#when i told them it was just general - shows/movies/books

[whencartoonsruletheworld]

funniest disney history facts i can think of atm

literally EVERYBODY thought the lion king was gonna flop and pocahontas would be their greatest movie ever made. people begged to ditch lion king and work on pocahontas.

the reason robin hood ends so abruptly is that there was an actual ending planned and storyboarded but the crew spent too long arguing about everyone’s fursonas to finish animating it

madam mim was way less comedic in the original book but because her character was too similar to maleficent (who was in their latest film at the time), the sword and the stone crew decided to differentiate her by making her fucking hilarious

when making a goofy movie, jeffrey katzenberg (studio chairman at the time) told bill farmer to give goofy “a normal voice.” farmer, who had been voicing goofy for eight years at that point, including in the goof troop show that a goofy movie was a sequel to, was very confused. after making an attempt they decided to scrap that note completely.

as of march 2023, farmer is still voicing goofy, and tony anselmo has been voicing donald since 1986. the 2017 reboot of ducktales, which was slated as “wanting to do for donald what goofy movie did for goofy,” featured both actors as those characters; they had also been doing the voices for the original ducktales and goof troop/goofy movie. all the times goofy and donald interact in the 2017 ducktales however, donald was voiced by guest star don cheadle as a joke

current voice of mickey mouse bret iwan has stated that he has attempted to play kingdom hearts and did not do well

disneyland’s current world of color halloween overlay features a plot that is basically “the disney villains simultaneously adopt a goth kid” and i love it

people will make jokes about “well math says that the beast would’ve been 11 when he was cursed” well that was actually the original intent, but a flashback scene of baby beast was scrapped because he looked “too much like eddie munster”

when disney sent a representative to pixar to check on toy story production, she was like “this is all great! what style of music are you thinking” and they were like “for what” “for the songs” “we uh. we weren’t gonna have. any songs” and she went dead silent and then went “i have to make a call” and left the room

saludos amigos and the three caballeros were made as ww2 propaganda. the government commissioned disney to make movies to make latin america like them so that they wouldnt side with the nazis and provide them an in to invade, and latin america really liked donald duck so

saludos amigos was apparently the first time many usamericans realized that latin american people were like. people. film historian alfred charles richard jr said that the film “did more to cement a community of interest between peoples of the americas in a few months than the state department had in fifty years”

while latin america generally liked both films, chilean cartoonist rené rios boettiger fucking hated the chilean segment of saludos amigos, seeing the main character of pedro the plane as a weakass bitch, so in response he created condorito, the most popular comic character in all of latin america

disney wanted to adapt ts eliot’s old possum’s book of practical cats. his widow adamantly refused, and then sold the rights to andrew lloyd webber bc he wanted to make it sexy and she said “tom would’ve liked that”

in case you haven’t seen the defunctland, walt disney wanted epcot to be a futuristic utopia where he was basically the dictator. then he died so they just made it another theme park

speaking of defunctland the first defunctland video was on disneyworld’s alien attraction and please watch it. please it’s so funny

after the huge failure of the black cauldron disney was going to shut down its animation department. the department tried to convince them to keep them alive by showing them the one scene they had finished for the next movie– the mouse burlesque from the great mouse detective. it worked

the only attraction the black cauldron ever got was in tokyo disneyland where they put a tour under cinderella’s castle where everyone had to escape the disney villains trying to kill them, only to end at the horned king and the cauldron, who would try to sacrifice them to satan. this tour was popular but was closed in the early 2000s as the tunnels didn’t fit earthquake regulations and i want it in disneyworld so bad

walt disney once referred to his unionizing workers, led by goofy’s creator art babbitt, as “commie sons of bitches,” and i want a mickey build-a-bear that calls me a commie son-of-a-bitch whenever i squeeze its paw

[paint-music-with-me]

.

[sundrop-writes]

if Mike fell asleep with you...

Word Count: 750

Horror Characters Masterlist

Warnings: this is mostly pure fluff - Mike and the reader are in an established relationship, the reader's gender is not described in any way (the main pronouns used are you/yours), Mike calls the reader angel, the reader takes on a caregiver role for Abby, mostly just short and fluffy. This is set before the main events of the movie, when Mike is working as a security guard at the mall.

A/N: So, I've seen so many people in the tags going 'just let him sleep!!! that man is so exhausted!!' and saying that he's too tired to fuck in the way that people are writing fanfics about him. And as much as I love super horny fics, I do thought this up, because I agree - the man should be allowed to sleep. This is largely inspired by that scene in Grey's Anatomy where Meredith walked in and Owen was asleep on Cristina's chest while she was reading a book (I think it was when she was reading through Mer's mom's diaries?) - anyway. I love that scene so much because it shows how easily he sleeps around her because he's so comfortable around her. And that's why it deeply inspired this. Let him sleep.

...

Mike was exhausted when he came in the door. 

He heaved out a sigh as he closed the door behind him, toeing off his shoes - pure, stiff tiredness radiating through his whole body in the worst way. 

You knew that sound anywhere. 

“Long day?” You inquired gently from your position on the couch, lightly craning your neck to look at him. 

He shuffled further into the house in an almost zombie-like fashion, only giving you a solitary grunt in response. 

You felt kind of bad that he had been stuck at work late when you had been lucky enough to have a morning shift and been treated to a relaxing evening with Abby. She was a relatively easy kid to take care of, and generally fun to be around. 

And after you had put her to bed, you laid out on the couch, relaxing and reading a novel that your friend had recommended. Generally, you were having a nice evening. And it seemed that Mike was not. 

As you kept an eye on Mike, you folded over the page of your book to mark it and put it on the coffee table for later. 

“Dinner’s on the counter.” You told him. “I made lasagna. I can heat it up for you if you want.” 

You hated that before he started dating you, all he knew was freezer burnt crap - but you were slowly showing him how to cook, and a world of vegetables that didn't come in a can. 

Mike took off his jacket and the heavy belt he had to wear for work (his large walkie talkie and his taser were in his locker at work, as mandated, but the thing was still damn uncomfortable) and he hung them both up. 

He didn’t respond to your queries about dinner as he walked around the couch. Instead of speaking, seeing you laying there so relaxed - the sight was all too inviting, and he eased himself to lay on top of you in a form of very natural intimacy before he grunted a few words into your neck. 

“Did Abby eat?” He asked softly as he laid on top of you. 

It was oddly comforting to have the bulk of his weight on top of you, especially as he melted against you, letting out a small moan as the tension melted out of his bones. He adjusted himself to get more comfortable and his face rested against the softness of your chest - you glanced down to see that his eyes were drifting closed. 

“She ate two platefuls, and had some peas.” You assured him. “Did her homework, had a bath, and she practiced her spelling words before she went to bed.” 

Mike grunted again - a more positive pitch to this one. He couldn't ask for anyone better than you. Sometimes he worried about her - all the time. But when Abby was with you, that worry lessened a lot. 

“You’re an angel.” He hummed against your chest. “I don’t-” He let out a gentle yawn. “I don’t know how I got so lucky with you.” 

“You look hot in a uniform and my job at the bookstore gets boring.” You replied, half-joking about the circumstances of how your relationship with Mike had formed. 

You reached out to him and began running your fingers through his hair, soothing him even further into the realm of sleep with the comforting touch. 

He let out another tired moan in reply - something that almost stretched into a rolling sound with the gentle pleasure of your hand in his hair. With the way his body was so slack against yours, his breathing even and quiet, you knew this was only leading one place. 

“You wanna go get ready for bed?” You asked gently. 

“In a minute.” He answered softly, barely parting his lips to get the words out. 

You glanced over to the table and reached out, picking your book back up as his breathing deepened and his body went even more slack. You were preparing to get comfortable for the next few hours. You weren’t all that tired yourself, and you still had a few chapters left to go. When you got to the next chapter, he began to snore lightly and you felt drool dripping down your neck - which didn’t bother you all that much. You found it cute, in fact. 

You were comforted by the fact that he relaxed enough around you to get such a good sleep. You knew that he needed it. 

...

A/N: also, this is my first time posting a fic completely from mobile by copy/pasting something from google docs on my phone. So hopefully the formatting isn't too messed up and hopefully this goes well! And I hope you guys enjoy this short fluffy fic 💖

[starplanes]

A (5 star) review of Bury Your Gays, by @drchucktingle!

I read this book in one sitting. I did not plan to read this book in one sitting, but I could not put it down, accepting that my lunch break was now an extended reading break. Bury Your Gays was just that good.

It starts simple. Screenwriter Misha has been told by his exec that the season finale of his show must out, then kill the two leads. He needs to bury his gays because the board has determined it's where the money is. Misha says no. Then starts getting stalked by his (definitely fictional, right?) characters from other shows. Either Misha developed some incredible supernatural powers in that meeting, or something more sinister is at work…

Bury Your Gays illustrates why queer people should be allowed to tell the stories they want to tell, instead of being made to use queerbating, tragic tropes, or fake relentless optimism in the name of corporate Pride. It's a story about the queer struggle to find oneself in a world that makes it so, so hard. There's a lot of love for the queer community poured into this book, and oh does it shines. I especially adored the ace rep - and the concept of ace rep as a plot point. I shall not explain further. However, I am more scared than ever of the corporatization of Pride.

Bury Your Gays also criticizes capitalism's monetization of tragedy and exploitation of workers. It explores what happens when ethics are ignored in the name of an ever-growing profit margin, to the point where the bottom line becomes a near-sentient thing. It leans into the horrors of AI and data-mining by combining the two and going all the way with it. Chuck Tingle has acknowledged all my fears of black box algorithms and also made them ten times worse. Truly a feat! I will be sleeping with my router off!

It's a masterpiece of horror, both visceral and psychological. Since the main character is a horror writer, the story is very genre aware. There's a lot of fun to be had in the tale of "writer being followed by the monsters he wrote," and certainly no small amount of terror. It gets gory here and there, with plenty of suspense in between. Hints are laid out for the reader, enough where I was occasionally able to predict what was coming just a page or two before it landed. My jaw dropped multiple times! The writing is descriptive enough to pull you right in (and gross you out!), and it's paced near-perfectly. There's all these little moments sprinkled in that elevate the whole story, from fun references of other work to subtle clues you'll only catch on a reread.

This book will be living in my head rent-free from now on. It's about so many things and yet has interwoven them all perfectly. Fans of classic horror movies will love this story. Those of us fed up with AI generated trash will love it. Anyone who joined a WGA picket line will love it. Asexuals fed up with lack of representation will love it. People who watched multiple seasons of Supernatural will love it. Is that you? Go pick up Bury Your Gays. Be scared, be sad, be angry. But also validated, loved, and joyful.

TLDR: Read this book when it comes out on July 9!

[moghedien]

obviously there are a bunch of issues with the MCU and I'm not gonna sit here and try to convince everyone that MCU movies are cinema or whatever so don't get what I'm gonna say twisted. I do find their kinda mainstay in cultural media and the dominance they had to be interesting, especially now in an era where the MCU is undeniably falling off and struggling. just as like a cultural analysis I find that interesting and everyone has their opinions of why it happened.

my opinion/theory on why the MCU just crashed is because they sort of forgot what it means to be telling a comic book story, especially a marvel comic book story. Because I've read thousands of issues of various marvel series at this point, across tons of different eras and events, and the thing that makes them last (which is also a thing that drives me personally crazy and I hate so much) is that the status quo doesn't really change. Or when it does, it lasts for a few arcs or years at most and then gets reverted back to the norm eventually. Like the fact that everything is pointless and nothing is a risk is something I loathe, but it is admittedly what keeps them going. If someone just got into comics, they can pick up a modern issue and expect to find Spider-man or Captain America or whoever. They may be introduced to new characters, but the big ones will show up eventually.

And after the last Avengers movie, like half of the mainstay cast are just gone. Which as someone who likes good stories, I think is a good opportunity (which is arguably being wasted but idk I haven't watched any MCU thing in years) to actually shake things up and develop characters that mainstream people are less familiar with and give them a chance to shine and tell interesting stories. But that's not why people like marvel comics.

People like marvel comics because if they want to read about Iron Man, they can pick up any random issue about Iron Man and it will most likely be the Iron Man they know. People like the status quo, and Marvel has never been high literature and has always basically been pulp storytelling, and it gave people status quo and familiarity. And I think Marvel Studios figured this out waaayyy too late.

Because if Marvel actually understood what people like about the comics, they would have embraced recasting major roles from the start. They wouldn't have tied characters' identities so strongly to their actors and would have made it clear that characters can and will continue on with different faces. There is no reason why Tony Stark needs to be RDJ or Steve Rogers needs to be Chris Evans. They would have had plans to not write these characters out of existance the second actors wanted to exit or died or were fired or any of the various reason why actors are no longer involved with the MCU. Hell they had precedent. They didn't have a problem replacing Terrence Howard with Don Cheadle, who are very different looking people who give very different performances, but we know why they felt ok with that recasting but won't recast any of their boys named Chris...

Anyway it seems like they realized that general audiences don't actually like change if its permanent and are learning the wrong lessons with the Doom casting nonsense and the fact that they seem to keep changing what the new story is to fit what they think audiences want.

I'm fine with the MCU dying off and its probably better for media that it does, but again I'm just kinda interested in the fumble from like an objective standpoint because it seemed like they just locked themselves into eventual failure in such a stupid way. Like they could have told the same safe representative Avengers storylines for decades and wouldn't have a meltdown every time an actor in a major role needed to be removed from production if they just accepted that people would be recast as needed. It would be worse for actors and it would be worse for movies in general probably, but it would have kept the MCU churning out pulp like the comics do to this day. But now people are realizing its not just pulp but pulp they don't want and its gonna kill the MCU eventually.

[autism-alley]

hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.

the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.

the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.

so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.

something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?

the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.

it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.

[machinesonix]

Somehow I have made it this long without realizing that none of the screen adoptions of Dune so much as mention the Butlerian Jihad. Like I guess it's burned into my brain so hard I sort of assumed it was part and parcel of the universe. Don't get me wrong, I think that's probably the first thing you learn if you want to dive deeper into the setting, but it still hits me like if the LotR movies showed us the big flaming eyeball tower and was like ‘Oh, that's why there are bad things, but don't worry, that's just background stuff.’ Yeah, you can understand the movie, but if the story is just like Frodo vs. The Witch King you are losing out on any of the conversation about the corruptive allure of power or theological undertones. So without further ado let's pretend this is for the benefit of interested new fans roped in by the movies and not part of my desperate attempt to silence the howling specters of literary analysis that live in my blood.

The Butlerian Jihad is an event set ~10k years prior to the events of Dune in which humanity won their freedom from the machines that they had enslaved themselves to. As a result, it is a religious taboo to create a machine that thinks like a human. That's frankly the bulk of the information presented by Frank Herbert in the text without dipping into books 7+, but whether or not those are canon is frankly an enormous can of worms, which really makes sense when you consider the size of the worms. But boy howdy, Frank loved his subtext and parallelism. Everyone has a foil character, every theme is hit from multiple angles, and Villinueve has been doing an excellent job of capturing a lot of that in repeated imagery and dialogue. The Butlerian Jihad happens off camera, but it's themes are absolutely critical to the big picture.

The Butlerian Jihad was a holy war. It was not merely a rebellion against the machines, it was a crusade against them. The prohibition against thinking machines isn't just a law, it's in the pan-universal Bible. Absolute psychopath Pieter DeVries himself claps back at the Baron for insinuating he might have a use for a computer, and this is a guy who has been hired specifically for his preternatural absence of morals. Let's hold onto that idea for a minute. 

Probably my favorite scene in the first book is the one where planetologist Liet-Kynes is dying out in the desert. As the last of his strength fades to dehydration he hallucinates conversations he had with his father concerning terraforming Arakkis for human habitability. He's told that the means are not complicated. There is already enough water on the planet, the Little Makers just have it all trapped deep underground as part of the sandworm reproductive cycle. You just need to isolate enough water to start irrigating plant life, and once it's established that'll keep the water on the surface on its own. The hard part is making sure everyone on the planet is environmentally conscious enough to foster a developing ecosystem. Nobody can drink any of that water while it's being collected, because they'll just introduce it back into the water cycle where the Little Makers are. It's going to take generations, so that sort of water discipline is going to have to go above and beyond a social convention. People need to be willing to die before they'll take a sip and compromise the plan. Ghost Dad Kynes concludes that the only mechanism in the human experience to enforce this consensus is religion. 

In the context of this whole parallelism thing, you have probably noticed that the Butlerian Jihad is not the only holy war in the narrative. Paul sees a new jihad as the only way of creating a future where humans can flourish. Now you might be saying ‘Wait now, Machines. I thought the point of Paul’s holy war was to avenge Leto and disempower established power structures by taking away the control of the spice!’ And you’d be right. The thing is, without getting into spoiler territory, Dune Messiah is not going to be about how everything just gets so much better now that Paul has destroyed the economy, government, and untold billions of human lives. This isn’t the endgame. Dude can see the future and the way he does it involves looking into the past. Paul lives in a society defined by a holy war and his goal is to redefine society. 

Putting it all together you can see what I mean about the Butlerian Jihad being essential to the themes even though the story never shows us a thinking machine or a narrative beat where the absence of computers changes the outcome. It helps us see the big picture. I’ve seen a lot of dialogue lately on whether Paul is a tragic hero or a consummate villain and I’m not here to answer that, but I am here to underline the critical detail. Paul intends to be seen as a tyrant. Just like Kynes’ hallucination says, religion is the lever to make a value stick around forever. He wants to traumatize humanity to hate chosen ones and emperors the same way the machines traumatized humanity to change them forever. The Water of Life ritual doesn’t invert his values, it lets him realize these visions of war are the means, not the ends. He is absolutely not happy about it, but this is Paul’s terrible purpose. 

[felix-lupin]

In Coraline, there’s a recurring theme with names and identity, and I personally don't think it's talked about enough. 

(As a note, this is dealing largely with the book, not the movie, although there are some hints of this theme in the movie as well)

Coraline’s neighbors constantly get her name wrong, calling her “Caroline” and not “Coraline”, to which she persistently corrects them. Despite her attempts, they never get it right, until chapter 10, in which Mr Bobo (Mr Bobinsky) finally gets it right.

"It's Coraline, Mister Bobo," said Coraline. "Not Caroline. Coraline." "Coraline," said Mr Bobo, repeating her name to himself with wonderment and respect. "Very good, Coraline."

It should be noted that, until this chapter, Coraline did not know Mr Bobo’s name either. In fact, it had never even occurred to her that he had a name. Up until then, she had just been thinking of him as “the crazy old man upstairs”, not as a person with a name. This moment, with her learning his name and him getting her name right, is a moment of genuine understanding and connection between the two, humanizing them both to each other.

Coraline’s other neighbors get her name wrong, which is representative of them not listening when she says anything, really, such as her telling Miss Spink and Forcible that her parents are missing and them literally not even acknowledging it at all??

"How are your dear mother and father?" asked Miss Spink. "Missing," said Coraline. "I haven't seen either of them since yesterday. I'm on my own. I think I've probably become a single child family." "Tell your mother that we found the Glasgow Empire press clippings we were telling her about. She seemed very interested when Miriam mentioned them to her." "She's vanished under mysterious circumstances," said Coraline, "and I believe my father has as well." "I'm afraid we'll be out all day tomorrow, Caroline lovely," said Miss Forcible. "We'll be staying with April's niece in Royal Tunbridge Wells."

Mr Bobo gets her name right after being corrected (only after being corrected alongside her using his name, mind you, showcasing her making an effort to listen to and understand him as well), which is representative of him actually making an attempt to listen and understand her. This point is further illustrated by a conversation Coraline had with the Other Mr Bobo in chapter 10.

As Coraline entered he began to talk. "Nothing's changed, little girl," he said, his voice sounding like the noise dry leaves make as they rustle across a pavement. "And what if you do everything you swore you would? What then? Nothing's changed. You'll go home. You'll be bored. You'll be ignored. No one will listen to you, not really listen to you. You're too clever and too quiet for them to understand. They don't even get your name right."

He equates those in the real world not getting Coraline’s name right with them not listening to her, and fundamentally not understanding who she is. So, somebody getting her name right, then, shows them actually listening to her, and being willing to understand who she is.

The mice in the real world know more than they should be able to know, and they also get Coraline’s name right.

"The message is this. Don't go through the door." He paused. "Does that mean anything to you?" "No," said Coraline. The old man shrugged. "They are funny, the mice. They get things wrong. They got your name wrong, you know. They kept saying Coraline. Not Caroline. Not Caroline at all."

They seem to know about the other world, somehow, on some level, and the dangers it presents. Them getting her name right represents them knowing more than they should know, more than they are told. Animals in general seem to have this type of quality in Coraline, actually.

The cat does not have a name. It says so in chapter 4, that cats do not need names. It says that this is because cats know who they are. But humans need names, because they do not.

"Please. What's your name?" Coraline asked the cat. "Look, I'm Coraline. OK?" The cat yawned softly, carefully, revealing a mouth and tongue of astounding pinkness. "Cats don't have names," it said. "No?" said Coraline. "No," said the cat. "Now, you people have names. That's because you don't know who you are. We know who we are, so we don't need names."

The cat shook its head. "No," it said. "I'm not the other anything. I'm me." It tipped its head on one side; green eyes glinted. "You people are spread all over the place. Cats, on the other hand, keep ourselves together. If you see what I mean."

This shows that, in humans, names are connected to our identities and who we are. Names are used to individualize and distinguish ourselves from each other. But cats do not need names to recognize each other, or be recognized.

"Oh. It's you," she said to the black cat. "See?" said the cat. "It wasn't so hard recognising me, was it? Even without names."

With or without names, it is still the same cat.

During the Other Miss Spink and Forcible’s performance, in chapter 4, they begin quoting Shakespeare. The specific quotes that they use are interesting to me when looked at under this lens of the importance of names, especially Miss Forcible’s.

"What's in a name?" asked Miss Forcible. "That which we call a rose by any other name would smell as sweet."

"I know not how to tell thee who I am," said Miss Spink to Miss Forcible.

Now, of course, this is just them quoting Shakespeare. But. Why these quotes specifically? They’re at the very least notable when discussing Coraline’s recurring theme of names. Especially the quote about the rose. It makes me think of what the cat said earlier, about how cats are sure of who they are so they don’t need names, about how Coraline didn’t need the cat’s name to be able to recognize it for who/what it was.

But, of course, this does not apply for humans. We need our names to be able to know ourselves, to be able to tell others who they are.

In chapter 6, Coraline wakes up and is disoriented. This disorientation is compared to the feeling one might experience upon being suddenly pulled out of a daydream. In this comparison, forgetting one’s name is equated with forgetting who one is and where one is.

Sometimes Coraline would forget who she was while she was daydreaming that she was exploring the Arctic, or the Amazon rainforest, or darkest Africa, and it was not until someone tapped her on the shoulder or said her name that Coraline would come back from a million miles away with a start, and all in the fraction of a second have to remember who she was, and what her name was, and that she was even there at all. Now there was the sun on her face, and she was Coraline Jones. Yes.

The ghost children have also forgotten their names, and with it most of who they were. In chapter 7, when Coraline is locked behind the mirror in the Other World, one of the ghost children says that names are the first things that one forgets after death.

"Who are you?" whispered Coraline. "Names, names, names," said another voice, all faraway and lost. "The names are the first thing to go, after the breath has gone, and the beating of the heart. We keep our memories longer than our names. I still keep pictures in my mind of my governess on some May morning, carrying my hoop and stick, and the morning sun behind her, and all the tulips bobbing in the breeze. But I have forgotten the name of my governess, and of the tulips too." "I don't think tulips have names," said Coraline. "They're just tulips." "Perhaps," said the voice sadly. "But I have always thought that these tulips must have had names. They were red, and orange-and-red, and red-and-orange-and-yellow, like the embers in the nursery fire of a winter's evening. I remember them."

The ghost children may have their memories, but they have largely forgotten who they were. They may remember their tulips, and certain strong memories, but there is very, very little left of them, and they have forgotten who they once were, they have forgotten their names.

"That is why we could not leave here, when we died. She kept us, and she fed on us, until now we're nothing left of ourselves, only snakeskins and spider-husks. Find our secret hearts, young mistress."

"She will take your life and all you are and all you care'st for, and she will leave you with nothing but mist and fog. She'll take your joy. And one day you'll awake and your heart and soul will have gone. A husk you'll be, a wisp you'll be, and a thing no more than a dream on waking, or a memory of something forgotten."

The Other Mother stole their hearts and their souls and their selves. She stole who they were away from them, their identities and names and the names of those they loved, leaving nothing in her wake.

The same ghost that talked about the tulips and the names of the tulips struggles to answer when Coraline asks their gender, as well, and when they do eventually give an answer they seem somewhat unsure of it, as shown by the word choice of “perhaps” and “I believe”

"A boy, perhaps, then," continued the one whose hand she was holding. "I believe I was once a boy." And it glowed a little more brightly in the darkness of the room behind the mirror.

(I personally take this quote, specifically it "glow[ing] a little more brightly" after coming to this conclusion, to mean either that the ghost is happy at realizing that he was once a boy, or even to mean that he has become somewhat more tangible upon this realization; upon remembering something about his self, and his identity.)

As an aside, it's noteworthy to me that we never learn the Other Mother’s true name. She is simply “The Other Mother” and “The Beldam.” Never is an actual name applied to her, only titles. We do not truly know who, or what, she is. Beings without names are shrouded in mystery (or should i say mist-ery). The ghost children are benevolent mysterious beings, the cat is an ambivalent-leaning-helpful mysterious being, and the other mother is a distinctly malevolent mysterious being.

"Who are you?" asked Coraline. "I'm your other mother," said the woman.

"She?" "The one who says she's your other mother," said the cat. "What is she?" asked Coraline. The cat did not answer, just padded through the pale mist beside Coraline.

But in conclusion, names in Coraline are extremely important. I’m sure there’s probably more that I'm missing, and feel free to add onto this, but basically—

People need names to know and remember who they are, and forgetting one’s name is the first step to losing the rest of who one is. Names humanize a person; with a name, they are less shrouded in mystery, more clear.

Knowing somebody's name helps one connect to and better understand that person; it is the first step in getting to know them and see them as a full person, the transition from “the crazy man upstairs” to “Mr Bobo”. Names, to people at least, are one of the fundamental building blocks of who we are.

[austinswife]

TIMELESS

REQUEST — by @sxphia-g

SYPNOSIS — Y/N and Austin Butler were co-stars on a hit Disney show in their teenage years, sparking a relationship that quickly made them one of Hollywood’s favorite young couples. Years later, Y/N’s portrayal of Belle in Beauty and the Beast and Austin’s iconic performance as Elvis Presley solidified their positions as superstars. Despite the pressures of fame, long distances, and the chaos that comes with their high-profile careers, their love never faltered. Fans look back on their favorite moments over the years, recalling how the couple stood by each other through it all, from their Disney days to walking red carpets at award shows. This is a recollection of their love story as told by those who adore them most.

WARNING(S) — Fluff, brief mentions of media speculation and fan culture, strong emotional connections.

𝜗𝜚 ALL FEEDBACKS, IDEA SUGGESTION, REQUEST — TO AUSTINSWIFE

divider by @/chilumitos

The love story of Y/N and Austin Butler is one that fans have been following for over a decade, ever since their debut on Disney Channel. The two met on the set of the hit show Teen Spirits, where Austin played the laid-back, charismatic lead, and Y/N had a recurring role as his love interest during a pivotal season. While Y/N’s time on the show was brief, their chemistry was undeniable, and their bond only grew stronger off-screen.

Fans on social media have frequently recounted their favorite moments with the couple. As they both transitioned into adulthood and forged their own careers, their relationship stayed as iconic as ever. Interviews, red carpet appearances, and social media posts all gave glimpses into their lasting bond, and fans couldn’t help but admire the way they supported each other throughout their journeys.

YEAR ONE: THE DISNEY CHANNEL YEARS

“I remember when they did that Disney Channel holiday special and Austin was giving an interview about his favorite Christmas traditions,” a fan recalls in a Twitter thread. “He kept getting distracted because Y/N was playing with the ornaments behind him, and you could just tell he was smitten. It was so cute!”

During their time on Teen Spirits, Y/N and Austin kept their relationship relatively private, but fans could always sense the connection between them. The way Austin’s eyes would light up whenever Y/N was around, or how she would laugh a little too hard at his jokes—those small moments made it clear that something special was brewing.

After Y/N’s final episode aired, the rumors started swirling. Paparazzi caught them at a music festival together, and soon after, Austin confirmed in an interview that they were dating. The media was abuzz, but their fans were elated. They were the “it” couple of Disney, the ones who weren’t just characters on-screen but seemed to genuinely enjoy each other’s company off-screen too.

YEAR FIVE: Y/N BECOME BELLE

As the years passed, both Y/N and Austin took on bigger projects. Y/N’s role as Belle in the live-action adaptation of Beauty and the Beast was a massive success, earning her acclaim as one of the most talented actresses of her generation. Fans loved seeing her take on such an iconic role, and even more, they loved how Austin stood by her side through it all.

“I remember when the trailer for Beauty and the Beast dropped, and Austin tweeted, ‘My Belle, always and forever,’ with a rose emoji,” one fan reminisces on TikTok. “That was the moment I knew they were endgame.”

Y/N often talked about how supportive Austin was during the filming of Beauty and the Beast. “He would send me flowers every week to remind me how proud he was,” she said in an interview. “Even though we were miles apart while I was on set, he made sure I never felt alone.”

Their red carpet appearance at the movie’s premiere was one for the books. Y/N, dressed in a stunning yellow gown that paid homage to Belle’s iconic look, walked hand-in-hand with Austin, who was dressed in a classic black tuxedo. The way they looked at each other, the subtle touches, and the way Austin never left her side that night cemented them as Hollywood’s golden couple.

YEAR TEN: THE ELVIS ERA

Things could have taken a turn when Austin was cast as Elvis Presley in Baz Luhrmann’s biopic, a role that required months of intense preparation and filming in Australia. Fans worried that the distance and the pressure of such a demanding role might strain their relationship. But Austin and Y/N proved, once again, that their love was stronger than any challenge.

“I’ll never forget the interview Austin did with GQ when he talked about Y/N staying with him in Australia during filming,” a fan posts on Reddit. “He said she was his anchor, and that every time things got overwhelming, he could count on her to bring him back to himself.”

Austin’s performance as Elvis was transformative. He dedicated himself to the role, and it paid off with critical acclaim and awards buzz. But even as he skyrocketed to new heights of fame, Y/N remained his biggest supporter. Fans couldn’t help but notice how, during press tours and interviews, Austin would always find a way to mention her. Whether it was talking about how she helped him stay grounded or how they spent their time off exploring the city together, it was clear that Y/N was always on his mind.

At the Oscars, when Austin was nominated for Best Actor, Y/N was by his side. “When they called his name, I swear I saw Y/N tear up,” one fan posted on Twitter. “And when he went up to accept his award, the first thing he did was thank her. It was such a beautiful moment.”

YEAR FIFTEEN: REFLECTING ON A TIMELESS LOVE

As their careers flourished, so did their relationship. They became known not only for their individual talents but also for how they uplifted each other. Fans have always been quick to point out the moments when Austin and Y/N were each other’s biggest cheerleaders, whether it was Austin gushing about Y/N’s voice in Beauty and the Beast or Y/N sharing how proud she was of Austin for his dedication to portraying Elvis.

“It’s rare to see a couple last this long in Hollywood, especially when they started so young,” one fan account posted. “But Austin and Y/N have always seemed different. They just… fit. Like, they’re two halves of a whole, and no matter how crazy things get, they’ve always got each other.”

In a heartfelt interview, Y/N once said, “We’ve been through so much together, from our Disney days to where we are now. It hasn’t always been easy, but the one constant has been our love for each other. He’s my best friend, and I couldn’t imagine doing life without him.”

Fans, too, couldn’t imagine a world where Y/N and Austin weren’t together. Their story, full of shared dreams, unwavering support, and endless love, was a beacon of hope for anyone who believed in lasting love.

Today, social media remains abuzz with clips, interviews, and fan edits of Austin and Y/N’s journey. From their early Disney days to the pinnacle of their careers, fans never stopped rooting for them.

One fan sums it up perfectly: “They’re the real-life fairytale. They’ve faced so many challenges, but in the end, their love always wins. It’s like something out of a movie, but better—because it’s real.”

And that’s how Y/N and Austin’s love story has remained, even after all these years. Real, timeless, and a true Hollywood legend.

Timeless is a love story remembered not only for the milestones shared between two superstars but for the way their love has become a part of their legacy.

i hope you enjoy this ♥︎

[yourcutelittlegayfriend]

So this is basically just a thought I come up after watching the movie, I haven't got a chance to read the book but I'll try to when I have free time.

So short summary this might be headcannons I've come up for the time being before making a whole series about this.

This series might end up as Yandere Platonic Batfamily x Nimona!Reader

Nimona!Reader headcanon:

Reader is gender neutral since they can shape-shift into anything and anyone, the concept of being a girl or a boy is confusing to them, They are Y/N simple as that.

Y/N's power is like Nimona's minus the magic sparkles you see in the movie, their body shifts each cell to anything they want but like her or even Beast Boy they have telltale signs that it's not just any animal or person.

When Y/N shifts into any animal they have the hint of red on the skin, fur, scales or feather while if they shift to a person they have red stripes of hair on their head.

I would like to keep Nimona's red/pink-ish hair because why not? it's Iconic and I love it, really pops out in Gotham that Y/N is a the main character.

The rest of the other physical description is up for the readers to decide.

The setting of their origins goes back to the mid-early Gotham days, where the corruption is it's highest, a perfect plot to explain why they became so hateful to the city and later to the world.

Batfam Headcanon:

Bruce Wayne

Let's start with this bat pajama wearing vigilante

As I told before Y/N is already a citizen of Gotham at the beginning ahead of Martha and Thomas Wayne time and few generation of Wayne's and the original known influencial families in Gotham.

When Young!Bruce met Y/N it was the day Bruce fell in a cave/well at the back of the Wayne mansion

Except instead of Thomas rescuing Young!Bruce it was Y/N who did

Y/N save Young!Bruce and calm him down, he still became afraid of bats but the memory was tied together with their first meeting making it hard for him to forget Y/N

Young!Bruce and Y/N (who shifted to a young child) became friends behind Thomas and Martha's back

The two loving parents would always listen to their son telling stories about his new friend who can shape-shift

They only smile and encourage him to talk about his new friend because they thought Y/N was an 'imaginary' friend he made up after the traumatizing event.

Then here comes the canon event, I got two scenarios with me first is that Y/N was there when the death of the Wayne's happened and they shifts into a large deadly bat after the trigger was pulled and killed the mugger making Young!Bruce traumatized and call them a monster.

Second that Y/N was gone and came back after that night and Young!Bruce blames them for not showing up when he needed them because they promised to protect him.

Fast-forward to the present Bruce became Batman and already when through Dick, then him now as Nightwing Barbara from Bat-girl to Oracle (still in the process of healing), Jason, Jason's death, adopting Tim and making him Robin, Stephanie to Robin before Spoiler as well as adopting Cassandra before Damian came after Talia introduce and told Bruce to 'get to know his son' unfortunately no Duke yet because in order for him to be introduced everything in the batfam should have settled in including Jason but I will put him later on the series and He'll have his own introduction to Nimona!Reader.

Reread that again Jason's death but no reconciliation with him and here comes the next part I love.

Imagine this setting, it was raining in Gotham and Bruce as Batman was in pursuit of the Vigilante named Red Hood.

After finally cornering him, Bruce found out about Red Hood's true identity being the revived Jason Todd, his late Robin and son.

But before he could apprehend Jason, the younger male only smirk and whispered something before a pair of red blood bat wings emerge behind Jason.

A person rose up from Jason's back having a that familiar her color and a pair of glowing eyes looked directly at Bruce's as the mysterious person's with uncanny features that stood behind his son tickled the back of his brain.

Before he could utter a word he was cut off by a one strong flap of wings, soon Jason and the figure was up in the sky, the large bat wings flew up in the middle of the moon's form and their large wings spread open as if to mock the symble of the Batsignal before disappearing.

Headcanon for Nimona!Reader relationship with Bruce

At first I was planning on making Nimona!Reader as Young! Bruce's childhood first love before making it a sibling relationship

Still open to a romantic one if people are ok with it but I'm more fine with a sibling dynamic

You already see Young!Bruce as your Brother and you still do even after the harsh fall out the two of you had.

You already knew he was Batman by scent but never bothered with telling him or showing yourself

It's fun to wreck stuff at Gotham and making the big bad Bat frustrated and angy.

The only thing he's glad about is you never interacting with the Joker

for the Yandere part is that you being a big influence to his younger days being his only friend and literally the one who save him from the well/cave accident.

You became one of his fears and inspiration to become Batman

and seeing you again made his feeling from before come back and resulted to needing to find you and to reunite with you again.

Jason Todd/Red Hood

I'll pick him as second since I think I should put the order of how close the members of the Batfam are to Y/N

I can imagine him as Ballister to Nimona!Reader but more dark and is actually a villian that Y/N is going to join and become his sidekick

I was planning on mixing two version of Red Hood/Jason Todd maybe Arkham!Red Hood/Jason and Young Justice League!Jason Todd? weird but I need to this two version of him to connect for the plot I have in mind so stay with me

So Jason died by the Jokers hand at Arkham and his dead body was snatched and revived by Ra using the lazarus pit and became the League of Assassins puppet for a few years before escaping and became the Arkham Knight

He started a few solo missions, killing criminals and making a name -remember not Red Hood yet- first before moving on the recruite people not yet joining forces with the scarecrow

Y/N saw the Gotham news and found out about The Arkham Knight and was like

News reporter: He's a criminal

Y/N: He's awesome

News reporter: He blew up a building and killed people

Y/N: He's fucking metal

News reporter: He's Evil

Y/N: He's perfect

After that they broke into one of Jason's secret hideout and tell him about becoming his sidekick making Jason's ptsd come back about being a robin and Batman's sidekick

Jason threaten you with a gun since he's still angsty and depressed because of Bruce but you're more stubborn than him

First time you ever shape-shift he asked you if you were Beast Boy/Garfield's relative but you genuinely don't know who that is

He freaked out a bit but warm up to you little by little since your actions remind him of his kid days and unfortunately when he was Robin as well

As Arkham Knight he needed you for escape plans, distraction but most importantly on stealth missions seeing that your shape shifting powers was handy

But stealth missions are the ones you hate so when you end those missions You.Break.'Some'.Shits

He was pissed of course but quickly shut his mouth when you already had everything covered, now he doesn't even get bothered by your 'metal' moments

Then the whole Arkham happened, Gotham City was still fixing and healing but then the criminals still came back, Batman is still alive (Scarecrow didn't get to expose his indentity as Bruce Wayne because Jason save him in time) but didn't make up with Bruce and after that he finally became Red Hood

Headcanon for Nimona!Reader relationship Jason

When you met him you already smelled Bruce's phantom scent on him

It's smelled normal like a lingering scent but enough to tell you that Bruce is not Jason's biological father but still somewhat close with him, how you have that skill? I'll call it a weird mutation you have being a shapeshifter

You call him Boss but you actually treat him like a younger brother or act like mother/aunt-ish around him most of the time

Jason always think you could as well be his younger sibling but we all know your older than him by a few decades.

I kept Nimona's red colors since I think it'd be fucking awesome that two of the person that hated Bruce or became Bruce's nightmare and pain in the ass are both wearing or have the color red in their character palette. (Tim......is orange? Idk fckn know some of the fandom give him the orange color)

Damian Al' Ghul-Wayne/Robin

Before anybody say 'why jump to him quickly?' Well Lemme tell you something, Lemme tell you something

Damian's origin is connected to Y/N's origin story, remember when I told that Y/N existed early mid-Gotham days?

Well guess what Y/N was the connection of Ra to the Lazarus Pit and they became one his inspiration to use it.

Damian's grandfather speak highly of you, how you were the perfect being in this world that could widthstand the force of the Lazarus and continue to live forever.

Damian became influence by his grandfather's, mother's teaching and stories about you that deep down he wished to see you face to face

He still is an annoying brat from time to time but after staying at the Wayne and finally experience the life of living instead of surving he tone down for a bit

Ra's words still linger but now he has his own morals he keeps.

The first time he meet you might actually be pretty normal, him in his civilian Identity and you guys being you.

I guess maybe at the park? him just looking out for Titus and taking for a walk and you were just in the grass or the swings chilling.

He wouldn't care for the first minutes but when he saw Titus getting pretty close with you and he just watches as Titus let's you pet him.

He was intrigued and decided to introduce himself since he was in the midst of getting lessons about 'making friends'

Headcanon for Nimona!Reader relationship to Damian

How about like Mother-ish Aunty as well? and Damian also thinks you have a caring moments since you usually care even though you act crazy

Crazy? I was crazy once, they lock me in a room, a rubber room, a rubber room with rats, Rats makes me crazy, crazy? I was Crazy once-

and casually talk about killing and blood, lots of blood, buckets of blood.

He has alot of respect to you since you're this high being his grandfather talks about everytime

Likes that you can shape-shift into animals more

Follows you around after discovering your real identity and doesn't mind your 'metal' moments as well

----

This is not the last of headcanon but I might add more in the future for now I'm just gonna put this in before I forget.

[sag-dab-sar]

Clarification: Generative AI does not equal all AI

💭 "Artificial Intelligence"

AI is machine learning, deep learning, natural language processing, and more that I'm not smart enough to know. It can be extremely useful in many different fields and technologies. One of my information & emergency management courses described the usage of AI as being a "human centaur". Part human part machine; meaning AI can assist in all the things we already do and supplement our work by doing what we can't.

💭 Examples of AI Benefits

AI can help advance things in all sorts of fields, here are some examples:

Emergency Healthcare & Disaster Risk X

Disaster Response X

Crisis Resilience Management X

Medical Imaging Technology X

Commercial Flying X

Air Traffic Control X

Railroad Transportation X

Ship Transportation X

Geology X

Water Conservation X

Can AI technology be used maliciously? Yeh. Thats a matter of developing ethics and working to teach people how to see red flags just like people see red flags in already existing technology.

AI isn't evil. Its not the insane sentient shit that wants to kill us in movies. And it is not synonymous with generative AI.

💭 Generative AI

Generative AI does use these technologies, but it uses them unethically. Its scraps data from all art, all writing, all videos, all games, all audio anything it's developers give it access to WITHOUT PERMISSION, which is basically free reign over the internet. Sometimes with certain restrictions, often generative AI engineers—who CAN choose to exclude things—may exclude extremist sites or explicit materials usually using black lists.

AI can create images of real individuals without permission, including revenge porn. Create music using someones voice without their permission and then sell that music. It can spread disinformation faster than it can be fact checked, and create false evidence that our court systems are not ready to handle.

AI bros eat it up without question: "it makes art more accessible" , "it'll make entertainment production cheaper" , "its the future, evolve!!!"

💭 AI is not similar to human thinking

When faced with the argument "a human didn't make it" the come back is "AI learns based on already existing information, which is exactly what humans do when producing art! We ALSO learn from others and see thousands of other artworks"

Lets make something clear: generative AI isn't making anything original. It is true that human beings process all the information we come across. We observe that information, learn from it, process it then ADD our own understanding of the world, our unique lived experiences. Through that information collection, understanding, and our own personalities we then create new original things.

💭 Generative AI doesn't create things: it mimics things

Take an analogy:

Consider an infant unable to talk but old enough to engage with their caregivers, some point in between 6-8 months old.

Mom: a bird flaps its wings to fly!!! *makes a flapping motion with arm and hands*

Infant: *giggles and makes a flapping motion with arms and hands*

The infant does not understand what a bird is, what wings are, or the concept of flight. But she still fully mimicked the flapping of the hands and arms because her mother did it first to show her. She doesn't cognitively understand what on earth any of it means, but she was still able to do it.

In the same way, generative AI is the infant that copies what humans have done— mimicry. Without understanding anything about the works it has stolen.

Its not original, it doesn't have a world view, it doesn't understand emotions that go into the different work it is stealing, it's creations have no meaning, it doesn't have any motivation to create things it only does so because it was told to.

Why read a book someone isn't even bothered to write?

Related videos I find worth a watch

ChatGPT's Huge Problem by Kyle Hill (we don't understand how AI works)

Criticism of Shadiversity's "AI Love Letter" by DeviantRahll

AI Is Ruining the Internet by Drew Gooden

AI vs The Law by Legal Eagle (AI & US Copyright)

AI Voices by Tyler Chou (Short, flash warning)

Dead Internet Theory by Kyle Hill

-Dyslexia, not audio proof read-

[half-oz-eddie]

Billy couldn't be discharged from the hospital unless he had somewhere to stay and someone to care for him.

He could hardly move on his own, needed medication and was haunted by nightmares. Simply put, he couldn't do this on his own even if tried.

The Byers moved to California, he learned, wishing he could have gone with them.

Joyce said he was more than welcome to join them when he didn't require as much medical care. Traveling in his condition was dangerous anyway.

Steve's parents ranted and raved about how incompetent Steve was and he wasn't capable of being a full-time nurse for anyone when he could hardly take care of himself. Steve just believed it was an excuse for them to say no. While Billy was in the hospital recovering, Steve was constantly by his side. The rumors spread, and everyone knew there was something between them, but Steve didn't care. He loved Billy and promised he'd check on him everyday, no matter where he was.

Mike offered up his basement, and Billy told him he would rather get flayed again than stay in his house. He'd never explain why, though.

The obvious option would be for Billy to go home, but Neil didn't want to be bothered. He called Billy a "burden" and told him to check himself into an adult care home. As much as Max hated it, she had no say in the matter.

That left Mrs. Henderson, who, upon learning Billy had nowhere else to go, offered him the spare bedroom in their house. She was recently laid off, and took a job from home stuffing envelopes.

Billy received a generous amount of hush money from the government, and was willing to pay for the room.

The first night was a little awkward. Billy had never spoken to Mrs. Henderson before, and he hadn't spoken to Dustin very much, aside from some small talk when he visited him at the hospital.

He was in too much pain to sit upright at the dinner table, so Claudia propped him up on his bed and convinced dustin to join her in keeping Billy company.

They ate together and watched Shadowlands, which Dustin and Billy found dreadfully boring.

As Claudia had her back to them, Dustin turned to Billy, mouthing about how boring the movie was.

They tried to hide their laughter, pretending to enjoy the movie when Claudia turned back to look at them.

"Wanna see something cool?" Dustin whispered.

Billy nodded. He doubted anything Dustin would show him would be cool, but he was wrong.

Dustin was working on some figurines for D&D and Billy thought they looked pretty badass.

Claudia turned to them again, smiling. "So I was watching the movie all by myself, hm?" "Sorry, mom. I thought Billy would want to see some of the stuff I was working on and—"

"It's alright, Dusty. You boys have fun playing with your toys, I'll clean the dishes."

"They're not toys mom, they're..." Dustin sighed. "She doesn't get it."

"At least she's here."

Dustin nodded. "Yeah, she's a great mom! Hey, d'you like comic books?"

"Max used to leave them lying around and I'd look at them. They're okay, I guess."

"Wait here—I mean...sorry. I forgot you...couldn't move." Dustin winced.

Billy sighed, brushing off Dustin's awkward comment. "Bring me a drink while you're up."

"You got it!"

Billy watched Dustin run out of the room, then glanced down at Dustin's figurines.

"Steve will get a kick out of knowing his best friend likes me."

[physalian]

A Guide to Productive Filler

I was going to write this post about the wonders of fanfic and how it does not do the “forced miscommunication for cheap drama” trope, and it did not stay that post for long.

I’m sure it’s out there, but it’s not saturated in the most popular fics and I think I know why: Fanfic exists in contrast to the established canon, and the canon has forced miscommunication, thus fanfic looks at the perpetual failure of those plotlines and ignores it.

Nobody likes this trope, yet it keeps happening. In TV, at least in the old days when we had full seasons with appropriate and satisfying filler episodes and actual good stories and such (you know, before Disney +) TV shows were contracted to fill a minimum number of episodes and didn’t always have enough content to fill it, especially CW shows.

Enter filler episodes, which, when productive, still entertained the audience with off-beat side quests or gave more screen time to beloved side characters or explored more of the world and the lore. Filler plots meant that you could casually check in on your favorite show once a week, or miss an episode, and not feel completely lost because the plot wasn’t super tight and lean. Some of my favorite episodes of all my favorite TV shows are filler plots and just because they’re “filler,” as in, not a plot-heavy element to advance the narrative, doesn’t mean they were lacking in story.

That was good writing.

Bad filler elements were sh*t like forced miscommunication for cheap drama and it still exists even in the “mini series” that are really just long movies extended to keep people from canceling their subscriptions. TV shows may have one or two head writers, but they’re still written by committee and producers and production companies trying to milk as much from a profitable product as possible, which means they couldn’t write an efficient, epic romance that ended too quickly. They had to faff about for a few seasons before delivering to keep butts on couches tuning in to generate sweet, sweet ad revenue.

Forced miscommunication in TV shows have always made sense in that light. Yeah it’s a product of bad writing, but I can’t point at the head writer or even the staff writer alone and criticize their writing ability because it likely wasn’t their decision.

Forced miscommunication in books, however—that I have no excuse for. Books aren’t written by committee. In this case, I really can just blame the author for their bad choices, which, in turn, maybe came from their favorite TV shows and how they executed similar plot lines.

Fanfic does not do this, usually. It’s not written by committee and has no quota to fulfill to beef up the narrative with extra chapters.

—

So. You want your story to be longer, fanfic or otherwise, but you’re struggling because your plot is too thin and you don’t know where to go from here.

First, a disclaimer: Novellas exist and can be as short as they need to be.

“If I had more time, I would have written a shorter letter,” means that  just because it’s long doesn’t mean every word serves a purpose. With enough time, the writer can trim down their thoughts for conciseness and clarity, and say the same thing with better impact with less beating around the bush.

So just because it’s short doesn’t make it bad, just because it’s long doesn’t make it good. It’s about what you do with the words you’ve written.

However, if it really is a thin story lacking substance and oomph, here’s some suggestions that are not sh*t like “forced miscommunication”. These are not meant for generalized application and should be considered heavily before implementing, because any one of them can change your book for the worse by adding in unnecessary detail that distracts from the main story.

1. Consider multiple narrators

Now. I just read a rather bad book that could have lost about ⅔ of its story for a variety of reasons and told the same story in a fraction of the page count. One of those issues was giving the villain several POVs that ruined the suspense and the tension because the reader became privy to their grand plan long before the protagonist and instead of having all our questions dying to be answered with the protagonist, we were waiting around for them to stop fooling around and figure it out already.

With that said, if you have a character of second importance to the protagonist whose perspective would benefit and enrich the story, consider giving them POVs to explore either when the protagonist couldn’t be present, or in contrast to the main narrator’s thoughts on the story and conflict.

I’ve never written anything without multiple POVs and still get carried away sometimes just trying to fill in all the missing time that didn’t add enough to the story to make it worth it. I have deleted POVs from ENNS that were better left up to audience interpretation then all laid out on the table.

This technique very much necessitates restraint, but giving your foil character, your deuteragonist, even your villain some narration “screen time” might help you beef up your word count and tell more than just one biased side of the same story. Fanfic tends to be very efficient with this because, again, one writer working for free tends to want to be efficient and not give pages upon pages of useless prose.

2. Side-quests and character studies

My all time favorite filler episode of any TV show is LOST’s “The Constant”. It focuses entirely on the side character Desmond. He’s an unwilling time-traveler and throughout season 4, struggles to control his temporal displacement and risks dying if he can’t find a “constant” to anchor him to the correct timeline.

This episode is often praised as one of, if not the show’s finest hour. Desmond spends most of the runtime flipping erratically between the past and the present as his romantic relationship spirals for other plot reasons. He ends up making his “constant” his fraught relationship and is able to revert to the past with knowledge of the future to get his then-ex girlfriend’s new phone number so he can call her at an exact date in the future to prove he won’t have given up on them. When Des finally makes that call 8 years later, it’s so emotional, so full of catharsis, so exciting to see him finally reach her after struggling since we met him.

And it has absolutely nothing to do with the plot at large, only Desmond’s arc. It explores some of the world’s lore but doesn’t answer any of the main plot questions or progress any other major character, and Des is the only time traveler so all the risk surrounding time travel is only for him. Critically, it still adheres to the themes of the show and fulfills much of the promises of this character’s role in it.

The show’s worst episode, “Stranger in a Strange Land,” is also filler about protagonist Jack’s tattoos. He makes a relationship with a woman nobody cares about and spends the entirety of the episode’s flashbacks, which is most of the episode’s runtime, dicking around in Thailand. With this quasi-wise woman’s tattoo techniques. Nobody cares what they mean, they didn’t connect with the themes of the show, didn’t tell us anything substantial about Jack or the world, lore, or story, and just felt like a massive waste of time.

If you’re going to write side quests, be more like “The Constant” and less like “Stranger in a Strange Land”. 

3. “Slice of Life” moments

A repeat of referencing this scene and this movie but I don’t care: “Doc Racing” from Cars is just one example. Adding in scenes like these won’t give you tens of thousands of words, but maybe you only need a couple hundred to feel satisfied.

Slice of life moments slow the pacing down, so place them wisely, and just let your characters be people in their world. Small things, human things. In Cars, it’s an old man letting himself enjoy life again when he thinks nobody’s watching. I have a scene in my sci-fi WIP series where two brothers, plagued by their family’s social status, take a drive and pick up greasy drive-thru food to park on a mountain overlook and just watch the city while licking salt off their fingers. I think Across the Spiderverse is about 20 minutes too long, but that scene of Miles and Gwen upside down on the roof before the plot ramps up is another quiet, human moment.

It could be a character who needs a break from the breakneck speed of the plot and the stress to listen to music, walk away from the project and enjoy the sun, anything. Do try to not get overly pretentious trying to make it super metaphorical and poetic, let the audience do it for you. These quiet scenes could end up being the audience’s favorite.

—

If you’re trying to make your book longer, don’t be like Bilbo Baggins, okay? Don’t let your characters be spread thin, like butter scraped over too much bread. Add, don’t stretch. If the romance is on track to come together sooner, let it, or figure out a more meaningful way to delay it than throwing in a dumb argument that won’t mean anything in 20 pages anyway.

This wasn’t an exhaustive list, just what I think could be the most effective with the widest applications across genres.

[reel-fear]

Genuinely so curious who Mike thinks is gonna be buying The Cage or the new DCTL GN bc with the way he tweets as far as he's concerned, it's not gonna be:

The queer people he has actively admitted he will never show any representation of in the games.

2. The POC he has actively fought against representing in his franchise. [Who he also mocked for thinking they would be represented in his franchise]

3. The Bendy fandom which has always been concerned with topics of diversity esp in the sense of queer people since its creation. Who he has responded to really poorly esp in regards to the GN.

4. The fans who critique him. [He blocked me for doing so lol]

5. His fans in general who he tweets about like this currently. [He's being vague about why people were mad at him or sent him 'nasty messages' because if you actually looked into why you'd see he was in the wrong. Either way, a very hateful way to speak abt ur own fanbase.]

Reminder while Mike is trash talking his fans he has always treated them rather poorly. The fans who won the fanart contest for Chapter 5 never got their posters actually in game due to it being rushed. Not only was chapter 5 a big slap to the face story wise, but it was literally so rushed he couldn't be bothered to add in the art his fans gave him for his game FOR FREE. [Meatly blames this on a crazy timeline, reminder him and Mike are the literal ceos of this company. The proposal of future updates here is also pretty cruel considering Mike nowadays happily admits he corrupted Chapter 5's source code and therefore literally can't update it At All currently. Because he is a moron]

At least they got to be in Boris and the dark survival, and by that I mean that was the Only game they got to be in so far, isn't that just treating your fans like you love them? Shoving their hard work into a spin off game almost nobody has played or addresses much. [Hell, who knows if with the Lone Wolf rebrand they'll even stay there. In which case they'll be in None of the games, only in the credits of BATIM]

6. The Bendy fans who just generally disagree with him on stuff. Like the new ink demon design where there is literally a public poll showing people generally prefer the old one.

7. The Bendy fans who can see he is actively lying to them. To their fucking faces.

He says this has always been the case, but screenshots and links to tweets regarding the books being canon prove it was not. Does he really think bendy fans are stupid or something? [Unless he's admitting here he lied to Kress when he told her the books were canon which sounds worse!]

8. Anyone who doesn't like the idea of giving money to a guy who laid off tons of employees then afterwards thought it was a great idea to express his anti-union views! Also brag about how good of an employer he was, according to his employees, he was not!

So in summary; Mike is an awful person who has not learned anything from the awful things he did. I will not be purchasing The Cage because, combined with this and his absolute refusal to take any kind of critique or see any differing interpretation of his franchise, I have no reason to think my problems with the franchise will ever be addressed or fixed. I probably will pirate The Cage along with any future Bendy Products [Including the movie] and will do my best to avoid giving it any kind of monetary support. Unless this changes any time soon, I can't see myself making anymore positive Bendy posts soon.

Mike has just managed to make it so hard to speak positively or optimistically of this franchise when he's so willing to broadcast how little he cares about it or its fans. I'm at the point where I refuse to pull any of my punches with my problems with it. What's the point of trying to play nice with my critique when either way the people creating it don't care?

So with this post, I want to invite anyone who feels similarly about the franchise to tell me, make a post or send an ask talking about how all of this makes you feel. It may not change how things are, but genuinely seeing other people share my feelings of anger makes me feel better. It feels nice to see when other people share our same concerns and worries. I'd also love to know if anyone else thinks they'll be avoiding purchasing Bendy products over this.

I'm not forcing anyone to participate in it nor trying to say anyone who doesn't supports mike but genuinely maybe if we can collectively decide to boycott things like the movie, graphic novel and The Cage... It might at least make the bendy devs acknowledge how much they have destroyed their own fandom's faith and trust in them.

The way Mike tweets about his actions like he had no control over why people were mad at him at least proves to me he takes NONE of it back nor regrets it. If you didn't know about his actions and only went off his tweets, you would be led to believe Mike has been needlessly picked apart by fans over things he couldn't control [or in his own words, had his words twisted and taken out of context]. That is not how you speak about your actions if you have actually learned better from them.

anyway, that has been my bendy dev callout post. This is an open invitation to anyone feeling similarly upset about the way the franchise is going to talk about it. It's genuinely nice to see how people feel about this and the more we talk about the more it's likely the bendy devs are forced to address our concerns. I don't think they will but hey, that's why I'm not gonna support them with my money anymore nor am I gonna be nice to them in any content I make critiquing Bendy. I mean I'm also basically making this post just in case anyone asks me Why I feel this way towards to bendy devs/as a way to respond to anyone who thinks I am too harsh in my critique in the future.

As always, it seems the best part of Bendy isn't actually anything about canon but about what the fan's are creating with the ideas Bendy failed to do anything interesting with.

Also the books, the books slap.

[ecto42]

I think in D&D terms the typical assumption would be that a character with a chronic illness and/or chronic pain would have a low constitution score. The reality is a lot of people like myself would probably have constitution as our biggest stat because not only are we constantly staying up while fighting our bodies, we’re generally expected to ignore our own physical needs and wellbeing in exchange for being able to get things done. For example, I have been fully in the middle of a POTS episode and had to cook myself dinner, carry multiple loads of laundry up and down the stairs, etc. Like there’s such a real thing to Ashton Greymoore having chronic pain and yet their highest stat being Constitution.

I think something people are really good at acknowledging for Ashton as well as being apparent with Taliesin is that chronic illness generally means you’re stronger than people would assume, but you also blow through your resources faster and they can be just as counterproductive as they are helpful. It’s important to note that Taliesin struggles with chronic issues like hand tremors and has other chronically disabled friends like Dani Carr.

Like personally as an AMAB person with a condition that primarily hits AFAB people particularly hard, I’ve had cardiologists tell me “If anything your heart is overly muscular.” Which like, thanks dude yeah that’s decades of anxiety and years of POTS hitting and me having to stay standing up. Like I was in marching band in high school and I was the kid basically double-time marching in giant steps every show because I was the easiest to place since I’m so tall. Then when I worked fast food I had to either maneuver through hoardes of people to get back to my station or just push through them completely. In 90+ degree weather in the summer in Alabama with an anxiety disorder and a “heart condition” that’s actually just another neurological condition. Like I spent years doing manual labor and unloading trucks and pallets while exhausted on like 3 hours of sleep. You have to develop that kind of resilience when the capitalist system reinforces a world where no matter what if you want to survive as a person straddling the poverty line you have to work your ass off.

This doesn’t even get into the kind of resiliency you have to develop as an undiagnosed neurodivergent person who’s being told by absolutely everyone for most of your life that you’re doing everything wrong. Like Adaine from Dimension 20 is such a good example of that. This is also why I love the portrayal of Ayda Aguefort so much, because she really is like me having to learn everything from books because no one else in her life can explain things the same way that a book can. That is one of those things that as a late diagnosed autistic & ADHDer it’s really hard to explain personally without getting really like tragic or depressing in conversation because it sometimes is just a matter of “I’ve effectively been abused my entire life purely because the system wasn’t built for me and I had a lot of expectations I failed to live up to.”

All of this as a way to say that neurodiversity and disability are much more interesting and heroic feeling when they are portrayed by actually neurodiverse and disabled people, as well as those who love those people enough to tell stories that include them. I think TRRPGs and RPGs in general are a great way to explore this. Often times when we see disabled people in shows or movies that revolve around their disability there is a lack of agency, whereas often times with TTRPGs you have to create your own agency in the first place.

[ghostflowerhotpotch]

Ghosftflower: The Artbook Cut

Okay guys, sorry for not doing much lately, holidays aside my laptop died so I am using something else in the meantime, so I had been a tad busy lately.

That being said, the Art Book arrived today! There wasn't a lot of ghostflower sadly, but I wanted to bring something regardless, so let's dig in!

Honestly while I don't consider myself an expert on these types of book, I own a few, and this one is...strange to say the least.

The formatting is off in a few parts, some things that don't make sense with what we are told in the movies, sections of the art book that assume we saw something on the movie that we didn't- I may do a post about it because looking at this book somehow gave me more questions than answers.

But that's a story for another post, let's go!

(Sorry for the quality of the pics, my phone isn't the best and I am not a good photographer myself.)

This one is right at the end, as part of the decoration between the walls of the book and the pages itself; it shows the entire city, but I focused on them for obvious reasons.

Also because the ending shot of this particular scene is one of my favourites in all the movie and seeing it in it's concert art form means a lot to me.

These two were in between pages at the beginning, the text talks more about the general process on the movie than them, so not a lot we can say.

Still lovely, I honestly wish we had more of Gwen and Miles swinging across New York, there is something beautiful and enchanting not only in them moving around in a way only a spider-hero can do, but also almost like a dance between these two.

Not so much ghostfloweer, but I still liked this pic of them together in Hobie's world.

The book acts as if we were suppose to see this world so one of those crazy things about this art book is seeing the stuff that was in the movie before it was cut.

Honestly the making-of this movie would either be insane or extremely edited because this is nuts.

Oh ho ho, we are getting to the MEAT.

Okay, I don't read Scripts very often, but the times I had has been interesting, specially since a lot of times it can reveal some small gags that either got cut on the movie, or that things that were in plain sight that you didn't notice. DEFINITELY will be reading the Script for this movie once I get my hands on it.

In this pic, it shows a deleted joke, either this was going to be in the cut of the movie when the book was in development, or it was left there but was already planned on being scrapped.

What I like about this deleted dialogue is that it shows, once again, that Gwen isn't always at the top of her game. As cool as she can be, she is still a teen who hasn't figured everything out.

I honestly find her more endearing trying to stick the landing and failing that just being cool and collected all the time.

Sorry for the long box of text, wasn't sure where to cut. There are two parts in this I want to highlight.

"They're both trying to impress each other,"

I found this extremely cute because while Miles trying to keep up with her and impress her is obvious (Just like everything else with Miles, as a said, the boy wears his heart in his sleeve and we love him for it,) but to be honest I didn't think Gwen was trying to do the same.

Now I imagine Gwen looking around this New York and trying to see what she could do to impress Miles- I love these earnest dorks.

The awkward gazelle part is also pretty much present in the movie; however I do like the comparison on how Miles himself knows now more than ever what he is capable of, which really shows in the rest on the movie, including in the train chase scene.

(Not really Ghostflower, but I LOVE how Miles never doubt on himself despite what he heard, need to talk about that eventually.)

More art of this beautiful scene, which was sparkled around these notes.

There is not much I want to analyze here as much as to, emphasize it?

Analyzing this movie so much and so often has really gotten to appreciate it to a whole new level, even if during said process I was able to see more of the mistakes and issues underneath.

This scene is really this and more, and what is astonishing is that is not that they are capturing the essence of the scene in some words, but rather come with the concept and create said scene, which is a lot more complicated.

And yet they pulled it off beautifully.

I really liked to highlight this part because 1) I and everyone else may need to start paying close attention to lighting because wow that detail is extremely cool, and 2) It really highlights a whole new layer to this scene.

They are getting close, both physically and emotionally, yet all the things they hide, how they hide themselves in a way, gets in the way of what they truly want. Is amazing because is a struggle that in the details is very much Spiderman, but below it is so human. Which honestly, part of the reason Spiderman as a whole as become so beloved over the years.

(Side note: Stan Lee decided to make Peter Parker in a era where superheroes were adults who basically could do anything, so coming with a teen who would also had teen issues was something that got people calling Stan nuts. Crazy how things how it worked out I'm right?)

Different stages development of this scene because of course I needed to include this, even if i can't say much of it really.

Not much to say here, except that this brief goes beautifully with the next excerpt of the book that I enjoyed.

"At that moment, anything is possible for the two of them." Isn't all of this phrased so beautifully?

While not telling us anything new, I want to relish in this little bits that just makes the scene feel so much whole as you read this.

How both Gwen and Miles don't want this to end, to keep the warmth between them going, to just linger because neither of them want to let the other one go. Frozen in place unable to move forwards for thall the unsaid things, yet refusing to move back.

They are lovely.

And that's all I have for them sadly! This book was extremely odd, it was very much lacking a lot of Miles and Gwen (Which kind of tracks, art books go mostly about design and their design's haven't change much,) but the fact that most of this information was at the end, alongside other things, makes me curious about what the heck went down while making this.

Or other stuff because is not the first time we see the remnants of the other versions of this movie peaking by.