#the adam project review

[sarah-elizabeth-mcleod]

The Adam Project Review

I saw The Adam Project directed by Shawn Levy when it came out in 2022, and I loved it! It was such a funny action movie, but that might have just been because of the actors in it. The main characters were Walker Scobell playing Adam Reed and Ryan Reynolds playing an older Adam Reed. Both Walker Scobell and Ryan Reynolds are amazing actors that also have an amazing sense of humor that really shows through in the movie with some of the jokes. The movie is all about the older Adam Reed trying to save the future, and he needs his younger self's help to do so. It is a great family movie to watch, and I 100% recommend it if you enjoy action, sci-fi, and comedy movies.

[largemouthbassnation]

Is an LS-Powered Subaru BRZ Better than a Corvette? - One Take

Save time, money and headaches at the dealership with CARZING! Find your car, line up financing, and do the paperwork at … source

[moviesandmania]

PROJECT DOROTHY AI techno-fear with Danielle Harris - free on Amazon Prime (US), Tubi and Vudu

‘They are not alone’ Project Dorothy is a 2024 sci-fi horror film about two thieves who take refuge in a remote seemingly abandoned scientific facility, inadvertently awakening an AI monster within. Directed, co-produced and co-starring George Henry Horton (Dreadspace; Dark Obsession) from a screenplay co-written with Ryan Scaringe (Useless Humans; Eradication). Also produced by Ryan Scaringe.…

[oneofthosecrazycatladies]

Okay a couple weeks ago I started this post trying to keep track of all the stuff going on in order to help remind us of everything that’s happened when the next election comes around. Well, because there’s just so much going on, I’ve realized trying to cram it all into one post isn’t going to work. So I’m going to do a new post every month and include links to the previous ones.

So here goes…

January 2025

February 2025

Donald Trump has enforced his tariffs on Mexico, Canada, and China. [x]

Donald Trump has put Mexico tariffs on hold for one month. [x]

Donald Trump allowed Elon Musk to begin dismantling USAID. [x]

Congress is voluntarily giving up its power and allowing Trump to make unilateral decisions. [x]

Darren Beattie has been made Under Secretary of State. [x]

Everything that Donald Trump has done so far lines up with Project 2025 [x]

The White House is drafting an executive order to eliminate the Department of Education [x]

Elon Musk, who nobody voted for or elected, has, essentially, hacked the government. [x]

El Salvador has agreed to take US deportees of any nationality. [x]

US Representative Andy Biggs is proposing a bill to abolish OSHA. [x]

Pam Bondi has been confirmed as Attorney General [x]

Donald Trump doesn’t think Palestinians should return to Gaza. [x]

Donald Trump says he’ll use US troops to “take over” the Gaza Strip. [x]

A federal judge has blocked Donald Trump’s executive order to end birthright citizenship. [x]

Donald Trump has banned trans women from women’s sports [x]

Donald Trump sanctions the International Criminsl Court. [x]

A judge has paused the federal “buyouts” [x]

DOGE: Member of DOGE resigns [x]

DOGE has been given access to the Department of Energy. [x]

Miscellaneous news about Elon Musk [x]

DOGE is using AI to infiltrate the Department of Education [x]

Russell Vought, author of Project 2025, has been confirmed as Director of OMB [x]

Democrats in Congress have introduced the Taxpayer Data Protection Act [x]

Donald Trump has flagged the words “women” “diverse” and “historically” from studies done by the National Science Foundation. [x]

New Mexico Representative Melanie Stansbury has introduced the Nobody Elected Elon Musk Act [x]

Democratic Congressional leaders have introduced the Stop the Steal Act [x]

Donald Trump has called for a review of funding for the United Nations [x]

Federal agencies are barred from celebrating Black History Month [x]

Donald Trump has frozen aid to South Africa and accused the South African government of racism against white South Africans [x]

Donald Trump wants to use Leavenworth Prison as a migrant detention facility and have it run by a for-profit company known for its numerous human rights violations. [x] [x]

Trump has told the Treasury to stop making pennies. [x]

Representative Mark Pocan (D-WI) proposes the E.L.O.N. M.U.S.K. Act (which stands for Eliminate Looting of Our Nation by Mitigating Unethical State Kleptocracy) [x]

Employees of the Consumer Financial Protection Bureau were told to stop all work and are now being told to stay home. [x]

Trump will impose 25% tariffs on steel and aluminum. [x]

Trump says Palestinians won’t be allowed back in Gaza if the US takes it over [x]

Tulsi Gabbard has been confirmed as director of national intelligence. [x]

Representative Buddy Carter (R-GA) has proposed a bill to change the name of Greenland to Red, White & Blue Land [x]

The DOJ has dropped the corruption charges against New York City mayor Eric Adams. [x]

An AP News reporter has been banned from the White House for using Gulf of Mexico instead of Gulf of America in its reporting. [x][x]

Senators Deb Fischer (R-NE) and Angus King (I-ME) are pushing for a tax credit that would encourage businesses to offer paid family leave. [x]

Representative Sara Jacobs (D-CA) has introduced the Protect US National Security Act [x]

The State Department (taxpayers) is paying Elon Musk $400 million for cybertrucks. [x]

Robert F. Kennedy Jr. has been confirmed as HHS Secretary. [x]

Trump is conducting a mass firing of the federal workforce. [x]

Senator Ted Cruz (R-TX) is creating a list of all the ‘woke’ science he wants to get rid of. [x]

References to transgender have been removed from the Stonewall National Monument. [x]

A 71 year old refugee living in Thailand has died because of the USAID freeze. [x][x]

Here’s a link to the Project 2025 Policy Agenda that Donald Trump claimed he didn’t know anything about.*

*He only claimed he didn’t know anything about it after it proved to be deeply unpopular with the general public.

I’m also including directories for both the House of Representatives and the Senate. That way, if you’re so inclined, you can also track the individual actions of every Senator and Representative.

Miscellaneous News

Representative Nancy Mace (R-SC) repeatedly uses a transphobic slur on the Congressional floor. [x]

Clarence Thomas is…being Clarence Thomas *sigh* [x]

Donald Trump fired the Chair of the Kennedy Center and named himself as the new Chair [x]

Trump said that no group of people in the history of America has been treated worse than the way the January 6th insurrectionists have been treated. [x]

Some people are impersonating ICE agents and harassing & assaulting people of color [x][x]

Trump’s mass deportation is hitting a wall [x]

The Trump administration’s incompetence is coming back to bite them. [x]

Once again, please feel free to let me know about anything I’ve missed. With this era of constant news we live in, it can be easy to forget so let’s give our future selves a little help!

[reviewsbycinemafreak]

My The Adam Project (2022) movie review!

[seeingivy]

casual

suguru geto x f!reader

**loosely based on casual by my beloved chappell roan

—

in the three months that you spend with suguru geto, he leaves a sour taste in your mouth and it’s not only because he tastes like black coffee. and in the two months that follow, before your deeply unfortunate circumstantial reunion, the last five words that you uttered to him, the sentiment behind them, only seems to grow. 

you can go to hell. 

and it’s all you can think when he shows up to the emergency room – a pinkish sunburn across his nose, his hair messily tied back – and eyes dripping in a concern that fills you with a rage. and it’s a deep sigh that he gives you, before reaching for your hand. 

“what happened to you, peach?” 

--

the general education class that you choose to satisfy your values and ethics inquiry is the sociology of religion. counting all the stakes – a stellar review on rate my professors, a night class at the start of the week, and minimal homework – it makes for the most ideal choice. 

“so what’s your major?” 

the downside? the midterm and final project are group assignments. and on any other occasion, you would have appreciated it – getting to split the work, taking some of the load off and sharing the work with someone, except for the fact that you didn’t know anyone in the class – and for the most part, you were expecting some half-brained idiot that would make you do all the work. 

you suppose it’s at least fair that he’s not horrible to look at. in the dimmed lights of your apartment, there’s something almost off putting about your partner, suguru geto. you count seven piercings across his ears – dangling silver pieces almost shining in the glint of the light – and the smallest rim of purple around his eyes. harsh cheekbones, a hard jaw, and wrinkles by his eyes. 

“educational studies. what’s yours?” you state. 

“computer science.” 

you hum in response, filling the two glasses with water and snatching one of the peaches from its container before taking your seat across from him, noting that he has a dimple on the left side when he smiles in response to your gesture. 

“did you want some?” you ask, holding the peach in between the two of you. 

he shakes his head, slumping against the counter in what seems an almost unnatural pose – his long limbs spreading into the space underneath your chair. you wonder if he always had an unusual way of taking up space. 

and it seems that as time goes on, he gets more and more unusual. quietly working through the portions that you split up, except for a few deep breaths here and there, though he would stop once in a while and would almost ask for approval of what he had written, waiting for some confirmation from you that it was okay with you. 

“you’re comparing adam and eve to…orpheus? i’m not really familiar with that.” you state. 

suguru nods, before turning towards you to explain. his eyes waver in the slightest as he turns over to you, his gaze flitting down to your lips, before looking back up at you. 

“you don’t have to be polite. you really can have some if you want, it’s really sweet.” you state. 

suguru smiles. 

“maybe later.” 

you shrug. 

“so orpheus…” 

“it’s a really old greek myth. orpheus and eurydice. to kind boil it down, eurydice is in the underworld with hades. and orpheus is trying to convince hades to let her return to the mortal world, with him.” 

he scoots his chair a little bit closer to you and you’re able to note one thing – that there’s a resonance in his voice, that it hums in his chest when he talks. 

“hades tells him that he’ll let him take eurydice with him, but on one condition. she has to walk behind him.” 

“that’s not that hard.” 

suguru grins. 

“isn’t it?” he asks. 

you pause. 

“you’re being told by this big, all powerful god, that she’s walking behind you. but you can’t look. you wouldn’t even consider the fact that you were being fooled? that maybe she had decided not to follow?” 

“i mean, i guess. i don’t think it would really cross my mind, i…i think i’d just follow out all the way til the end because i’d kind of have faith if that’s what i was promised. and that she’d want to come with me too.”  

suguru pauses, like he’s almost taking in what you’ve said – like it’s the first time he’s heard it – and responds rather slowly. 

“you’re rather trusting, aren’t you?” 

you roll your eyes. 

“is that such a bad thing? what do you think about it?” 

suguru shrugs. 

“it was a worthless pursuit in the first place. there was no way that he wouldn’t have turned around and looked back.” 

“what do you mean?” 

“it’s simple. he loves her. if he hears something that deceives him – like the sound of her tripping over a rock – he doesn’t think. he looks back. if he thinks that she isn’t there, he won’t be able to get over it and he’ll turn around.”  

you pause, mulling the thought over. and you suppose it’s true – that if you really did love something, it would be almost impossible not to check for the promise of their presence. 

“i guess. so what? she goes back to the underworld?” 

“yeah. it’s one of the most tragic love stories.” 

“i guess it’s kind of romantic. that he loved her so much that he had to look back, like it was almost an instinct.” 

and in the split second that the two of you stare at each other, he leans forward, pressing his lips to yours, with the strong taste of coffee lingering on his lips. 

you’ve kissed three people before in your life – the boy you sat next to in the seventh grade, your date to the prom, and now suguru geto. 

the first was overwhelming. a quick locking of the lips, that at the time, made you nearly erupt into a puddle of butterflies. the second was lackluster. waxy from too much chapstick, abrupt from the fact that he was quick to shove his tongue in your mouth. 

and the third was indescribable. only because you could feel it – something lingering under his demeanor that you couldn’t exactly place. there wasn’t a word for the feeling it gave you – though there was one that was close enough. 

curiosity. about what that feeling is, about who suguru geto was, and why he felt so inclined to kiss you upon your third meeting. 

you wanted more of it. 

“you’re right, you know?” he murmurs, breath warm against your lips. 

“about being trusting?” 

he laughs. 

“no. about the peach. it really is sweet.” 

he leans back, eyes fixed on the reading in front of the two of you again, as you reach up to touch your lips, the sticky sweetness of the fruit gone from your skin. 

--

suguru comes around often after the fact. always here and there, an almost abrupt and concise text testing the waters. 

[suguru]: is your roommate home? 

[you]: nope. she’s at the district. 

[suguru]: can i keep you company?

[you]: okay! 

and he always arrives promptly twenty minutes after the fact, to the point where you wondered if he lingered around just to get there as fast as he could. and never empty handed – with dinner, dessert, or a flower that he plucked out of the cement in his hands. 

that was the thing that confused you about him. 

after the very first time you kissed, he had made one thing very clear. 

no attachments. you’re not together. 

but yet, he’d show up sometimes and do nothing but kiss your forehead and sleep in your bed next to you. or make you do something entirely mundane – like watch toy story three with a sheet of cookies in your oven – or watch you study. 

and in the two weeks you had known him, you knew better than to question. your curiosity never stopped you, but you found that you were always left with more questions than the vague answers that he gave you.  

“hey peach?” 

“yeah?” 

“your mom is calling.” 

you widen your eyes, immediately snatching the phone from him, and giving him a weary smile. and you side shuffle into the walkway between the laundry and your bedroom, pressing the phone to your ear and murmuring under your breath. 

“hi mom.” 

“hi doll. how are classes?” 

you pick at the loose thread of your sweater, nearly breaking the seams of the sleeve, noting suguru’s curious eyes – that he’s very poignantly trying to hide – from the kitchen. 

“they’re good, ma. what’s up?” 

“right. i’m so sorry to do this to you, my sweet, but i won’t be home when you get back.” 

“what?” 

“we’re going on a trip to see sheila in new york. and well, her vacation is only during those dates and we want to spend as much time with her as we can.” 

you sigh, the frustration tempering in yoru chest. 

“i already paid for the tickets. i saved up for a month trying to buy a flight back.” 

“darling, i know. i’m really sorry, but you know how it is. she just gets so stressed out that we just wanted to go out there and make her holiday nice.” 

“and what about my holiday? you don’t want me to have a nice christmas with my family?” 

you can feel it burning in your cheeks – that embarrassing feeling that’s been simmering in your chest since you were kid. a mix of an insurmountable amount of envy and dejection, from trying to vie for attention from the second that you realized you never had it. 

“don’t try to make me feel guilty.” she scolds 

“i’m not trying to make you feel guilty! i just wished you would have thought about me too.” 

you hear an irritated sigh on the end of the line, which is your first sign that you had made a mistake. because if there was one thing you knew how to do, it was push your mom’s buttons. 

you wonder if it’s because she sees herself in you – and that utter hatred that she has for herself was now placed on you instead. 

“do you always have to be so curt with me?” 

“i’m not being curt, i just…” 

“maybe when i die, you’ll think back and wished that you had appreciated me more. been more understanding that i’m not just your mother, i am someone’s friend too. that i have my own life. and that at the very least, my friends like to call me here and there. acknowledge me while you do god knows what wherever you are.” 

“okay, well, i –” 

“enjoy your christmas. we’ll see you in the spring.” she states. 

there’s a static on the other end of the line and you drop your phone, staring at the dark screen in your hands for the few seconds that follow. and you must have been standing there for too long, because a few minutes later quiet footsteps accompany you in the dimly lit hallway, suguru’s head obscuring the light from the bulb. 

“hi peach.” 

“did you hear all of that?” 

“no.” he responds. 

you look up at him and glare. and he reaches forward, hands soft on your cheek wiping away the wetness that you hadn’t noticed. you’re not sure when you started crying. 

he leans forward and presses a kiss to your cheek.

“you’re a liar. if you’re one thing, it’s nosy.” you respond. 

he smiles. 

“maybe when it comes to you. what happened, pretty girl?” 

you shake your head, his grabby hands coming around your waist as he presses you closer to his chest. you can hear his heart thumping against your ear, the metal of his necklace cold on your cheek, as you heave a sigh. 

“nothing.” 

“oh, come on, peach.” 

you look up at him, expectant and full brown eyes waiting for an answer, as you give in. 

“i just thought i would be going home next week for break. but i think i’m just going to stay here.” 

“because your parents are going to…” 

“see their friends in new york.” 

suguru frowns. you can’t tell if it’s pity in his eyes. 

“it’s not a big deal. i just was expecting to go home, that’s all. and it’s not that big of a deal that i’m going to stay here, the weather is nice and it’s probably frigid cold there.” 

suguru pauses. 

“you’re going to be here alone?” 

“yeah. my roommate is from the east coast.” 

“you should come home with me, for break.” 

you look up at him, eyes wide. 

“what?” 

“s’not that far from here, i usually just make the drive. there’s a nice coffee shop on the way that i always stop at for some energy. and my mom is really nice.” 

you shake your head, almost too violently. 

“i can’t just go home with you. i wouldn’t want to impose.” 

suguru pulls back, his fingers fast on the screen, as he murmurs under his breath, his voice uncharacteristically soft. 

“you’re not an imposition to me, peach. i can’t leave my baby here alone.” 

“sure. but to your parents, and…and staying rent free in your house.” 

suguru grins, handing over the phone to you, as you read the texts on the screen. 

[suguru]: can my friend come home with me for break? her name is y/n. 

[mom]: YES!!!!! 

[mom]: A GIRL! 

[suguru]: not like that

[suguru]: but she’s sweet 

[mom]: I’M GETTING EVERYTHING READY 

you look down at the phone, noting the sweet heart emoji that he has near her contact name, the contact photo a picture of the two of them when he was considerably younger, hugging cheek to cheek. 

“and i stay rent free in your apartment all the time.” 

“suguru, this is…weird. i can’t just come home with you, that’s…that’s too much.” 

he shakes his head. 

“it’s casual. we’re just friends, you’re just coming home with me for break so you won’t be here alone.” 

right. you’d almost be inclined to believe him – if it wasn’t for the fact that the time you spent around him, the more curious you got. 

the more that feeling festered in you, wanting to know anything and everything about him, wanting to crawl deep into his skin and memorize everything and make sense of why he was the way he was. 

“you promise?” 

“for sure.” 

--

“you’re a loser.” 

mei mei is never one to mince her words. and you’re grateful for it – because it’s something that you need when you return from your two weeks stay in long beach with suguru over the break. 

because despite the words that he told you, the ones that you didn’t really believe anyway, you come back in a worse state than you expected. 

you think you love him. 

because in the days of uninterrupted time that you spend together, you let your mind wander too far. because in the quiet moments that the two of you had – knee deep in the passenger seat outside the stupid coffee shop you stopped at, giggling in the bathroom when you went to dinner, and tangled in the bed sheets with him every night – you let yourself taste too much. 

let your mind run a little too wild. thinking about meeting his friends at the pier he showed you, of living together in an apartment in the following year. 

and the two of you teeter a dangerous line. putting each other as emergency contacts, swapping your wardrobe in between your flats, and showering together every morning – his soft hands massaging the shampoo into the roots of your hair.  

“don’t be mean.” you state. 

“i’m not being mean, i’m just saying that…” 

mei mei sighs, cheeks in her hand, with an almost irritating look in her eyes – wholeheartedly judgemental. she just didn’t get it. 

“look, he’s friends with todo. that guy i know from the finance club? and i asked around about him, apparently he loves to brag about how he gets girls off all the time. now either he’s talking about you – clearly not the way you talk about him – or he’s talking to someone else.” 

you sigh. because you can’t even put it past him. because in the months you had known him, he was impossible to understand. a futile effort to read. impossible to touch. 

“look, i’ll just ask him later.” 

and when he comes around your apartment, well after mei mei has left, he brings a slice of peach cobbler that his coworker insisted that he take home with him. 

“peach cobbler for my peach!” 

you wince. 

“that was corny. even for you.” 

“i saw an opportunity and i took it.” suguru responds, shrugging as he loops his arms around your waist, chin resting against the top of your head as he eyes the pot of boiling ramen on your stove. 

and you bite the bullet as fast as you can. 

“do you see other girls?” you ask. 

“huh?” 

you swallow hard, dry patch in your throat, as you feel the sweat tickling the top of your forehead. it’s from the heat of the stove. 

“do you see other girls? or guys?”

“no. do you?” 

you shake your head. and you’re unsure how to word the next question – because there was something humiliating, too bare about having to admit that you want more to him – when things were so sweet as they were. 

perhaps you should have known better. coffee was always bitter at the end. 

“why do you ask?”

you shrug. 

“dunno. was just thinking about us. and how we spent break together and all that.” 

suguru presses a kiss to your hairline. 

“yeah? did you have fun?” 

you hum in response. 

“yeah. i really liked the city. and your mom and your sister. it was really sweet of you to take me.” 

you pause, wincing as you decide to be as blunt as possible. 

“and i like you.” 

he laughs. 

“well, i like you too.” 

“no, no, i like you. well, i more than like you, but i…i can’t say those words.” 

there’s a silence. and his arms feel like loose limp noodles around you. and you realize now, that you made the wrong choice. you turn around, only to find hollow brown eyes staring at you, the makings of a frown on his face. 

“suguru?” 

he winces. 

“i can’t.” he whispers. 

“why not?” 

and you’re not sure what it is, but it throws him into a panic. with his facial features scrunched up, eyes hollow, and nervous hands running through his hair. 

“i just can’t.” 

you cross your hands over your chest, the bitter contempt of rejection blooming in your chest, as you look down, picking at the scab on the inside of your palms as you ask again. 

“i said i didn’t want any attachments.” he adds. 

“i know. but can you blame me for being confused? you took me home to see your family.” 

“as a friend.” 

“you didn’t act like my friend while we were there.” 

suguru groans. 

“and that’s my fault, i know that but –” 

that one stings. admitting that he regrets it. 

“okay, well. that’s alright. maybe you should leave now, then.” you state. 

“wait peach, no. i don’t want to leave, i just..” 

you scoff. 

“you don’t want to leave?” 

“no?” 

it comes out meek, almost timid when he utters it. a question. like he can’t even admit it fully – that he wants to stay. and it fills you with anger, searing red hot anger on the heels of being cast aside so nonchalantly, that it comes to a head then and there. 

“do you really think so little of me?” 

“what? 

“i’m not good enough to be your girlfriend. but whatever else you want, that’s fine. i…i thought you thought of me better than some girl you just fuck around with.” 

suguru sighs. 

“you’re not some girl i just fuck around with.” 

“am i not, though?” 

suguru shuts his eyes, the look on his face is so pained – so miserable – that it irritates you. 

“you’ve made it abundantly clear. that you like me a decent amount, but not enough to care about whether or not you’ll lose me.” 

you bite down so hard on your lip that the taste of metallic blood fills your mouth, coupled with warm tears in your eyes. 

“and for that, you can go to hell.” 

--

“what happened to you, peach?” 

you scoff, curling your nose at the old nickname, as he yanks the closest stool – his legs still too long to even be comfortable on the thing as he leans forward, noting the dried blood on your forehead. 

“a car accident. you can leave now.” 

suguru frowns, almost resembling a kicked dog, as he shakes his head. there’s something softer about his expressions now – something you’re sure is a byproduct of the time you spent apart or the fact that you have a broken rib – and you choose to ignore it for the time being. 

“i can’t just leave.” he whispers. 

“and why not?” 

suguru shakes his head. 

“you have a broken rib. and a deep cut on your forehead. forgive me if i’m concerned about you.” 

“i can’t. knowing you, you’ll casually linger around here for a few days, and when you figure it’s appropriate to leave, you’ll be gone with the wind.” 

the two of you sit there in silence, the harshness of the words hanging in the air between the two of you. 

and yet again, suguru geto leaves you with a never ending pit of curiosity. about what he was doing here, to ask how he is – to make it a note to him that his cheeks look fuller, that his eyes aren’t rimmed red anymore, and that he looks good. 

that you like the new hairstyle. that it killed you when he wasn’t around anymore. that you still want him to go to hell. 

suguru twists the silver ring on his pointer finger a few times – a fourth, a fifth, and a sixth – before you break the silence, your curiosity getting the best of you another time. 

“why are you here?” 

“they called me. i’m your emergency contact still.” 

“no, i gathered that. why are you here?” 

suguru pauses, swallowing hard before responding. 

“if orpheus hears something that deceives him – like the sound of eurydice tripping over a rock – he doesn’t think. he looks back.” suguru states. 

you scoff. vague again. 

“right.” 

“no, really. i got the call. and i didn’t think and just showed up. i just…just had to see you.” suguru states. 

he pauses. 

“it’s kind of romantic, don’t you think? that he loved her so much that he had to look back, like it was almost an instinct.”

you turn to glare at him, at the audacity of him repeating your own stupid words back to you. 

“is it? because his carelessness left her in hell with hades.” 

suguru scoffs. 

“i never did tell you the end of the story, did i?” 

you roll your eyes. 

“orpheus becomes so distraught that he uses his lyre to charm death – just so that he can return to the underworld to be with her. and people debate how it happens, him being ripped apart by irate women or getting killed by the menades, but it does happen. he dies and goes to the underworld. and in some versions, people think that he reunites with her in the underworld. and she forgives him.” 

“and why would she do that?” you ask. 

“because he tried his best to do right by her. he was asked to do one thing – to stay away. and that’s what he did, because…because i know you’re right. because you do deserve better, i do think the world of you and think you deserve to be with someone who wants to be with you, the way that you want.” 

suguru pauses. 

“it’s not my fault that i can’t help but look back. i can’t do anything about the fact that i love you.” 

you swallow hard, an embarrassing amount of regret – mixed in with that deep longing that he left in your chest – searing through you. 

“in the casual way, right?” you respond, sarcastically. 

he groans. 

“it’s not casual at all. it wasn’t casual when i leaned forward to taste the sweetness of the peach on your lips – especially when i fucking hate peaches. and it wasn’t casual when i took you home with me, it was…i just couldn’t stand the thought of you being alone. and it’s not fucking casual that i drove three hours when i was supposed to be home this weekend just because i the thought of you sitting in this room alone, in pain, was driving me crazy.” 

you wince, turning to look at him. and it seems that in the mere acknowledgement of his presence by locking his eyes, it seems to fill him with something – something that puts the whisper of a smile on his face. 

“what?” 

“i turned around for you. i didn’t know i would, but now that i have, i…i realize that i probably always would have.” 

“okay?” you whisper. 

“are you going to forgive me for it? not doing it earlier, for…for not getting it right the first time?” he asks. 

you pause, mulling the thought over. and the silence, he takes it as an invitation to plead his case. 

“i’ll beg. i’ll get on my hands and knees if that’ll do something to make it better.” 

you turn to look at him. 

“you…you’re special. i haven’t forgotten about you and…and i know we had something. just let me fix it? i’ll get you a hundred gifts, i’ll tell you a hundred times and i’ll - oh!’ 

he reaches into his bag, shoving his arms into the depths of the pockets, before yanking out a little napkin and reaching forward, opening your hand and placing it in your palm. 

“a tissue?”

“open it.” 

and you oblige, unfolding the tissue to see four little gummy peach rings in the napkin, before turning back to him. 

“peach rings?” 

“for my peach! i eat them all the time now, even though i fucking hate peaches. i only had a few left so i grabbed what i had left when i ran out. and i ate some on the way on accident because i was nervous, worried about you and all..” 

you look down, the sugary crystals on the candy almost sparking in the light, as you look back at him. and he's wholeheartedly different - not the cool, cold guy you left behind, but a weird mess of awkwardness and jitters, and maybe even the tiniest hint of desperation.

he seems wholeheartedly more touchable this way.

“you make no sense.” you state.

suguru frowns. 

“i know. but i’m trying.” he responds. 

and you sigh, wiping your hands at your side, before eating one of the candies. bitter at first, but sweet at the end. 

“suppose that’s my problem then. i’ll have to figure you out.” you respond. 

suguru’s face splits into a smile, his motions so eager as he leans over the railing of the bed, the angle entirely off as he leans forward to kiss you. and it’s entirely different from every other time you’ve kissed him – full and whole, a warm and tender promise behind it. 

“you’re wrong, you know?” you whisper. 

“about what?” he murmurs. 

“the peaches. they taste good.” 

he laughs. 

“is that right?” he whispers, his thumb tracing the outline of your lips, as he wavers his eyes up again, to the cut on your forehead. 

he leans forward, pressing a kiss to the bandages, before pulling back, lips lingering over yours. 

“i think i need one more to decide.”

--

an: idk.

taglist: @porridgesblog @k0z3me @sugu-love @yihona-san06 @bsenpai @sweetenertea  @skzismyhome @mykyoon @violetmatcha @rebeccawinters @shotenvinsoot @itzmeme @gojoswifeyyys-world @cutiejg @chilichopsticks @timmytimmytuckyy @dreamxiing @mamamamamarga @skunabby @meisque @hoseokslefteyebrow @yoontaedotin

[mostlysignssomeportents]

Skinnamarinkstump Linkdump

I'm on a 20+ city book tour for my new novel PICKS AND SHOVELS. Catch me TODAY (Feb 15) for a virtual event with YANIS VAROUFAKIS, and on MONDAY (Feb 17) for an event at KEPLER'S in MENLO PARK with CHARLIE JANE ANDERS. More tour dates here.

It's Saturday and I'm on a book tour, and the world is in chaos, and there are more links to write about than I could fit in to this week's newsletter, so time for a cubic linkdump, the 27th such:

https://pluralistic.net/tag/linkdump/

Let's start with the best thing I saw all week: a 3D-printed, spring-loaded, clockwork chess pawn that uses a magnet to sense when it has reached the end of the board and SPROING! turns into a queen:

https://www.youtube.com/watch?v=CSOnnle3zbA

The whole video is a fascinating account of the design process, from idea to prototype to finished item, but if you're impatient and want to skip right to the eyeball kick, it's at 12:27-12:35. And if you want to print your own, the files are $12 (cheap!):

https://www.patreon.com/WorksByDesign/shop/queen-pawn-3d-printing-files-614491?source=storefront

Regrettably, not every tech project is a good one. This week, Google abandoned its AI ethics pledge. Unlike most AI ethics pledge, which are full of nonsense about not accidentally creating a vengeful god that turns the human race into paperclips, Google's AI pledge was actually very important, in that the company promised not to make AI that violates human rights, international law, or privacy. There comes a point where harping on Google's abandoned "don't be evil" motto can feel a little hacky, but in this case, I'll make an exception. My EFF colleague Matthew Guariglia tears Google a much-deserved new AIhole over this latest heel turn:

https://www.eff.org/deeplinks/2025/02/google-wrong-side-history

Not all bad technology is evil. Some of it is merely very, very stupid. How stupid? Check out Thom Dunn's Wirecutter review of The Heatbit Trio, a space-heater that uses Bitcoin-mining GPUs to generate some of its heat, very slightly offsetting the cost of warming your room – but at a rate that would take decades to recoup the $700 price-tag. Thom got some spicy quotes from Molly White for this one – possibly the first time she's been cited in a home appliance review:

https://www.nytimes.com/wirecutter/reviews/heatbit-space-heater-review/

Staying with crypto freaks for a moment here, Adam Levitin dissects the cryptocurrency "industry"'s latest chorus of aggrieved whining over "debanking":

https://www.creditslips.org/creditslips/2025/02/debanked-by-the-market.html

As Levitin writes, banks aren't kicking cryptocurrency "companies" off their books because the government wants to punish them. Banks have a very good reason to want to avoid doing business with high-dollar scams that have highly correlated implosions, which is to say, times when everyone wants their money back from the cryptocurrency "company" the bank is handling charges for. For a longer explanation that gets into the nitty gritty of bank supervision, check out Patio11's excellent, detailed explainer:

https://www.bitsaboutmoney.com/archive/debanking-and-debunking/

As all the real heads know, "crypto means cryptography," and cryptographers continue to contrive privacy marvels. This week, Kagi – the best search engine, a million times better than Google – released a Privacy Pass authentication plugin, which lets you login to Kagi and run searches without Kagi being able to connect any of the searches you make with your account:

https://blog.kagi.com/kagi-privacy-pass

As an sf/crime writer who sometimes (often) searches for information on committing ghastly crimes and 'orrible murders, the fact that my favorite search engine will be technically incapable of tying those searches to my identity is quite a relief. Read my review of Kagi here:

https://pluralistic.net/2024/04/04/teach-me-how-to-shruggie/#kagi

If you're one of those marvel-contriving hackers, cryptographers, security researchers or tinkerers, you should really consider attending this summer's Hackers on Planet Earth (HOPE), 2600 Magazine's (now) annual (formerly biennial) hacker con. They've just posted their CFP – get those submission in!

https://www.hope.net/cfp-talks.html

Well, I have to post this and get ready for this morning's virtual book tour event with Yanis Varoufakis:

https://www.youtube.com/watch?v=xkIDep7Z4LM

But before I go, one more link: Kevin Steele's 2005 essay on Hypercard, "When Multimedia Was Black & White," an absolute classic, and a beautiful meditation on the art and promise of early hypertext:

https://web.archive.org/web/20240213190609/http://www.kevinsteele.com/smackerel/black_white_00.html

I've known Kevin for most of my life, long before he helped found Mackerel, the pioneering Toronto multimedia company. Long after Mackerel, Kevin went on making wonderful things. In 2023, he published a monumental act of portraiture – a "sequential art" time-series of panoramas of Toronto's hip, ever-changing Queen Street West strip:

https://pluralistic.net/2023/09/13/spadina-to-bathurst/#dukes-cycle

Comparing Kevin's more recent work with that lovely old essay reveals deep correspondences and the progress of a unique and creative soul.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2025/02/15/intermixture/#debunking-debanking

[lets-try-some-writing]

I have been reading your review of Transformers One again and also looking back at the movie, which gives me this hot potato take:

Orion Pax weirdly feels like a Gary Stu, not because he was overpower and flawless (which I know there are no solid definitions of the term Mary Sue/Gary Stu and I don't think he's one). It's just that his characteristics felt too convenient to the plot as the writers just slap all the likable traits of a typical heroic character and just called it's a day without further exploration. They tried to go for the angle of a normal bot, average Joe from lower classes that get thrust into adventure and great destiny. But nothing about him is normal, even though he was supposed to be an insignificant miner. He was already special in the movie, with his tendency to break protocols and his obsession to find Matrix and be something more, and as you mentioned in your review, we simply don't know why he adamant about finding the Matrix. Would it be better that we showed a hint of Orion Pax not trusting Sentinel actually finding the Matrix in his expedition and felt out of place for being the only one who's skeptical of Sentinel??? And his trust issues with Sentinel could come from all his times sneaking and reading the history of Cybertron and noticing the hole in those records??? This would have made him very compelling and interesting, and also explained why he was so calm and level-head about Sentinel's lie and betrayals compared to other characters. Yeah sure the movie "showed us" Orion Pax's good and heroic traits to hint at his worth for the Prime title later, but uhm, it feels like the movie told us about his traits instead and expect us to roll with his characteristics as his scenes didn't convey these traits well enough or quite lacking.

And for a character supposed to be the main protagonist, he felt more like a deuteragonist supporting D-16/Megatron, which resulted in him being that hero who was just there to make the main villain more compelling and interesting.

I did like TF:O Orion Pax in my first round but after sometimes, I realized I simply like him because I projected a much-better written protagonist with similar traits into Orion Pax and made way him more interesting than he's actually is.

Aside from my issues with Orion Pax, Elita-1 is simply a plot device character, and I just don't get her personality/characteristics at all. She also didn't have any arc and her interactions with other characters, especially with Orion Pax when they were on the surface felt very artificial to me. And she's fake girlboss because nowhere in the movie showed that she's better than anyone, especially Orion Pax.

This is just my longest ramblings about my issues with the movie that barely evoked any emotions for me.

No no you are absolutely cooking with this.

TFO Orion IS a Gary Sue. He has no proper emotional base in order to establish his goals and opinions on things. His background is plain but lacks the hint or originality needed to give him the spark to act out of line, at least in a believable manner. His behavior is selfish, and yet he is proclaimed a hero by the end of the film without his arc having been completed. Orion can absolutely be selfish and foolish in the beginning, but if we are going to herald him as a saint, he needed to have had more development. As it stands, Orion was made God's favorite because... reasons. (Alpha Trion why didn't you guide our main cast while you had the chance????)

I 100000% agree with you on your assessment of Elita. She's there for the sake of sending a poorly written message and that is all. No growth, no real origin, no backstory, no properly established relationships. She's there to kick around a few future Decepticons and make everyone else look like fools. She needed so much more to be excellent, and I am legitimately sad that she didn't get the arc she needed to be a respectable character.

It seems we are on the same page anon.

[crooked-wasteland]

Hello there, it's nobody again. (rimshot)

Today I wanted to talk about an idea that I have been speculated in my head for a bit of time. That being the fact that the concept of story being in the afterlife doesn't seem to really exist at least from a writing standpoint.

At first, the idea of Hell being more so an actual livable society of demons and sinners seems interesting, but the execution makes it get boring fast, especially in the case of helluva boss S2 where a bunch of the World building feels really confusing. (Crimson's mafia, the rehab center, and the anti-blitz party and all the confusing morals there.) There's also the case of Heaven and Hell being effectively the coin (or more accurately ball) of each other considering that it's implied that heaven still has working services or activities involved.

Then in the case of Hazbin Hotel. (Though I haven't seen or plan to watch the show) A pattern I've notice from critical reviews is how lacking the backstories are. Sinners characters like Angel dust or Husk don't get focus on their pre-death lives. We are given background to their hell lives, but they're mortal history in comparison feels like an afterthought. We don't really have any context to what made them sinners in the first place. This problem of lacking origins even affects characters like Charlie, as we have no context as to why she's so adamant on her plans of redemption.

It reminds me a lot of the JJ Abrams Mystery Box philosophy of just hiding something for the sake of hiding and not really creating a solidary answer for us or even their selves. Not every character needs to get explained immediately or do so in complete detail. (Take Alaster's case). But I feel like they should have at least set up the groundwork of how this characters came to be in that sense.

With how unnecessary the past feels it feels as though you could probably rewrite Hazbin as a different style of fantasy. For example, it could be a Sci-Fi story. Heaven and Hell go from being different planes of existence to different planetoids. Maybe heaven the privileged class staying on the moon to planet hell. Heck, you could even put helluva boss in there still. Just have them go to different planets and they still have the idiotic society jokes that Viv took from Invader Zim.

Again it's not a perfect transition but the fact that you could mostly scrape off the red paint of the hell verse and you could potentially get the same story in a different circumstances feels bizarre. But it makes sense given that Zoophobia, Viv's first big project was effectively a mashed-up world consisting of all the cool ideas and character types that she liked at the time, some of which transitions later into the helluva verse.

Anyway I'd like to hear your thoughts on my silly Theory and I hope you have a nice day.

Hello again Nobody.

I have also made the comparison and reference to JJ Abrams’ mystery box TED Talk when criticizing Medrano’s works countless times. There’s a really interesting comparison to be made between Medrano’s styles of directing in Helluva Boss and Hazbin Hotel in this regard.

Season one of Helluva Boss was far from perfect as a story, but where it was lacking felt duly intentional. The mention of Barbie for the first time is delivered with a close up of Verosika’s face, drawing attention to the line and giving it a sense of importance. Similarly, the relationship between Blitz and Fizzarolli is foreshadowed by the framing in Loo Loo Land where the Robot entertainer is large on the screen, surrounded by children. In the same frame, Blitz is small and alone. His closeup comes from a downward angle where Blitz is glaring up at the stage.

These all are very well done. The timing in particular is perfectly balanced to mark the interaction as important. An appropriate and strategic use of closeup shots draw attention to mysteries to be revealed later in the story.

This is a stark contrast to how Hazbin Hotel is dealing with its “mystery”. Charlie’s history with her father is never referenced by the show, so when she is reluctant to call him in Dad Beat Dad, it comes from nowhere. She didn’t seem hesitant to answer his call in the first episode and he did send her to the meeting. So we have to assume that he knows of her Hotel and he has previously shown to be not just willing to help her, but vital to her opportunity. There were no serious questions about Charlie’s relationship to Lucifer that was born from the narrative. Similarly, when people ask what Pentious did to end up in Hell, it never warranted a full flashback. It is something not so important to the larger story that the pretentious trial confession is absurdly overblown. It's a question born from not understanding the characters, not because their story was honestly that important to know. The big mystery reveals are not intentionally set up, but reactive to genuine questions from viewers due to the complete lack of world building and character consistency.

On the note of setting, you are absolutely right and that fact is a huge issue to the structure of the show. Medrano doesn’t understand how setting contextualizes a narrative, after all she doesn’t see the importance of setting for a story, let alone its metanarrative. By being placed in an afterlife, it forces the world to reckon with concepts like morality. If this was in a setting like you suggested; a Sci-fi system where the wealthy elites colonized the moon and the poors are making do on Earth as labor slaves, forced to pillage the planet they live on to their own extinction while struggling to carve out their own societies (or just Piltover and Zaun), you are now looking at the constructs of a world without needing to make a statement on morality. Setting really does matter when you are designing a story. What themes and messages are you trying to send and how your setting and inspiration can contextualize those messages as being academic or dogmatic.

If we were not in Hell, we wouldn’t be gauging the actions and traits of the characters to figure out “what they did wrong” to be in this setting. We would simply know their crime is being unlucky without needing to spend any time actually drawing attention to it.

[stillwesleepp]

INTRO!!

(PLEASE READ AND MOOT MEEE)

name: Violet

age: 15

pronouns/sign: she/her + pisces 𓆉

fav bands/artists: alex g, arctic monkeys, beach house, buddy holly, chappell roan, cigs after sex, david bowie, deftones, eyedress, duster, gigi perez, hole, jeff buckley, modern baseball, mom jeans, weezer, lana del rey, mac demarco, McCaferrty, mazzy star, mook, nirvana, my bloody valentine, oasis, pixies, radiohead, slowdive, talking heads, the proclaimers, beach boys, cranberries, the cure, the frights, the flat sundays, the smiths, tv girl, wallows, wisp, and more!!

(not in order!!)

MOVIES: dead poets society, donnie darko, tpobaw, heathers, scream, it, thirteen, american psycho, little miss sunshine, little monsters, love actually, twilight, harry potter, jennifer’s body, 500 days of summer, ferris buellers day off, the breakfast club, the swap, great expectations, archie’s final project, pearl, titanic, scott pilgrim vs the world, ladybird, free guy, jeepers creepers, clueless, ruby sparks, easy a, the duff, dinner in america, final destination, 50 first dates, radio rebel, speak, 13 going on 30, and more!!

(also not in order!! sorry it’s a lot!!)

SHOWS: House md, my babysitters a vampire, gilmore girls, never have i ever, on my block, obx, stranger things, xo kitty, ginny and georgia, heartstopper, tvd, omitb, and more!! (i just can’t think of..)

BOOKS: tell us something true, tpobaw, american psycho, dead poets society, great expectations, the outsiders, harry potter, and more!! AND POETRY

(i don’t read a lot but i plan on reading more)

ACTORS: robert sean leonard, ethan hawke, paul dano, zackary arthur, jake gyllenhaal, matthew lillard, kyle gallner, dylan minnette, jack dylan grazer, timothee olyphant, drew starkey, adam brody, justin long, evan peters, walker scobell, logan lerman, giovanni ribisi, james mcavoy, kris lemche, bill hader, christian slater, and more!!

what i’ll post: i’ll post mostly movie or music stuff and mostly dead poets society things. I’m gonna try and post more of more things i like but depending on how well this post does and current obsessions i’m not sure exactly what i’ll post. Like X/twitter i’ll probably post my thoughts, hopes and dreams of course, but probably not as much as on twitter.

MORE: i love cats, poetry, art, some science, i hate math, american, learning french currently, im mostly always in my room listening to music or watching tv. Im currently watching house and after i finish that i may start watching Dexter. and i love horror movies!!

OTHER THINGS TO FOLLOW ME ON!!

discord: seizethedayyy

airbuds: seizetheday

[queer-ragnelle]

Excalibur (1981) | Directed by John Boorman

Arthurian Film List | Arthurian Show List | Movie review below the cut ⤦

Star rating: 10/10 Content warning: multiple rape scenes, heavy gore throughout, elements of horror, nudity, animal brutality (horses in battle are treated roughly) Overview: Writer and director John Boorman understood the assignment. It's evident this film was a passion project. Both of his children are in it (his daughter as Igraine, his son as young Mordred) and he had been working with J. R. R. Tolkien back in the 70s on an adaptation of Lord of the Rings which fell through, and much of those elements were revived and put to use here. The script, acting, score, and cinematography meet the epic demands an Arthurian film requires to succeed. Synopsis: The film opens with Uther before he meets Igraine and goes on to detail the entirety of Arthur's reign and life. Arthur's beginnings with Ector and Kay are very sweet and culminate in his pulling the sword in the stone and meeting a fun, quirky Merlin. The wizard trains Arthur up and he's eventually knighted by Urien and makes an ally of him while defending Leodegrance and Guinevere's castle. Arthur falls in love with Guinevere and intends to marry her, but first meets and battles Lancelot, wins his loyalty, and sends him to pick Guinevere up for the royal wedding. Meanwhile Morgan learns magic from Merlin and uses it to conceive Mordred with Arthur. After the royal wedding, the love affair between Lancelot and Guinevere begins. While staying away from Camelot, Lancelot meets country bumpkin Perceval, who follows Lancelot back to Camelot from his secluded woodland home, then takes up the mantle of Gareth Beaumains by working for Kay in the kitchens and champions Guinevere against Gawain until Lancelot can arrive. After the affair between he and Guinevere is found out, Lancelot runs off mad into the woods, and Arthur's prosperity declines. Perceval begins a decade-long quest in search of the Holy Grail to restore Arthur/Fisher King's health so he can reclaim his lands now ravaged by disease. Mordred has grown up in this time and been taught by Morgan to hate Arthur. Once Arthur has been cured, he goes to find Guinevere in the abbey where she had been living, and retrieves Excalibur, which she had been keeping safe for him all that time. Arthur then goes with his remaining knights to battle Mordred, where he is mortally wounded, and Perceval fulfills his final act for his king by returning the sword to the Lady of the Lake as Arthur is spirited away to Avalon. Final thoughts: This movie is so damn good. Nobody's doing it like Boorman. It's my favorite version of the grail quest. Very horror, as it should be. (Monty Python is a different tone, not a worse one!) I love everyone's acting here, the casting is so rich, I love the look and vibe of everyone, the Shakespearean line delivery. All of it. The gaudy green lighting is so 80s but it works, it sets a tone, it commits to the bit, illuminates every magical scene. And the armor is obviously incredible. I won't hear criticism. Either you get it or you don't. You can watch an entire mini-series about the armorer, Terry English, produced by Mythbuster's Adam Savage on YouTube, here. And if you want to learn more about Mordred's cool helmet specifically, watch here. Anyway please watch this, you won't be disappointed.

[consanguinitatum]

David as Benedick in Much Ado About Nothing (the first time he did it, that is!)

David Tennant fans are aware of 2011's brilliant Much Ado About Nothing, in which DT starred as Benedick, alongside Catherine Tate as Beatrice. Filmed at the Wyndham's Theatre in London and directed by Josie Rourke, the production was recorded and offered on Digital Theatre.

But did you know David had played Benedick before?

Yep - he sure has!

It was in 2001, a full decade before his production with Catherine.

Beginning in 1999, BBC Radio 3 launched Shakespeare For The Millennium, an ambitious project to dramatize seventeen Shakespeare productions in four years.

The project was done in collaboration with BBC Worldwide, which emphasized it wanted to take a contemporary, innovative approach to the Bard. It launched on 12 September 1999 with a Shakespeare discussion panel, and a new production of Hamlet -- starring none other than Michael Sheen as the Dane!

On 23 September 2001, BBC Radio 3 broadcast a new production of Much Ado About Nothing as the Sunday Play, with David in the lead role as Benedick and Samantha Spiro as Beatrice. Adapted by Sally Avens, it featured an introduction (as had all the previous productions in the Shakespeare For The Millennium series) by Richard Eyre, the former Director of the Royal National Theatre.

The production also starred a few other recognizable names. There was Chiwetel Ejiofor as Claudio, Emilia Fox as Hero, David Swift as Leonato, Julian Rhind-Tutt as Don John, and David Haig as Dogberry.

All original music was composed and performed by Simon Oakes and Adam Wolters.

Radio listings and announcements, and promo photos of David and Samantha Spiro

Here's a review of the prodcuction!

Much Ado About Nothing was commercially released by BBC Worldwide as part of the BBC Radio collection series in 2001.

The sleeve notes of cassettes and CDs of the production include a scene-by-scene synopsis, a full character analysis, and an essay on interpretation from the director Sally Avens.

Almost four years later, in November 2005, BBC One broadcast a television series called ShakespeaRe-Told, a set of four adaptations of Shakespeare's plays. Each play was adapted by a different writer, and all were relocated to the present day.

The first to be broadcast - on 7 November 2005 - was a modern-day version of Much Ado About Nothing starring Sarah Parrish and Damien Lewis...and Billie Piper and Nina Sosanya and Olivia Colman!

You can watch it here:

Six days after this television broadcast - on 13 November 2005 at 7:15 pm - BBC Radio 3 re-broadcast the audio version starring David and Samantha in its 'Drama On 3' slot.

Fast forward to August 2020.

The BBC released a set of four BBC Radio Shakespeare collections: Histories, Comedies, Tragedies, and Roman Plays. Much Ado About Nothing was included in the collection of Comedies, and became available as an Audible digital download.

If you want to listen, you can find this collection a lot of places. It might be at your local library or on Overdrive, on Google Play, or as an Amazon Audible book.

Or, ya know, just go here:

[wlw-webcomic-bracket]

In my professional life offline, I work with community development programs funded by the US Department of Housing and Urban Development (HUD). One of the most important of these programs is the HOME Investment Partnerships Program, or “HOME” (not an acronym for some reason). In the last couple years, my office has contributed HOME funding to construction of around 400 new apartment units reserved for low-income families, plus conversion of a former hotel to single-resident occupancy units for people exiting homelessness and security deposit assistance for renters moving into market-rate units. I have a secondary role in the HOME program (most of my work is on a different grant, although I’ve contributed to the environmental reviews for all of our current round of projects), but I am immensely proud of what our team has done with a limited resource in a horrifically expensive housing market.

In 2023, House Republicans proposed cutting HUD’s 2024 budget for the HOME program by 67%, from $1.5 billion to $500 million.

Their proposal didn’t make it into the final bill. The President and Senate (under Democratic leadership) proposed HOME budgets of $1.8 billion and $1.5 billion, respectively. The final compromise budget allocated HUD $1.25 billion for the HOME program, a 17% cut which was passed down to every local HOME jurisdiction.

I’m glad the budget cuts weren’t worse. But what this means, in practical terms, is that one out of every six people we could have helped this year gets nothing. One out of every six people who would have received rent assistance is facing eviction. One out of every six people that would have received an affordable unit priced at 30% of their income has to keep giving 50% or more of their paycheck to market-rate landlords. We’re doing what we can with local resources, but there’s only so much you can do at the local level when federal funding goes away.

House Republicans are trying to reduce HOME funding to just $500 million again in 2025. So far, the Senate has rejected this, but barring a miracle upset, Democrats are almost certain to lose control of the Senate after next week’s election. If Republicans keep control of the House, and especially if they keep the House and win the Presidency, there is nothing stopping them from gutting housing programs completely.

I understand why people are frustrated with our choices this election. I am frustrated with our choices this election. But at the end of the day, I have a duty to my community. With Democrats in office, I can keep fulfilling that duty. With Republicans in office, I will lose the best tools I have to make a material difference to the vulnerable people who live around me. The people I serve will lose their housing, or they will lose their best path out of homelessness. There is no way around it.

Please, give me the tools to keep helping. Vote for Democrats up and down ballot, and once we’ve got them in office, thank them for doing what they do well and pressure the hell out of them to do better on the issues where they suck.

Because of gerrymandering (and geographic issues in general), control of the House will probably come down to just a few dozen races. I’m not endorsing any of these candidates on a personal level - some of them are probably good, some of them definitely suck - but they are the only bulwark we have against a party that wants to dismantle everything good about this country and lean into all the most shameful parts of our history. Every election matters, but if you live in one of these House districts, your vote is particularly important:

Alaska: AK-01 Mary Pelolta

Arizona: AZ-01 Amish Shah, AZ-06 Kirsten Engel

California: CA-13 Adam Gray, CA-22 Rudy Salas, CA-27 George Whitesides, CA-41 Will Rollins, CA-45 Derek Tran, CA-47 Dave Min

Colorado: CO-03 Adam Frisch, CO-08 Yadira Caraveo

Connecticut: CT-05 Jahana Hayes

Indiana: IN-01 Frank Mrvan

Iowa: IA-01 Christina Bohannan, IA-03 Lanon Baccam

Maine: ME-02 Jared Golden

Michigan: MI-07 Curtis Hertel Jr., MI-08 Kristen McDonald Rivet, MI-10 Carl Marlinga

Minnesota: MN-02 Angie Craig

Montana: MT-01 Monica Tranel

Nebraska: NE-02 Tony Vargas

New Jersey: NJ-07 Sue Altman

New Mexico: NM-02 Gabe Vasquez

New York: NY-04 Laura Gillen, NY-17 Mondaire Jones, NY-19 Josh Riley, NY-22 John Mannion

North Carolina: NC-01 Don Davis

Ohio: OH-09 Marcy Kaptur, OH-13 Emilia Sykes

Oregon: OR-05 Janelle Bynum

Pennsylvania: PA-07 Susan Wild, PA-08 Matt Cartwright, PA-10 Janelle Stelson

Texas: TX-34 Vicente Gonzalez

Virginia: VA-02 Missy Cotter Smasal, VA-07 Eugene Vindman

Washington: WA-03 Marie Gluesenkamp Perez

Wisconsin: WI-03 Rebecca Cooke

[deadgirlwalking91]

new fic - 'did i stutter?' 🫦

Happy Guitarspear Week! Here's my contribution - a fun little fic for day 6 prompt, 'Kisses'.

"I now have to review six hundred and sixty-fucking-six records before the end of the week!”

“Six hundred and sixty-seven, babe.”

Lute stared flatly at Adam, any softness she might have felt earlier dissipating quickly. “Excuse me?”

“You forgot me. There’s six-sixty-six of you bitches, and then there’s me.” He held his hands out wide. “I mean come on , you only spend almost every day with me–”

“I,” she snarled, “want nothing more than to hurt you so bad right now.”

“Nah, you wouldn’t. You love me too much.”

[blakegopnik]

Happy to see my review of Dawoud Bey's great show at Sean Kelly Gallery getting nice play in the New York Times. The full text is below (click on "Keep reading") but one thing I didn't have room to dwell on, as much as I would have liked, is the vitally important tension between Bey's video and his stills. That's a tension (as I see it) between the “gaze” of the enslaved, in the fractured video, and of Europeans, in the elegant, traditionally artistic, even "sublime," prints. It would be so easy for someone to think the prints were just elegant, knock-off commodities meant to fund the more truly important, more challenging video. But I think the reflection back and forth, between the settled elegance and the unsettling challenge, is vital to the entire project.  

IN THE FOOTSTEPS OF THE ENSLAVED - THE NEW YORK TIMES

CRITIC’S PICK

By Blake Gopnik

Jan. 30, 2025, 5:00 a.m. ET

The terrifying first capture in Africa.

The deadly crossing of the Middle Passage.

The brutality of slave markets and servitude.

It’s almost impossible to imagine, let alone depict, the full horrors of American slavery, although writers, directors and artists have tried.

But there’s one moment that seems to have caught their attention less often: the first encounter of kidnapped Africans with the strange new land where they were marched into enslavement.

In a remarkable exhibition called “Stony the Road,” at Sean Kelly Gallery in New York, the artist Dawoud Bey takes us on the path that tens of thousands were forced to walk, from the slave ships that landed at the James River’s docks to Richmond’s slave pens and markets.

With 14 still photos and a vast, two-sided video projection, Bey explores the Richmond Slave Trail that extends for several miles in Virginia’s capital. At Sean Kelly, Bey’s stills

are the first art you encounter. Those deluxe black-and-whites, almost a yard across, show various wooded spots along the trail, avoiding any details that speak of our era. (In fact, the trail now crosses many modern settings.) We get a view of trees and ground, of bits of river and patches of distant sky, such as an African might have encountered 250 years ago.

The images were shot on old-fashioned film and printed on traditional photographic paper, so we’re treated to the velvety blacks and sparkling whites of landscapes by Ansel Adams and Edward Weston and other pioneers of American photography. It’s tempting to linger with those tasteful, orderly images — in the gallery, and in this review — but I discovered that they get a whole new meaning after seeing Bey’s video at the gallery’s rear.

That video is titled “350,000,” an estimate of the total number of enslaved people who passed through Richmond’s trading markets. (The piece was originally commissioned for a major Bey show at the Virginia Museum of Fine Arts in Richmond in 2023.) Ten minutes of black-and-white footage appear on a screen that bisects a big space and reaches almost to its high ceiling. It shows the same wooded path as in Bey’s prints, but to utterly different effect.

The piece works hard to put us in the place — physical, but above all psychological — of one of Richmond’s newly disembarked. The images are projected at “life scale,” Bey told me, so that the path’s tree trunks and branches are the same size on the screen as they would be if they were there before us in life. And the trip down the path is captured in a single take, without edits, by a Steadicam held at an adult’s head-height, giving a captive’s-eye view of the passage up the trail.

But the goal isn’t to create a crisp, immersive substitute for a past reality. (Bey insists that his piece isn’t about faking some kind of long-lost documentation.) It’s about using the visible artifice of fine art to encourage a trip into a past we need to confront. In some ways Bey’s video has more in common with a poet’s evocative description than with a Spielbergish attempt at historical re-enactment.

So Bey’s cinematographer, Bron Moyi, shot all the footage with a century-old Petzval lens, once used for dream sequences in silent movies. It blurs all but the middle of the scene it shows, giving an almost drunken effect to Bey’s footage, which is also shown in somewhat slow-motion. Real vision never really works quite like that, but the Petzval provides an excellent metaphor for the kind of disorientation Africans must have felt on first being shoved ashore in Virginia.

They couldn’t have known quite where they were going, or what the endgame might be — most couldn’t understand their tormentors’ language — and “350,000” has a similar lack of plot or endpoint. Its camera’s “eye” rarely looks straight down the path toward some far-off goal. Instead, it veers from earth to treetops; from river, down at right, to undergrowth that hems the path at left.

No one knows if captives would really have looked anywhere but at their own stumbling feet or at the back of the chained figure ahead, but the camera’s wandering eye evokes the fracturing of any normal they might have known. Even the flora in Bey’s video, sure to strike most Americans as an average woodland scene, must have seemed foreign.

Bey makes his disjunctive technique stand for the utter confusion — physical, cognitive, spiritual — that captives must have felt. A soundtrack, commissioned by Bey from the dance scholar E. Gaynell Sherrod, adds to the effect: It’s a mash-up of random footfalls and birdcalls, of heartbeats and hoofbeats, of grunts and sighs and clinking chains. It doesn’t quite reproduce what the enslaved might actually have heard, but it sometimes adds Hollywood melodrama that the visuals smartly avoid. However, Sherrod’s soundtrack, and its lack of obvious sync to Bey’s visuals, maps onto how trauma can fracture our perceptions.

 “Bey’s installation doesn’t recreate a single moment in someone’s pain,” our critic writes. “It condenses all the moments that thousands of subjects might have suffered on the Richmond Slave Trail.” via Sean Kelly, New York/Los Angeles; Photo by Adam Reich

In a final touch, Bey gives art viewers a more immediate taste of that same bewilderment: The occasional visitor who peers around to the other side of Bey’s screen will eventually realize that the view there is actually the same path but seen on a different trudge down it. That gives a sense that Bey’s installation doesn't recreate a single moment in someone’s pain; it condenses all the moments that thousands of subjects might have suffered on the Richmond Slave Trail.

And then, leaving the video behind, you encounter Bey’s stills once again, and now they seem to play a different role in his story. After witnessing the splintered sights in his video, his stills now seem to stand for the very firm and settled present that today’s art world lives in, at so many removes from an enslaved person’s view.

They give us something like the stable, settled view favored by Europe’s artistic culture, circa 1800, when wild nature promised escape from the everyday into the sublime. It’s almost as though Bey’s prints offer a bright light at the end of their forest path, so that, as in many an Ansel Adams photo, the white of the immaculate silver print becomes the white of escape and transcendence. The prints have a stable authority, in their confident choice of subject, the snapping of the shutter, their deluxe printing, that isn’t there in the video.

Bey’s show gets its name from a passage in the second stanza of “Lift Every Voice and Sing,” the hymn by James Weldon Johnson that premiered in 1900 and is known as the Black national anthem: “Stony the road we trod/Bitter the chastening rod.”

Here’s how the stanza ends: “Out from the gloomy past/’Til now we stand at last/Where the white gleam of our bright star is cast.”

Now, 125 years later, Bey’s gloom seems to cast new light on art’s gleam.

[thecorvidcurio]

PLEASE NOTE: This game is in very early development. Only the first two chapters are done and posted, but there may be bugs. If you run into any issues or notice any glaring errors, please let me know via asks or messages. Also, please bear in mind that the writing will be reviewed, revised, and updated as the project goes on. What you're reading is not the final product.

Summary: For as long as you can remember, no one you've loved has ever lasted very long.

The moment you come to love someone,  whether that love is familial, platonic, or romantic, tragedy befalls you both. In a desperate attempt to escape this cycle, you have moved somewhere remote, to a run-down apartment building in a mostly-abandoned area of an isolated town. However, the few others living in the building are far friendlier, and stranger, than you anticipated.

The more time you spend around these bizarre people, the more certain you are that there's a layer of reality you've previously been unaware of. As you discover more of what was previously hidden from you, though, it begs the question:

Is there something more to your tragic circumstances than an unfortunate run of bad luck? Could it be the result of some power you don't understand? And, if so, does that mean there's a way out of it?

Or, perhaps more importantly, does that mean there's someone to blame for your suffering?

Can be played as a romance, or with a focus on platonic connections.

Six potentially romanceable companion characters: Two women, two men, and two non-binary options.

Set your pronouns, appearance, and build your personality over the course of the game.

Decide how your character copes with their difficult situation, how their circumstances affect the way they interact with others, and whether any of that changes as the truth is revealed.

Help your new friends face their own troubles (or potentially make things worse...)

Discover the truth and, potentially, a solution. Or, at the very least, find some closure.

You can play the demo for free on itch.io.

More information about love interests and player stats can be found under the Read More.

Vicente - A very polite and put together man who values kindness and respect above all else. He's happy to help, and keen to look after others, but seems unsure what to do with himself when someone tries to show him the same kindness he shows others.

Abby - An eccentric person with seemingly limitless energy who values fun and excitement above all else. He's always looking for new and interesting things to occupy himself with, and seems to have no sense of self-preservation.

Kaida - A taciturn fellow who values knowledge and secrecy above all else. Knowledge is power, and there is safety in secrets. He's quite mysterious, seems to always be many steps ahead of everyone else, and seems to know things no one else does.

Marina - An unapologetically loud and rambunctious woman who values rebellion and individuality above all else. She's easily bored, and always looking for something new to challenge herself with. If you tell her she can't or shouldn't do something, it's just about guaranteed she'll be doing that thing in the near future.

Thea - An elegant and classy lady who values loyalty and honesty above all else. On the job, she's as glamorous as a starlet, singing on a stage and captivating any who hear her hypnotic voice. Off the job, though, she's something much different, and hopes to find someone who can appreciate both sides of her.

Shiloh - A cripplingly shy and skittish entity of uncertain origin who values privacy and comfort above all else. Shiloh enjoys observing others interacting, and lives vicariously through witnessing the connections other people form with each other, though Shiloh is quite sure that it will never manage to make such connections itself.

Personality:

Adaptable - Adamant Are you able to roll with the punches and adjust according to the situation at hand? Or are you stuck in your ways and insistent that the situation should yield to you, not the other way around?

Isolation - Connection Have you given up trying to connect with others? Did you ever want to in the first place? Are you content to keep a distance between yourself and others? If so, is that what you truly want, or what you believe you must settle for? Or do you crave connection? Will you grasp for it if given a chance?

Courteous - Callous Do you try to be kind to others, regardless of your ability or willingness to form actual connections with them? Or do you treat them coldly and keep yourself unapproachable?

Candid - Calculating Are you genuine in your interactions with others, or are your words and deeds measured carefully for specific purposes?

Approach to the Unknown:

Hopeful - Hopeless Do you believe things will ever get better? That it’s worth it to keep trying, keep holding on, keep hoping? Or have you long since learned that hope is too painful, too dangerous to risk?

Curious - Cautious Are you driven by the need to learn, explore, and discover? Or are you held back by the thoughts of what might happen if you stick your nose where it doesn’t belong?

Skeptic - Believer Do you believe the agonising tragedy of your life is just a consequence of the callous indifference of the universe? Do you think it’s just an unfortunate coincidence, a roll of the cosmic dice that you always lose? Or do you suspect something deeper is afoot?