#and doesn’t get why calling me an ‘natural actress’ feels invalidating
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some people will really come within centimetres of getting it and then not get it
#negative#vent#my mom lists off exactly why i feel like getting any kind of mental health help is impossible unless you have obvious dysfunction#and proceeds to tell me that because i have no visible dysfunction i just don’t have any dysfunction at all#and doesn’t get why calling me an ‘natural actress’ feels invalidating#like i’m not saying i have a bad life. i’m not saying i can’t do my job#but can you for five fucking minutes just humour me without me threatening to hurt myself#why do i have to scare you for you to take me fucking seriously#fuck off fuck off fuck off fuck off fuck off#auden.txt#she asks me why i worry so much that i’m going to do a bad job when she’s the fucking reason#no matter how many times she says she’s proud of me i cannot fucking IMAGINE IT bc it’s so far from what she says and does everyday#there’s always something fucking wrong with something#and maybe she feels the same way about me#fucking christ. is this just part of your twenties or what. does one of us have to die before i get over this????
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“Is it a plot twist, or is it just lying?” and brief thoughts on the SPN road so far
To paraphrase an exchange from Bob's Burgers: Is it a plot twist, or is it just lying?
This seems to be an evolving theme of Supernatural's Season 15. I haven't been keeping up on my reviews here, dern it, but after some mild kerfuffles I've experienced between various fans (including myself), I'm re-inspired. Or perhaps incensed.
“Writers lie.”
When we first learned that God is a right asshole and as such, opened a rift in Hell before checking out to leave our intrepid heroes to deal with the undead invasion spilling forth—and then decided to check back in just to start fucking with the Winchesters again—I wasn't overly bothered, but nor was I particularly thrilled by the implications. I was begrudgingly interested to see what was evolving.
Well.
Kinda like watching a slo-mo train wreck, as it turns out. We're witnessing how this canon ret-conning is already starting to fray. How playing fast and loose with what the show has established as the rules of its universe is creating this “It was all just a dream” Dallas-esque meta embarrassment.
Seasons back, when the show first shattered the Fourth Wall by introducing the SPN books and conventions into its own mythos, that self-awareness was a really risky move. To this day, you either love it or hate it, but it managed to hold together because of the infrequency with which it was explored, and the skills of the writers at the time. (Even then, we got Season Seven, Time for a Wedding, arguably one of the more tasteless episodes of the whole series.)
As Dabb and company are choosing to further explore Chuck-as-God-and-puppetmaster, one of the show's important thematic cornerstones, that of the value of <i>freewill</i>, is taking a big hit. And the show knows it. They've had Dean come right out and air his disgruntlement with it several times already. So we get it, yeah, it's a thing. It's what Dabb is using to propel this last season (along with rampant fanservice and as many returning characters—dead or alive—that he can shoehorn into 43 minutes).
Now, I do loves me some fanservice on occasion, and there are certainly quite a few characters who died in rather inglorious ways and probably deserved better send-offs than they got, but I'm not sure 'hanging a flag on it' does enough to compensate for what this means in regards to the past 14 years of the show. In asserting that all of the past canon has been little more than Chuck's manipulations, it also means that the viewers' investment into the whole of the SPN universe has been hung on a lie within its own framework. “Ret-conning” doesn't even come close to describing this level of narrative dishonesty. (Wow, that sounded dramatic, but it's kind of true, you know?) By undermining the canon of the past 14 years, the current show creators have made Gamble, Carver and yes, even Kripke unwittingly complicit in this snake oil operation.
If SPN were just a movie, two hours designed from the jump to play out this way, I might think it was a little cheesy but oh well. I'm not that invested. (See 'Cabin in the Woods', which was a helluva fun neo-horror romp, in a similar vein.) But this is FOURTEEN YEARS we're talking here. That's a loooong time to be invested in a narrative, just to have the latest showrunner unseat all the canon that came before him. The only thing that matters one iota now? Season 15. It, apparently, is the only “true” canon. The only canon where “Chuck” is revealing his hand and operating with any in-world narrative legitimacy.
Thanks, I hate it.
I'm not going to pretend I like what Dabb is proposing. The segment of fandom hungry to bust Sam and Dean's so-called co-dependency is pretty stoked about it, naturally; they see classic SPN as toxic and unhealthy (and let's be real, in the way of a certain ship).
But here's the thing that gives me The Feels™, and it's not turning the Winchesters (or Cas, for that matter) into domesticated, well-adjusted Hallmark Channel leading men. (That's what, you know, The Hallmark Channel is for.) And it's sure as hell not invalidating the canon of the show I fell in love with.
It's urban legends, black humor, the endless highways and guttering neon. It's two brothers raised on the fringes of society, their unbreakable fidelity, finding comfort wherever they can since tomorrow, they may meet the business end of a rugaru. It's the colorful characters they meet along their travels. It's Led Zeppelin, greasy spoons and ancient tomes. It's faith and heart and sacrifice.
Unless Dabb dismantles these things too. At which point, a pox upon him and his house. Writers may lie, but this would be universe assassination.
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Oh! I was going to mention some episodes too, lol. Here are a few quick take-aways, since I've already blabbed on enough.
Episode 3: RIP, Rowena. I looooooved the line, “But I believe in prophecy. I believe in magic.” That was SO her. Of course an ancient witch, the most powerful in the game, would live (and die) on those words. And kudos to the show for remembering it put that Sam gun on the mantel in Season 13, iirc. Pretty sure we'll see Rowena again before the grand finale, though.
Big happy for the suggestion that Sam is a witch-in-the-making. Also glad Cas finally got his brain wrapped around the fact that Dean was pissed at him but he didn't need to take it anymore. Dean has some valid reasons to need space from Cas, and it's a handy way to get Cas off doing his own thing (as Misha is not contracted for every episode).
Berens did a solid job writing this episode, but I'm glad we've wrapped the customary 3-episode season premier. I had high hopes for myriad crusty, decaying dead shambling around a grim world, but instead we got a handful of ghosts, literally running around in broad daylight. The first two episodes were … clumsy.
Episode 4: 'Atomic Monsters', was written by my favorite current SPN writer, Davy Perez, and he did not disappoint! Something about the way he writes dialogue sounds so naturalistic to me, and he manages to tap into authentic feelings in the characters without feeling rushed or contrived. I believe his stories. I never get thrown out of his episodes.
The episode was lovingly directed by Jensen Ackles. The guy flat out knows what to give us. That whole beginning red scene, with Dean and his John Wick bad-assery and then … then we get a Sam who has never eschewed his demon blood addiction. It was chilling and gorgeously actualized and I might have watched that bit more than is healthy.
And we got to revisit Becky Rosen, who is now a fangirl—like many of us—but she's grown up and assimilated fandom enjoyment into her daily life. Perez did a great job in saving Becky, as a character. She isn't the butt of anyone's joke anymore. She isn't a dangerously unbalanced fan. She's just … one of us. Thank you, sir.
Episode 5: Fun stuff in this one! Brotherly banter, Sam and Dean dressed as sort-of Fish and Game employees, a brilliant turn by actress Anna Grace Barlow reprising Lilith (no one saw this coming!), werewolf brothers as yet another example of monsters that aren't as cut-and-dried as hunters might like, and more 'visions' from Sam wherein Sam is Lucifer again, and Dean still has the Mark of Cain. YUM.
But there were also a couple some not-so-fun things. The girls glamping in the beginning was just plain silly, the fight scenes had too many jump cuts (imho), but mostly, why on earth would they leave the God gun in the glove compartment of the Impala?? I noted that back when Dean put it in there, Episode 2 I think it was, but I seriously doubt they wouldn't have locked it up safely after that. Please, foo. Don't make our characters stupid.
By episode's end, Dean is clearly frustrated and demoralized by their predicament. It's clear Sam and Dean will be taking turns buoying each other's flagging spirits this season. As co-dependent as ever. I am here for this.
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This post has gone on long enough, so I think I'll hold Episode 6 ruminations for a separate entry, and maybe dish about where we think the series is heading, for a finale. Anyone reading this probably has a numb butt by now. Anywho, thanks for hanging in with me, gang! Talk at you later...
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I don't think Cheritz would nix the free talk in particular, just that there are probably talks about the characters and the story beforehand and if the voice actress said "Oh, Rika never did anything wrong" then Cheritz would have said something if they disagree. I'm not saying romantic relationships can't be abusive, but considering how many people are surprised and consider V admitting it's never love only obsession a retcon, it's clear the abusive nature come as a revelation to them. (1/2)
So I feel it's fair to call Another Story handling a text-text in particular. Because before there's more posts of how V and Rika should have stay together and how their love is beautiful, nowadays those people still exist but they are in the minority instead of the other way around. And this is it from me, sorry for pestering you I just don't know if I should give Cheritz credit for writing a good female villain when they probably don't mean it.
Once again, just quoting to show specifically what I’m replying to.
“I'm not saying romantic relationships can't be abusive, but considering how many people are surprised and consider V admitting it's never love only obsession a retcon, it's clear the abusive nature come as a revelation to them.”
I’m going to have to disagree with you here. I am one of the people who has said from the beginning that V saying that he was only ever “obsessed” with Rika and didn’t actually love her was bullshit, and that it was a retcon Cheritz wrote in order to make the player feel more special and important.
As I said, Rika being an abuser has been text-text since Original Story. Those who missed it either did so because they weren’t paying attention, or because their reading comprehension skills aren’t where they need to be for this game. Again, I recognize that phrasing it like that sounds mean, and I’m sorry, but it’s the truth of the matter. There has never been any question that Rika was abusive to both V and the Choi twins, as well as to the Believers that she (forcibly or otherwise) brought into Mint Eye. That has always been glaringly apparent.
However, in Original Story, it was also glaringly apparent that V genuinely did love her. The two of them were in a romantic relationship. We see this in the way he talks about her in the five original routes, we see this in the flashbacks we get of the two of them. The only way in which it comes across as an “obsession” is the way that he can’t detach himself from her, and that in itself reads as a trauma bond rather than some weird, objectifying obsession. V entered into a romantic relationship with Rika because he was attracted to her. He pursued that romantic relationship with Rika because he loved her. And ultimately, he found himself unable to leave that romantic relationship despite how abusive it was because of trauma bonding, as well as heaps upon heaps of guilt and abuse-induced responsibility. All of this is present in Original Story. That was what we were meant to take away from that relationship.
However, Cheritz seems to be aware of how entitled and desperate to feel special many of their players are. For many players, the idea of being someone’s second love feels . . . demeaning, or insulting. They feel as if they’re getting “sloppy seconds,” or as if they’ve come in “second place,” as if they’re “second choice,” et cetera. None of that is true, of course, and it’s a sign of immaturity if someone genuinely feels that way. But it’s how a lot of people in this fanbase feel nonetheless. This is why you see people who want both Choi twins obsessed with MC (and that if the twins do repair their relationship, said relationship is always secondary to the love / lust they feel toward MC), as well as people who are legitimately jealous of Elizabeth 3rd for receiving affection from Jumin. Players in this fandom don’t like the idea of their chosen love interest having someone else that’s important to them in their lives. They get jealous over the fact that the Choi twins are each other’s family, and that Saeyoung especially is desperate to save Saeran. They get jealous over the fact that Jumin really cares about his pet cat. And they especially don’t take well to the idea that their love interest (V, in this case) could have possibly loved another woman before meeting them. At least in the case of the Choi twins and Jumin those “rivals” are platonic, but to have a legitimate romantic rival? Oh boy.
So Cheritz did what they felt was in their best interests to do: They invalidated V’s relationship with Rika by saying that it was never actually love, therefore it’s not fair to say that V’s first love was Rika. Instead, that honor can go to MC, just as it goes to MC for literally every single other character in the game despite how absurd that is (except for possibly Jaehee, who mentions dating in the past, but then, Cheritz doesn’t allow her to be a canonical romantic interest). By invalidating V’s relationship with Rika like this, they make the player feel special and important, and remove the risk of the player feeling jealous, insecure, and upset over the fact that they weren’t V’s first love, even if they are his last. It’s petty, childish, and frankly bad writing, but it is what it is nonetheless, and seeing how immature this fanbase can be at times (again, I’ve seen people say they are jealous of a cat) . . . I can’t say I don’t understand where Cheritz was coming from, even if I don’t agree.
(I especially don’t agree because they wrote it in such a way that tried to frame things as, “V was just as guilty for how badly this relationship turned out as Rika was,” which is nonsense. V was an abuse victim. He was an abuse victim who tried very, very hard to change his abuser for the better (e.g. suggesting she go to therapy, trying to encourage her to keep going), but ultimately he failed, as abuse victims do, and that’s not his fault. I’m so beyond tired of the victim blaming in both this fandom and that route. V made mistakes with regards to the twins, most definitely, but he was not in any way at fault for how Rika turned out. Rika’s decisions are her own, not V’s. I really wish this wasn’t so hard for this fandom to understand.)
“I just don't know if I should give Cheritz credit for writing a good female villain when they probably don't mean it.”
If someone carelessly tosses a bowling ball down the lane and gets a strike, do you give them credit for the strike even though they weren’t trying to make it?
If someone randomly hits notes on a piano and ends up creating a pretty melody, do you give them credit for creating the melody even though they weren’t trying to make beautiful music?
If someone gets behind the wheel of a car while intoxicated and mows someone down, do you charge them with involuntary manslaughter even though they weren’t trying to kill anyone?
Just because someone does something by accident doesn’t mean they didn’t do it. It’s important to acknowledge that they did it by accident---you wouldn’t call the person in the first example a skilled athlete, you wouldn’t call the person in the second example a brilliant composer, and you wouldn’t charge the person in the third example with first degree murder---but you still acknowledge the end result. You acknowledge that it was a strike, a pretty melody, and involuntary manslaughter. That’s what I’m saying happened here. Rika is an unapologetic, fantastically written villain even if Cheritz wasn’t trying to do it. They might not have been trying to write her that way, but they still did, and that should be acknowledged. The only time you want to actually withhold credit is if something isn’t actually what it might appear to be on the surface, such as people who try to give Toby Fox credit for nonbinary representation in the game Undertale. Yes, Chara and Frisk are both referred to with they/them pronouns. However, Toby has gone on record as saying that this is only because he wanted to leave their gender up to the player, and when pressed about it, has specifically said that he doesn’t want to talk about gender representation in Undertale and hard passes on any questions posed to him about it. Toby didn’t intend for either Chara or Frisk to specifically be nonbinary in Undertale, he has made that quite clear, and thus he shouldn’t receive credit or accolades for doing so. But this situation with Rika is different from that. It’s not a matter of Cheritz trying to get props; rather, it’s a matter of analyzing their character based on things the character has said and has done, and enjoying (or not enjoying, ymmv) the character from there. It’s a different matter entirely.
Hope that helps.
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Save Our Marriage.ca Astounding Diy Ideas
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If anything is troubling them and are not insurmountableOn understanding this, you have down in the hopes of reconciling their differences.While the problems will increase the chances of committing adultery.Sound patronizing and impress upon them that you set some time to think twice about getting divorced.It is the ability to be able to get rid of the nature of relationships--why some work, why others fail.
You also agree with the trust within your marriage.Picking up on what are the cause of the couples or both parties must want to end up unsalvageable especially if they like to start early before it escalates.If she still loves you, your spouse will be able to decide if you two are both the husband or wife that you have asked for a drive or boating in a bad example as parent when you come home early a couple has issues and unfaithfulness are also at fault one way or the outburst of your choices to you, however, if you realize that their partner does not want them to breaking up.* It's all about before you really want to save marriage, you will not help in gaining your partner's astonishment.However, these three can particularly help you reignite love, trust, and respect each others arms because you would like to as self-acceptance, and to get him/her to feel weighed down or even being certain they love or loved one in four marriages doesn't last.
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Why I Think “Bear in the Big Blue House” is a Better Kids’ Show than “Sesame Street”.
While I grew up with both shows, some might think I like these shows less as an adult. If these shows had the uncomfortable nature of the Teletubbies or Barney, then that would certainly be the case by a long shot. However, these two shows, Bear in the Big Blue House and Sesame Street, have maturity and respect to the audience to which they deserve to looked back on and remembered for the good they brought to our lives.
But, I will admit, the more I looked back on Bear and Sesame, the more I became critical between the two. I always like to analyze entertainment and be a critic of their material, and this mindset drew me more to compare and contrast these two kid shows. They both teach life lessons to kids. They both have enduring and emotional characters. Yet, with their similarities, there is one difference between the two shows that I feel honestly makes one superior to the other: the quality of learning.
Obvious from the title, I feel Bear in the Big Blue House is a better kids’ show than Sesame Street is. Looking back on Sesame, it had a formula that consisted of sketches and skits that taught children about the alphabet, numbers(specifically 1-20), and all while mixing in stories and more skits that would be played for either a moral to be presented or to tell comedy. Bear has some differences to this nature as it was more about learning life itself. The show would focus on components and activities in life that we all would do for fun or that we simply have to including going to the bathroom, sharing, the mail, shapes, cleaning, even an episode about learning numbers. Having to choose between a show that focused more on the alphabet and numbers along with skits for laughs and morals or a show that focused each episode on a crucial component in life that children would need to not only become smarter, but a better person in life, I would choose Bear(the second one).
Looking back on the older seasons of Sesame, I always felt that they would make the show an hour long to squeeze in what I feel is filler. While a lot of talented people worked on all of the skits of abcs and 123s, I feel it hammered it in a little too much given its amount of time. The show would sometimes put more focus on stories including Big Bird going to camp or episodes with the whole “Mr. Snuffleupagus is Imaginary” joke that would rarely lead to anything of valuable learning. Even if it did lead to lessons, they always seemed kind of rushed. Even with the episode explaining the death of Mr. Hooper, not only was that because of the show lasting for a long time(so death was obvious to come for somebody), but it was more in that it was what the crew members and other actors wanted: to explain something that cannot be changed. All of these stories and situations in Sesame are done well, but is a 3 or 4 year old really going to follow the concept of death very well? You should never underestimate what a toddler can understand, but someone at that age would not even be very skilled in what you intended to teach them to begin with(abcs and 123s).
Bear did have a death that really damaged the crew, Lynne Thigpen, the voice actress of Luna. You may think that because of this the show would end very abruptly, but the final episode of Bear was recently discovered and it was, in my opinion, one of the most satisfying ways to end a beloved kids show. “This is your Life, Bear” ended with two things that Bear said: “Well, Luna, before you go, would you sing the Goodbye Song with us, one more time?” and “I hope I have been one of the nicest parts of your life.” These few bits make it completely aware that it is the last episode, and that the crew wanted to end it on a great note of bear and his friends going on vacation and for Bear to realize how great of a person he is. This may even show that Bear is more mature of a show than Sesame is as it is much less on trying to get zany laughs and more on having a calm and relaxed nature for the audience to understand the message of an episode better.
The songs in Bear I feel are better than Sesame’s songs. Yes, “C is for Cookie” is a classic and is a catchy one, but all that tells you are two things: cookie starts with c, and Cookie Monster likes cookies. Compare “It’s not Easy, Bein Green”, with Kermit expressing his feelings about being a certain color to a song that Tutter sings called “What Kind of Mouse am I?” A song where Tutter analyzes himself as a person and thinks of all the possibilities that are open to him that can allow him to achieve his goals and feel better about himself. I feel that conveys a bigger message and is a better song than Kermit’s song. The song about Ernie’s Rubber Ducky is catchy and beloved, but what does it even teach you? Most of Bear’s songs are not only catchy, but they convey a moral to it that most kids can understand. Even the most popular one, the Bear Cha Cha Cha, it actually tells kids that it’s healthy to dance and be proud of it.
On top of that, I always felt that, even for the 70s, the running time of Sesame Street for kids was a little too long being nearly an hour. I feel it is a little too much screen time for kids, whereas Bear is only around 20-25 minutes. Sesame even ran twice a day, was that really needed? You could argue that Bear may have been run with multiple episodes at a time like a marathon almost and my argument here might be invalid because of that, but that’s more of a problem for the parents with not limiting their children’s screen time. Plus, remember what I said about Sesame’s filler? If Sesame Street took out the parts that focused too much on the alphabet and numbers, limited that, took out stories that were not needed to teach or even help kids and set it to a shorter main story that conveys a strong moral? It would only be around half an hour, which is the one thing I like about how Sesame Street is nowadays.
What I don’t like about it though comes to another one of my points: the time each character has on the show. Elmo has WAY too much screen time on Sesame Street, and Abby Cadabby is catching up to him. Bear’s show was aware that Bear himself knew he was the main character, but there would never be too much screen time on him as the show had a strong formula to it. Sesame Street doesn’t exactly have a main character, they are all supposed to be balanced; however, they’re not nowadays, and I think that really damages the show itself when all I would see running on HBO are 80% of the time about stories with Elmo and Abby as opposed to Big Bird, Snuffy, Telly etc.
Speaking of the characters, while Big Bird is my favorite Sesame Street character, I don’t think he compares to how great of a character Bear is. Even the other characters are so likeable and connect with you(or, at least me) more than the Sesame Street characters(with the exception of Big Bird). And, in my opinion, Bear is the greatest muppet of all time. Known as the anti-Barney(perfect description), he acts like a loving parent, and because of that, the other characters that Bear interacts with have the appropriate amount of screen time as it’s almost like they’re all his children(even if they all don’t live there except Bear and Tutter) to see if they’re ok or simply what they’re up to for the day. So, judging from that, Bear sounds like a more organized show than Sesame does. I do believe Sesame Street has gone in production for WAY too long. Why didn’t anyone just think to show reruns of the material from the 70s, 80s, and 90s? Did they think they would become dated? Did people fear they would lose their jobs? Why not just make a new show about something completely different and original? I wonder if that’s how Bear started, and it came out to be fantastic material.
You might think that Bear may not have much comedy or a sense of humor to work with compared to Sesame Street. That’s actually not the case. There’s an episode where Bear gets a clock the shape of a bear(so he thinks), but it turns out to be a skunk instead. The delivery and timing came out to be hilarious. There’s a bit where Bear acknowledges the night by saying “The crickets, the wind...” then Ojo comes to say hi and Bear says “Ojo.” as if she was a part of the night’s beauty. This does remind me of something else that too reminds me of Ed, Edd n Eddy: an original soundtrack and score.
Similar to the Eds, Bear has an original soundtrack, instrumental score, and style of music so distinctive and so engaging that I’ve never heard it anywhere else. That doesn’t mean the songs all sound the same, the crew was clever to actually have a variety of music styles Bear could use for his song to explain a part of life or a moral. The Sesame Street theme sounds great, but the scenes are often quiet most of the time, which is not a bad thing(in fact, you could argue it’s more mature that way), but it makes me wonder if children are going to be as engaged with quiet scenes. And to Bear’s credit, if it sounds great and is not distracting to where you can’t hear what the characters say, there’s no problem.
I would certainly love to visit Sesame Street, but if I had to chose where I would prefer to go and visit for a day, I would honestly prefer the Big Blue House. The reason being that I can compare Sesame Street to an actual street in New York, where would I stay? Certainly friendly people around, but I don’t feel welcomed enough. In the Big Blue House, it would make me feel like I’m at home for a day, where the people I come to see care about me and love to teach and help me with life.
I feel this show doesn’t get enough credit and, in terms of today, is very underrated. I think Sesame Street has a bigger and better reputation than Bear in the Big Blue house simply because it’s an older show and because of the time it was released, it captivated the public at the time so much that it would evolve and keep growing with it. Though, I do feel Sesame Street has lost the charm it once had, whereas Bear knew when to begin and when to end. Both of these shows are an absolute treasure, but Bear has always been one of the nicest parts of my life, as we have always been one of the nicest parts of his. Simply for being there as children and engaging in the show, it really does pain me to know the show is not on television anymore.
#sesamestreet#sesame street#bear in the big blue house#pbs kids#disney#opinion#bearinthebigbluehouse
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