#specifically the 2006 version

[creamsodadraws]

Another one of these guys learning more internet culture from Lalamon, much to Yoshino's chagrin.

[adaptations-polls]

Which version of this do you prefer?

Putting an extra text note on the poll too just because I'm seeing more of these types of comments on this poll than I have on many previous ones: Please read the pinned post of my blog and look at my original notes on this poll before asking why a certain version was not included. There are going to be more Robin Hood based polls later with another set of adaptations. If there's a particularly notable version- such as Men in Tights- that is not on here it is probably because it is going to be part of the second set. This is true of most polls I do where there are many many adaptations. They will eventually receive another poll and possibly eventually a compilation poll presenting all the most popular options from previous versions together.

[peri-helia]

Getting to see deleted scenes, especially ones that are more fanservice scenes that eventually got shortened or taken out is so important to me. it's a little au of the scene and sometimes its closer to how I envisioned a scene would go and sometimes it isn't but I still love to see it. it's a little more of the universe and adaptation I've come to love and that's always a treat

[leatherbookmark]

ooooh apparently the pjo show is out? or is it just the first episode? i'm not sure but. hm!!

[mo0nchhild]

when musical numbers do the two characters singing simultaneously and occasionally harmonizing while each one sings their respective lines and sometimes being able to hear one person better than the other one and even though they don't sing the same words it still fits so perfectly together UGH SO GOOD

[moredancesmyraptheart]

love and light to the girlies saying just for once has falsettos vibes, but may i offer that it actually has ladies who lunch from company vibes

[todayisafridaynight]

I keep confusing Ryo and Daigo because when Ryo has the facial hair they look very a similar.

rgg making masato is like 'yeah decided to make a fucked up and evil daigo, this is just a glimpse into my cruel and twisted mind'

[prokopetz]

I keep trying to come up with a metroidvania upgrade gimmick that's even dumber than stuff like Hollow Knight requiring you to spend a charm slot to see your location on the map, or Rebel: Trasmute making it possible to unequip your own HUD (i.e., thereby removing your health bar from the screen), but always come back to the fact that in the original PC version of Bunny Must Die! Chelsea and the 7 Devils, the opening room has to be completed while exclusively walking to the left because you need a specific upgrade to be able to walk to the right. This is a game from 2006, and the bit had already reached its ultimate form – I genuinely can't think of anywhere to go from there.

[mistakenot4892]

Disclaimer that this is a post mostly motivated by frustration at a cultural trend, not at any individual people/posters. Vagueing to avoid it seeming like a callout but I know how Tumblr is so we'll see I guess. Putting it after a read-more because I think it's going to spiral out of control.

Recent discourse around obnoxious Linux shills chiming in on posts about how difficult it can be to pick up computer literacy these days has made me feel old and tired. I get that people just want computers to Work and they don't want to have to put any extra effort into getting it to Do The Thing, that's not unreasonable, I want the same!

(I also want obnoxious Linux shills to not chip in on my posts (unless I am posting because my Linux has exploded and I need help) so I sympathise with that angle too, 'just use Linux' is not the catch-all solution you think it is my friend.)

But I keep seeing this broad sense of learned helplessness around having to learn about what the computer is actually doing without having your hand held by a massive faceless corporation, and I just feel like it isn't a healthy relationship to have with your tech.

The industry is getting worse and worse in their lack of respect to the consumer every quarter. Microsoft is comfortable pivoting their entire business to push AI on every part of their infrastructure and in every service, in part because their customers aren't going anywhere and won't push back in the numbers that might make a difference. Windows 11 has hidden even more functionality behind layers of streamlining and obfuscation and integrated even more spyware and telemetry that won't tell you shit about what it's doing and that you can't turn off without violating the EULA. They're going to keep pursuing this kind of shit in more and more obvious ways because that's all they can do in the quest for endless year on year growth.

Unfortunately, switching to Linux will force you to learn how to use it. That sucks when it's being pushed as an immediate solution to a specific problem you're having! Not going to deny that. FOSS folks need to realise that 'just pivot your entire day to day workflow to a new suite of tools designed by hobby engineers with really specific chips on their shoulders' does not work as a method of evangelism. But if you approach it more like learning to understand and control your tech, I think maybe it could be a bit more palatable? It's more like a set of techniques and strategies than learning a specific workflow. Once you pick up the basic patterns, you can apply them to the novel problems that inevitably crop up. It's still painful, particularly if you're messing around with audio or graphics drivers, but importantly, you are always the one in control. You might not know how to drive, and the engine might be on fire, but you're not locked in a burning Tesla.

Now that I write this it sounds more like a set of coping mechanisms, but to be honest I do not have a healthy relationship with xorg.conf and probably should seek therapy.

It's a bit of a stretch but I almost feel like a bit of friction with tech is necessary to develop a good relationship with it? Growing up on MS-DOS and earlier versions of Windows has given me a healthy suspicion of any time my computer does something without me telling it to, and if I can't then see what it did, something's very off. If I can't get at the setting and properties panel for something, my immediate inclination is to uninstall it and do without.

And like yeah as a final note, I too find it frustrating when Linux decides to shit itself and the latest relevant thread I can find on the matter is from 2006 and every participant has been Raptured since, but at least threads exist. At least they're not Microsoft Community hellscapes where every second response is a sales rep telling them to open a support ticket. At least there's some transparency and openness around how the operating system is made and how it works. At least you have alternatives if one doesn't do the job for you.

This is long and meandering and probably misses the point of the discourse I'm dragging but I felt obligated to make it. Ubuntu Noble Numbat is pretty good and I haven't had any issues with it out of the box (compared to EndeavourOS becoming a hellscape whenever I wanted my computer to make a sound or render a graphic) so I recommend it. Yay FOSS.

[mimi-0007]

FATHER & SON: James Earl Jones with his Father Robert Earl Jones on Stage in the 1962 Production "Moon on a Rainbow Shawl."

Robert Earl Jones (February 3, 1910 – September 7, 2006), sometimes credited as Earl Jones, was an American actor and professional boxer. One of the first prominent Black film stars, Jones was a living link with the Harlem Renaissance of the 1920s and 1930s, having worked with Langston Hughes early in his career.

Jones was best known for his leading roles in films such as Lying Lips (1939) and later in his career for supporting roles in films such as The Sting (1973), Trading Places (1983), The Cotton Club (1984), and Witness (1985).

Jones was born in northwestern Mississippi; the specific location is unclear as some sources indicate Senatobia, while others suggest nearby Coldwater. He left school at an early age to work as a sharecropper to help his family. He later became a prizefighter. Under the name "Battling Bill Stovall", he was a sparring partner of Joe Louis.

Jones became interested in theater after he moved to Chicago, as one of the thousands leaving the South in the Great Migration. He moved on to New York by the 1930s. He worked with young people in the Works Progress Administration, the largest New Deal agency, through which he met Langston Hughes, a young poet and playwright. Hughes cast him in his 1938 play, Don't You Want to Be Free?.

Jones also entered the film business, appearing in more than twenty films. His film career started with the leading role of a detective in the 1939 race film Lying Lips, written and directed by Oscar Micheaux, and Jones made his next screen appearance in Micheaux's The Notorious Elinor Lee (1940). Jones acted mostly in crime movies and dramas after that, with such highlights as Wild River (1960) and One Potato, Two Potato (1964). In the Oscar-winning 1973 film The Sting, he played Luther Coleman, an aging grifter whose con is requited with murder leading to the eponymous "sting". In the later 20th century, Jones appeared in several other noted films: Trading Places (1983) and Witness (1985).

Toward the end of his life, Jones was noted for his stage portrayal of Creon in The Gospel at Colonus (1988), a black musical version of the Oedipus legend. He also appeared in episodes of the long-running TV shows Lou Grant and Kojak. One of his last stage roles was in a 1991 Broadway production of Mule Bone by Hughes and Zora Neale Hurston, another important writer of the Harlem Renaissance. His last film was Rain Without Thunder (1993).

Although blacklisted by the House Un-American Activities Committee in the 1950s due to involvement with leftist groups, Jones was ultimately honored with a lifetime achievement award by the U.S. National Black Theatre Festival.

Jones was married three times. As a young man, he married Ruth Connolly (died 1986) in 1929; they had a son, James Earl Jones. Jones and Connolly separated before James was born in 1931, and the couple divorced in 1933. Jones did not come to know his son until the mid-1950s. He adopted a second son, Matthew Earl Jones. Jones died on September 7, 2006, in Englewood, New Jersey, from natural causes at age 96.

THEATRE

1945 The Hasty Heart (Blossom) Hudson Theatre, Broadway

1945 Strange Fruit (Henry) McIntosh NY theater production

1948 Volpone (Commendatori) City Center

1948 Set My People Free (Ned Bennett) Hudson Theatre, Broadway

1949 Caesar and Cleopatra (Nubian Slave) National Theatre, Broadway

1952 Fancy Meeting You Again (Second Nubian) Royale Theatre, Broadway

1956 Mister Johnson (Moma) Martin Beck Theater, Broadway

1962 Infidel Caesar (Soldier) Music Box Theater, Broadway

1962 The Moon Besieged (Shields Green) Lyceum Theatre, Broadway

1962 Moon on a Rainbow Shawl (Charlie Adams) East 11th Street Theatre, New York

1968 More Stately Mansions (Cato) Broadhurst Theatre, Broadway

1975 All God's Chillun Got Wings (Street Person) Circle in the Square Theatre, Broadway

1975 Death of a Salesman (Charley)

1977 Unexpected Guests (Man) Little Theatre, Broadway

1988 The Gospel at Colonus (Creon) Lunt-Fontanne Theatre, Broadway

1991 Mule Bone (Willie Lewis) Ethel Barrymore Theatre, Broadway

FILMS

1939 Lying Lips (Detective Wenzer )

1940 The Notorious Elinor Lee (Benny Blue)

1959 Odds Against Tomorrow (Club Employee uncredited)

1960 Wild River (Sam Johnson uncredited)

1960 The Secret of the Purple Reef (Tobias)

1964 Terror in the City (Farmer)

1964 One Potato, Two Potato (William Richards)

1968 Hang 'Em High

1971 Mississippi Summer (Performer)

1973 The Sting (Luther Coleman)

1974 Cockfighter (Buford)

1977 Proof of the Man (Wilshire Hayward )

1982 Cold River (The Trapper)

1983 Trading Places (Attendant)

1983 Sleepaway Camp (Ben)

1984 The Cotton Club (Stage Door Joe)

1984 Billions for Boris (Grandaddy)

1985 Witness (Custodian)

1988 Starlight: A Musical Movie (Joe)

1990 Maniac Cop 2 (Harry)

1993 Rain Without Thunder (Old Lawyer)

TELEVISION

1964 The Defenders (Joe Dean) Episode: The Brother Killers

1976 Kojak (Judge) Episode: Where to Go if you Have Nowhere to Go?

1977 The Displaced Person (Astor) Television movie

1978 Lou Grant (Earl Humphrey) Episode: Renewal

1979 Jennifer's Journey (Reuven )Television movie

1980 Oye Ollie (Performer) Television series

1981 The Sophisticated Gents (Big Ralph Joplin) 3 episodes

1982 One Life to Live

1985 Great Performances (Creon) Episode: The Gospel at Colonus

1990 True Blue (Performer) Episode: Blue Monday

[rjalker]

Flatland: A Romance of Many Dimensions, by Edwin Abbot Abbot, published in 1884, is public domain. That means it has no copyright, and belongs to everyone.

This post will have links to as many versions and adaptations of it as I can find, and will be updated whenver I find new links to add.

Feel free to copy and paste this whole entire post and make it a new post for your own blog too!

None of these links are piracy, because you literally cannot pirate what has no copyright. Anyone who tells you you must pay to read the original Flatland is scamming you.

The only time you should be spending money on Flatland: A Romance of Many Dimensions, is if you find a cool physical copy that you want specifically.

Check the original post before reblogging to look for updates if you are seeing this post days, weeks, or months after I originally post it.

____

Visual books:

Public domain:

The Original Novel:

Read online or ownload the original book in multiple formats from Project Gutenberg

Read or download from Standard Ebooks

Read and download from the Internet Archive. This also includes a computer-generated audiobook.

_

The 2024 translation:

Read online or download the 2024 translation in multiple formats from the Internet Archive. This also includes a computer-voiced audiobook.

Read the 2024 translation here on tumblr @flatland-a-2024-translation

___

Audiobooks:

The original novel:

Listen to the original book on the Internet Archive, read by Ruth Golding

Listen to the original book on the Internet Archive read by David "Grizzly" Smith

The 2024 translation:

Listen and read-along with the lazy audiobook of the 2024 translation on Youtube

___

Free visual media with full stories:

Here’s an animation from 1965. Contains some flashing lights.

Here’s a stop motion film from 1982 in Italian with English subtitles

Here’s an animation from 2006

The 2007 Flatland film by Ladd Ehlinger is free on youtube. Unfortunately Ladd Ehlinger is a virulently racist and misogynistic conservative who thinks feeding school kids is the same thing as slavery. His film is filled with almost constant flashing lights and spinning cameras that cause headaches, motion sickness, migraines, and seizures.

Here is a link to timestamps for these if you still choose to watch it.

The film ignores all of the politics from the original novel because the creator of the film agrees with the bigotry the novel condemned. You are much better off watching another visual adaption or reading the original or translated book.

Especially if you suffer from photosensitivity or motion-sickness, this film will make you want to throw up.

___

Shorter visual media:

In-universe

Part 4 of a Korean animation. from 2010. Haven't found parts 1-3 yet.

A short animation from 2020 showing an Equilateral being taken away from his Isosceles parents

Flatland Heist from 2013, A short animation from 2013 where the Narrator and Sphere team up to rob a bank :)

Flatland a Romance of Many Dimensions Alternate Timeline (without audio yet) 2024 Here's the version with audio

No Nonbinary Door 2024

A Visit to Lineland 2024

Up, Up, and Away 2024

Meta:

A short TED-Ed summarizing the math parts of Flatland from 2014

Another short animation explaining the math of Flatland from 2012

A long presentation (38 mins) about the math in Flatland. from 2017

Youtube Shorts:

A very short animation about the narrator meeting the Sphere

___

Related books by other authors, in publishing order:

Public domain:

An Episode of Flatland: or How a Plane Folk Discovered the Third Dimension. With Which is Bound Up an Outline of the History of Unæa by Charles Howard Hinton. (1907) Public domain, unlimited reading and downloading. It's terrible. But you can rewrite it to make it not terrible.

The 4D Doodler, by Graph Waldeyer. Also on Youtube as an audiobook.

Other copyright:

The Dot and the Line: A Romance in Lower Mathematics by Norton Juster (1963) Can be borrowed by 1 person at a time. A short....poem? Nothing to actually do with Flatland.

The Incredible Umbrella by Marvin Kaye (1980) Can be borrowed by 1 person at a time. I have not read it yet.

Sphereland: A Fantasy About Curved Spaces and an Expanding Universe, by Dionys Burger. (1983) Can be borrowed by 1 person at a time. It's racist. Was intended to be a sequel to Flatland, but the author's racist and failed every lesson Flatland tried to teach.

“Message Found in a Copy of Flatland” by Rudy Rucker (1983) free to read online from the author.

The Fourth Dimension, by Rudy Rucker (1984). Can be read for free online from the author. I have not read it yet.

The Planiverse: Computer Contact With a Two-dimensional World by Alexander Keewatin Dewdney (1984) Can be borrowed by 1 person at a time. Good 2D worldbuilding, nonexistant plot and boring abrupt ending.

Flatterland: Like Flatland, Only More So by Ian Stewart (2001) Can be borrowed by 1 person at a time. it's useless crap that unironically defends the bigotry against Irregulars from the original novel by pretending it's just natural selection that's totally natural and not at all artificialy and violently upheld to uphold the supremacy of the Circles.

Spaceland by Rudy Rucker (2002) Can be borrowed by 1 person at a time. I have not read it yet.

VAS: An Opera in Flatland (2002) by Steve Tomasula. no copies donated to the internet archive yet. I have not read it yet.

A 2024 Summary of Flatland. Buy a physical copy here. Buy a digital copy here.

__

Neopronoun short stories:

The Breaking Point, a short story of a Line and Isosceles in another country of Flatland, attempting to deal with an abusive officer of the military who's invited himself into their home. Almost 4k words.

First Day of School, a young equilateral has zov first day at school, and discovers that the "specimen" they're supposed to be studying is someone zo knows.

Gaining a New Perspective, a short story of the Sphere contemplating everything that's happened after throwing the narrator of Flatland back down to his plane. Almost exactly 5k words.

Other short fiction:

[link me your stories and a short summary to go here!!]

__

Please feel free to add more links and I'll add them to this original post.

Here's the first masterpost I made which has fewer links.

[dropthedemiurge]

Love for Love's Sake | Things You Didn't Notice #6

Translations and comments for Episode 6 (I have ADHD don't come after me, I was too invested that I bingewatched episodes yesterday and now I need to rewatch the 3 and 4 to make thorough comments on the dialogues). I was prompted by @lurkingshan to pay more attention to the movie posters :D Please let me know your thoughts after!

At first, I wanted to say that the movie titles were translated (at least, in my version of subs) and there was nothing behind them beside obvious but I decided to research more and indeed found somewhat interesting things! (the post will be long so I'll pile screenshots together)

First thing we see – Myungha has agonizing thoughts about "I can't believe I am on a date with a guy (when I'm supposed to be just an NPC/Player in this game)" next to the movie poster with an interesting title "The Guy Who Will Give a Kiss for 10 000 won"

This movie doesn't exist :D However! The title and poster style is clearly based on the old manhwa from ~2006 that's called "The Guy Who Will Give a Kiss for 5 000 won" (lmao they doubled MC's price that's inflation for you).

The note at the bottom says "Top Secret Disclosure: Kissing Method" aka MC is the guy who promises to teach you how to kiss if you give him some money, and the same note is shown in the LFLS poster. I thought the guy on the poster looked similar to Myungha but I think they actually got Taevin (the actor) to pose for this fake poster xD

Which leads me to the first thought that these posters were born out of Myungha's imagination – come on, we just got the scene between him and Yeowoon where they kissed for the first time and Yeowoon asked Myungha to give him time to practice and improve kissing (Myungha with his slightly better experience probably feels like a mentor with some "shady" intentions who eventually falls in love xD) Coincidence? I don't think so.

The second poster on the wall is also about a non-existent movie but before diving into that, here's how Yeowoon comes into the picture.

Two things: "Wonderful Ghost" huge poster on the wall behind him and the caption on the wall next to him.

In case you haven't paid attention, it says "If you come at four in the afternoon, I'll begin to be happy by three," which is a popular romantic phrase that definitely reflects Yeowoon's feelings atm, aww.

Meanwhile, Wonderful Ghost movie (also called as "The SOUL-mate") actually exists! But it's not new, it was released in 2018 and the story is about a guy done with his life after tragic events who becomes haunted by an energetic ghost that changes his life and mindset. (I did phrase this summary deliberately non-specific to make you feel another connection to the current story of LFLS.)

The caption on the poster also says, literally translated, "Let's do it together until the end of the world". This movie has other poster versions with other captions as Google shows but this is the version shown in Love for Love's Sake. Actually, while we're on the topic – I have no idea where "Love for Love's Sake" title came from, does anyone know? Someone in my previous posts speculated about the story based on this title but the Korean title of this series is "연애 지상주의 구역" ("Dating Supremacy Zone", or just "Dating Zone") which is the term that comes up in alert whenever Myungha is close to Yeowoon.

Anyway, back to our zombies, gorillas and demons. The movie Myungha and Yeowoon actually went to watch on their date was "Zombie Gorilla VS Demon Crocodile". The caption on thte poster says "Who will protect the world?"

Again, this movie doesn't exist. Why would they make such a point of showing Myungha crying and experiencing genuine emotions (when he only shed tears after he got scared by the full-scale system error and when his grandma got into hospital)? Well, Myungha explains it to Yewoon by himself.

"Well, it was the first time I see someone crying for a zombie gorilla." "Do you know how epic this movie is? The crocodile was actually an extraterrestrial. He met the gorilla here and joined him to save the world." "The plot is really strange." "It was very emotional."

Does it ring a bell? I don't think I need to add any words. Myungha = someone who came from another world and joined Yeowoon to save him and complete the game with happy ending. Myungha relates a lot and cries. I just find it funny thinking about how "The plot is really strange" and "You have a very strange taste" can be also said to all the viewers of LFLS (well, we all are very invested in this a bit confusing mysterious story as well, aren't we?xD)

I also love how we keep being reminded about the "unreality" of the story, how system can experience bugs and things in the world can glitch and Myungha is never immersed in this new life or his new love story to the 100% (cue all the 'choose anyone but me, go date a better man' and patronizing way he treats all characters around him, instead focusing on preventing them and the world from bad events following author's instructions)

I don't think I have much to add to the rest of the episode, I mirrored the haters articles and messages which were written for the show but the comments are quite generic (I couldn't read all of them but I didn't notice anything unusual). One thing, the DM to Myungha technically says "Die, Tae Myungha".

All I can say is that the online anonymous bullying is really prominent and a huge problem in Korea that leads to celebrities' depression and sometimes suicide. All influencers (and there are a lot of them in SK) are held to unimaginable 'perfect' standard and forums often have anonymous commenting which makes messages even more cruel (but later they addressed the issue and I think at least under news articles in Entertainment/Celebrity section the anonymous function was turned off, still, there are a lot of ways to ruin someone's life online). It happens in every country, of course, but stalking/online bullying is something that can be understood very easily by Koreans because it's often on the news and in the community.

Another little detail – even though Myungha does talk to students who are technically "younger" than him by one school year like he's old and wise, he doesn't use the word 'kid' nearly as much as you'd think xD (but the subs are doing the right thing anyway because how else are you supposed to show that subtle cultural difference between saying Cha Yeowoon and Yeowoon-ah, or Myungha calling Sangwoon by his name when he's frustrated with him instead of cursewords or titles?)

In the phrase "Get it together, kid!" Myungha actually uses the word 새끼 (saekki) which can be a curseword (like 'asshole, bastard', used by school gangster in previous eps) but it also literally means 'a child' that can be used by grandparents for their grandson or by parents, for example. So basically, think of 'son of a bitch' which can be used both as cursing and have literal meaning. Koreans have the same (개새끼 - son of a dog) phrase.

But it doesn't have an affectionate connotation when said by teenagers or adults (unless it's said to close friends without heat), and I am sure Myungha says it with more of "Get it together, you brat!" meaning. I just used this screenshot to tell you about Korean cursewords, he-he.

+ bonus: there is no translation or anything, but since we were talking about posters, I just found it funny and adorable how Yeowoon visually replaced here the poster behind him xD

[prettyoddfever]

re: the Fever-era stage gay routines

I'm integrating a previous post into this one so I can cover all of the pre-split years and everything in one place. Again, I'm iffy on the term "stage gay" but idk how else to describe it so here we go.

So Brendon said this quote in 2018: "For our first headline tour I would go up to Ryan our guitar player, and like kiss him on the neck or kiss him on the mouth and he would be so mad. I was like, I just want to kiss you bro."

Ignoring all history & precedent of the way that Brendon tends to exaggerate for effect and often goes for the general idea & how he feels at the moment when looking back rather than actual specific facts... he's still talking about the band's first headlining tour in April 2006. And yeah, that's the only season where I think this quote MIGHT be plausible. If the situation actually played out exactly as Brendon says, then of course that's not ok. But you still can't project that scenario onto literally every part of the Fever era or form your entire perception of a whole era (or an entire work relationship) off of one single interview quote from years later. That's going to leave you with an incredibly distorted understanding of the band's dynamics with each other & fans, Ryan's input and stage presence, and what's actually going on in the pictures you're looking at. Like people are clearly missing so much context if they're able to look at a picture of the IWSNT mic-sharing from summer 2006 and think that it was one-sided sexual harassment (or some kind of actual Ryden thing).

THE EARLY MONTHS

So the guys weren’t super close onstage in late 2005… they were mostly trying to figure out how to even be onstage lol. They watched the bands they were touring with and learned as they went. You could almost see little pieces of each band’s influence show up for a while. Brendon totally modeled himself after Jason Vena in early fall 2005, and then he had clearly been watching William Beckett closely in early 2006 (that influence carried on throughout the year). It was also interesting to watch Brendon navigate what he thought fans wanted or expected when he was an 18-year-old boy thrown into an international spotlight with girls (and boys) screaming “f— me!” at him (one example). It really looked like he learned to play into a role (this is included). And I mean that in terms of being a popular frontman. That’s not even taking into consideration the actual way that Brendon needed to adopt a persona onstage throughout the whole Fever era. Look at the type of songs he had to sing. Both Brendon & Ryan talked a lot in 2005-2006 about how Brendon needed to get into a character onstage to deliver the risque lyrics.

The types of halfhearted moves that Brendon started to make on Ryan by the end of the Truckstops & Statelines tour looked like he was just following the example of bands he’d been watching on tour. Brendon started making bigger moves on Ryan in April once P!ATD had to step up their game for their first headlining tour (which happened 8 months after they played their first show ever). That UK tour had some shows that were bigger than the first half of the summer tour in North America. There were times in 2006 when I felt like P!ATD was more of a UK band than American partially because of how intense the frenzy was over there.

Brendon was still testing different stage personas and figuring things out during this season, and the band still felt like 4 separate guys trying to find their footing. They were talented & good, but there was absolutely a huge shift in the band itself once Jon arrived in May. They finally felt like a strong united group. They went back to their practice space for a while in May to figure out the details of what they wanted their band to be like onstage, rehearse with their two new touring musicians + Lucent Dossier, and re-learn updated versions of their songs. The last half of the Fever era was polished and very intentional... they felt like a different band by June in many ways.

THE SUMMER TOUR

I thought this seemed like the picture that really got the Ryden craze going in summer 2006 (before fans had totally decided on the “Ryden” name – some were saying “Bryan”). It was taken a few days into the summer tour:

There were a ton of new fans arriving during the summer tour, so that picture formed some first impressions. By this summer many fans would basically only ask people to describe the moments when Ryan & Brendon came near each other at a show and every look they shared. People who went to shows would mention how at different points they saw one of the four guys suppress a laugh when the crowd would positively scream if Brendon & Ryan came within two feet of each other.

The Panic guys were well aware of what their fans wanted and what was being said online (for better or worse). Yes, they got annoyed during the last half of the year when fans took things too far or were focused more on Ryden stuff than the music, but it seemed like they also wanted to have fun with a fanbase that they were being increasingly distanced from as they became more & more famous. There were quite a few stories of Brendon and Ryan playing up the Ryden angle at meet & greets throughout the last half of 2006 to make fans laugh or freak out (and Ryan initiated some of that, so it wasn’t purely Brendon). There's more in this post.

The point is that the shows in this tour were very intentional and felt more like watching a theater show than the type of band who interacted with their audience (which was a huge fan complaint this season tbh). Ryan was more confident & comfortable onstage with his new makeup, was actively engaging in mic sharing and playing into what the crowds obviously wanted to see, and seemed like he was largely in control of how the shows would go even if he still sometimes shied away from attention in general onstage.

Ryan & Brendon did continue some of their antics at random international shows in August & October, but it kind of seemed to depend on the audience. Those shows were also a different vibe from the national tours.

NOTHING RHYMES WITH CIRCUS

This season was on a whole other level, so here's a separate post that goes into important detail!!

^^^ seriously, please read.

The creepy leering character that Brendon was playing during the NRWC tour is obviously not his actual personality, nor his typical onstage character for the whole Fever era (although I did see hints of it return during the 2008 Halloween show when Brendon was in his vampire costume lol).

AFTER THE FEVER ERA

The band played a handful of regular shows in 2007 like any other band. They wore jeans and dropped the stage gay & makeup because those elements were part of the Fever-era shows and that era was done now.

Ryan did try to instigate parts of their former routine at the first show in 2007 before the band had found their new direction, though.

Brendon kissed Ryan on the cheek at Bamboozle 2007 when wishing him a happy birthday.

The Pretty. Odd. era was completely different on so many levels. Ryan & Jon largely ran those shows and the new music didn’t require a dramatic frontman in an entertainer/narrator role anymore. Ryan was WAY more confident onstage and would often stroll over to mess with Brendon or share his mic. Ryan was the one who often instigated any interaction. Jon even slapped Brendon’s butt at some shows. A lot of fans would claim that Ryan kissed Brendon’s cheek, but in hindsight I think it’s more likely that he was whispering to Brendon and knew that fans would get overly excited. Also, the moment where Brendon kissed Ryan’s cheek before Mad as Rabbits at Glastonbury was definitely not the norm.

ABOUT THE ROUTINE "RYDEN" MOMENTS IN 2008 (not on the same level as 2006, but still pandering to what fans wanted).

COMMON FEVER ERA MOMENTS

a few examples...

MISC. THOUGHTS

The point of this post is to show that the endless pictures that some people might share of "Ryden" moments or "Brendon sexually harassing Ryan" are often like the same points of the same songs on different nights, or just taken out of context of the actual Fever era. To be clear, I’m not attempting to excuse/explain every single thing Brendon ever did in this post, or attempting to speak for Ryan... idk what he was comfortable with or everything that went down between them.

However, I do think that people who assume Brendon forced Ryan into anything (in any aspect of the band) don’t understand their work relationship or the pre-split band’s dynamics & who had the power. That band was waaaay different than the one that Brendon had in later years. Back then he wasn’t really in a position to pressure Ryan into anything creatively-speaking (more info here). Ryan was shy in interviews, but he was in no way a pushover within the band… and to assume something like that kind of discredits his massive contributions. With the amount of control that Ryan had, I just really don’t think he would have let something so prominent get worked into the shows if he wasn’t ok with it in the first place (let alone instigate it himself sometimes).

Ryan talked a lot in the pre-split years about how he really wanted to challenge fans, push boundaries, do something different, shake things up, and keep experimenting instead of settling into a rut of what was comfortable/familiar. In a Danish interview in October 2006 he said "we do not want to be a safe band, neither with our songs nor our shows."

I thought the stage gay element seemed to loosely fit into those goals & ideas. But at the same time, I don't think it was ever that defined. It felt like it was just a random fun thing & wasn't that deep. Spin asked Ryan if he and Brendon were toying with the idea of bisexuality, which was a bit annoying because their antics obviously weren't that legit or a Serious Statement. I liked Ryan's answer:

[heathersdesk]

The Relationship between the LDS Church, Palestine, and Israel

I have a confession to make. As a younger person, I was obsessed with Elder Jeffrey R. Holland.

"You and every Millennial."

NO. You don't understand. This went beyond "Neat, his talk is up next. He always does a good job. Let me tune back in to this two hour long meeting." This was a parasocial, fandom level, ADHD-fueled special interest that amounted to a kind of hero worship I can't fully explain now, other than to say I outgrew it. I had every talk of his that he had ever given that was available online on my various devices I had in college and would listen to them regularly. I knew them so well I could quote them in entire sections. One of my roommates met him in Southern Utah and got one of my books signed for me, and I cried when she gave it to me. I met him once at a Mark Twain performance (one of his favorite authors and the subject of his study as a student) at Sundance and I wasn't normal about it at all.

Elder Holland had a fan with Swiftie-levels of intensity in 2009, and it was me. It's deeply embarrassing to admit this, but it's crucial to understanding why I know the things I'm about to tell you.

Before Elder Holland became an apostle, he was the president of Brigham Young University. During his tenure, he entered into negotiations with Israel to build the Jerusalem Center, the extension of BYU's campus in the Holy Land. He raised $100 million for its construction. This required buy-in not only from church leadership and donors in the US, but the cooperation of the Israeli government. This was how he ended up winning the Torch of Liberty award from the Anti-Defamation League of B'nai Brith. He was effective enough at building bridges between Latter-day Saints and Jews and the other communities in Jerusalem, he got people to open their checkbooks to pay for the facility that would be dedicated to building that interfaith understanding and cooperation into the future. Finished in 1989, it's one of the most important contributions to the Church in Elder Holland's legacy.

The Jerusalem Center exists because of Elder Holland. How well he handled its formation, in my opinion, is how he ended up becoming a Seventy, followed by the call to become an Apostle in 1994.

The Jerusalem Center was constructed on what used to be Palestinian land. The Church is aware of that fact and makes restitution for it in the form of student scholarships to Palestinian students. Sahar Qumsiyeh, a professor at BYU-Idaho, was formerly a Palestinian Christian. She was introduced to the Church and joined because she received one of these scholarships.

The Jerusalem Center became a real turning point in the Church's relationship with Israel and Palestine because they have strong, close partnerships with individuals and groups who identify with each group. They have sent humanitarian aid many times over years, and have committed to doing so now. I trusted that would be the case.

I do highly encourage you to read the links above, but the TL;DR version is that the Church got fully engaged in helping Palestinian refugees for the first time in 2006. I've given you multiple links for a reason, so you can see the way LDS attitudes to this conflict between Israel and Palestine have been evolving and changing over time. The rejections of Israeli violence and support for Palestine today are not new. They've been going on in the LDS Church for almost two decades now. The Church maintains the campus in Jerusalem specifically to expand our peoples' perspectives and understanding of that conflict, specifically so they won't unconditionally side with Israel and support everything they do. And that's not my interpretation. That's what one of the instructors who taught at the Jerusalem Center said of the program there.

While some Latter-day Saints have adopted unconditional support of Israel because of the influence of their allegiance with the Republican party, it's not a position that's endorsed by the Church. It's a position the Church has made deliberate efforts to undermine with the resources available to them on multiple fronts. In education through the Jerusalem Center, in humanitarian aid to Palestinians, in messaging from General Conference, and in their PR campaigns like "I Was a Stranger," church leadership (and, one could argue, God) has been trying to challenge Latter-day Saints to develop a more unconditional love that embraces the entire human family, not just those who are politically convenient to us in our current loyalties.

So when the Church made their statement regarding the outbreak of the Israel Hamas War, people criticized it for not saying enough. It didn't give the information that people wanted: what the Church's response was going to look like, how it would impact church members in the region, and what precautions the Church was going to take to protect them. Because the statement was given on October 12th, the answers to those questions weren't really known. But there was an additional question people wanted answered: Whose side is the Church on? They wanted the strongest possible condemnation, some in favor of Israel, and some in favor of Palestine, depending on what their political alignments were. And I will say those people missed the point. They didn't have the knowledge base of the Church's relationship to the Middle East to properly understand the statement.

The Church didn't "pick a side" in this conflict because of the longstanding relationships the institution has with both Israelis and Palestinians. No human life in that war is more or less valuable to them based on their ethnic background or national origin. To expect the Church to choose sides demonstrates a total lack of understanding of what the Church's goals are with their presence in the Middle East: getting people to recognize the value in interfaith relationships and developing love that rejects politically manufactured enmity.

If you're demanding the Church to pick sides in conflicts based on your political alignments, you're allowing the process of politically motivated dehumanization to cloud your judgement. You're asking them to choose an enemy, which couldn't be further from what the Church is supposed to do in this situation. The statement reflects a refusal to choose sides by condemning one thing, in the strongest language I've ever seen any modern church leader use: Violence.

All violence, no matter who enacts it or for what purpose, is "abhorrent" in the sight of God. That's what the statement said. Think about the implications of that statement. If a person is doing violence, they cannot please God. Those who please God cannot do violence.

Think about the longstanding relationships the Church has with civic leaders in Israel. Think about the fact that this statement was given on the 12th of October, before Israel's offensive even began. It would have been so easy for the Church to condemn terrorism in that moment instead of violence, but that's not what they did. They stated their commitment to care for Israelis and Palestinians in the coming conflict, drawing a line in the sand—prophetically, if I may add. I fully believe that the strength of the language of this statement anticipates how extreme the Israeli response has been, which the Church condemned before it began.

One of the unfortunate side effects of being terminally online and fluent only in American politics is that a statement like the one the Church gave reads to some as saying passively "all lives matter." That's not what was happening here. There was a reason I gasped when I read the statement and thought to myself "Woooow. They're big mad."

I studied Public Relations in college. Lying is the dumbest approach you can take as a PR strategy. It squanders good will, destroys your authority, and doesn't accomplish any organizational goals long term. A better strategy is to say exactly what you mean in the fewest words possible, and let people identify the implications for themselves. Only those who are truly invested in your message will understand everything you said without you having to say it.

The Church's statement was all but a slap in the face to the Israeli and US governments, telling them that God rejects them for bringing this violence into the world. They will not enjoy his protection while this violence continues. It also stands to reason that any other nation that assists Israel with their campaign of death and destruction will also stand condemned by God.

Church leadership, in partnership with PR, isn't going to say that part out loud. But they'll imply the hell out of it. Working in PR is operating on Jane Austen levels of subtext. I wish more people understood that so they could enjoy moments like this when the Church throws shade.

[thespectral-wolf]

The release of Sonic x Shadow Generations is approaching, let's make some predictions again!

Note for this poll: this is specifically about remasters not remakes, so the theoretical game we're talking about is just an improved version of the original game with some possible extras, NOT a completely new game with modern graphics/gameplay.

[art-that-fucks-you-up-tournament]

SET THREE - ROUND ONE - MATCH EIGHT

“Salvator Mundi (Savior of the World)” (c.1499-1510/2006-07 - Leonardo da Vinci) / “Untitled (billboard of an empty unmade bed)” (1991 - Félix González-Torres)

SALVATOR MUNDI: It is absolutely captivating to me. The gaze comes straight through the broken up surface. (@skeppsbrott)

UNTITLED (BILLBOARD OF AN EMPTY UNMADE BED): this piece has stuck with me for years, the most out of all of his work, which is saying a lot. this statement of grief through the private made public, and not just the private made public but that which society wanted so badly to be hidden and eliminated put into the open, just fucks me up so much. There is grief and love here, yes, but defiance also. It is a refusal to keep this suffering quiet, and certainly a refusal to keep this behind closed doors. beyond that, the fact that it is their bed, that you can see where their heads were lain the night before, yet the absence is palpable- it’s such a devastating and accurate portrait of grief, of absence where before there was presence. (@hineinihineini)

("Salvator Mundi" (Savior of the World) is a oil on walnut panel painting attributed to Leonardo da Vinci, but possibly by another artist. The submitter specifically requested the post cleaning and pre-restoration version of this painting. This painting measures 45.4 by 65.6 cm (25.8 by 19.2 in) and is privately held.

"Untitled (billboard of an empty unmade bed)" is a 1991 work by Cuban-American gay artist Félix González-Torres. This work was exhibited on over two dozen billboards throughout Manhattan.)