#love a self referential moment

[renjirukia]

Who are you supposed to be?! A villain. BLEACH | Episode 15 BLEACH: THOUSAND-YEAR BLOOD WAR | Episode 18

[natjennie]

reading the tvtropes page for ghosts. so proud of my sillies for getting a good grade in tv show 🥰✨😊💕✨

[piratecaptainscaptainpirates]

The reason I think OFMD feels like fanfiction (affectionate) is that it's so incredibly earnest, in a way we're just not used to really seeing. It never feels the need to point and laugh at the earnest whimsy of it all, it never makes a joke of queerness, and it never gets annoyingly self-referential in the way media that's too worried about its own image will be (you all know how Marvel movies have characters be like "ooh wasn't that weird? we have to point out how a weird thing is happening so the audience knows we're cool and above that." that thing never happens).

They want Stede to write the man he loves little love letters every day? He kisses the bottles before he throws them into the ocean. He lays awake thinking about a moment where he almost kissed Ed under the moonlight. He has dreams of running to Ed across a beach.

They have a character who wants to feel like he deserves to get married so bad, and who also wants to feel safe to explore more feminine gender expression? They have him paint a bride cake topper to look like himself.

They want a character to make the decision to live because he hears the voice of the man he loves, challenging his belief that no one cares if he lives or dies? They have his lover appear to him as a beautiful mermaid and give him a huge, lovesick smile, and it's sweet and campy and 100% genuine.

I'm used to seeing so many of the things in OFMD in media as just jokes. A fat, Black man being seen as extremely desirable. Women of color in positions of authority. Queer love and desire. Drag shows! But OFMD never, ever punches down, and it's always so earnest, and it cares so much.

Just...damn. I feel lucky every time I think about it. We've got a special show here.

[hotvintagepoll]

can yo utalk more about how the costume designers are different?

Sure!

There are no hard-and-fast rules for telling one designer's work from another, because most designers adapt their style to the story they're telling—a sign of a good design is if you don't notice it, because it feels so natural and a piece of the world of the movie. But I still think you can see connections and quirks in a designer's body of work that show what they specifically bring to each project.

Walter Plunkett—sense of humor. I mentioned this earlier but there's a brightness to Plunkett's work, a sense of perspective on the story he's telling and how he's translating it into clothes—Seven Brides for Seven Brothers has dresses made of Salvation Army quilts, which shows some creative thinking about how his stranded characters would build outfits from nothing; Singin' in the Rain is self referential to the silly things he wore and designed as a young man in the 20s; Gone with the Wind has that fun curtain dress, where he intentionally keeps the tassel as a tell on its origins. That kind of thing might sound easy, but keeping a sense of humor and context present in the costume design is vanishingly rare. His clothes can trend a little camp, but I think that's part of the fun.

Edith Head—high fashion styling. Edith's favorite movies to design for were pieces with High Fashion Moments™, things that leaned heavily on sophistication, suits, and showing the clothes as clothes. You can see this in Grace Kelly's gowns in Rear Window, Kim Novak's suit in Vertigo, Bette Davis in All About Eve—elegant designs that have minimal trim or color, that get their power from their clean lines, tailoring, and very specific detail points.

Helen Rose—also trends toward camp, but less because of little humorous touches like Plunkett and more because of her fondness for gaudy colors and extravagant details. She rarely nails the tailored elegance of Head, but she makes up for it by going bold—her designs have a sense of big-ness to them, plus that love of color where they punch right off the screen.

Adrian—if there's a weird shoulder pad or some angular tailoring happening, Adrian is probably involved. You know Adrian's work from The Wizard of Oz—he loves high proportions, and builds his work off of them.

Orry-Kelly—I haven't found a consistent tell across his work, but if he's the designer you can tell it's going to be a banger.

[silencedrowns]

rating Halloween toilet decor at my local Michael’s

The classic skeleton on a skeleton shaped toilet. 8/10. you cannot go wrong with a spooky dookie but the book made of bone is definitely not it

Ichabod Crane toilet. 7/10. Points for originality with a less common Halloween figure and the satisfyingly smug pumpkin face, but points lost for confusing denim boot covers and the way the pumpkin isn’t reading the book whatsoever. Also makes me wonder if the axe is for toilet paper.

Dracula toilet. 4/10 for boring sculpt, bad paint job, baffling makeup, and the fact that Anne Rice says vampires don’t need to use the bathroom. Not that I believe Anne Rice about everything, but it’s funny to bring up the time Lestat gets body swapped into a normal body and spends way too many pages describing the feeling of peeing.

Frankenstein’s monster. 10/10 this is perfect. The pose, the sculpt, the self referential book… this monster knows what he’s about and even though like all these other toilet figures he’s wearing pants, it’s fine. Top tier silly. I love his face and I genuinely contemplated buying this for about 30 seconds before I realized then I’d have to own and find a place for a Frankenstein toilet figure.

Edgar Allan Poe on the toilet. 9/10 this is the only time I’m deducting points for “but he’s still wearing pants!” because this is an actual human figure, but I’m adding a ton of points back for how scrunkly he is and the large amount of accessories.

Laptop skeleton toilet. THIS IS PERFECTION 100/10. The pose, so familiar to anyone who’s had to use a computer for news or bad social media or zoom. The silly ghost not quite Apple logo. The jointed knees letting you bat at the feet like a cat with a toy. You cannot improve on this. One of my favorite objects in the Michael’s Halloween section of all time. This skeleton is a mood and an icon and I love it so, so very much.

Hey Michael’s? What in the actual fuck is this. I’m not even going to rate this because this is literally just a regular toilet, not a Halloween toilet. “Oh it has a snake on it” snakes alone do not make something Halloween or have we all forgotten about Britney Spears with the yellow python (top 10 “how did I think I was straight” moments). Send whoever designed this embarrassment to remedial Halloween school where they have to design anatomically improbable skeletons. IT DOESN’T EVEN HAVE A SEAT YOU’D FALL RIGHT IN THIS THING SUCKS

[exhaustedwerewolf]

okay not to waste energy being mad about the minecraft movie of all things but I am actually kind of heartbroken by how cynical it feels.

for example, making the creatures that inhabit the world offputting is so indicative of the underlying attitude the film seems to be taking to me. how many millions of minecraft animals, despite being pixels and code, have been genuinely loved by players around the world?

minecraft, despite everything it’s associated with these days, is incredibly earnest in a way that I feel few properties are these days… and genuinely one of the most beautiful games I’ve ever had the pleasure of playing. in its surprisingly melancholic moments in a solo survival world. in the laughs it’s given those far apart from beloved friends, allowing them to be roommates in a beautiful forest cottage or a volcanic fortress or a treehouse palace they’ve built together when thousands of miles apart. in the things people working alone and together have made of it- libraries of banned books made accessible through the medium of the game, scale models of worlds real and fictional, redstone machines with intricate circuitry and incredible intelligence and diligence behind them, in the friendships forged in the pursuit of these creations.

minecraft is collaborative and creative and contemplative in a way few games can be. minecraft, to those who have ‘beaten,’ it, says: everything you need is within you, the darkness you fight is within you, the light you seek is within you, you are not alone, not separate from every other thing, you are the universe tasting itself, talking to itself, reading its own code.

minecraft, when so many games are about escaping from yourself, is about connection with your self, your creativity, the plants and earth and animals and structures around you, the people around you.

for it to be, in this context, a self-referential, debasing cash grab, is not a surprise to me but does feel like a disservice to what the heart of this game is, and symptomatic of a wider trend in a storytelling climate increasingly dominated by spin-offs and reboots and tie-ins and remakes. the writers could have had the courage not to break the fourth wall, not to point and laugh and decry the silly memeable ‘get a load of this guy,’ block game, (and by extension ridicule themselves,) but I understand. it’s the same instinct to make the self-effacing joke before you can be laughed at by others for showing your honest self, to cringe from the vulnerability earnesty demands. that’s fine. personally- and I’m probably not alone- I just wish it wasn’t this game.

[twoidiotwriters1]

Chapter 1. Fun Times & Potty Rooms

Summary: Dearest Gentle reader, as another season starts so do the surprises. Masterlist // Next Chapter Words: 1,517 Listen to: What's Up? -by Non 4 Blondes A/N: Don't forget to leave feedback, please! -Danny

Dear Diary,

Mother insists I write even though she knows this isn't what I meant when I said I wanted to write. I'm not a self-referential lady who enjoys talking to herself; in fact, I believe it is quite silly and embarrassing. But alas, I am writing. To myself. 

Why, you ask? Well, for the first time in my five-and-twenty years of living, I'll spend some time away from home. Mother thinks it's time I do so, otherwise I'll be a perfect stranger to other royals and no one will know of me once I become Queen. When I said in jest that it was my intention, Mother didn't laugh. Which hurt plenty, because she usually laughs at the nonsense I spit. Which means she must want me to mingle and socialize. Lord have mercy on all of us.

Mother used to be just like me when she was my age, but she is so regal nowadays that you wouldn't believe she used to trip over armour and set fire to gentlemen's suits. My father fell in love with Mother because she was fire, he often jests.

Are these the things one writes in a diary? I must admit I'm doing this with half a mind since I'm also watching over my twin brothers, Richard and Rowan, and my younger sister Marie, so they do not fall off of the moving carriage. I wish I were more like Marie, graceful and charming, she's all dad. 

I'm boisterous when careless, with my head in the clouds and unable to land swiftly... How is this journey to England going to change that? A bunch of mummies live in that palace. My maid said they are the most rigid crowd I'll ever meet.

The fun awaits.

Benedict rises from his slumber tangled in two different bodies, with the sun streaming down on his face and immediately heightening the dormant headache. When he props himself up, the man on his right rolls over groaning and covering his head with a pillow, then the woman on his left curls away from him, pulling the covers closer to her bare body, baring Benedict and showing the marks all over his body. He used to find satisfaction in them, but lately, the day after his love affairs has been causing him a most unpleasant irk.

Maybe it's time to... settle down?

Benedict shrugs off the thought with a grimace. A boring aristocratic life accompanied by some sensible woman sends him reeling, it's all a bit too serious, and deep within his heart, he's always felt that he could not possibly abandon this type of life. Such a wide variety of companions to love... Why would he quit it?

No fun at all.

You step out of the carriage and your foot slips. Helped by the footman, you give him a soft thank you and offer him a kind smile, but he doesn't look up at you at any moment. You sigh, realizing this trip is bound to be exactly what you imagined.

Your siblings hurry after you and you chastise them. Even though you're around the same age, the twins are just entering their twenties, therefore it's hard to make them understand being loud and bold isn't cute anymore. Your sister holds your arm as she looks up at the castle with curiosity.

"Ample..." Marie says bemusedly.

"All that wasted space," you sigh. "They don't have toilets here, so you'll have to go in your room in a pissy bowl—"

"Y/N," your mother, Queen Amelia, stops beside you giving you a look. "Don't even think about complaining in the Queen's presence... but call it a potty if you are to be funny. Pissy bowl makes you sound five."

You and your sister giggle, which makes your mother send a conspiratory wink your way. A lovely woman. Your father, King Nicholas, comes up the steps and presses his hands to your backs, urging the two of you to enter the castle. 

"In girls, it looks like rain..."

"Are we to spend all of our time indoors, then?" Your sister pouts. 

"That is less than ideal, considering Y/N is here to be outdoors for a change, but I suppose it depends on the weather," your father glares at the sky. "England wishes to give us a proper welcome."

"No, thank you!" Marie picks up her pace.

"I spend time outdoors," you argue under your breath.

The man smiles. "Let me rephrase, then. To meet new people and spend time with them outdoors."

As you enter the wide hall you're welcomed by the Queen of England and her many children. A few are closer to your age, but you do not like the way the male part of the bunch eyes you and your sister. Or the way the Princesses look at your brothers, for that matter.

"Your Majesty, Queen Amelia of Genovia. King Consort, Nicholas Devereaux, and their children— Princess Y/N Devereaux, Princess Marie Devereaux, and the Princes Richard and Rowan Devereaux."

While the girls curtsy and the boys bow, the queens greet each other. Queen Charlotte spares a brief glance toward your father and a little 'hmph' escapes her lips with no further comment. King Nicholas, a man with a sense of humour, glances your way and pretends to loosen his cravat anxiously while gulping, which makes you giggle.

"Ah, Benedict, there you are," Violet surveys her son over the teacup she's holding. "Took you long enough to join us. Where have you been?"

"Morning, Mother, I apologize," he smiles and sits next to Gregory. "I woke up early and walked around Hyde Park hoping for inspiration to strike."

"Seems to me you were the one striking," Colin mutters across the table, eyeing his brother's neck with a grin. Benedict pulls his cravat higher up and glares at his brother to keep quiet.

"Benedict, did you hear the news?" Hyacinth speaks, almost shaking with excitement. "A royal family is attending the first ball of the season!"

"There is always some royal family at balls, isn't it?" He retorts without interest.

"The Queen and King of Genovia are staying in London for the whole season," Anthony says carefully. "Along with their two daughters and sons. I expect you to keep the family name as pristine as ever."

"Is this why you're here and not at home with your wife?" Benedict asks. "You came to scold us ahead in case we were planning to make a fool of ourselves?" Anthony doesn't dignify the question with an answer, he looks at his brother with a steely glare for a few extra seconds before he goes back to his food. Like I care about flimsy princesses, Benedict thinks with disdain.

"Whistledown says this will be the first public appearance of Princess Y/N!" Hyacinth continues, unbothered by her brothers's lack of excitement. "I wish I were old enough to attend the ball..." She turns to Francesca and Eloise. "Will you try to befriend her for me? She must be your age."

Eloise scoffs. "Befriend a princess? If she's anything like ours, she'll be all night fanning herself looking down at every poor mortal that dares walk within her breathing distance."

"They're not quite like us," Colin points out, just as fond of gossip as his sister. "Ever since Queen Amelia ascended to the throne, Genovia has been known for their... er... forward thinking."

Benedict snorts. Whatever royalty considers "forward thinking" is not even halfway there. Eloise, however, leans on the table wanting to hear more of it. "What do you mean, brother?"

"Women are encouraged to get higher education. They participate in sports, hunts, arts— and can wear male's clothing—"

That pulls a gasp from their mother and Eloise, although they're both different sounds in nature. Violet blushes and replies in a shy voice. "Oh, well... if it works for them..."

"They're well on their way to becoming a leading nation," Colin continues excitedly. "Which is why the Queen has invited them. Whistledown made a joke last month... something about England living in the Dark Ages and being the reason why people branch out and leave the country, claimed that Genovia would double in size thanks to us... it was quite merciless."

Anthony shakes his head. "You let women do stuff they're already doing in the privacy of their homes and call it revolutionary. Please."

What would the Queen of Genovia think of people like Benedict? Maybe he should visit the country, perhaps this very season, he would try anything just to escape the usual horde of debutants and dull social events...

"Well, there is a great deal of difference between having to be private and choosing to be," Francesca argues. Benedict smiles at her, a silent compliment he gives every time she outwits Anthony.

"There are other things happening in Genovia, it's not all about women," Colin shrugs it off. "I was just giving an example I knew would interest Eloise the most."

"And which ones were left out of your consideration?" Eloise grins.

"The potty rooms," he states, making Gregory choke on his tea.

Next Chapter –>

Taglist.

@babypink224221 @Booknerdlife @djsporks @lght-roastcoffee @marii-ren @mythical-goth @omgsuperstarg @creepytoes88 @sarahskywalker-amidala

[comicaurora]

YOU WATCHED CENTAURWORLD?!

YOU USED IT AS AN EXAMPLE IN THE TROPE TALK!!!!

It is my favorite and I require to know your thoughts on it.

It's. Hm

So I think it absolutely accomplished what it set out to do, which means it is a successful work of art. But I think what it was aiming for didn't work for me?

In its efforts to play with centaurworld's ridiculousness versus the gritty nightmare of the "real world", it tonally undercuts almost all of its profound moments and then tries to get profound character moments out of squeeky-toy inflatable cartoon characters. Of the main cast, Horse and Wammawink are basically the only ones who get sufficient development to feel like real characters capable of carrying impactful moments, and the rest of the crew are basically walking punchlines - even speedrunning their respective Tragic Backstories doesn't do much to strengthen them, because in the present of the show they're fundamentally joke characters incapable of emotional subtlety. It kinda feels like if a Looney Tunes episode randomly dropped a flashback to baby Daffy Duck being moses'd into the bullrushes as if that mattered to how he functioned now. Plus, once we start jumping back to the Real World again, it turns out all those characters are also wacky in their own way - lots of very quippy dialogue and self-referential humor. Instead of Horse feeling broadly representative of her world's tone, she feels like the most serious character in the entire show - at least until season 2 where her dialogue starts being 50% fart jokes by volume.

Overall I think I loved what they set up in season 1, but not how they paid it off in season 2. There's the themes they establish in season 1 of how centaurworld has a cartoonifying effect on everyone who comes there, and the way this plays to Horse early on is full on cartoon body horror - a realistic horse slowly and inexorably transforming into a parody of itself. I thought that was a fascinating way to frame it, and it was nightmarish to contemplate! It comes to a really strong head in the Whaletaur Shaman episode when her friends seem to finally realize how much she's been struggling and suffering and how, despite it looking like a big joke to everyone, it's profoundly unfunny to her. But while she gets a nice emotional resolution at the end of that episode, the underlying horror is never addressed again. She still seems unhappy with her new cartoon body, but the transformations are from this point forward framed as uncomplicated positives that everybody thinks are funny.

It's purposefully blending comedy and horror together, but the execution feels like the disparate ingredients are hindering each other's effectiveness. The horror stuff rarely gets sufficient gravity and is just left as Hey Look Horrifying Implications, and the jokes are often undermined by all the seriousness left lying around. It's a flavor combination that doesn't work for me.

And then the stuff with the Deertaur and the Princess is incredibly interesting and profound and tragic, and I don't understand why it's happening in the same show as everything else?

Also, this is a minor nitpick, but the musical numbers were astounding in the first season but seemed to experience some sort of weird categorical downgrade in season 2. All the solid numbers were reprises from season 1.

Centaurworld was doing something very much on purpose, and I just don't think I got what that something was.

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[99redragons]

Wow, I agonized over this post way too long. Here it is, finally. I was gonna make this a reblog but i think since it's referencing multiple posts (and boy it got super long and added a related theory) this is better on its own. This is furthering @gin-juice-tonic's analysis of the tBoB journal pages. Heavy tBoB spoilers, and warning for the darker content it has. (some swearing too) I'm convinced now they're a warped version of events and downright fake for some, however, I believe many are real.

...But did Ford remember them? "I can delete memories randomly, just for fun. Maybe I already have." I do NOT think Bill could erase everything. He probably can only erase small/recent sections. But this is a big part of my theory.

But first, Gin's points. (using some of your pics for this Gin, hope you dont mind) I'm not going to post every journal page, but I'll give a ref for ones that seem important.

Okay, this is the post that actually convinced me (went through the links from tapas, the first is sure suspicious, but the second has pretty compelling evidence.) Ford referred to Fiddleford as F through the whole of journal 3 (aside from in code), and Bill as his Muse until the reveal, he wouldn't suddenly change the way he refers to people, even if he planned to rip out the pages, in which case, why would you write them in the first place?

On the first link (this one), this appears to be an embellished story. When you look at it from bill's perspective, he's reminiscing. He lies to himself. He's making it seem like Ford and Bill hit it off immediately, and while in a way, they did, it probably wasn't like this. I'll buy Ford used Cipher's line back at him, but the jovial way they banter is just so Bill. Ford would emphasize how he felt, the mysteries he was thinking about, his reverence for his Muse. He probably wouldn't recount it line for line when he was so secretive in journal 3. Bill makes it seem like they were more like equals, when in reality he likely relished the devotion and divine status Ford attributed to him. Also, "Cipher Speaks" is in Bill's handwriting from the sticky notes. could be coincidence? I think not. 'Ford' also describes it as the "GREATEST. DAY. OF MY LIFE." This mirrors bill's earlier statements about the reader's life being forever changed after meeting bill. According to Bill, meeting him is the highest moment of anyone's life, right?

In an additional post, Gin explains how Bill didn't tell Ford he was from another dimension. Ford had to find that out at the betrayal. So, all this taken, those two pages at least are fake.

For the third link, this one, while from Doylist perspective, Alex wanted the book to have fun little callbacks, from Watsonian, Bill simply can't help himself. Bill loves trying to be funny. He's trying to keep the reader hooked, and keeping the story interesting through callbacks is one way to do that. Some of these are Bill, some are self-referential because Bill's talking about real events from the past. (rats, cipherite suit, Small World cassette, we'll get to those later)

Bill has a habit of telling the truth through his lies. What I mean by that is, if he is repeating himself through actions or words, it's probably because there's some truth to it. If he's contradicting himself, there's something he's hiding. He'll claim he has no weaknesses, but later admit he does. He'll say he has no exes, only to reference exes later. So, we can glean truths from the lies he's telling in the pages.

I think Alex is a good enough writer to keep Ford and his writing (mostly) in character. He's made retcons/continuity errors before, but he knows the fandom will pick apart everything and find them, and will have a reason for it. There's definitely some fake pages, which begs the question, which are real?

One detail I want to point out is the vignette/burn marks on the edges of some of the pages. My secondary theory is about these. (And no, it doesn't indicate they were fake.) I'll explain later.

Assumptions/disclaimers: The pages we're shown are roughly chronological, though skip forward where surviving J3 pages would go. Pages aren't realistically double-sided like they would be in J3, these are inserted into tBoB magically. I don't have a blacklight version of J3, so I'm probably missing a little bit of context there. References J3 quite a few times, so this post works best if you are able to reference both books. I can go into detail and post more pictures for any sections that aren't clear.

First off, 'Lost in the woods'. This one I believe is real, because Ford's (author's cipher) codes are in it. This code is consistently used in the book whenever Ford inserts a page, even on the moth. For Bill to use this code would break the established pattern Alex has made. However, I agree with Gin that Bill intentionally placed this page to establish Ford as lonely, and thus make Bill look better for befriending him in contrast. I don't think it's that odd for Ford to talk about his social awkwardness, he talks about his childhood bullying pretty frankly, specifically on a page meant to be an author's About Me. However, he did rip this one out, so I think he was trying to ignore his feelings by hiding this page. No vignette.

'Cipher speaks', as we've discussed, is likely a fake/altered meeting. Vignettes on both pages. On the second page you can see where it looks burnt in one corner, and there's even tear marks like there's a page missing there, perhaps their real first meeting. It's also strange for Ford to draw himself like that.

'My Muse & Me'- Ford refers to Bill as his Muse again. Despite my doubts (I went back and forth on this one), I think this one has to be real. We find on the website computer (code: Fordtramarine) that Ford tried to submit a paper on fordtramarine. In that paper he refers to an 'extradimensional entity' and 'two-dimensional'. He shouldn't know that Bill is interdimensional at this point, so Ford must mean 'outside of physical reality', as in, the astral plane. Though, there's a painting of 'a muse' in the paper. Wasn't Bill supposed to be secret? Perhaps he thought he could get away with that small reference? Perhaps this paper was submitted more recently? I don't like the idea that things from the website are also fake, since it would be strange for Bill to have such narrative control there. The website seems to reveal things Bill can't control, even if Bill is talking. This page also establishes more timeline. This is saying that not only could Bill freely move in and out of Ford's mind within a year, he had full access to alter it as well, ahead of their deal before the test. This page is probably to make it seem appealing to let Bill into your mind. It also serves a purpose of showing us Ford had let Bill fully into his mind at this point in the story Bill's weaving. I am curious why would Ford hide this only to submit a paper on it, just to keep his Muse secret? And those damn red triangles, did Bill draw those, implying he could possess Ford before their deal? No burns/vignette. The neighboring pages both have it, why not this one?

June 15th- There is direct dialogue from Bill quoted, however, he refers to Bill as his Muse. Wouldn't Ford be creeped the hell out by the rat thing, and be alarmed that Bill possessed things just to kill them? I think this page was real, but was ripped out by Bill. Heavy vignette.

(Sorry for the poor quality, my phone camera is awful)

At this point I should explain: I think the burn/vignette represents Bill 'burning away' memories/altering them. Ford's memories, but possibly even the reader's. I want to be clear; I don't mean Bill erased the entire memory of the page, I mean Bill erased at least some part of those events. When it's heavy around the edges, heavier manipulation. It also could indicate which ones Bill burned/destroyed. More evidence for this later.

Karaoke page- How did Bill convince Ford to drink with him after the rat thing? Bill made him forget it was Bill. "The rats were his idea?" Yeah, he told you that right away, why did he need to tell you again? While probable this happened, the writing from Ford is sus. "This Bill guy, he's really got it all figured out"? Sounds a bit like Bill talking. The drawing is strangely detailed, too. 'Dancing queen' (disco girl's parody origin) was released in '76, so that lines up time wise, at least. Likely altered/created to make Bill seem friendlier. Either could have destroyed this one if there was a real version. Vignette.

A Voice from the Past spread- He says 'my Muse', but then mentions Bill by name, which indicates it's altered. Is the first bit real, then? Why would Ford rip out this important page revealing his muse's origin and past? His curiosity would overtake wanting to keep it secret, surely? And conversely, why would Bill fabricate it? To make himself seem more sympathetic? However, there is another explanation. There is the possibility Bill erased the memories of this conversation and it really happened in some form. Bill probably realized after revealing this information to Ford it could ruin his plans. Some vignette at the top, mostly on the right page. In that is a drawing of space and a code. The code says 'forget the past." Coincidence, or purposeful on a page for a conversation Bill made Ford forget? Bill could have ripped out the pages (if they existed) himself. It's also important to note Bill is trying to isolate Ford here, which is another reason he'd hide the pages/alter memories of talking about Stanley. Also, if Bill erased the phone number from Ford's mind later, it would make sense why Ford had to send a postcard.

A Winter Break/The Krampus adventure. Where would these pages have gone if they were real? It was January for the test, so it was before the deal, but after the bunker? Gin mentioned it feeling 'off' and strange because it's just Krampus, nothing weird or Gravity Falls-y about it, and I agree. And also, Fidds knocking it out feels... weird. I think that story is fabricated with some real details thrown in. Fidds is noticeably shaken up after, but otherwise the whole story seemed almost whimsical, and just...weird, and not in the GF way. It's fake. Ford goes back inside after looking outside in Time Traveler's Pig. He doesn't come outside onto the porch at all. You could say he comes back out after that, maybe. You could say it's a retcon. But we know the children's footprints were Dipper and Mabel, not random kidnapped kids. (Bill likely wouldn't expect the reader to know this.) My eyes are also drawn to the green and red rectangles. The festive theming bring to mind a Christmas special, and how often are those only partly canon? So, then what's real about it? I believe the gloves, and possibly the snow globe was real, since they come up again later. I believe if there was a monster, Ford (or bill possessing ford 'then-DARKNESS') fought it off, traumatizing Fidds even more. Something made Fidds shaken up. Fidds and Ford probably spent Christmas together. And Bill did warn Ford about Fidds' second thoughts (mentioned in J3). Did Fiddleford notice Ford forgetting things? Did he assume Ford was simply unshaken by what happened? For me what seals the deal is the heavy vignette around those pages. Bill altered his memories of what happened and is telling us this story instead, probably to make it seem not as bad, so Ford wouldn't be so angry that Bill wasn't there/realize that he possessed Ford. I'm also suspicious of the "Trust No One." at the end. Did this phrase really come from Bill? Wouldn't Bill be saying 'Trust me'? To be honest, it's possible the last page here was half a real conversation, but the way Ford suddenly changes his tune is strange AF and I suspect shenanigans for it. And the things Bill says are very different from 'F is not bold enough to follow through.' (J3 code, An Encounter) Also, most of these pages seem to have no reason to be ripped out, aside from mentioning Stan by name/drawing them, but he could have crossed that out, and the last page which Ford would have hidden from Fidds. If they were real in some form, Bill probably destroyed them to hide the truth.

Stanley memories pages- Real, not much to say about those. Goes after Bill's warning. Probably legitimately torn out by Ford since he'd want to keep these pictures before hiding J3. Though I do notice they are covering up a lot of red triangles, perhaps also drawn by Bill. No vignette.

Dream, or warning?- Before Jan. 17th. Real, since I can't see why Bill would make up a warning about himself. He wants the reader to trust him. The heavy vignette, again, indicates he made Ford forget about it and destroyed the pages before he could solve it, which would probably be easy since it was a dream. The laughter+fire at the end indicates Bill discovered them. Just a fun side note: the song referenced is 'Im your puppet'

"I was wrong about everything" spread- I think goes in the gap where the black scribbled out pages are in J3. Again, the Author's cipher is here, indicating these are real. Vignette again. Bill's possessing Ford a lot, trying to erase the idea of fighting back from his mind(unsuccessfully), likely also hiding these pages. More red triangles.

Bill-proof suit- Goes after The Blind Eye- references being banned from the library, Blind eye mentions still researching Bill. J3 said he discovered the chant to enter someone's mind by researching Bill, so he could also find the anti-cipher society and the cassette. Real. Bill likely destroyed these pages and the previous ones to try and slow down Ford and erase his plans to destroy Bill. Vignette.

Zom-bills to Looky Here: After 'Ways to hide', as Zom-bills is written in invisible ink, but before the truck stop. (This would require Ford to have written on the right page first, then Bill tore the rest of these out, but not a huge stretch) Bill is fucking with Ford hard. He's probably taking his anger out on Ford while simultaneously trying to bully and manipulate him like he would do to his henchmaniacs, as he says later. Vignette on most of these- he's constantly possessing Ford and making him black out, trying to manipulate his memory to make him compliant/torture him. Bill likely destroyed the cassette+the memory of it so it couldn't be used against him, as Ford presumably never gets the chance to. Why he's showing the reader this? He thinks it's funny. He could also be hoping to scare the reader, if the reader knows what he's capable of, they'll be more afraid, and fear and love are the same, right? Notably the sticky note page is only a little darkened, probably because Bill genuinely was trying to talk at first. I can't find any evidence that these are fake, but there's no codes indicating they're real either. I think they were real, but Bill destroyed at least some of them.

(Side note: Computer code: Oroborous. Curiously uses Bill's cipher, bill writes in J3 too. These pages are also vignetted. Bill wouldn't like Ford knowing he showed fear. He also purposefully didn't give the reader these 'missing pages', because he hates them and doesn't want to reveal his fear.)

Polaroids- Did Ford destroy this himself like the VHS? Trying to avoid being blamed for things Bill did? Just ashamed/horrified? Curiously, no vignette on the polaroids (this could be just to have the full page visible), or Bill wanted Ford to remember these to have the threat sink in fully. Probably actually happened, Bill doesn't really have a reason to fake these pages as they make him look worse/scarier.

Blackness/'No' pages: This is largely where my theory that vignette=memory manipulation makes the most sense, The darkness overtaking the page represents bill's influence and control, and stops resembling the journal pages much (though it could be invisible ink again). He can mess with Ford's mind as much as he likes. If these pages were ever real, Bill could have destroyed them himself too. Bill's pretty much telling the story here.

Fidds page, S page- Gin made another excellent post pointing out the problems with these. They're a bit redundant when compared to J3, aren't they? And in oddly specific ways. The use of the brother code indicates they're real, though. If Bill erased Ford's memories of these pages, him basically re-writing them makes sense, and also Ford going from 'the caves hold the answer' to 'the caves might hold the answers', the snow going from 'begun to fall' to 'has fallen', and going 'fidds wont speak to me'! instead of 'my assistant has clearly left me'. In some way Ford has probably retained a bit of his plans, but its not a stretch to say he'd loop his train of thought after losing memories. The "I grow maddened" at the edge is very shaky and blurry, which could reflect the shaky and blurry memory.

I also notice (this has probably been pointed out before) now in J3 that only once outside of Gravity Falls (route 14) can Ford plan clearly. Perhaps Cipher's influence is weaker outside the town? It makes sense. if Ford sent the postcard and made his plan while free(ish) of Bill's meddling, that's why Bill couldn't just erase his memory of his plan again.

So...yeah! Some are definitely fake. Some are placed or altered intentionally to serve a narrative. Bill could be manipulating the reader's and ford's memory to have never seen these pages. Some of these memories could have been simply warped, or erased later- not right away. I'll be honest I don't love the implication that Bill can just manipulate Ford's memories freely, so I'm sure there are significant limitations to it. Bill has to stall for the whole book and give away a lot of secrets in order to change the reader's brain enough for him to be satisfied, and even then it's not enough to make the reader give in. Bill's abilities are much less than he purports. He also says that the person can notice his 'tune-ups', so there is only so much he could alter someone's brain before they notice. However, if he's been messing with Ford's head this long, he'd have a big advantage. Is the explanation that Bill erased Ford's memory a little lazy? ...Yeah? But it also kind of heightens how badly Ford was being manipulated and why he got so paranoid and unhinged there. It lets a lot of these puzzle pieces fit together that wouldn't otherwise.

My vignette theory isn't super strong, I'll admit, but I think it definitely indicates something, given some pages don't have it when they could have. They could also simply indicate those pages were burned, though it being on the fake pages makes less sense then. Bill having destroyed the pages himself makes sense for a lot of the pages, but I cant rule out the possibility Ford did destroy some of them out of frustration/shame.

Something I also realized while going through J3 again is how many 'doodles' in J3 involve red triangles. (you can see an example on Frilliam's page) The triangles I assumed were Ford's obsession with Bill, but what if they were Bill's obsession? For another post perhaps.

So, what do y'all think? Ideas? Agree? Disagree? Things I missed? Questions? Something huge that shatters my whole theory? Let me know!

[attemptsonherlifepdf]

a streetcar named marge: a character study of marge simpson through the lens of tennessee williams

trigger warning for brief but not graphic mentions of assault & abusive behaviour throughout

wacky, absurd comedy ‘the simpsons’ has been airing since 1989 and remains an integral part of the pop culture ecosystem. its self-referential humour and parody structure work in conjunction with one another to effectively satirise the lives of lower-middle class america. set in the town of springfield, that shares its name with approximately thirty other towns across the states, the simpsons strikes the balance between relatable and outright absurd that keeps the show entertaining. the show slots neatly into the cultural zeitgeist of the 1990s and 2000s, and has constructed spoof after spoof of the significant political, social and pop culture moments of each season’s respective time period. most notably, the second episode of the fourth season titled ‘a streetcar named marge’ draws on tennessee williams’ ‘a streetcar named desire’, using the histrionic character of blanche dubois to create commentary on marge’s role in her relationship with her husband, homer. the episode’s main plot follows marge auditioning for and starring as blanche in springfield’s local production of ‘a streetcar named desire’ and depicts parallels between blanche and marge’s romantic lives. homer is likened to stanley kowalski, famously portrayed by marlon brando in the 1951 film adaptation of the play; a brutish, loud ‘uncouth lout’ who dominates both his wife and delicate sister-in-law. the core themes this comparison explores include the notion of animalised masculinity, marge’s passiveness and invisibility, and the idea that the character of blanche is used as a vehicle for marge’s unexpressed feelings regarding her husband.

williams’ descriptions of stanley throughout the play draw on a notion of animal masculinity; stanley is described upon his introduction to the audience as having ‘animal joy his being [which] is implicit in all his movements & attitudes…his heartiness with men, his appreciation of rough humour, his love of good drink and food and games…’ this description paired with blanche’s comment that he is ‘a little bit on the primitive side’ demonstrates the beginnings of a semantic field of animalism, characterising stanley’s masculinity as almost being below humanity, simply base and primal in comparison to his more humanised counterparts such as mitch and steve. we can also see these traits, particularly ‘rough humour…love of good drink and food’ echoed in homer simpson’s characteristic obsessions with food and beer that are consistent throughout the entire shows run so far. similarly, ‘a streetcar named marge’ has lewellyn sinclair, the director of springfield’s ‘a streetcar named desire’ production, aim to depict that ‘blanche…is a delicate flower being trampled by an uncouth lout-’. additionally, lewellyn gives ned flanders (who plays stanley) the direction that he is ‘pulsing with animal lust’, again referencing williams’ construction of animal masculinity that encourages the audience to view stanley’s desire as less than human.

to add to this semantic field that both the original play and simpsons episode share, ‘a streetcar named marge’ recreates the infamous ‘stella!’ scene wherein stanley screams his wife stella’s name from below her balcony in a desperate attempt to win her back after physically assaulting her. the simpsons replaces the original incident of domestic abuse with an example of homer’s weaponised incompetence instead, where he fails to pull the lid off his can of pudding in marge’s absence as she rehearses next door with flanders: ‘[screeches] oh no! …so i can open my own can of pudding, can i? shows what you know, marge.’ he then shouts ‘marge! hey marge!’ in the garden while marge looks on from flanders’ bedroom window, referencing stanley screaming for stella below her balcony. marge comments dryly, ‘keep yelling, you big ape.’ the use of the insult ‘ape’ serves to contribute further to the characterisation of homer / stanley as animalistic and dehumanised. both the simpsons and williams animalise masculinity to demonstrate the danger of it, presenting it as uncontrolled and wild in comparison to the average male. in this moment, the simpsons subverts the narrative of the original play. in williams’ original, stanley’s screams draw stella downstairs to him and they embrace as she ‘forgives’ his abuse. in the simpsons’ version, marge instead responds with contempt for her husband and appears disgusted and unforgiving. in the wider context of the show, marge is largely portrayed as a very passive housewife character, including in this episode. in the opening scene of this episode, the following exchange takes place:

HOMER

and where exactly are you going?

MARGE

i’m auditioning for a play.

HOMER

well, this is the first i’ve heard about it.

MARGE

i’ve told you several times. it’s a musical version of a streetcar na-

HOMER

excuse me, marge! i think if you told me, i would remember. i mean, i’m not an idiot!

MARGE

hm. well, i-i thought i told you. i’m sorry honey.

HOMER

it’s okay. we’re none of us perfect.

the audience is shown marge informing homer of the play multiple times before this exchange, to which he repeatedly and absentmindedly replies ‘sounds interesting.’ despite being in the right, marge timidly apologises to homer and accepts blame she does not deserve. this interaction contrasted with her later contempt for him demonstrates how the role of blanche has encouraged marge to see her husband’s flaws rather than ignoring or tolerating them as she usually does. additionally, marge’s initially failed audition again presents her as passive and defeated by her husband’s lack of support. lewellyn witnesses marge’s phone call to homer and recognises blanche’s delicateness and defeat in her:

MARGE 

(into the phone)

homie, i didn’t get the part. you were right. outside interests are stupid.

LEWELLYN

wait a minute.

MARGE

(into the phone)

[groans] i’ll come home right away. alright, i'll pick up a bucket of fried chicken, extra skin…rolls, chocolate cream parfait-

LEWELLYN

[snatches phone from marge]

stop bothering my blanche!

marge’s admission, ‘you were right. outside interests are stupid’, shows her beaten down by homer’s lack of support for her interests and suggests that she was ‘stupid’ for branching out outside of her duties as a parent and housewife. this echoes blanche’s eventual exhaustion and ‘defeat’ after stanley’s aggressive, dismissive and abusive treatment of her.

marge’s attitude towards abusive behaviour in general is notably submissive: when rehearing the scene where blanche breaks a bottle in order to attack stanley and defend herself, she struggles to get into character and gives a lacklustre performance. lewellyn encourages her, ‘passion, mrs simpsons, this man disgusts you.’ in a later rehearsal a few scenes later, marge argues, ‘i just don’t see why blanche should shove a broken bottle in stanley’s face. couldn’t she just take his abuse with gentle good humour?...i just don’t see what’s so bad about stanley.’ this is a clear reference to her relationship with homer, wherein she has consistently, throughout the show so far, responded to his boorish behaviour with passive disapproval, attempting to make light of the ridiculous or unkind situations that homer creates with his behaviour. lewellyn retorts with ‘stanley is thoughtless, violent and loud. marge, every second you spend with this man…he is crushing your fragile spirit.’ lewellyn’s description of stanley is interposed with homer’s comedic but frustrating attempts to use a vending machine wherein he screams and charges at the machine, and proceeds to honk repeatedly at marge from the car to rush her into leaving. this pushes marge to a breakthrough where she suddenly becomes genuinely angry at ‘stanley’ / homer, directing that fury at her stanley (flanders), who’s face morphs into homer’s:

[car horn honking]

HOMER

marge, move it or lose it!

MARGE

[lunging at flanders]

♪ i'll twist this bottle in your face ♪

LEWELLYN

hallelujah! i’ve done it again!

ned, you’re supposed to overpower her.

FLANDERS

[straining]

i’m trying, im trying!

this scene exemplifies the extent to which marge is usually subdued and quiet, by creating a stark contrast with the outburst she has here. lewlleyn’s reminder that blanche is ‘disgusted’ by stanley is reminiscent of marge’s very real but very repressed disgust at her husband. marge’s demeanour in the episodes leading up to ‘a streetcar named marge’ is largely resigned to homer’s typically thoughtless behaviour. comparing her usual quiet disapproval with her strong reaction to homer in this scene demonstrates the extent to which she usually fits the descriptions of blanche so far in the episode - that of a ‘delicate flower’ with a ‘fragile spirit.’ these comments on blanche’s character oppose those of stanley and paint the two as contradictory. stanley is a brutish ape whilst blanche is the flimsy rag doll in his grip. ‘a streetcar named marge’ relies upon this contrast to illustrate that marge and homer’s relationship is dominated by homer’s careless masculinity which serves to leave marge feeling resigned, defeated and unheard. however, while blanche becomes weaker over the course of the play and becomes less like herself due to stanley’s behaviour towards her, marge also becomes less like her usual self due to homer but becomes stronger and more assertive instead. the character of blanche serves as a vehicle for marge’s repressed resentments and frustrations and facilitates both her and homer’s understanding of their relationship.

homer’s eventual understanding of marge is illustrated by the final scene of the episode; homer congratulates marge on her performance as blanche and explains, ‘it really got to me how…blanche was sad, and how that guy stanley should have been nice to her…the poor thing ends up being hauled to the nuthouse…when all she needed was for that big slob to show her some respect.’ marge’s demeanour shifts and she reacts with ‘...homer, you got it just right.’ homer muses, ‘hey, you know, i’m a lot like that guy…like when i pick my teeth with the mail and stuff.’ the classic structure of a sitcom like the simpsons requires that things are resolved or return to the status quo by the end of each episode, and while marge and homer’s relationship becomes peaceful once again due to homer’s realisation, it is not necessarily returning to its previous state; if it did, their relationship would be strained due to homer’s lack of consideration for marge’s feelings. instead, marge finally feels seen. marge is understood and has asserted herself. as is suggested by the play’s title, ‘a streetcar named desire’ has desire itself as its core and central theme. the audience are shown stanley’s desire for sex and power, blanche’s desire for validation of her beauty, stella’s desire to have stanley’s baby. these desires are what drive the plot of the play and motivate each character to act in ways that push their desires into being realised. similarly, in ‘a streetcar named marge’, the audience are shown homer’s desire for food, drink and so on but more significantly, marge’s inherent desire to be seen. she makes repeated attempts for her family, particularly her husband, to notice her and take an interest in her endeavours which is consistently ignored until the end of the episode. the opening scene exemplifies this:

MARGE

i haven’t been in a play since high school…and i thought it would be a good chance to meet some other adults.

HOMER

(not looking away from the television)

sounds interesting.

MARGE

you know, i spend all day alone with maggie…and sometimes it’s like i don’t even exist.

HOMER

(still looking at the television)

sounds interesting.

marge’s invisibility within her family and within the wider context of springfield is interestingly addressed in raphael bob-waksberg’s fifteen-tweet poem entitled ‘does marge have friends?’ the poem explores marge’s role in the show via the lens of her relations to other people, e.g ‘who are marge’s friends? is helen lovejoy a friend? sarah wiggum? agnes skinner?’ the third stanza questions ‘who tells marge to leave the brute, knowing she won’t? ‘you don’t have to stay. you deserve so much more.’’ the use of ‘brute’ to describe homer is a sentiment that ‘a streetcar named marge’ hones in on, and is a descriptor that we can again see paralleled with the original ‘a streetcar named desire.’ as previously explored, stanley is described as ‘primitive’, a familiar adjective in the context of homer. additionally, bob-waksberg uses a hypothetical voice to tell marge ‘you deserve so much more’ to illustrate that there is no real friend in marge’s life to tell her this themselves. in williams’ original play, blanche’s isolation is also addressed and it is shown to make her an easier victim for stanley’s abuse; eunice reassures stella in the final act ‘she couldn’t stay here; there wasn’t no other place for her to go.’ blanche is alone aside from stella, who has her institutionalised, and this makes her all the more vulnerable as she has nobody to tell her not to accept abuse. this is another way in which ‘a streetcar named marge’ subverts source of its parody; where blanche is abandoned and becomes weak and ‘mad’ from stanley’s abusive behaviour, marge is empowered by the character of blanche and experiences the opposite of abandonment - she is finally seen and acknowledged. 

‘does marge have friends’ also touches on another moment where marge can be likened to blanche in a more roundabout way. as a succinct character study of marge, the poem alludes to her relationship with maude flanders. stanzas six to ten speculate on the nature of their relationship, asking ‘does she [marge] see in her late neighbour a cautionary tale? seldom-remembered, semi-anonymous maude - could this fate too befall marge?’ this is vaguely reminiscent of blanche’s relationship with stella in the sense that marge mourns maude and blanche mourns stella and while their respective reasonings are different, the central theme here is the mourning of a fellow woman for her ‘smallness.’ while marge mourns maude’s invisibility and sees the same in herself, blanche mourns stella for being dominated by stanley, a ‘common…animal’ and mourns stella’s insistence on forgiving his abusive behaviour as she does in the infamous ‘stella!’ scene. blanche says to her ‘you go out with a man like that once, twice, three times when the devil is in you, but to live with and to have a child by? well then i tremble for you…’ to blanche, stella is a cautionary tale of the consequences of accepting abusive behaviour from a ‘rough’ man, and as bob-waksberg puts it, ‘could this fate too befall’ blanche? it can and it does, as she concludes the play having been assaulted by stanley herself. it can be argued that blanche’s mourning of stella matches the way a hypothetical friend would mourn marge’s relationship with homer, worrying about her wellbeing in the face of his carelessness and strong personality. furthermore, bob-waksberg describes a hypothetical scenario between marge and maude that echoes blanche’s encounter with the local paperboy: ‘perhaps, once at a summer barbecue, when both were still alive, maude grabbed marge's hand under the table and held tight. what prompted this sudden connection, this sudden expression of— what was it, warmth? the two weren't close— acquaintances, sure, had they ever even hugged? and yet here they were, holding hands, silently, secretly, while their children shrieked and their husbands grilled the hot dogs.’ this moment depicted in the poem is soft, mundane and warm. in ‘a streetcar named desire’, scene five demonstrates these same themes, wherein blanche says to the paperboy ‘i want to kiss you - just once - softly and sweetly on your mouth.’ the direction then follows, ‘[without waiting for him to accept, she crosses quickly to him and presses her lips to his.]’ this exchange shows blanche seeking the same ‘sudden expression of…warmth’ that bob-waksberg discusses, echoing the same principle that in this interaction, ‘the two weren’t close.’ it must, however, be acknowledged that blanche’s advances on the young paperboy, while seeking warmth, were arguably predatory where marge and maude’s interaction is less romantically charged and more platonic and equal.

the final parallel to be noted between ‘a streetcar named marge’ and ‘does marge have friends?’ lies in the final five stanzas of the poem. bob-waksberg describes marge in her garden on a sleepless night, encountering maude over the fence: ‘maude, pale as a sheet, her eyes wet with tears.’ she goes on to say to marge ‘it’s not the calm before the storm that frightens me, it’s the calm that follows.’ this is evocative of blanche’s rise and fall through the play; the ‘storm’ in question being the assault carried out by stanley and the ‘calm that follows’ being her subdued but also hysterical, dreamlike-state in reaction to the assault that results in her being institutionalised. ‘a streetcar named marge’ depicts this ‘descent into madness’ by having marge / blanche fly around the stage on a harness with flashing lights and a smoke machine in the background, in typical overexaggerated simpsons fashion.

at its core, the simpsons is about dysfunctional american families. homer is both a ridiculous and exaggerated buffoon character but circumstantially lives the life of the average working class / lower middle class american man that stanley kowalski also lives. while homer’s unsupportive behaviour towards marge is often played off humorously throughout the show’s run, ‘a streetcar named marge’ uses the intensity of williams’ play to construct a legitimate criticism of homer’s actions and a commentary on marge’s invisibility, unexpressed resentments and her experiences of marital dysfunction. as the title suggests, ‘desire’ itself is at the core of both williams’ play and the simpsons episode based upon it, and marge’s inherently repressed desire to be seen and appreciated is finally realised via the adoption and subversion of williams’ classic play and its connotations regarding the transfer of power between characters. marge is finally seen by homer, and she no longer has to depend on the kindness of strangers.

[shock]

"Don't just play—do something!", Jack Abele, 01.21.24.

This is a companion piece to the collage I made about moving into the first place that felt like my home back in '21 (shown below). They have matching frames and are displayed together above our dining table! This second piece is a reflection on how my relationship to "home" has evolved since then, especially after proposing to my now fiancé last month. I'm really proud of it!

Text transcript:

FOR YOUR EYES ONLY

In the cold, thin clouds of interstellar space, written in the precise message of starlight:

What made you so interested in fireflies?

Imagine that they propel the environment into play: they STAND OUT, add color, chaos, curves moving behind and below, inside, outward along feedback loops, perplexing positive panic persuaded to make another form of animal art.

Love is a Many-Splendored Thing, a beautiful structure, flamboyantly scuzzy, sassy, a full bouquet of many wild ideas — a dazzling interplay between lightness and unclarity, trying things out, fancy, whimsical records looped with webs, half-truth surface textures composed of swirls within swirls, a performance of information, scene-setting details with many impressive, more tongue-in-cheek, unforeseeable aspects relatively stable and evolving at the same time.

Distinctly transitional.

The trouble with love is it's hard to describe in simple and consistent words. Beyond the jolting familiarity of self-similar, self-referential tessellating hues, the little comedy-drama fictions... you see openness, possibilities toward change; our very existence together antidote to the dull grind of the paradox that we live every moment in an indifferent universe yet having so much fun with friends, local communities, places, faces, even muddy bog holes.

Music! A Tribe Called Quest, The Beastie Boys, The Breeders, Nick Cave, Nine Inch Nails, Soundgarden, Santana and Crosby, Stills, and Nash, mud-caked at Woodstock, picking up Space Age scrap, cutting collaged paper, playing with magical little lights, heretically evolving in this meaningless, magnificent place fine-tuned just right to allow for life, love, and grunge to exist nevertheless.

Maybe what keeps me here, making art, is how beautiful it is for optimism to become the first expression of hope despite danger amid the disparate depth of our universe created by chaos.

Movement characterizes my "youthful, dynamic" journey, escapes to infinite other places somewhere else, afraid of considering complicated survival long-term, wherein risk is worth the reward. But something about your windy city reminded me what strange, cascading effects the fingers of two hands form together, intersect one another, interfere with fate, interlace like light radiating rays woven, at certain points, into dynamic singularities.

Mutualism is a happy hybrid of symmetry and chaos — a relationship, it's like the entire forest is blinking in sync.

Just as the fun is to make up a great story, the writer in me calls this piece, "Don't just play— do something!"

This time around, living offers a profound pivot from playing a game. Today we confront as animals, we're not far from dogs, domesticated punks at heart, manifold.

I am humbled, exhilarated, afraid yet strangely calm and clear "On Bended Knee"

(The term ground seems inapt.)

...Nor is it possible to describe...

The closest feeling to being the world itself? It is to have loved someone so much that you wanted to spend the rest of your lifetime with them, with each other.

We're writing a book. Adding a stroke of paint and words to illustrate what we became, a bright third dimension that can be seen from space to meet the generations to come, to simulate the uncountable whimsies they could achieve.

The mind already knows before the key touches the lock.

To watch firefly swarms with a mangy mutt.

That must be quite a sight to see.

BECAUSE THEY EXIST

NOWHERE ELSE ON EARTH.

[sulfies]

Achilles Come Down by Gang of Youths fits Ezio so much... Its in my "Desmond" playlist and while it does fit Des... İt fits Ezio so much better and almost fallows the games acts

-------

Achilles, Achilles, Achilles, come down

Won't you get up off, get up off the roof?

You're scaring us and all of us, some of us love you

Achilles, it's not much but there's proof

You crazy-assed cosmonaut, remember your virtue

Redemption lies plainly in truth

Just humor us, Achilles, Achilles, come down

Won't you get up off, get up off the roof?

^ Ezio's family is talking to him, can imagine his mom for this part almost. Maybe they are all alive at the moment and its about a random time when Ezio gave them a scare, maybe its the night of the day Ezio climbed the tower to where his father was held... Maybe its a day after everything

✨✨✨

Achilles, Achilles, Achilles, come down

Won't you get up off, get up off the roof?

The self is not so weightless, nor whole and unbroken

Remember the pact of our youth

Where you go, I'm going, so jump and I'm jumping

Since there is no me without you

Soldier on, Achilles, Achilles, come down

Won't you get up off, get up off the roof?

^ 100% Federico's part but probobly would also fit for the siblings all-togather. They def made hunderets of stupid pacts in their youths, one was probobly something like this where Ezio didnt understand the gravity of it as a kid while Federico did and was 100% serious...(Sadly i imagine it as his ghost trying to knock though love to his brothers head)

✨✨✨

Loathe the way they light candles in Rome

But love the sweet air of the votives

Hurt and grieve but don't suffer alone

Engage with the pain as a motive

Today, of all days, see

How the most dangerous thing is to love

How you will heal and you'll rise above

^ Can see this as other characters giving a push to Ezio when he starts his Assassin training or bringing in the Brotherhood togather, he is learning to grieve as he improves. He is trying to not suffer alone, learning and finding about connections he has like the song says but there is too many responsibilities on his shoulders. Could also be about the love and broken heart he leaves behind in his youth with Cristina...

✨✨✨

Achilles, Achilles, Achilles, jump now

You are absent of cause or excuse

So self-indulgent and self-referential

No audience could ever want you

You crave the applause yet hate the attention

Then miss it, your act is a ruse

It is empty, Achilles, so end it all now

It's a pointless resistance for you

^Ezio talking to himself after the fall of Monteriggioni in Brotherhood probobly... He built it nearly all back but lost it all, which would def make one feel empty. He most likely just wants his fathers hug and a "you did us proud". But the things he does comes with a worldwide bounty on his head instead of the applouse so ofc he would hate "the attention".

✨✨✨

Achilles, Achilles, just put down the bottle

Don't listen to what you've consumed

It's chaos, confusion and wholly unworthy

Of feeding and it's wholly untrue

You may feel no purpose nor a point for existing

It's all just conjecture and gloom

And there may not be meaning, so find one and seize it

Do not waste yourself on this roof

Hear those bells ring deep in the soul

Chiming away for a moment

Feel your breath course frankly below

And see life as a worthy opponent

Today, of all days, see

How the most dangerous thing is to love

How you will heal and you'll rise above

Crowned by an overture bold and beyond

Ah, it's more courageous to overcome

^ Leonardo. I feel like this bit is definetly Leonardo shaking his Ezio awake bc he would hate to loose him. "Find one and Seize it" is such a Leo way to motivate Ezio and it would work... I can imagine a scene happening where Drunk/Tipsy Ezio spills too much feeligs, so much that it gets dark and Leo grasps his hands in his own and just says all of this...

✨✨✨✨✨

You want the acclaim, the mother of mothers (it's not worth it, Achilles)

More poignant than fame or the taste of another (don't listen, Achilles)

But be real and just jump, you dense motherfucker (you're worth more, Achilles)

You will not be more than a rat in the gutter (so much more than a rat)

You want my opinion, my opinion you've got (no one asked your opinion)

You asked for my counsel, I gave you my thoughts (no one asked for your thoughts)

Be done with this now and jump off the roof (be done with this now and get off the roof)

Can you hear me, Achilles? I'm talking to you

I'm talking to you

I'm talking to you

I'm talking to you

Achilles, come down

Achilles, come down

^ We could say Its Leo trying to save Ezio again but I think, imagining this as Desmond and Juno/Minerva is more fun. More than thinking this as Juno wanting Ezio to die, I think its more in "Im not talking to you but thru you, you are unimportant" kind of way Minerva acted towards him when they "met". Its the "end your story cmoon" attitute all the ancient ones display because they see humans are rats/below them... Ezio tried to ask the "gods" for guidence. Quickly learned that They dont care about him, only Desmond.

But Desmond cares about him and desperetly wants to be heard back and tell him how it was not all for nothing and that he is worth so much...

✨✨✨✨

Throw yourself into the unknown

With pace and a fury defiant

Clothe yourself in beauty untold

And see life as a means to a triumph

Today, of all days, see

How the most dangerous thing is to love

How you will heal and you'll rise above

Crowned by an overture bold and beyond

Ah, it's more courageous to overcome

^ Ezio talking to himself at the end of it all, after revelations. Giving himself the permission to love and rest/stop and not find the next big thing he must fight with. He doesnt know if all will end well but "its more courageus to overcome"

[swanmaids]

Recent reads - women in translation

Child of Fortune - Tsushima Yuko, 1978, tr. Geraldine Harcourt

Orignally published in Japanese. A single mother with a difficult relationship with her 11 year old daughter finds herself pregnant again after an affair. A dreamy and flashback-centred short story of motherhood and alienation.

The Mermaid’s Tale - Lee Wei-Jing, 2019, tr. Darryl Sterk

Originally published in Mandarin. A lonely woman in her thirties with an obsessive love for Latin dance attempts to make peace with her past and her body. Blends the whimsical and the excruciatingly real.

Consent - Vanessa Springora, 2020, tr. Natasha Lehrer

Originally published in French. A wrenching memoir of the author's sexual abuse by a celebrated author as a teenage girl, and the culture that colluded with her abuser. Devastating.

A Woman of Pleasure - Murata Kiyoko, 2013, tr. Juliet Winters Carpenter

Originally published in Japanese. In 1903, a teenage girl tries to survive after being sold into sex work. The novel's brutality makes its moments of light even more poignant.

Masks - Enchi Fumiko, 1958, tr. Juliet Winters Carpenter

Both a novel of tragedy and manipulation and an exploration of the role of women in noh theatrical tradition and the Tale of Genji. Lingers in the mind long after reading.

Abandon - Sangeeta Bandyopadhyay, 2013, tr. Arunava Sinha

Originally published in Bengali. A mother's conflict between caring for her sickly young son and her desire to abandon motherhood to pursue her art is personified by two narrations by the same "character". A fascinating self-referential novel that raises many questions on the conflicts between art and humanity.

[hollyhomburg]

(mafia hoseok, slice of life, fluff, stockholm syndrome, meta stuff, this is a little self-indulgent and very self-referential, a tiny bit smutty at moments but i wouldn't call this nsfw, blood, violence, guns)

i wanna write a story with mafia boss hoseok who adopts his sisters children after they die cuz of mafia reasons along with his fiance. hoseok of course, decimates the rival group who took them away from him, but after the fire and revenge has settled, there is just hoseok, just hoseok and two kids who need him.

it's not that bad, the little boy one is mainly taken care of by his men. hoseok does his best to keep them safe and separated from his criminal empire. gives them everything they could want, trusts only his inner circle of 6 to look after them.

the older one- a plucky 13 year old girl is a little bit more of a handful mostly because she asks too many questions about things hoseok cannot answer without being culpable "why do you have blood on your shoes? what kind of handgun do you carry and can i see it? why do you always talk really softly at home but yell loudly when you're in the basement?"

hoseok- knowing that the basement is a literal torture chamber, sweating, "don't you just want money for shopping or something?"

"no, i wanna become your partner, the way that mom was"

"you are literally 13"

"didn't you start when you where my age?"

"can't i just? get you a new handbag or something?" idk i just love the idea of hoseok- whose tired of his job and pissed off by it on a good day vs. a 13 year old who just wants to be a crime princess so bad.

They but heads near constantly, when she's caught sneaking out from her all girls school to smoke cigarettes, when she buys a moped with the card hoseok got her, when she tries to leave the country to go to fashion week like her mom used too (of course hoseok goes with her- but still- she's not very good at asking for permission vs forgiveness)

Obviously he's like- barely adjusting to being a parent, and grieving the loss of fiance and sister too. he's lonely and struggling with the things in his life that aren't the crime bits, he's not against admitting that, but allowing anyone, woman or man, into his life barely 5 years after they've passed feels like a betrayal.

it goes like that, slice of life, mafia man hoseok and dad hoseok chased togeather. he tries his best to show up for dance recitals (the young beta boy really really likes balet and god forbid hoseok stop anything, even convention, from getting in the way of his pups dreams,) regularly scolds the alpha girl for trying to bring her boyfriends around, "you're too young to have boyfriends" "they're just my friends boyfriends" "still, wait until you're 16- or better yet- 18"

There just isn't a shortage of problems concerning the kids, it's one thing after another. Until one night in his study, hoseok's ledgers spread out in front of him while he reclines on a tufted sette, one of his men comes to the door, an ipad in his hands and a guilty look on his face. Hoseok snaps his fingers without looking up. "we- ugh- caught her reading fanfiction again, not the appropriate sort boss."

Hoseok groans because holy fuck he was no prepared to deal with a teenage girl in his mid 30's. let alone puberty again. But then again, he's a little curious, reads a few lines of the fanfic....

Only to find out it's an exact copy of his and his ex's life, down to the things that they've said on their first date. Their first time, even her untimely death down to her last words, words that he hasn't told anyone ever. Hoseok doesn't sleep as he reads through it. The only thing that's different is their names. here, here are memories even hoseok has forgotten. It's impossible, how could someone know all this?

oh, someone knows, and he's going to tear them apart.

Of course he finds the author. using the resources of his criminal empire to track them down. he has his men abduct her. the perfect crime, executed down to the moment she's snatched. he knows the autorities will never find her or even a hint of his orginization. he brings her down into that torture room and decides....not to kill her after talking to her.

hoseok is like something out of a romance novel, the kind of one she publishes irl and not the kind that she writes and posts on the internet. intimidating and beautiful with his crossed legs, red hair, strong jaw and piercing eyes. Of course, she only publishes things as fanfiction when she feels she needs too. other stories that she feels are more polished and less an extension of her own emotions, get the published book treatment. She's already absorbing details of this, the bite of the ropes against her wrists, the damp feeling of a cloth pressed over her mouth, it's a little bit fucked up but she's only thinking "this is gonna make for some good fanfic" and not about her safety.

hoseok has only met two types of peopke, the ones that are smart and scared of him, and the ones that are stupid and unafraid.

so what if she's got a bit of a deathwish, hoseok is a little impressed, having made grown men cry and piss themselves in that very chair, she's not afraid of him whatsoever. that alone, is what keeps him from killing her. maybe it reminds him a little bit of his exfiance, the way she looks at him without fear, like he's not the boss or dad, he's just hobi.

"So you mean i'm going to stay with you, your prisoner, until you figure out how i know what i know?"

"Yes that's the jist of it. Until you confess."

"there's nothing to confess, i just- thought of it on my own, i don't know what to tell you." hoseok looks for any connection, any of the fanfic authors family, if they were connected to his fiance in any way, but truly- there is nothing in her past that connects her to him, she wasn't even living in his city before now.

it's simply a trick perhaps, or just a coincidence. Hoseok doesn't believe in coincidences.

Only, Hoseok isn't cruel enough to keep her downstairs after the first few days when his interrogations turn more...conversations. Maybe he pours over the fanfic's and asks her about specific lines the one, "nothing's broken you yet, so you have no reason to belive this will too" thats been his personal mantra for year. how could she know things that he's never told anyone is beyond him.

The house has plenty of rooms and hoseok has plenty of men to keep an eye on her, he probably puts a tracking anklet on her just incase. and of course he finds her writing on bits of paper because he won't give her a laptop.

and then Hoseok's nice gets her fingers in everything. fucking shit up as she has a talent of doing. maybe hoseok intends it to be casual "this is my friend, she's going to be staying here for the time being, be nice to her and stay out of her hair" why does hoseok feel the need to suggest the kids be nice to her? she's literally a prisoner.

but of course, hoseok's nice looks at her, turns to hoseok and says "🥺 you got me my favorite fanfic author for my birthday uncle hobi?" immediatlly- the jig is up, they talk, the mc is really kinda nice to the kid because she's not an asshole.

Of course hoseok begs her to go along with it because...he really doesn't want his nice to know that everything she read actually happened, and he's got a sweet spot a mile wide for her underneath their bickering. of course also doesn't want to let her know that he did infact almost kidnap and torture this woman. and she agrees to befriend her...in exchange for a laptop.

Things go like that for a while, and for a month, he gets used to someone being there when he wakes up, he gets used to hearing laughter when he walks in, maybe she starts to get close to the kids a little bit- the nice especially, maybe one time hoseok gets a panicked text from the mc, "Minji's boyfriend broke up with her. sos bring ice cream."

The four of them of course leave the compound, go shopping, which then turns into going to the pet store, getting a dog (that his right hand man jungkook eventually takes in because none of them are prepared to actually take care of a dog). The works, maybe they go to one of those destruction rooms and smash some stuff, or go paintballing, the m/c hitting hobi in the chest and grinning "got you." it turns out mafia bosses are generally good shots, but mafia princesses are also really good too." And on the way home, the kids tired and asleep in the back, the m/c also nearing sleep in the passengers side, hoseok looks over at her and realizes that being the kids parents, being here for minji and hanyu has gotten alot easier since she's been around.

It's not that she does any of the child rearing at all, but- adult company is nice. Hoseok's not sure he can call her a friend. when he pulls in home he looks over, and finds that she's staring back at him.

"Are you really like the man i wrote into that story."

"Yes." he admits, they haven't talked about why he's here, in a while. she looks contemplatively at him for a second, then yawns. looking back and minji and hanyu in the backseat, "i'll get him if you get her right?" and they do, they bring the both of them inside and hoseok stays awake all night with a lump in his throat.

life continues like that, blood and domestic bliss in equal measure. a few times has he come home in the middle of the day to her writing in the main recreation room with Hanyu playing with his leggos around her, "i like her, she lets me be quiet without asking me to talk lots" or spinning with him to loud loud music. hanyu really only likes balet for the spinning and twirling.

of course hoseok is curious what she's writing after a while. and is more than a little curious why she doesn't try and leave. she still has to wear the ankle monitor, but hoseok would take it off if she asked.

"honestly i'm getting so much good material from this experience and you have good taste in decor and food gets made for me every morning by seokjin- and he's a fantastic cook and an even better beta reader." Seokjin is also a really good shot, and was in the black berets before i hired him is definitely not what hoseok says. "Why wouldn't i want to stay, i don't have to worry about anything here."

"accept for your bodily autonomy????" she waves her hand flippantly, "yeah, that never mattered to me so much as long as i can write. of course he gets curious of what she's writing, hoping to find more hints of how she can know what she knows. she finds bits and peices of his men in them and writes them off as just fanfic fodder. tells minji not to bother her too much.

he doesn't really like her next project about a heist with 3 lovers who get through it after years of sexual tension only to finally confess after one member gets shot- only, why are they like jimin? tae? and jungkook all close over taehyung's hospital bed. she's gotten close to all of them, but not closer than hoseok is to them and even he didn't realize they were all in love. how have some of his longest gang members, and appart of his inner circle who have been adversaries for the better part of the last 5 years finally getting over their enemies to lovers stick? how did he not notice?

he chalks it up to a coincidence until the next time it happens, because Namjoon and yoongi have been at each other's throats for years. Who would have thought an isolated job in the mountains that lead to them being snowed in with only one bed would...lead to their eventual coupling.

after that, hoseok starts to pay attention to what she writes. he's just in the middle of a deal gone bad when he remembers what she's written the year before, something about a car bomb- he avoids getting into the car until it explodes (a la bily) and comes home a little singed and scarred.

she's in the living room, the kids are asleep upstairs, and when she stands up, hoseok feels that feeling again in his heart, that peircing ache, the same one he gets when he thinks of his dead fiance.

i'm imagining him kneeling before her, taking off her anklet, fingers lingering over her skin a little too long. looking up at her, hoseok has not knealed for many people.

"you're free to go, but before i do, i'd like to offer you a job." it's hard to describe her value to hoseok, even harder to explain it to people who don't understand, she writes, and hoseok reads them, and about 70% of the time, the events she puts down on paper actually happen. he tries to ignore the other little things that don't, she's....a really good writer. and she knows by now that anything she writes he'll tare through. even the more...smutty sections that she tries to hide. he ignores the way that tales of submission make his blood burn, the way she describes touches and hands, hoseok tries to find pleasure in his own but it remains frightfully our of reach (and maybe 3 doors down).

maybe hoseok takes her to one of his functions, the ones that he usually hates with politicians and celebrities, because he wants to treat her, wanting to give things to people isn't a feeling he's felt in a while, i imagine them dancing underneath the stars, him asking her "if you were writing this right now what would happen." "if i were writing this, you'd have already kissed me."

maybe, someone gets wind of it, maybe theres a mole in hoseoks organization that tells tales of hoseok's secret weapon. his weakness. hoseok is not prepared there is nothing in her writing that says where she is or what happens only....that last one, it's tangentially mentioned, maybe minji is the one that finds it, hoseok explains it to her the situation, why the m/c is here and what lead her to their lives, maybe he's loosing it a little and she's the levelheaded one, hanyu is in the doorway crying, maybe when they came to take her she sacrificed herself for him, told him to hide and he did. that alone, that lone would make hoseok go after her, not the living breathing terrified thing in his chest- because this- this is almost exaclty like what happned with his fiance.

minji is 14 now, 14 and smart, smarter than hoseok, "she wrote something- i know she did- here- it was in an ask- here" hoseok scans it, and the gang mobilizes it. maybe hoseok's gang asks him why, why he's willing to go to these lenghts to save her, "it's not about securing a method of income, this has never been about money."

when he finds her, she's tied up, much the same way that he was tied up, and hoseok is soaked with blood, from his red hair down his back, she always did get unnervingly graphic with her murder scenes and it feels the same way that she wrote it, white hot rage that drips down his back in time with the cooling blood. he wonders if the bruises on her face feel the same for her. he unties her and then cups her cheeks, looking down at her while she grabs his wrists. "you came for me." is all she manages to choke out, "i wasn't sure you would."

he kisses the side of his face, "of course i'd never let you go, do you feel and see the blood i'd shed for you? is this enough?" hoseok is a little fucked up, and she knows this, she knows that deep down, beneath the softness that the people he loves cultivates in him, he does not mind the killing. he'd kill again for her in a heartbeat. he's going to kill again for her and he needs to know that if she stays.

hoseok is not convinced that she should.

he takes her home, washes her off. blood dripping down the drain and the two of them pressing hurried kisses against each others mouths, even if they taste like blood a little bit, they want each other too bad, all of this built up just breaking between the two of them. hoseok spends too long listening to her heartbeat. too long but she just washes his hair while he does, a tender geasture. he's not sure that his ex ever washed his hair.

the kids are glad to see her, a little bit scared to find hoseok more hollow than he was when he left. because he knows the last time something like this happened he was too late. and there are more than a few indications that he almost was too late, in the bruises that ring her body, her own blood that he wipes from his hands.

the next day, hoseok meets with minji, hands her her first gun, "you're to report to me, you don't make tough decisions, you let me make them for you, if you have questions or need help, ask. you don't make stupid decisions, and you don't tell anyone about anything you know." She scoffs, "thats a given."

later he ends up wrapped up with the main character, touching her again and again, verifying that she's alright that she's here, and she's just scribbling away at a piece of paper while he drags his lips up and down her arm. "is this still about getting inspiration for you?"

"maybe, but you're the best inspiration i've ever come across."

yeah i wanna write this, but i probably never will~

[inevitablecorgi]

So I went to see Old 97s the other night and, see my vision, "Longer Than You've Been Alive" as a Big Four Song. It's a long song and I'm editing out the parts that are "booze, drugs and rock & roll" specific but you still get..

This part that's Nadalcaraz, and Murray with Draper, Roger and Novak with the young guys at Laver Cup:

We've been doing this longer than you've been alive Propelled by some mysterious drive And they still let me do it as weird as that seems And I do it most nights and then again in my dreams Infinite hallways and giant hotels Dressing room looks about as good as it smells

. . .

2. Time on the road, highs and lows over the years

We've been in nightclubs and we've been in bars Honky-tonks and theaters from Memphis to Mars Most of our shows were a triumph of rock Although some nights I might have been checking the clock

3. This next verse is EXTREMELY Andy Murray:

I'm only human though I'm super at times I jump off of risers I should not have climbed Rock jumps won't kill you until one of them does Well they'll say "He died doing what he loves"

4. Pick your ship:

We got our share of loving in our past Although we were all looking for someone who'd last

Well, it must be hard to get partnered with me Some narcissism, some OCD [OK THIS ONE IS Novak/Rafa though]

Well love that comes easy's a fake or a fluke Love is a marathon, sometimes you puke

Rock 'n' roll's been very very good to me The open road's the only place I wanna be

5. The grind of fame/the long tour:

I'm not crazy about songs that get self-referential And most of this stuff should be kept confidential Aw but who even gives half a fuck anymore You should know the truth, it's both a blast and a bore

6. McEnroe, Borg, Connors. . . Rock stars were once such mythical creatures Up there with Presidents, playmates and preachers

7. ALL OF THEM (but maybe we start with Novak doing a striptease):

Now I've made a living out of shaking my ass And if you offer me an office, I'd have to pass But our jobs are all jobs, and sometimes they suck I love what I do, and I've had pretty good luck

8. And the great moments...

All the fans are all clapping screaming and squealing And I won't lie to you, that's a pretty sweet feeling And I might butt heads with the guys in my band But I never once went to work for The Man The men and the woman like you him & her We're sharing this night that will soon be a blur

We've been doing this longer than you've been alive Get on the bus, and tell the driver to dri-i-ive