#its time to own up to your lies disney

[a-very-tired-jew]

Absolutely wild to see a Jewish blog on here that has historically called out antisemitic rhetoric in media, such as Disney and AoT, fully embrace that same rhetoric when it comes to Israel and Hamas.

But I also understand.

I won't call anyone out, but if you can spot the similarities in AoT to Nazi rhetoric about Jews, then you can sure as shit spot them in the rhetoric of Hamas and their allies. Willfully ignoring it because "Western Civ is Bad" is an indicator that you have been radicalized by that exact same rhetoric, except this time it's coming from people you like or share interests with.

My Left leaning shalomies, you have got to be careful. You may identify as a Democratic Socialist, a Socialist, or even some form of Communist, but that "West Civ is Bad" rhetoric and talking points you're repeating that you heard from your more radical Comrade comes coupled with thinly disguised antisemitism. They're using your dissatisfaction with the state of things here in the USA and other Western countries to spread Holocaust Inversion/Denial, spread blood libel, ZOG, and other such antisemitic conspiracies.

How do I know?

I'm in my late 30s. In my 20s I was an avowed anti-Zionist. But as time went on more and more of the rhetoric I was being told by other anti-Zionists didn't make sense. It was a lot of Bundist talking points about how the diaspora was always safer while also denying the well documented pogroms that had happened against us.

While also denying what happened to the Bundists in the USSR.

What happened to people like Benjamin Zuskin.

And so many others who argued that we were "safe".

It was the Holocaust Universalization mixed with Denial and Inversion. It was so many things that when you looked at them in a bigger picture they ended up contradicting themselves.

It was the denial that Nazis allied with various regimes in the MENA to blatantly kill Jews for simply existing.

It was the denial that antisemitism was actually not a big problem nor as pervasive as it actually is.

Simply put, after enough time, life experience, reading, and thinking it became very clear to me that I had been fed a line of bologna. They had played on my dissatisfaction with the USA and its past actions.

I legit had the line "Israel only exists as a modern day concentration camp to keep all the Jews in one place and then exterminate them later. Jews need to be dispersed around the world to keep them safe" as justification to be anti-Zionist thrown at me when I was younger.

And it made sense at the time. You're fed so much pro-USA material growing up that eventually you find out the narrative that the USA lies, that the UK lies, that the West lies all the time. So you look for alternatives, but you end up embracing propaganda from even worse sources that are downright authoritarian and trying to deny their own atrocities and bigotry by pointing at others. You honestly swing so far the other way on the pendulum that you embrace and repeat rhetoric without fully understanding the nuance and complexity of it all.

When I hit my 30s I realized I had been taken for a ride. A veritable rube if you will.

And I see this same pattern in a lot of younger anti-Zionist Jews in that same age bracket. It's the same dissatisfaction that is being manipulated into antisemitism under the guise of anti-Zionism. It's the denial that what they're saying is antisemitic because surely they, as Jews, know what that actually is, and even if it is, they can't be antisemitic because they're Jewish. Right? Right???

So I beseech you. When the rest of us are saying "hey, this is actually antisemitic" and you go "Um, actually... As a Jew..." please stop for a moment. Think why some of us would be pointing that out. It's not for Zionism sake or any other political ideology. It's because that hate fueled rhetoric hurts all of us and some of us have been in your exact same shoes.

So if you can see the antisemitism in something like AoT and Disney, then you can surely see it in these slogans, rhetoric, and actions of anti-Zionist activists. And if you don't...well hopefully this will make you stop and think.

[thee-horny-thicky]

Do you mind if I ask your top 10 favorite characters (can be male or female) from all of the media that you loved (can be anime/manga, books, movies or tv series)? And why do you love them? Sorry if you've answered this question before.....Thanks...

Okay, so, technically, Satoru and Suguru are two different characters, but they're canon parallels to each other, two halves of a duo. When that stopped being the case, a chasm was created and their worlds shifted. Their relationship is a major part of both characters stories, so separating them is difficult.

It isn't hard to guess that I love them. They're complex characters, and both serve as a cornerstone of JJK. It's impossible to imagine the series without either one of them, and their respective ideologies and the reasons behind them can be essay material. (I know because I've written one for school)

Bella Goth is an iconic Sims character. She's a baddie, and has some of the most intriguing lore of the game. I think it's a shame the Sims 4 slacked up on the storylines of the townies, because even though I've never owned the original game or Sims 2, the lore of the first two games is compelling. I have fond memories of her, often revolving me breaking up her marriage, and protecting her from those mean, scary aliens.

I was six when this movie came out, and my mother took my sisters and I to see it in the theater. That first watch is something I'd never forget, and even though I was upset that my older sister stole my snacks, the magic of the movie overrode it all. To see a princess movie set in New Orleans endeared it to my entire family, and the fact that she's the first and only Black princess gives Tiana a special place in my heart. She's hardworking, ambitious, and persistent. Not to mention, she's a baddie.

Her and Naveen's love story is one of my favorites, and I adore the fact she showed you can have a loving husband and a prosperous career. She's an independent woman, but can still accept love.

Speaking of....

The original Disney baddie, (argue with your mama), and the first to spark my interest in martial arts. I thought she was so cool, and seeing her growth always puts a smile on my face. When she sat on the top of that pole, I was so proud of her. She started out headstrong and determined, and more honorable than most of the men around her. The crowd bowing to her was exactly what she deserved, and her Father giving her her props was such a sweet moment to me.

As a side note, she deserved better than Li Shang. I fully subscribe to the theory that Li is bisexual and developed an attraction towards Ping. I love the hypothetical queer representation, even if he ends up in a straight relationship. What I don't love is how he left her to die. He tried to pose it as an act of mercy, showing his gratitude for her heroic actions, but he still left her on a freezing mountainside in barely anything. Then, when she escaped and tried to warn him, he refused to give her the time of day. Put short, he was raggedy.

Saiki is one of my favorite anime protagonists. The way the anime pokes fun at tropes is so funny, and Saiki being done with the world around him is a mood, as is his fear of bugs. Anime is riddled with all powerful characters, and a lot of the time, they have a copy and paste personality. Seeing Saiki longing to be normal, (to the point of stalking someone who's scarily average), whilst also being over reliant on his powers and being comedically apathetic is a nice change of pace. It also makes him surprisingly complex. Though this is a theory and not canon, he's great ace representation. He's content with having no romantic partner, and I like how he grows to deal with having friends without having a sudden interest in romance.

Another good example of Ace representation, in my humble bisexual opinion, is Barbie. She shows that friendship and sisterhood can be fulfilling on its own, without any need for a romantic relationship.

Now, I don't think the Barbie movie is as revolutionary as people made it out to be. It was feminism 101, with the core message being the patriarchy oppresses women, and grossly limits men. A message that's still controversial in 2024, but not one we haven't heard before.

Still, it was an incredibly fun movie, and Barbie was a great heroine. The moment she chose the high heel over the Birkenstock, I knew I'd love her, and I was right.

I love Avatar: The Last Airbender. It was so ahead of its time, and is an example of how complex 'kid' shows can be. It's pretty hard for me to pick a favorite character, but if I was forced to choose, I'd say Uncle Iroh.

Long ago, I saw a comment about how if there was a character that embodied the pleasant warmth of a fire place or cackling campfire, it'd be Uncle Iroh. I completely agree. He's the perfect mentor, standing in Zuko's corner no matter what he wanted to do, while subtly guiding him down the right path. He also wasn't blind to his nephew's flaws, but never addressed them in a way that made Zuko feel unwanted. Even after being backstabbed, he was simply sad that Zuko lost his way.

We don't see his character arc on screen, but we know he underwent an incredible transformation, going from a fearsome Fire Nation general, to a humble old man reflective about life, though he can still kick ass if needed.

Leaves From The Vine still makes me feel mushy and teary-eyed. It's bittersweet knowing that losing his son was the catalyst for him to become the character we see, and the reason he's so dedicated to Zuko. He's trying to prevent him from suffering the same fate, and right a wrong that's haunted him for so long. Learning that the tears in Iroh's voice was genuine, because that was one of the final things Mako Iwamatsu recorded before passing, made me want to curl up in bed. He brought the character to life, and is one reason he's so iconic.

Finally, Mr. Shouta Aizawa's fine ass. Now, besides just being fine, I love him for many of the reasons I love Iroh. He's nowhere as cheerful and warm as Uncle Iroh, but he takes his role as a teacher and mentor seriously. He stands in his students corner no matter what, and has shown time and time again that he'd give his life for them. Furthermore, he isn't a hero for fame or recognition, but because he believes it's the right thing to do. He knows the society he lives in is flawed, and tries to right U.A's quirk prejudice system by mentoring Hitoshi.

One might not peg him as it, but he's a very parental character. It's shown with his students, with Hitoshi, and most especially Eri. He's dedicated to guiding the next generation to achieve their fullest potential. Plus, his quirk is cool as hell, and he can throw hands.

Bonus:

Anya Forger and Nezuko, because they make me reconsider my stance on children. They're so cute, and highlights of their respective shows. And I love how Anya is shown to be childishly intelligent. It's due to her powers, but still.

TF141 also gains an honorable mention, especially my baby girl Ghost. Despite being the most secretive character of the task force, we have the most information on his background, and I love his fruity friendship with Johnny. Likewise, I love the mentor relationship Gaz and Price have. On a hornier note, I wish there were more threesome fics with Gaz and Price taking a lucky lady to Pound Town. All and all, these four awful people are my favorite pieces of military propaganda.

[musicoftheheart]

i am not in a Positive Mood atm and so i will be picking a bone with disney because there is one song that has frustrated me since the day i heard it and i vow here and now that one day i will rewrite it and that song is My Once Upon A Time from descendants 3

for context, the song comes right after all of mal's closest friends and her fiance have just been turned to stone. unless she can find a way to turn them back, they are - for all intents and purposes - dead, essentially. and, as she says in the song, its her fault. i dont 100% agree with that, but its not the bit i want to pick at

no, what id like to rant about is the fact that the whole song - the whole song - is her talking about how she needs to fix it because its not how she wants to be remembered. what?! im sorry, her friends have been turned to stone and shes concerned about whether she'll be portrayed as a hero in history books? what the fuck.

allow me to point to a song that achieved exactly what mouat shouldve: the next right thing, from frozen 2. in this song, anna learns her sister is dead, because olaf (who's life relies on elsa) dies in her arms. anna's song shows how she picks herself back up, not for herself but because she has people relying on her who need her. because its the right thing to do. not because she wants to be seen as a saviour, but because she wants to save the lives of everyone still in danger. shes already lost her sister, she doesnt want to lose her kingdom, her people, too.

tnrt in frozen 2 was an impactful and emotional moment. mouat in d3 showed mal brushing off the fact her friends were gone and instead focused on her reputation. and i get it - i get that the whole point of the descendants trilogy was that you get to write your own story, and that nobody is wholly good or bad, and that youre in control of your own decisions and whether they help or hurt - but this should be a moment of pure emotion for mal as she recognises how her own actions have led to the loss of her friends, but that she has to carry on if she ever wants a chance to save them; to save everyone. it should not be focused on her being good for the sake of reputation

and, to add to this, im fully aware that throughout the three movies, we see how mal values other people's perception of her, especially so at the start of d2, and then again at the start of d3 both as her role as future queen, and when she doesnt tell her isle friends that it was her call to keep the barrier closed. shes afraid of how theyll see her, yes, but we had the character growth during d2 where mal became more confident about not fitting with the perfect princess look (represented by her transformation into the dragon, and continued use of such magic despite it coming from her evil mother, as well as her dress changing from auradonion colours to her signature purple), so any insecurities there shouldve been wrapped up. and her lies in d3 were, ultimately, for the good of everyone, and only temporary. the barrier had to stay closed until they could figure out a way for it to be safe for everyone. if she had let them bring down the barrier too soon and a villain had caused chaos, then that would ruin the chances of the barrier ever coming down forever. and if she had told her friends - specifically evie - that it was her call, then she knew that evie would convince her to change her mind. but changing her mind at that point was not for the greater good, therefore she lied. as much as a small amount of it was for her reputation among her friends, it was also for the good of auradon and the isle

therefore i refuse to believe that muoat shouldve been focused wholly on her reputation. we know mal cares so much about her friends and about ben, so why didnt the song dive into that? why were we not looking at her guilt, or her determination to carry on so that she could save her loved ones and her home? why, instead, did we focus so hard on the way she wants to be remembered for her heroics and good deeds?

i also understand that mal may be compartmentalising to an extent, by ignoring her own grief for her friends and instead focusing her attention elsewhere to keep herself going. she very clearly does have insecurities about her decisions and her role in auradon, so it would make sense to distract herself with that rather than letting herself break down over her friends. if this was what they intended, though, i think it was poorly done. at least, i certainly wouldnt have brushed past it quite so nonchalantly. mal hardly seemed to care that her friends had been turned to stone after the first - what - two lines of the song? and even then all she says is that she deserves it. she deserves it?? like it had just been a shove in the playground or something, and not an attack on her loved ones - one that, remember, could very well result in her losing them forever

quite literally, her only lines in the song about losing her friends are: "here you are alone and you deserve it // your friends have turned to stone and thats on you" and that is it. everything else is about her story being written, or about serving a cause, or her reputation not being linked to her parents'

i really do not like this song. i havent watched d3 for over a year, so i do apologise if ive missed/forgotten important context, but from everything i remember and listening to the song itself, i do not believe it does the moment justice. i want to rewrite it one day, ive no idea if i ever will or how, but i dont like it the way it is.

[richincolor]

With spring on its way out, I thought it would be fun to do a quick roundup of some contemporary romances. Here are three that are out this month--which ones are on your reading list?

Bite Me, Royce Taslim by Lauren Ho Disney Hyperion

Agnes Chan never expected to be the punchline of her own life . . .

But how else do you explain getting accidentally run over and seeing a lifetime of careful preparation, endless training, and all your hopes of a track scholarship to college destroyed in a split second? Not to mention the only witness to your humiliation being your #1 archnemesis, Royce Taslim.

So, when Agnes finds a new answer to her scholarship predicament in the form of an international stand-up comedy contest for teens, the last person she expects to be up against is also the last person she wants to Royce. Because for years Royce has represented everything Agnes extreme privilege, popularity, and physical perfection (ok maybe she doesn’t hate that part so much).

Behind the scenes, though, Royce’s flawless façade fades away, revealing someone Agnes never expected—someone who shows her that perhaps the best parts of life are the ones you aren’t prepared for—and as the competition heats up, so do things between these two rivals. But will the pressure to win be too much for them to handle—or will Agnes (and Royce) get the last laugh?

Queerceañera by Alex Crespo HarperTeen

Joaquin Zoido is out and proud of it. And while he knew his dad and sister, Carmen, would be super supportive, he wasn’t quite ready for them to surprise him with a queerceañera, a coming out party to celebrate him. Between all the talks of tastings and venues, and the chirping of his family’s RSVP texts, the question of who will be his chambelán is on everyone’s minds.

What Joaquin is decidedly trying to not think about is whether his mom is going attend or if she’s finally replaced him with her favorite godson, Felix—the boy who made Joaquin realize he was gay and who was his first kiss. But when an impromptu lie snowballs into a full-fledged family-group-chat rumor, every Zoido from Texas to Mexico starts believing that Felix is not only Joaquin’s chambelán but also his brand-new boyfriend.

To avoid the pity and sympathies of an ill-timed breakup, Joaquin and Felix strike a deal—they’ll stay fake boyfriends until the party. Yet, as the day draws nearer and old feelings spark anew, Joaquin will have to decide whether a picture-perfect queerceañera with a fake boyfriend is worth giving up the chance of something real.

True Love and Other Impossible Odds by Christina Li Quill Tree Books

College freshman Grace Tang never meant to rewrite the rules of love. She came to college to move on from a grief-stricken senior year and to start anew. So she follows a predictable Attend class, study, go home and visit her dad every weekend. She doesn’t leave any room in her life for outliers or anomalies.

Then, Grace comes up with an algorithm for her statistics class to pair students with their perfect romantic partners. Though some people are skeptical, like Julia, Grace’s prickly coworker, Grace is confident that her program will take all the drama out of relationships. That’s why she keeps trying to make things work with her match, a guy named Jamie. But as the semester goes on and she grows closer to Julia, Grace starts to question who she’s really attracted to.

In award-winning author Christina Li’s YA debut, Grace will have to make a choice between the tidy equations she knows will protect her from heartbreak or the possibility that true love doesn’t follow any formula.

[thatlotuscookie]

That makes me really happy! Thank you for letting me know, that means a lot! I'd be happy to make a request for Eaternal Nocturnal if that's alright. I'd love one about Eve (the main girl). I'd love something fluffy between her and "N". The two are very open with each other and a bit flirty too ^_^

Eve has a dream where she's dressed up like Pinocchio from the Disney movie. She's asked questions about what she wants to do with her life from figures she can't make out. She lies about her dreams about becoming a singer and says "a doctor", but this causes her nose to grow longer. She notices her nose and tries to lie with a different profession, and her nose grows longer. Much like the Disney movie, her nose sprouts a leaf. She'sasked why hasnt she made any progress in her dream career, and she lies with excuses she makes up. Her nose keeps growing with leaves, flowers and branches sprouting from her nose. When her nose reaches ten feet long, a nest appears at the end of her nose.

When things seem they'll get worse, the darkness disappears and "N" shows up. In the nest, rather than birds, Tapi (a cute little black and white dream creature) appears on Eve's nose. Eve is relieved, hugging "N" when she sees him (she hugs Tapi too!) "N" is happy too, but holds Eve's nose to avoid getting whacked by it. He fixes her nose by kissing it and it returns to normal. (Eve blushes >w<)

"N" and Eve talk about what's been bothering Eve. Eve explains that her dream is to sing for a career, but she lies about it because she feels no one would approve of it. She also explains how she's always coming up with excuses to keep herself away from pursuing her dream. "N" helps give Eve confidence for pursuing her dream. He also assures her that her dream is absolutely worth it, as long as it still matters to her.

Eve makes a self-deprecating joke about how she's too incapable. "N" then pokes Eve's nose, causing it to grow so long the end of it can't be seen as it extends into the horizon. "N" says that has to be the biggest lie she's said yet, showering her with compliments of her capabilities.

Would something like this be okay? I hope it is, and it's completely fine if not! Thank you for taking time to read this ^_^ Also if "N" could make cute remarks about Eve dressed like Pinocchio with her nose and all, my heart would melt. thank you again for your time! <3

✧･ﾟ: a/n : hihi anon, thank you for waiting, i hope this was everything you were looking for! thank you for requesting and please enjoy<3

✧ Title: ✧ Growing Pains ✧ ✧ Characters: Eve x N ✧ Genre: Fantasy, Introspection, Romance, Slight Hurt/Comfort ✧ Rating: T ✧ Summary: Eve finds herself in a strange dream where she’s dressed as Pinocchio, and her insecurities begin manifesting in surreal ways. As she tries to grapple with her fears and self-doubt, she discovers just how burdensome her own lies to herself have become—until N steps in, offering the support she didn’t know she needed. ✧ Content/Tags: Dream sequences, self-doubt, magical realism, humor, comfort, light romance, introspection, character development ✧ WC: 1396 // 7.8k words

Eve finds herself standing in a dimly lit, surreal space, shrouded in shadows and fog. She blinks, glancing down at her clothes, only to feel her heart skip a beat—she’s dressed in the familiar costume of Disney’s Pinocchio, right down to the red overalls and yellow shirt, complete with a tiny hat perched on her head. She’s never dreamed anything quite so strange before, and her nerves are already beginning to twinge.

Before she has a chance to make sense of it, shadowy figures surround her, their faces hidden, voices echoing as if bouncing off the walls of her mind. They loom closer, blending with the shadows, their forms becoming even more imposing.

One figure leans forward, its voice smooth and commanding. “Eve… what do you want to do with your life?”

Eve feels a familiar pang in her chest, her mind racing. The real answer is so clear, but as she stands there, dressed in this ridiculous outfit, her insecurities take over. “A… doctor,” she stammers, forcing a smile as if to convince herself of the lie.

But as soon as the words leave her lips, she feels an odd tingling sensation at the tip of her nose. Her hand flies to her face as her nose begins to stretch out in front of her, slowly but surely growing longer and longer, almost like in the classic story she’s dressed up to imitate. Horror twists in her gut as she watches her nose elongate.

The shadowy figures close in, their voices now mocking. “Are you sure about that?” Another voice chimes in, “If you wanted that so much, why haven’t you made any progress?”

Her heart pounds, anxiety swirling inside her. “I’ve… been busy,” she mutters, her voice barely above a whisper. She winces as her nose stretches even further, sprouting tiny leaves at the end, as if each excuse is taking root, growing before her very eyes.

Desperate, she tries to come up with more justifications, something to appease these voices that are pressuring her, that are too close to the fears she’s been harboring. She insists, “I… I’m just not ready,” but as she speaks, her nose sprouts delicate pink buds, then blooms into full flowers, decorating the branches forming along her nose like a strange, living wreath.

By now, her nose has stretched nearly ten feet in front of her, practically weighing her down, the length creating a painful tug as if her lies are a physical burden. At the very tip, a tiny nest forms, the weight of it almost causing her to lose her balance. The figures around her cackle, voices blurring into a suffocating haze, pressing in on her from all sides.

As she’s about to succumb to the overwhelming pressure, a soft, familiar glow cuts through the darkness, piercing the shadows with a comforting warmth. The looming figures retreat into the mist as N steps into view, his calm, steady presence dissolving the tension as if he’s drawn all her fears into his embrace.

“Eve?” His voice is soft, filled with gentle amusement as he takes in her Pinocchio costume and the flower-laden nose stretched out before her. He chuckles, a light smile tugging at his lips. “Didn’t expect to find you with such a unique look. Really leaning into the fairytale aesthetic, huh?”

Her face flushes, embarrassment mingling with relief, and before she can stop herself, she runs to him, branches and all. She wraps her arms around him tightly, as if grounding herself in his presence. He returns the hug, laughing softly as he adjusts his position to avoid her extended nose. Her heart flutters, his warmth calming her frayed nerves in a way that feels all too natural.

At the end of her nose, in the little nest, a familiar creature pops up. Tapi, the small, black-and-white dream creature, curls up and lets out a sleepy chirp, blinking up at her with those wide, gentle eyes. Eve can’t help but giggle, her anxiety melting away in the face of such unexpected cuteness. She reaches for Tapi, gently cradling the little creature before pulling it into a soft hug.

N grins at the sight, his gaze warm and playful. “Need a hand with that nose?” he asks, raising an eyebrow with a hint of teasing.

“Yes, please,” she murmurs, feeling her cheeks heat up even more.

With a soft smile, he leans forward and presses a gentle kiss to her nose, and to her surprise, the branches and flowers vanish instantly, her nose shrinking back to its usual length. She touches her face in wonder, looking up at him with a shy smile.

As she watches him, a warmth fills her chest, the kind of feeling that makes her want to tell him everything. “You know,” she begins, her voice barely a whisper, “I… I want to be a singer. But… it feels silly, like… who would even take me seriously?”

N tilts his head, his expression softening with understanding. “Why wouldn’t they?”

She lets out a shaky sigh, hugging her arms close. “People don’t… they wouldn’t get it. I keep saying I want other things, safer things, because that’s what everyone expects. And… I just keep coming up with excuses, telling myself I don’t have time, that I’m not good enough.”

N places a hand on her shoulder, squeezing it gently. “You know, dreams like that? They’re only silly if you don’t believe in them,” he says, his tone warm and reassuring. “If singing is what you want, it’s worth going after, even if it scares you.”

She laughs softly, glancing away as she feels her cheeks heat up again. “Maybe… but I’d probably just mess it up.”

N raises an eyebrow, then reaches out to gently tap her nose. Instantly, her nose stretches out again, this time shooting into the distance, far beyond the horizon.

“That,” he says, laughter dancing in his eyes, "has got to be the biggest lie yet."

Eve stares at the comically long nose that now extends far into the distance, disappearing beyond the misty horizon. She blinks, taken aback, and a laugh bubbles up before she can stop it. Her self-deprecating thoughts start to feel a little ridiculous in the face of such a surreal sight.

N chuckles, his tone playful but his gaze soft and sincere. "I’m not buying it, Eve. You’re more than capable. You’re talented, creative, and anyone who hears you sing would feel it too. It’s not about being perfect or fearless; it’s about trying because it matters to you."

The warmth of his words reaches her in a way nothing else has. She’s always heard compliments, encouragements, but somehow, coming from him, it feels… real. Grounding. She gives him a small, grateful smile, feeling her heart lighten with each word he says.

Gently, he places a hand on her exaggerated nose, smiling. “Let’s fix this,” he says, tapping it again. This time, as he taps, the long nose retracts little by little, returning to its normal shape and size. When it’s finally back to normal, he gives it a playful flick, grinning.

“There,” he murmurs, reaching out to cup her cheek, his thumb brushing gently over her skin. “Now, how about we get that confidence back?”

Eve gazes at him, her heart racing as his touch sends warmth coursing through her. “Thanks, N. I… I don’t say it enough, but having you here… it makes me feel like maybe I can do this. Like maybe I’m not just chasing something impossible.”

He smiles, his gaze softening, filled with admiration. “Well, you’re not alone in it. If it’s what you want, I’ll be here rooting for you.” His fingers linger, gently brushing along her jaw, his warmth and support filling the space between them.

The dream starts to feel hazy, as though it’s slowly unraveling around them. Tapi gives a sleepy chirp, nestling into her arms as the edges of her vision blur. N’s hand slips away, but his smile stays in her mind like an echo, reassuring her even as the dream fades.

As she stirs awake, a newfound determination settles over her. She feels lighter, as though a weight she hadn’t fully realized was there has been lifted. Even if there’s still fear, there’s hope too. And, somehow, knowing he believes in her—knowing she’s not alone—makes that hope feel more solid, more real.

[qpjat076]

actual serious thoughts™ on the Acolyte

Spoilers. obviously. under the cut tho because i'm sweet like that. also it's a bit of an essay.

I loved this show. I LOVED. this show. It had some ups and downs, but I really hope it gets renewed for another season. I was NOT expecting it to end so. . . open ended? I'm glad it did though.

Dividing my thoughts on this into PLOT and PRODUCTION. We will start with the PLOT:

The ending was perfect. The full circle of Sol and the crew spreading a horrible lie only to then be tainted in his death through a second lie is just so poetic. I was losing it, it was flawless and amazing storytelling. It seems SO in character for Master Vernestra seeing as I doubt the council or anyone knew of Quimir going all evil. . . I bet she told them his "death" was an accident. she doesn't seem at ALL like the kind of person to air her own failures loudly, and she'd see his betrayal as a personal failure. Or, if not, she she would fear (her first mistake) that the council would see his betrayal as her failure. Pride is always the fall of Jedi, we've seen it time and time again (because being prideful is the easiest way to let fear take control of your life). Anyway, 11/10 for that plot point being resolved.

for real though, there was NO WAY they were going to resolve every single plot thread they'd laid out across this show in one 40-minute episode. it would have been too crammed. nothing would feel satisfying. leaving a decent amount of food for thought was definitely the right move, so they could focus on the plot at hand (Osha, Mae, Sol, Quimir). and they've left me wanting more. if disney is so committed to the 8-ep bit they've got going (sans Andor for some beautiful reason), then this was the best way to get the extra episodes needed to address everything. I WANT MORE.

I want a whole season focusing on Quimir and his relationship to Vernestra. I WANT THAT TEA. How did Quimir get to Brendock? What was Vernestra's breaking point, or what was Quimir's? I want to know how the hell this all plays in to Plaguis. WHY IS HE THERE?!?! Are he and Quimir working together? if so, was Quimir Plaguis's padawan, and is Quimir now trying to usurp him? If so. . . then we know how that ends and that would be a helluva way to go about telling us a story (affectionate, star wars is at its best when its killing characters I love fr)

Speaking of Plaguis. . . HOOOOOOO BUDDY i was not just expecting his lil jumpscare and then NOTHING ELSE. I was down for it. I figured he'd be a part of it. I was whooping and *insert DiCaproio pointing meme here* at the screen, I was EXCITED to see him. and honestly I love that he just. . . wasn't elaborated upon any further. He didn't NEED to, because they're setting us up for more. I WANT more. I didn't, however, feel as good about the Yoda tease. . . i mean I WAS wondering where he was during all of this so it kinda worked? but also. that whole scene played out more like a marvel end credits "ooooh, what nostalgia character is comin back next?" kind of deal. moreso than plaguis bc like. . . i've never seen plaguis before. i know very little about him as only a movie/tv show watcher. but I've seen Yoda a thousand times, so the effect is lessened. Yoda IS needed to the story so I know why he's here, and I am interested to see him more in his earlier prime (and less cgi please lord don't do him dirty a second time). but it could've been a liiiiiittle smoother.

last thought: while sol's death was a little telegraphed (honestly, i wish Osha just saw Sol's body, no context for who killed him as opposed to the "mae killed him" bit), but the way Vernestra handled it made it all pretty forgivable. the twist wasn't his death or that Osha was gonna turn. we all pretty much could guess it. the twist was how his death was lied about, and I'm SO here for it. it balances out. this ep was amazing y'all i'm not over it.

Now for PRODUCTION (though I've kinda talked about it a little)

I know people have been overwhelmingly negative about this show. I really don't see it. And yeah, I maybe am the intended audience because I need to be restrained like a dog every time I see Manny Jacinto's arms. . . but that wasn't the only thing to like here. I liked the show even before that. It's interesting. Intriguing. Me frothing at the mouth over Arm™ was pretty minimal compared to how I'm rabid for more lore about these characters in this era.

I have three complaints: first some line delivery maybe could use a little work overall, but this last ep was the best it has been. also it's nowhere NEAR as bad as some line deliveries in the past (you know the ones). second, slow motion has no place in this world anymore in a non-comedic based fight scene. not since the matrix, anyway. that's the only exception. please let it die. never want to see it again. finally, I really do wish the flashbacks had been mingled more with plot and episodes as opposed to shelling them off separately. I also wish we could have seen a padawan Osha and Sol in flashbacks a bit too. . . though that may come next season (do another one disney). three complaints (four total with my mild beef against Yoda's intro) is high praise though, so hats off. Lee Jung-jae killed it till the very end, I was SO impressed how desprate I was to like him even though at the end. . . I didn't really want to. He made me WANT to believe he was good. Best part of the show hands-down. Amandla Stenberg was a much stronger presence towards the end, but at the very beginning I thought she did great too. While I wish she had more of a chance to stand out, I'm ever-hopeful she gets a greater chance to in the *hopeful* next season, especially without Lee Jung-jae stealing the spotlight every single episode. All the supporting Jedi martyrs killed it too. too bad I'll never see Jekki and Yord be funny together again, it's a real tragedy. Manny was awesome but also I'm a little biased (Arm™, also literally everything else about him in this show, costumes, fight choreography etc., hot DAYUM they knew what they were doing). So yeah. Awesome show, I hope the overall negativity towards it doesn't discourage a second season. It is wanted!!! please feed me.

[snotsloth]

10 Characters/10 Fandoms/10 Tags

Tagged by @icehearts

Tagging, but don't feel pressured! (Also you do not have to make pretty pictures. Graphic Designer brain just took over and this happened.) @physicalvocalist, @sarenraegalpaladin, @vorpalbun, @captainqster, @leagor-majere, @sundered-souls, @ardberts, @hinganskies, @lilbittymonster, @janzoo

1. Harrowhark Nonagesimus - The Locked Tomb Trilogy

Harrow has true scrungly wet cat energy. I want to put her in one of those little backpacks with a window and carry her around in it for her enrichment. She's an absolute bitch. She is a pathetic little meow meow. She lobotomized herself to save the soul of the woman she refuses to admit she's in love with. She tried to kill a saint with soup made from her own bone marrow. She is a war crime. I like her so much!

2. Magneto - X-Men

He is the platonic ideal of my favorite trope, "Does all the wrong things for all the right reasons." Magneto has gone through the polar opposite of villain decay. The longer he exists, the longer the universe has to prove him increasingly correct on most things. All I can really say is, "Magneto was right."

3. Wei Wuxian - Mo Dao Zu Shi

Truly the most blorbo of all time. Are you also an ADHD burned out gifted and talented submissive brat with a praise kink? Boy howdy, do I have a character that you are going to imprint on like a baby goose! Wei Wuxian also has a hearty dose of, "Does all the wrong things for all the right reasons." Also like who multiclasses in wizard (specifically necromancer) and bard? This fucking guy apparently.

4. Hythlodaeus - Final Fantasy 14

I am so normal about Hythlodaeus, I made an entire AU around him. That is a reasonable thing to do about a character that you like a normal amount, right? The idealized lost love, trapped in amber, untouchable but also incorruptible by the sands of time that keep eroding the edges of your soul. And then they gave him lavender dead anime mom hair!

5. Varric Tethras - Dragon Age

I literally have a semi-viral post about how much this character has consumed my thoughts. Rule Number 1 of Dragon Age: Varric lies. He's a charming scoundrel. He's loyal to a fault. He knows everything worth knowing about Kirkwall. And he's a dirty fucking liar. The only reason Varric isn't romanceable in DA2 is that no other romantic interest would get any attention if Varric was on the table. I desire him carnally.

6. Temeraire - Temeraire

My most precious and smartest boy! I adore Temeraire so much. Swear to god, I did not read the Temeraire books before creating Orion as a character, but the parallels are so strong, you would think I had! He's a bookworm, a little awkward but full of opinions, and he has an unwavering moral compass. Temeraire will forever be one of my favorite dragon characters.

7. Jaina Solo - Star Wars Legends

I will never forget what Disney took from me. As a weird, nerdy girl who was also kind of a guy growing up, Jaina meant so much to me. She was an active participant in the stories she was in. She was an ace pilot, a skilled mechanic, and a Jedi to boot. She had her dad's sense of humor and her mom's moral certainty. I thought she was the coolest. Still do.

8. Ansur - Baldur's Gate 3

Ansur! My beloved! If you had told me that the character I would be most obsessed with from BG3 would be an undead bronze dragon who you don't even know about until the third act -- actually, no that checks out. He was so in love, and so loyal, and so bitter at Balduron for embracing his corruption! And that reveal! All the build-up, only to find his bones and then wham! the entire narrative of the Emperor gets turned on its head. I still get chills. Also, they were absolutely fucking.

9. Viktor - Arcane

Listen, as a disabled, obsessive nerd with too much to do and not enough time to do it all in, Viktor is my gender. I love just about everything about Arcane, but Viktor's storyline is my favorite part. I, for one, am very excited to watch his fall from grace and further corruption. I have already forgiven all of his atrocities. I do not care. He's babygirl.

10. Clark Kent - DC

You thought I was going to say Jason or Dick for a DC character didn't you? (Or even Roy!) Those would all have been very reasonable expectations. I am pretty obsessed with all of them. However, Clark Kent is a very special character to me, and yes I specifically am focusing on the Clark persona and not the Supes persona. Yeah, they are ultimately the same guy, but I much prefer Superman stories grounded in his Clark Kent identity. Superman is at his best when he is attached to the mundane world by things like his job, his family, and his love for Lois. (Lois/Clark is the ultimate het ship. I will not be taking questions on this. It just is.) Clark is essentially a demigod, and yet he chooses to spend his time loving people and living as one of them, and I think that's really fucking cool.

[cadybear420]

Came across a Choices Ask Game thread from 3-4 years ago and I couldn't help myself.

Anyone else who wants to join is welcome!

1.) What book(s) did you think were too overhyped but everyone loved?

7+ months ago I would have quickly said Ride or Die, but after my replay in May, I now like that book. So my next picks would be Crimes of Passion and Immortal Desires. They were good for what they were, but I couldn't quite get into the hype for them. To be fair, I've only played the first book for each of these, but even when they were just on their first books they were pretty hyped. But who knows, I might like them a lot more when I play their sequels.

Actually, I could maybe still put Ride or Die here if I wanted to. While I did come to like it after my second playthrough, I still wouldn't call it amazing or consider it one of PB's bests like many seem to do.

Distant Shores and Nightbound were both indredibly average to me as well, despite the former being about freaking pirates and time travel and the second one being a supernatural horror-themed story.

Laws of Attraction is also one that was very popular but hard to get into. When I first played Book 1, I couldn't stand how quickly they just went between cases. Luckily this was less of a problem when I replayed Book 1 and then played Book 2, but it was also still hard to follow the lawyer jargon. However, I did enjoy the characters and I loved that MC was a flexible blank slate, which does make it a series I want to like. So I'll probably give this one a second chance at some point.

I'm also tempted to say The Cursed Heart, it's one that gets a lot of love and while I enjoyed it, I didn't think it was amazing. But I'm kind of disqualifying it since not only have I only played Book 1, but also that pre-TCH 2 opinions were mostly divided. I remember lot of people hated Kieran kidnapping MC and that one option in a premium scene that leads to Kieran shoving MC's face into the ground. There are still people who hate that stuff, but the overwhelming majority nowadays seems to enjoy the series, especially with Book 2.

2.) What book(s) do you think deserve more hype?

Across The Void. Don't get me wrong, it has incomplete lore and inconclusive endings, but that's not really the story's fault as I remember hearing it was originally meant to have a book 2. Personally I found the good qualities to far outweigh the bad. It deserved so much better from PB and a hell of a lot more love from the fandom.

I also found Baby Bump really cute. It's not amazing and it has a lot of problems, but I never got why it was often deemed as one of the worst.

And maybe I'm just biased, but I also think the OG HSS trilogy deserves more hype. I guess it's technically one of the more popular and beloved Choices titles, but even then I feel like it doesn't get enough credit. Even though it may seem like a cheesy Disney Channel High School style story, the writing is actually quite polished, balancing out the thrilling high school hijinks with a vibrant cast of compelling and down-to-earth characters and character development. It's enjoyable and worthwhile, both as its own thing and as a companion to its predecessor (AKA the original HSS Prime mobile game).

Not only that, but it's quite rich in choices that actually affect the story/experience. Like, how many people know that you can make your MC a jerk to the Hearst kids in Book 3 and lose your tryouts spot over it even if their actual tryout was good? Or that the story acknowledges a Slow Burn romance if you choose to wait until MC and LI are official to have them kiss? Or that you can have MC completely screw up the Spirit Stick Heist? I've played this trilogy nine times already, I'm currently in my tenth playthrough, and there are probably like 50 more different playthroughs I wanna do for the different route/outcome combinations. The MC is just so flexible and wildcard, and to me that's peak Choices MC.

3.) What was a book series that you think did NOT need a sequel or more than 1 sequel?

The Nanny Affair would have been soooooo much better off as a standalone. I actually really like the ending of TNA 1, where Sam and MC are getting pinged with news headlines about Sam leaving Sofia at his wedding, and they start anticipating all the trouble they're gonna be in. It's actually got a touch of self-awareness to it that you usually don't get in smutty single-LI romance Choices stories.

Books 2 and 3 however just drag everything on, trying so hard to make it seem like Sam and MC have genuine feelings of love for each other, even though their relationship is clearly mostly lust-based. Then again, one of the smut scenes in Book 3 has an option that implies MC is putting a finger into Sam's bootyhole. And even over two years later, it is still the only scene in Choices that more directly depicts a female character anally penetrating a male (or male-coded) character. So maybe the suffering is worth it.

The first book of Surrender was pretty mid on its own, but the ending it got could have worked as a series and book finale. Book 2, however, just... made it all so much worse. Book 2 is the reason why the Surrender series is on my permanent Choices shitlist. As the worst title of the entire app.

The switch to a new MC and cast felt very arbitrary and unjustified. Not only were the returning characters from OG utilized poorly, but everything about it just did not feel like HSS. No flexibility in your main character or activity, which greatly cheapens the whole "you can be whoever you wanna be" and "you'll always be accepted no matter who you are" themes of the previous iterations; no sense of Berry being "high school but actually good" as it relies purely on trying to showcase average high school experience; so many of the side characters were useless and felt like overly mean-spirited middle schoolers rather than actually stressed and irrational high-schoolers; and the and finale and sendoff to the franchise as a whole was inconclusive dogshit. It was like "HSS" was an afterthought to CA. I'll give this its own analysis one day.

OG HSS did not need HSS:CA as a spinoff. Don't get me wrong, HSS:CA is pretty cute and does bring some interesting situations and characters into the HSS canon. But when you really think about it, it easily could have been its own new title, and it probably would have been better off if it was.

4.)What book(s) did you think needed a sequel/another sequel?

OG HSS Trilogy, the main cast of that one deserved a far better sendoff then the bullshit one that was the HSS:CA finale.

Laws of Attraction. That ending was so inconclusive.

Hero, an obvious one because the story ended right on a cliffhanger.

Across The Void, PB should have stuck to giving this one a second book. Instead we get these super-rushed endings and for what?

5.) What LI(s) do you think are overrated?

I'd maybe put It Lives here, but part of me is also kind of glad PB didn't make the third book because the It Lives Within fanproject is chockablock full of "PB could never"s. Granted their reason for cancelling it in the first place was kinda unjustified but yeah.

I'm not sure really. Maybe Gabe and Cas from ID, but I don't have strong opinions on them. It's moreso that I'm just not as into the hype for them as most.

6.) What LI(s) do you think are underrated?

Ajay Bhandari from HSS:CA, though with him it's moreso overhated than underrated. Didn't Ajay warn MC about Danielle in the earlier chapters? Why would he so easily believe MC was the one who sabotaged OG MC's auditions? Or at the very least, tell Danielle + Team C(U)NTs (Clint, Natalie, Trevor) to fuck off with ostracizing MC. Like they weren't just accusing MC falesly, they started being outright cruel to them.

Ajay is a character who cares so much about the play wanting to go perfect, so much so that he initially banned cellphones from the auditorium during rehearsal because he thought they'd be distracting or disruptive. Surely you'd want to be a hardass on other crew members who are acting like assholes??? I think his behavior during MC's accusation is just OOC, hence why I don't hate him. It's a problem with the writing rather than the character.

7.) Which LI's were most forgettable?

IDK. I think I've forgotten them.

9.) Finally, what book do you think would have been better/more popular if it WASN'T genderlocked? (This goes for both LI's and MCs)

Witness MC could have and should have been GOC. I found the book pretty average-with-issues upon replay, but I personally might have liked it a tad more if it was GOC. We rarely if ever get stories about men getting swept off their feet by protective bodyguard characters! (But sure, muh few female-locked stories).

I certainly would have enjoyed Roommates With Benefits a lot more if the MC could be male. Imagine, the studious goody-two-shoes "good boy" gets awakened to a more party-loving sex-loving side by the University's resident fuckboy/fuckgirl who happens to be his roommate.

Ride or Die was pretty fun as it is, but part of me still feels it would have been somewhat spicier if MC and Logan were both GOC.

With Every Heartbeat also, give me ONE good reason why needed to be genderlocked. Same with BloodBound. Seriously, you could have made the Bloodkeeper thing go to any gender and the story would remain exactly the same.

[alanshee-keeper-of-realms]

We are the Disney Brothers

So in honor of Disney's 100th Anniversary, I drag this out of my vaults, I wrote this for the Disney Brothers a bit of Hurt but love, I really wish they'd capture a storyline like this, a story of Parental Alienatation, healing after finding out the truth from a sibling

I think it'd be such an important push the boundaries story for this gen, but Disney's lost its risk taking ways so I highly doubt we will ever get a serious moment canonically like this between the Brothers.

But oh how I wish they'd risk it, take that leap it would be amazing to see.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The pair stood in Mickeys home in toon town, for the 15th time this month Oswald had snapped, going on a rampage and it had lead to the core,

Something the mouse knew bugged his older brother to his own center, the trauma was clearly still fresh as he paced ranting,

"You don't get it do you Mickey?! Walt chose you over me and that hurt will never go away" 

He angrily huffed sitting down on the couch crossing his arms, however Mickey remembered something sighing going to the stand and pulling something from it, a letter, the rabbit shuffled a bit more away tucking himself into the cushions as Mickey sat down saying in a small voice

" H-he didn't choose me, he created me because he lost you" He held out the letter the rabbit couldn't help but to side eye the envelope" I had always wondered who Oswald was, I definitely know now," a thumb ran over Walts scrawled handwriting "this letter along with one to me and the rest of the crew was left after his sudden passing. None of us knew who you were and I have a feeling Dad kept it from us because he didn't know if you would ever come back to us he didnt want us longing like him, but you have and this rightfully belongs to you." 

Oswald unfurled attention now fully caught as Mickey held out the Letter , snatching and opening it, quickly reading the words

My Dear Boy, my dear Ozzie, what do I say? What can I say knowing that by the time you are able to possibly read this, I will have been long dead.

You were stolen from me, wrongfully taken, I was honestly devastated, more than I showed over your kidnapping. My dear son, I never stopped fighting for you to come home. I know you probably think I forgot or moved on without you, I would not put it past the bastard Mintz to tell such lies, but I never stopped. Again, unfortunately, if you are reading this,  then I failed, and we never reunited before my passing, and that will be one of my biggest regrets I carry to my grave. 

I hope you and your brother will meet. I still have faith that eventually you will find your way home even though it was not in my lifetime. Take care of your younger brother for me? Michael, well, Mickey was created so that way the legacy could continue. The truth is as well if I hadn't lost you, he would not have been created, but both of you were and still are absolutely dear to me no matter the circumstances of your creation or separation.

Take care of each other, Love your creator and Father Walter Elias Disney

He slowly brought down the letter some papers slipped out he shakily looked at it, tears swelling up in his eyes. He quickly tried wiping them away, reading It his eyes widened as he realized what it was, it was an unsigned contract for their father Walter Disney to sell his rights to the Warner Company, he had never signed it, but Charles had and with the Letter Oswald realized, his creator had never wanted to, anger boiled inside the rabbit,

Charles, he remembered his heart breaking, shattering as he was told Walt no Dad had betrayed and sold him to another company, but this contract showed Mintz had been the traitor and person lying to him the entire time. His Papa had wanted him back, his father wanted him, 

"I trusted Charles, I did everything for him and he lied to me" He murmured before suddenly the toon stood up giving an enraged cry swinging as if trying to punch a ghost, making Mickey who had also jumped up take a slight step back as tears began spilling from the rabbits eyes

"I TRUSTED HIM!"

He recognized this behavior, as their Dad had acted in a similar manner when enraged. He knew what to do, and it made Mickeys heart ache. Everyone said he had taken after Lillian, but in Oswald, he saw their Dad shining brightly. And he knew the one thing that had always calmed their Creator down. 

Oswald felt his younger brother wrap an arm around his waist, drawing him into a hug. The rabbit held onto his sibling in shock, blinking as the rage settled into sadness and the lucky rabbit finally broke, sobbing uncontrollably as years of pent up trauma and anger bubbled to the surface as the pair maneuvered to the floor Mickey just holding him,

He heard words of assurance from his little brother, but it did little to help the grief pouring from him. He felt the other rock him Mickey looked up as Minnie walked into frame looking shocked seeing her boyfriend and his brother in such a state however stayed quiet at the others motion to do so and then spotted a letter on the floor, she knew this was a break through of some sort

She only motioned to her phone and saw a slight nod in response before slipping back out. They'd speak when Oswald was more calm,

By the time he looked back, Oswalds sobs had lessened, the mouse sighed,

"Oh Ozzie, I don't know what to say. Especially with the Company's stunt recently," he went quiet at the mention of the trashcan incident, both brothers were still heated about it,"But I know I'm here, I don't know if it'd be a comfort but I uh overheard them mention your name recently in the Company with the 100 years celebrations so they could be planning, you won't be forgotten again,"

The rabbit looked up in surprise, tears twinkled in them, but finally Mickey saw it,

hope

"I really wish they would, I tell people I'm not bothered by their silence....but it bothers me Mick,"

"I know, and you know what, as your younger brother, I will start mentioning you more. Eventually, they'll have to give in," a mischievous twinkle entered the mouses eyes

For a moment, Oswald saw Steamboat Willie again the Mouse that'd get up to chaos just like him. It felt good to know that part still lurked just underneath, but the rabbit also saw Lillian again. He had heard from so many Mickey took after Lillian with his gentle, down to earth, kind yet mischievous nature and now he could certainly see it as well.

"We are brothers Ozzie, and we should have been treating each other as such."

The rabbit felt warmth fill him, he nodded

"And I wasn't exactly innocent, I believed Charles, but I should have made sure that was the actual story, before getting angry,"

Mickey just gave him a smile,

"Your like Dad, a bit hot headed, with the temperment to match." Oswald gave a look, but he continued," But you're a good toon underneath it. We all make mistakes. You know what Dad would say,"

"Keep moving Forward" They echoed each other before finally laughing

The rabbit elbowed the other before finally they stood up holding the others hands,

"And you Mick your like Mom," Surprise crossed the mouses face, but also questioning"For the short time I knew Lillian she knew how to talk Walt down, a kind down to the world soul but she also wasn't afraid to put someone into their place,"

Finally Mickey broke out into a smile hugging the other

"We emulate the ones we looked up to the Most"

"That we do" the other responded returning the hug,

[feild-null]

A Few Thoughts on Adaptation

Adaptation is a very tricky art to get right. Most of the time adaptations seem to be worse than the original works, and why is that?

Take for example if I wrote a small passage such as this

“Out in the fields I sat watching the sun dip below the horizon. For a moment each piece of dust in the air and bead of water on the ground lit up in a bright flash. The light hitting everything just right to make that moment one to remember. Now the sun dips even lower leaving the area desolate and dark, but soon the stars will come out and bring the night abuzz again. Another day will pass leaving a moment just as beautiful, maybe even more beautiful, but not for me. My moment has passed, someone else gets to have that dusk to themselves now.”

Well written, and let’s say enough people like it enough for it to get a release as not just the text but with an image this time around. Herein lies the issue. The moment you imagined in your head will most likely look better than what I could draw. So if I added this;

It’s most likely disappointing in comparison to the text on its own. Even if effort was put into changing the media it didn’t have the same magic energy as the original, which could be preferred, but to fans of the original it would be dissatisfying.

Now there are good adaptations, so what is the trick? From my observations there are two main ways to make a good adaptation;

1. Re-contextualize the story

2. Make an adaptation from a work that didn’t work as well to begin with

On the first note, re-contextualizing the story helps to make the adaptations stand out from one another making the two works seem separate enough that fans of the original can appreciate a new direction and it is actually new. For a good example of this take the “The Blob” movies. There are two versions of the movie. There’s the ‘58 and ‘88 versions; the first version is a movie that is inventive but struggles from its technical limitations from the early days of filmmaking, whereas the ‘88 takes full advantage of new filmmaking techniques and technologies. This by itself is good, but the stories are changed, where the original had the title monster come from outer space mirroring the fear of foreign invaders in the Cold War, the remake had the government be responsible for the monster in random with rising anti-government sentiments from Vietnam. If you’re looking for more information on this here’s the video I learned that from

Another good example is how the Scott pilgrim franchise handles adaptation. The original comic, movie, and tv show are all very different and for different purposes. The comic is more about the relationship and dynamics of characters, where the Edgar Wright movie was more interested in being a fun watch that mostly focused on one arc for Scott. The show. I’m not gonna pretend I liked that show (Scott pilgrim takes off), but it did do well (in the first three episodes) setting up the characterization of the other characters in the series. All have their own fan bases and are all going for different experiences. For a bad example we have our good friend the Disney corporation! The new Disney remakes have been railed on to death so I won’t spend too long on them, but suffice to say, they aren’t different enough from the original to warrant existing or cool enough to rekindle the magic of the original animation. They don’t change with the times, the closest we got was the little mermaid remake’s version of “Part of your World” having a different ending note (which personally I liked), which isn’t a good way to make remakes.

Now what about works that didn’t function very well to begin with? The best examples I can think of are The Thing and Spider-Man. The original Thing movie was titled “The Thing from Outer Space”, which was a longer and less catchy title to begin with, and while being a good watch ultimately wasn’t too remarkable. I’d still recommend watching it, however, that doesn’t compare to “The Thing”. That movie is a modern masterpiece of writing, failing at its release, but being remembered for its amazing portrayal of the story. (If you can’t tell, 90% of this is just recommending movies and tv shows that I liked). What about spider man? Well, while Peter Parker has stayed consistently good, Miles Morales wasn’t always. Miles’s comics personally weren’t very gripping or very good to read, mostly just a filler for the time, but the Spider-verse movies? NOW THAT, THAT IS CINEMA. Those movies made what was an interesting but underwhelming character into one of the most compelling movie protagonists I’ve seen from Sony in a while. Not to mention the “Across the SpiderVerse” movie had a twenty minute opener that was a movie within itself about Spider Gwen.

Now all this is to say adaptations are very interesting to look at. It’s important to remember to judge works of media on their own because a lot of adaptations are going for a different crowd, but also knowing the past of it is important to make progress. Suffice to say it’s complicated and understanding and enjoying media is hard. We want things to be good, but even bad adaptations can teach us things. Netflix’s “Avatar the last Airbender”, Disney’s remakes, and a whole suite of live action remakes show the value of the medium of animation and what happens when you take it out of a story. The remakes of beloved stories that butcher the characters and teach us why Hollywood sucks forget why the story is good show us that you need strong direction for good end products. (Hollywood isn’t actually bad, it’s just an easy punching bag to point at and say that it’s the real problem when the creative bankruptcy and executive pressures are a result of dying markets and competition) Now if you notice I didn’t name a specific franchise for that last example, that’s because that franchise caused me to write this in the first place. And it’s “Transformers: Rise of the Beasts”. And that movie caused this rabbit hole to explain why it’s bad and the worst part is it could’ve been a masterpiece. THATS RIGHT, THIS WHOLE RANT IS ACTUALLY ABOUT TRANSFOMERS!

I could write a whole other dissertation about that movie and why it fails to be a good adaptation of “Beast Wars” and “Transformers” as a whole, but I won’t. This post is already looking way too long but I will say the show “Beast Wars” is one of the best transformers shows I’ve seen, heck even one of the best shows I’ve seen, though that could be due to the fact I saw it as a young kid, but I did rewatch it and it lived up.

No matter, enjoy media, and remember to stay excited for new things, media hasn’t become bad, we simply have to keep up and find the good parts. Goodbye tumblr citizens.

[callmebeausunrise]

( jes tom, twenty-nine, non-binary, they/them ) ☼ congratulations, beau sun, you’ve been accepted as a visitor center staff at central hazel in grand hazel national park this summer! we could tell from your application that you are chatty and personable, so we are so pleased to welcome you from huntington, west virginia for your first summer on staff. hopefully you can check flirting with some cute visitors, learning about every corner of the park, and petting a wild animal (just kidding. maybe) off your bucket list. please consult your employee handbook with questions!

background

Beau grew up right in the middle of five children. No one ever listened to them talk so they might as well talk about everything and anything, right? Beau is always talking. Whether it’s an appropriate time or not, whether they even know who they’re talking to, whether or not they even know what they’re talking about.

They left home right at 18 to make their own way in life, and after all manners of odd jobs and strange living situations, now at 29 they have found themself very happily submitting an application to Grand Hazel National Park.

about them

Beau loves love. They have been in some very happy monogamous relationships and polyamorous relationships. They believe in romance in all its (consensual, appropriate) forms. They are pansexual.

They absolutely love to talk. Talk to visitors, talk to themself... oh yeah, talk to their peers too.

They love the outdoors but are scatter-brained enough to forget some safety rules. Watch out for this one, they’re a bit of a danger to themself.

Self-admitted energy drink fanatic. (Please drink more water.)

Beau will defend their friends with their life.

They're really hoping that Disney movies haven't lied to them, and they really want to pet a wild animal. (Don’t let them.)

looking for

lots and lots of friends!!

friends to explore some hidden parts of the park with

friends to go on an early morning hike with to watch the sun rise above the trees

friends to talk with about the cute visitors that come by ;)

a romantic fling here and there

(possibly a serious relationship?)

helpful coworkers to make this whole job smoother

cowokers that will make sure Beau does NOT pet a wild animal

a tour guide or two to help introduce them to the area, they're new here

someone to talk conspiracy theories with -- who here has seen Bigfoot??

if anyone has any other ideas I'm totally open to chat!! ☼

[mdhwrites]

Why I Think The Owl House Got Shortened

I have three theories and literally none of them of them have jack shit to do with the representation. I think people who think The Owl House got cancelled for that haven’t been paying attention to Disney at all, want a reason to hate a corporation that hates them (because this is by no means calling Disney an ally. They’re evil) and ignores that Disney has been using representation as a marketing and distraction tool for YEARS now. Besides, Disney has to approve everything TOH does and they still let the Lumity kiss happen. They still allowed Luz to do her bi presentation at the start of season three. Moscha is blatantly non-binary. These are all good things and all things Disney let through. If Disney hated the show as much as people claim, at least for the representation, NONE OF THIS WOULD HAVE HAPPENED. Moving on. These will be in order of what I think is most plausible btw and these are all just theories. Theory 1: Dana pisses some people off with her treatment of S1. The fandom knew REALLY early on that Dana didn’t like the first of Season 1 and that she blamed changes enforced by Disney for it. Mind you, I joined the fandom when S1 was ALL WE HAD. As far as a content creator’s job to promote that which they make, let alone the DIRECTOR of the show, saying “Hey, half of what is out, the first half, is not great,” is kind of a dick move to your own creation. Say that once there’s five seasons, a dedicated fandom, etc. like that? Go right the the fuck ahead. That’s not going to stop most people who are watching the show and half a season in return for nine times that amount in good content is a trade some will make. I would not be surprised if this ended up really annoying some of the people at Disney and eroded trust they had in Dana. That would have made the budget cuts made during Covid easier to choose because you have a show where the creator itself is causing problems in its numbers. Theory 2: Disney decided they’d been lied to and that the show wasn’t what it was pitched as and they didn’t want the new version. So if we go off of the pilot, and the unreleased pilot for that matter, what would be a good description of the thesis of the show? What is the elevator pitch that gets a network to start producing it? For TOH it’s actually pretty simple and you can see why current Disney wanted it. “We want to do a fantasy comedy show where a young girl goes to another world where she learns life lessons and magic. The comedy is predicated mostly on subversion of fantasy tropes.” As Disney has been loving itself some subversion of its own tropes, that’s pretty appealing since it also works well as a kid’s show and Amphibia was also approved. But... How true is that of TOH? Season 1 at least tries to do lessons about morality but more often than not, Luz learns nothing. Or the lessons get muddled because Eda is a terrible person in S1. The comedy also isn’t clever in any way with its subversions and there’s also plenty of fantasy in TOH that is reliant on the excuses and the like of fantasy. It’s really nothing special in that regard even while it mocks fantasy. But the worst part is the magic for Luz. The Intruder and Adventure in the Elements aren’t bad but one DOESN’T have a lesson for Luz and if it does, the other uses similar mistakes she made in The Intruder to cause the problems that happen. Also nothing really comes of “There’s magic everywhere” in that episode so there are two glyphs that don’t really have any meaning behind them. But then it doubles down in Grom where Luz just gets the plant glyph at the beginning because *shrug* and then Winging it Like Witches gives her the fire glyph. You CAN make a case that this gives her an arsenal so she can do more with the adventure aspect (I would argue this is not a good thing because it means she needs to be less clever with her magic, which happens in the season finale and opener for S2) so they can brush that off. Maybe. But then Escaping Expulsion happens. Not only is it exceptionally anti-parents for Amity without proper build up or the like ON DISNEY but it nukes Luz’s arc with magic without Luz even interacting properly with the B plot of the episode. She is not involved in the ending of her own journey in becoming a witch. And for anyone who wants to say “The glyph combos could that...” Dana would have had to show that the script and boards for the very next episode included “Here is barely an explanation for how I now have INVISIBILITY. The bigger explanation is ‘It’s magic, I don’t have to explain it’“ Which is usually the number 1 complaint about fantasy writing. And your subversive comedy just used it over and over again for the main character’s arc with magic, especially for why it’s as strong as it is. At that point, you ask for a meeting to discuss just what you’re actually getting as a company and how much more of it you want. Theory 3: TOH is expensive to make, even for an animated cartoon, and Covid hit so it was decided to be made shorter for long term budget cuts, especially since S2 looked even more expensive. So... This has a lot to just do with the fact that TOH’s magic especially is very budget unfriendly. Gus, Willow and Amity all practice forms of magic that cause secondary entities to appear with them and can continue to move after the initial cast. So now you have a far more complex scene because you need to track Gus’ illusions, Amity’s abominations, Willow’s plants and those are just those three covens. Pretty much all of the coven magics have this issue. The only ones that kind of avoid this are potions and power glyphs. Also, quick side note: Power GLYPHS. Not going into it here but there’s a reminder that TOH’s magic sucks and does not feel planned out. Speaking of glyphs: Those don’t really help. Yes, those are at least static but Luz also demonstrates that they allow for quick casting so that’s a lot of new elements and half of her glyphs still leave behind debris that the animator and artists have to keep in mind as the fight goes on. This is why a lot of times, even in a show with a lot of magic, you might have the dude who specializes in artifacts or weaponry or goes into a special mode where he just glows a bit and gets buff. All of that is WAY simpler than literally anytime the witches in TOH cast magic, let alone for the big set pieces TOH likes to do. Dana’s penchant for outfit swaps doesn’t help either. After all, you work with a TEAM of animators. You have to make the notes for them of how the new outfit works on the character. Works in specific lighting. What if it gets wet? Etc. like that. That stuff takes time and money to hammer out but if you don’t do it then the character looks off model and shifts more between artists because there’s unifying document. HOW MANY OUTFIT SWAPS ARE IN SEASON 2? And how many of them are permanent, or at least for a good number of episodes, so this work is more required than a one off outfit? In general, there’s a lot about TOH honestly, from how populated it is, how it handles magic, how it handles outfits, etc. like that makes it feel honestly expensive. It’s a GOOD looking show after all but that effort, and especially those high quality set pieces that are obviously made with a high frame rate essentially (drawn on 2s or 1s instead of 3s I think is what one would say? I’m not an animator)? It could just be that it stressed its budget, Disney looked at that, looked at Covid and decided that in the long term, they didn’t want to keep spending this type of money on this show so they shortened because they had a contract with Dana that demanded 3 seasons and the specials were the closest way to ending that contract early. Those are my thoughts. My theories with what little business knowledge I have and putting myself in Disney’s shoes. One thing you might notice is that I didn’t do a quality call on it because quality very rarely matters to corporations. What matters is views, costs and profit. If quality mattered, Teen Titans Go would be dead because it is THE WORST. Like it literally teaches bad morals which is about as bad as a kid’s show can get. So why would it matter for TOH?

[twistedtummies2]

Fifteen Days of Disney Magic - Number 8

Welcome to Fifteen Days of Disney Magic! In honor of the company’s 100th Anniversary, I am counting down my Top 15 Favorite Movies from Walt Disney Animation Studios! We're now halfway through the countdown! Today’s entry proves the quote, “The past is never dead. It isn’t even past.” Number 8 is…The Lion King.

If I had to make a few guesses, I’d say the most unorthodox things about my countdown would be the following: one, putting “Fun & Fancy Free,” of all films, in my Top 15. Two, only including one modern era Disney film in the ranks, and we’ll get to that one eventually, don’t worry. Three, not including “Beauty and the Beast” in my Top 10…and four, making “The Lion King” ONLY 8th place. Yes, I am aware that I am a blasphemous heathen who deserves to be hit with a stick. So sue me. Once again, I must stress, do not take the lower placement of “The Lion King” to mean I dislike the film. Because, obviously, I do not. I think the movie is one of the most epic features Disney has ever put out, and it’s not a surprise that so many people name it as one of their top five favorite Disney movies, or even their absolute favorite. It was one of the most successful features of its time, and for good reason. Combining elements of Shakespeare with earlier animated works, including the anime “Kimba the White Lion” and Disney’s own “Bambi,” and a lot of its own original material, “Lion King” was and still is a unique movie in the Disney canon. In some ways, I would argue it’s a little more adult than many other Disney films, although it still has plenty of elements that can appeal to children, or even to one’s inner child.

There are many things that make this film as “big” as it is. The visuals are sweeping and grand; even the most minor shots always seem to have a lot of punch to them. It takes great advantage of the colors and visual motifs of its natural African setting to create some of the most gorgeous images you’ll find in any animated movie. Practically every frame of this film, if you were to halt it in place, could make a perfectly composed picture; almost something you would want to hang up on your wall. From childhood innocence to the bitterness of adulthood, and everything in-between, it patterns the emotional and physical journeys of Simba beautifully. Hans Zimmer’s score is equally powerful; I feel this actually may be one of his most underrated soundtracks, since when most people think of his name, they probably think of his work with Christopher Nolan, or on franchises like “Pirates of the Caribbean,” and when most people think of music in the Lion King, they tend to think of the songs. And while the songs are great – REALLY great – I think that Zimmer’s score is equally applause-worthy, as it works with the imagery (and the splendid voice cast) to paint every character and scene expertly. However, when I rewatched the film, what struck me most was the overall message of the story. This is where I think it’s most adult elements show: not in the death of Mufasa, or the family struggles, but in its ultimate and most prominent theme. The film is ultimately about one person learning to overcome his own perceived past mistakes, and bring justice and truth to a world filled with lies. We have all made mistakes or wished to correct unjust situations, and I think that theme is just as powerful today as it ever was. For me, it is perhaps especially poignant; I have, more and more frequently, found myself dealing with old wounds and not-so-forgotten errors, and wishing I could find a way to correct all those terrible things I did or said. So I can relate to someone like Simba in a way that’s different from many other characters Disney has created. As far as its competition with “Aladdin,” "Peter Pan," and “Beauty and the Beast” can be concerned, Lion King ranks high on all counts. Using the criteria I named in my previous two entries on the countdown: Lion King certainly has a lot of nostalgic value for me, and I do tend to refer to it more than “Beauty and the Beast” in everyday situations. I’d say it and Aladdin are pretty evenly tied there. I also have a close connection to it in writing, since my commission work has led to me writing A LOT of stories set in the universe of this film and its later spin-offs. And while there aren’t AS many parts I’d like to play in the story, in terms of a stage version, the chance to be in it, or even to just SEE it, onstage would be absolutely fantastic beyond belief – something I’d look forward to more than either of the other two films it was competing with. Therefore, it tops them both…but not the other films yet to come. I'm going to be honest, before I close this out: this film actually rose in the ranks by a grand margin. Just as I fully expected to put Peter Pan at the top of the four-part stretch when I went in, I actually expected to put Lion King at either 9th or 10th place. But upon returning to it, and reflecting on everything it means to me and all its done for me, I realized just how special this film truly was. It's not enough to break it into the Top 7...but I think when you see what those seven films are, you'll understand that being 8th place is far from an insult to this film's colossal credit. The countdown continues tomorrow with my 7th Favorite Disney Movie! HINT: An Underrated Mouse-terpiece.

[signalwatch]

90's Watch: Don't Tell Mom The Babysitter's Dead (1991)

Watched:  02/09/2023

Format:  HBOmax

Viewing:  First

Director:  Stephen Herek

Sometimes a movie goes off the rails so fast and so hard, feels cynically produced on top of that, that it's hard not to just get mad, fold your arms and complain til the credits roll.  For the past 32 years, I'd successfully not seen Don't Tell Mom the Babysitter's Dead (1991), which came out when I was 16 and was working through my Gen-X feelings of rejecting things I felt were marketed at me - but specifically at a very dumb version of me the people selling me stuff mostly took to be an idiot.

In 1991, Don't Tell Mom the Babysitter's Dead was *heavily* sold at teen audiences with ads on MTV and elsewhere running seemingly non-stop.  Certainly I saw  trailers before other movies.  And you always knew:  if the movie looks like this, and they're advertising it this hard, it's because it sucks and they need to get people in before word spreads.  

There was a long tail of 1980's-style comedy into the 1990's, enough so that it probably deserves its own niche, but this movie feels like a 1987 release more than something that would hit at the same time as Home Alone. 

The pitch is this:  

Kids are left at home for two months under the care of a mean old lady.  She dies in the first ten minutes, and the kids dispose of her and accidentally the money they were to survive on.  For reasons, they do not want Mom to know (and Dad has some mysterious shadiness about him that is never teased out).  

Instead of BOTH teens getting jobs so they can survive, only one does (Applegate).  She works for a day at Clowndog (which looks like a very bad job, but a very fun place to eat), and then lies her way into a job at a fashion/ uniform company as an executive assistant.  And never worries about getting caught.  Even as she steals from the petty cash.

Kids learn life lessons.  Romance is found.  The ending makes zero sense.

You can blame the director for this, but Stephen Herek directed a number of watchable films, from Critters to Bill & Ted's Excellent Adventure to some big-budget, successful, live-action Disney films. In short - I think he knows what he's doing, or especially did in the 1990's.  But if he also shot what was on the page for this movie, then... you know, these writers more or less don't have a track record after this movie that I'd write home about.

Curiously, this entire family lacks scruples while also having a complete lack of charm or any redeeming qualities.  Movie:  this stuff is important if you want people to care about the ending.  Counting on the audience being dumb kids only sells so many tickets.  At least try to make us care whether the children live or die.  I mean, we've already shown a curious callousness to life and death once in the movie.  What's one or two kids less?  But the kids all get one character goal and spend the duration whining about whatever their thing is.  There's no love or even hate between them.  They merely co-exist in space.

Despite a really solid title that promises a dark comedy full of hijinks, we get a pretty basic "fakin' it til you're makin' it" comedy made popular in the 80's with Working Girl and The Secret of My Success welded onto a teen summer romp about being a dipshit.  And, despite the fact it looks like a comedy, there's almost nothing present to illicit actual laughter.  I laughed audibly exactly once, at a supporting character's choice to clutch a jar of M&M's as a coping mechanism.  

The set ups of the film intended to provide our hero with challenges all seem to point to:  this girl is going to jail.  And she is going to jail because she's an idiot and everyone else in her family is an asshole, from youngest kid to absentee, lying mom who has skipped the continent to go bang a shepherd. 

What's odd about the "makin' it" business aspect is that she... doesn't?  She hands all of her work to Kimmy Robertson, and her solution for saving the company is to turn their industrial uniforms into highly 1980's-specific and impractical designs that seem like they'd just bring more shame on the workers than a smock or a golf shirt.*  

Either one of these movies might have been fun on their own, but together...  

It feels like no one sat down with the script and said "does this make sense?"  Like - ok, I'll buy the shitty mom also didn't tell the kids who she was hiring to babysit them for two months.  I'm not sure how this old bag was qualified or why she thought making the kids miserable was not going to get back to the mom.  Ignore all that.  Babysitter is dead within 10 minutes.

But I also don't get what the kids thought was going to happen when they had to explain to their mom they threw away a corpse.  Like - that woman presumably had friends and maybe people who loved her...  The movie could have set it up so that wasn't true, but it didn't.  They just throw her away.  (Apparently Bad Mom also left 2 months worth of cash?  Jesus, lady.).

But it also does weird little things like - they give the kids two cars, but then one is stolen partway through the movie (by drag queens.  And that plot point never, ever returns...  when it so easily could have).  Like... why?  Why one car?  It makes whole chunks of the movie not make sense.  Like - did they call an ambulance to the farm?  Did they get a ride?  

Look, I could spend an hour naming Things In Don't Tell Mom the Babysitter's Dead That Could Have Easily Not Happened And/ Or Been Fixed.  I will spare you.  When other people think that's criticism, I find it both dubious and annoying.  I mean, I am 100% right about all my thoughts on this, but I doubt I will sway anyone who loves the movie for any reason.  Shine on, you crazy diamonds.

But, jesus.  This is the laziest @#$%ing movie.

It also costars Joanna Cassidy, who I know mostly from Blade Runner, and who is clearly in a wig here but allowed to be over 40 and hot, which is shocking for the period.  And it has John Getz, who was the main guy in Blood Simple, here being horny at Christina Applegate.  Josh Charles plays Applegate's paramour and he's... fine.  David Duchovny is there to show you what happens when no one knows what to do with you as an actor.  I think the secretary/ Josh Charles' sister played Admiral Cornwell on Star Trek: Discovery.  

The movie is wisely anchored by Applegate, who was most famous at this point as Kelly from Married... With Children and seemed ready for bigger things.  If the movie is watchable, it's that Applegate is watchable and likable, and not playing a broad, dumb character.  Her scenes with Joanna Cassidy and John Getz suggest a better movie that doesn't exist when they aren't on the screen.  But it's hard to sell to boys wanting to see Applegate a movie when she's on TV every week, and I don't think the movie did a great job of marketing the Makin' It portions of the film.  Applegate's career is worthy of discussion because she's proven multiple times she's hilarious, but she has to be the straight man here to literally everyone.

Who knows what happened from script to production to the editor's block?.  Anything could have.  And probably did.

I will possibly try this movie again in another 32 years to reconsider.  

  *I say this as someone who worked back-to-back at Chuck E. Cheese and The Disney Store

https://ift.tt/aBxntMz

from The Signal Watch https://ift.tt/yuMK0Xo

[vinceleemiller]

Don't Leave Your Family Open To Spiritual Attack | 1 Samuel 31:7-10

When leaders step back, the enemy always steps in—don’t leave your family vulnerable to spiritual attack.

King Saul is dead. An arrow wounded him, and he took his life by falling on his own sword. Then this happened in 1 Samuel 31:7-10:

And when the men of Israel who were on the other side of the valley and those beyond the Jordan saw that the men of Israel had fled and that Saul and his sons were dead, they abandoned their cities and fled. And the Philistines came and lived in them. The next day, when the Philistines came to strip the slain, they found Saul and his three sons fallen on Mount Gilboa. So they cut off his head and stripped off his armor and sent messengers throughout the land of the Philistines, to carry the good news to the house of their idols and to the people. They put his armor in the temple of Ashtaroth, and they fastened his body to the wall of Beth-shan. — 1 Samuel 31:7-10

The fall of Saul was a catastrophic failure of leadership. The nation's first leader, chosen and anointed by God, was now lying dead, with his sons slain by him, and enemies were desecrating his body and legacy. In addition, the Philistines wasted no time capitalizing on his defeat. They cut off his head, stripped his body, paraded his armor as a trophy, and hung his remains in public humiliation. Nearby Israelites, seeing their king crushed, fled their homes, leaving entire cities to be occupied by the enemy.

This should be a sober reminder of the importance of leadership and the consequences of its failure. Saul's perpetual disobedience and downward spiral left a devastating wake on everyone and humiliated the nation, and the enemy seized the opportunity to mock, defile, and advance their cause.

While this was a catastrophic illustration, we see shadows of this type of failure today. One is the breakdown of spiritual leadership in the home.

Speaking directly to the believing men listening today, when you, as a husband and father, neglect your God-given role to lead in the home, you leave yourself and your family vulnerable. Then, your wife and your children grow up without a strong spiritual foundation, leaving them susceptible to the enemy’s lies about identity, purpose, and truth. It's not the church's responsibility to spiritually raise your family. It's your responsibility. Your passivity to obedience to God has the same effect as Saul's lack of spiritual leadership and disobedience to his family. This might be a graphic picture, but it is the truth. Someone is always discipling your family. If it's not you, it's Netflix, Disney, TikTok, and Snapchat, and they are very good at discipling your family. Then, one day, you look up to realize your family no longer believes in God; in addition, they act in defiance of God. Now you like Israel are looking at the devastation on Mount Gilboa.

When we step back, the enemy steps in.

Don't step back today! Step in! Step into spiritual leadership in your home, workplace, and community. One spiritual leader can make a home, workplace, church, and nation different forever.

#LeadershipMatters #ObedienceToGod #FaithfulMen

Ask This:

Where are you most tempted to neglect spiritual leadership in your life?

What would it take to step up today?

Do This:

Step in and step up in one place and one way today.

Pray This:

Father, help me to lead with integrity and faithfulness. Protect those I lead from the consequences of my failures, and guide me to always depend on You. Amen.

Play This:

War.

Check out this episode!