#or perhaps its just my ass projecting hardcore. who can say

[tass3l]

heartbreaking! this man got attached to a character who is doomed no matter what

[giannimaldonado]

Album Of The Day: Satan Is Watching

When most people born after a certain period of time think of the genre that is “country”, and what it has morphed into in the context of this day and age, a lot of unpleasant images spring to mind. Pretty boy, clean cut, poser rednecks who’ve never seen a farm outside of their music videos, trying to pretend to be another “honest Joe” when they couldn’t be any further from such a thing, making trashy, twangy glam rock mixed with watered down trap music/EDM for white southerners who might have interesting views on those of different races, rolling around in million dollar sports cars while adopting the moniker of “working class”...is probably what your mind immediately begins to conjure up in that brain of yours.

I honestly can’t say that I blame you. Country, or, at least, MAINSTREAM country, has lost its way completely. Luke Bryan, Brad Paisley, Tim McGraw, and Blake Shelton polluted this once proud, grassroots, amazing genre with pandering, trite garbage aimed at making money off of dumb hicks in the bodies of frat boys whose trucks cost more than your own damn house.  Gone are the days when country music was filled to the brim talent, creativity, passion, and heart. Now, this “jock country” has taken its place, having thoroughly fucked country up the ass a few too many times that it has lost its way. For good, perhaps.

Underground country’s usually no better. There’s some exceptions (we’ll get to those soon), but for the most part, it, too, has gone off the rails and destroyed itself completely. It’s often just indie folk or what have you with even more acoustic guitars, though perhaps with more twang, whiny vocals that are trying (and failing) to recreate a stereotypical southern accent, a reliance on cheap gimmicks, sarcasm, and irony to carry their trash because the excrement can’t do that itself, and a musical quality that tries SO hard to imitate the great Mr. Cash, but is little more than a cheap, pale imitation that folks who wear WAY too much flannel and wire rimmed glasses will eat up like it’s the second coming of Joy Division.

No matter how you look at it, country has been thoroughly gentrified for the most part, just like many genres that were previously for a much different variety of people. Like trap music, or blues, or hardcore punk, or black metal. All of the original meaning is gone, driven out by money hungry label executives, clueless and ignorant listeners, and musicians hellbent on half-assing their way to fame and fortune.

It’s a crying shame, it really is.

But fret not, dear reader! There is still a soft, seedy underbelly of the country genre that has taken the long dead (yet forever revered and loved) sound of “outlaw shit”, as Mr. Jennings would put it so eloquently, to its most logical extreme. One that would make Nelson, Cash, Haggard, Coe, and others that might’ve been at the top of their “underground”, “anti-mainstream” game seem rather...accessible. These aforementioned artists and their peers are still greats who, in their primes, were powerhouses that made some of the greatest works the genre would ever produce. But when compared to this particular sound...they just don’t hold up as well. The rawness, the grassroots nature, the down-to-Earth (and sometimes below the Earth) attitude, the simplicity, the honesty, the bluntness, the intimacy, the melancholy...all of it gets turned way up to eleven. It’s dark, it’s mischievous, it’s harsh, it’s gritty, it’s angry, it’s bitter, it’s darkly humorous, it’s lonesome, it’s ornery, and it’s damn sure pretty fucking mean.

Call it whatever you want. “Southern gothic”, “dark country”, “death country”, “gothic country”. It doesn’t matter what name you apply to it. All that matters is that it’s country. Real fucking country. Country meant for the guttersnipes, punks, street urchins, hobos, peasants, and forlorn drifters. This ain’t pretty boy music. This isn’t nice, Christian contemporary that you can play at your local uptight establishment. These aren’t harmless tunes your the posers can get drunk and go mudding to. This is country as it was meant to be. The eptiome of the term “outlaw shit”.

There’s a plethora of wonderful bands in this scene. Sons Of Perdition, Sixteen Horsepower, whatever project Jay Munly’s got going on this time around, The Dead South, the early days of The Devil Makes Three, The Builders And The Butchers, Wovenhand, Ghoultown, Coffinshakers, The Pine Box Boys, and, of course, everyone’s favorite descendant of the Williams family tree. The third one, that is.

But all of those fall short of that truly, truly, TRULY horrific honky-tonk, old-time, folksy, backwoods atmosphere that this duo produces. One that hails from the isolated, empty thickets that lie out in rural Wisconsin. A mentally disturbed pair of “prophets of the country doom”, as they have decided to label themselves. A fine example of those who have gone completely mad, completely sad, and doing so makes them feel very glad. They revel in their craziness, and while no album sounds the same, each one is marred by a couple of recurring themes: humanity is worthy of being sent straight to the fiery depths, these boys are depressed beyond your wildest comprehension, a rebellion against both God and Satan, and a desire to document the lifestyle of society’s forgotten ones, hated ones, and feared ones.

Let me introduce you to Those Poor Bastards.

Fitting name for a couple of enigmatic, largely unknown, extremely obscure pair of men known simply as Lonesome Wyatt (impassioned orations and guitar-based melodies) and The Minister (everything else).

The Minister is completely anonymous, with no one having even seen his face, while all that’s known about Lonesome Wyatt is that he’s from Wisconsin, (probably) lives alone, and is likely of an unsound state of mind.

Why is that all important? Well, go listen to their albums, and then you’ll find out why these little intricacies are vital to the dynamic duo’s imagery, music, and cult status.

While all of their material is quite good in my opinion, today we’re going to look at my favorite album from them, and possibly my favorite album from any country artists EVER! Everyone, please proceed to throw on “Satan Is Watching.”

What you’ll first be met with Lonesome Wyatt letting out a loud, wild, manic screech that almost doesn’t sound...human. It’s not even a word. Just an unhinged howl like Lonesome Wyatt’s been possessed by some sort of demon from the pits of Hell, having taken over the “doomsday preacher boy” to spread the wicked gospel. A hell of a start to an album of any kind, let alone a country album. It’s bold, but it lets you know right off the bat that they aren’t fucking around. This is going to be a rough ride from start to finish, and you’ll be left quaking in your seat once Those Poor Bastards has pierced your mind, heart, and soul with their fiendishly unholy sound. A truly nihilistic piece of art about how this world is foul and wretched, and deserves to burn to a cinder.

But that’s just the first song.

Things only manage to get worse from there. Everything from songs about how Lonesome Wyatt’s a degenerate who revels in just how much filth and squalor he lives in, to songs (well, more like suspiciously suicidal rants) about how life is fucked and there’s just no point in living it anymore, to various “take that!” pieces towards lovers who have wronged him in times that have long since passed, presumably. Typical topics for country artists, but contorted and warped to the point where they sound like miniature horror stories being yelled and hollered by a crazy, top-hat wearing yokel than the struggles and strife that are endured by the common man/downtrodden fellow. Hell, there’s even a Johnny Cash cover! A twisted, perverted, scummy, bone-chilling, haunting, eerie take on the previously wholesome, innocent love song The Man In Black made for June. I can’t exactly look at it the same way, what with these mysterious hooligans having thoroughly butchered it.

Instrumentation is minimalist and simple. Nothing too fancy or technical here. It’s quite self-explanatory. Despite how evil it is, the rhythms are still toe-tappingly catchy. The drums, being pounded upon by the fiery hands of The Minister, provide anything from a nice, plodding beat you can stomp your feet to, all the way to a rowdy raucous of a banger that’ll have you doing some sort of line dance with the living dead. Lonesome Wyatt beats upon his acoustic guitar like it owes him money. Not even really playing it. Just smashing the strings until weird, disgruntled, odd noises come out of it. He also seems to thoroughly shatter his ability to talk without a sore throat, pushing his voice to its very limits. The bass compliments everything very well, providing a creepy, fuzzy, dirge-like texture in the background to keep the menacing tone alive and well.

All in all, while this may not “experimental”, “avant-garde”, or even “progressive”, this is certainly an album that’ll give you the heebie-jeebies, and for a country album, it is most certainly “out there”. It takes the usual country tropes, and either turns them into something out of a David Lynch movie, or subverts/plays with them to fuck with the audience and make them contort their face with confusion...and excitement. A spooky bit of acoustic noise that’ll restore your faith in country music, and remind you that there is still a small resemblance of a spark left within the dying genre.

Please, I highly recommend you check this out.

This has been another installment of “Esoteric Warfare”, and remember...

NOISE, NOT MUSIC!

[wonderfulworldofmichaelford]

Michael After Midnight: Doug Walker’s The Wall

You know, I thought that nothing could harm the Nostalgia Critic’s career after he survived the whole #ChangeTheChannel fiasco. I thought Doug Walker would be able to survive anything. I thought the Nostalgia Critic could never sink that low again.

I was wrong.

The latest review by Doug Walker is, in fact, not a review – it is a full-on parody musical that lampoons Pink Floyd’s The Wall. But lampooning is probably a bit too kind; this lampoons its subject matter in a way that would make Seltzer and Friedberg blush. This is pretty much the nadir of parody right here, there’s no getting around it.

In short: This fucking sucks. But leaving it short isn’t any fun, now is it? Why does this suck?

Well, for one, Doug seems to have absolutely no understanding of the subject matter, despite claiming to love it. He makes the most third-grade observations, like “It’s BORING!” or “It’s PRETENTIOUS!” but literally none of these criticisms hold any sort of water or weight because everything is being sung in piss-poor parodies of Pink Floyd songs. Despite Doug’s claims that this is all meant to be a loving tribute, it comes off more as what someone who just utterly hates Pink Floyd’s music would say the music sounds like. I think perhaps the worst ‘criticism’ of all is when he calls one of the songs “Oscar-bait”… you know, despite the movie being based on an album, not the other way around. The song wasn’t made for the movie, the movie was made for the song.

The music is just downrtight awful as well. The reinterpretations of the original instrumentals are soulless and disgusting, Doug and everyone else in this can’t sing for shit, and the lyrics are just vapid non-criticisms or observations a grade schooler would make. Then there’s getting Slipknot frontman Corey Taylor to star. He can’t act for shit, and despite being a famous musician with demonstrable talent in his field… he never once sings. Well, he does sing once, but it’s the SpongeBob theme for some reason. Maybe this is a sly allusion to the widely-hated SpongeBob special “Atlantis Squarepantis,” where they got David Bowie to play the king of Atlantis and, despite the episode being a musical, never have him sing. Of course, I think that’s a bit too cerebral for Doug, so probably not; it’s just an accidental comparison to a vastly superior piece of media I can make. And yes, “Atlantis Squarepantis” is a piece of shit, but it’s still better than this.

Another big flaw is the absolutely shitty production value. One of the reasons The Wall is so great is because it has incredible production value, incredible animation… and all of that is absent here. This has some of the most mind-numbingly awful animation on the internet, with crappy CGI and stock video effects coexisting and congealing into a fetid pool of garbage. And that’s not even getting into the god-awful animation for the freaky monster that is existing as a tribute to the wonderfully deranged animation from the beloved trial sequence; in fact, I’m pretty sure that the entire trial segment in this video is nothing but an excuse to show off a bunch of furry OCs, because there is no other discernible rhyme or reason to anything being shown onscreen.

There’s also the way this whole thing where he seems to be… modernizing the whole album? Like aside from adding his insults to the work of Pink Floyd to the songs, a lot of the imagery he’s throwing into this is just really bad, shallow, and nonsensical. And of course, there’s something really tacky and tasteless about trying to update a very personal, slightly biographical work that is filled with cultural context that Doug just constantly ignores. Perhaps the worst such moment is the chants of “HASHTAG” in one of the songs, but then it just hits you with the goose-stepping phones right after and frankly that takes the cake.

I think the worst part of all of this is Doug’s sheer delusions of grandeur. Look at the way he talks about the album during the commercial break, blatantly lying and calling it a “love-letter” as well as saying it’s “great stuff” when it just so clearly ISN’T. The music is awful and lifeless, Doug just can’t sing for shit, the whole thing is so bitter and meanspirited… And then there’s just the sheer audacity of this man who is standing in front of framed pictures of his own movies, his big YouTube subscriber count award thing on the wall behind him, calling this movie pretentious, egocentric, and up its own ass. This movie is like the physical embodiment of a lack of self awareness.

And you know what? Maybe all of this wouldn’t be so bad if there was any actual reviewing in this. The entire review is like two lines at the end of the video. Two lines that are preceded by a shitty stock video effect.  This is a monument to Doug’s sins. This is his egomania in its purest, most unadulterated form. The fact he actually wrote Corey Taylor pointing out that he needs to review a movie in a movie review and then proceeds to not do that and just lead into a nonsensical reference is just… insulting. Doug wastes nearly forty minutes of your life, insulted you, and refused to give any insightful or valid criticisms. And this is a guy you are ostensibly watching for his opinions and critiques of films in between the comedy, and he can give good insight, especially in his more down-to-earth reviews, so it baffles me even more why he would think it is a good idea to eschew analysis of one of the most symbolic films ever made just to do a shitty Disaster Movie-quality parody album.

I think what’s so strange is how I have no idea who this video is supposed to be appealing to. Pink Floyd fans will hate it, people who like music will hate it, people who like Doug’s reviews will hate it… there’s literally no one I can see enjoying this video in any sense, not even an ironic one. Maybe if you’re a hardcore furry who wanted more fursonas in The Wall you’ll enjoy it, but you have to get through half an hour of Doug’s shitty singing to hear it and then you have to sit through the worst animation this side of Doogal. It’s not worth it. Just go to e621 and beat off, it’s a better and less shameful time than watching through this fucking trainwreck.

Fuck you for this, Doug. If this was your passion project, it’s pretty clear to me your passion is best focused elsewhere, because if you really did put your all into this your all is worth absolutely nothing. This is insulting, embarrassing, and downright pathetic. I have never felt so much secondhand embarrassment for another human being in my life than I did watching this. I’m a man who can find something to love in some really crappy movies, but god fucking dammit, this is beyond me. Doug Walker deserves every ounce of hatred and scorn he gets for this video. It is, without a doubt in my mind, the single worst piece of film of this entire year, and perhaps the single worst video on YouTube’s website. It certainly deserves that “honor” more than some goofy pop song by a teenager ever did.

Oh hey, maybe I should end this review on an ambiguous, nonsensical, open ended note like Doug did, because apparently that’s what GOOD reviewers do! Here’s the baby from Eraserhead.

Fuck you Doug.

[junkobears]

Here Lies Dreaded V3 Discourse

So I have seemed to cause a huge kerfuffle in the hardcore Ouma conspiracy theorists standom, and a banal (if condescending, but seeing the response to it honestly justifies it more than anything now. “Don’t dish it out if you can’t take it”, you better believe I can take it and will now PROPERLY dish it out right back at you) comment about one of Tsumugi’s anime references has led to someone launching a hilariously personal attack at me for Daring To Disagree With A Theory That Was Posted On A Public Website. Someone who I wasn’t even initially responding too, at that. And has now blocked me before even allowing me to respond and clarify my original comments. Don’t want to deal with the consequences of being a repugnant, rude person I guess? Shock and surprise for Tumblr.

The link to the post is here, but I’ve taken the liberty to screenshot it just in case it gets deleted later, in hope that maybe there’ll be some reflection on this person’s part that this really is not an acceptable way to respond to people who have a dissenting opinion? Anyways, I will be responding to the personal attack post and that will be the last time I interact with this group, because clearly it’s not worth it to actually have a discussion about our respective ending theories. I ain’t got time beyond this for tedious insecure fucks these days.

Anyways, my response is under the cut to save my poor followers’ dashes. Sorry to drag drama onto my blog but I can’t really let this slide. I’m also tagging @jacks-plays-drv3 just because I assume the twin comes with the other with these two, and I want my response to have been seen.

Screenshot In This Link - This post is long enough without the image taking up more space, haha.

Let’s start with this mess, shall we? And I will go into painstaking detail.

Paragraph 1: So this already starts off with a whole lot of needless aggression and projection. So I’m not even going to attempt to be nice back. But: maybe I haven’t proven anything because I literally had not typed up a response to clarify my original comments @ Jacks yet before the rabid attack dog was unleashed? Like, there was literally no attempt from you to have a discussion that was a genuine offer from me, I was not out to get you actually. I also honestly just laughed at being called shallow, JUST LIKE THAT HORRIBLE CHARACTER TSUMUGI SHIROGANE right off the bat as well. That’s a compliment really, honey. Weirdly I don’t share the same opinions as you do. Tsumugi is my fave and unlike you I actually think about and HAVE analyzed/discussed her character in detail previously, which I would’ve been happy to share had you not immediately went into Blind Raging Idiot Mode. Guess we can’t have it all, huh?

As for needing proof that she makes the Flashback Lights... nevermind the CG that literally shows her making them during Chapter 6, but do you have proof that Monokuma is the person who makes the Lights instead of just placing them for the students? I doubt it, somehow. Cuz a lot of your theories don’t actually have any concrete proof. Quelle surprise. Probably why anyone not immediately on board with your headcanon gets you so goddamn angry, huh? Cuz it’s completely baseless and you know it at heart.

As for the Ouma comments, actually I have read the assorted creator comments regarding his character even if you like to believe I’m a slobbering moron who turned my brain off as soon as I finished V3, so yes I already know that his name was chosen to sound mastermind-like. Maybe this was to emphasize and make his fake mastermind reveal appear more legit on first read? JUST A THOUGHT, SWEETIE. You know the entire fucking point of Chapter 5? You’re so slavishly devoted to your theory that you actually are incapable of reading the basic fucking text from the actual game, but again. Not a surprise. Considering what I’ve read from your blog (really, who are you again? I only knew Jacks’ blog from before all this, so you taking such a personal offense at my comments is honestly hilarious but baffling at the same time. It ain’t all about you, babe.)

As for the lab door, here’s an simpler explanation (Occam’s Razor, look it up): The star sign constellation pattern was there as a hint for the player to connect Ouma’s messages from his dorm room to the vault in Amami’s lab once its opened and you can see the star signs in there. Or perhaps it was designed like that by TDR to make the students make that connection as well in the original script and think that Ouma was the mastermind cuz of the connection to Amami’s lab? Literally, there are a lot of possibilities, cuz it’s a NOTHING DETAIL THAT DOESN’T ACTUALLY MATTER IN THE BIG PICTURE. Considering Kodaka’s track record with writing these games I don’t actually believe it’s anything major, personally. He doesn’t really strike me as the type to hide this completely separate story underneath the actual story we got, and with such vague nothing “”””””””””””clues””””””””””””. You and Jacks do yourselves (well you already do cuz you love to jack yourselves off with how CLEVER AND BETTER you are than the rest of us plebs), sure, in believing otherwise (You have way too much faith in him as a writer. Or you’re desperately trying to pretend V3 wasn’t poorly written cuz you don’t like the Ch. 6 twist) but also realize that its nothing more than extrapolation on your part that it actually means anything beyond the.... SHALLOW (horror scream) connection given in-game.

And really, who the fuck cares if it doesn’t match the title of ‘Supreme Leader’? It’s already a ridiculous talent as it stands already. The entire point of his character is that everything about him, his motives and his talent is contradictory and weird. That’s why I like him, actually. He isn’t an abused martyr who never lies like you goons believe and he also isn’t the evil monstrous chessmaster some of the fandom thinks. It’s Complex Motives™ .

Anyways moving on. Pointing out an anime reference =/= DISREGARDING PEOPLE’S ANALYSIS. Pointing out that most of the plot leads up to and supports the fiction twist =/= uncritically agreeing with everything Tsumugi says. Actually, after examining the game’s story for myself I came to the conclusion that all the clues in it really only support her version of the story, really. There are a few things I think she lied about, but it is not CONCLUSIVELY proven she lied in my opinion and so I don’t really give a fucking toss until new canon comes out and reveals more of the V3 story. Oumatwin don’t real, gurl. If there was actually anything in-game beyond one obvious joke line in the NON-CANON!!!!!!! bonus mode supporting that he existed, maybe I’d respect your theory more. Even though you don’t deserve respect after your little tantrum. 

Paragraph 2: Jesus I already am investing way too much time into this response at people who don’t actually deserve it, oh well. But laughing hard at the attempt to try and act as if you weren’t being a snobby asshole with your comments. Again, HUGE AMOUNTS OF PROJECTION at me about things I literally have never done and said. I have never interacted with you or Jacks prior to my initial comment. No fucking clue why you brought up the SaiOuma shit, cuz I don’t even LIKE Saihara as a character and don’t like that fujobait ship in the slightest? But I guess it’s easier to assume that all your critics are the exact same fucking person with the same opinions, so you can feel more persecuted, huh? You literally did not even wait for me to respond or check my blog that would’ve easily disproven these dumb-as-fuck assumptions. And get off the fucking high horse (pun completely intended), you lot are not the only people in this fandom who are capable of critical thought. How completely self-obsessed can you be? 

For someone who claims to have a lot of critical thinking skills compared to this nasty fandom, you really are terrible at parsing other people’s words. You fucking know when I said “group of anime fans” that I was referring to Team Danganronpa, the organization literally mentioned in game as running the game. The group Tsumugi is part of. She literally has a company badge FFS. THEY ARE ANIME FANS. THEY ALL STARTED KILLING GAMES CUZ THEY ALL LOVE THIS SHITTY SERIES. I can’t believe this had to be explained. And the rest of this paragraph word salad is the most pedantic argument. It’s really not hard to believe an organization in this series would have access to all this tech. And yes, it’s a popular TV show in-universe, of course it’ll have funding. And the whole damn point of the ending is that the V3 world is consuming fiction the wrong way by having real-life killing games, missing the entire point of the DR series and fiction in general? What’s your actual point?

Paragraph 3: Again more assumptions, I wasn’t ‘crying’ about being called gullible. I was just pointing it out as part of your extremely unnecessary smug dismissal of my post. That you really haven’t disproved at all, btw. Honestly the childish response you both had to me just makes me laugh out of pity more than anything. And if I was really upset I wouldn’t have offered to have a discussion with you or even continued to reply after Jacks initial (vague) post about what I said. So don’t put words in my mouth. And yes my analysis was not completed in my initial comments. It’s Tumblr fucking replies, I can’t fit the entire fucking dissertation of Tsumugi opinions in there for you to jeer at in there. Again, I offered to share my opinions and got this as a response, so lol. You are your own worst enemy when it comes to trying to get people to take you and your theories seriously. 

Paragraph 4: Especially since you immediately jump to PULLING THINGS OUT OF YOUR ASS (seriously, fucking snorted at this part. I want this whole diatribe on my fucking gravestone. It’s by far the most hilariously petty thing ever said about me on this site.) instead of letting me explain my position. If you just want to be in the creepy cult Oumatwin echo chamber you should’ve just said and blocked me ASAP instead of word salading vague bullshit justifications for why actually people who disagree with you are just stupid crybabies who can never hope to understand your genius. Again, my initial comments didn’t whine about not being taken seriously at all, I was pointing out the hypocrisy/rudeness is all. And again, get off the high horse about critical thinking. I have thought about Tsumugi’s character and how she relates to the over-arching plot and how truthful it is, and the overall ‘mystery’ of V3 (spoiler: there is none. it was all solved by chapter 6). I have thought about this game. In fact I dedicate too much time to critical analysis of this series that doesn’t actually deserve it cuz lately I find Kodaka to be a hack writer. Your assumptions are flat-out wrong, dear. And AGAIN. I WOULD’VE. SHARED AND DISCUSSED IN MORE DETAIL HAD I BEEN GIVEN THE OPPORTUNITY. But rude fucks gonna vomit shit out of their mouth cuz they have literally no self-control and have meltdowns at the slightest difference of opinion, I guess. 

Your extreme hatred for Tsumugi as a character truly shines through. Clearly no thought has been put into her from your end, even though you and Jacks rage about people not taking Ouma seriously as a character. Double standards as always with fujos. Nothing I’m not used too, she is incredibly unpopular in this fandom. And everyone is entitled to their own opinions. So I’m not even mad at that. I have never said otherwise. Even you and Jacks are valid in having your own theories and thoughts. The ending of V3 is designed entirely so everyone can analyze the game for themselves and draw their own conclusions about the story and themes. That’s the whole point. Even though I personally dislike that as a writing decision on Kodaka’s part because I would prefer the story to be conclusively ended and the epilogue is a giant turd that misses the entire point of Chapter 6 and enables shit (anal pun intended, dumbass) like this to start spreading as “Analysis”. But hey, to each their own.

However I will not be interacting with either of you again after this post though, even though I was willing to discuss beforehand, because you both have shown yourselves to be incredibly vile with the way you approach other people in this fandom, and especially those who don’t share your conspiracy theory. Despite the absolutely ironic comments I’ve seen from Oumanous in their later, also terrible posts about how you need to understand your opponent before engaging, which they literally failed entirely to do before engaging the firing squad at me and other commentators who responded. So much for the sanctity of discussion, huh? Enjoy your circlejerk. Everyone else who follows me in this fandom though? Please consider blocking these two if you are also a sane human being who is capable of polite discussion/disagreements. They are not worth your time otherwise. They were really not worth my time writing this post, but I felt I had to say something.

In conclusion: Out with the both of you.