#episodes from liberty city

[thecheramore]

TAKE A LOOK AT THIS AWESOME ARTWORK OF JOHNNY K, THAT MY DEAR FRIEND La Mort (VK) DREW FOR ME 😭😭😭❤️‍🔥❤️‍🔥❤️‍🔥

She is a wonderful person and such a cool artist! I am so grateful for the gift, I can't find the words! Especially since it was presented to me on my birthday (20th of September) 🥹💖

La Mort's art-page in VKontakte

[aflowerycorpse]

I'm so mentally ill rn guys im sorry

(OKAY I Just realized that the girl could be Joni Too to make it more specific to the fandom IM SORRY AGAIN I WASNT THINKING OF HER WHEN I MADE THIS)

[mbsanandreas13]

💛 I felt the strangest feeling

Like a raging fire it burned

She left, I cried for weeks

And I can’t forget her or the lesson that I learned 🩵

[playstationgamemania]

[comicchannel]

Jogo Midia Fisica Grand Theft Auto Episodes from Liberty City para PlayStation 3

Link para compra BR: https://amzn.to/3QZtoGi

Buy here: https://amzn.to/41gsYjD

[juanjoaiaf]

GTA IV + Expansiones [Xbox 360]. Pasados, opinión y vehículos.

[babyangelsky]

Non is the hidden character and in this essay I will—

—endeavor to make a really good case for it.

This theory is predicated on the possibility of Non still being alive so for my purposes, I'm going to take that as fact. I'm taking a few liberties in places (to varying degrees of clownery) but that central point doesn't change.

This is a long one so get comfy. Okay? Okay.

As of episode 9, we can now be reasonably certain that none of the creepy shit the boys saw was of supernatural origin. They were hallucinations induced by the drug that New/Tan had them smoke in an attempt to get them to spill their secrets about what happened to Non.

Which brings me to Por.

We know two things about Por. One, that something—or someone—lured him out of the house and two, that he saw a ninth person on the house's CCTV.

Was the ninth person a hallucination? If he hadn't been lured out of the house, I'd say maybe. Since he was, let's assume he really did see someone for a second on the cameras.

Now, whoever it was didn't just get Por out of the house. He was specifically led down a predetermined path. When he gets outside and goes to the spot where he saw the figure, he looks down and sees a trail of blood.

He follows this trail and we all know what happens next. He gets deeper into the woods, away from the safety of the house, and starts to hear noises. He turns around, sees a hooded figure following him, and gets chased into a sharpened branch.

Even though New and Phi, although to a lesser extent, are the masterminds behind this little trip to the vacation house, at this moment they are both accounted for. New is playing jenga and getting high with Top and Fluke and Phi is up on the balcony having his dick bitten by Jin. They weren't the ones who lured Por and chased him.

Non did.

What, we're meant to believe that Por just happened to hallucinate a chase that happened to lead him right into a conveniently sharpened branch? And that of all the gin joints in all the cities in all the world, he just had to walk into mine the bad luck of encountering the one branch that was at the perfect height to impale him?

Which is, coincidentally enough, the exact death scenario that Non wrote in his script?

BE SERIOUS.

The only way Por meets this exact death is if Non was the one to kill him, and that leads me to the wire that ended up decapitating poor dead Uncle Dang. A wire which I truly don't think that was meant for him.

Let's follow this line of reasoning. We know that Top and Tee took the road when they went to get help for Por on the bike. This would ultimately fail as they got a flat tire and had to go back, having themselves a hallucination a piece along the way.

At that point, there was no wire stretched across the road. Once they got back to the house, no one would come outside again until morning when they heard Uncle Dang approach on his bike. The wire could've been strung up at any point after the boys got back.

Let's say that after ensuring Por got impaled, Non stuck around to see the aftermath and saw Tee and Top on the bike. Wouldn't it make more sense then for him to have strung up the wire to prevent anyone from leaving as opposed to stopping anyone from coming in?

Because if he is following his script then...

"But Leah," I hear you ask after having humored me thus far, "How would Non even know that the boys would be at the vacation house?"

This is where I sit back down at my vanity mirror in the dressing room at the circus and start taking some liberties.

For Non to have lived, someone had to help him. I mentioned yesterday that I was hopping on the Perth helped Non train and after giving it more thought, I'm doubling down. It's not only possible that Perth helped Non, he had to have done it, and not only because I want Non to be alive so very badly.

Why would Perth and his cheekbones be on the promotional poster for the finale (BESIDE NON I MIGHT ADD) if his character weren't important to the plot? Why would he be there if his only role was to massage Uncle Joe's shoulders?

Allow me to posit a Wild Ass Theory a la @respectthepetty :

If Perth's character helped Non and Known Criminal Keng escape Uncle Joe, that means the video where they were captured getting on a bus was authentic.

But because Uncle Joe and the mafia are still a threat, they can't just go chill somewhere. They have to go on the run and into hiding somewhere they won't be found.

Somewhere like a rarely visited vacation house in the middle of the forest with no contact with the outside world.

Or, alternatively, a creepy temple near that rarely visited vacation house.

Think about it. Non had already been to that house, he's familiar with it, he knows it's empty for long stretches of time and exactly how isolated it is. A terrified teenager fearing for his life is going to want to go somewhere familiar and that house (or the temple) is the perfect place to hide.

I don't think Non went to hide there with the intention, or the hope rather, that he'd get an opportunity for revenge one day. I think he just took advantage of a situation that fell into his lap.

The boys arrived in the afternoon and shit didn't start going down until later that night. That's plenty of time to sharpen a branch, lay down a blood trail, and put on his mask and cloak.

We know all the movie props and the camera and everything were still at the house so it stands to reason that Non had access to them. And we know he had access to the house because White found the knife that was used to cut Por's arms in the closet in the kitchen. The only way that knife could've gotten there is if Non put it there.

Not just any knife, by the way. It was Non's knife, the one that he brought to the house when they came to film and then used to cut Top.

I can't say with any certainty whether Non is acting on his own or with help, but I lean more toward him acting alone. Even if he escaped with Keng, it doesn't mean Keng is still with him all this time later and besides, I much prefer to imagine that ol' boy got eaten by a tiger.

One last thing. This isn't really part of my theory, more like support for it, but when Por is agonizing on the couch, he keeps saying sorry and trying to talk about what he and the boys did three years ago. It could just be a coincidence or deathbed guilt, but I don't think it is. I think Por knows exactly who killed him and that's why he kept apologizing and trying to confess.

In conclusion:

Hope you don't mind being tagged for the DFF round up @slayerkitty ! 🙏🏼

[yourdoseofapple]

I think there should be a building game show for Minecraft. Like Lego Masters, most cooking shows, etc. Like listen. I think fighting is cool and all, and I myself was raised on watching bed wars and Minecraft hunger games and all that, but like also… builder are insane? Like I love watching, Empires, Hermitcraft, other big builders (and redstoners for that matter) because I’m so fascinated by how their brains work???? Like you’re telling me Bdubs took some dirt and made a literal mountain as a BACKDROP for his build in a season??????? Bro????? Like I want some builders to go head to head in a building challenge.

Like, okay hear me out, each week their “building themes” could go from mimicking IRL architecture styles - medieval, French colonial, minimalism, etc - OR could rely on game mechanics. Like you gotta make a build, but it must include five red stone functions - could be as simple of auto lighting and stuff - all the way to farms included into the make of the build!

Judging wise, I think that would be the hardest thing to pin down, because the issue with Minecraft building is that there are a lot of factors when it comes to the concept of building because every builder has an inherent “style” they have and so to compare isn’t necessarily fair???? Because what one person likes may not be the same as another person, so I don’t believe you can judge inherently on how a build looks, but more so if it fits the criteria - did you do your research and keep to the prompt 100% or did you take some liberties in the favor of making it seem stylistically “better” - also, while I am inclined to be like “hey look we could have it audience choice” I am aware that in previous Minecraft events - every tournament event live-streamed like ever - every YouTuber is gonna have bias on their side, and if there is someone with a larger viewership that others, there is of course going to be favor towards them. The ONLY way I could see this being different is if it was all pre-recorded and episodic, but I still believe there would be a heavy amount of bias if someone was on the show with more viewership than others. We would want it to be fair. I do think audience participation is important though, and should be a major inclusion! Like, before an event is to occur I think it would be fun to choose the prompt of what they’re building that week, but the contenders just can’t tweet/say/promote one they wish to do, so it is STRICTLY up to the audience without bias.

Also, I think everyone should come out a winner, not in the “No one came out on top because we are all equal” way - because while that is important it is still a tournament, and as we’ve seen in literally every competition show ever there is always a first place winner - but more so in the, while you didn’t win, let’s reflect on how you are still fantastic and getting something out of this. I know it sounds a little basic, so I do think it would need to be extrapolated on. But I wouldn’t want anyone who “loses” to just go away with “you got clout” award. You were featured on the show, that’s inherent, you deserve more than that, again this can be fleshed out later, but they deserve more too, somehow.

Also for the finalists - I’m thinking either 3 left or 2 left - it should be a mega build level prompt. Could be something like “build a city!” Or just “build a mega base with x block being the main block” and, again, not sure how it would be judged, but winner comes out, with second/third place having some reward as well, not as good, but still considerably great. I also think it would be fun to have prior contestants come on and have to participate in the “here is your block that I got to choose for you” to add some spice to it. IDK what the prize would be, I know it is normally money, and while it could be that, I think it would be more fun to have something a little different that would still be fun and a true “winners” item. Again, not sure what it could be, but it would need to hold to the truth of “oh, hey, this is a true prize and its still fun and I’m getting something out of this!”

Anyhow, enjoy the strange thoughts of my brain and if any streamers/youtubers are out there reading this, lemme know what you think cuz I’m curious. Do I think I could ever do this? Probably not cuz I’m an opera singer doing my masters so time is bet a dream to me at this point, but like. I think it is interesting and would love opinions on it just from the standpoint of discussion. I streamed at one point, maybe I’ll start back up again one day if only to have fun. I feel like that should be what it is, fun, that is the most important thing at the end of the day and builders should have some competitive fun too!

Also, I will admit that I am obviously not knowledgeable on everything - again opera singers not full time Minecraft anything - so I don’t know if something like this has been done before, and while I think it would be cool if something like this existed, it may already exist and I quite simply don’t know! Thoughts, opinions, anything else?

Anyway, if anything, have a good day!

[vitaminseetarot]

Perseid PAC Pick a Fruit: What Blessings Are About to Shower Upon Your Life? 🌠

Hey, hey, listen! [/navi]

Did you know we're gonna have an insanely wonderful Perseid meteor shower on August 13th?! It'll be somewhere in the ballpark of, I dunno, 200 meteors passing an hour?! And the moon will be dark so they will be perfectly visible! So time to grab your favorite lantern, unroll the sleeping bag, and pray for some clear skies cause the night will be sparkling like champagne ~

In the event that you don't see the showers (city light pollution go brrr), their blessings will still be felt by all as they pass over us like benevolent winged unicorns. So I'm gonna do for you a quick PAC to find out what kind of blessing you will receive around this time. The blessings may be small and sweet, but it might just make you smile and look up.

Some of these piles were heavier than anticipated, so please note that blessings come in all shapes and sizes like these fruits below.

🍌🍊🍎🍌🍊🍎🍌🍊🍎🍌🍊🍎🍌🍊🍎🍌🍊🍎

Pile 1: Banana 🍌

[XIII Death, XI Justice, 5 of Cups; Markab, Debilitated - Discomfort, 1. Vision- Contemplating the Future]

This pile reminded me of old crime shows I watched ages ago like "Cold Case Files" as well as "Medium". The shows were all about resolving difficult cases to the very end. Even when the solution was found, the perp was eventually taken in, and the ghost wandered off to the afterlife, there always was a lingering sadness around each episode. Because the entire show premise and episode would not exist if it weren't for these characters experiencing injustice well before the script's running and the camera's rolling.

Your blessing is that you will have the chance to close out something that was left unresolved for a very long time. It's not going to bother you anymore. Without that sense of revenge, you're getting even. Maybe there were fights, or maybe it was just lost information, but you will ultimately feel a sense of closure from this. I read that there's really nothing you need to do at this time to facilitate this blessing. It will come on its own time. Once it does, you may feel it in the form of healthy grieving, of having a good cry. This release may be uncomfortable but it's necessary for allowing the chapter to finally end for good, so let it flow. (Try listening to "Before the Dawn" by Magnetude & Julia Marks, I always play it during rough times.)

I'm getting that you already understand this to be the next step, but I can give you assurance that it's okay to feel bittersweet about it. This isn't a typical blessing, but there is a newfound freedom to be found here. Your Justice card features the Statue of Liberty, and your ethereal orb card Markab talks about liberty as well: "You have outgrown your old skin, now it's time to utilize your wings." It seems rocky right now but trust that you are on the right path. This closure will give you the chance to transform your life and move ahead.

You're being asked to spend more energy looking to what you want to do after this is over than worrying about the closure. There are new doors opening for you, and you have the choice to go down many different paths. You're being asked to specifically consider about where you want to be one year from now, and work from there. The banana you picked is shaped like the waning crescent moon in your card, but it's also a symbol of fertility. Banana reminds you that endings imply beginnings.

If you also feel drawn to pile 3, you can check it out for further guidance as it has a similar message.

Pile 2: Mandarin 🍊

[Queen of Wands, 10 of Cups, 3 of Wands; Sirius, Jupiter - Abundance, II Resources]

What a tasty pile we got here pile 2, cause it looks like with mandarin, you're getting a taste of the sweet life. Your blessing is gonna be a huge boost to your personal confidence. It could be that someone is coming to you with a work offer, one who is bright and charismatic. Or perhaps the fire is being lit from within you. This person could have what it takes to fund your project, for example, or may be enthusiastic to work with you. Your creative potential is being highlighted here. You're onto something good!

It's great seeing the 10 of cups smack in the middle of your reading, but look closely. 10 of cups is not behaving like its usual contented self. The real rainbow is at the end of the road and right now, you're being given some green light signals to move ahead towards your destination. Even though this surge of self-esteem is going to feel really really great in the beginning, ultimately it's to serve the higher purpose of guiding you to your next assignment. This energy is the start towards setting down the foundations for something amazing.

Your ethereal orb card Sirius reads: "Offer me direction and exhibit my intention, my head is full of dreams and my existence is a fantasy." Perhaps your mind is swimming in all the wonderful possibilities that could arise from this encounter or event. But you're not meant to stay in this energy forever. Savor it, praise it in gratitude, then pack your bags and be ready to march out at dawn. If you're able to keep up the momentum, it will likely result in further blessings. But you will need to stay on track and not let it all get to your head.

You will need to keep yourself from getting too emotionally overwhelmed from this blessing. Jupiter can mean "a lot" of anything, which can cause us to feel dizzy from the sudden luck. As if you're struggling to believe if it's true. And it's good to be wary of "too good to be true" scenarios, but once you look closely at the finer details, you can proceed. The key is to stick with what's true for you and to not compromise for somebody else's vision, as it's just too soon for anyone but yourself to get involved with what you're working on, but be open to support from the outside. You can move forward with both optimism and grounded judgment.

Pile 3: Apple 🍎

[8 of Cups, Queen of Coins, X Wheel of Fortune; Athaya, Capricorn - Achieve, 2. Dominance - Believe in Yourself]

Pile 3, when I was shuffling your tarot deck I got very tense before drawing 8 of cups. Like a wound rubber band waiting to snap. Please make sure to go out on walks or you're exercising to let off some steam. You seem currently stressed out about something that has long overstayed its welcome. It's something you may deeply cherish about in some way but is draining you rather than helping you grow. It may be the very apple of your eye, but it's really poisoning you at this point. There's a sore spot that keeps getting pushed. An event may have happened recently which caused you to say, "that's it!" and storm off only to feel bad about doing so.

Don't be! The blessing here is that as soon as you drop whatever is bugging you and weighing you down, you're going to feel so much lighter. Like being lifted from the gravity of the earth for a moment. You will be propelled into an eventful and fun new chapter in your life, and you're being given the inner drive to do this. The initial blessing is gonna be a feeling of a massive weight being lifted from your shoulders and a chance to breathe. Once this happens, and you've taken care of a few loose ends, you'll be in a better position to receive greater blessings down the road. I see 1010 in your cards so look for this number as a confirmation that you're on the way towards success.

You're being asked to take personal responsibility and control for your life, but the keyword is your life. Do not take responsibility for this weird old baggage unless you actually need to talk it out with a person or make amends, but that's not what I'm reading here. This is more like if a person joined a fitness group and made good new memories and connections only to be forced to leave it behind. Maybe the fitness group was a cult all along, maybe the teacher was spreading damned lies and statistics about nutritional health, maybe there were a lot of disagreements, and it got to where you had to leave it behind just to feel any relief.

Your ethereal orb card Athaya reads: "Duality teaches us that in order to love we must bind together what differentiates us." When I read this I heard the lyrics "if you love me let me go". Sometimes holding on to what we cherish too tightly can cause it to slip quickly from our grasp when we least expect it. They were great memories, but you have so many amazing new memories waiting for you. Once you're in a position to prioritize your life first, to get your needs met, and focus on practical matters, then opportunities will be flooding in for you. Moving on won't be as hard as you think when life moves you to a better place.

If you feel drawn to pile 1, you can check it out for further guidance as there are similar messages.

This reading has not been evaluated by the FDA to diagnose, prevent, treat, or cure any disease or infection. Please ask your physician before going online.

2023, @VitaminseeTarot ™

[anyasathenaeum]

I have an Eriks-adjacent request for you. How about Vash and Reader, newlywed, visiting Granny and Lina sometime after the main story is over? I think it would be a nice and wholesome scenario. <3

In The End

A/N: Okay I'm just gonna go sob hysterically in the corner because this is literally the sweetest idea Anon I hope you know that I love you for this.

Pairing: Vash x reader, previous Eriks!Vash x reader

Warnings: Potential spoilers for episode 12 of Trigun Stampede, potential spoilers for episode 18 of Trigun, hinting towards PTSD/trauma, the author taking liberties

The town was quieter than either of you remembered.

Perhaps it was because people weren't fighting to leave anymore, and bandits no longer ran the place.

"It's so quiet," Vash mumbled to your side, reading your thoughts exactly.

"I know," You replied, squeezing his hand gently in yours, "It's strange, isn't it? Do you think they're still here?"

Vash just hummed quietly in response, "I think so. Let's go, only one way to find out, right?"

The smile Vash gave you was bright, and it coaxed a matching smile out of you in a way only Vash could. With another reassuring squeeze of Vash's hand, the two of you began to walk through the town, reminiscing at the times the two of you had spent here.

This was the town where, a couple years after the disaster in July city, you had reunited with Vash. You had believed that Vash, the love of your life, had perished in the incident, or was permanently in hiding and that you'd never see him again. However, you were wrong, as Vash had been there in front of you as Eriks when you'd blown into this town all those years ago. You didn't recognize him at first, but Eriks had felt familiar to you for reasons you couldn't identify. That is, until you realized he wasn't Eriks - he was Vash. Your Vash.

From that point forward, you had never left Vash's side. Through thick and thin, you stuck by him, comforting him and giving Vash the courage to continue onward with what he needed to do. You and Vash were inseparable, right up until Vash's encounter with his brother, Knives. Once it was all over, and the worst had passed, you and Vash had decided to bind yourselves to one another in every way you knew how, which led to the rings you both wore - yours on your left ring finger, and Vash's on a chain around his neck. Reminders of the promises the two of you had made to each other.

"Wow," you whistled out, looking around the town - people seemed to be calmer, happier, even greeting the two of you as you walked through the streets, "Are you sure this is the same town, Vash?"

You heard Vash chuckle beside you, "Yup, I'm pretty sure. I did spend a few years here, you know."

"Oh, I know, Eriks," You shot back immediately, cocking an eyebrow at your husband.

Vash let out a nervous laugh and rubbed the back of his neck, "R-Right, sorry... I sometimes forget you knew me as Eriks, too."

"Finding you was the happiest day of my life, Vash. Regardless of the name you had, the clothes your wore or the way you looked that day. I found you. That's all that mattered to me, and that's still the only thing that matters to me."

You spoke so simply, every word a well-known fact to you, and it made Vash's heart swell in his chest. He fought back the urge to cry in front of you, instead opting to lift your joined hands so that he could press a gentle kiss to the back of yours, followed by a second kiss to the ring you wore on your finger. His ring.

"I'm so glad you found me, (Y/N). I dread to think what might've happened had you not."

You smiled at Vash's words, "I'm afraid you're stuck with me now, Stampede."

"I wouldn't have that any other way. I love you, (Y/N)."

"I love you, too, Vash. Now, let's go find Grandma Sheryl and Lina."

"Right!"

The two of you continued to walk hand-in-hand, progressing towards the farmhouse that you both knew had been home to Vash for 2 years.

Sure enough, the farmhouse looked exactly as you remembered - the same weathered paint, the Thomases strolling in their pen outside, the same porch with the rocking chair Grandma Sheryl loved, everything felt as though it were frozen in time.

Vash suddenly stopped walking, and when you turned to look at him, you could see the worry on his face.

"It's okay, Vash. Lina and Grandma Sheryl will recognize you, and I know they'll be happy to see you. Remember, they asked Wolfwood and I to take good care of you."

Your voice was gentle, and you just stood there next to your husband, waiting for him to feel comfortable enough to take the step forward on his own. You knew him well enough that pushing him would get you nowhere - you just had to be patient and kind to him, especially when he wasn't patient or kind to himself.

"Right."

Vash's voice was quiet, and you could see he was remembering something from the faraway look in his eyes. Likely reliving his time here as Eriks, and likely all the horrors that had followed. All the friends he had lost, all the death and all the sorrow, he was reliving it all in that moment.

You reached up slowly, resting your hand gently on Vash's face so as to not startle him, cupping his cheek delicately in your palm as you stroked his cheek with your thumb, "It's okay, my love. You're here, with me. Come back to me."

Sometimes, your words were enough to bring Vash out of his thoughts. Sometimes, they weren't, and that was okay, too. Vash had gone through so much, and you knew he needed time to come to terms with everything and heal as best as he could. You would be there, no matter how long it took, no matter what happened.

This time, though, your words proved enough and Vash's eyes cleared, his focus landing on you as he gave you a soft, thankful smile. He didn't need words to express just how much he appreciated your presence, your patience and your love.

"Come on," You encouraged softly, tugging your husband forward slightly, "Let's go see Sheryl and Lina."

Vash just chuckled and let you tug him forward, allowing you to give him the courage to face the people who had sheltered him, fed him, clothed him and loved him until he had upped and left.

You knocked on the heavy wooden door, your knocks echoing loudly around you both as you waited for somebody to answer. You could hear footsteps from inside, as well as two voices yelling incomprehensible things to each other before the door swung open.

There, standing taller and looking more grown up than ever, was Lina.

She blinked a couple times as she gazed at your face, then at Vash's, then back to yours, then back to Vash's, trying to make sense of what she was seeing. Then-

"ERIKS?!"

Before Vash could register what was happening, Lina had thrown herself at him, enveloping him in a tight hug, tears streaming down her cheeks as she yelled.

"Oh, my God, Eriks, you're back! What took you so long, you idiot?! Grandma and I were worried about you, you hardly wrote to us! You really kept us in the dark, you know! I can't believe you're back, I've missed you so much!"

Vash could only chuckle as he held the weeping girl, who despite having grown up, was still small and young in his eyes.

He rubbed her back comfortingly, mumbling softly, "I missed you, too, Lina. I'm sorry I didn't write, it's been a very hard time until lately."

You stood there, smiling warmly as you took in the touching scene before you, as Lina embraced Vash with everything she had in her. Vash was like a big brother to Lina, and you knew how much she loved him and how much he loved her. It was obvious, right up to the moment when Lina cried as Vash left to continue his journey all those years ago.

Once Lina had gotten enough of her tears and emotions out, she drew back from Vash, turning to look at you and then, suddenly, she was hugging you tightly, too.

You let out a startled yelp as Lina almost knocked you over, but you quickly returned her embrace, hugging her tightly - she was still the feisty, strong girl you remembered.

"We missed you, Lina. Look how you've grown!" You exclaimed, rubbing her back gently and smiling at her as she hugged you.

"Yeah, that happens when you're gone for a few years!" She snapped back, her voice still thick with tears.

A twinge of guilt spiked through you, and given the expression on Vash's face, you knew that the feeling was shared, but there was no point to dwell on it now.

"I know, Lina, and I'm sorry. We're both sorry," You whispered gently, brushing away the young girl's tears as you looked down at her, "But we're here now."

Lina just nodded her head before wiping her face with her sleeve, taking a couple steps back as she tried to recollect herself before pointing at you and Vash, "Good. You two better not be leaving anytime soon."

At that, you and Vash both let out a laugh, with you putting up your hands in defence, "Alright, alright, yes ma'am! We're not going anywhere for a bit."

Your answered seemed to pacify Lina, until her eyes suddenly narrowed as she saw something glint on your hand - your ring.

The gasp that escaped her startled you as she ran forward, clutching your hand in hers as she gawked at your ring, "(Y/N), are you married now?!"

You let out a laugh, "Yes, indeed. Have been for a little while."

"Who's the culprit?"

You let out another laugh at Lina's question, and you heard Vash laughing next to you, causing Lina to glance at him curiously, "Why are you laughing, Eriks?"

"Because he's the culprit, as you put it," You answered, stifling another laugh as you saw Lina's incredulous expression.

"No way. You married Eriks?!"

Vash just reached around his neck and revealed the chain that bore his matching wedding ring, causing Lina to squeal loudly.

"What?! No fair, the two of you got married?! And you didn't tell us?! What the hell, that's not cool, you two better have another wedding here with us so we can attend or so help me!"

Both you and Vash were now laughing harder than you had in a little while, with Vash coming up and pulling you and Lina both into his arms, holding you both close to him. In that moment, Vash knew peace unlike he had ever known before, laughing as he embraced those he felt were his family - the person who was like his little sister, and the person who was the love of his life, his spouse. That moment was perfect, and Vash felt a pang of longing, wishing he could stay in this moment forever with the two of you. But, soon enough, Lina pulled back from the hug, tugging both you and Vash towards the inside of the house.

"Come on, you have to see Grandma Sheryl! Oh, she'll be so happy to see you both!"

You and Vash just looked at each other softly, smiles appearing on your faces as let Lina guide you both into the house. In that moment, both you and Vash knew nothing but peace, happiness, and love, and in the end, everything looked hopeful.

Taglist: @mossygalaxy, @ryuukami4, @spacioussoul, @iceoblivious

[thecheramore]

MEME TIME!

And ffs Trev stares right into my soul 😭

[child-of-the-sky-people]

hi Ali! im looking for a new narrative podcast to get into, what's your current rec list? :)

Oh god it’s so long 😂

Horror:

Human Error - this one is mine so of course I’m recommending it 😂 it’s about a found family of survivors going on a road trip during a zombie apocalypse 12 years after the world ended!

We’re Alive - also zombie horror and was the show that got me into audio dramas! It’s very long and looks overwhelming but I promise it’s good!

Darkest Night - anthology horror where you find out how people died but each case is actually related and there is a bigger mystery and this show lives in my head rent free lol

The Waystation - found footage style show about a group of people on a space station that all died (the story is trying to piece together what happened). It’s along the same lines as The White Vault

DERELICT - a research group are studying a door at the bottom of the ocean, and then shit goes sideways. I binged this series super fact and I need season 2 immediately lol

The Eleventh Hour episode called The City of Statues - I made this! It’s about a group of survivors trying to make it out of a city filled with statues trying to hunt them down 👀

Someone Dies in this Elevator - mix of horror and thriller I think. It’s an anthology series where every episode someone dies in an elevator 👀 I composed for a few episodes and it’s v fun 🤩

Thriller

The Liberty Podcast - made by the same folks behind The White Vault and VAST Horizon. It’s an anthology series of stories taking place within and surrounding a tower where a civilization lives. Some episodes might lean more towards horror but I personally consider it more thriller

The Walk - made by the same folks behind zombies run! In this show you the listener are the main character, an individual making their way across Scotland with a package they were mistakenly delivered. I love this show so much omg

Primordial Deep - scientists are finding extinct dinosaurs alive and well under the ocean and they’re trying to figure out what the fuck is going on. I fucking love this show omg

Spines - woman wakes up in the middle of a cult ritual with no memories and is trying to figure out who she is and where she came from. Also there are powers!

Mirrors - same person behind Spines! Three women from three different centuries (who are all related to each other) discover they can communicate with each other through ghost like figures. It has a bigger mystery and the ending made me cry it was so good

InCo - a woman finds a prince from a world that shouldn’t exist floating in space. This show is a delight and is a micro series and I love the humor within it so much omg

Where the Stars Fell - the Antichrist is roommates with their guardian angel and they’re trying to stop the rapture

DUST - anthology series about science fiction and technology! Season 3 is definitely my favorite as it is one story but the entire show as a whole is very good

Feel Good/Light Hearted Shows

Unseen - this show lives in my head rent free and I ache for it to be real. It’s about magic existing in the real world and is an anthology! It’s made by the same folks behind Wolf 359

Joy to the World - holiday series I helped produce! It’s about an astronaut named Joy talking with different people on Earth about the holidays! It’s an anthology and v warm and I highly recommend it as a holiday series

Sidequesting - a person who is totally not the hero is avoiding the main plot and going on a bunch of side quests! It’s charming and lovely and made by the wonderful Tal

Back Again, Back Again - a woman is retelling her stories of his magical world she was transported into and about the prophecy she became involved in

If none of these are your jam lmk and I can suggest some more! If you tell me what you like to listen to/what kinds of stories you enjoy I can make a more personalized list

[religion-is-a-mental-illness]

By: Kevin Ray

Published: Jun 27, 2024

I’m a gay man who is skeptical of the existence of a so-called “LGBT community.” The idea of this community is a belief rather than an objective truth, and I don’t affirm its existence for the sake of social niceties. Endorsing subjective beliefs to “be kind” is the behavior that landed society in the wreckage of Critical Social Justice activism. People have a right to their beliefs, and I have the right to write about why I don’t share those beliefs. 

Although there are indications that the tide is incrementally shifting, on much of the left, it is still the fashion of the day to view any dissenting arguments to popular subjective beliefs held by or about minority groups as anything from “not nice” to outright “hate.” I’d like this trend to go the way of bell-bottom jeans. That’s not going to happen until people get back into the habit of voicing their opposing views. In the interest of taking one small step toward ending “Cancel Culture,” I don’t ever say, “LGBT community.” 

The claim that an “LGBT community” exists must be supported by evidence that withstands scrutiny. The only evidence supporting this claim is a population of self-identified gay men, lesbian women, bisexual and transgender people living openly across the globe. But a population doesn’t make a community. Communities of affinity exist when members participate in events together and have a shared set of values. Many people within the LGBT population participate in communal events, but many don’t. The identity groups that comprise the “LGBT community” have extremely divergent interests, behaviors, and concerns—and share little in common aside from minority status that some relish in and others resent. Also, people who are gay, lesbian, bisexual, or transgender vary in a myriad of other identity characteristics and affinities, including age, race, political affiliation, citizenship status, income, and education level. The life experiences within this population are also varied. An out gay man in Seattle who enjoys the liberty of marching hand-in-hand with his boyfriend in a public parade has a wildly different life than his closeted counterpart in Tehran, who can be legally punished with up to 99 lashes or execution if convicted of sodomy under Islamic law. Everyone in this population does not meet together in communal celebrations, and they don’t share a monolithic set of values, behaviors, or life experiences.

Also, who is of this supposed community? Is a twenty-something man in a romantic relationship with a woman who, every now and then, decides to “take a walk on the wild side” with another man of the community? Is a thirty-something woman whose struggle with gender dysphoria desisted after years of exploratory psychodynamic therapy of the community? Was she of the community when she identified as male? Is she excommunicated now that her dysphoria has subsided? 

What about me? I happen to be a gay man; does that alone make me of this community? I used to go to gay bars, but I don’t anymore. I don’t attend events at the LGBT Center, and I don’t support it (or any LGBT organization) through monetary donations. I’ve never watched an episode of RuPaul’s Drag Race. I don’t identify as “queer,” and I reject its political aspirations. Despite living in New York City for over thirty years, I’ve never set foot on the gay mecca known as Fire Island, and I haven’t been to a Pride parade since 2007. Am I to understand that, merely because I am romantically, intimately, and sexually attracted to other men, this makes me of a community? Do I decide what communities I belong to, or does someone else decide that for me? 

I believe this decision is being made for me to satiate other people’s political agendas. When the incantation of an “LGBT community” is cast, it is often followed by political jujitsu, asserting this “community” has a unified belief, cause, or demand, which I’ve already argued is false. In truth, this mythical community is frequently conjured as a cudgel wielded by the left to blame, shame, and expunge those not willing to capitulate to the latest LGBTQIAA2S+ youth activist temper tantrum. Conversely, it’s used by the right as a political “wedge issue” to frighten voters away from electing any Democratic candidate, be they moderate centrists, radical progressives, or anywhere in between. 

Worse, viewing the population as a community can superimpose the idea that this group needs protection. This impulse to protect had disastrous outcomes during the monkeypox (Mpox) outbreak that began in May 2022. On July 15 of that year, The NYC Department of Health and Mental Hygiene (DOHMH) decided to change its messaging about how the virus is contracted. Some within the department feared promoting abstinence might “stigmatize” gay men. Instead of honestly telling people about the risks of contracting the virus during sex, DOHMH said, “[f]or those who choose to have sex while sick, … sores should be covered with clothing or sealed bandages.” Whistleblower Dr. Don Weiss, a senior epidemiologist at DOHMH, knew this approach was dangerous, and took his concerns to The New York Times. In their response statement, DOHMH said, “For decades, the L.G.B.T.Q.+ community has had their sex lives dissected, prescribed, and proscribed in myriad ways, mostly by heterosexual and cis people.” However, when I am at risk of contracting a virus that causes extreme pain and possible lifelong scarring, I can’t afford other people’s identity politics and their virtue-signaling protection of imaginary “communities.” Rather, I want the best medical advice available and I don’t care about the identity of the person who gives it to me or what “community” the person giving me the advice comes from! Ironically, it was not the “heterosexual and cis people” at DOHMH who gave me the best advice about avoiding Mpox. It was Andrew Sullivan, a gay male journalist who took to his podcasst The Weekly Dish along with gay activist Peter Staley. Their advice was, “cool it for a month.” Sullivan and Staley did not make me feel “stigmatized” by promoting abstinence. They told me the truth, which made me feel that somebody cared about me and my well-being. 

Identity divisiveness needs to stop. I don’t use the term “LGBT community” because I don’t believe it exists, it reduces a diverse population into a blunt, monolithic group, it reinforces an “us vs. them” mentality, and, as I just illustrated, it could be dangerous to my health. It fuels division at a time when Americans desperately need to come together. 

This Pride Month, it’s worth remembering that rights for LGBT people were secured because of the common humanity appeal made by those who said, “We live, laugh, and love just like you, all we want is the same rights everyone else has.” It’s time to stop segregating LGBT people into a “community” that is separate and apart from our wider society. It’s also time to realize that much of this divisive impulse is coming from within the LGBT population, and something needs to be done about it.

Gay, lesbian, bisexual, and transgender adults need to stop being afraid of what young LGBTQIAA2S+ activists might say and start speaking up. Each day that we don’t stand up to activist fits is one more day that someone else might get bullied, canceled, or worse. The inappropriate behavior of young activists must be confronted by adults who believe their behavior is harmful. LGBT grown-ups need to proudly re-assert that here and now is the best place and time to be out and proud, and it will only get better if activists stop behaving like the bullies who once persecuted us. Pride does not call for revenge for past injustices. The attacks on heteronormativity, the patriarchy, toxic masculinity, and the pronoun wars need to end; if civil rights for LGBT people are rolled back, it won’t be by “conservative” political maneuvering, it will be a self-inflicted wound caused by LGBTQIAA2S+ activists and their overblown tirades that eroded the goodwill and trust built over time by people who made advances through a common humanity appeal. Activists may not like “heteronormativity,” but they all have to learn to live in a world where the majority are heterosexual. Let's be frank—none of them would be alive without some heteronormative behavior, and they should show a little gratitude toward those who brought them into this world. 

If I were to speak to one of these young activists, I would share my message for Pride 2024, which would be this:

Gay, lesbian, bisexual, and transgender people are a minority, and that comes with challenges. Facing obstacles and overcoming them gives me a reason to get up in the morning—it gives purpose and meaning to my life. It’s also true that most people have challenges to navigate, so those who are LGBT are not unique in this regard. A life well-lived is not one spent wallowing in identity grievance and pursuing revenge for injustices you did not directly experience. Nobody is advocating for forgetting the wrongs that occurred in the past; it’s possible to recognize the history of injustices inflicted upon LGBT people in the past while also expressing gratitude for the wonderful advances that have been made. It’s your job to make the most of the hard-won rights that have been earned for you so you might use those rights to pursue a life of joy and fulfillment despite the challenges inherent in being a minority. It’s not always going to be easy. There will be good days and bad days. And while I can’t say there is a “community” to support you, there are many people among a population that know what you’re going through and want you to live life to the fullest. 

Happy Pride!

==

"A population doesn't make a community."

[ratherembarrassing]

Geeta Patel on helming House Of The Dragon’s slow-burning season finale

The director discusses pulling off Alicent and Rhaenyra’s reunion, those Game Of Thrones nods, and more

House Of The Dragon closes its second season without big battles or dragons setting cities ablaze. Despite that lack of action, “The Queen Who Ever Was” still feels monumental because of the charged reunion of Rhaenyra (Emma D’Arcy) and Alicent (Olivia Cooke) that promises to turn the tides when HBO’s drama returns in 2026.  

Their conversation isn’t in the source material Fire & Blood, and it’s not the only creative liberty HOTD takes in the finale. Another big swing comes in the form of Daemon (Matt Smith), whose latest haphazard vision features a cameo from a Targaryen family member and two major Game Of Thrones characters. Clearly, the Ryan Condal-created adaptation is attempting to pave a unique path for itself

To do so, the show entrusted Geeta Patel to bring these key moments to life. The director had previously helmed two other HOTD installments, along with episodes of Ahsoka, The Great, Dead To Me, Superstore, and The Mindy Project. This year, she also produced and directed Hulu’s true-crime drama Under The Bridge, which earned series star Lily Gladstone an Emmy nomination. 

The A.V. Club spoke to Patel about how she framed Rhaenyra and Alicent’s big talk, why Daemon’s visions were her favorite part of the episode, and going back to her roots with projects like UTB. 

The A.V. Club: When did you find out you would direct the season-two finale? What did you want to achieve in the episode? 

Geeta Patel: Ryan called me after I had finished working on my season-one episode “The Lord Of The Tides.” I wanted to do a good job on it so I was just happy that he was happy enough to invite me back. It was a very nice surprise to do the finale. After that, I got all the episodes, read them, and saw what needed to happen, which was that we needed it to feel like a big rising action moment. I challenged myself to bookend the season premiere, so I went back and watched that the theme of it was sacrifice for duty. So I kept looking for opportunities to come full circle on that theme in the finale. It’s all in the writing because [episode writer] Sara Hess and Ryan had already spent probably a year making sure of it. So it’s just my process of understanding and finding my way through it visually. I also just wanted to make sure that the scene between Alicent and Rhaenyra was building off of the scene in episode three, which I also directed, I don’t think coincidentally. Maybe that was Ryan’s intention that we were all working together again. 

AVC: You directed the only two scenes that Olivia and Emma share in the season. Their conversation in the finale carries way more emotional weight. What did you all want to evoke with their interaction here?

GP: We wanted to feel as if there was that sacrifice made for duty and that Rhaenyra is pressing Alicent against the wall to do what she’s never done before, which is to take action. What’s interesting is that these two women were friends to begin with, and then it became an eye-for-an-eye type of relationship. Now there is so much pain behind them that this scene is a wrestling match with pain and forgiveness. They both were telling themselves, “I’ve moved on. I can’t feel anything.” But all we saw was emotion. All we saw were these two friends who still loved each other and yet had gotten a divorce. And you ask yourself, Why are they both in this room again? 

It’s because they couldn’t stay away from each other. Yes, we can reason that it’s because of the kingdom and the realm. But when they come together, they are young girls again. Both actors together become a little juvenile and innocent with their facial expressions, like Olivia biting her nails again. Emma contours their face like a child with exaggeration. That made it grounded and real. My hat is off to Sara, whose writing brought so much humanity to the scene. It was like watching a great film with two people who’ve taken this long journey together. It could have been boring, but the writing made it nail-biting and heartfelt. 

AVC: At some points, they’re close and face-to-face, while at other times, Alicent is moving around almost manically while explaining herself. What was your directive to the actors? 

GP: It’s a very collaborative experience. When we work on a scene like this, we’ve had rehearsals beforehand where we talked about the point of the scene. I mean Ryan, Sara, Emma, Olivia, and myself. What we came to is that the shift in the scene is when Rhaenyra says, “A son for a son” and then Alicent agrees. That’s what we’re building to, so if we think about that tone-wise, we’re already at a 10. 

The truth is also when we started the rehearsal, Emma and Olivia are such talented actors, they ran through it and started walking, and I was just watching. There is something to be said about allowing the performers to just be the characters. I do this quite a bit as a director. I say, “Okay, go ahead, do whatever you want to do.” I check that one moment that we know is about the shift and make adjustments along the way, some of which are technical because we want to make sure we can make the day if we have too many camera moves. I also thought it was lovely that at one point, there was a silence between them, so I asked them to keep that and exaggerate it if they felt it was right. I just said, “Don’t worry, keep going; we’ll keep rolling.” So those moments were beautiful and came from the two actors and me experimenting within the parameters set out. 

AVC: What was it like to prep with Ryan and Sara for this critical scene? 

GP: Ryan and Sara are extraordinary in that they’re very easy to approach. One of the things I love about the show is we got all the episodes before we started shooting, so I would write all my notes and questions, mainly questions at that point. So much of what Ryan and Sara want for the show is between the lines. For example, in the first season when I did episode eight, it was about linear analysis between Rhaenyra and Alicent in that episode. I remember thinking even back then that they never say what they’re feeling, but it’s intentional. That’s a great part about Ryan’s vision for HOTD, and that’s why it’s so exciting to work on it because it feels very real even in a world with dragons in them. 

I asked them questions, but it was not for them to change the script. Instead, it’s for me to understand what’s intentionally not on the page. And then from there, we start molding the scenes together. I’m constantly checking in with them about what I’m thinking. I push their buttons and say, “No, no, but what about this?” Sometimes they’ll say things like, “No, you’re wrong” or “Okay, sure, let’s try it.” So, at that point, I’m trying to serve them and challenge their vision in a way. 

As we start shooting, we usually have rehearsals for the bigger scenes, and Ryan, Sara, or one of the writers would come to help us understand what the writers intended. A lot of times, what we found in the finale rehearsals is there’s something we needed [to set up] for season three, so it had to be this way. It’s valuable to have the writers there with you the whole time because they know more than we do. Or sometimes there’s a change to another episode, right? So then they’ll make sure that we check that. A lot of things in this episode had to do with the tone of the characters since we were introducing a few new ones. 

AVC: I presume one of the questions was about Daemon’s visions of things like Rhaenyra on the throne, him in the water, the Night King, and Daenerys. What went through your mind as you read it in the script about how you’d execute it? 

GP: In the script, it was exactly like that: a list of the moments in his vision, almost like bullet points. Ryan and Sara wanted it to feel fragmented. So my first question to them was [about] what they want out of it in terms of story because it’s such a visual moment. And they particularly didn’t want it to be too literal. So they wanted me to run with it. Their main point to me was that this vision has to change Daemon’s point of view. It has to tell him Rhaenyra belongs on the throne, and everything he’s been doing this season or thinking about how his wife is putting him down and he’ll never work for her isn’t true. He needs to see that he’s part of something bigger than him, which was a huge undertaking. [It was] a huge challenge for me that definitely had some sleepless nights involved because Daemon is inherently someone who only thinks about himself. He is not someone who learns lessons easily. So we needed this to be powerful, and yet there are no words in it until the very, very end. 

I sat down with the storyboard artist, took everything they told me, and started filling in the blanks of what I thought we needed to get to what they were saying, finding transitions visually between them to give it an organic feel. Ryan wanted the tone of this scene to feel like something specific to HOTD and unlike anything you’ve seen in fantasy television before, or even in Game Of Thrones. So I spent some time looking to give it that treatment. I was quite honored. That was one of my favorite moments in my career as a TV director, to give this my voice and put it together with the storyboard artists. Once we came up with it, I presented it to them. I’ll never forget that day.

AVC: What was it like to put Matt Smith and Phia Saban in a scene? We rarely see Daemon and Heleana together.

GP: It was fun to put them together, and I think they both enjoyed it too. It’s magical because Matt had been playing in this different dimension in season two.  For Daemon, it’s exciting to find someone who shares his powers. Phia has always played this person who is lost in her universe, and now there’s someone else in it. So it’s random, but it also makes sense. 

AVC: One of the new faces you introduce is Admiral Sharako Lohar, played by Abigail Thorn, who was originally a male character in the book. Her scenes with Tyland Lannister bring a degree of comic relief. Was it refreshing to have this aspect in the finale?

GP: What’s great about Sara is she also has a comedy background, and it comes across in her effervescent writing. As a director, I’m trying to take her writing and make sure that everything I’m doing with it works together along with lighting, blocking, and tone. The second film I made, Meet The Patels starring my brother Ravi, is about my family, and it’s a comedy. What I learned while working with him was that a lot of comedy came from improvisation, feeling very comfortable, and having the space to play. As I started directing TV comedies, I would constantly work with the actors in that way and try to support them and give them space to do many takes. I know sometimes people say, “Oh, this great director can get a scene in two takes.” That’s fine, but I do love pushing the actors to take advantage of their talents. So many actors might say, “I can’t improv,” and I look at them and reassure them and say, “I’ve got you; if it’s not good, I’ll throw it away.” 

So when it came to this finale, it was the same thing. I would say [to Abigail and Jefferson Hall], “Go ahead, let’s do this” and later move to, “Okay, now forget everything I said and do whatever you want.” It’s like an exercise in theater, and these are excellent performers. Matt Smith particularly also loves to play, as does Emma, and when they do, every take is different. As for Abigail, when the audition process started, I think Ryan knew she was the one. She was so great to work with. If you look at the Lohar scenes, you don’t know much about her background. Abigail and I wanted to make sure that her character felt very lived-in and had history. I wanted to give her all the tools she needed so that when she said something, it was coming from a deep, authentic place. We spent a few weeks on and off training, and she would improv moments of Lohar’s history. We had one of our esteemed dialect coaches play against her. We played out her childhood, who her mother, father, and sister might be, where her pain comes from, and everything leading up to this episode. It helped shape her voice, the way she moved, and her tonality.

AVC: The finale ends with a montage revealing where every character stands. It’s a big season-three setup. Were you nervous about pulling that off?

GP: With the final montage, my biggest fear was it would be boring because it’s so many images. I wanted to make sure that I wasn’t, as a director, treating everything similarly. We wanted the montage to have rising stakes for the impending war. When you have that many images, we need to keep up the pulse of the sequence. So the first thing I did was to ask myself if I could break it into three acts and what the shift point would be so it doesn’t all feel monotonous. The big thing I settled on was a sacrifice, which is Aegon. His placement had to come at the two-third mark. I had hoped it would give the montage its shape and sustain it. It also tells a story because, in the previous scene, Rhaenyra says to Alicent that she hasn’t sacrificed anything, and they decide it’s going to be a son for a son. The montage is to show everyone’s going to war, but Aegon has now left. So the stakes have changed. What’s going to happen now? It’s an interesting way to leave the season. 

AVC: This year also saw the release of Hulu’s Under The Bridge, which you directed and executive produced. What drew you to it? What was it like to bring personal experience along with your expertise to this undertaking? 

GP: Yeah, so I’ve been looking to do a pilot for a few years. There are exciting episodes like House Of The Dragon, of course, but I’ve been wanting to direct a pilot. When I read the script for Under The Bridge, about an Indian girl in Canada who was bullied and killed, I couldn’t stop crying. I was bullied around the same age of 14 for being Indian, and that still stays with me. It’s shaped me. I know UTB is a true story, and I felt so bad that it happened. At the time early on, the project was small and no big stars were attached to it yet. There wasn’t a lot of money for this project. While developing it, it was about what angle and perspective to take, and when that was done, I got the job of directing the pilot. 

The next thing was to make sure the performances felt real and that we were doing Reena Virk justice. I particularly had four young actors who hadn’t done much yet simply because of their ages; they were 12 to 15. None of them had done anything that resembled UTB’s tone, which was going to be very 8 Mile and Fish Tank. In a method similar to HOTD, I spent a few weeks and weekends workshopping the characters with the actors. We improvised their histories. It was very hard for the girls, and it was hard for me to watch. We also worked on their voices. Vritika Gupta, if you hear talk, it’s very sweet. When she’s playing Reena, her voice goes down. UTB was a labor of love. Again, I had a collaborative showrunner and studio. I said to them in the beginning that I can deliver a show that’s just like something you’ve seen before, or I can deliver what you want, but you’ve got to give me time to work with these talented actors. 

AVC: As someone who’s directed big-budget dramas, TV comedies, and gritty documentaries, how do you think playing in different genres has developed your skillset? What do you want to work on next? 

GP: I grew up going to India almost every year of my life, and I’ve constantly recognized a clash of cultures. So I’ve always wanted to work on topics of civil and social justice through my work, which is how I started in the documentary space. But then I realized quickly that doing it was preaching to the choir because a lot of liberals were watching the movies made by me, a liberal. So when I entered the entertainment industry, I planned to hone my skills and come back to doing those kinds of things and expanding my audience. I want to make a difference. So it’s been eight years that I’ve been trying to hone it. The three episodes of HOTD feel like the Olympics for me. It’s what I’ve wanted to do for years along with the comedies. 

Now it’s time for me to switch gears. I want to bring more South Asians to the screen. I am working specifically on stories like that, which have my voice, having now learned whatever I have. I have an entirely Gujarati language film I wrote because everything doesn’t have to be in English anymore. You can make shows and films from other backgrounds. I don’t mean a Hindi-language Bollywood film, but something even more different. I mean, we watched and loved Squid Games, right? So I’m going back to my roots to explore these topics of race and gender. I also want to make things that are classics that I could watch over and over again like When Harry Met Sally. 

[self-indulgent-paw-patrol]

This is no hate towards Skye, but am i the only one who thinks that Marshall should have been the main character in the Mighty Movie instead of her?

Well, I mean, as far as I've seen for a while in the Paw Patrol tags, there are more people who think that too.

I can see why- Marshall is a fan favorite. It was a bit obvious the first movie ever would center on Chase, he's like the Patrol's Second In Command, so LOGIC would say that second movie would be about Marshall, as he's the fans' favorite pup (as far as I've seen from several polls for several years before I was in the fandom, friendly reminder I saw one episode for the very first time just now in January 2024, so yeah, I'm kinda the "oldest newborn" ever in this fandom).

While I can't be sure just why they went for Skye for the second movie FOR REAL, my guess is that it's mainly for two reasons, under the cut because the post got long XD

One would be to please the girls, we know there are a lot of girls watching Paw Patrol (and why not, women too, just like me), and we don't have as many female pups in the show. It's like, Skye in the main team, Everest in the B Team, and then Liberty who took even longer to be added into the story. I'm not counting Sweetie because she's not a member of the Paw Patrol at all, as far as I'm concerned too.

The other reason would be to give this cute message that "Your size does not define who you are or what you can be". "No job is too big, NO PUP IS TOO SMALL" and all that.

Besides the ultimate goal of making more merchandise to make parents wallets cry, the goal of most kids movies is to give some simple but important message, and that's what they went for with this second movie, centering it on Skye for that. She's just perfect for that particular message, as Ryder said, he started with that catchphrase because of her.

And there it is: This kind of plot just would NOT fit with Marshall. He's not a small pup- heck I think he's got the longer legs among them tbh. And honestly? The only moment he was even HAVING A MOMENT was in the beginning at the junkyard fire. Those water bombing donuts were badass, not gonna lie XD But that was it. This movie was SO NOT going to be about him.

Skye was the chosen one for they wanted to tackle a plot about the catchphrase "No job is too big, no pup is too small."

If the second movie would have been a Marshall movie, it would LITERALLY be a very different movie, with a plot that would fit HIM. I know I'm dreaming high here but, considering both movies worked around with some backstory from their respective center characters (Chase and his trauma from when he was abandoned as a literal baby in the big city, then Skye with her trauma about being the runt of the litter and just never getting chosen for adoption), I would say we might expect the same kind of thing on the next movie - whoever's the pup who's going to get the spotlight this time, we'll get to learn a bit about their past too and it'll play a role in the plot for whatever the next message they'll want to send out for the kids.

[ropuszysko]

HUNTIK EPISODE 3

as an amateur yiddishist who is visiting prague rn

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MY CREDENTIALS:

as you may have know already, i am an amateur polish yiddishist with a great interest in judaism in general. i speak some yiddish and have some expertise in ashkenazi culture. i am however not jewish and i dont speak hebrew (besides knowing the alphabeth)

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We all know that Rainbow treats history very loosely and unconsistencies aren't a surprise to anyone, really, but I thought this would be fun. I watched the Golem episode in Polish a few years back and in English just yesterday, so this is what I am basing this post on. Enjoy!

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1. The Legend Itself

The legend itself is retold pretty accurately, although it is shortened. More details are: the rabbi's full name actually was Yehuda Löw ben Bezalel, which means Yehuda Löw the son of Bezalel. He was a well-known cabbalist, mathematician, rabbi, teacher, etc., also known as Maharal. The Golem was placed in the attic of the Old New Synagogue(Staronová synagoga), after it got out of control of the rabbi and went on a murderous rampage. Now, there are two options of what was written either on his forehead or on a piece of parchment put in his mouth to animate it. It was either indeed truth (emet, אמת) or it could also be Adam (אדמ), "a man" in Hebrew. To deactivate it, the rabbi erased the first letter א (you read Hebrew from right to left) to make it either "met", which means death or "dam", which means blood.

2. The cemetery

There is not a lot I can say about the cemetery. In the show it says is the Prague Central Cemetery, which... doesn't exist xD. For real. There is no such thing, especially in the jewish contexy.  There's one jewish cemetery in the centre of the city and it's the old jewish cemetery (starý židovský hřbitov)(not to be confused with the old jewish in Žižkov district, which is a different thing in a different part of the town). Maharal was buried in the Old Cemetery in the Josefov  district, in the centre of the city. There's not a lot I can say, because creative liberty was clearly taken. Both in the show and the actual one look just like your generic jewish cemetery. All I can say is that the entrance looks very different. There are three gates to the cemetery, which are much narrower and sll of them are attached to synagogues.

3. The Grave

What can I say about the grave? Just look at it, it's completely different. The only detail, that I can actually point out, that actually annoyed me, is that the matzevah (tombstobe )is usually placed in front of the grave, not in the back of the grave. And this is the detail, that even considering the creative liberty, doesn't make sense. Also not to be that guy, but I think that actual matzevah looks much more interesting and I kind of wish they used the actual one. Also the papers you can see are so-called "kvitelech", piece of paper with prayers or pleas, usually for help written on them to the rabbi, to Maharal.

4. The word Sophie writes

The word Sophie writes here allegedly is emet, truth. Except it's not xD. Not only she writes it from the wrong side, like you write in latin alphabet, but also some of those symbols don't even exist. I cannot really write them. If I had to guess it would be LLLILONA and a symbol that doesn't exist. Or maybe the are Ks instead of Ls. It resembles katakana more than Hebrew alphabet. There's my handwriting comparison on the left, which my Hebrew handwriting isn't very good, but it's there.

5. The place they find the Golem

The place they find the Golem is interesting to say the least. In the show it says it's in the alchemist road, which... You guessed it, doesn't exist. There is the Golden Lane (Zlatá ulička), where alchemists were rumored to live, however it ha nothing to do with rabbi Yehuda Löw. Most of the jewish life of Prague was focused in Josefov, which is at the other side of the river. And obviously there is no synagogue in the Golden Lane.

I've seen most of the synagogues, that are in Prague today. The one shown in a show is pretty destitute and there's no such synagogue in Prague right now. None of those that are, resembles the one shown in a show. Technically it should be the Old News Synagogue, because that's where the legend says  the Golem was locked. However! The Old News Synagogue is much smaller, like much, much smaller. If I had to pick the closest one I'd said is the Maisel Synagogue, just by the sheer size of, it but it looks pretty different. Maybe Klausen Synagogue, also,by the size of it, but again, the architecture's different. I'd say the Pinkas synagogue looks the closest, but it's again waaay smaller and there's a bima in the middle. So I think Iginio Straffi just made up his own synagogue. I will be posting photos in a reblog, because there's a limit per post.

6. The Golem itself

It's the same story as with the tombstone. It's so different, that there is no point in actually comparing them. Just have a look.