#so you have to wait for it to be graded

[acesammy]

i am so fucking certain i'm getting these calc questions correct but i'm still getting zeros on everything and i am going to fucking s c r e am

[mossy-paws]

Mangograft! (PHIGHTING!)

Would one care for a mango? (It’s a bomb /j)

ANYWAYS I forgot to post this so here it is! Live laugh Mangograft this was a suggestion from a friend since I was bored :3

Also here’s this gem too no im not giving context

[kohakhearts]

satoshi-kun.mp4

[puppetmaster13u]

Prompt 104

 Danny finds himself reincarnating, giving it a try so to say. A new start of sorts, though he knows that Tucker will also be somewhere in the world and Sam will be keeping an eye whenever she’s not working on her uh, internship with Overgrowth. 

 He somehow, despite being in a world of heroes and villains, ends up reincarnating into some sort of assassin cult. Apparently he is keeping the Fenton luck despite a new life. Along with his white hair from his ghost form. Which is understandable with how there’s an ecto-pool in the room over. 

 He’s pretty sure his father is a fruitloop too, maybe. Well, technically he was a fruitloop for a human, but again. Ecto-pool that he was apparently taking dips in. At least this time he has some baby sisters- even if the toddler one keeps trying to stab him. 

 Honestly, feels like home. 

[tariah23]

aisjsjjensnJAJAJ

[uncanny-tranny]

I decided to go through my old warm-up notebooks from my honours english class and in one of the warm-up prompts, I said I wanted my superpower to be "controlling the effects of [my] puberty," and I'm glad to say that I've gotten that superpower. It took a very long time, but that's a superpower I can check off my list

[trans-blaise-debeste]

sincerest apologies to everyone named eustace who happens to look through the aai tags at this moment. that being said I'm Not Fucking Calling Him That

[gxlden-angels]

I don't know if it's the religious trauma or the dead mom trauma but the conservative christian insistence on not teaching children about their bodies in school and insistence that this knowledge should be private in all circumstances with no exceptions should be seen as suspicious at best and criminally malicious at worst

[im-pandora-i-promise]

What's your favourite browser?

I use chrome quite a bit and safari quite a bit

But i don’t think I would consider either of those my favorite

All in all I’d probably say yandex because they’re like the only gimmick that’s been nice to me so far

[kimjunnoodle]

there’s a sacred bond between the nice teacher and the weird kid who hands out in their classroom

[goldkirk]

My five happy things for the day

• paper that has a good feeling texture

• things not feeling like an emergency EVERY second of the day, only part of the time

• the fact that these cheapo stamp ink pads from Walmart a few years ago somehow still have a bit of functioning ink not dried out?

• I’m able to track and retain conversations for longer periods of time again, I’m finally finally finally feeling some progress

• putting on a warm hoodie or coat when feeling chilled

[hunsa-jars]

Howdy peepers, I've been feeling pretty down lately but I think I'm on the right path to snap out of it!

See yall on monday hopefully

[finelyageddragons]

Currently in love with the relationship between the Grey Wardens and being doomed by the narrative, especially with how the HOF subverts that relationship so here's a 3am rant about it. Enjoy! The wardens are ghosts. They are born by letting go of everything you had before and drinking poison to bind your fate to the darkspawn and promise that your life and perhaps more importantly, your death belongs to them. The whole joining is a terrifying experience, you're drinking the blood of monsters and seeing a corrupt god in your mind and waking up to see those who died around you and being told you'll meet the same fate soon enough you've just been given more time to get there because to sacrifice, to die is a warden's purpose. Even if you survive becoming a warden, your best case scenario is sacrificing yourself to end the blight but it's far more likely you'll die fighting darkspawn or even more likely lose your mind and have to go to the deep roads to be lost and have your death be your last act of defiance in the face of this overwhelming wave of evil waiting to rise again. The best thing that can happen to a warden is to die in a meaningful way because you gave away your life the moment you drank that blood. All you are now is a soldier waiting to die in war and hopefully take the enemy down with you. It is tragic and haunting and noble and so full of grief. Grief for the live you gave behind and for the one you'll never have. Every warden spends every day of their life hoping not for a future or any life for themselves but simply to make their death mean something which is an incredibly interesting mental state and I could go on about how that effects individuals and messes with their values so that corruption is rife but what started this whole thing is Fereldan.

A wonderful post by @sapphim (which I don't know how to cite but I wanna give credit so if there's a way please tell me) discussed how beneficial it was for the wardens that the fifth blight occured in Fereldan and how much they lost by it being solved so soon. To put it simply, they wanted to sacrifice Fereldan as a lost cause and use it as an example of why they wardens shouldn't be neglected. They wanted it to be known of how much of a sacrifice they make an how important their duty by letting the country of Fereldan be an example of what happens when no one is there to do it and that the narrative has doomed everyone, that the world's crimes will be paid for unless someone is willing to be selfless and bear the burden to give the world another chance. Andraste would have been a great warden I'm sure. In the eyes of the warden, Fereldan is tainted just like their blood, it is promised to the darkspawn just like they are, willingly or not it bears the duty that all wardens do and must make the sacrifice they do too. For the greater good. To stop the darkspawn. It's better you having a death that matters than a life that lasts. This is the psychology of the wardens and they are applying those same beliefs to all of Fereldan. Why must they be the only ones doomed by the narrative? There is no surviving this story and there is saving the world there is only killing the darkspawn before it kills you. Thedas is at war with the archdemons and until they're all dead, there is no peace, there is only preparing for the next battle. There is no building a life, no building a country, there is nothing to protect because it is all doomed.

The way duty and sacrifice and the promise of the Grey Wardens must alter their values and perspective on life is fascinating and there is so much to explore here but what's important for this post is that the foundation of their entire order is that they are already dead.

This then brings us to the HOF and cheating death. Duncan is like the grim reaper in Origins the way he comes and snatches your soul at the end of each origin which I honestly love and it ties in so well to the idea that wardens are ghosts given you die in every other version of the story without him but that's the story of all wardens. They all die a symbolic death at the joining so that's okay but then Ostogar happens. Flemeth happens. You should have died. Fereldan should have been lost. Remember, the duty of the wardens is dying not surviving but you did survive, snatched away by a god. Every other warden has died thinking their paying the price for an absent god yet this goddess not only favours you, she changed fate for you. Every other warden throughout history has paid the price but not you. Not Fereldan. You get to cheat the fate while it dooms everyone else. Can you imagine how that must have felt for the other wardens? How much they must hate the hero for stealing the martyr Fereldan was set to be and making all their losses naught but a tragedy when it could have been so much more? Not only did you escape your own death but you stole the value of theirs. You survived which goes against everything the wardens are made for.

Going even further than that, you have the dark ritual where you can actively choose to cheat death again. When every other warden has had to give their life, had to sacrifice and lose and grieve and poison their humanity as they did their bodies, you get to escape it all. Wardens have struggled for decades to have a foothold in Fereldan but you'll go so far as to choose their ruler for them without any consultation. You have been a warden less than a year, ended a battle that they prepared for over hundreds of years and sacrificed more hundreds of years fighting in the past and not only have you defied everything they defined themselves by, you have made them look like fools and decided their fate for them. You have stolen the meaning of the death of every warden, you have stolen their martyrs and the justifications for their actions and by keeping your own life and humanity, by resisting their poison you have made them all look like monsters.

The hero was doomed by the narrative as all wardens are but they rewrote fate, they stole their life back so many times and by surviving, they created a whole new narrative that ruined everything the wardens were built upon. The wardens were made to be ghosts, not heroes. They're meant to die and be remembered nobly so they can be redeemed for they had to do to get there but not you hero. You get to shame us all, don't you?

[bwobgames]

I probably should've said this sooner but there has been a change of plans!

Current Beeb game will be a stand alone game with the events of the comic and the other routes will be sequels/spin offs

Routes as in, the different options presented at the office starting place, the current game will still have multiple endings.

Why you say? well

It will take less time to produce

It's easier to code and manage one story at a time

The final product will NOT weight like 40 GB, i have like 2/5s done and it's already weighting more than expected.

Gives me more freedom to work on the other routes at my own pace, for better life/work balance

[agentark]

live look at me bringing Beckett to the coroner's office, failing the stat check to get the doctor talking, BUT getting whisperings of ass kicking B:

[carolinanadeau]

In Praise of Sally Ann Howes

As I've made it one of the purposes of my blog to share photos and songs and general positivity about the wonderful English actress Sally Ann Howes, I thought I'd make a post to talk in much more detail about all the great things about her and why I adore her so much!

This classy English beauty possessed a highly expressive face and eyes, an astonishingly powerful soprano, a great sense of humor, and the world's most charming laugh. One thing I cannot stop saying about Sally Ann is that she did not and does not get nearly enough credit and recognition for her immense talent and prolific career, and it's precisely for that reason that I'm here to do my part in giving it to her!

This overlong rambling post is a combination of biographical information and my personal fawning over her performances... whatever I felt I most wanted to put out there in the world and what I'd like people less familiar with her to know.

Click on Keep Reading and I'll take you on a journey!

As she preferred to work on the stage and didn't really pursue a film career, the catalog of Sally Ann's work that can still be viewed today is unfortunately small - though you can find almost all of her early films on the internet if you look hard! In her early film days, mostly made before she was able to pursue her true passion of musical theatre, her extraordinary singing talents weren't utilized by the producers at all.

However, we were fortunately blessed with exactly one musical film role from her, and it's an iconic one: the aptly-named role of Truly Scrumptious in Chitty Chitty Bang Bang (1968), the golden-haired, golden-hearted candy heiress who falls in love with and eventually marries Dick van Dyke's character Caractacus Potts after joining him and his children on a madcap adventure. She's a sweet, intelligent ingenue with hidden depths and one of my favorite sorts of character arcs - the uptight, lonely woman who becomes more and more warm and open as she discovers newfound freedom and joy in life and falls in love.

There is something about Sally Ann that just glows in every scene of Chitty, and it's not only that bright blonde hair! The way she widens her eyes sometimes, the way she raises her eyebrows, her gentle and soft presence in the happiest scenes, and the particular airy lilt she has to her speaking voice are all so distinctive and appealing, and I can't take my eyes off her. And her smile! When I say she glows it's barely even a metaphor, the woman just emits light. 

(Funnily enough, I started to realize that many of the laudatory quotes I've found about her also refer to her in this way, like this quote from a 1965 TV Guide article, from playwright Sidney Kingsley: "She's luminous as an actress. I mean that literally. In Brigadoon she really lit up the stage.")

For me, I'm weak for any actress who can do the defrosted-ice-queen trope so incredibly well. Truly starts out as closed-off and prim, and nearly reverts to that state when she and Caractacus have a Big Misunderstanding near the end, but in the scenes where she's happy and carefree, the warmth just radiates off of her.

She also has the most adorable chemistry with Dick van Dyke in an annoyances-to-friends-to-lovers relationship that absolutely shaped my young brain. Whenever Sally Ann and Dick glance at each other, whether with irritation and frustration early in the film or with warmth and affection later on, their chemistry is obvious and natural, and there's so much expressed in each one of those glances. One has no difficulty believing that these characters are going to be very happily married.

(Here's a cute on-set interview where she talks about, among other things, how easily she and van Dyke clicked.)

While I acknowledge that the character of Caractacus Potts was absolutely originally planned to be an actual Englishman, Dick van Dyke played him with an American accent, and to me they will always be an adorable English-American couple. It's a whole part of the charm of this pairing to me!

Sally Ann also had a great relationship with child actors Adrian Hall and Heather Ripley who played Jeremy and Jemima Potts, and did her best to help make them more comfortable and happy during the many very long days on set. Having been a child film star herself, she knew a great deal about how difficult and alienating it could be. The genuine affection the three of them shared is obvious in their scenes together, especially in the extremely adorable "Truly Scrumptious" number, and it really makes the developing mother-child relationship between the characters so believable.

The beach scene, where so much of the relationship between Truly and Caractacus and the Potts children is developed, is incredibly cute and heartwarming, and a lot of that rides on Sally Ann's performance and how her previously prim-and-proper character shows herself to be warm and loving, once she (literally) lets her hair down. We've already seen how happy the Potts family is together; now we see how Truly fits in perfectly and makes them all even happier.

Look at her! Literally glowing!

(One thing I should mention: I think both the plot and the love story of CCBB are greatly improved if one just treats the "dream sequence" as real events, which was possibly the original intention anyway, so just note that is always the perspective I'm coming from here. It's the only way to make some things make sense and for the characters and their relationships to fully develop.)

"Lovely, Lonely Man" is Truly's big solo moment, and was probably the least comprehensible part of the movie to me as a kid (lol), but is now indisputably one of the very best parts to me as an adult. It's an exquisitely beautiful love song, especially the bridge, and I somehow love it more and more every time I rewatch it. Sally Ann's dreamy, graceful movements and the way the whole scene is shot make her look like a princess, and the slow build of the song is masterfully done. She has this distinctive crisp way of articulating her words while singing, especially the closing consonants like N and M, that I just love to listen to. The string section and the building countermelodies are so beautiful it makes me want to weep. Everyone involved in creating this scene and song deserved an award, I'm being so serious. While it's not the highest of soprano songs and doesn't fully show off Sally Ann's astonishing range, she shows an incredible amount of vocal control here through the many diminuendos and crescendos, and she's mesmerizing to watch and listen to. One of her "glowiest" scenes, for sure!

While I've seen people call this song irrelevant to the plot, I strongly disagree - the romance is part of the plot, of course, and while I didn't fully understand the meaning as a kid, this song establishes how much Truly's outlook on life and hopes for the future have already changed since meeting Caractacus, and how much happier she is with the poor Potts family than she's ever been in her life of luxury. Plus, now we know for certain that she's head over heels for Caractacus, but he doesn't know... increasing the dramatic irony of the pining and yearning to follow!

In the reprise of "Hushabye Mountain", which was sung in a much earlier scene by Dick van Dyke alone, Caractacus loses the will to continue the song because he's overwhelmed with emotion thinking of his children being held captive. Truly comes in to aid him with the final verse - another pivotal moment in the developing romance - and Sally Ann's singing here is nothing short of breathtaking.

And of course, I can't neglect to mention the "Doll on a Music Box" number, where Sally Ann, who was not a trained dancer and in fact considered herself to be "appalling" at it, performs an incredibly precise, incredibly impressive clockwork song-and-dance number while on a spinning turntable! She practiced it so well that she managed to successfully complete the shot in a single take, prompting the stage full of extras to burst into applause.

This is another important character moment for Truly, though it's disguised in a diegetic performance: though it's another thing that went over my head as a child who only got to see the movie once, the lyrics about being trapped up on a music box and longing to be freed by love pretty clearly symbolize how trapped the real Truly's high-society life makes her feel, and how she yearns to break free from class restrictions and live happily-ever-after with Caractacus, as it's only with him and his family that she really feels free.

Then there's that incredibly warm romantic look that Truly and Caractacus share at the end of the song when she silently acknowledges the love confession he's just made while singing in counterpoint with her, though they're still in a dangerous situation and can't give themselves away by appearing too human and breaking their disguises... sadly this vital moment is cut off on all the Youtube videos of the scene I can find, because none of the people who clipped it understand that that's the whole point of it all, apparently. But here's a gif!

The character of Truly doesn't exist at all in the original (quite different) book by James Bond author Ian Fleming - surprising, I know, given her name! - and, honestly, the fact that Truly and the romantic subplot of this movie exist are why it had such a strong impact on me as a child, and very much why I fell in love with it again as an adult. Even though the score is wonderful anyway and the story is charming and magical, I can confidently say that I would not have become as completely enchanted or had such a strong desire to revisit it again and again if there'd been no Truly and no love story. The fact that Sally Ann's performance makes Truly so loveable is, obviously, a pretty crucial factor there.

Sally Ann's delivery of "Well, Mr. Potts... now you'll have to marry me!" after Caractacus kisses Truly... that slide from prim mock-outrage to the playful, warm, you-can-hear-the-smile-in her-voice conclusion is flawless. Not even exaggerating when I say that this was the moment that made me into a hopeless romantic as a 9-year-old child. Sure, this wasn't the first movie I'd seen where two people fall in love and live happily ever after, but I distinctly remember that this was the first romance story that had me in a giggling, kicking-my-feet, "I ship it so hard" state of mind. And after revisiting it as an adult for the first time last year, I have confirmed that yes, child me already had great taste in fictional romances!

Oh, I could say so much about the difference in her body language between the two scenes where Caractacus carries Truly out of her car that's become stuck in a pond. The first time, Truly is affronted and extremely embarrassed by the situation, holding herself so stiffly and awkwardly to avoid an accidental embrace that she causes him to nearly lose his balance and drop her. The second time, when they're in love and they know it, she snuggles right up into his arms without hesitation and it's the cutest thing ever. Sally Ann was 5'6" but looks so tiny in that scene!

(And that kiss! Maybe I'm getting off-topic here in terms of strictly focusing on Sally Ann's contributions, because Dick van Dyke deserves tons of credit for making this kiss so good... but wow, the kiss. Several times I have called it "the Most Kiss they could have gotten away with in a children's movie." Again, giggling, kicking my feet etc.)

While Truly's costumes and hairstyling are rarely historically accurate (the film is set around 1910), the stylized nature of her fashion is iconic and memorable in itself. Sally Ann also completely pulls off playing a fresh-faced ingenue who is 12+ years younger than her actual age - and I do wonder if the aging-down of Sally Ann is at least part of the reason why Truly wears her hair loose throughout most of the movie! Either way, it works perfectly and I was shocked when I first learned how much older she was than her character. (If you watch her in The Admirable Crichton, where she is also in Edwardian costume and was closer to Truly's actual age, she really doesn't look all that much different. If anything, I think she looks even more glowingly beautiful in Chitty!)

Also, as for Truly wearing her hair down... it may just have been an intentionally anachronistic stylistic choice, but in-story, I think it actually contributes to her character by showing a willingness to flout convention and pursue whatever will make her happy instead of what's expected of her, which happens to be a key theme of her character arc.

Another thing that led me to adore Sally Ann as a person as I learned more about her over the last year: in the 1960s, she appeared as a panelist in quite a few episodes of the game show To Tell the Truth (as well as a few episodes of Password), and these can be found on Youtube. I really adore how her personality shines through - she's unfailingly bubbly, witty, self-deprecating, and a bit quirky. Just listening to her speak is a delight and she has one of the best laughs I've ever heard. Here is one of my favorite little moments that I clipped. 

By all accounts, she was a delightful person to know and work with, witty and clever, very professional, and very serious about her craft. She also always maintained a great affection for and pride in Chitty Chitty Bang Bang and her role as Truly, which is always a wonderful thing to know about an actor in a beloved role.

Another bonus: here is a super charming interview with her after a backstage disaster at What Makes Sammy Run? on Broadway.

She was also, along with Twiggy and Diahann Carroll (as Julia Baker), one of the first three celebrities to have her likeness made into a Barbie doll.

Two of her earlier films I recommend are the comedies Fools Rush In (1949) and The Admirable Crichton (1957), if you can find them (hint-hint, you can.) You may also be able to find the 1966 TV movie of her reprising her Tony-nominated role of Fiona in Brigadoon with Robert Goulet, and although I feel like the oddly close-up way the film was shot kinda does a disservice to the actors at times, it's still amazing to be able to see and hear her in a role she performed on Broadway.

Richard Rodgers once called Sally Ann "the greatest singer who ever sang on the American musical stage." Now, I don't quote this to claim this superlative as some kind of objective fact. If you know anything about me, I am very, very strongly opposed to pitting women against each other and all the Golden Age sopranos are absolute queens who deserve crowns, no matter how much mainstream success or present-day name-recognition they have/had. I just think it's phenomenal that she received such high praise from a man who worked with many of the best musical theatre singers who ever lived... and to think, many people today have never even heard her voice. Without her performance as Truly Scrumptious, it's possible almost nobody would in the future! I am so glad that Sally Ann's lasting legacy was ensured by such a beloved film role.

Sadly for us, many of the theatrical roles which she originated (and thus, for which cast albums featuring her exist) were in shows that either flopped quickly or at least did not enter the theatrical canon, so she never achieved the level of mainstream recognition she clearly deserves. But Sally Ann also played such legendary and challenging roles as Eliza Doolittle in My Fair Lady, Fiona MacLaren in Brigadoon (for which she received a Tony nomination), Maria Rainer von Trapp in The Sound of Music, Anna Leonowens in The King and I, and, much later, Desiree Armfeldt in A Little Night Music. She received great acclaim for all of these performances and, judging by what we know of her process on My Fair Lady, was excellent at making roles distinctly her own and never merely imitating another performer.

Even in her iconic original role of Truly Scrumptious, you don't get to hear the true full power of Sally Ann's extraordinary soprano. For that, I highly recommend listening to "Another Time, Another Place" from Kwamina (1961), and "Something to Live For" from What Makes Sammy Run? (1964). I'm always sad that we don't have any recordings of her in her "fiery" star turn as Eliza Doolittle in My Fair Lady, but you can at least hear her do a Cockney accent, be silly, and sing "With a Little Bit of Luck" with Bing Crosby here!

If it weren't for the enduring success of Chitty Chitty Bang Bang, few people might have even heard of Sally Ann Howes today, and that would be a terrible loss. I cannot overstate that I am so grateful that we all know who she is because she played this role and we get to see her give this radiant performance of a character that's all her own. Maybe this sounds strange, but I think the fact that this was Sally Ann's only musical film role (and the ONLY role most people will ever see her in) makes it even more precious, and makes everything she brings to the character that much more distinctive and unique and special.

Both for all of the talent and charm she brings to the role itself, and everything else that I and many other fans have been able to learn of so much of her otherwise-obscure work because of it, the world is incredibly lucky to have the lovely Sally Ann Howes immortalized as our Truly Scrumptious, and I wouldn't have it any other way 💖