#megan carson

[108garys]

The Clarkes haunting the narrative is THE point

The following was a response to the idea that the prologue and end hold little hope back that ended up being way longer than intended, no shade on the person who said that I just realised that I didn't want to drop a whole essay on them, so without any more preamble:

Truthfully I am completely disinterested in making Little Hope more palatable to people who require the story's soul to be torn out to enjoy it because that's what the beginning and ending is. The broken heart of little hope.

That said I very much love the middle too but the Clarke family's story is the heart and soul of little hope and the whole point, otherwise why does anything in the town matter? Vince? Just some dude, the subplot of the town falling apart, being in the literal wreckage of 1970s era Little Hope? Random set dressing because a straight up three century old ruin of a town would just lack the infrastructure required to have the facade of searching for help in town… So many of the secrets are about them, you straight up spend a good chunk of the runtime passively learning about the individual family members both in private and public and even though I think some people choose the shallowest reading out of spite it is very deliberately stated that there is an element of choice in interpretation, the curator says so at the start. The more praised facets would be greatly diminished without the Clarkes, the subtextual nature of overcoming your demons gives meaning to the outright textual fighting of demonic monsters and the parallels would not be as strong between the 2020 and 1692 eras alone.

It is a common mistake that there are better or worse versions of the characters but it's simply not true as they are all different aspects and much like a triangle needs three points the cast of little hope needs all three points of reference to fully appreciate their stories. My earliest read of Little Hope centred on Anthony recontextualising his family in two divergent ways, 1692 where they are presented as victims of circumstance and 2020 where they are more deliberately flawed people who must overcome their demons because the truth is that both things are true of the Clarkes and so they are separated out into their different aspects and analysed accordingly.

Angela's characterisation doesn't work exclusively compared to Amy, her story of fighting for her agency doesn't land the same without Anne, Amy on paper is a woman who did everything right bar being too harsh to a child and was killed for it, Angela is a woman burnt by her past yet soldering on and still retains the same flaw of blaming the child, where as Anne being a snowed under house wife who struggles with keeping her family together and feels like she has zero agency in her situation and all the while fails to understand the perspectives of the very people she feels responsible for is the context between Amy the beloved wife who is wrongfully accused and uses her one bit of agency to place mistaken blame on Mary and Angela who refuses to rely on or believe in anyone or anything, the fact that she's divorced and starting over in her late forties does not work when only compared to the wholesome yet tragic Lamberts who's marriage is never depicted in the negative to justify Angela's divorce. She'd appear as a nearly fully different person for no reason without Anne to bridge the gap and make their depictions consistent, without the 1970s it just looks like she's angry at her husband for failing to save her despite his best efforts and that severely damages her character and arc.

Connected to that, J places his trust in the wrong places, delegates, blame shifts and runs from facing the bigger problem, the alcoholism is emblematic of this but the refusal to see the truth about M's innocence and place responsibility at the feet of the proper authority because he'd have to confront his misplaced faith requires all three, Joseph failing to his dying breath to understand Mary's innocence and James getting blackout drunk over the stress of problems he finds insurmountable are necessary context to John's sobriety and further arc and John being a recovering alcoholic would just be flavour text without the harsh sting of how addiction colours James.

Daylor wouldn't lose its questionable reading if they were only siblings in 50% of other eras instead of two thirds but Dennis expressing his frustration at Tanya pulling away contextualises their codependency and mutual need to be needed in a way that is incomplete, you see a couple in the early stages of dating and siblings who got killed three hundred years prior, the 70s contextualise T's need for stability and dependability and her survival instincts pushing her to flee and D's arrested development in the way he struggles to function when they aren't a unit, beyond that David and Tabitha care for Mary together in Amy's trial scene and after her death he doesn't even fight his own execution, not even to continue the task of raising his only remaining orphand sister alone, this isn't to say David doesn't love Mary as he blatantly shows care for her in not wanting her to be traumatised by his death but he simply falls apart without Tabitha and Dennis being the way he is when Tanya is pulling away from the family shows a lower stakes, longer depiction of that breaking down but she's still physically there so it isn't collapsing in grief, it's the simmering resentment of feeling like a person you care for isn't prioritising you reciprocally, these feelings aren't wrong in of themselves but they aren't pretty and Daniel's outbursts and more negative dialogue choices and David's quiet grief don't capture the way that feeling of being stabbed a million times over everything time you aren't the first choice but the other person didn't wrong you by choosing differently so there is no proper way to get that out feels. D is often mistaken as a shallow generically decent guy with a random angry iteration that doesn't fit into a boring whole but it's simply not the case, him proving he can be reliable in 2020, his fight against his various insecurities is something he needs to do for himself as much as T, the others aren't better adjusted or better people compared to Dennis, their circumstances just present entirely differently.

Furthermore Taylor feeling like an outsider doesn't work alone with Tabitha being part of a family unit, I've seen it misinterpreted as Taylor being less proactive than her counterparts but the truth is that T's behaviour is characterised by survival instinct and a need for stability, Tabitha realises something is wrong after the first death and attempts to protect Mary but counsels keeping their heads down, Taylor being vocally in favour of staying put and Tanya's quiet desperation to get away from everything are not opposite but different flavors of the same base needs, Tanya legitimately being a practising witch adds a layer between the other two versions, Tanya appears very conventional despite her secret unconventional beliefs and Taylor is the inverse being visually the most nonconforming member of the cast while her desire for a knight in shining armour is very traditional in its own way, pair this with the straight forward trial of Tabitha and you get an exploration of not going with the first assumptions that blankets the rest of the narrative.

Carver is a great antagonist all his own but without 1972 there is no broader context, and even if you still have that era but not the Clarkes it would just be "this guy's bloodline remained assholes for centuries" and not the direct parallel to Carson, there is no canonical 2020 equivalent to his character yet he haunts the narrative beyond himself, judge wyman intentionally mirrors the passing neighbour who immediately demanded to know what Anthony had done when the matchbox is revealed, the accusatory paranoid hysteria of puritan little hope and Anthony's poor treatment after the death of his family are directly connected and that's the point, Melissa is there to bring the conversation about the little girl's guilt or innocence to the forefront in a way that makes it a present plotline that goes beyond Mary and brings in the nature that the past is reflected in other eras and without Megan you lose a lot, Melissa requires her context in a way that Mary alone doesn't achieve and Abraham and Andrew's decision on the matter is in fact a question over Anthony's guilt and his internal struggle between blaming himself and blaming Megan and the further grief around this unresolved guilt to the point where he was psychologically unable to process the death of his family for nearly fifty years is the point, the whole point, of the 1692 reframing.

the Clarke family haunts every aspect of Little Hope and without the ending it would be pointless, the way their deaths hang over everything to the point where the puritan versions are doomed to die in the same way they were already depicted as dying and the way an engaged person would quickly catch on that 1972 death=1692 death and therefore 2020 character faces the same fate, it would be meaningless without the Clarke tragedy, it would simply be shock value that builds towards nothing without the ending and the ending doesn't make the game any less about the other eras because they are one and the same in every way that matters.

[modelsgf]

like.

[nawemichi]

Babies

[purplesimmer455]

Megan heads to the caboose bar to meet up with her friend Iseul, who texted her saying she wants to talk to Megan about something. Megan arrives just as it starts thundering and she runs inside the building.

The photos after this are random as heck. First, it’s lighting hitting the ground just as a pizza delivery sim runs away. Then it’s two photos of Tess’s cousin Noah (on the right with the black cardigan) with his boyfriend Aidan (in the red cardigan who, slightly awkwardly, was Tess’s college soccer rival and woohoo partner 😅). Then it’s Luna’s auntie Hailey and her partner Carson, they’re still going strong and are a good couple. The last two are extra random, with a photo of Megan’s hair from behind cause I thought it looked good, and then a photo of Megan’s relationship in-game with her wife Tess. Despite the story drama, they’re doing good in the game and are very loving. 😊

[kindheartedgummybears]

sitting here... Thinking about... It...

Little Hope AU where one of the other Clarke children survived the fire instead of Anthony

[brattyfics]

[casuallyceltic]

It's official, Shikaba is my favorite.

Move aside Satsuki! You took too long to do anything cool.

[incorrectnwsl]

Things to never say to someone who just came out:

Ashlyn Harris: I'm gayer

Ali Kriger: In that outfit?

Kristie Mewis: Hi Gay, I'm dad.

Tobin Heath: You're so lucky you don't have to donate blood now.

Nikki Stanton: I knew the second you told me you were gay.

Megan Rapinoe: Behold! The oracle spoke the truth!

Tierna Davidson: I was planning to come out at this very moment, and you just stole my thunder.

Carson Pickett: Are you queerbaiting me?

Kelley O'Hara: This has been so obvious since I started stalking you.

[noanaya]

she crazy for me... Jennifer's Body 31/10 en spotify + videoclip en youtube

[108garys]

Match box

@kassiekolchek22 @delurkr @tatjana-fantasy @blubary @unhingedlesbear @qusok @taylorshope Continuing the trend of doing LHtober prompts as warm up sketches

Day 2, here's the sole survivor Megan au and the moment her pyromania was solidified under the Reverend's roof, the initial fire was an accident but right here she begins to consider burning Carson's house down(drew fire in the window to frame her in flames to emphasise her growing need to set that man on fire)

[rabbitechoes]

i'm realizing that my analysis for these posts in my month in review series are a lot less in-depth than the albums one, but i'm ok with that. it still motivates me to keep up with new singles even if my writing isn't as strong. anyways, there were some really cool songs this month especially towards the end!! to check out my thoughts on some of the albums, EPs, and mixtapes that came out this month click here!!! also feel free to follow me on rate your music and twitter <3

"Club classics" | "B2b" - Charli XCX

◇ featured on brat - Charli XCX (not yet released) ◇ genres: futurepop, bubblegum bass

Charli XCX kicked off the month by releasing two singles from her upcoming album brat. I wasn't super impressed with "Von dutch," but I'm loving these tracks a lot more. I just think the ideas presented on these two songs are much more interesting. "Club classics" pays tribute to frequent collaborators A.G. Cook (one of the song's producers) and SOPHIE both lyrically and musically. "B2b" is a lot more rhythmic, but those thumping synth lines keep it within the theme. These tracks have me a bit more excited for the album!

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"86Sentra" - NxWorries

◇ featured on Why Lawd? - NxWorries (not yet released) ◇ genre: west coast hip hop

Knxwledge and Anderson .Paak's project NxWorries is coming back with a new album soon and while I'm not super familiar with the group's work, this is a pretty decent, quick single. It's very lowkey, almost too lowkey, but it's hard to expect a lot from a track that's under two minutes. Hopefully the full record has more fleshed out cuts than this!

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"Eyes Closed" - Imagine Dragons

◇ genres: pop rock, electropop

What do you expect? Did Imagine Dragons get in gear and drop something cool and different? No, of course they didn't. It's the same flavor of bombastic electronic infused, vaguely rock cuts with big arena-ready choruses that feel incredibly empty. Music made for WWE promo videos. To their credit, they are one of the most consistent bands of the modern era ... consistently terrible that is!!! *cue laughter, applause, and fireworks*

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"Dream State" - Kamasi Washington

◇ featured on Fearless Movement - Kamasi Washington (not yet released) ◇ genres: jazz fusion, spiritual jazz

The latest single from Kamasi Washington's upcoming album features flute contributions from André 3000. This might be my favorite single so far. André's flute pairs very well with Washington's saxophone throughout. The song starts slow, as the instruments mingle with one another. Like a feeling out stage, until the drums and bass kick in towards the middle and everything just slides into place perfectly. So excited to hear this full album.

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"Karma" - JoJo Siwa

◇ genres: electropop, dance-pop, gay-pop

I almost feel bad tearing into this new JoJo Siwa single. We all know it's bad. Her silly KISS-adjacent makeup, the interview where she says she wants to make a new thing called "gay-pop" (pop music, definitely not a genre that is rich with queerness already), the "DREAM GUEST ON MY PODCAST" thing, it's been a busy month for her. This single sucks though. Corny and embarrassing. No one is buying this "mean girl" act unless they're like a pre-teen or something. Grow up, JoJo. For real this time.

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"Cowboys Are Frequently Secretly Fond of Each Other" - Orville Peck & Willie Nelson

◇ featured on Stampede - Orville Peck (not yet released) ◇ genres: contemporary country, singer-songwriter

Orville Peck and Willie Nelson have teamed up for a new version of Ned Sublette's iconic satire on cowboy stereotypes. Despite the song's suggestion that every gay man is inherently effeminate, I've always gotten a kick out of it. This new version is no different. Peck has been one of the shining stars in country music over the last few years and Willie Nelson is Willie Fucking Nelson. I think I prefer Nelson's solo version from 2006, but again, this is a lot of fun. Looking forward to Peck's new album!

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"Good Luck, Babe!" - Chappell Roan

◇ genres: synthpop, pop rock

I had no idea who Chappell Roan was before this month. She was all over my Twitter feed in the days leading up to and following this new single "Good Luck, Babe!" I definitely see what the hype is about. This is one of the most solid synthpop tracks I've heard in a while. Roan's energy is electric too. I feel like she's going to be an even bigger name within the next few years. Definitely need to go back and listen to her last album.

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"Reaching Out" - Beth Gibbons

◇ featured on Lives Outgrown - Beth Gibbons (not yet released) ◇ genres: krautrock, art pop

Another absolutely incredible single from Beth Gibbons before her new record drops next month. This one is a lot more avant-garde than the previous, but it rules so hard. The minimal instrumentation puts the focus on the multi-layered vocals and it's so cool. When the instrumentation ramps up it feels even more earned. Lives Outgrown is still one of my most anticipated albums of the year, even more so after this track.

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"Wanna Be" - GloRilla & Megan Thee Stallion*

◇ featured on Ehhthang Ehhthang - GloRilla ◇ genres: crunk, southern hip hop, trap

I've been aware of GloRilla for a bit now, but I never actually heard one of her songs until now. This rules. "Wanna Be" is a sharp southern hip hop cut from two of the most charismatic artists in that field. Megan definitely has more starpower, at least right now, but they're on an equal playing field here. Both of them just sound ferocious. The beat is a little generic, but the performances carry the song to greatness. I definitely need to give this full album a listen sometime.

*this was written before the lawsuit filed against Megan Thee Stallion.

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"b i g f e e l i n g s" - WILLOW

◇ featured on Empathogen - WILLOW (not yet released) ◇ genres: jazz-rock, jazz pop

Another great new cut from WILLOW that shows her going into a more jazz pop direction!! I know I said last month when writing about "symptom of life" that I was being cautiously optimistic about what she doest next, but hearing this puts me at ease just a bit. Not completely, there will probably be some horrible collab with someone in the near future, but I'm at least extremely looking forward to Empathogen. I loved a lot of her rockier tracks over the last few years, but the singles leading up to this album show an artist at the top of their game thus far.

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"Illusion" - Dua Lipa

◇ featured on Radical Optimism - Dua Lipa (not yet released) ◇ genres: dance-pop, diva house

A lot of my criticisms of the recent Dua Lipa singles unfortunately apply to "Illusion" as well. These are competently crafted pop tracks, but they leave me feeling so hollow. I don't wanna dance, sing along, I'm just so uninvested. She just has barely any presence on these tracks. Radical Optimism is just around the corner and I'm worried that I'm gonna be severely disappointed by it.

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"overseas" - Ken Carson

◇ genres: rage, southern hip hop

I haven't been the biggest Ken Carson fan in recent years, but I heard this new single getting some buzz so I decided to give it a shot. I definitely didn't hate it, but I'm not in love with it either. The beat here is really cool, but Carson just doesn't bring the heat. It's like trying to fit a round peg in a square hole.

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"Espresso" - Sabrina Carpenter

◇ genres: dance-pop, nu-disco

I wish I could say I'm on the Sabrina Carpenter train, but I'm just very underwhelmed by everything I've heard. This is a sleek pop cut with disco leanings, but it's almost like too sleek. Everything down to Carpenter's vocals is just so pristine. I do like the hook though, it's pretty catchy. I just wish there was a bit more punch to it, could've been so much better!!

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"DBZ" - Your Old Droog, Method Man & Denzel Curry

◇ genres: chipmunk soul, drumless, jazz rap, east coast hip hop

We got an all-star cut from Your Old Droog, Method Man, and Denzel Curry with a beat by Madlib. Yeah, this is pretty good. It feels like a cheat code, like yeah of course this rocks. Droog's verse is pretty strong, but out of everyone here I'm the least familiar with his catalogue. Method Man's verse rules, he brings that classic flavor to the track that Lib's beat calls for. Curry rocks this too. Not a gamechanger track or anything, but this is definitely a worthwhile track.

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"David Byrne Does Hard Times" - Paramore & David Byrne

◇ genres: new wave, funk

David Byrne returns the favor to Paramore for their cover of "Burning Down the House" with his own version of the band's smash hit "Hard Times." He strips back the instrumentation just a bit, really the energy on the whole, but it works decently well. The bridge towards the end here is where this song really hits. Also that saxophone throughout is such a nice touch. It's just a fun little cover, doesn't outdo the original, but it's nice to see a legend like Byrne tipping his cap to them.

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"Push Ups" - Drake

◇ genres: hardcore hip hop, trap

Oh lord, the great rap beef of April 2024. I touched on it briefly when I talked about Kendrick Lamar's verse on "Like That" from the Future & Metro Boomin album from last month, but it really ramped up this month. J. Cole had a sheepish, pathetic diss towards Kendrick meanwhile Drake somehow brought way more fire. It's still just funny to see Drake throw stones at anyone considering he has one of the biggest glass houses of all time. He's taking a break from gambling streams to make diss tracks, he's just such a funny character.

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"What Happened to You, Son?" - Belle and Sebastian

◇ genres: jangle pop, twee pop

I was really underwhelmed by Belle and Sebastian's previous album, but I enjoy this single more than anything on that record for sure. It's still got some unremarkable instrumentation and some clunky verses, but it's a fun listen. There's some witty lyrics here and I guess it's nice to hear them still rolling along, but I'll probably just stick with If You're Feeling Sinister.

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"Only One" - Cassandra Jenkins

◇ featured on My Light, My Destroyer - Cassandra Jenkins (not yet released) ◇ genre: sophisti-pop

A few years ago I remember listening to Cassandra Jenkins' last album An Overview on Phenomenal Nature on a whim, I thought it was ok! It hasn't been in my regular rotation, but I was reminded of Jenkins because of this new single and the announcement of her next album. This is a really tasteful track with gorgeous melodies and a vocal performance that sounds heavenly. This new album is certainly on my radar now and I'm definitely gonna go back and listen to her last album again.

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"Starburster" - Fontaines D.C.

◇ featured on Romance - Fontaines D.C. (not yet released) ◇ genre: post-punk

Oh this track fucking rules. Fontaines D.C. have been on my radar for a bit, but I never gave them a listen until now. I definitely need to familiarize myself with their stuff because "Starburster" is amazing. A great mixture of post-punk, rap rock, and dance music. A lot of those sounds feel opposed, but they come together so nicely here. This rules, I'm definitely gonna keep my eye on them leading up to this new album coming up.

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"Wake Up" - Backxwash

◇ genres: hardcore hip hop, industrial hip hop

Backxwash has been making some of the most interesting industrial hip hop and horrorcore of the last few years. This new single "Wake Up" is a great example of that. The production is so atmospheric, making way for her strained, exasperated delivery. It gives the track such a distinct energy. The midway point of the track gives all focus to the fuzzy beat before leading into an insane beat switch. I've never heard her on a beat like this before, but she absolutely kills it. Great track!

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"Right, Wrong or Ready" - Kara Jackson

🥇 BEST SONG OF THE MONTH

◇ genres: singer-songwriter, chamber folk

Kara Jackson dropped a cover of Karen Dalton's "Right, Wrong or Ready" this month and it's absolutely gorgeous. I wasn't aware of the original before this, but I think I prefer this cover to the original. Gorgeous chamber folk instrumentation and Jackson's vocals are, as to be expected, sublime. One of those songs that makes you appreciate just how beautiful music can be. I loved Jackson's last record and I'm hoping we get more new music from her soon, but I'll be bumping this one for a while.

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"Rewilding" - Thurston Moore

◇ genres: slacker rock, noise rock

While I'm a little disappointed this new Thurston Moore single released for Earth Day isn't a detour into experimental hip hop like Kim Gordon's recent music, "Rewilding" is a pretty decent slacker rock cut with some noisier moments. The instrumentation on here leans pretty tame, but it's still a cool listen. I'm not super familiar with Moore's solo work and I'm not sure when or if I'll get around to it. Unfortunately, this single isn't really pushing me to familiarize myself with it.

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"Like I Say (I runaway) - Nilüfer Yanya

◇ genres: indie rock, noise pop

Nilüfer Yanya's 2022 album PAINLESS really took me by surprise. It's been a while since I revisited it, but it was in my rotation a pretty decent amount that year. This return single is really strong. I love the production here, it sounds washed out in the coolest way possible. The melodies are also really strong. I'm hoping we get an album announcement in the coming months, I'll certainly be listening!

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"euphoria" - Kendrick Lamar

◇ genres: trap, hardcore hip hop

Not long after I initially published this post, Kendrick Lamar fired back at Drake's diss in a 6 minute track that has a killer beat switch and Lamar fully embracing being a hater. I have no dog in this fight, but for what it's worth, Kendrick easily looks the best coming out of this. His pen game is on another level, especially when compared to Drake (and Cole too, although his response was so uninteresting he's basically a non-factor at this point). Sometimes his delivery here gets a little too lyrical spiritual miracle, but it's still a fun track.

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[rcseglds]

•——————•°•✿ " well i can, but we promised to be nice, so i won't bring it up, " but words are spoken without venom, and only with teasing. conversation always flows easily between the two of them, the only problem is sometimes the arguments flow easy too. tonight is friendly though, and it almost lets her forget the hard times. " same as always, she just got back from a random trip she decided to take on a whim, and forgot to invite me on. bali this time, i could kill her. "

"can't recall a time that i haven't been a sweetheart to you." he took their drinks from the bartender just as blue eyes now look towards scarlet-tinted lips. a color that he was so familiar with without even knowing the name for it. "none other than runnin' into you, i suppose. how's diana?" damn her ability to be so easy to talk too, she always had been.

[blitzwhore]

Stolitz as lyrics: Blitzø's POV

Stolas' POV

[I need you to hate me - JC Stewart // I'm your man - Mitski // Shots - Imagine Dragons // blame's on me - Alexander Stewart // Casualty - Lawrence // Lyin' to Myself - Todrick Hall // Against the Kitchen Floor - Will Wood // Budding Romance - Carson James Argenna // Scared of Love - Megan Faria // First Love/Late Spring - Mitski]

[sinfulsalutations]

the bad batch irl headcanons: brainrot edition.

hunter

watches the boys, breaking bad, and basically anything with jk simmons in it

his top artist on his spotify wrapped was lana del rey and has been lana for 3 years straight

listens to self help audiobooks and true crime podcasts

stopped posting on tiktok because 30 year old moms kept commenting weird freaky shit

makes capcut template edits of himself

snap score is in the millions; his parents were confused on the questionnaire and instead ordered a thot son

tech

listens to playboi carti, earl sweatshirt, and ken carson. below them is classical music

never beats the “erm, actually” allegations. his friends turned him into a nerd sticker to use in conversations

reddit WARRIOR. his karma score is in the millions. he posts, no matter what, every two hours (schedules the posts if needed to). most active in the subreddits r/techtips and r/javascript

obeys the traffic laws in gta but if a pedestrian says some shit like “hey watch where you’re going asshole” he is CLOCKING that mfer

plays swipe games on tiktok religiously and will change his answers to fit better with the “lore”

watches jujutsu kaisen, has a tiktok collection dedicated entirely to gojo edits. despite that, maki is his favorite character

wrecker

his entire tiktok for you page consists of workout videos and cute animals

did the trend of tying a bow on the bicep and breaking it while he flexes

doesn’t know how to take photos of himself; watches tutorials on every social media he can find but still can’t figure it out

listens to bad bitch music. beyoncé, megan thee stallion, tinashe, doja cat, glorilla, nicki minaj, all that stuff.

comments “looked at my girl and smiled because she’s perfect” on a hot girls post

says “what the dog doin” all the time. all. the. time.

crosshair

serves cunt; serves all of the cunt

a back arching straight man; ur gay tote-bag carrying boyfriend

almost all his friends are lesbians. they take him to the queer/sapphic clubs and the chappel roan concerts

comments “why no one hating” on the most INNOCENT and PURE videos just to start arguments

is a biker boy but hates the whole “biker tok” stereotype and so he doesn’t go out on the bike anymore out of fear of being recorded without his consent

instagram notes is his main form of communication; he is an olympic ghoster

echo

his vocabulary contains “skibidi” “what the sigma” and “gyatt”

his most used “social medias,” in order, are pinterest, whatsapp, and tiktok

worked at a waffle house before he got fired for starting a fight

kpop fan. stans newjeans, tomorrow x together, and le sserrafim

the definition of “female rage”; also, indeed, serves cunt. not as much as crosshair, but serves cunt nonetheless.

has 13 daily hours of screen time. what is he doing for those hours? fuck if i know. fuck if he knows. fuck if his PHONE knows. (in reality, he leaves youtube videos playing all night and doesn’t even realize it)