#and all six of the ones we've seen art of already

[crehador]

ok taking a serious look at who the pt 2 cards might be, possible candidates are ichiro samatoki jyuto kuko doppo saburo

number of events since last appearance: ichiro (3), samatoki (12), jyuto (2), kuko (2), saburo (9), doppo (4)

number of gacha appearances since last free appearance: ichiro (1), samatoki (1), jyuto (3), kuko (2), saburo (1), doppo (2)

so if jyuto is one of the pt 2 ssrs then i feel like he absolutely must be free, but he and kuko showed up so recently that it feels like they aren't likely to be ssrs again so soon (and if they are then likely not on the same banner again since they were together just 2 events ago)

samatoki and saburo haven't been seen in the longest, and they do both have fairly unique designs (cardigan for samatoki oh my god that cardigan and the uniform + an additional vest for saburo) so imo it's looking likely they'll be cards

based solely on the numbers the third card should be doppo, and that seems possibly... likely? since he's already shown on hifumi's card? (like how the roller coaster cards basically previewed one another)

but with the smic plot brewing it does feel odd that ichiro wouldn't be an ssr as well

so

samatoki (free) + ichiro and saburo on paid banner

seems most likely to me

but doppo (free) + samatoki and saburo on paid banner is possible also.........

i guess theoretically doppo + ichiro + samatoki is possible too but seems less likely considering how long saburo's been gone

also possible that they really will just throw jyuto back in and have a jyuto (free) + samatoki and ??? paid banner

tl;dr I DON'T KNOW SHIT. BUT SAMATOKI SHOULD BE THERE. FOR SURESIES.

[anxietycheesecake]

There's something so "performative" about the finale, not sure how to articulate it. I mean, it's been like that for a while, but there were still sincere moments every now and then (probably from the cast putting all their actussy into it). It wanted to make a statement so bad, regardless of whether you think they were mocking us or not. "I'm not a normal sitcom, I'm a cool sitcom, like Seinfield. I don't fit in and I don't want to fit in. Have you ever seen my characters evolve? Oh... Oh... No, you haven't! I artificially took that back every single time! That's cool."

They wanted to remove the sense of a plot and a purpose that season 3 and partially season 4 gave it so hard it's like they couldn't think of anything else. It's funny because it's pointless and unsatisfying, even though we have managed to balance raunchy comedy and emotional scenes just fine before. It's easier this way and it get us Reddit praise. But here's the thing, it wasn't even that funny. Season 1 was just sitcom shenanigans and dark comedy and it was hilarious. Like, when was the last time you physically bent over in laughter while watching this show and are you sure it wasn't because the actors were making a funny voice or a funny face that absolutely wasn't scripted?

But I mean, all that aside, I think it's just cringe. It's giving "how you doing, fellow kids?" It's overdone and so eager to be disruptive it ends up being anticlimatic. "That's the point! We were trying to be anticlimatic!" Ok, bro, you're either a shit writer because you couldn't come up with an actual conclusion or because you genuinely thought that'd make good tv.

Comparing wwdits to Seinfield is like when wannabe great American novelist says he's writing the next Great Gatsby. No you're not. And I don't mean this as "wwdits isn't worth shit compared to actual high art sitcoms such as Seinfield" (I actually liked it better when it wasn't trying to become Seinfield); it's just... There's already a Seinfield. And there was already a wwdits that had found its footing and its voice and was doing a near perfect balancing act between comedy and drama, while keeping it humor-focused at all times. Your story is yours but when my book was starting to sound a lot like The Girls by Emma Cline minus the ABSOLUTE LITERATURE of it (arguably the best thing about The Girls), my mom was like "this not you, girl, what are you doing?" And that was MY MOM, not some random people on the Internet who are a small portion of the people who put food on my table (hopefully, heh -pay writers better, bitches >:(-). Like, dude, you're in your 40s, how can you be this petty?

At the end of the day, it was just petty. It read like fanfiction a troll would write. And they can try to gaslight us into buying it was actually such a smart move and amazing writing, but we know the truth. "We've thought about six possible endings for Guillermo's arc and haven't decided on one", "We kind of just come up with things that might be funny and work them into an episode"; things being said about a show one its fourth and fifth season. Absolutely valid, of course, but you can just admit you bit more than you could chew and wanted an easy way out. We get it, it's your job, do whatever you need to get that (far too small) paycheck, but don't put a "subversive" label on it and call it a perfect ending.

And if you're so willing to disrespect your fanbase or convince them they were watching a completely different show mere three years ago, for fuck's sake, commit to the bit and at least make it entertaining. Characters just spelling out things that are going to annoy the fans or prove to them it was silly to care about the shit and fart show for half and hour? THREE TIMES? Dude, you can be more subtle, media litecary's been dead for a while now. It's not unfunny in the sense that it's offensive; rather it was offensive how deeply unfunny it was. How can you manage to be this dishonest while doing everything in your power to make yourself seem even more dishonest??? smh

[magicalblerdpenn]

So this year, I'd been struggling to embrace being alloplatonic. I'm already genderqueer, bi, and grey aro-ace so you'd think it'd be easy.

Except that I didn't know alloplatonic was an identity until I learned about aplatonic people on Valentine's Day this year.

Ironically, it was several years back on Valentine's Day that I realized that I rarely experience romantic or sexual attraction, and experience aesthetic attraction more.

Yet I struggled to embrace being alloplatonic for several reasons:

Being raised by a Dad who made me feel like I couldn't be "just friends" with someone of a different gender than me. Since I was AFAB, any friendships I had with boys were assumed to be related to romance or sex.

Struggling to make friends, even though I wanted them. In high school, almost every potential new friend I made ended up changing schools or schedules.

Being bullied made me scared to make friends b/c what if I try to make friends, but end up bullied again? I also felt like I wasn't good enough for friends b/c of this trauma.

The unexpected death of my Dad made me scared to get close to anyone. I considered my Dad a friend as well as my parent and losing him hurt me deeply.

People being dismissive of internet friendships

This past Sunday, my closest internet friend Jaz, gave me a shout out in their upcoming book. It touched me deeply; I cried for ten minutes. They are a Black trans friend & we've been internet friends for six years, bonding over our identities, our writing dreams, music, and more. We've kept in touch through social media, email, and chat apps and become each other's source of peer support.

Over the years, our friendship grew stronger little by little and I felt a strong platonic love for them. I loved reading their newsletter, chatting with them, seeing updates about their life and career that they were willing to share. I loved having them encourage and reassure me, and doing the same for them. I loved their empathy, when I told them about my trauma or troubles. I loved how their writing helped me learn something new about myself & the world around me. I've shown my appreciation for our friendship through poetry & digital art and they love it.

Yet, I struggled to fully bask in our friendship until very recently b/c the trauma I'd experienced and the heteronormatvity and allonormativity I'd been taught. I didn't think my strong platonic attraction was normal b/c people dismiss platonic love in favor of romantic love. I've seen this on tv, movies, and online fandoms. I also thought I wasn't worthy of friendship b/c I felt I had to be a certain way & be flawless to have friends.

My friend Jaz, repeatedly proved me wrong, but it didn't sink in until I saw these words in the Acknowledgement section of their upcoming book: "To my internet friends, whose bonds are as deep as any other. To Penn; love you!"

With this, all my fears and doubt washed away with my tears of joy.

And now, I can finally say that I love my friend Jaz. I even wrote them a poem to do so and they enjoyed it very much.

TL;DR I am alloplatonic & proud and no one will take that away from me. I love my friend Jaz and they love me platonicallly too.

[homestuckreplay]

john egbert is dead, long live john egbert????

(p.248)

So, I guess this is Act 2, and already everything is different. First of all, we're in the future. It is no longer John's 13th birthday :( We get no hints about how many years have passed, as all we can see is the sand, the sky, a vague city skyline in the distance, and a solitary figure.

First off, I love the aesthetics of these new panels. We've seen this lineless, block color art style before in outdoor scenes, like on p.195, p.237 and p.246. I really like this style and how it's used to add texture to objects - the meteor in the animation on p.246 looks so three dimensional, and the sand piles here are the same, plus the sky looks like swirled ice cream. Homestuck panels do a lot of cool things, but these are the first ones where 'nice to look at' feels like a primary goal. I'd put these on my wall.

I'm wondering if this creature is John, somehow? He looks like he could be wearing some sort of mask or helmet, like the air isn't safe to breath anymore - very likely after a meteor strike, and the sky is a different color compared to act 1. If he survived the blast by eating the apple at the moment of impact but his neighborhood was destroyed, he could be just now waking up in its ruins. The city in the distance is untouched, but all its surrounding suburbs have been destroyed, because that's what the game is targeting for some reason.

waywardVagabond also fits the pattern of a chumhandle. It's hard to imagine there being a good wifi signal out in that desert, but it's the future and who knows what kind of technology has been invented.

I'm also curious why the six 'records a stuttering step' panels were linked from p.248 instead of being a few sequential pages. It makes this figure seem harder to control than John or Rose have been so far - the vagabond isn't receiving commands from the player, and their actions are more separated from the main narrative. In fact, this strip is placed on the same level as the Homestuck Beta and the 'put the bunny back in the box' clip from Con Air, which are linked in the narrative text from p.22 and p.20 respectively. I don't know what this means, but that little guy sure is making good progress through the desert.

[rachthepoet]

Fine Line (The Song) Analysis

This song is so special to me and has grown to be such for many, too. The song that gifted the album that it occupies its namesake. Radiant with evocative nature and effectiveness to conclude. But, not an ending, per se, but rather a summarization and culmination. All its six minutes are vehement and all-consuming, encompassing a layered tapestry of adolescence, acceptance, and flux. The beauty in this song is that a singular subject can't be pinned down, but, rather, flutters between many, depending on who's bearing their soul to the listening experience at that moment. An anthem holding many senses, all that can coexist & happen all at once. A chorale to life's nature of duality.

Here's a deep dive into Harry Styles' Fine Line, from a poet.

Terms & Summations

What the hell is a "fine line" anyway? Great question, you in the pink and blue, in the front there! Yes, I admit, that was an unbearably cheesy way to start this section, but I'm itching to just get on with it. So... let's go!

A fine line is a balancing act, a tightrope, a suspension between the extremes. A small difference or distinction. The grey area between the black and white. Finding the right footing on this line is a difficult feat and something that ought to be discovered through time and maturity. With the chronicling through the song, and in the journey taken across the whole album, he's indicated that he's closer to this point than ever before. And, he feels an added sense of euphoria in knowing he'll be alright. And, similar to the preceding "Treat People With Kindness", he's extending his hand, wanting to share this acceptance with any who offer their ears.

A declaration, hope, a promise. Then, bring in the brass and the strings and the building crescendo, as the symphony of movie-credit-worthy emotions sweeps all toward a sense of closure to the art itself, of course — but simultaneously, a closure of acceptance of the duality of life for all who need to be guided toward it.

This guides us perfectly into revisiting that Fine Line is a song tailored to conclude. It's a summation of the sophomore album, a thesis statement, and the concluding slide of the journey — though, one can assume the trip continues indefinitely with some thematics. There have been tests of patience endured and acceptance of being unable to find all the answers to all the questions of life. One thing I find very essential to this song and understanding its impact is how he refuses to sugar-coat his words anymore — a lot of what's said in this song is direct, showing a maturity found through these trials and tribulations, these highs and lows we've seen flux throughout the album in its entirety.

It stands alone on the fourth side of the album, categorized as SIDE D respectfully. In following my own personal theory of the stages of grief, we stand at acceptance, a destination, or maybe the beginning of the travels. As a finale, Fine Line is very poignant, just the listener and one song left to ponder. Room has been left for this — to reflect upon the sadness and uncertainty seen earlier in the album, but also how there's happiness that exists beside and beyond it, with everything interconnected or divided by the fine line.

Lyric Pull Apart

[VERSE 1] Put a price on emotion I'm looking for something to buy You've got my devotion But man, I can hate you sometimes

Put a price on emotion / I'm looking for something to buy: Imagine this. One walks into a store with all these jars lining the shelves. Get a closer look down each aisle, and each jar is labeled with a different emotion as price tags dangle from the lids. Prices may vary. But... why would one buy something that one already makes? Why go artificial in what was once natural? The answer is in the riddle itself, and there in the first lyrics heard.

The ability to feel naturally has fallen flat, a consequence of the emotional strain of the push & pull that'll be explored in depth soon. And, one can become desperate, begging to feel any emotion, at any price, as they feel themselves falling numb. He would do anything, pay anything, just to feel again. After having rationalized detachment from emotions for so long... what was once naturally acquired (like joy, sadness, love, etc.) can now only be purchased as a tangible, artificial item. He's lost faith in himself, a bit. In addition, a debate surrounding pouring emotions into one's art — especially one's art that's put out on a larger scale — is invited inside here. How much is genuine? How much does one show? How does one stay authentic without giving away too much?

These first lyrics are critical, as they're the second-to-first impression of the song. It introduces us to the headspace the writer was in to start, and preps for the upcoming arc. Cynical with desperation is how I'd describe those first two lines, as we prepare to enter the fluctuation.

You've got my devotion / But man, I can hate you sometimes: Something done very well within this piece is the use of antithesis or contrast. It not only serves as an illustrator but also further emphasizes the fine line notion. And it won't be the last time he utilizes this, for it encompasses both the album and the song. Devotion is such a strong word to use here, but its strength is used intentionally to amplify conflict. A word defined as "love, loyalty, or enthusiasm for a person" is closely followed by an admission of hate, which sends the listener into the same confusion the speaker must've felt then. The irregularities in love and life are encompassed. In the experiences we all foster. It will never be 100% euphoria, but rather a 50/50 bet between bliss and hell.

But, you know, from time to time, the bliss can outweigh the suffering. Until one hits a breaking point — see the first couplet of lyrics. He's feeling the pressure and melancholia in the haze of confusion stemming from this conflict. Whether external, internal, or a compilation of both. His emotions battle one another, leaving him confused about what he actually feels. This person has his devotion, but at any time, it can cross to the antonym, the threshold of hate.

[VERSE 1] I don't want to fight you And I don't want to sleep in the dirt We'll get the drinks in So I get to thinking of her

I don't want to fight you / And I don't want to sleep in the dirt: Another example of antithesis here. Continuing this push and pull, a lingering sense of fear and hesitancy. He doesn't want to get mistreated, but he also doesn't have the energy to fight anymore, for the constant back and forth has grown tiring. And he's been drained.

We'll get the drinks in / So I get to thinking of her: I believe this can mirror the very first lyric of this verse, in terms of numbness. A representation of falling back on something — here specifically, alcohol — an unhealthy coping mechanism explored in other ways and places in the album, to break down his subconscious walls. He seeks something to ease the pain he knows is coming 'round the corner. The her referred to could be as basic as a past lover, sure, but also the weight of something much more generalized. Something bigger than even the speaker himself. Which I think isn't to be ruled out so prematurely.

[CHORUS] We'll be a Fine Line We'll be a Fine Line We'll be a Fine Line We'll be a Fine Line We'll be a Fine Line We'll be a Fine Line

We have arrived at the beautiful, pivotal phrase, on its first round of repetition. To walk a fine line is to maintain a balance, or to be very close to two different ideas/attitudes simultaneously. One side is often more acceptable than the other, but we must embrace all in balance. Throughout the song, I visualize the speaker balancing on a tightrope, all these concepts bouncing up to his eyesight on both sides, all in rhythmic melody to the sounds behind his words. At times, he might stumble, but he sustains his balance, standing on the fine line.

There's a fine line between love and hate. There's a fine line between happiness and sadness. And etcetera, for one could go on for days and weeks with this concept. But we'll balance on that fine line, as we navigate where we're set to land. And, in this round of repetition for the chorus, it feels as if us, the listeners, are eavesdropping on the speaker trying to convince himself of this.

[VERSE 2] Test of my patience There's things that we'll never know You sunshine, you temptress My hand's at risk, I fold

Test of my patience / There's things that we'll never know: The starting couplet of the second verse, starting with an acknowledgment of the unknown. Further, the acknowledgment of the feelings associated. A waterfall of thoughts he dwells on, and my assumption is that it falls into what could've been. This feeling of dissatisfaction, and, like many other parts of the song, can be construed depending on the glasses worn. But, with said dissatisfaction, there's also an air of acceptance, which returns back to the theme of duality and balance.

In his dissatisfaction of the unknown, he accepts the lack of patience and the growth of frustration that results from these revelations. Acceptance of pain that seeps into devotion that can further blind you. Acceptance that one can't change the what if, but only learn from it, and walk towards perseverance.

You sunshine, you temptress: He's back at it with the antithesis, folks — a bit more subtle than the others, I'd say though. Still hauntingly poetic and reflective of how deep his infatuation can go. Can't go much further without mentioning how it mirrors Woman, and the lyric "You flower, you feast" structurally. The connotation of the first you (You sunshine) is something beautiful, while the connotation of the second you (You temptress) is ominous. It parallels the juxtaposition of care and resentment established in the first verse.

Once more, the theme of duality and life's balance is furthered. In Golden, the opener to this album, the subject is referred to as golden and bright — positive and complimentary. Now, in the closer to this album, it's punctuated with the label of a temptress, slicing through the tenderness with something soul-stirring. There's another similarity to Woman, how they both touch on temptation, but, in Fine Line, he's admitting that neither party is completely innocent or guilty. Rather, they both have a little of each.

My hand's at risk, I fold: Moving on then to this analogy to poker, which I find to be an intriguing choice. The person he's speaking to at the heart of the song has (presumably) found their way past his poker face, past his fronts, and acts and strategies to hide his emotions. Now, his poker face is down, and he's left bare and exposed, more vulnerable before them. He's been brought to this point and willingly folds.

The act of folding, where a player gives up any chance of winning the pot (the money) by sacrificing their hand (of cards) to avoid a loss of what's already theirs (money they still have). In poker, it's all about keeping a straight face and hiding your emotions to prevent the other players from figuring out what cards you have. Switch this into the song's context, and see his hand not full of cards, but, rather, emotions. And, to push further with this metaphor, the speaker is giving up keeping his cards (emotions) close to his chest and decides to fold (open up) to those who are tempting him to do (you sunshine, you temptress). Gambling also can become an extended metaphor in the song, with the mention of marketing emotions in the opening line. Poker itself is a game of high stress and risk, and the act of folding can be done to survive the iterations of poker (regular stress on the fine line).

[VERSE 2] Crisp trepidation I'll try to shake this soon Spreading you open Is the only way of knowing you

Crisp trepidation / I'll try to shake this soon: I adore how he pairs words together, and this bit right here has got to be one of my favorites. Trepidation is a feeling of fear and withdrawal. Crisp preceding it implies that it's perfected, as if he's had a lot of practice (happened multiple times before). A master in hiding his emotions, not communicating his emotions, a common theme explored throughout his catalog. Then, following that with I'll try to shake this soon — that line can act as a summarization of the verse thus far. Trying to shake the feeling of fear when it comes to bearing his emotions. But, also, shaking the fear about the uncertainty that comes with the duality on the fine line he walks and is walking.

Spreading you open / Is the only way of knowing you: One step on the fine line between emotional and physical vulnerability here. And, undoubtedly, it's a part of the song that obliterates my heart. The whole thing. His voice becomes emboldened and stronger when singing this line, such a beauty. It can taken with or without sexual innuendo. And, per usual, I'd like to travel down both roads.

Let's talk without first — the person he speaks of can have their defenses up like he does, making it hard for him to know what goes on in their mind. In this context, spreading them open would be the only way to connect emotionally, breaking down their subconscious bounds, which could've inspired him to follow suit. Now, let's talk with — connecting emotionally is an act of vulnerability neither party allows themselves to do, so bring in the contrasting ease of a physical connection as everything else gets swept under the rug. In this context, spreading them open would be the only way for him to remain in contact with the other person, for conversations of emotions and deeper connections are just too much for both involved.

Through this, another contemplation of the fine line is introduced, the fine line between vulnerability and neediness, and how this is another tightrope he walks on throughout the song, as the listeners, his audience that he has chosen to share this journey with, watches in wonder.

[CHORUS 2] We'll be a Fine Line (x12) We'll be alright We'll be alright We'll be a Fine Line We'll be a Fine Line We'll be alright

Another round of repetition with a beautiful, pivotal phrase. But, there's something different here, a switch in the narrative. To refresh, the first repetition was him convincing himself — but, now, in the second round, he's convinced. He believes in it. This bout of repetition holds acceptance in its hands, the speaker's acceptance of the good and the bad, the highs and the lows, the beautiful and the ugly — the fine line that threads its way through it all. He's reassuring and reminding himself that it will work out, and he will grow from what's learned. And, musically, the poetics grow in companionship with the lyrics.

First, the guitar gets bolder as the strums grow more aggressive, a complete shift to the ear from where the song started. The rising guitar can symbolize the change, in both a relationship but also the person the speaker has become. And, the piano gets reintroduced, and I hear it as hope returning — our beautiful hope has her own melody. And, one can't overlook the strings... pure magic. With this shift in the music, the listener, too, feels the change that he must've felt. This change in outlook — these experiences are painful and feel like it could be the end of all ends, but one grows from them. Now, both he and we recognize this, and accept it. We'll be alright. All these instruments come together to build the anticipation for the switch to We'll be alright. Reassurance, for the listener and the speaker, that it'll all be okay in the end. He validates the lyrics of the song, the chronicles of pain, to whoever is listening — but, more substantially, himself.

[OUTRO] (We'll be alright) (We'll be alright) We'll be alright We'll be alright Oh

Well be alright, we'll be alright, we'll be alright. Repetition in reassurance.

Looking back to when first discussing the song as a whole, this is a song tailored to conclude. This is his way of emitting a small glimmer of hope after going through it all across the album. The honeymoon phase, the connection, the love, the heartbreak, the loneliness, and even self-defeat. All instances explored in the album as a whole, are summarized into a lesson for whoever lends their ear. The fine line! He's now sharing that hope with us, the listeners, giving reassurance he didn't always have, creating an accepting friendship letter to the duality of life and love. Now, he can look out to his audience — whether one person or thousands — and tell what he once only repeated to himself: We'll be alright.

It's a crisp summation of all the places he traveled on the album, and all things laid bare. A song of emotional maturity where he realizes that emotions, life, and relationships — they all have a duality to them, and are all in a balance, one all strive to find. A fine line is balanced, a fine line to walk is inevitable. A windsome culmination of his own self and his own journey. The self in art, the self on its own, the self with another. The travels, the chances, the fears, the passion. Hope. Reassurance. Confidence. Acceptance. Flux. And, most important to take with you as you go — promise me that you'll keep it close to your heart — is the knowledge that everything will be alright at the end of things.

dedicated to this anon <3

Thank you for reading, you’re absolutely incredible! If there are any songs you’d like me to make an analysis of, please send your request to my inbox! along with any questions or insights you might have yourself!

[obsessive-dumpling]

Alright, I've been sick and my brain was soup, so this is a little late, BUT-

I can't help thinking about the season finale and how anime only's must be processing the contents of season six.

Despite well reasoned fears, Bones handled this season with great care towards bkdk. For those of us who read the manga, that was our focus this season: seeing how Bones would handle it. Because we already knew what was coming. We had that content for over a year, and now were just seeing it become animated. But for anime only's, the story had "changed".

We have to consider the average watcher. Most people don't start a show over from the beginning every single time a new season comes out. Hard to imagine, I know, but you have to factor that in. Because for people who passively watched MHA up to this point, this season was their turning point. It's when the story stopped having any airs of light heartedness.

If you go back to the beginning and watch now, you see all the signs, you see the foundation Horikoshi set, you see the subtext. But if you were just mindlessly watching the latest popular shonen anime, you might not have seen all the foreshadowing- for the overall plot or for bkdk.

And if you didn't see it coming, then there's no buffer. The break between season 5 and season 6 was lengthy, and a lot of people discounted season 5 thinking it was slow and weird and off, when really it was just setting the stage. But again, if you didn't see that coming then how do you react to season 6?

All of this brings me to my point. Horikoshi wrote a story that calls out all sorts of societal and political unease. He wrote about every type of discrimination under the sun and has set a foundation which his characters can stand on and call out issues in our real everyday lives. Racism, homophobia, corrupt leadership, individual selfishness vs. serving a community, lack of support for the disabled, and so much more. And we've seen that. But for a lot of people, they are just seeing it now. And it is the average watcher that these messages need to reach the most. And I can't help but wonder- did it? Is it? Is it reaching them?

The reason I love MHA so much, is because, at the end of the day Kohei Horikoshi, looked at the world and didn't like what he saw. He was just one person and didn't know if he could change anything but decided to try. He took the darkest parts of our world, turned to his art and tried to speak to that darkness from it. He had no idea what would happen. Now he possesses one of the top shonen series of all time, his reach is vast, and people are listening.

You might look at bakudeku and think it's just another fanatical anime ship. But these boys, and the rest of the characters as well, are standing at the edge of history.

Representation within media has power. We've all been influenced by media whether you want to admit that or not, whether you see it or not. I promise you your life has been more touched by media than you could possibly imagine. And it definitely has not been for the better. This is how discrimination proliferates. But now we have a series that aims to give us something new, something a lot of us have never had before. Hope.

And damn, I hope it reaches them.

[blazehedgehog]

What is "good" anymore? We've gotten to the point where being nostalgic for Shadow the Hedgehog is okay. I don't like the idea that all the crap you were exposed to in childhood will be seen as great art 20 years later.

Good is and has always been relative. All the "mainstream" is, is a bunch of people getting together to decide "we all think this is good."

But that does not actually mean it is automatically good for everyone!

And memories always sweeten with age. That's just called getting old. As you grow and time passes, you remember what's good about something more than you remember what's bad.

You remember being 12 years old, not needing a job, not having to worry about insurance or taxes or rent, and being completely taken care of by your parents. You think "that was the greatest time of my life."

You don't remember having to be in bed by 8:30pm. You don't remember homework. You don't remember dreading the bullies that threw you against lockers for fun. You might remember one specific incident about gym class, but you don't remember the low-level horror of every gym class you experienced for six years. You don't remember going to the store and having to beg and plead for a candy bar. You don't remember how you'd only get two new video games a year. You don't remember not having complete control of the living room TV at all times, or what was for dinner.

If you're over the age of 22 it's very likely you've already had thoughts about something like this. You might be able to resist some of it (rightfully so, because the world sometimes has too much nostalgia), but you're never going to resist all of it. You will find comfort in some pieces of nostalgia. And honestly? That's okay. We all deserve comfort.

[merrybrides]

8 Wedding Cake Trends

1. Heart-Shaped Cakes

We can't get enough of this adorable wedding cake trend—and you might have even already spotted it popping up on your social media feeds. Heart-shaped wedding cakes are all about whimsical details and over-the-top embellishments, which you'll love if you're into maximalist style. The Lambeth-inspired cakes, usually decorated in pastel colors like pink, purple, yellow, green or blue, are often topped off with bright red cherries that complete their vintage look. Not sure you want to try this trend for your wedding day? Heart-shaped cakes are just as cute at engagement parties, bridal showers and rehearsal dinners.

2. Garden Patch Cakes

Florals for wedding cakes? Groundbreaking. But really—in 2024, fresh flowers will adorn cakes in new ways that evoke a more abstract, organic look than ever before. Instead of meticulously placed clusters of blooms or elaborate flowers cascading down fondant tiers, the concept of this wedding cake trend is to use florals in a way that feels like they sprouted directly out of the cake. It's giving simple cottagecore garden wedding—just add a sweet gingham or checkered tablecloth. Editor's note: Your wedding cake baker and wedding florist can help you choose food-safe flowers, which is important to keep in mind when adding any type of plant or natural element to your cake.

3. Ribbons and Bows

Dainty bows are already trending for hair accessories and wedding fashion, and they'll be making their way onto wedding cakes, too. This trend is a throwback to wedding cakes of the early 2000's, and today's version falls perfectly in line with the popular coquette and balletcore aesthetics. Expect to see bows on cakes in all sizes and forms, from actual ribbons to sugar bows made of fondant, meringue or hand-piped icing. Try this pretty idea if you're into understated and timeless details, since you won't need to add many other embellishments (if any) to your cake.

4. Wavy Piping

This wedding cake trend is unlike anything we've ever seen before, and we're a little obsessed. Wavy piping, ruffled buttercream and squiggly meringue accents are all bringing unique dimension to wedding cakes. The basket weave piping technique with a wavy look around the circumference of the cake stemmed from the inspiration of 1920s women's hair styles—the short bobs with their finger waves. I love the sensual and feminine look it adds, but how it also creates depth and structure. Each ribbon belt is different to emphasize the individuality of my cakes and to the corresponding client. No two cakes are ever alike.

5. Textural and Tonal Cakes

Understated luxury, anyone? Bridging the gap between super-simple wedding cakes and highly detailed creations, monochromatic textured cakes give you the best of both worlds. An all-white color palette tones down the overall look of the cake, but upon closer inspection, the details keep it far from boring.

6. Extra-Grand Wedding Cakes

Now that big weddings are back in full swing, the desserts have to be equally as impactful. After all, what's a party without cake? The cake is now center stage again. It's a vital part of decor and getting dressed up more than ever. Extra-tall cakes (think six and seven tiers or more) will tower above dessert tables, creating a focal point at your reception venue and giving you the ultimate cake-cutting photo opportunity. And the cake itself is just the beginning—lavish embellishments and add-ons will take the whole display to the next level. Lots of flowers, not just on the cake, but surrounding the table so that it feels more like a focal art piece than a dessert.

7. Sheet Cakes

If you're going the casual route for your wedding day, consider skipping the multi-tier cake for a one-tier sheet cake instead. But if you think this is your average grocery store sheet cake, think again. What makes this wedding cake trend so noteworthy is that the sheet cakes are decorated just as much as (if not more than) vertical cakes, complete with fresh flowers, intricate piping and other decorative techniques. The main difference? Because of their horizontal design, sheet cakes won't need as much structural support—and they're a great option to maximize the amount of cake you can serve at once.

8. Unique Cake Flavors

There's always going to be a time and place for classic vanilla sponge cake and buttercream frosting, but you don't have to play it safe on your wedding day. If trusty standbys like chocolate or red velvet just aren't doing it for you, draw inspiration from experimental avant-garde menus and seasonal flavors instead.

I truly believe in keeping things seasonal and I hope that the wedding cake industry can tune in more to this. I believe we will see more focus on seasonality and the use of various grains with a different twist on traditional flavor pairings. Think certain fruit fillings infused with various spices or herbs, such as citrus and coriander, or my all-time favorite and go-to: strawberry and bay leaf jam.

[ilikereadingactually]

Picturebook roundup: April 2024

why the hell do my photos always look a little blurry, even when i resize them to the size tumblr wants? why do you do this to me, tumblr? anyway, here i am with three new books i picked up on Indie Bookstore Day! one of them is a gift, two of them are going on my bookshelf, all of them are delightful in different ways.

Spider in the Well by Jess Hannigan

LOVE THIS BOOK! the art is so fun and eye-searing and charming, and the story gave me a good belly laugh. i won't spoil the details, but it's about a town full of selfish people, a spider who doesn't mind fleecing them, and an earnest and clever little boy who gets one over on everybody. the blocky art is so great, it has a real Jon Klassen feel. the tone is funny and dry, and the whole book felt like a big shit-eating grin to me. delightful!

age rec: i'm gifting this to a three-year-old, but i think his six-year-old brother will get a kick out of it too! a great read-aloud with a grownup who has a fun sense of humor.

a bit i really liked: these expressions are just so good

more under the cut!

---

The Last Zookeeper by Aaron Becker

i am a known Aaron Becker fan, and wordless picturebooks are my catnip. this one is a gorgeous example of the genre, about a robot—NOA—who's looking after the animals in a flooded zoo on a post-apocalyptic Earth. when the water keeps rising, NOA builds an enormous sailboat, loads the animals on board, and sets off in search of safety. i sat in the store reading this together with a friend, the two of us oohing and ahhing on a bench in the middle of the children's section, just having a blast, because the story is so clearly and beautifully expressed in Becker's art. every spread has a sweeping quality, a bigness to it, and at the same time there are so many tiny details to look at! it's astonishing.

age rec: this is one of those books that could be for any age. the story isn't complicated, so young kids can follow it on a basic level, but it's a timely commentary about care for the Earth and care for other living creatures that resonates with adults too.

a bit i really liked: poor lonely NOA!

---

Bug in a Vacuum by Melanie Watt

on my first read of this, i was very charmed by how funny and clever it is. all the art has a 50s/60s aesthetic, the fly's dialogue is great, and it's split into chapters that each begin with one of the five stages of grief, explained through text on an object we've seen in the background (like a tv dinner box). i read these chapter headers as funny exaggeration at first. Then as i got to the end, reread, considered it a little more, it stayed funny to me but also became a gentle and hopeful reflection on dealing with struggle and loss.

also, the side story to the fly's drama is about a dachshund whose beloved toy has been vacuumed up, and i can't resist a dachshund!

age rec: this was going to be a gift for a six-year-old, even though there isn't much text, because i think the humor skews a little older. i still think this is so, and it would be a good read for maybe a 4-7 crowd, older or younger if the subject matter is particularly relevant. i say it WAS going to be a gift because i fell in love with it, and also realized i already had a gift for this six-year-old in my pile of gift books XD so now it's on my bookshelf.

a bit i really liked: just look at this cutie

[casspurrjoybell-26]

💖Sweet Revenge💖 - Chapter 17

*Warning Adult Content*

Aaron Keene

I wake up in a strange bed, in a strange room.

It takes me a moment to remember where I am and why.

I'm at Kate's and I'm here because my shop is a smoking pile of ashes.

'Faulty wiring. Old building. Too many appliances in a space not designed for industrial use.'

My God-damn coffee maker, apparently.

The only good news I'd had was the figure I'd received from the insurance company and for the hundredth time, I thank my Grandma for teaching me to always keep my records accurate and up-to-date.

I'd had more than the usual quantity of valuable product on hand and I could prove it.

I'd lost almost everything but at least I could start over.

I wasn't nearly ready to think about that, though... the grief was too fresh.

My shop hadn't been all that special, really... the building was small, old and ugly but it had been mine and it was my Grandma's legacy.

When she died, she'd left me everything and I'd used it all on that shop and now it's gone.

After a few more minutes of wallowing, I force myself to get up and dress.

Kate's apartment reflects her character.

It's full of bright colors and cute accents.

There's also evidence of her other passion... a massive computer, three monitors and a wall covered in video game art and design schematics.

She's almost done with a degree in computer engineering and already works freelance on Indy stuff.

She might act like a ditz but she's smarter than half this town put together.

My shop was more like a hobby for her and I don't blame her for not taking it seriously.

At the moment she's visiting her parents and insisted I stay at her place until I get things figured out.

I don't know exactly what I'm going to do about my business or about my living situation but I do know what to do about one thing.

Kate's kitchen is distressingly under-stocked.

From the contents of her fridge, I get the sense that the most complicated recipe she's followed in a long time consists of two steps... open package.... heat until done.

A trip to the store and a few hours later and I have what I need.

When everything is ready, I stare down at the small, blank card, trying to think of the right words.

Only one thing seems to fit.

I uncap my pen and in my best hand, I scrawl a simple note.

~♡~

The drive across town seems to take longer than usual.

Probably because I'm driving super slow.

The charred remains of my shop is not a sight I'm eager to see.

I park across the street and keep my eyes averted from the ruins as I make my away around the back of 'Ardent Cycles' and knock on Blake's door.

It takes him a few minutes to answer and when he does I see he's still on crutches.

His physical therapist was pissed he'd put so much strain on his leg and told him he'd set himself back on his recovery by at least six months.

He said he didn't care... that he'd do it again and more, if he had to and I believed him but it's clear that he hates the setback.

Worse, he told me his investors pulled out of funding his business.

His shop's been closed since the fire and unless he can find other partners, it probably won't re-open.

It seems we've hit rock bottom at the same time but... if he's willing... maybe we can help each other up.

He opens the door and stares.

I haven't seen him since the day after the fire, when we were both too busy with emergency doctor's visits and fire inspectors to really talk the way we needed to.

He looks a little rough around the edges.

There's a day's growth of stubble darkening his jaw and he's dressed in an old t-shirt and a pair of gray sweats.

"Hi," I say, fidgeting on his doorstep.

"Uh, hi," he answers.

His eyes slide over me with a hungry look and he swallows, Adam's apple jumping in his throat.

"Can I come in?"

"Oh... sure. Yeah, come on in."

He holds the door open and steps back.

Inside, I see boxes on the floor and the walls are bare.

"Are you... moving?" I ask.

He looks away.

"Yeah. I asked the owner to cancel my lease. I won't be able to make the rent on time."

"I'm sorry."

He shrugs.

"There are some affordable spaces in Fenton. I might move there."

Something squirms in my gut and I frown.

"You don't want to stay in Ashville?"

"Of course I do," he replies, running his hand through his hair, making it stand on end.

"But that dream ended when my investors changed their damn minds."

"What if you could start a new one? A new dream?" I ask.

He looks up and his green-and-gold eyes are bright.

"Honestly, Aaron, I don't know if I have what it takes anymore," he says quietly. I swallow and hold his gaze.

"What if you didn't have to dream alone? What if you... had someone to dream with?"

I take what I've been hiding behind my back and hold it out to him.

My heart's pounding and my hand shakes.

He looks at what I offer and his eyes widen.

He takes it and for a moment he's perfectly still.

Then, he drops it on the floor.

[radwolf76]

So the whole opening credits sequence to this is a master class in visual storytelling/worldbuilding and I'm going to excerpt part of a decade old article to expand on just how much these few seconds say.

It's very, very important that we're getting their reaction shot first. We've just seen that the law is completely powerless to bring these guys down, but now, in the very next shot, there's something that terrifies them. Look at those dudes! They're recoiling and wide-eyed, the jutting jaw and confidence of their first appearance is gone. If they're not afraid of the cops, then what could inspire that kind of fear?

FACT #5: Whatever we're about to see, criminals are terrified of it.

It's almost as though criminals, despite seeming to have all the power in this city, are actually a superstitious, cowardly lot. So what are they so afraid of?

Ladies and gentlemen, 35 seconds into this opening sequence, we meet Batman. We don't know his name yet, but the way we meet him is brilliant. He drops out of the sky, so we have another visual metaphor added to what we've already seen: if the criminals are above the law, then Batman is above them. If cops are five, then crooks are six. If crooks are six, Batman is seven.

The way he drops out of the sky is genius, too: It's done so that he looks like a bat, with his cape flapping around him in this beautiful fluid motion as he lands. And if you didn't know anything about Batman, you'd assume that he was flying above them and dropped down -- if you didn't already know that he drove there in a car, which we know is his because it has the same lines and blue-black color scheme as his cape. See how it all comes together?

It's the close-up that gives us our next crucial piece, though. For one thing, we see that he's a person in a mask and not some demonic creature, so I feel justified in calling this guy "Batman" even though we're never going to learn his name in this sequence. But more importantly is that awesome moment where he narrows his eyes. He's not just there to stop these guys...

FACT #6: Batman hates criminals.

It's not just a matter of wanting to uphold the law -- there's an emotion at the core of what we're about to see, and it's not a happy one. So we have Batman, who does not like these guys, and the criminals who fear him.

Now, there's a lot in this scene that happens very quickly, and it's all very, very significant. First, the criminals pull out guns, so we know that for all the fantasy of police blimps and art deco hot rods, there is something that we can immediately recognize as a deadly weapon. More importantly, this action means that Batman has to react, and right now, we have no idea what he's going to do. Is he going to draw his own pistol and have a rooftop gunfight? By conventional logic, he'd certainly be justified; the bad guys are the ones who escalated the situation by drawing their pistols first.

But instead, Batman pulls out...

Well, I don't know what that is yet. Looks kind of like a boomerang but with weird spikes all over it. What I do know is that it's not a gun.

Quick sidenote before we move on: How awesome is that right hand? It's huge! It would ruin your day to get punched in the face with that thing.

Anyway, so this thing Batman just threw at these dudes is definitely not a gun. But maybe it's some other kind of weapon, like a throwing star. Maybe this Batman guy is like a ninja, who uses his own deadly weapons to take out criminals with extreme prejudice. Let's see!

Okay, so instead of taking out the men, Batman targets the guns, taking them away from the criminals. Huh. That's interesting, he must really not care for firearms. Otherwise he just would've used that crazy bat-boomerang thing (bat... arang?) to knock out the criminals. Maybe there's something specific about guns that's significant to this character.

Take all that together, what do we now know?

FACT #7: Guns exist and they are used by criminals.

FACT #8: Batman does not use guns. He doesn't seem to like them much either.

FACT #9: In lieu of a gun, Batman uses other weapons to fight crime.

The thing with the guns leads to something else that's really interesting, but it's not fully formed yet, so let's move on to what happens next:

And what happens next is that Batman cold wrecks one of those dudes. I love the reaction from the other thug, and the fact that this look of pure shock and terror is the most we ever see of him as a person. He has made some mistakes, and he realizes this now.

But the focus is on the other guy, the one who gets taken out. Batman puts him on the ground in one move while flipping through the air, and the crook does not get up again. So now we know something else:

FACT #10: Batman is awesome.

Seriously: The fluid movement, the quickness, the agility. If crime in Gotham is a step beyond crime as we understand it, then Batman is a step beyond people as we understand them. But not so far beyond that the other thug doesn't at least try to take a swing at him:

Again, even with just a silhouette and the shape of Batman's eyes, they're able to convey a contempt for the thug's punch in this brief moment. Just the posture as he watches the fist sail by -- it all reinforces the idea that Batman's a superior fighter, which continues into the next shot, where the thug tries three more times to hit Batman before Batman finally takes him out with exactly one punch.

But the fact remains that the thug tried to punch him, just like they tried to shoot him. Why? I mean, this guy just dropped out of the sky, disarmed two thugs and wrecked a dude in the span of ten seconds -- why doesn't the remaining criminal just start running? Because he has a chance. He at least thinks he does -- he fights instead of running because if he can land that punch, if he can get off a gunshot, it'll do something. We don't see bullets bouncing off Batman's chest and we don't see him take a punch to the face without reacting, we see him removing the guns from the equation and dodging fists. So now we know...

FACT #11: Batman is not invulnerable. He can be hurt.

BATMAN: The Animated Series (1992)

[cosmicgiddiness]

O'Neill² | Chapters 1 & 2

Art by @altschmerzes

Fandom | Stargate: SG-1

Warnings | Mentions of past child abuse, Waffle Consumption

Rating | K+

Genres | Gen, Family, H/C, Angst, Fluff

Characters | Jack O'Neill, Clone Jack O'Neill, Cassandra Fraiser, Janet Fraiser, SG-1

Chapters | 2/7

Summary: Six months after the events of "Fragile Balance," Jack's clone loses both his memory and his home. The colonel surprises everyone by offering to take him in. Just until they figure things out, of course.

Read on AO3 | Read on FF.net

Excerpt:

From Chapter One:

"News, General?" Daniel queries almost before Hammond is all the way out of his office the next morning.

Hammond's eyes scan the occupants of the table—comprised of SG-1 and honorary member Janet Fraiser—as he takes his seat at the head of the briefing room table. He turns to Janet, studies her for a moment. The unflappable doctor appears to be slightly...flapped. But she meets his eyes gamely and straightens ever so slightly, waiting for his go-ahead. He nods and every eye turns on Janet.

"Well, everything is looking good. He slept all day yesterday, except for about an hour after his initial awakening, and then slept most of the night. He woke again shortly after I came in this morning, and he's been awake ever since. He continues to be lucid, though I suspect he will be experiencing a good bit of nausea and frequent headaches for the next week or two." She pauses, visibly gathers her thoughts, baiting their breaths. "He still doesn't remember anything. He does, however, remember the events of yesterday—the ones he was aware enough to form, anyway." She smiles slightly, meeting their eyes one by one. "This is a very good sign. With all that we've seen, I fully expect him to be able to make and retain both long and short-term memories going forward."

"And his past memories, Doctor?" Hammond queries.

She lets out a soft sigh. "Unfortunately, that I do not know. I suspect we won't know, until and unless something changes. It's a waiting game, sir."

A long beat of silence passes before Dr. Jackson—as is frequently the case—voices the question they've all been thinking.

"So...what now?" His lips are pursed in that way that always reminds him of the face his youngest granddaughter makes when she's feeling precocious. "I mean, what do we tell him? Ordinarily I would be all in favor of the truth, but…"

"But in this case, he's already feeling vulnerable and probably very frightened and the truth is frankly ridiculous and very likely to send him over the edge," Janet finishes. "That's my concern as well."

"I mean, would he even believe us?" Major Carter asks.

"He would not," O'Neill supplies matter-of-factly and all eyes turn on him. He shrugs and returns to whatever doodle is taking place on his legal pad today.

"We have the Stargate just below us," Teal'c interjects, "freely at our disposal. If he requires proof, why should we not simply take him through it?"

"He's just awoken in a military base after a serious trauma—both physical and emotional—and he remembers nothing from before, nothing about where he is, who we are…" Janet's eyes cut to O'Neill's downturned face for the scarcest moment. "He's putting up a brave face—"

"No surprise there," Dr. Jackson mutters under his breath, causing Major Carter to place her hand strategically in front of her mouth.

"—but he's under tremendous stress and too much too soon is almost certainly a bad idea. He's got enough to process without learning there are aliens on our doorstep and he is the accidental creation of one of them."

Teal'c dips his head in understanding, though Hammond can see he feels they are giving O'Neill—both of them—too little credit. "I trust your judgment in such matters, Doctor Fraiser."

"So, we're back to our original question," Hammond redirects. "What happens to him now?"

"I don't think he should stay here, sir," the doctor states firmly. "The minute he's well enough to be out of my infirmary, that's exactly where I want him."

"You wound me, Doc," O'Neill blithes without looking up.

"Believe it or not, sir, in this case it's for his own good rather than to spare my nurses." She smirks slightly. "Your younger self is very polite and cooperative."

Major Carter presses a knuckle to her lip in yet another shoddy attempt to cover a smile and if Hammond didn't know better, he'd think perhaps the colonel's ears just tinged a shade or two pinker than usual.

Fraiser turns back to Hammond. "I just don't think this is a good environment for him right now, General. So much…"

"Concrete," Teal'c offers, efficient to the end.

"Exactly. He needs to be somewhere that feels laid back, something that will grow familiar and comfortable. I realize he's not just any teenager, but I can tell you he has all the hormones of one, and like any teenager—any person, really—he needs a home, sir."

"I agree with you, Doctor. However, Major Walters and her husband were almost uniquely qualified to handle his situation," Hammond says. "I'm not sure how we're going to find someone that's able and willing to take in—"

"He can stay with me, sir."

Five heads swivel to stare at Jack O'Neill.

"Pardon me, Colonel, would you repeat that?" Hammond can't quite keep the incredulity out of his voice.

"I said," O'Neill sets down his pad and meets Hammond's gaze, ignoring all the others, "he can stay with me." A shrug, slouching further back into the upholstery. "I mean, just until we figure out a good solution."

Hammond finds himself half-wishing he had a pin to drop.

[lfthinker]

5!!!

That Emotional Moment You Can't Find a Plot for

...This is cheating a bit and fills multiple stuff, but it's also something I've been meaning to get out for a while.

Trigger warning for slight domestic violence. Very slight, but I want to be safe.

This wasn't how it was supposed to be.

Tonight was the night Eddie was supposed to commit to her, the night they became official, the night she could plan to introduce him to her mother and Amy, the night she could finally begin to dream of a future, of marriage, children, growing old together, the whole happily ever after. And instead, Eddie had told her that he was...he was...

He looked at her, his head cocked. "Diane?" he asked.

Diane returned to herself. She must not have heard him right. She let out a small laugh. "Come on, Eddie," she said. "Stop kiddin' around."

Eddie raised an eyebrow. "I'm not," he said. "I'm putting a gang together. We've already hit the fine art museum and second national banks. We're going to own Gotham. I want you to be part of it."

The past six months ran like a film in Diane's mind, from the night they'd met at the club, their first date at the art museum, the one he said he'd robbed, those hot summer nights together, those long talks about art, about how he'd been the most interesting, intelligent man she'd ever met, and it was a lie, it was all a lie. She slowly shook her head. "I-Eddie, I can't-"

Eddie took a step closer to her. "Alright, you don't have to be involved in the gang if you don't want to be. We can still see each other, I can put you up in a penthouse-"

Diane stepped back. "No!" she shouted. "Eddie, I can't be a part of this! Any of this!"

Eddie held his hands up. "Diane, please. If it's GCPD you're worried about, I can keep your name out it, no problem." He scoffed. "They haven't caught me yet, and I doubt they will. None of them are a match for my brilliant mind-"

"My God, Eddie, do you hear yourself!?" Diane brought her hands to her face, her breath coming in shaky. The room almost felt like it was spinning, like she didn't know up from down, who was this man that she'd let in her bed, who was this man she'd let in her heart. It was a lie, he was a lie. She looked at him, at that face that almost looked concerned. "Was any of this real? Were we real?"

Eddie cocked his head again. "Well, what kind of ridiculous question is that? Of course, it was real! Do you think I'd entertain letting just anyone in my life?" He stepped closer to her, and she instinctively stepped back, until her back hit the wall of his apartment. "I like you, Diane," he said softly. "I want you to be part of my life."

An hour ago, this was all Diane wanted to hear. Now, she wished she had never talked to him at that club. "You're a criminal, Eddie," she said, voice broken. "How can I be part of your life?"

Eddie's eyes went wide as if he'd never expected this. "What are you saying?"

She didn't want to do this, she wanted to stay with him, but this was insane. He was insane. She didn't sign up for this, she couldn't be part of this, no matter how much she wanted him. "I'm sorry," she said. "I can't be part of this, Eddie. We're done."

Eddie's jaw went slack. Then he shook his head. "No," he murmured. "This wasn't how it was supposed to-you said you liked me." His voice rose and his face flushed. "You said you liked me! You can't take that back! You can't!"

Diane's heart pounded in her chest and her veins turned to ice. She tried to get past him, to get to his front door, but he grabbed her wrist and jerked her back. "Eddie!" she cried out. "Stop!"

"You liar!" Edie shouted at her, rage in his eyes, rage she'd never seen in him, in any man. He pulled her close to him and gripped her even harder. "You can't just walk away from me!"

Diane cried out in pain and fear. "Eddie please!" She pleaded. "You're hurting me!" All at once, Diane felt his grip loosen, then let her go. Eddie backed away from her like a frightened animal, hitting the back of his tacky green couch, his face pale, the rage in his eyes replaced by shame.

"Oh God," he whispered. "My God, what did I do?" He shook his head again and for a moment, Diane saw the Eddie she'd fallen in love with. "Diane, I'm..." then he seemed to remember himself. He turned his back on her. "You know the way out. Don't contact me again."

He was letting her go. Diane almost went to him, but she knew if she didn't leave now, she may not get another chance. She grabbed her purse from where she'd set it on the dining room table, grabbed her coat from the coat rack, and ran. She ran out the door, down the hall, out of the apartment, down the street, down the stairs to the subway tunnel, and she couldn't see through the tears in her eyes, could barely breathe. By the time she'd reached home, she couldn't even tell Cynthia what had happened, all she could do was weep.

A month passed, and Eddie didn't contact her. Cynthia had freaked, suggested they go to the cops, but Diane couldn't bring herself to do it. She just wanted to forget all about Eddie Nashton. Fate had other plans.

Nausea she'd had the day she'd left Eddie, nausea she thought was nerves, only worsened. Then her period was late. A month and a day after she'd run away from Eddie, she lay in bed crying again, her hand around a positive pregnancy test.

The next day, she walked the familiar road back to Eddie's apartment. This was insane. He'd said not to contact him, he'd let her go, why did she want to get anywhere near him again? But this was his baby too. He cared about her, he cared about her enough to let her go and leave her alone. Maybe if he knew about the baby, maybe, maybe...

She saw the familiar green couch on the sidewalk in front of the apartment building and her heart sank. She walked up to the couch just as a short, squat man with a bushy mustache approached her. "I can let you have that real cheap miss!"

"I know the owner," she said softly. She brushed her bangs out of her face. "Eddie Nashton. Is he here?"

The man sneered. "Nashton? That bum got arrested two weeks ago! He brought the freakin' Batman to my building and I'm out two grand fixin' the windows that freak broke!"

Diane shut her eyes, willing herself not to cry. "I see," she said. "Thanks." She turned around and walked back to the subway, her mind made up. No father was better than a father in jail.

Her baby came into the world red-faced and screaming on a hot July night. "What an angry little girl," the nurse said, cleaning the baby and placing her into Diane's waiting arms. "What's her name?"

"Ellen," Diane said. "Ellen Diane Dixon." She gazed upon her child, committing every little detail into her memory. Her little button nose, the fine red hair on her head, her little hands, and her little feet. Her mother is at her bedside, her smile strained. She would have preferred that Diane adopted Ellen out, and Diane had almost agreed, but then she'd seen her little girl on a sonogram, and she wanted her more than anything she'd ever wanted. Diane kissed her baby. "My Ellen. My sweet little girl. Mommy's here."

Ellen's cries softened and Diane brought her up to her chest, skin-to-skin. She blinked back tears. More than once during her pregnancy, she'd been tempted to reach out to Eddie, but she stopped herself. He'd spent the last year in and out of jail, or so she'd heard. She couldn't, she wouldn't expose Ellen to whatever he was involved in. She remembered the man she'd met at the club, the man she fell in love with. He hadn't been all bad. Maybe someday he'd get out of that life, and although they could never be together again, maybe she could let him be a father to their little girl. Until that day came though, she'd have to be enough. "Mommy's here," she whispered. "Mommy's here."

[rikumorimachisgirl]

Title: Eyes on you

Pairing: Shaw x You

Genre: Fluff

Word count: 2,901

A/N: You (Y/N) are not the MC in MLQC. This is a plunny that's been bugging me for quite a while, I had to write it. I hope you like it.

Disclaimer: I do not own MLQC or its characters, but I do own the concept of this fic.

There were a few mysteries in this world that the esteemed Archeology Graduate Professors at Loveland University can't explain - for instance, the formation of the Stonehenge, the exact location of the lost city of Atlantis, the origin of the Nazca lines… and your presence at the Metro Art Gala dressed to the nines, positively gleaming as you strode arm in arm with your classmate and Thesis partner Shaw, who seemed like the perfect gentleman that evening. Thanks to your work at the Loveland Museum, you scored two invites to the gala featuring the recently discovered works of a well-known artist - an event any Archeology fanatic wouldn't let pass. The two of you walked along with LFG's Exhibition Hall, pausing occasionally to admire one of the recently discovered sculptures by the Renaissance artist D'Romani. As you both looked at the intricacies of the artwork in front of you, your charming companion would lean in slightly and whisper something in your ear, causing you to roll your eyes or stifle a giggle. 

To the guests in the prestigious gala, the two of you looked like two young people at the cusp of falling in love, but the members of the Faculty of the Graduate School of Archeology saw it differently - this was a real-life mystery if they'd seen one. 

As your eyes swiftly swept through the entire room, you could see that your professors only had one question in mind - how'd this happen? How did two people as different as day and night, who argued with each other throughout Graduate studies, end up amiably enjoying each other's company tonight? 

You drew a sharp breath and sighed. The answer was simple: Your Thesis defense was right around the corner. You needed him to cooperate, you were willing to go to great lengths to make it happen. And your Thesis partner (unfortunately) was ready to take full advantage of the situation. 

***

"Tell me why we're doing this again, " you said through the door that separated you and your date, as you were putting on the dress you bought (or invested on, as he casually stated) for tonight's gala, which he insisted on attending with you. It was six in the evening on a Friday, and you had just arrived home after cramming your workload at the Loveland Museum and foregoing your meal breaks just so you could leave work at exactly five-thirty. 

"I already told you a couple of times - you want me to cooperate with you so you can pass our Thesis, and I need a reason to be around her," the purple-haired man waiting at the other side of your bedroom door called out nonchalantly. "You can drop your fantasy about me asking you out because I'm attracted to you."

You hissed silently at his snarky remark and counted to ten. You haven't even left your apartment yet you already wanted this night to be over. "How do you even know she's gonna be there?"

She - the Miracle Finder Producer, the object of your Thesis Partner's fantasies, and as fate would have it, his brother's girlfriend. 

"They're doing a show featuring our Thesis adviser. Didn't he tell us about it during our last consultation?" He asked, his tone dripping with sarcasm.

"I wasn't listening," you shot back, as you took off your ponytail and started styling your hair with your curling iron. You chose a one-shoulder fitted black dress that stops right above your knees, so you thought of wearing your hair down for a change. 

"Ah, yes. You were too busy looking at your notes, trying to prove me wrong as always."

You closed your eyes, as you continued to make big beach waves and prayed to the gods you wouldn't commit murder tonight. 

"How much longer are you gonna take?"

"Excited much?" You asked, smirking while you now removed your glasses and put on your contacts. "You sound like a teenager excited to see his crush in a school fair!"

"Don't compare me to you!" 

"I don't have designs on anyone in the party," you called back. "Unless your brother's attending the event, that is. From what you've been telling me, he seems like a great guy."

Silence. You arched an eyebrow as you strained your ear to listen for any sign of life outside your bedroom door. What must your grunge-rock skater boy-turned-date-for-the-evening be thinking? 

"Do you want to pass our Thesis or not?"

You struck a victory pose at his remark. Finally, one point - you, Shaw - about twenty. 

"Are you done yet? This suit is really uncomfortable. Damn, why do people even wear these?"

"Because they're decent?" You shot back. "You know, you can always go home if you're not comfortable in your attire because when we get there, you need to act decent, too. Can't have your usual swagger in a formal affair."

"Just hurry it up already!"

You rolled your eyes as you applied your nude-colored lipstick to finish off your look before putting on your black stilettos, and stuffing your phone, wallet, and your makeup in your purse. 

"All done," you replied, as you finally emerged from your room. 

***

A part of you wished that the dynamics between you and Shaw were different. While he was a pain in the neck, and too carefree for his own good, you also thought he made for a good intellectual sparring partner, quite attractive, and it was hard to deny that he's got your heart beating double-time whenever he got too close for comfort like he was at that very moment. 

"My, you two kids seem to be having fun tonight."

You gasped, at the sound of the voice behind you, and you felt your date nudge you ever-so-subtly while straightening.

"Hey, Professor Adler," he said in his usual unruffled tone, his lips stretched into a smirk as he held his hand out to your Anthropology professor and Thesis adviser, who watched you both amusedly. His gesture made your eyes shot wide open, you thought they'd fall right off. Shaw shaking someone's hand? That's one for the books. 

"Shaw. Fancy seeing you here," the stout middle-aged man greeted while shaking your date's hand. "This isn't your usual scene though."

"Yeah, I know, but I can't exactly turn a pretty lady down, can I?" 

"I can see that," your professor said as he looked at you appraisingly. "Well, well, you clean up well, Miss (y/n)."

You fought the urge to squirm at the older man's words when you heard your date cluck his cheeks with his tongue and suddenly felt his arm around your shoulders, pressing you protectively close to his side. 

***

"All done!" You happily announced as you stepped into the living room of your small apartment where your date was impatiently waiting for you. 

You could've sworn he was stunned for a second or two before he shook his head and tried to regain his usual impassive expression. Finally, he stood and walked closer to assess you better. 

"You're not wearing your glasses. I thought you said you're practically blind without them?" 

You cocked your head to one side. Out of all the things he could've complimented or called out, that's the first thing he noticed? 

"Wouldn't it look awkward if I wore glasses to a formal event?"

"Your hair is all curly," he continued as if you didn't say anything. "And your shoes are so tall, won't you trip? Also, surely you have a jacket to go with that dress, right?" 

You stared at him in disbelief. Why did this carefree, bass-playing skater boy turn into your dad all of a sudden? 

"Uh…"

"Well, at least you're not wearing red lipstick. You don't have to try too hard to look sexy. Geez! I've got plans of my own this evening, so don't expect me to be your bodyguard," he continued to mumble as he circled around you. Before long, you felt something warm and heavy on your shoulder. His coat?

"It's just until we get to the venue," he shrugged as he led you to the car he borrowed for tonight. "I don't want people seeing you freeze to death."

You sighed, your shoulders slumped as you followed your date to the car. You already expected he wouldn't throw you a compliment for looking like a proper human tonight, and you cursed yourself for feeling gutted over it anyway. 

 ***

"So, which one of these sculptures did you like best, Professor?" You sighed in relief as Shaw changed the subject, his arm still wrapped around you, making you blush furiously. 

"Oh, I have to say I liked Eros and Psyche best. In case you haven't seen it yet, it's located a little further down the hall near the bar area," the older man was starting to explain when someone tapped his shoulder from behind. 

"Excuse me, Professor Adler," a gentle voice called out, making both the professor and Shaw jump. From behind the old man, a pretty petite with brown hair and big brown eyes, and the biggest smile on her face stepped up. "My name is MC from Miracle Finder."

Almost immediately, Shaw withdrew his arm around you, almost causing you to stagger backward. He straightened up and feigned disinterest. 

"Hey. It's a little rude how you stepped in while I was talking to the Professor," he said, his tone teasing. 

"Oh, I didn't notice you here. Do you mind if I talk to your Professor? We've invited him for an interview about the exhibit," the girl said sweetly. 

Based on how unconsciously coy she acted around Shaw, and the way he kept egging her, there was no doubt that this was the girl he was crushing on. You felt like the odd person out all of a sudden and needed to step away. 

You backed away slowly, careful not to rouse their attention because it would probably suck if you knew how Shaw would introduce you to his little crush. As soon as you were in a safe distance, you turned and walked aimlessly down the hall, pausing briefly at paintings or sculptures that caught your fancy, looking at its intricacies as you did so earlier. But somehow, it wasn't as fun as it was before, so you moved on quickly, to give way to the other guests who also wanted to view the artwork.

Finally, you came upon the bar and decided to rest your tired feet at the far corner, hidden from the rest of the world. Sighing, you slipped your feet off your stilettos and quietly watched as the guests around you - mostly couples - happily chatting away as they enjoyed the beauty of the art around them and the wonderful music that filled the air. You knew somewhere in the crowd, your date was fawning over his lady love, probably getting in the way of her filming your professor. 

Tch. 

You knew he liked her - he always told you he did. And why wouldn't he? MC was pretty, seemingly sweet, and dainty - the kind of girl any guy would like to protect. And you. You were the opposite. You lived for your work, were 'one of the boys', and didn't need anyone to protect you - that's just how you were - and now you started to realize that maybe guys don't exactly like that. At least not Shaw. 

Wait, what were you thinking? You scolded yourself as you shook your head. Why were you even thinking of what he liked when you don't even like him to start with. Or did you? 

"Ugh. What the hell is wrong with me?" You groaned when a cold bottle of beer and a frozen glass was placed in front of you. 

"I was gonna ask you that myself." 

You straightened up in your seat and shot a look at the guy seated beside you. Dressed in a nice grey suit, he smiled as he raised his beer bottle in front of you. 

"You look like you needed a drink. I hope the beer is okay. They don't have fruit beer or soda," he said calmly, his amber-colored eyes never leaving yours. 

"Y-yeah. Beer is perfect," you replied while pouring the amber liquid into the glass. "Thanks," you muttered before raising the glass to your lips to gulp down some liquid courage. 

"I saw you with Shaw earlier -"

The name on his lips drove you to a coughing fit, as you choked on your drink. "Sorry, " you mumbled in between coughs. 

"No, I'm sorry," the brown-haired guy said, as he cautiously and politely patted your back. "I didn't mean to bring that up. I was just curious."

"It's fine," you replied when you finally regained your composure. "Yes, we're just classmates in Grad school who decided to check this exhibit out for the heck of it."

"Classmates, huh?"

"Yeah, that's what we are," you said, taking a sip off your glass. "Grad school classmates."

"Are you telling me or telling yourself?"

You looked up and saw him smiling. There was something about Dreamy McHandsome who was seated beside you that felt so familiar yet different at the same time, but you couldn't point a finger at what it was exactly. 

"We're classmates, and we're working on our thesis together. But we're not friends - far from it even. We hate each other's guts."

"Can't blame you for doing so," he shrugged as he drank his beer. 

"Yeah. He dragged me here so he can get with someone he's been crushing on for so long," you rambled on, frowning. 

"Oh? And who might that be?"

"The Miracle Finder Producer. You know, the pretty girl in a blue top and white skirt. He's been going on and on about her for weeks…"

"You mean my girlfriend?" 

His girlfriend. You choked on your drink once again. "Y-y-your girlfriend? You mean to say…" You gasped. Has the beer made you stupid? You've barely drunk half of it, you thought as you fought to regain your dignity. This was Shaw's brother you were talking to - and boy, we're they blessed with good genes…

… And the same social awkwardness, you noticed, judging by how he kept his hand at your back, but not exactly touching it, as if trying to assess if he had to pat you or not. 

When you finally calmed down, he cleared his throat and gave you a small smile. "Don't worry. She talks to me about their conversations. I know what that guy is playing at, and I most definitely know he's not after my girl," he said, his voice broke no room for doubt. "My name is Gavin..."

"Yeah, I know…"

"You - what?"

"Oh," you said, tapping on your glass nervously. "Shaw kinda mentioned it in passing before."

"I see."

"So, what were you saying earlier about Shaw?"

"Oh. From what my girlfriend tells me, he's got his sights set on…"

"Ahem," you heard someone say loud enough for you and Gavin to turn your heads around. And there, standing behind you, was an angry-looking Shaw. You sat up, your gaze shifting between the two brothers as the air started to thicken with tension. "I talk to someone for a minute and the next thing I knew, my date walks out on me and right into the one person I'd hate for her to meet."

"Well, if you were just honest with her as with a lot of other things in your life, maybe she wouldn't have left your side earlier," Gavin retorted flippantly. "Is she finally done with filming?"

Shaw simply grunted in reply as he watched his older brother finish his bottle of beer and stand. "Well, Miss, there's a lot I've heard about you. Seems somebody couldn't stop talking about you, but I'll leave it at that." 

With a wink and a mischievous smile upon his face, the brown-haired guy sauntered off to look for his better half, as you and Shaw watched in awkward silence. 

He cleared his throat and glanced at you. "Hey."

"Hey," you replied, shakily. 

"So, about what that jerk said -"

"Yes?" You asked, feeling your heart hammer against your chest by the second.

"Whatever he said is not true," he said dismissively, as he took his coat off and draped it over your shoulders. "I told you before, I don't find you the least bit attractive."

You felt tears starting to sting your eyes, as he continued with his harsh commentary. "You're tough, highly opinionated, and you always want to come out on top. I don't find those attractive at all," he said. "I prefer a damsel in distress. I want someone clingy… someone, needy."

"I know that -"

"Oh do you?" He teased, his amber eyes twinkling. "You seem to know a lot about me."

"We've been working together for months now," you said. "Of course, I'd know more about you."

"I see," he said, as he took a step closer to you and touched your cheek, rubbing the stray tear that had managed to slip down the side of your face. "So, you must know I'm also a good liar. After all, I've kept all these feelings to myself for quite some time."

He snickered when he saw your frown deepen and he bent down just as he had done so earlier, to whisper. "I made you think I liked someone else when in fact," his low voice made you shiver. "I've always eyes for you."

The End.

[bondsmagii]

(cw: I'm about to get real crass about CSA because it makes me real mad and that's how I cope)

the cultural reaction to cuties is infuriating to me, especially how even defenders feel the need to criticise the hypersexualised camera shots for ""normalising sexualistion of children in film"". Like, this is a thing that is happening in real life, right now, folks! Real Life Kids commonly do dances like these, in clothes like these, in an attempt to copy adult women being framed in shots like that! That's basically a good fifth of Tik Tok! The shots being of kids instead of adults is intentionally horrific, because it's trying to highlight that that kind of societal gaze is what pressured them to do the dances and wear the clothes and everything else; to take a thing that we've all come to accept as normal (8 year olds online twerking to songs explicitly about sex) and make us see how horrific it is, so people might give a shit for once. (A real shit, not that Pizzagate-adjacent thing where people only bring it up in service of criticising something/someone they already didn't like, and never exploring why it's so prevalent to begin with). You know, the filmic opposite of normalisation?? It's incredibly disappointing that people's takeaway appears to be: "ew gross, look at how horny this camera is for literal children. Glad this absolutely isn't a thing that happens in real life that I will go straight back to ignoring while patting myself on the back for identifying this media as Problematic

And the idea that "a pedophile could get off to this" makes any sense as criticism! I guess pedophiles only get off to children in revealing clothing, huh? So all children need to do to avoid pedophiles is, uh... *checks notes* "dress less slutty". I *wish* I lived in a world where pedophiles were genuinely waiting on feature films to deliver them a few shots of children in revealing clothing, instead of trading real CP that has caused untold suffering. Sometimes it really feels like people are more invested in weaponising the idea of suffering children in rhetoric, rather than the welfare of real children. It's the same disconnect that makes it impossible to bring up things like early intervention programs for pedophiles without being called a pedophile yourself (a rich thing to call someone who was on the receiving end, and takes about a year off my lifespan every time).

Every time someone brings this movie up, I feel like I'm losing my marbles. Otherwise smart and insightful people seem completely willing to misread it in the most infuriating way possible. It's like it's the Asch conformity test, and I'm the rube in the last chair wondering whether I even watched the same movie as them. It's comforting to see at least one other person on this godforsaken planet comprehending that The Sexualised Children Shots Are Horrific On Purpose in this movie trying to push people out of complacency

honestly go off like I could not have said this better myself. this is exactly what's been pissing me off about the response to this movie and my post about it in general.

the cultural reaction to cuties is infuriating to me, especially how even defenders feel the need to criticise the hypersexualised camera shots for ""normalising sexualistion of children in film"". Like, this is a thing that is happening in real life, right now, folks! Real Life Kids commonly do dances like these, in clothes like these, in an attempt to copy adult women being framed in shots like that! That's basically a good fifth of Tik Tok!

this is what I cannot get my head around. like, people are freaking out over how this movie normalises the sexualisation of young children, but somehow miss the point that it's already been normalised. the movie would not be necessary if this hadn't already become a completely normal part of society. even walking around the shops in town I see children maybe 10 or 11 years old dressed like Instagram models, faces full of makeup, revealing clothing... it's honestly disturbing. these kids think that's acceptable, they think that's what they need to do in order to have worth, and it's terrifying. if I had my own children, I would be terrified for them. the movie is not the problem. why people can't direct this anger and outrage to websites like TikTok instead, I have no idea. probably because that would require actual work, and we all know these people are addicted to outrage and self-righteousness and absolutely allergic to any kind of effort to create real change.

It's incredibly disappointing that people's takeaway appears to be: "ew gross, look at how horny this camera is for literal children. Glad this absolutely isn't a thing that happens in real life that I will go straight back to ignoring while patting myself on the back for identifying this media as Problematic"

people get so offended when they're made to feel uncomfortable. I have no idea why. I'm trying to work out this thought process but it's simply beyond me. it baffles me that people can see something that's actually happening in the world, and instead of getting angry about the actual issue, they decide to attack the female director of the movie about said issue, who is writing from her own experience. like, how in god's name these people managed to miss the point so badly, I do not know. the manoeuvres they had to do to miss a point that big and obvious should make them all automatic gold medal winners in Olympic gymnastics.

(I do think that a lot of people yelling the loudest about Cuties have probably only seen the Netflix promotional poster and then devoured a bunch of Twitter threads highlighting the apparent problems and possibly a view video essays on YouTube showing the most dramatic and out of context shots of the girls, however.)

And the idea that "a pedophile could get off to this" makes any sense as criticism! I guess pedophiles only get off to children in revealing clothing, huh? So all children need to do to avoid pedophiles is, uh... *checks notes* "dress less slutty". I *wish* I lived in a world where pedophiles were genuinely waiting on feature films to deliver them a few shots of children in revealing clothing, instead of trading real CP that has caused untold suffering.

right? like. this point is so fucking useless. by this logic, we should ban everything with photos of children in it. if a paedophile is going to waste time going to see a full feature movie just to see some young girls twerking-- I mean, why would they in the first place? why would a paedophile do that when they can just sign on to TikTok and see thousands of hours of footage of young girls twerking? and if "revealing clothing" is all it takes, what's stopping this paedophile from going to the local pool and watching the kids in swimwear? what's stopping this paedophile from going and picking up a clothing catalogue and flipping to the pictures of little girls in dresses? the fact that people can compare the content of a feature-length film to actual CP fucking baffles me. like. it's actually insulting to compare things like that -- and by extension, any child on the street in a t-shirt or a dress or a skirt or a swimsuit -- to actual CP. like, who looks at a kid and thinks like that? if you want to stop paedophiles being creeps, you'd have to lock kids up in the house until they're 18 and ban all depictions of kids forever. paedophiles are gonna be creeps no matter what, and they're not going to bother with a full film when they can log onto TikTok and comment something creepy on footage of a real life child who might even message back and enter into communication with them. like, damn. why aren't more people getting mad and outraged about that?

Sometimes it really feels like people are more invested in weaponising the idea of suffering children in rhetoric, rather than the welfare of real children.

they are. "somebody please think of the children" is now the rallying cry of the right (all leading Democrats are secret paedophiles, the LGBT agenda is making Our Innocent Christian Children into perverts) and the left (problematic media is Harming Our Innocent Children, everything needs to be censored and squeaky clean so the Metaphorical Children don't stumble across it and think it's acceptable). it's the quickest way to get people outraged and it works like a charm. as soon as somebody starts rallying under the flag of protecting kids, it gives them a fast pass to power and influence. who wants to be seen to not care about kids? who wants to risk being called a paedophile or a child abuser? unfortunately their eagerness to declare everybody such has resulted in it losing its meaning. now when I see someone accused of paedophilia I no longer feel the usual revulsion but instead a tired suspicion followed by hours of research to determine if they are actually abusing children, or if they ship the wrong thing. to put the numbers into perspective, the one and only time I found out somebody was actually abusing minors, I was genuinely shocked because I had never found a true accusation before in oh, six years? which is unsurprising, seems I have been called a paedophile and told I shouldn't be around children because I like a villain from a YA series. as for real children, none of these people give a shit.

It's comforting to see at least one other person on this godforsaken planet comprehending that The Sexualised Children Shots Are Horrific On Purpose in this movie trying to push people out of complacency

that's exactly it right there -- it's horrific on purpose, but these people can't understand that. to them, literature and art and film is supposed to always make you feel good, and if it doesn't it's mean and abusive and you should have warned for it and also you're an asshole for making it in the first place. for people who only consume media to feel good, and only create it to feel progressive and wholesome, it's inconceivable why people would create something depressing or disturbing. because they're consuming media of only things they like, they assume everyone else is. ergo, if you make something nasty, it's because you're into something nasty. if you write about a murderous villain, it's because you want to be a murderous villain. if you direct a movie about children being sexually exploited, you must want to sexually exploit children.

these people cannot understand that art is supposed to teach and inform as well as comfort and coddle. some art is there to make you feel good, and other art is there to make you take notice of injustice and suffering and make you angry and upset enough to want to do something about it. these people do not understand that at all, and with this kind of logic they would try to ban Holocaust survivors from speaking at schools because it's too upsetting to think about, rather than paying attention to the message that such things get across. we cannot change society without empathy, and to experience empathy for something outside our own understanding and experience, we need to come into contact with people who have lived through it. we need to see it depicted. that's how we learn to feel for others. it puts a face to the suffering and makes it easier to stay motivated and stay mad.

but no. these people just want to be nice and fuzzy and safe. that's all that matters to them, and anyone who thinks they're wrong for doing it must be a paedophile or something. right. gotcha.

[etheshadowlord]

UNPROFESSIONAL REVIEW OF EVERY POWER RANGERS EPISODE I CAN FIND PART 3!

Spoilers ahead for episodes 11-16. It's been a while I hope this post finds you...I don't know what state it will find you in but it could be Connecticut for all we know. Anyway, it's been a long time so I had to back up pull these out of the drawer and dust them off. I"ve mostly finished season 1 already at this point and started season 2 because the filler was getting to me and then I realized, life is far too short to get impatient. So time to slow down and reflect.

As well as subject ourselves to this madness.

Episode 11: No clowning around.

We start the episode off with Kimberly, Zack, Billy, and Jason at the Angel Grove Fair with Zack showing his hip-hop stilt dancing....yeah no it doesn't really work that well and he takes a short spill only to quickly reveal today's Villain, evil imposter clowns. Meanwhile, we see Trini bringing the kid of the day....her cousin.

Kids are cute, clowns are wholesome and nothing bad could possibly happen. Right.....so short fact I love clowns. I hate evil and monster clowns because they give the noble profession a bad name anyway whoever Pineapple the clown is, the clown council is probably greatly displeased with them.

Bulk and Skull enter the picture to tease the main team and get egg on their face. The eggs came from Billy attempting to juggle eggs on offer from the villainous clown Pineapple...Not sure but it's the thing today I guess.

So we get a segue to hearing the Gloriously Evil plan for her repulsiveness. Magical Pineoctopus that turns people into cardboard cutouts and....a...fake....fair? You know if magic stuff wasn't involved I would question how the fuck the police aren't shutting these stunts down before people get hurt. I wonder if there's just an "it's not my problem" field on these things.

So the monster of the week flattens Sylvia and the rangers convince the park goers to leave thus begins the fight. Meanwhile, Trini saves Sylvia with some water and then rejoins the Rangers in time to Put this clown down....for good. Okay, he's a fruit cephalopod but that's beside the point. End of the episode Vignette and we learn never to go with strange clowns.....or strangers period.

Fun: * * * - -

Rita: Mad

These Clowns: Failures.

Episode 12: Power Ranger Punks

We start this episode with a reminder that Baboo...

This person is actually capable of evil as well. Though not skilled at the practice of monster molding, his specialty seems to be making potions. In this case, ones to make Kimberly and Billy into....Punks.

Meanwhile, Rita unleashes the Terror Toad while they try to figure a way to correct their friends' bad behavior. Through an antidote. It works they beat the toad with a well-aimed arrow to the mouth and save the day. Sorry Baboo, no villain star today for you.

Baboo: Great alchemist....also where'd you get the Rattlesnake Lips? Share your sources please and thanks.

Drinks: Don't leave open drinks Also don't drink open drinks if you're a hero. Even if it was fine earler.

Punk: Not dead.

Episode 13: Peace, Love, and Woe.

So we start off with both Bulk and Skull causing chaos and with Rita demanding Finster to make her....Madame Woe, who is apparently almost as evil as Rita herself. Huh... also love strikes when you least expect it. Billy ends up falling for Marge who asks him to the dance and...Marge gets mistaken for a Power Ranger.

Clearly, because Rita didn't give her loyal servant the proper intel. So yeah Marge and the rangers get zapped into Madam Woe's funky dimension of Woe where she is all-powerful and send the Blue Ranger back to beat her in One on One combat, Madam Woe is defeated and we get a vignette of learning....that Bulk stores his money in his shoe.

Knowledge: Cursed.

Fun: * * * * -

Woe: - - - - -

Episode 14: Foul Play in the Sky.

We start the episode by meeting Kimberly's Uncle Steve who is a pilot and a sleeping potion.

Rita, if Monsters can't kill the power dweebs then what about flat-out gruesome murder. In fact, why hasn't she just poisoned them with a deadly poison at this point? Is it the fact she wants to look upon them as they despair? Is that the game here?

Anyway, Steve is put to sleep and Kimberly lands a plane all the while Bulk and Skull are in the back passed out because obviously you'd faint hearing that the pilot is out like a light and you're probably going to die. Rita's monster of the week is a snake man thing that fires power-draining snakes.

The plane lands and Kimberly shows us some real archery skills with a regular William Tell signature move. And we end the episode on a light note of Shakes on Bulk and Skull.

Fun: * * *- -

Plane controls: * * * * -

Rita: Wanted for attempted murder through sabotage.

Episode 15: Dark Warrior.

So another family member makes a one-time appearance. Trini's Uncle Howard is a brilliant scientist. He even made an invisibility formula. And Bulk and Skull decide to pick on Billy for....quarters for a dumb arcade...game?

Actually, we've seen Billy do some really stellar martial arts so why is he putting up with this? Seriously?

Uncle Howard shows up and....isn't wearing his glasses as he's looking for his niece. So he dumbly puts the formula on the counter. This will cause trouble later I can tell. Also, Rita sends a new monster out to find this formula. The labeled Dark Warrior. Looks more like Camo with a scarf to me. I mean invisibility can also mean camouflaging.

So Dark Warrior being a sadistic monster captures Howard, then tries to extort the formula from Trini. They fight the dark warrior and defeat him with the combined power of friendship and giant robots. Then we see Bulk and Skull get a taste of their own medicine as Uncle Howard shows off the invisibility formula that apparently can be drunk and affects your clothes as well? Weird.

Science: - - - - - WE DON'T WATCH THIS FOR ACCURATE SCIENCE!

Fun: * * * * -

Boxes: Marked with TNT Like this was Minecraft.

Episode 16: Switching Places.

You'll never know a person until you walk a mile in their shoes is usually how the saying goes. I think it works better if they were them for a week. You really get to know someone's life after a week of having to do things the way they do things.

Anyway, we start this episode with Squatt being the little Gremlin he is messing with Billy's Invention....the machine in question is a Machine to allow someone to read your mind...

So first mistake not going through the line of making sure everything is right before the experiment. Secondly, human experimentation is a bit....questionable in ethics.

Anyways, Kimberly and Billy get Switched. Like you know....body swapped. THIS IS WHY YOU SHOULD ALWAYS CHECK THINGS BEFORE THE EXPERIMENT!

....The same also happens to Bulk and Skull.

All while this is going on Squatt unleashes a mighty Genie to fight the rangers. Guess it doesn't subscribe to the classic Genie Rules. However, the true power of the genie is in the lamp...obviously and Alpha defeats the genie by zapping it to...wherever he zapped it to. We close out the episode with everyone getting their minds back in their own bodies even Bulk and Skull sorta learn their lesson.

Switch: eroo

Genie: Wished out.

Skull: Pretty dull still.

Thus ends part 3 of this synoptic unprofessional review of every power rangers episode that I can get a hold of at least on Netflix. The next part will be the Green With EVIL special. Hence why I went with six episodes for this part because it's a five-parter coming up. Until then, see you in the next post.