"A Jester can mock, and the King cannot fight
For the gift of free thought is the jester's one right."
A sweet golden prince who lived up in the sky,
Listened to his families' terrible fights,
The ceiling would rumble, the tile would shake,
The throne room was fragile, and soon it would break.
He'd attempt to speak, but it never went right,
His father would rage, and he'd lose every fight,
As decades passed by, it soon became clear,
The King saw his son as a monster to fear.
The Prince quickly followed every command,
Only to be trapped by his father's cruel hand,
Years of destruction with no end in sight,
This war would not end with a large act of might.
And so the Prince stopped fighting fire with fire,
And instead he pulled out his golden stringed lyre,
Since he had no respect, he would leave the King's cage,
And swap out the throne room for a shining stage.
He taunted with wit and he giggled with guile,
And even his sorrow he shared with a smile,
His father's gaze lessened, his temper was tame,
As his once "Golden Prince" treated life like a game.
The centuries passed and the mirth never ceased,
The sun never set on the first son of Greece,
He danced for his siblings and bit down his pain,
Since each peal of laughter meant there'd be less rain.
There's only one role for which there are no rules,
So who is the jester, and who is the fool?
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suzypfonne replied to your post "The level of my absolute rage right now at the…"
Also, no one owes anyone that perceived fuckability. It's fine to find someone attractive and even find yourself fantasizing but it's not owed to you.
They did an excellent job making him look like the doomed prince.
This is such a good point, and I could not agree more. (Although ftr, "the doomed prince" always makes me think of Hamlet, and god knows Michael was far more attractive in that role. Haha.)
But I think what you said is part of why the comments bother me so much. It's that it becomes blatantly clear that these fans only cared about Michael as long as he remained what they perceived as "fuckable"--that regardless of whether they wanted to have sex with him, he is seen as more "acceptable" overall when he looks a certain way and less so when he doesn't. I think Anna's snarky comments about Michael's appearance over the years have bothered me for a similar reason, because they also speak to her only finding him attractive when he looks a certain way.
Again, this is not to say that Michael has to look fuckable at all times, but it's clearly something that AL places value on the way the fans do, though in her case, it's because she can use it as something to brag about. So that's why we won't see her make a post to the effect of "So proud of him for taking on this difficult role," because she knows no one is going to want to fuck Michael while he looks like Prince Andrew. Her disapproving of his looks while taking on a specific role is nothing new, as she did the same thing when he played Chris Tarrant in Quiz, but it also gives an indication that she and the fans are on the same level of maturity, which again goes back to those Twitter comments striking such a nerve in me.
Michael is an actor. His job is to act, to become and embody whatever role he is playing to the best of his ability. Some people seem to think that acting is only about being glamorous, but if we are going to express outrage when the media and others make remarks about Charlize Theron "uglying it up" to play Aileen Wuornos when all she was doing was her job, then we should be just as outraged at people attacking Michael for looking "ugly" for doing his. (Also, the fact that Monster came out in 2003 and we still need to have this same conversation twenty fucking years later is utterly depressing...)
All this to say that yes, attractiveness and sex appeal/charisma can be and often are important parts of what makes an actor bankable, but looks alone do not make someone a talented actor, nor a good person. And maybe if people looked beyond the surface of their own desires, they might start to realize that...
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Scrimbly Jacqueline 29/52: adult supervision does NOT go according to plan...
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"Right. Okay. So. Let me get this straight." Jacqueline took a brief, long deep breath in. "You think you've finally managed to perfect your sleeping elixir and Ken's going to test it for you."
"Yep."
"That about sums it up, yes."
"And you decided it'd be best to have an adult on hand, despite both of you being adults."
"I mean...is nineteen hundred really adulty?"
"YES."
"I dunno, Jacqueline. I don't feel very adulty. Ken's way more mature than me."
"Not nearly as such."
"You're too hard on yourself, dude! You're super mature."
Ken blushed. "Oh! Well. Thank you, Fino."
Fino grinned. "Of course!"
"Right. Okay. So you both decided an adult would be wise, despite being mature," she enunciated the T, her voice popping up an octave. "but are still going through with this despite, y'know, all the red flags."
"Yep!"
"Correct."
"And you can't like, test it on like, a mote, because?"
"Motes have a very different physiology from magibeans, Jacqueline."
"And it already works on them! So Ken said he'd give it a try!"
"Us orcs have very high constitution, after all."
"It's true! I've seen him nearly poison himself four times this week alone and seventy-five percent of the time he had zero side effects! Didn't even know he'd ingested poison! The worst thing that happened was a gnarly case of diarr—"
"We don't need to give your sister all the details."
"He's just being a supportive partner!"
"I know how much it means to you to master all facets of magic. I can make sacrifices."
"Right. So. Why me? Why not Mom or Dad? Jack? Lucy?! I mean, she's a MEDICAL PROFESSIONAL, Fino."
"Yeah, and would probably tell us to not do this."
"Debatable. Woman loves her science. She'd MAYBE protest in case, you know, the side effect to sleeping potion is DEATH. But she'd probably stay on site and be able to, y'know, HEAL you BOTH if anything untoward happened."
Fino squinted. "You turn more into mom every day."
"I can't tell if that's an insult or a compliment."
"Just an observation."
"Compliment," Ken clarified.
"Right. Okay. So you decided, quite idiotically, that Lucy was a no. Mom and Dad?"
"Didn't want them to worry!"
"Jack?!"
"Didn't feel right!"
"So you settled on me."
"Yeah! I dunno, I guess I just thought, y'know, out of all the more adulty adults in my life that aren't Ken—"
"We're the same age, Fino."
"Yeah, but maturity! Anyway, the niblets do crazier things—"
"—goddess above, don't remind me."
"So I figured that for something like this, you'd be ideal! You've got the experience, Jacqueline. So? What do you say?"
Fino grinned. His eyes got very, very big and for a brief moment Jacqueline was reminded of when he was much littler and asking for her to pretty please keep the cat, he really likes your room—
She sighed. Rubbed a spot on her temple. "Okay. Fine. But I do NOT approve."
"Don't even worry about it, Jacqueline!"
"There's a very good chance it doesn't work on magibeans yet, after all. Potions and witchcraft aren't Fino's strong suit."
"A fact you will never let me live down," Fino teased, scooping the sunset reminiscent liquid out of the cauldron and pouring it into an uncorked jar. He swirled it; the pinks and oranges gave way to purples and blues, the mixture sparkling.
"I got the colouration right! Yes!"
"Hmm. Perhaps I stand corrected. Well, bottoms up, eh Fin?" Ken took the flask from Fino, lifted it into the air, and chugged it in one go. Placing it down on the counter, he swallowed the last droplet, smacking his lips. "Tastes like gobstoppers."
"Unexpected but delightful result! And how are you feeling?"
Ken licked his lips. "Fine for the most part, though my tusks are a little bit tingly—" his eyes snapped shut and he fell down, face hitting the corner of the island as he plummeted to the floor and landed on his knees, tilting forward until his chin landed on the dirt floor, arms alongside him, ass in the air.
Jacqueline gasped, gently stepping back. Fino lifted the flask. He flushed, looked down at his partner, then up at Jacqueline through the empty vial. He chuckled, embarrassed, and scratched the back of his neck, his fiery locks warm on his skin.
"So, uh. Heh. I guess it worked?"
Ken began to snore.
"Yeah! Maybe a little too well!"
Ken snored louder, the dishes in the sink behind them rattling gently.
"That's probably not a comfortable sleeping position."
"Not unless you're like, five."
"I have a levitation spell for this—"
"Absolutely not! I think he's had MORE than enough magic for the day. I'm calling Donnie. She can lift him easy."
Fino placed the flask down and cleared his throat. "Good call."
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hehehe huehuehue hahaha. Meet orc friend! And 1900 year old ish Fino, FULLY REALIZED! And the RETURN of MILF JACQUELINE. FEATURING STOCKING GARTERS. She's only getting Milfier, guys.
Anyway I love Orc Friend (Kenothy, aka, Ken,) sooo much you guys. You don't even KNOW. Today I decided he has the most luscious, wavy, L'Oreal shampoo commercial hair. One day I'll draw him in cleaned UP scrimbly format! But for now, BEHOLD! A BUTT.
Design Notes:
I really did give Fino a goddamn mullet. He's working it.
He alternates between vest and no vest. Since he's at home practising potions, it's a no vest day. This is deffs NOT code for "I forgot he wears a lil vest sometimes. a lil waistcoat, if you will"
Milfline's bun is poofier because it is closer to the end of the day. That thing is five seconds from pulling a Mrs. Claus up-do explosion, and Ken being KO'd by a sleeping potion certainly doesn't help!
K and I were talking about garters and stays and such today and adding them to Jacqueline's fit hit me so hard my desk chair wheeled back on me! More on this next week.
I got a really cool pair of boots in Dreamlight Valley and if I don't adapt them to Milfline I may die about it, more on that next week too!
I RIPPED the PAPER bc I originally had Ken drawn like. Across the page? But I was picturing him butt in the air the way kids pass out. I got home from work, looked at it, and went no wait. this is how it should be doodled, and voila! Orc Friend Butt
Orc Friend Deets, if you're curiouse :3 (under the read more)
Post Colouring Thoughts:
I forgot how. In theory. Fino's patterned dress shirts and rainbow lined cloak are cool as FUCK. But in PRACTISE. Make him look like a bowling alley carpet.
You know what tho? It matches the mullet >:)
Which I am wildly proud of tbh!
Decided that orc friend DOES dress fancy! hence the (matching) green coat with golden buttons >:3
His hair is SO luscious and I put the gold in just to see the lines bc after I coloured it it didn't really show, but now I'm like. idk! I kinda like it!
His right hand got eaten? I sketched it. And now it is gone. I think it's under all that hair.
He also has a BUTT TON of earrings, ya girl just got sleeby and forgot to add them in! But he has like. 5 on each ear and one of the earrings is two studs linked by a chain bc it's NEAT
Maybe I'll do like a proper scrimble of him! I really like Orc Friend you guys :3
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It sounds like Joe and Ken focused on telling stories, stories that being stories focused on the world and characters they knew. While Pete's were more focused on delivering a message with story flavored wrapping.
This is very much the case, but the difference seems to go even deeper than that, to a fundamental difference in worldviews that affect how they approach story.
Episodes written by Joe Fallon and Ken Scarborough respect children as people. Children have been shaped by their experiences and have unique personalities. Children are curious and have brains--they are driven to explore new things and can draw conclusions from what they see and do. Children are already people who deserve respect, and like all of us, they're growing into different people as they learn new things and have more experiences. The child characters can thus be the drivers of their own stories and come to learn lessons for themselves. The child audience can relate to those characters, be drawn into the story, and learn what it's trying to teach without having every detail explicitly spelled out.
Episodes written by Peter Hirsch seem to approach children as people-in-training. They might have one or two personality traits, but instead of coming from and interacting with other elements of their background, they're just pasted on, like a sticker you can put on your Generic Child Prototype. These blank-slate children need to have knowledge poured into them so they can become Properly Educated Adults. So in his episodes, these child characters will go through their story with a question, and the adults--the real people--will tell them the information in great detail so these characters--and the watching audience--can go off into the world knowing what the writer has decided they need to know.
In Joe and Ken's episodes, flaws are funny, and can create funny conflicts that will teach the children better ways to approach problems. In Pete's episodes, flaws are horrible things that need to be pointed out, labeled, and sanded away, so these children can grow up into the perfect model of what a Good Adult should be. The first approach is engaging, and celebrates diversity of personality in a community, while the other becomes bland in the interests of shaping all the members of a community into the desired mold.
Comparing the two approaches provides a shockingly thorough lesson in how one should and should not approach writing and education. Story and character and message are all intertwined. Trying to force the message onto the story and characters makes for something bland and generic and unrealistic. Letting the characters shape the story and letting the story bring out the message makes for something much more unique, organic, engaging, and real. And yes, maybe I've come to this conclusion by spending far too much time thinking way too deeply about a bunch of shows for elementary-aged chlidren, but that doesn't mean it's not fascinating to see how, even within the same show, an writer's personality and approach to the audience can make such a vast difference in the quality of a story.
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