#lmk if you know who they are lol

[dungeon-vault]

[oh-gh0st]

i heart these rivals so much. maybe they'll kill each other. maybe they'll kiss. maybe they'll make ou

[mcqicons]

[skitskatdacat63]

I've decided to do myself what the cowards at Aston won't. Behold.

[good-beans]

Attention milgramblrgram prisoners!! *attaches you to my keychain* *attaches you to my keychain* *attaches you

Not that I need atonement for anything, but I've been doing a lot of angst for milgramblrgram -- I wanted to offer something sweet 🤲

@amugoffandoms @rainbowghostcat @lostxmelody @gunsli-01 @justzosiahere

@waivyjellyfish @luce-speaks @fayesdiary @purgemarchlockdown @kyanako5972

[fiendishartist2]

im not fucking around anymore. here's the full "Paul is Care" essay i've been working on:

“Alright. So there's uh, nothing out here, as far as I've seen. But actually, I think there is something out here. I just haven't seen it yet.”

In Petscop, the story is told between the lines. When you feel like you have a grasp on it, a single colour or date throws off everything you’ve built up. That’s why I like to look at Petscop in another way; not as a series of events, but an exploration of a single character: Paul.

Some people like to map everything out in a single timeline; when did Care go missing, when did the family get the game, when did Lina and Mike die. I think that every interpretation of Petscop has its own value, because Petscop means something different to everyone who watches it. But, when I look at Petscop, I don’t just see a series of events wrapped up in the mystery of Care’s disappearance. I see a video game used as a device to explore and understand the connection between the past and the present. I see the ways in which Paul Leskowitz is Carrie Mark.

I know that to some that notion might seem crazy; the broader discussion of Petscop is different to the niche ones held by crazy people in the tags of a Tumblr post . Obviously, this theory is personally significant and I hold it very near and dear to my heart. But, I want to share this theory in a way that makes sense to the general audience of Petscop because I genuinely believe you guys are missing out! So, keep an open mind and enter my Petscop mind-palace…

“...were signs along the way. Um, that I ignored. Because it would have been a completely ridiculous idea to me. Um. But when I found my room, it made, uh, well, I was shocked at first, but it made sense, especially considering where I found the game in the first place, um, that it would be tied, in some way, to me through you. Um. And I'm trying to think, when was the last time I saw any of you at all? It had to have been in like, 1999. I was a kid, I was a small kid. Tiny kid. Um. And after that, just, you know. But, it would make sense in the timeline.” (Petscop 11)

A lot of Petscop theories surround the actual textual proof found in the videos, so that’s where I’ll start. There’s many instances where Paul makes the connection between himself and Care, but one moment continues to stick with me. In Petscop 11, Paul finally enters the house and takes a look around. He’s on the phone with someone, presumably Belle. Paul goes up to the calendars and starts talking about Care, “Yeah, on that topic... I don't remember meeting this girl at all. Um, I don't remember knowing her at any point (…) Um, and I remember you saying that we were, that we, we are, um, exactly the same age.” (Petscop 11). He points out that he and Care share the same birthday, down to the year. We get further confirmation of this in Petscop 14, when Paul’s conversation with Jill that he had on his own birthday is superimposed onto Care’s. The next part though, is what really gets the theory started, “I do agree there's a resemblance. Um. Very strong resemblance between us.” (Petscop 11).

Faces are incredibly important in Petscop. Marvin thought Care and Mike could be rebirthed into Lina because they had similar features, and Care had to be given Mike’s eyebrows specifically to change her room. So, for Paul and Care to have such similar facial features that someone else pointed out the resemblance is significant.

They also happen to share the name “Leskowitz”, which is both Anna and Lina’s last name. We know this because his Reddit account is “p_leskowitz”.

If he’s a Leskowitz, then that explains his complicated feelings towards “the family”. “The family” is a foreboding presence throughout Petscop. Their meddling isn’t outright malicious, but even Paul admits that he’s intimidated by them. And it makes sense, as “the family” (comprised of Anna and Jill) each have a major role in the core mystery of Petscop. Anna is the mother of Care and the wife of Marvin, while Jill is Marvin’s sister and the mother of both Rainer and Mike. To be a Leskowitz, Paul would need to be blood related to Anna or Lina in some way. Paul shows that he has this relation to the family in Petscop 22, when he’s talking to Belle about finding the windmill, “And, I don't th- and you don't have to worry about it, right, 'cause... 'cause you aren't, you aren't family, so you wouldn't... have a room, that's the thing.” (Petscop 22). In this context, Paul is asking Belle whether Jill has contacted her. When he tells her she doesn’t have a room, this is in reference to the Child Library explored in Petscop 3 and 7. This means that in order to be part of the Leskowitz-Mark family (and in our case, related to Care), you have to have a room in the Child Library, something both Paul and Care possess.

Paul being related to the family is also supported by his casual mention of meeting Rainer as a child, “‘Rainer’... I saw him at a birthday party once. All the older kids were down in the basement playing video games, to hide from everyone. He was down there, too. He was older than the rest of them, though.” (Petscop 11), and his confusion of not knowing Care, with the implication that if she was real, he would have met her through the family.

A rarely discussed aspect of Paul’s character is that he can’t tell his left from his right. When he’s doing the disc puzzle in Anna and Marvin’s room is Petscop 11, “Um, we can see what the room looks like in that recording, um, on the uh, right? ... Left? Left? Right ... side.” (Petscop 14) and before he even enters the house, “And, I mean, I still get confused about that. Because, I mean, well, I know it's always the top, but, um, I still have to think. I have to think.” (Petscop 11), we can clearly see that he has trouble with directions. In a similar fashion, Care is described as “dizzy”, most notably in the end credits of Petscop. She is also described as blind by Rainer in Petscop 17, “You were blind. At some point, your movements stopped making sense.” (Petscop 17). In the counsellor’s office, the counsellor says to Paul, “Are you right handed, or left handed? You don't know? Really?” (Petscop 22). I’ll get more into it later, but this sequence is presumably a real conversation that the game is recreating. If this scene is taken from Care’s real childhood, then it confirms that she also had problems with her lefts and rights.

Now, this is the base level of the theory. It’s easy to figure out that Paul is a Leskowitz, he literally calls them “the family”. And while I think the bits about faces and birthdays and directions are significant to this theory, I wanted to get all of the textual evidence out of the way so that I could get into the fun part of this essay: the subtext.

”Some things you can't rewrite.” (Petscop 14)

Petscop is nothing if not a collection of symbols and metaphors. Ask me what Petscop is all about on any given day and there’s a non-zero chance I will start explaining why the car is orange. While it is necessary to analyse Petscop as a real series of events, I think that another approach can be taken; what if we analysed Petscop as a series of events that are happening to Paul specifically? That the game is creating meaning by placing Paul specifically in these snippets of the past. By looking at each moment as “Why did the game make Paul do this?” instead of “What is happening in the game?”, we can see everything through a new lens.

First, I want to discuss colour. Colour plays a huge role in Petscop; almost every character is assigned their own colour. This is most often used to denote who is speaking in text, but it’s also used for other things like the tool. You are probably aware that Care’s colour is yellow, as all of her text is yellow. What you might not know is that Paul’s colour is red. Paul has exactly one instance in all of Petscop where he has coloured text and that is in Petscop 22, when he gives the counsellor his name. The calendars in the house are also colour coded, as the one showing 2017 is red.

One of my favourite moments in all of Petscop uses colour in a way that supports this theory perfectly. When Paul takes Care out of the rebirthing machine, she has been transformed into an Easter egg. A red and yellow striped Easter egg. I will get into this egg later on, but for now, I want to point out how Paul and Care’s colours have been used here. Of course, it’s significant just that they've been put together, but it's more than that. Care’s final form, the egg she has been placed in to keep her safe from all of the trauma she has suffered, that she will spend the rest of the series in, is painted a combination of her and Paul’s colours. In the same sequence, when Paul is playing the Needles Piano for Care B, the “wrong” notes he plays to turn her into the Easter Egg are all red. There’s a joke about eggs and transness in here somewhere.

Right after Care’s rebirth into the egg, Paul places her in the locker with the purple egg and the “new life” letter. If we abide by the established colour theory, this second egg would be Belle’s/Tiara’s egg. By putting them together, alongside the letter, it symbolises Care and Belle’s transfer to Lina’s care; this can also be supported by the ending of Petscop. In the final scene of the soundtrack, Belle recounts when she and Paul were adopted, “There is Boss waiting for her son. Pall do you remember being born. Smuggled away driving to your new house. Boss in driver seat me in back.” (Petscop Soundtrack). “Do you remember being born” is a question posed over and over again throughout Petscop. It’s meant to be a reference to rebirthing, but here it’s Paul being asked if he remembers being born, not Care; you can also connect this to the “new life” letter, making it apparent Belle is asking if he remembers when he was given his “new life” with her and “Boss”. There’s also the implication of the wording “smuggled away”, implying that there was something stopping Paul from being taken to his new home. Paul and Care’s final scenes parallel each other; Care is placed with Belle’s/Tiara’s egg with the “new life” letter, while Paul is taken back to “Boss” by Belle. Care and Paul are both asked if they “remember being born”.

Another, smaller piece of colour theory in Petscop comes from the board games in the counsellor’s office. The board game “Accident” features red and yellow puzzle pieces that fit together, but are broken apart. Remember that Care’s colour is yellow, so assume that she symbolises the yellow piece; Paul’s colour is red, so assume that he symbolises the red piece. The red piece is bigger and fits into the smaller yellow piece, like it’s missing the beginning of it. The yellow piece comes before the red piece, as if it adds context to the red piece. When we think of this in terms of Care and Paul, we can see that Care is the “missing piece” of Paul; the small part of his past that adds the context that completes him. Paul’s piece is bigger because he’s been Paul for so much longer (if we interpret the counsellor’s office as a real event the way it is shown, then that could be the moment he changed. Or, if we consider Care’s rebirth into the egg as the moment Care turned into Paul, then that would be the moment instead), meanwhile Care’s piece is small because she was only a small part of his life.

Taking colour into account, we can get into the meat of the symbolism in Petscop. When we view the events of Petscop through our new lens, many things become significant. Paul is placed in the role of Care many times throughout the series; on Care’s birthday, in the counsellor's office, and in Rainer’s “you are Carrie Mark” monologue.

During the “strange situation” birthday scene, Paul carries around a yellow balloon, symbolising that he is standing in for Care. This is further cemented by Anna’s dialogue addressing Paul as if he is Care on the day she came home, “You made it. Happy birthday! (...) Why are you covering your face? (...) Of course I recognize you. Those eyes. That nose. That’s still you.” (Petscop 14).

This next dialogue from Anna is particularly interesting to me; she doesn’t just tell Paul that she’s happy Care is home safe or ask him where she’s been, but instead she says this, “I sure hope you’ve realised by now. It doesn’t matter how long you’ve been gone. It doesn’t matter how much you’ve changed. You aren’t lost. Stop wandering and come home.” (Petscop 14). When we talk about Petscop, we have the urge to deny any supernatural involvement in the story. Whether through AI or predictive programming or alternate timelines, we want Petscop to be plausible. Understandable. Easy to digest. But, we often forget that Paul poses the question of a literal “ghost in the machine” in the first few episodes. I want to consider this quote– Anna talking to her child who has been “lost” for many years– as an act of this ghost. The game is talking back to Paul, telling him that no matter how much he has changed, he still has the same eyes, the same nose that made him Carrie Mark. And we know how important eyes and noses are in Petscop. Also as a side note, consider how Anna didn’t specify eyebrows; we know that Care’s lack of eyebrows is in some way due to Marvin, but when she tells Paul she recognises his eyes and nose, she doesn’t add on eyebrows. Paul said it himself in Petscop 7, “Um, and why am I doing that? Well, because eyebrows seem to be important.” (Petscop 7). I like to think that she couldn’t have said that Paul has the same eyebrows because, since Marvin isn’t in the picture anymore, he wouldn’t have any reason to pluck them.

Another scene that mixes up Paul and Care is the counsellor's office. When Paul finally enters the “girl wall” in Petscop 22, he is placed into a school’s counsellor’s office. Again, they talk to Paul as if he is Care, apologising for taking him out of class and saying he needs to “catch up”, implying that he’s missed a significant amount of school. As they start to play Graverobber (Jesus Christ, Rainer), the counsellor is confused about Paul’s name; they ask him if they have the wrong name written down, as his save file is currently “Strange Situation” and when they called out the name on file, Paul didn’t respond. Now, the connection here is a little more nuanced, but it still comes to a conclusion that I think greatly supports the theory. “Strange situation” is in reference to the Mary Ainsworth Strange Situation Experiment, a test in which an infant is deliberately separated from their mother to test their level of attachment. This is a very base level understanding of this concept, but when applied to this specific scene, it becomes apparent that this “strange situation” is another reference to Care. Care was separated from her mother for about half a year, only returning during the birthday party scene; the counsellor’s scene was accessible once Paul started using the “Strange Situation” file. Care stopped recognising the name she used before the seperation, considering herself to be “Strange Situation” instead. She has literally stopped recognising the name Care, and picks out her own name (which in the game Paul sets to his own).

Also consider the implication of the “girl wall”. At first, it’s an absurd joke, meant to lighten the mood using the same roundabout humour the rest of the series has. But, the counsellor asking if they have the wrong name, listing Paul as “Strange Situation” instead of his name, combined with the fact that when Paul is placed in front of the girl wall, he can’t walk away from it, it becomes a bit of an analogy; The game keeps forcefully showing Paul the word “GiRL” over and over and when he finally enters the “girl-world” as Strange Situation, he is called the wrong name and once again placed in Care’s shoes.

Let’s revisit the “ghost in the machine” idea. In Petscop 17, we are shown a past recording of Petscop; we never find out who was playing at this time, but it’s easy to assume Paul is the one watching the recording. The footage is less interesting than the dialogue, but it is notable that it’s a recording of the player running backwards in a very deliberate pattern. The actually relevant part of this sequence is Rainer’s monologue; in particular, the way he frames it, “You are a girl named Carrie Mark, and you were born on November 12th, 1992. You have a mommy named Anna, a daddy named Marvin, an auntie named Jill, an uncle named Thomas, a cousin named Daniel, ......I know what you must be thinking. Have these statements always been true? Or have I cursed you? Is there such a thing? A curse that changes your past?” (Petscop 17). There’s something about the forcefulness of this dialogue, “You are Carrie Mark,” as if Rainer is trying to make it so just by saying it. The inclusion of the birthday is also notable; we have been shown time and time again that Paul and Care share a birthday, and that this is an important part of both of their characters. So, when Rainer asks if these statements have always been true, or if it’s “a curse that changes your past”, we’re meant to interpret it as such: some of the statements are true, but the “you” being addressed is not currently “a girl named Carrie Mark”. Rainer casts a spell to make the player retrace their steps and although he might not be playing, the use of the word “you” and present tense language makes the statement pointed towards Paul. There’s something to be said about Rainer’s position in all of this; he isn’t the only tangible “ghost” in Petscop (Marvin and Tiara fit Paul’s definition established in Petscop 6), but he’s the only one to be fully dead. It truly feels, in this moment, like Petscop– like Rainer– is talking directly to Paul. The “curse that changes your past” is the part that ties it all together. This past that Paul doesn’t fully remember, where Anna and Marvin have a daughter named Care, where someone in his family went missing for months– by learning about this through the game, Rainer is essentially changing Paul’s version of the past. Your memory and physical evidence are all you have of the past; when your memory tells you one thing, but physical evidence tells you another, what version of your past is true?

“You’re the Newmaker. You can turn Care NLM into Care A, and close the loop.” (Petscop 9)

Finally, I want to explain why this theory is supportive of the themes of Petscop. Of course, there’s the obvious link between rebirth and the change from Care to Paul. But, there’s also themes of blood family versus chosen family, breaking the cycle of abuse, and of healing from your past. I want to provide an explanation of each of these themes and how the “Paul is Care” theory fits into them.

Let’s begin with the family point, since I already expanded on the family’s role in Petscop earlier. There’s a story behind the scenes in this series; the conflict between the chosen family versus the blood family. Anna and Jill against Belle and Lina. Anna and Jill are restrictive– they take over the channel and block certain things from the audience. Paul admits that he’s intimidated by them, and he’s concerned when he thinks Jill could be in contact with Belle. When we get the only dialogue from Jill, Paul is hostile and aggressive with her, something we don’t see from him otherwise. Alternately, Anna comes off as dismissive in most of her dialogue; when Care shows up at the birthday party, Anna treats her like no time has passed, like they haven’t been searching for her for months. We don’t get direct contact between Anna and Paul (except for a phone call in Petscop 11 that you could interpret as being with Anna), but the way she talks to the player through Care during the birthday party is still dismissive, “I sure hope you’ve realised by now. It doesn’t matter how long you’ve been gone. It doesn’t matter how much you’ve changed. You aren’t lost. Stop wandering and come home.” (Petscop 14). There’s a level of distance between Paul and the family, which is evident from the name alone; Paul identifies himself as part of the family, but he still calls them “the family” as opposed to “my family”. When you pair that with the fact that he calls them all by their first names instead of any term of endearment (like how Rainer calls her “Auntie Jill” in his spell), it paints a clear picture: Paul does not want to be part of this family.

In direct contrast, Belle is shown a significant amount of affection from Paul. Not only is he on the phone with her for a good handful of the episodes, but Belle also has a familial connection to Paul. In Petscop 2, Paul is talking to Belle and he says “When you come home next month, and uh, hopefully you're feeling a little more enthusiastic about that now, we can investigate this together, and maybe you'll find stuff that I can't find here.” (Petscop 2). I think the casual use of the word ‘home’ to describe where Belle is staying implies a certain closeness, maybe even that they live in the same household. That’s not the part of this line that is important to me, however. Take a look at Belle’s final speech at the end of Petscop; Belle says “I could not wait too be your friend,” and Paul responds, “Family”, to which Belle says, “We can investigate this together.” (Petscop Soundtrack). After distancing himself from the family, as well as directly telling her she’s not part of the family (following it up with “Uhh... I didn't- I didn't mean it that way,” (Petscop 22), implying they have a similar connection that she’s defending), Paul calls Belle family. She states that they’re friends and Paul corrects her by telling her that they’re not just friends, but family. The most gut wrenching part of this dialogue is the use of ‘we can investigate this together’. It’s like a ward, a promise that Belle is making to Paul. He doesn’t have to go through this alone, she’s promising to be there for him. She’s going to investigate this with him, like he asked her to in the second episode. Paul doesn’t call his blood relatives family, but he tells Belle that they are his family; her and the “Boss”.

How does this connect to Care? It’s not hard evidence, but when you take this theme of family into account, it makes more sense for Paul to have a strained relationship with the family if we apply Care’s story to him. Think about it; Paul was ‘smuggled away driving too [his] new house’ and he hasn’t seen the family since he was a child, and Care’s egg was (metaphorically) placed with Belle’s and the New Life Letter when she would have been around 5, since that’s the age she was when she was kidnapped. Care went through an extremely traumatic event in a toxic environment– why wouldn’t someone step in and take her out of that family? To me, this theory extends the same closure Paul gets at the end of Petscop to Care; it tells us that even after everything she went through, she finds people who love and take care of her.

Abuse is a huge focus in Petscop, both as a plot point and a major theme. Rainer’s main motivation is to expose Marvin’s abuse of both Mike and Care to the family– whether or not that’s successful is not important. Because years after Rainer’s attempt, Paul is back doing the exact same; although, his playthrough of Petscop is less of an expose and more of an attempt at solving the mystery. Now, I think it’s a little pedantic, but in this context, I think the “cycle of abuse” in Petscop refers less to a generational cycle, but a continuous cycle that happens every time Petscop is played. Care is stuck in this version of the past that Rainer has created, forced to live through it as many years as Petscop is left on. Paul doesn’t continue this cycle though; as far as we know, Paul is the only person to reach the good ending of the game, where he’s rebirthed Care into the egg and reconnected with Belle and ‘Boss’. Paul is the only person who could understand what Care needed, because it’s exactly what he needed.

Care’s trauma is replayed for us throughout Petscop. Every knowable aspect of it is shown, leaving behind a raw feeling; like somehow, Paul and Rainer have made a spectacle of her abuse. But, I don’t think that’s entirely true. Rainer, although he is bitter and vengeful, is ultimately the person who finds the truth about Care and Mike and (if we are to believe him) is also the one who found Care at the school. In the beginning, it’s obvious that Paul is playing the game to see the mystery and is slowly engulfed by it throughout the rest of the series. When the game tells him that, “Marvin picks up tool hurts me when playstation on,” (Petscop 3), Paul proceeds anyway. The same happens when Care is caught in her room; Paul sees what is obviously a child being kidnapped and continues to solve the puzzle anyway. He picks the flower, catching Care NLM, and leads Marvin to the house. Paul follows through on everything he can to ‘solve’ the mystery of Carrie Mark, but in the end, he defies what the game has told him to do and saves Care. He does what Rainer couldn’t do: he breaks the cycle of abuse in the Mark-Leskowitz family. It’s kind of poetic, the idea that the person Care grew to be is the same person who confronts and lays to rest her trauma. The fact that playing his own theme would be the key to changing Care into the egg (a symbol of birth and potential) is beautiful.

The last thing I want to talk about is the theme of healing. This concept is more nebulous; we don’t see much of Paul post-Petscop, but the final scene does always leave me feeling hopeful for him. I think the reconnection with Belle and ‘Boss’, alongside the reassurance that, “[they] can investigate this together,” shows that Paul is out of the mindset and environment Petscop put him in. I’ve always thought that throughout Petscop, we see a deterioration of Paul; in the beginning, he’s intrigued and confused, but we see him become more and more disturbed, irritable, and frustrated towards the end. This is first evident with the CD puzzle in the house, where Paul is so out of his depth and confused that he stops acting with the same calm rationality shown throughout the earlier episodes. Then, when Paul is messing about with the demo recordings, he stops speaking in the videos entirely. When Paul sees the final blacked out object, which are coordinates to the real life windmill, he is the most stuttery we’ve ever seen, “Hm. Y- y- yep, yep. Yep... yep. N- we would- we would have to find out how big... like, we'd have to find out how big a tile is..? One of the tiles..? Like, if we could- if we could figure out how big... one tile is, in... u- in, umm... Like, feet. Or... Uhh, yeah. Meters.” (Petscop 22). He’s frazzled and excited and a little bit scared, evidenced by how he talks about the family, “They didn't... I don't like talking to them. They intimidate me…” (Petscop 22). All of this changes by the end; Paul is no longer stuck playing the game and he’s free to return to the people who love him most. This freedom is summed up in a single image: the final one we see in Petscop. Paul’s chair is empty and the blue sky beyond the desk is brimming with hope.

All this to say, Paul choosing Belle and ‘Boss’ over the game as well as saving Care by doing what’s best for her instead of finishing the final puzzle, alongside his final scene where he is welcomed home by his real family, shows us an interpretation of Petscop that paints it not as a tragedy, but a story of chosen family, breaking the cycle of abuse, and healing trauma through connection.

Thank you so much for hearing me out.

Bye-bye!

[soggy-fishsticks]

guys what if during crisis core sephiroth gets turned into a half behemoth monster falin-style.

hey guys what if that happened

what if,what if hojo did that and that happened guys what then

[svtskneecaps]

took advantage of what may apparently be the last quiet qsmp night for a WHILE to watch through some day 1 vods, since i didn't hop on the train until mid april. holy SHIT there is gold in those metaphorical hills. one day i gotta make a compilation fr but it is so tedious the way i get clips.

anyway here's a collection of highlights:

[askblueandviolet]

You still think it's not your fault?

MASTER POST

Asks Start 💙

Previous 💙

Next 💜🩷

[specialized-rexan]

SCREENSHOTS I GOT FROM THE JEREMY JORDAN LIVESTREAM YESTERDAY. especially love the comments on his duck drawings. he was very proud of some of them since he needed to practice before the stream. he admits he does not draw much lol

and here's Lucifer's signature that Jeremy came up with: a cursive capital L attached to a pentagram!

the stream was SO FUN and literally only felt like 20 minutes even tho it was almost an hour

at one point he mentioned he's making pancakes with olive oil now since he has high cholesterol, and that he LOVES how the pancakes turned out. someone responded:

(later someone joked he should make pancakes with bacon grease and he almost shouted (not angrily) "DO YOU WANT ME TO DIE? I JUST SAID I HAVE HIGH CHOLESTEROL. I just said. I had high cholesterol. Are you TRYING. To kill me."

anyway back to screenshots lol)

"Take that, depression!" was a popular quote to write on prints, and he said he hoped we're not depressed and it was very sweet

some more quotes written during the stream and other notes:

"I'm gonna be signing these prints of my boy Lucifer, the short king of Hell"

he drank both a cold smoothie and hot tea during the stream. "Doesn't make any goddamn sense, but here we go."

"It's never too late to fuck up--too late to fuck shit up" (a legitimate accidental stammer. but still perfect in its own way)

"Every time I hear the name 'Shay' I think of my daughter's friend at school. My daughter's obsessed with a friend named Shay. 'S all she talks about. 'Shay Shay Shay Shay Shay Shay.' Shay and Madeline. It's like 'You can be your own person. Clara. You are your own HUMAN.' …HAPPY BIRTHDAY, KATHERINE."

hopes to go to some conventions for Hazbin Hotel. more likely to go to cons in New York, New Jersey (where he lives), or Philly area

"He's just a li'l cutie. :3 Is he really da bosh? :3" (wondering if Lucifer really is the Big Boss of Hell Himself or if it's just more of a title)

"Hope you're not depressed"

" 'Write something Lucifer would say to cheer someone up.' And I think Lucifer would think that… 'SINGING MAKES EVERYTHING BETTER!' At least when it comes to rebuilding your relationship with your daughter."

"Guess what's in my smoothie. There are six ingredients. Go."

"…said draw a little duck, so I drew the smallest duck I could. (holds print up to camera then says in small high-pitched voice:) It's a little duck!"

MORE QUOTES UNDER THE CUT. THIS POST IS GETTING LONG ASFQJSKSKSKKS

_____

about his smoothie again: "Obviously, I just went to the gym. So I gotta have some kinda supplement in there. ... WHAT'S THE BASE, Y'ALL? YOU GOTTA HAVE A BASE." (someone could use that audio and give a character a bass guitar lol)

(still about people guessing smoothie ingredients:) "WATER? Why would I put water in my smoothie. (mutters:) Water is for losers. ... Kale! -grins and points at camera- That's it! You win. That's my smoothie."

his smoothie was blueberries, bananas, strawberries, protein powder, almond milk, kale

"…with a hUUGE shmiley faysh! :3" (about a little " =) " smile he wrote with an autograph)

"THAT DUCK IS CUTE!"

"We love, we stan Lilith"

AGGRESSIVELY, ABOUT A JOKE HE MADE: "GET IT?"

Some fatherly advice from Lucifer: "Don't fuck up your lives like I did 😎"

HE SANG THE START OF HELL'S GREATEST DAD AND WANTS A MIMZY-LESS VERSION THAT ACTUALLY HAS AN ENDING QSJFKSKKSKS

he's only seen Hazbin Hotel once, and he had "~champagne fountains, caviar mountains, that's just to staaart~" going through his head for the two+ years between recording his lines and the show airing. he wasn't able to tell anyone it because of non-disclosure stuff, and eventually he even forgot what that song line was from. but it still went through his head

"[Person he was signing an autograph for] is a bi girl [bisexual], and that's pretty baller"

"AN INCREDIBLE DUCK YOU SHALL HAVE"

"Take that depression!! Quack"

"Hold please!" (i just liked imagining Lucifer saying almost any small thing)

Jeremy Jordan says Lucifer is short, and not just that all the other characters are tall (i cannot confirm that that is canon even tho that's what i want LOL) "What gives!? There are short people in this world, and they need some love"

someone asked what he thinks about OC x canon ships. he was confused about what OC means and then when the chat explained, he was confused about how "OC x canon" works. but he figured it out after thinking for a moment. "So basically everybody wants to fuck Lucifer. GOT IT."

"Am I going to Hell for this" (about all the pentagrams he's drawing)

"…so i just did a bunch of stars and hearts around Emery's name 💜"

someone asked about his favorite Hazbin Hotel song, and he answered that season 2 has a rock song he really likes 👀 👀

"(a requested phrase for an autograph:) 'Duck lord loves you no matter what.' ...Don't know what that particularly means but…"

[hongtonie]

i'm not an aroha i never really have been but i heard about fly and now i am crying

[droidsplode]

@kxllerblond said: "How did they manage to get so many snobs in one place?"

Rex is leaning against the bar, his back turned to it as he observes the room of mingling politicians. At the comment of the man behind the bar, he chuckles into his glass. " For my sake I'll choose to assume you are not including me in this statement . " He jokes. " For your sake, if any of these ' snobs ' ask , I'll tell them I didn't hear you correctly . "

Usually Rex doesn't attend events like this. None of these people would even recognise him, despite taking orders from him on a daily basis. His neat suit and the American flag pin on his chest identifies him as a member of the government, sure, but few know him beyond the drones he controles.

" It's inevitable when you put a bunch of powerful people in the same room , I suppose . " He muses with a shrug. " I've found a lot of politics is just an elevated form of a dick measuring contest . It takes a certain type of person to be good at that . " He turns to the man. " I would assume , running places like this , you'd be used to dealing with these types . "

[princesssarcastia]

god that post about child abuse got me thinking about a passage from a fantastic hal jordan/bruce wayne fic by @/fabula-unica, which is actually very sweet despite the excerpt i'm about to post. a few years ago I did my best to try and verify it and it seems like it's true, but i'll leave you with the caveat that i'm not 100% certain.

Anyway. Excerpt from Getting It Right, by fabularasa on ao3.

“I’ve been thinking about X-rays,” Bruce said, examining the edges of his cone. “X-rays,” Jordan said. “Mm hm. They used to use them for everything we now use CT, ultrasound, MRI for – they used to X-ray people for anything and everything, even pregnant women, before they understood the dangers of continued radiation exposure.” “Okay.” Bruce balled up his napkin and tossed it at the bin. He missed. “Unbelievable,” Jordan said, staring at his napkin. “How the fuck do you miss that.” “The breeze knocked me off course. Anyway, the thing is, when they started X-raying children, doctors saw the strangest thing. Almost every other child they X-rayed had multiple hairline fractures. It was incredible. It rearranged what doctors had thought about the growth and development of human bone, because how could pediatricians have missed all those breaks? America must be in the grip of massive undiagnosed malnutrition, is what they thought.” He gave his butter brickle another few licks. Jordan beside him was silent. “It wasn’t malnutrition,” Bruce said. “Americans were just systematically beating the shit out of their children, and had been for years, and no one ever knew about it or talked about it. They did it for no other reason than they could, and because they wouldn’t get caught. When doctors finally figured out what they were looking at, that’s when the term ‘child abuse’ was coined. You don’t see that phrase in any medical or popular literature before X-rays. Not incidentally the national child abuse epidemic was one of the reasons for the legalization of abortion in the early 70s – people assumed that children were being beaten because they were unwanted, and that if you could just solve that problem, then child abuse would go away. As if people beat children for any reason other than evil, and as if evil could be legislated out of existence.”

god. what a country we live in. what a world.

[evansbby]

would it be annoying if I said…

[wildevenusian]

i just don’t understand. why say ur ready to talk if you aren’t?

can u believe this post is what got me to reach tag limit

[straighttothefics]

The candle crackled between Steve and Eddie. The smoke flew up and twined together with the passing joint gently offered from fingers to fingers.

They were facing the sky, heads titled up to the stars and feet propped onto the rusted drum barrel. Eddie somehow always found these tiny pockets of peace around Hawkins, usually out in the open, with conveniently placed seats, whether they were dusty, halfway rotted picnic tables, fungi-ridden benches, or the hood of an empty car vessel.

Steve shifted on top of the orange rusted and slightly-too-small steel chair and moved his elbow over on their drum barrel table, leaning just a touch closer to Eddie, almost shoulder-to-shoulder. The music playing softly from the radio only allowed Steve to feel more of the... Eddie next to him.

"This song's pretty good." Eddie commented, nodding along to some underground tune on the radio.

"Mmhm." Steve hummed and pulled on the joint, only just tuned back in when he heard Eddie's voice. The haziness of their shared organic cigarette floated Steve's brain. Eyes squared on the stars, Steve passed the joint back to Eddie, whose fingertips brushed his own. Steve looked over and saw Eddie's eyes snapped back up from where they touched.

Then Eddie smiled, tongue out, kept his eyes on Steve's, and took a hit. Steve was afraid to let out his breath, afraid of dissipating this electricity zapping between them under the smoke, afraid of breaking this string of tension, and his whole body was crying for relief.

Just as he granted it to Steve, Eddie also took it away when his eyes returned to the stars, lips quirked up still, Cheshire-like, satisfied. Steve froze for one second more, then he reached over to punch Eddie's arm and sat back into his seat, a smile on his face as well.

"What?" Eddie said and laughed as he rubbed his arm, joint clipped between his pointer and middle finger.

"You gave me a look." Steve said and took the offered joint. He said nothing about the still-damp filter tip that touched his lips and he definitely didn't forget to pull after placing it there.

"What look?"

"You know." Steve gave Eddie the look.

Eddie's lips exploded into a huge smile and Steve thought the giggle that came after was slightly manic, but also cute. Eddie glanced up at him and Steve decided the giggle was definitely cute, and it made him smile back, feeling dopey and floaty and slow.

"You're so fucking high," Eddie laughed and took the joint from Steve, "I need to be where you're at."

The candle crackled and mingled with the music. It smelled like spring and dirt and burnt grass. Somewhere away from them, near the edges of the forest, a symphony of crickets sounded its song, seemingly in tune with the music frequency.

"I know I told you this already, during the whole Vecna thing," Eddie started and exhaled, "but it's hard to sink in that I'm smoking weed with Steve Harrington."

Steve huffed out a laugh, "I suppose... it is a bit shocking. For me, too."

"Dude, we're bonding. That's kinda... wow." Eddie full-on laughed.

"Yeah, it's really wow." Steve returned the sentiment.

Their joint was approaching the makeshift paper filter and they had a little game to finish it off. Eddie took a quick hit and passed it to Steve, who took a smaller pull and passed it back. They took turns taking micro-hits until the cherry burned Steve's fingertips. He put out the joint and was going to stick his fingers into his mouth, but Eddie was quicker and he led Steve's fingers over to his earlobe.

Eddie's earlobe was soft and chilly in a cozy way, like Steve'd want to feel that chill under a warm blanket on a rainy night. He rubbed the smooth plane of skin, surprisingly empty of piercings, considering who Eddie was.

"It's weird seeing you without piercings." Steve told Eddie.

"I've... never had piercings?"

"Yeah, I don't know," Steve furrowed his brows and chewed on his lip, "you'd look good with it."

"Thanks, Harrington." Eddie said and gave him the smile again. Steve pulled his hand away from Eddie's ears and stood up to stretch.

They were lit by moonlight and candle, and outside of their 2 feet radius circle, it was pitch dark, lest for the outline of Steve's car parked nearby.

Steve loved this time of night, embracing the cool air that allowed him to warm his hands in his pockets of his favorite coat, being able to witness something as bright and full and ethereal as the moon could make him fall in love with Hawkins, and lately, these nights meant bonding and smoking with Eddie.

The candle crackled between them and Steve looked up at the stars, feeling their shared gazes twining with each other among the diamond-dotted sky.