts trigger the avoidant feelings I get with certain strains of prog rock. Even worse, I'm not sure I can keep track of which parts are which from one listen to another. I love/don't love when it gets more measured and stompy. I love/don't love when it gets quieter, or when it just fully goes for it. Depending on which way this resolves in my brain, I'm either never going to seek out "IDOL" again, or going to start playing it on a loop. Hard to score that! [7]

Anna Katrina Lockwood: After reading up on Oshi no Ko, the anime for which "Idol" is the theme, this song made sense in a new way. It sounds like an idol group song shoved backward through a hedge at SMTown Tokyo in 2013, or a Dempagumi.inc song that was written by Yoo Young-jin and then performed with way more fervor than required. While I don't think it's required to enjoy this song, being familiar with the format of the titular idol, a profession with a decent amount of regional variation across Asia but entirely distinct from the Western boy/girl group, makes "Idol" more effective to me. The song really captures the troubling parasocial aspects of the idol industrial complex, issues that I feel a duty to grapple with as a long-time idol group fan. Parasocial attachment is by no means exclusive to idols, but the heady mix of accessibility, human as allegory, and physical beauty increases the likelihood of issues, sometimes with serious consequences for the idols themselves. This is all without even mentioning "Idol" being the runaway megahit of the year in a particular niche, which doesn't really demonstrate anything other than the song's wide appeal. Hey, a good song is a good song, and it's nice when that trumps everything. [9]

Leah Isobel: "IDOL" is so literal, and so garish, and so much, in a way that doesn't normally work for me. Its rapid consecutive U-turns, its pileup of shiny baubles, makes me feel like Yoasobi is playing a trick -- like they're using these techniques to gussy up what is, at heart, a relatively familiar story about the underbelly of fame. And then the final key change-into-chorus transition happens and, yeah, okay, I get it. The shifts in mood and mode raise the stakes so high that the last turnaround feels like squeezing an ocean through an arrow slit: for one person to hold the attention of millions is, after all, an impossible virtuosity. [7]

Tara Hillegeist: To love a piece of art is not, by necessity, to identify myself with the work involved in its making or feel any precious defensiveness about its merits. Indeed, when appreciating art for what it is and what it can be, it is often a richer form of love to come to that feeling through studiously antagonistic critique instead of immediately sincere affection. I already know all the work's faults, the reasons it's a failed work; and yet I still find it worth your time. There is a chasm of difference -- the kind that runs down the vein of this discourse, more often than it cuts across -- between loving art and loving "an artist," in the singular, as the bespoke creature/object/entity/producer/"person" that makes the art in question. There are many ways to prevent myself, as a critic, from falling into that trap, as many ways as there are critics. And with so many of these ways of putting distance between myself and my subjects of choice, it's easy to grow jaded and callous, to forget that these performances began as people, to make light of this business -- for it is a business, for what it does to the lives at its forefront. To crack jokes about the strain it puts on them to be the wick at the center of the candle, while we watch them flicker, flare out, and fade. Distance renders my protections as perverse as the alternative.

To find myself in love with "the artist" that makes the art I love, though -- there is no escape from the parasocial realignment of one's approach that follows. A part of me has already accepted it will betray the sensible ethics of the arrangement between that art's creator and its consumer, on behalf of a belief in the righteousness, the decency, the fundamental moral worthiness, of this image I've chosen to perceive within the actions of an otherwise total stranger -- a betrayal all the more dangerously stupid on my end for the obvious awareness that this is the image they want to sell me on. As an appreciator of art, as a fair critic, the worst mistake I can make is to take that performative sincerity at its word. It's even worse when that collapse of situational awareness leaves me with a sense of entitlement, in either direction -- a sense that the transaction involved is anything more than the exchange of the pleasure of creating for the pleasure of consuming, that in return for the joy I take in their ability to synthesize "truth" into "performance," I now owe them a debt in the form of devotion ... or, worse, that they owe me anything in kind. No matter how chaste or compassionate or self-effacing the gesture may feel, it remains a trap. I'm in love with being lied to. They're in love with lying to me. At best, it only leads to the tragedy of heartbreak -- a tragedy all the more cruel if one of us really meant it. It's enough to send one screaming to the madhouse, thinking about it seriously. Maybe that's why we all try not to. But sometimes, we let ourselves forget. It's so easy to do -- as easy as we say it is not to do it.

There was this ... girl, I liked, on the come-up in the entertainment world. She'd started as a wrestler, and I'd been what you might call a fan of her mother, a well-established name in the industry. So I was already paying attention when her mother introduced her in the ring to say she'd be pursuing the family business. I was already a fan of hers when it was announced she too would step back from wrestling to pursue a career in the wider entertainment industry. I thought she deserved the limelight, that she was made for it, that anyone could see how hard-working she was and how much she'd earned their adoration. In turn, I felt entitled to following her personal Twitter, because seeing her messages on my timeline -- whether upon waking or before bed -- and giving them the occasional like made me feel like I was supporting her in her pursuits, whatever she did. As a wrestling fan, seeing her succeed felt like its own reward, "one of ours" making good, one step at a time. In K-pop terms, you could've said she was one of my biases; in Japan, an "oshi," from the verb for "support."

Maybe you've already guessed how this story ends. It made international news, after all. They changed laws because of it. Her mother made sure they did. But for me, the volcanic upheaval that resulted was on a much more personal and unavoidable scale. All I saw, at first, was someone struggling to put her best foot forward and finally getting what looked to be her big break -- on a reality show, but one of the most popular reality shows on television at the time, where thousands of people could see her! I'd wake up every morning, eager to see whether she'd say anything new about it. So I was already awake and alert, locked down in COVID quarantine on that cold morning in the spring of 2020, when she tweeted out her suicide note for all her friends and followers to see, and followed it up with picture proof of how deeply serious she meant her attempt to be. I sat there, a helpless voyeur, those pictures a constant companion. I waited, one of the lucky few, to learn whether what my "support" had led me to witness being done "live" could be undone, or whether I'd have to live the rest of my life knowing my last memories of someone I thought I'd valued as a person would be those bloody images, all because I "cared" so much to keep tabs on her social media on the regular.

Within the hour, we all knew the answer. Her friends and family were able to at least get Twitter to take the images down before they had to put out any further statements themselves. By the time the wider world awoke to learn the news, the pronouncement of her death was a matter of recorded, impersonal fact, accompanied by photographs of her alive in the ring and on set, rather than the catastrophic tableau of judgmental violence that the internet and the television crew drove her to inflict upon herself. The price I would pay for my mistake, in thinking my support of her entitled me to knowing as much about her as was publicly knowable, would be that my witness was as much my own fault as my worthlessness. I could only live with what I'd seen and damn myself for why.

I threw myself into other spheres of my interest -- "virtual YouTubers" -- in the vain hope that my awareness of the failings of the genre would cushion me from such a tragic mistake another time. I was no stranger to the cynical mode in which the subculture operated, using surreal motion-tracked avatars as a means by which tech startups could showcase and sell their proprietary apps. I was hardly uninformed on its casually abusive handling of their talent and lax management policies. Before I'd ever started engaging with any of the talent responsible, I'd heard about managers needing to be fired for power-harassment who went on to stalk and threaten their former clients. I already knew about performers needing to go on hiatus because their audiences turned violent over the sound of their mic accidentally picking up a roommate's presence. I already knew about performers needing to reveal their own behind-the-scenes identities to prevent themselves from being replaced as the voice of the model they'd made famous.

Naturally, the artists I grew to appreciate most in the scene were the ones most aware, if not outright forceful, about reminding their audience where the boundaries were between the audience, the audience's perception of themselves, and themselves, the person putting those perceptions and boundaries in place. One of those artists mentioned that one of her favorite manga was this niche series that she felt was the most relatable and compelling depiction of the ins and outs of being, at once, both a performer and someone who had performers she loved in turn: a series called Oshi no ko. I jotted it down as something to look into, later -- it sounded like a pretty out-there title, so I didn't expect I'd find many, if any, translations of it; there certainly weren't any being published legally at that time.

But she kept bringing it up, and soon I started hearing other VTubers doing the same, so I took the curiosity more seriously. Two or three volumes in, a strange horror overtook me. The events that led to what I was reading were anything but events that I had any connection to, although I'd noticed similarities between them and real events in the industry. But now the characters in the manga had been roped into performing on a reality show, one of the most-watched television shows at that time ... and there it was. Ripped from reality, turned into performative art: the same events that I could never forget happening, had never really forgiven myself for putting myself in the position of being a helpless witness to. They had been turned into a cathartic lie -- because in the fictional tale of Oshi no ko, the protagonists, who had become her friends, were able to prevent her story from ending the same way: the way, in the fiction, that they hadn't been able to prevent their mother's ... and the way, in reality, that they couldn't have prevented their inspiration's. Through the artists' efforts, I realized I wasn't suffering that heartache alone. I, too, didn't deserve to regret having lied to myself enough about what I loved that I turned that love into a lie, that I loved a lie that can never be true. Maybe that, too, is a lie, but it's no less a lie than the belief that as an audience, our personal responsibilities should ever matter to anyone but ourselves. Cut to the spring of 2023: Oshi no ko, shocking me to the core, receives an animated adaptation. Tapped for the opening theme is YOASOBI, a group comprised of a former idol and a former Vocaloid producer, mostly known for moody, emotional rock songs. The song they make for it is this one: "IDOL"; the charts make the rest into obvious history, and the lyrics speak for themselves. So now that lie belongs to the rest of you. For what it's worth, I hope you love it as much as I did. [10]

[rmbmedia]

the protomen: european tour part 2

hope rides alone

It is the year 2023. Robots still control the airwaves, keeping the cogs in the slowly corroded propaganda machine forever turning. People live in fear and poverty as the obvious tory-dictatorship further beats the lower class down.

from out of the mists of industry, they appear.

This isn’t just commentary on the current state of the UK…

But once again, they are your hope. They are your salvation.. THEY ARE:

THE MOTHERFRACKIN PROTOMEN!

after having the concert postponed for a year due to covid. the protomen returned to these shores with one goal in mind: to bring the thunder!. Sadly, K.I.L.RO.Y. was nowhere to be seen this time round. however, his presences was felt, just the same. instructing us to once again fight with them! opening strong with three tracks off the yet-to-be-released ACT3, the band knew what they were doing. whilst it was the same old show musically, they felt more cohesive this time round, despite sir dr robert bakker's absence. we have J Rock Harding Jr. to thank for stepping in.. i think? I could be wrong. starting with "hold back the night" the band reminded us we wouldnt fight alone. carrying a strong message that heightened the feelings of the french at the gig in paris 8 days before. in a sense, the band could have been the spark to to set paris ablaze. following on, with my personal favourite, they performed no way back. a fantastic track that i personally think should've been saved for at least halfway through the set. the set soon took a turn with a new cover: Shadows of the night by pat benatar... brilliantly performed despite the crowd not knowing it fully. I think this is due to pat not being a big thing in the uk during the 80s.

finally, upon hearing the usual suspects of breaking out, keep quiet, and light up the night, we all prepared ourselves for the fall. the crowd roared. then, came that fierce, powerful reminder that hope rides alone. the big reveal: the encore- they played a new track: THE FIGHT!. There has been alot of speculation about the events that happen in act 3, no-one really knows for sure if its the final album or if there is more to come. i hope so. the fight is some of the best song writing the band has done since no way back and keep quiet. so im going to wait until further info has been dropped to say anymore. for now, they are going to end it, the way they've always ended it- Due vendetta. i dont know when the band will grace theses shores again... but when they do. I will be there.

[gustingirl]

RANK BANGTAN'S 34 TITLE TRACKS!

@joon-rkive tagged me in the hardest challenge i've ever had DFKJDJSF no but i enjoy it a lot, thanks baby!!

DISCLAIMER: I strongly believe BTS has one of the few non-skippable discographies and I really love every single song they've released and this list order can change almost every single day. Also they outdid the entire kpop industry i don’t even care

1. FILM OUT

Literal chills every single time I listen to it. The chorus always has me on tears, it's that little thing they do with [Kimi dake wo hiroi atsumete tsunagete] that kills me every.single.time. I'm sure it's gonna be in my top 10 in my spotify wrapped cuz at some point of the year I got obsessed.

2. SPRING DAY - 봄날

I’m sure this one is pretty self-explanatory, considering it might be BTS' best song in their entire discography. For some reason it stayed in the charts for so long.

3. BLACK SWAN

I put BS so high mostly because this fandom completely forgot about it (don’t worry I blame the pandemic mostly). Every single aspect of this song is literal art, from the lyrics to the beauty of the music video.

4. BUTTER

I’m an english-BTS-songs stan forever and ever, no english song can make me hate their discography and it includes these songs. Butter is the queen of their english era idec anymore, it hypes the shit out of me whenever I listen to it and whoever hates it can suck my di-

5. BLOOD, SWEAT AND TEARS

The reasons for this one? Idek, it scratches my brain in the best way ever.

6. AIRPLANE PT. 2

I like how it builds and the choreo. It also reminds me to my favorite BTS era ever.

7. FIRE

Hypes the shit out of me for good. I can’t stop watching the MV.

8. DANGER

I’m putting it high mostly because I denied this song for years (i’m stupid, don’t ask why) and when I finally made up my mind I hated myself for never listening to it. Good one for real and it hits so well

9. IDOL

BRING ME BACK TO THIS ERA GODDAMIT. That's all I can say really. No, kidding. The teaser already was perfect then the whole traditional instruments and the craziness of the beats just makes me wanna jump off a balcony (i’m in my charly garcia era)

10. HEARTBEAT

I’m not sure where to put this one but there's that one part, the bridge, makes this song rise automatically.

11. ON

Another hype one, it's lower than heartbeat because the bridge doesn't hit as much but overall I love listening to it.

12. MIC DROP

Can easily be put lower if you ask me. It's here because it was the first song I heard of them and the memories gives it that plus.

13. JUST ONE DAY

I learnt korean with this one SKDFLS no but seriously, yoongi's verse and the "yoongi-ah" gets me every single time. Could listen to it forever and ever honestly.

I think it was one of the first songs I listened after getting into them and that also gives it like a plus extra of reasons to be this high. Either way, it goes on so well and also the lyric and beat play with I'm Fine makes the original even better.

14. DYNAMITE

I don’t get how y'all can hate this one. I hate the remixes but the song builds so sweetly and their voices sound pretty cool with it. I like the retro style and the dance breaks for the choreos were so interesting and different. That's why I like it, it was different to other styles and their english voices are nice to hear every once in a while.

15. LIFE GOES ON

My mom calls this one the pandemic song and I laugh every single time. I think the comfort this song gives me makes it sound so good. It's always about the feelings their songs give me what makes me like them more or less. That happens with LGO

16. YET TO COME

MAKES ME CRY SM I really got freaked out thinking they were saying goodbye. Took me a bit to fully get into it and the hyundai version helped a lot.

17. SAVE ME

I think it was one of the first songs I listened after getting into them and that also gives it like a plus extra of reasons to be this high. Either way, it goes on so well and also the lyric and beat play with I'm Fine makes the original even better.

18. DOPE

AYO LADIES AND GENTLEMEEEEEN this is their queen of hype songs.

19. NO MORE DREAM

I only hate that weird sound at the beginning of the song and this kind of hip hop is not really my thing. It's higher than WABPT2 because aw they debuted lksdfsdkf

20. WE ARE BULLETPROOF PT. 2

It makes me laugh a lot for some reason, I just picture them trying hard to be bad boys in the recording studio and I laugh a bit. Anyways rapper jungkook is a FAVE.

21. FAKE LOVE

My first comeback omg. I remember the problem called "they all dyed their hair the same fucking color". Anyways, I prefer the rock version for some reason and I feel the song would have been better if it was that one the OG version. Also the "fakey" love part kind of still bugs me but overall I love this song.

22. I NEED U

I know how much it means to them but I can listen to it every once in a while. Not my favorite but easily one of their best songs. It builds very strongly.

23. RUN

Like DNA (yeah I have many situations like this), I love the song but I enjoy it mostly while watching the MV or a live performance.

24. NOT TODAY

HYPEEE. But again, like DNA, the choreo kind of outdoes the song for me. I like to watch the mv and listen to the song that way than only listening to the song.

25. EPILOGUE: YOUNG FOREVER

Only dropped it so low because I cry whenever I listen to it. Other than that, it could easily be higher. I just stopped listening to it cuz I genuinely can’t stop crying, I never get to finish the song

26. PERMISSION TO DANCE

Not their strongest english song KJFKDSJ if it wasn't sounding so high school musical-ish I would put it higher. I do adore the sign language dance move and how happy they look while performing it. Also, catchy as fuck anyways.

27. DNA

Probably goes low because I might have overplayed it a bit. With this one I priorize the music video and choreo over the song itself. They kind of outdo it.

28. STAY GOLD

Took me a bit to get into it because the chorus bothered me a bit, when all the voices kind of overslap each other while singing different lines (never my favorite type of resource during a song, happens to with Kiss of Fire by Hugh Laurie tho I love that song) but it's still good.

29. BOY IN LUV

I was never a huge fan of this one but I did have my obsession phase when I got into them. I like these songs were Taehyung would rasp his voice a bit tho I'm glad he's using it more like he did with Singularity.

30. BOY WITH LUV

I love Halsey but I felt she ruined the song even though she barely participates anyways. However, I only really enjoy Suga's verse. The song isn't bad but I got tired of it (enough to rank it this low, it still outdid the entire kpop industry idc)

31. N.O.

It was never a song I played too much for some reason. I do enjoy the chorus and oh shit the lyrics, I love their rebellious era.

32. WAR OF HORMONES

I had a phase where I listened to it religiously but after that I sort of stopped LKDLKS. It's still very catchy.

33. LIGHTS

Never really listened to it much, maybe only a couple of times.

34. FOR YOU.

Never really listened to it much, maybe only a couple of times. Before Lights and For You I prefer their B-sides.

i don’t know many armys i think i’m gonna tag @peachy-101 @christina-dh @jieunssi @senor-hoberto @jungkooks-princess @latenightjjk @sinatserendipity

[aniketsanimationblog]

To Draw The Similarities between the Current Situation Of This Global Animation Industry with the S1 of Star Trek: Prodigy, here it goes!!

At one point, after the Season 1 Finale of Star Trek: Prodigy, "Supernova: Pt. I & II", we were so psyched for the S2 coming in Winter 2023.

But, then 24th July, 2023, post midnight IST, a breaking news came out suddenly from Paramount+ and, POOF!!

The Waiting of Promised Season 2 of ST: Prodigy, just destroyed Overnight, as the Series got Canceled and Removed from the Platform, alongside, the S1 Arc II Never gonna be broadcasted on Nickelodeon US, calling the reason as "Tax Write-off"!!

All of because, there is a Living Construct aka. Miraculous Ladybug & PAW Patrol Duopoly, aboard the Protostar aka. the Global Animation Industry, which is Created and Installed by none other than Miraculous Ladybug creator, Thomas Astruc, who is nothing but an Egoistic and Arrogant Villain of this Industry, and designed that it can't be stopped or remove it from Existence, has been activated since 2022, when Netflix, who accidentally answered the Hail, and HBO Max (now called Max), started purging most of their Animation Content from their respective platforms!! And it was also affected to Disney and Paramount too earlier this year, 2023!! And it won't Stop, until the construct cancels each and every great Animated Series better than Miraculous Ladybug and PAW Patrol from its Existence, and until the Federation aka the alliance of the Animation Fandom and Animation Industry alike with the Corporate Companies, turn up against each other, and the alliance reduced to nothing!!

Where The WGA and SAG-AFTRA Strikes are happening concurrently, the production companies, in the name of Cutting Costs, they are purging the Animation Contents, with the exception of Popular and Cash-grabbing ones, and removing it from Existence!!

But, Starfleet, aka the True Animation fandom are not ready to give up right now!! They are trying to be vocal as much as they can by using the Social Media, using #SaveStarTrekProdigy, signing the petition and everything to stop/minimise this occurance!!

Please, I want Everyone in this Animation Fandom, to RAISE YOUR VOICES, to be heard by the Authorities, to take this concern as seriously as they can!!

"Because, in the infinite of Space, everyone needs to know there is a place out there willing to accept us all, no matter how different we think we are. Without Starfleet, the federation crumbles, and that dream dies with it. If they've ever helped you, as they've helped us, then hear my words. Allies, Civilians, Outsiders, anyone, Starfleet Needs you now, or it will not survive."

That Monologue by Gwyn in Supernova Pt. I is the reality, the Animation Industry is Facing Right Now!!

Animation Industry wants you to save from the Debacles happening Right in Front of Our Eyes!! Every Contribution from the True Animation Fans like You Matters!!

Please, #SaveStarTrekProdigy, and #SaveAnimation, before it's too late!! 🙏🏼

[thedevotionaltour]

i need to find a lez who wants the worst lamest comic trek nerd possible and is genuinely charmed by it and also enthused alongside me about the interest bc those are unfortunately My Big Interests and i can't tolerate feeling like they are just accepted interests and not Beloved Along With Me you have to be willing to read a superhero comic for me please. you also have to be excited about watching btas it doesn't have to be your favorite but i have to feel like you will be excited to watch it with me and also like it. see most people i show trek to enjoy it enough so i need a lez who wants to talk about superheroes with me. please. get emotional about how when not from a genre critique angle one of the most important things a hero comic can do is come back to being about humanity is worth it and there is hope for it and therefore worth loving and saving because what is the point otherwise. also talk with me about how the comic industry should finally die like they've been saying since the 60s

[primereadymix4]

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[anthonysstupiddailyblog]

Anthony's Stupid Daily Blog (725): Tue 12th Mar 2024

Off to the town for a tattoo of my loyal companion Lucy (A loyal companion is someone whose shit you scoop off a pavement with plastic bag right?). This mutt has been a constant source of comfort for me and the family in the decade she's been with us and it's time I repaid her with a permanent tribute adorned on my body for all eternity. I've also been a fan of The Green Lantern since I was a kid and I always try to merge two or more ideas when I get tattoos to make them unique (and to save money) so I decided on getting a tattoo of Lucy wearing a little Green Lantern outfit. Green Lantern is my favourite comic character and I think if the Lanterns picked an animal to join the team they would want one who showed extreme bravery and loyalty and Lucy would be the perfect fit. I got the same artist who has done my last few tattoos and I'm glad because she's amazing and I've been recommending her to everyone who has complimented her work on my arms. The picture I sent her of Lucy when she was a uppy was what she was working from and I didnt quite realise how jet black her nose and mouth were when she was that young. It was so black that you couldn't make out her nose on the picture. I was worried that the tattoo was going to come out looking like Lucy had just been eating from a bowl of tar but the tattoo artist said she would lighten it so you could make out the nose. I wish these guys had TV's for me to watch while the tattoos are getting done because I always end up just staring at the wall for the entire session and I never seem to be able to make conversation, though maybe that's a good thing as I don't want the artists to be distracted after all. The general outline of the tattoo was fine but when she started doing the colouring in it really started to hurt like a bitch but I maintained my stoic composure throughout and didn't even feign the need to visit the little boys room in order to get a reprieve from the pain. The finished result is absolutely amazing and I immediately knew I had made the right choice. I know some people may say it's ridiculous to get your dog's image tattooed on you but Lucy has been with me for over a decade now and every day when I've come home after a shitty day at work she's always been there to sit on my lap while I watch the wrestling and help de-stress me so she has contributed a lot to my life. That being said I do like the idea of being a 90 year old man in an old people's home and my carers looking at the cartoon drawings all over my body and trying to work out what the Hell they are.

I watched Lenny Henry interviewed about his upcoming final time presenting Comic Relief. I wouldn't exactly call myself a fan of Lenny's but…no that's it I wouldn't exactly call myself a fan. Don't like him, think he's a bad comedian. I used to watch Comic Relief every time it was on back in the day when they would actually have people from the comedy industry hosting it like Jonathan Ross, Graham Norton, Michael McIntyre, Ant & Dec etc but now they just get any fucker to present it. This year they've got Maya Jama presenting for Christ's sake. If they started doing a telethon called "Sex Relief" where there get loads of sexy people to do sexy things to raise money then yes absolutely Maya Jama should be a presenter on that. So should Helen Flannigan, Alice Levine, Isla Traquair, Mollie King and Angela Scanlon (I'm sure the BBC would find a way to shoehorn Romesh Ranganathen into the show somehow too so it wouldn't be all sexy). The only Comic Relief I've watched all the way through was the 2007 edition which featured Ross, Norton, Paul O'Grady, Russell Brand, Simon Pegg and Nick Frost AKA actual funny people presenting a show aiming to raise money by being funny. It also featured the best comedy talent of the day including Ricky Gervais, Stephen Merchant, Mitchell and Webb, Harry Hill, Little Britain, Catherine Tate among others. These were the most critically acclaimed and popular faces in British comedy at the time but nowadays the sketches are made by whatever shit happens to be on the box. Tuned into tonight's Hollyoaks, the focal point of which was Romeo trying to convince Prince to help him escape. I really don't get how we were meant to sympathize with Romeo here which is what they were going for. He killed Rayne albeit accidentally but he still let his best friend Prince take the blame for it before he was eventually found to be the culprit. Now hes escaped with help from James and we're apparently supposed to feel sorry for him. This is one aspect of the show that I've always hated where they try to get us to feel empathy for someone whose actions have been reprehensible (mainly Warren). Prince cornered Romeo in Dilly's old house where Romeo gave him some bullshit apology and for some reason Prince agreed to help him get out of the country even though if it hadn't been for Lacey uncovering the footage of Romeo killing Rayne then Prince would still be in jail now. The end of the episode featured Romeo exiting the show on a horse as the police approached the house. Ah yes a horse, a perfect thing for someone with a fresh stab wound to escape on. Farewell Romeo Nightingale. The only character to ever be written out of the show because there were no more female characters for him to shag. Elsewhere Nancy was bollocking Suzanne about laying about the house all day and Suzanne fired back that she was looking for a job but things kept getting in the way. Yeah things like Ethan's dick!