#can't beat the classic

[p-c-ba-dcforever]

That is all.

[arriettyspin]

Since we're posting our Spider-Verse headcanons, Gwen most certainly grew up watching old Barbie movies and now refuses to admit it

It was the only stereotypically girly thing she was into from a young age, and watching 12 Dancing Princesses aged three years old was the push her father needed to get her into ballet

When she and Miles sit with the toddler Billie Mariana watching Life In The Dreamhouse, Gwen can't hide her distaste for this newfangled modern adaptation.

One day she decides that it's time to introduce Billie to the classics, and pulls up at the Morales household with her perfectly preserved VHS tapes.

Billie is delighted, laughing at the creepy animals with their glassy stares and goofy songs, twirling her pink skirts with the princesses on-screen.

At first, Miles laughs at the corniness of it all. But later on he finds himself invested in the simple stories (and Gwen finds his impressions of the melodramatic princes oddly romantic)

Gwen is sure that the animation was not this bad when she was younger? But she enjoys herself anyway, reliving the childhood a life as Spider-Woman tore from her too early.

So much warmth between them... it's here she learns what a family should be like; leaning on Miles's shoulder, Billie plonked at their feet and not a gun in sight.

[t-u-i-t-c]

make me choose

yanma & gira or yanma & shiokara → yanma & gira

[k-i-l-l-e-r-b-e-e-6-9]

The Beatles - Can't Buy Me Love

[sapphire-weapon]

I’m about to vomit out a bunch of thoughts, and I’m not sure any of this is going to make sense by the end, but. I’ve been thinking a LOT about these three lines in RE4make:

“You haven’t changed. You just think you have.”

“You can’t save her. You can’t save anyone.”

“This time, it has to be different...”

I’ve seen people focus in on that Krauser line and tie it directly back to Sherry, which is cool! Even as recently as five years ago, people completely glossed over Sherry’s impact on Leon’s life, and it’s cool that the remakes have had people digging into his character and realizing “oh shit, literally everything that happens to him after RE2 is because of his paternal love for Sherry.”

But... Krauser’s line is about more than just her.

With the remake turning Krauser into Leon’s combat trainer, chances are he knows about everything that happened in Raccoon City. And I don’t mean, like. He read a government file. Leon probably told him.

In OG, Krauser and Leon have this exchange of dialogue:

Krauser: “What is it that you fight for, comrade?” Leon: “My past, I suppose.” Krauser: “Hmph. Umbrella.”

It was axed completely from the remake, because it doesn’t make sense for it to happen in the remake. If Krauser was Leon’s trainer, that question was probably asked very early in their relationship. And since they weren’t currently in a fight to the death, and because they weren’t already six years removed from Raccoon City, chances are, Leon’s answer was a bit more involved than just “my past.”

So, let’s back up a little bit. In RE2make, they basically turned Kendo into a completely different character. OG Kendo was literally just there to point a shotgun at Leon and/or Claire and then go “oh my bad you’re not a zombie” and hook them up with some guns before he gets eaten. In RE2make, he’s a desperate and terrified father just trying to spend his last few moments with his infected 6 or 7 year old daughter before she turns. After he shuts the door on Leon and Ada, Leon turns to Ada and says, “Protecting people like that is why I joined the force.”

But Leon doesn’t protect or save Kendo or his daughter. He doesn’t protect or save... anyone. Every single person that Leon comes into contact with and tries to save dies horrifically -- and some, he even has to kill, himself (Marvin Branaugh). The only people who make it out of Raccoon City alive are people who saved themselves (Claire and Ada).

Of course, there is Sherry. But Leon didn’t save Sherry; Claire did. ESPECIALLY in remake canon, since nearly all of Leon’s scenes with Sherry got severely shortened or removed completely in RE2make.

But then, when Claire entrusts Sherry to Leon’s care (on his own insistence, per her RE3 epilogue), he goes and fucks that up, too. Gets her kidnapped and held hostage indefinitely by the federal government, and the only thing he can do about it is do exactly as they say and just hope they keep their end of the bargain and not hurt her.

So, when Krauser says “You can’t save anyone,” he means anyone. Ever. And even up to that point in RE4... Leon got the two officers who drove him into town killed, and he watched Luis die a slow, agonizing death right in front of him. And then, past that point, Leon has to kill Krauser with his own hands. Then he watches Mike die.

Ashley is literally Leon’s first and only success story, up to this point in canon. (And even when you go all the way up to current-day canon, Ashley is one of... three? People? I can think of? Total? Who Leon actually saves?)

So, Leon saying, “This time, it has to be different,” he doesn’t just mean Sherry. He means Ada. He means Kendo. He means Marvin. He means the entirety of Raccoon City. He’s staring down a repeat of what happened back then, not in terms of the bioterror situation, but in terms of his own personal failures. His survivor’s guilt. He can’t handle the thought that he’ll be the only person to walk away again -- and he refuses to be.

And that’s why Ada’s line bothers me so fucking much.

I mean, first of all -- Ada, you haven’t seen this man in six years, and you’ve spent a total of like five minutes with him since meeting up with him again here, so how the fuck would you even know -- but even aside from that...

To be clear: she’s right.

But she’s also wrong.

Leon has changed -- to an extent. In RE2 (OG or remake), Leon honestly believed that if it was lawful, then it was also morally right. He doesn’t believe that anymore. There’s no more “letting the law sort it out” or trusting in the power of authority for him anymore. His moral compass has been boiled down to: “If you hurt or murder innocent people, you’re a fucking asshole, and I don’t really care who you are, I’ll kill you myself.”

RE2 Leon was willing to hear people out and give them an honest benefit of the doubt -- even Annette Birkin. RE4 Leon just tells people to shut the fuck up before opening fire.

RE2 Leon was honest and trusting to a fault, and he felt stronger as part of a team. RE4 Leon is suspicious almost to the point of paranoia, and he just wants to be left the fuck alone to do his job.

These are all things that were really important to who Leon was in Raccoon City, and they’re reasons why things turned out the way they did for him, back then.

But at the same time, Ada’s right in saying that, at the core of it all, Leon is still that kind-hearted, decent guy who just wants the good guys to win and the bad guys to lose. That’s why it hits him somewhere sensitive when Krauser says: “You can’t save anyone.” 

It’s just that, now, the way he approaches it is different. His outlook on life in terms of his goals is different. His expectations for it have changed.

So, if Leon had been smarter/wittier, he absolutely could have turned it around on her and said: “No, I’ve definitely changed. You just think I haven’t.”

And not only would that sound threatening as fuck, he’d also be right. They both would be, at that point.

And for all of those major parts of him to have changed and still be facing down the possibility of failing every single person he comes across, especially Ashley...

"This time, it has to be different.”

And this time, it was.

[comfied-chriterature]

college prompt for anhane week had me wanting to share this SO college anhane au where they are bad at communicating and break up and go their separate ways after the events of vbs. BUT then they reunite in college and go on their exes to lovers journey with a lot of bitter feelings and fear of abandonment and admiration intertwined with jealousy and inadequacy.

I think it's one of those cases where kohane leaves after they "over rad" to pursue a career in singing (the same way nagi left an. the same way everyone will part and an will be alone again.) an is unable to articulate how much she'll miss kohane and how she fears she'll never be on the same path as her bc kohane is the brilliant star and an still doesn't have a name for herself outside of her relation to talent lionized by the public (at least that's what she thinks). kohane knows something is wrong with her an but can't get her to tell anything, and she feels hurt that an isn't supportive of her, even after trying so hard to prove herself to the girl who found her in the first place.

their partnership that used to taste like bright, sweet fruit and smell like the blossoming of trees has rotted and decayed and the grime still clings to them after all this time apart.

years later, an and kohane meet again in college (maybe the singing career didn't work out for kohane or she's taking a break). they can't help but be drawn into each other's orbit again, yearning for the moments of hopeful words and warm touch in the quiet glow of sunset. it takes a lot of inner reflection and help from exhausted friends to rediscover that passion from their youth and encourage them to not give up on their dreams, or each other.

[buttercup-barf]

NEW FAVOURITE TOY!

[fountainpenguin]

"I'm trying to keep up as best I can! I wanna be there if you need a hand... I'm looking, looking- Looking for you!" (x)

---

New Criminal Experience chapter today!

Chapter 5 - “Tracked”

❤️ Read on AO3

💙 Start from Chapter 1

💚 More Pixels Imperfect fics

---

Mumbo and Skizz split up to find the lost allay eggs, llama respawn blankets, and Impulse. Mumbo takes a good look around Evernight: city of ever-changing blocks.

(First 1,000 words under the cut)

---

One teleport later…

Operation Llama Blanket and Allay Egg Recovery requires stealth, precision, and snap-second judgments on how many of the enderspawn hybrids can be trusted not to turn them in. In a whirlwind of shadow blots, Skizz poofs them in behind a row of composters tucked down an alley of colorful, mismatched blocks. Skizz is in a crouch; Mumbo drops to mirror him. Endermen and endermites shuffle around not far away. Every breath betrays him as a wanted man.

And any one of these chaps could heel-turn out me.

The paths out of the city glow faintly on his mental map, as they always do. Leaving sounds lovely, but not when Double-U and Buzz are missing their spawn blankets. It's not just about his girls, either. The allay eggs are his responsibility.

The last two allay eggs in the world.

So where are they? It's not about the money. It's never been about that, regardless of what his species and experience in smuggling and trading may lead you to believe. He took this job because Doc asked him to. Said he was researching; he'd give the newbies a start on Education and send them to the building when his work was done. Not unusual, and Mumbo trusts Doc more than most.

Does he know? It's the question coursing like a river through his hands, up his shaking arms, and down his back in tiny flash floods. But he can't ask - not here, not now - because Doc still lives so far away. He'll crash when he gets to Tintopia. He is going to reach Tintopia, with his llamas' spawn blankets in hand.

Okay. We can do this. Just breathe.

Mumbo shifts his eyes to Skizz, then remembers why you don't look at endermen directly and drops his gaze. "I'll have a nip around. Thanks for the drop-off. It means the world to me, mate."

The blue eyes peering back at him (carefully, off-center) don't look at all like the eyes of a man who meant to do the Allay Dragon harm. Perhaps it's foolish and maybe he's being played, but Mumbo can't help but believe it. "Without me or Impulse, you've got no escort. I'll see if I can follow from a distance, maybe along the rooftops, but if someone sees me-"

"I know. Skizz, I know what I'm getting into- It's not my first brush with the anarchy lifestyle. If someone attacks me, you don't have to get involved. There's difficult people after you." Neutral. Non-specific. Skizz shifts, tugging his jumper sleeve. Mumbo can read that stinging, shameful silence and almost wishes that he can't. He says, "I won't rat you out, but I'd rather not see you fight." BigB's got his arrows and clones. Vee's an evoker; she's got her vex. They're both spellcasters armed with magic. And Skizz is layered with unknown mods. Both sides of this fight could easily get hurt.

"I… Yeah, sorry. Yeah."

Mumbo reaches a hand through his robes. He grips the handle of his modded scythe - still sitting there in his soul slot, as it always is - and withdraws it in a crackle of blue sparks. Skizz's wings flare out behind his torso, flapping once. They scrape the composters and the back alley wall. Not much of a wall with several blocks plucked out of it, leaving holes, but that's not the point. Mumbo keeps his eye contact locked on the scythe. He doesn't give any sort of demo swipe, though that's quite tempting, actually. Skizz is halfway to flying off as it is. Can he fly with those angel wings?

"I'm all right," he tells Skizz. "I'm Mumbo Killsalot Jumbo; I can handle myself a bit."

"Ah- That's… Uh, you've got a modded weapon?"

"I transported a bit of slime and some otter spawn eggs to a vulture once." That's non-specific enough, yes. Skizz keeps his eyes away, but for the briefest moment, they flicker over. Mumbo can feel them graze his forehead.

"Are you kidding me right now, homie? Otter spawn eggs are real? I thought those were just a myth!"

"Well, you and most of Between, yes."

"So you've found the Invisible Hub?"

At that, Mumbo chuckles and tucks the scythe away again. Bad move, wandering with that on full display. "I said I traded him slime, mate. I never said I've found wherever slimes spawn." Scythe gone, he lays a hand against a composter lid, ready to swing himself to the other side of the little wall. "You find Impulse. He and Coldsnap can't still be going at it." And if they're lucky, Impulse is still alive. There wasn't a death message on the comm. He must be all right, unless Mumbo made a total spoon move and forgot to toggle the settings on. They pause in sync, fingers curling, hearts beating. IS Impulse okay?

Surely he must be. Skizz asks the same question, then, but not about Impulse. "Will you be okay?"

"I haven't got a choice." But he does have a plan.

Step 1: Get the spawn blankets. It might sound harsh, but those rank above the allay eggs as far as he's concerned. Until a new account syncs to an egg, they're effectively unfertilized; they might even get broken in a scuffle tonight and he won't feel any shame. There will be other jobs with other spawn eggs. But there won't be another Buzz and Double-U, sitting sweetly in their shed as he cleans between their toes.

I can do this. Gah, if only I wasn't down to my last invisibility potion. Since he had Impulse watching his back, he didn't stock up. Gets expensive in modern times with modern shortages, y'know? Takes up space.

And at the moment, that's as far as the plan goes. He'll leave the safety of the composter wall. Find the blankets- someone must have picked them up. Take them back somehow. Barter. He's got a few things on hand that might draw the eye. He'll surrender the scythe if he absolutely must. It's quite simple, really. 'Simple' is key if you don't want analysis to morph into paralysis and chain you to the ground. Mumbo crouches to go for the leap and swing.

"Mumbles? Do you have another skin to change into?" When Mumbo turns his head, blinking and wondering how filthy he must be for a question like that, Skizz gestures at his travel robes. "You, uh… might blend in better if you're not wearing bright blue and yellow. If someone took your llama blankets, they'll probably be watching for you."

"I might want them to, if it makes it easier to find and return them to me."

Skizz hesitates, the noise skating across his teeth. That betrays the answer even before his words: "Evernight's anarchy, man. And you know how endermen are about taking stuff just because it's there."

Mumbo shrugs. "I don't have a choice. They're my llamas, dude. And if I can save the allays too, all the better."

[Full chapter on AO3 - Link at top]

[frommybookbook]

Heist Movies and the Hays Code

The other night, some friends and I watched the incredible Star Trek: Deep Space Nine episode "Badda Bing, Badda Bang", which is a loving pastiche of the heist film. As we were watching, we all noticed how old the actor playing the character of Mr. Zeemo was and I knew there had to be an Easter egg reason for it. After looking him up, I realized he was Marc Lawrence, who appeared in The Asphalt Jungle (1950), largely considered to be the first true heist film (though there are a couple from the 40s, that I've also seen, that are sort of proto-heists).

I decided to watch Asphalt this weekend, since I'd never seen it and it'd been sitting in my queue for ages. It was fine, definitely a first pancake situation, but now I can't stop thinking about the evolution of the heist film and the way the Hays Code shaped its early days and how it was allowed to shift and evolved after the code was lifted.

The earliest heist films were made under the Code. And not only under the Code, but at the Code's peak in the late '40s/early '50s. You watch these movies and you know from the very beginning that no one in our gang of misfits is going to succeed. The rules of the Code and its insistence that crime and depravity and bad morals can't pay means all of them will either be dead or in jail by the time the closing credits role. It doesn't matter how much we love our protagonists, it doesn't matter what their motivations are for participating in the heist, they are criminals and they must pay. They'll never see a dime of their money and all their efforts will be in vain.

Contrast this with the modern heist movie: the lovable rogues always beat the house. George Clooney and Brad Pitt and their buddies walk away with their millions. Sisko and his crew trick Frankie Eyes and save Vic's. Jason Statham in every Jason Statham movie gets his cash and lives to steal another day.

A lot of what I've read about the evolution of the heist movie and the role the Code plays in it focuses on the fact that once the code was lifted, these movies became more violent and graphic and leaned hard into that. And I'm sure that's true, but that was true of all movies. The 70s and the 80s in particular really exemplify the shock value of violence and sex in a post-Code Hollywood. But nothing I've seen talks about how the dissolution of the Code changed how audiences are allowed to see the thieves in a heist movie. Without the draconian constraints of the Code, we're allowed to root for the thieves, to be on their side, and to see them "win" in the end and make off with their bounty.

Even in the rare modern heist where the hero protagonist doesn't win—he (because it's almost always a he) doesn't get the money or he does get caught and goes to jail—it's always inferred that this is just a temporary setback. Next time, he'll be smarter and better and he'll win. He's alive and prison is just a small blip on the timeline, he'll be back (probably in 17 sequels) and the next time he'll do the job to beat all jobs. Heist movies of the Code era rarely see the thieves end the movie alive and when they do, they're behind bars with no hope of release or escape. The message that crime doesn't pay is never in question.

Yes, violence and sex have become more prevalent in heist movies in the post-Code era, but I think the greatest change the freedom of production without the Code brought to heist movies is that now, the house can lose.

[the-descolada]

what a rough way for this year to go already.

[suckinitup]

gets up on my little stage with my secret little four followers blog and turns off reblogs. i think that a lot of current mcyt/mcyt fandom rn would be defending anne rice literally suing fanfic writers who shipped her characters. creators do not have a say in fan works or fan spaces for a REASON. they dont get to say what we make just like we dont get to say what they make. if we dont like their work we can avoid it just like if they dont like ours they can avoid it- UNLESS. someone else. decides to shove it in their face. can you fucking imagine. youve got this one story trope that you absolutely hate or that makes you really uncomfortable and this one jackass keeps showing it off to you. and that is somehow the norm for some of these fandoms??? i have seen elder fans cringe away in HORROR at the concept of how involved mcyt creators are in their fanbases. i grew up writing fics plastered with "I DONT OWN THIS" disclaimers on a website that, straight up, Did Not Allow You to post about certain works by certain authors. if an author didn't want you to create any fanwork, you Were Not Allowed. Doesn't that sound familiar. stories are built on top of other stories on top of other stories on top of other stories. it doesn't matter if someone creates something that grosses you out- all those authors who were disgusted by the queer shipping of their characters were ABSOLUTELY grossed out. the point isn't protecting the creators from others' creations the point is to take inspiration from something you love and to MAKE !!

[lilmcttens]

[saglaophonos]

i debated going with the glee version at first

[paulgadzikowski]

In re: today's Whale Weekly ... you knew I'd have to do it to'em

[javelinbk]

[the-alan-price-combo]

Happy birthday to the original Animals' drummer, John Steel!! 🥁🐾✨️

Here's an advertisement from the January 1965 issue of Beat Instrumental, featuring John with his trusty Premier drumset!!