#you're a great partner to work with

[lucabyte]

any thoughts about postcanon loop and mira relationship? i dont think i saw much about it in text posts but it looks like you might have something. bats eyelashes

okay i have rambled about this in a few places in mostly privately and in the tags of my own posts and self-reblogs but. grabs your shoulders. can you fucking imagine how funny loop would be as mira's beard. hear me out.

like. i'm already here for isiloops. im also already here for miraloop and mirasif qpr. im also here for miraisa qpr. im also not a coward who thinks odile should be excluded from this but thats besides the point. what im saying is that the whole things a fucking polycule and there's yet still ways this could be made way, way funnier.

So. It's obvious that Loop's theatrics are more than a bit of a facade. (They drop them when taken off-guard or in serious moments with Siffrin, and Isabeau remarks on them seeming 'shy' at the end)

But we also know that they aren't *that* much of a facade due to their speech patterns being directly reflected in act 4-5 sif's inner monologue. It's clear that Loop's regular goofy bullshit is just the manic end of Sif's emotional state unfiltered and externalised, presumably because they went fucking insane.

So while I imagine they'd probably be slightly more toned down with the party in postcanon, I don't imagine the bonus confidence that comes with Constantly Performing like that would just like... go away? Plus, new identity means you've got no expectations to be held against so... I think it would make sense for them to keep up the theatrics, the bitchiness, the change in humour from dumb puns to sharp and cruel wit.

So the idea of them proposing to Mirabelle that they could just, *pretend* to be dating isn't out of scope, to me. In a situation where she's perhaps fretting about keeping up appearences as an ever-changing housemaiden, or has heard through the grape vine that someone is going to try and make a move on her at a formal gathering, I think Loop offering to theatrically play up being her partner 'as a joke', so that they can offer her support and comfort while still under that arm's-length plausible deniability, sidestepping the emotional vulnerability of 'feelings buddies'.

(Remember, after all, that Act 6 Mirabelle's 'no spoilers' policy means she only got Act 5 Sif's fucked up little talk? There's genuine question as to how long it could take her to unpack things again after that. She probably still feels that social pressure even in a scenario where she has something again to the regular friendquest talk again, anyway...)

It lets them be 'in on a joke' together, and also gives Loop an excuse to hold hands with their friends that doesn't require they be honest about things. ("Well there's the thing, Housemaiden! I've no mouth to kiss, so we don't even have to do gross things like that to keep up appearences!") And thus gives Loop a niche in the party to slot into that otherwise probably wouldn't be filled by anyone.

And would anybody question it? The chosen saviour of the country has a weird little ethereal freak on their arm. That sounds about right for a magical saviour, and means there's really no need for any explanation for why they seemingly only showed up after The King's defeat. They're clearly Mirabelle's spirit guide, or something.

. anyway as with all things loop feel free to place this after everyone knows who they are for this to become a "relatively normal thing that can happen",

or you can place it before everyone knows who they are for the added twist-of-the-knife that is "guilt over keeping secrets" and "a really awkward and potentially upsetting recontextualisation later on"

also in case you havent seen . images related -> (x) (x)

[rexscanonwife]

Against my better judgement I'm watching more of the 2016 ppg reboot and lemme tell you something. I HAAAAAAATE the way they write Utonium I HATE IT!!!

But sometimes there'll be a little moment here or there where he's kinda...cute > ^ <

[campingwiththecharmings]

me whenever someone gives me unsolicited opinions about myself:

[magentagalaxies]

happy one year anniversary of my friendship with paul bellini!!!!! so wild to think that this all started with me being a nerd in some youtube comments sections and evolved into such a lifechanging meaningful friendship (not to mention some amazing career opportunities!) i'm so honored to be able to call paul bellini my "uncle" and it's so sweet to look back on journal entries from around that time, when i thought "getting noticed in the youtube comments once" was as far as my kids in the hall connection would ever get

[image ID: a journal entry dated july twenty-fourth 2022. the text reads "Paul Bellini replied to my comment on a video of his band Mouth Congress this morning! I know this may not sound like much since the video had 2 views but it was so cool!!! /END ID]

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[beeseverywhen]

god the duality between 'I don't want someone in my house' and 'yeah I'd like my own kids and no way I'm doing that alone'

[todayisafridaynight]

My brain is like all over the place but like I haha no uno reversed card my breakup and we're just on break now- one of the things I find funny is that he still wants my updates for y7 so that's fun (I'm not even upset I'm just confused 🧍)

huh

[ruskatuskapuskasapuska]

HAUKI ON ILOINEN

KALA. :-)

I made a video about the northern pike :]c

[medicinemane]

I don't know, I get tired of a lot of positivity

Like yes yes, the world's wonderful and I'm so strong or whatever generic thing is being said (because it's always so generalized to the point of meaningless), but you know shit is what it is, and the only way forward is with changes I manage to make... which you're not helping with at all

And as for like... my internal mood, I'm deeply isolated, sorry if hollow platitudes don't sooth the gaping maw inside me

It is what it is, and I probably get my shit together enough to do stuff like teach out of my basement like I'd like, it's just I believe that I'll be alone in a crowd like I've always been

But positivity... I just... I kinda get sick of it. There's this guy on youtube I watch who talks about economics stuff, he's recently started doing positivity and... I just fucking know his personality enough where it's like sorry mate but I'm not interested in hearing you spout Secret light kinds off drivel

...I don't know, I suppose it boils down to this

One, I can barely fucking take in positive things said directly to me, about me. Generalizations don't help even a little... I'm a mess, I'd really like someone to toss me a life preserver instead of always tossing confetti at me while I struggle to stay afloat... doesn't help

Two, the world is a terribly imperfect place, and rather than taking a mentality of "everything will work out", I think it's important to acknowledge that sometimes good people live alone, die alone, and they never got the break they needed and slowly bled out

I think it's worth knowing that if you can't step in and help yourself, then maybe no help'll come at all

...I don't know, I suppose in the end the core of what I'm saying is a lot of positivity seems like self help tier stuff and... I get tired of that, and I see so many good people struggling and... eh... either I can at least come in and say something positive custom fit to them, or I can keep my mouth shut

Just fucking let me rot. Help or let me fester on my own, you know?

I got rid of the trailer, I maybe did something like cleaning though I can't tell... at what point will my pace on trying to make things better be good enough for people, and I'll be able to stop having people tell me to fix my life... as if I hadn't thought of that already

...everyone means well, it's just tiring

[reasonsforhope]

Kamala Harris just announced that her vice president will be Minnesota governor Tim Walz. Based on the coverage so far I'm really reassured by this decision.

The Washington Post did an obviously great job of making a prepared article for each option, considering how long an article they had up 7 minutes after the announcement.

((Okay technically it's not an official announcement yet it's "according to three people familiar with the pick, who spoke on the condition of anonymity to discuss a decision that is not yet public." But listen. I am 99% sure this is a weather balloon. (Meaning: a deliberate leak to gauge reaction.) Because the sheer weakness or incompetence on the part of the Harris campaign that it would take for three people to all confirm that within a few hours hours of each other and the planned announcement it is massive.))

-via The Washington Post, August 6, 2024

Honestly this decision, from everything I've read and can tell, looks like it's brilliant politics.

Important Context: The vice president(ial candidates)'s job in an election is not to be similar to the president. The vice president's job on the ballot is very, very much specifically to be different from the president. Why? So they can cover each others' weaknesses. Especially regionally.

(Sidenote: I feel a bit ridiculous saying this. But genuinely if you want to get a stronger understanding of how US elections really work. Go watch seasons 6 and 7 of The West Wing. Genuinely, a lot of politicians have said - especially back in its day - that that was the most accurate depiction of an election they'd ever seen. Also specifically features an entire arc about a contested Democratic primary convention, so also very good if you're interested in understanding weird nominating convention shenanigans.)

From the article:

"Harris’s choice for a running mate was among the most closely watched decisions of her fledgling campaign, as she sought to bolster the ticket’s prospects for victory in November and rapidly find someone who could be a governing partner. In picking Walz, she has selected a seasoned politician with executive governing experience and signaled the importance of Midwestern battleground states such as Wisconsin and Michigan.

Walz’s foray into politics came later in life: He spent more than two decades as a public school teacher and football coach, and as a member of the Army National Guard, before running for Congress in his 40s. In 2006, he defeated a Republican to win Minnesota’s 1st Congressional District--a rural, conservative area--and won reelection five times before leaving Congress to run for governor.

Walz was first elected governor in 2018 and handily won reelection in 2022. Though little-known outside his state, Walz emerged publicly as one of the earliest names mentioned as a possible running mate for Harris, and in the ensuing days he made the rounds on television as an outspoken surrogate for the vice president...

“These are weird people on the other side. They want to take books away, they want to be in your exam room. … They are bad on foreign policy, they are bad on the environment, they certainly have no health care plan, and they keep talking about the middle-class,” Walz told MSNBC in July. “As I said, a robber baron real estate guy and a venture capitalist trying to tell us they understand who we are? They don’t know who we are.”

Walz also has faced criticism from Republicans that his policies as governor were too liberal, including legalizing recreational marijuana for adults, protecting abortion rights, expanding LGBTQ protections, implementing tuition-free college for low-income Minnesotans and providing free breakfast and lunch for schoolchildren in the state.

But many of those initiatives are broadly popular. Walz also signed an executive order removing the college-degree requirement for 75 percent of Minnesota’s state jobs, a move that garnered bipartisan support and that several other states have also adopted.

“What a monster. Kids are eating and having full bellies, so they can go learn, and women are making their own health-care decisions,” Walz said sarcastically in a July 28 interview with CNN when questioned whether such policies would be fodder for conservative attacks, later adding: “If that’s where they want to label me, I’m more than happy to take the [liberal] label.”

Walz also spoke at a kickoff event in St. Paul for a Democratic canvassing effort, casting Trump as a “bully.”

“Don’t lift these guys up like they’re some kind of heroes. Everybody in this room knows--I know it as a teacher--a bully has no self-confidence. A bully has no strength. They have nothing,” Walz said at the event, sporting a camouflage hunting hat and T-shirt.

Walz has explained that he felt some Democrats’ practice of calling Trump an existential threat to democracy was giving him too much credit, which prompted his decision to denounce the GOP nominee instead as being “weird.”

“I do believe all those things are a real possibility, but it gives him way too much power," Walz said on CNN’s “State of the Union” regarding the Democrats’ rhetoric. “Listen to the guy. He’s talking about Hannibal Lecter, shocking sharks, and just whatever crazy thing pops into his mind.”

If Walz is elected vice president, under state law, Minnesota Lt. Gov. Peggy Flanagan (D) would assume the governorship for the rest of his term. Minnesota Senate president Bobby Joe Champion, a Democrat, would become lieutenant governor."

-via The Washington Post, August 6, 2024

--

This guy. Sounds like. fucking Moderate swing-state/rural/Midwestern/southern/"heartland"/working class white voter catnip. He sounds like he's also a very smart politician and strong campaigner. And he's apparently genuinely a good guy with a good record, too.

He sounds like he's going to do a really good job of appealing to voters in several of the big deal swing states without being from any of them specifically. Which means it doesn't feel like pandering to one of the states involved (and thereby spurning the others), which is also great.

(Also he was the one who started "weird" @ conservatives and I think we should take that seriously as a very good political instinct/move. Judging in large part by how it has so clearly hit an actual nerve with conservatives like so little else. Also hugely relevant: that post going around about how part of why conservatives are so upset about "weird" is because in the Midwest, "weird" specifically also implies anti-social or harmful behavior.)

Officially feeling more optimistic about Trump not winning in November

[lycastanne]

pro-hero!bakugou is so busy, as expected since he's a hero after all. a great one at that. he avoids relationships, because he's aware about how he cant properly manage his time. he wont go around giving hopes to people, he is a straight forward man.

but fuck, when he sees you in some movie premiere which his friend acts in, he really wants to try commit a relationship with you.

you're a journalist, he noticed from the mic you held and the logo around it. ah, you work for a big entertainment media or magazine? he's not sure. your body language shows that you're confident, he likes that.

he didn't even realize when you start talking to him.

“mr. dynamight, im (name) (last name) from vogue. can we ask you questions regarding the movie?” you asked politely.

“tch, dont make me wait too long.” he said, keeping the nonchalant act.

you gestures to your cameraman partner to get ready. once the camera is ready, you start to introduce yourself and him. he watches you with a small smirk, clearly enjoying this.

“dynamight, we hear that you're not a big fan of romcom movies, is that true? does this movie change your perspective of romcom movies?”

“yes.”

you furrowed your brows, confused.

“okay... moving on, who's the first one that comes to your mind when you hear 'queen or king of romcom'?”

“julia roberts. i think.” there's a questionable pause.

“i love her too! especially in notting hill. i watched notting hill when i was 14 and since then library date is my dream date.” you rambles, all giggly and smiley.

“have you been to one?”

“hm? im sorry?”

“the library date, i can take you. if you want to i guess.” his tone isn't exactly friendly but his reddened cheeks makes you realize that he doesn't mean it the mean way.

“id love to, y- yes— oh my god.” you stutter.

“i have to have your number then.”

since you don't carry your business card and there's only a pen, bakugou let you write your number on his arm.

“good, call you later, dollface.” within a blink he's gone.

your flabbergasted face is the only thing you could muster.

“is the camera still on?”

“its live.”

[wordstome]

how c.ai works and why it's unethical

Okay, since the AI discourse is happening again, I want to make this very clear, because a few weeks ago I had to explain to a (well meaning) person in the community how AI works. I'm going to be addressing people who are maybe younger or aren't familiar with the latest type of "AI", not people who purposely devalue the work of creatives and/or are shills.

The name "Artificial Intelligence" is a bit misleading when it comes to things like AI chatbots. When you think of AI, you think of a robot, and you might think that by making a chatbot you're simply programming a robot to talk about something you want them to talk about, and it's similar to an rp partner. But with current technology, that's not how AI works. For a breakdown on how AI is programmed, CGP grey made a great video about this several years ago (he updated the title and thumbnail recently)

I HIGHLY HIGHLY recommend you watch this because CGP Grey is good at explaining, but the tl;dr for this post is this: bots are made with a metric shit-ton of data. In C.AI's case, the data is writing. Stolen writing, usually scraped fanfiction.

How do we know chatbots are stealing from fanfiction writers? It knows what omegaverse is [SOURCE] (it's a Wired article, put it in incognito mode if it won't let you read it), and when a Reddit user asked a chatbot to write a story about "Steve", it automatically wrote about characters named "Bucky" and "Tony" [SOURCE].

I also said this in the tags of a previous reblog, but when you're talking to C.AI bots, it's also taking your writing and using it in its algorithm: which seems fine until you realize 1. They're using your work uncredited 2. It's not staying private, they're using your work to make their service better, a service they're trying to make money off of.

"But Bucca," you might say. "Human writers work like that too. We read books and other fanfictions and that's how we come up with material for roleplay or fanfiction."

Well, what's the difference between plagiarism and original writing? The answer is that plagiarism is taking what someone else has made and simply editing it or mixing it up to look original. You didn't do any thinking yourself. C.AI doesn't "think" because it's not a brain, it takes all the fanfiction it was taught on, mixes it up with whatever topic you've given it, and generates a response like in old-timey mysteries where somebody cuts a bunch of letters out of magazines and pastes them together to write a letter.

(And might I remind you, people can't monetize their fanfiction the way C.AI is trying to monetize itself. Authors are very lax about fanfiction nowadays: we've come a long way since the Anne Rice days of terror. But this issue is cropping back up again with BookTok complaining that they can't pay someone else for bound copies of fanfiction. Don't do that either.)

Bottom line, here are the problems with using things like C.AI:

It is using material it doesn't have permission to use and doesn't credit anybody. Not only is it ethically wrong, but AI is already beginning to contend with copyright issues.

C.AI sucks at its job anyway. It's not good at basic story structure like building tension, and can't even remember things you've told it. I've also seen many instances of bots saying triggering or disgusting things that deeply upset the user. You don't get that with properly trigger tagged fanworks.

Your work and your time put into the app can be taken away from you at any moment and used to make money for someone else. I can't tell you how many times I've seen people who use AI panic about accidentally deleting a bot that they spent hours conversing with. Your time and effort is so much more stable and well-preserved if you wrote a fanfiction or roleplayed with someone and saved the chatlogs. The company that owns and runs C.AI can not only use whatever you've written as they see fit, they can take your shit away on a whim, either on purpose or by accident due to the nature of the Internet.

DON'T USE C.AI, OR AT THE VERY BARE MINIMUM DO NOT DO THE AI'S WORK FOR IT BY STEALING OTHER PEOPLES' WORK TO PUT INTO IT. Writing fanfiction is a communal labor of love. We share it with each other for free for the love of the original work and ideas we share. Not only can AI not replicate this, but it shouldn't.

(also, this goes without saying, but this entire post also applies to ai art)

[curly-my-beloved]

So like… imagine if reader was the one who got hurt in the crash instead of Curly… how would pre crash and post react to reader? How would he treat them? This can be smut or just fluff, whatever you see fit fr fr

Can be GN reader too, we are inclusive her fr

-🥩 anon

one of the few asks that survived because they were in the drafts :')

Curly if his partner was the one burned instead of him

This man would not forgive himself.

Why were you even in the cockpit? You didn't even have a pilot's license.

Jimmy claimed he tried to stop you from crashing the damn ship. He claimed you were in hysterics. As unusual as that was for you.

He found it hard to believe, but alas, it was not like you could tell him the truth about how you tried to fix things after what Jimmy did. And how you got so terribly injured.

He firmly believed something terrible must've happened. He doesn't blame you, he blames himself. He was your partner, he should've seen something coming.

He visits you in the medbay often, carefully sitting on the edge of the bed and telling you about his day, his eyes still holding that soft, loving look they always did, even with all the pain and confusion he felt.

He would offer Anya breaks regularly and would be on your painkiller duty.

He's always apologize to you so much, assuring you that you're so brave and that you're doing great for him... He promises you that you'll get home and he'll get you surgery so you feel better. He promises to him that you're just as gorgeous now as you were before.

On the rare occasions where your pain is more bearable than usual, he'll carefully lay down next to you and hold you in his arms, maybe even lay you on his chest. He doesn't hold you too tightly, but you still feel the security that came from his body being against yours.

If your pain is too bad to hold you or even sit on the bed without disturbing you, even after the painkillers, he will take a chair and just sit next to you, trying to distract you with silly stories to the best of his ability.

He might tear up if he sees the painkillers taking too long to work. He hates seeing you in pain, it breaks his heart completely, but he never leaves until you're at least somewhat soothed.

Sometimes, he'll even end up sleeping on the floor next to your bed, just so he can be close to you. It is not particularly comfortable.

[pomefioredove]

overblots and rollo with a reader who flirts a lot unknowingly? like they see it as friendly teasing or just genuinely giving someone a compliment they don’t think of it as romantic. (their reaction to you accidentally flirting with them or. someone else and they start seething perhaps?!)

oh... I'm guilty of this (｡- .•)

*ੈ✩‧₊˚ accidental flirting

type of post: headcanons characters: riddle, leona, azul, jamil, vil, idia, malleus, rollo ~☆ additional info: romantic, reader is gender neutral, reader is yuu

it's not like Riddle's fellow students have never complimented him, but this is different. his academic achievement is not like... what had you said? the color of his eyes?

no one would be so bold as to compliment his physical features, let alone call them "beautiful" ... no one except for you, of course

you seemed rather confused when his whole face turned red. hopefully, you won't think about it too much...

*ੈ✩‧₊˚

what was that? Leona looks nice when he dresses up? well, aren't you the flatterer? go on, then, say something else. he's listening!

Leona knows you didn't mean it that way, but that makes it even better. smug bastard. and it gives him the go ahead to flirt back, without you even realizing! if you weren't such a clueless little herbivore, he'd think you were trying to get something out of him... but you're you, so he knows you mean it

*ੈ✩‧₊˚

you're so strange. you're definitely just mirroring Azul's body language and flattery, but you're being genuine, too... you're so socially awkward, it's making you a flirt. he's trying to butter you up for a deal, not a date!

...well... he was, anyway

now he's got to figure out how exactly to flirt back in a way that'll sound genuine coming from him...

*ੈ✩‧₊˚

is it unconscious? are you teasing? or have you suddenly become a flirt overnight? Jamil is having a difficult time reading the room, which is unusual for him. the way you've been complimenting him, batting those pretty eyelashes of yours, is... distracting, to say the least

...he could also be reading too much into this. maybe he just needs a nap

*ੈ✩‧₊˚

Vil simply can't pass up the opportunity. can you blame him? there you are, looking adorable as per usual, telling him all this nonsense about how lucky his future partner will be, blah, blah...

and you're clueless. it's endearing, really. he'll call you sweet and leave you with a kiss on the cheek

something to think about for later ;3

*ੈ✩‧₊˚

are you trying to send Idia to an early grave??? of course, the one time he lets Ortho drag him outside, there you are, as cutesy and... sunshine-y as ever, telling him you like his hair with a smile. and what does he say?

"uh- um- uh-"

great work, everyone. he'll work on that

*ੈ✩‧₊˚

fae courting is... strange. you know this. you don't know all of it, though. so when you tell Malleus you've planted some Briar Valley flora around Ramshackle for him... he sort of takes it as a vow. it's basically like a promise ring to him

he's all sunshine and rainbows for the rest of the week, much to everyone else's confusion

*ੈ✩‧₊˚

Rollo will hit you with the most unamused look you've gotten in your entire life, politely tell you to be decent, thank you, and then leave to lie in bed and think about your future wedding for the rest of the day. that's just the kinda guy he is

[berry-potchy]

Dad's Best Friend!Miguel O'Hara blurb because I'm obsessed

UPDATE: Part 2

I love the DBF!Miguel O'Hara scenarios that have you sneaking around and fucking while your family is around and unaware BUT consider:

DBF!Miguel O'Hara who offered to let you stay at his place when you moved out for college. You don't have to worry about rent or anything because he'll take care of everything. He'll take care of you.

It all seemed so good and innocent at the start. You even got to have the place to yourself most of the days because of his demanding job. Miguel said you can bring your friends over but no romantic partners or flings allowed. Not that you had anyone in that way when you're so busy yearning for Miguel. You've had a crush on him since forever and every time you tried to get into a relationship or have sex with anyone, anyone your age, your mind always compared them to Miguel. For the longest time you were hopelessly yearning, convinced that he'd never return your feelings until one night.

You were lying in bed trying to catch your breath after fucking your pussy raw with your vibrator thinking about how hot Miguel looked that morning in his nice suit, ready for an important business meeting he had. You were about to fall asleep when you felt the bed dip and suddenly Miguel was pulling you close to him, your back against his chest. Your bare ass still wet from your own slick, flushed against his erection and the only barrier that separated you was the same sexy suit you had been fantasizing about. He was so big, he felt bigger than how you imagined him and your cunt throbbed, seemingly ready to be used and abused again.

He kissed your neck, licking and sucking, marking you as his while murmuring how long he had been wanting to do this. He heard you moaning his name when you thought he was going to come home late and he immediately called in his office to tell them he's taking a sick leave. He's going to spend that time fucking you, on every surface in the house, making up for all those times you teased him in the mornings just walking around in an oversized shirt and no bra. You didn't even wear shorts around him, gave him a show of your cute ass, trying to reach mugs from the high kitchen shelves. He had to go shamefully jerk off in his car just so he didn't have to go to work with a very obvious boner. How'd he explain that to your dad when he inevitably bumped into him in the office? His precious little daughter living under the same roof as this pervert?

Hearing you moan his name while you fucked your slutty cunt was the last straw, all his self restraint went out the window. He took your vibrator from your hand and let it overstimulate your swollen clit but immediately take it away when he feels you almost going over the edge. You whine and beg him to let you cum but he just laughs. He promised you'll cum plenty of times, more than you can handle.

Of course he eats your pretty pussy out and fuck you all night in so many different ways, in positions you never even heard of. Your pussy was swollen and oversensitive, and you're pretty sure your cervix is deliciously bruised. Miguel kisses your pussy as an apology but gets distracted and tongue fucks you and makes you cum again.

You slowed down some time in the morning. Miguel made you breakfast but soon enough you found yourself bent over the kitchen counter getting railed again. You don't know how this man had that much stamina at his age. You were getting close to cumming when you heard your phone ring. Your dad was calling you. You helplessly looked back at Miguel, expecting him to stop so you can pick up the call but he didn't stop and clicked the answer button for you. Your dad happily greets you over the phone wondering how you're doing and you tried to keep your voice steady and told him everything's good and uni was going great. Miguel leaned over, pressing his chest on your back and driving his cock deeper and harder into you. It took everything in you not to cry in pleasure and you wondered if your dad can hear the erotic sounds of Miguel's cock abusing your sopping wet hole and his balls slapping your aching clit.

Your dad told you he heard Miguel was taking a sick leave which he has never done befor. He was convinced that he must be really sick for that workaholic to finally take a break so he asked you to take care of his best friend for him. You told him not to worry because you were taking really good care of him.

[yamujiburo]

Here's an arc I thought about doing but won't do because, it'd be a bit too sad and also it's too similar to the Turing Point Arc I already did and also it would be long. But I'll write it here for you angst enjoyers. This ended up being longer than I thought.

Despite getting the "okay" from Ash to date Jessie, Delia still worries that she's not doing the right thing or being a bad mom. Up until now she'd convinced herself that she had the right to be selfish for once after knowing only sacrifice and putting herself last.

Jessie and Ash, while not as antagonistic towards each other, still go at it. A Pikachu zap here, an angry "twerp" being uttered there. The guilt settles in for Delia and figures that it's best to just cut things off before things potentially get worse or before she gets too attached to Jessie. Her son comes first after all. That's what she signed up for when becoming a parent.

She sits Jessie down, eyes watery (it's the first time Jessie's ever seen Delia come close to crying). Delia says she thinks they should end things. Jessie is stunned but accepts it quickly. She sucks it up in the moment, puts a resigned smile on her face and tells Delia she'll leave immediately and not to worry about her. Delia's also broken up about it but promised herself she'd never cry over a goodbye and she wasn't gonna start now.

Jessie goes to James and Meowth's place greeted similarly to this, lightly teasing her about blowing it with Delia, and she breaks down sobbing. Oops it's real this time. James and Meowth do everything in their power to make her feel better. They let her know that things like this happen and they're ready to go wherever she wants to go (knowing that it'd likely be to painful for her to stay in Pallet). As much as she wants to leave, she doesn't want James and Meowth to lose the good thing they have going. She's not in the right headspace to make any decisions so she'll get to it later.

Ash returns home after doing a little training at Oak's lab. He notices Jessie's not around and asks his mom where she is. Delia is about to tell him but can't quite bring herself to say the truth out loud yet. She simply says "I don't know". Ash looks disappointed. "Aw man, I wanted to see if she wanted to battle. She makes a good battle buddy for all of my newer, baby Pokémon." Delia perks up that this. As quickly as he came, he leaves again to go train his Pokémon.

Later, Delia approaches Ash, asking him if he really meant that what he said about Jessie being a good battle partner. He gives her an enthusiastic "yeah!" and tells her that it's been nice having another battle ready trainer around since there's not many in Pallet. Delia starts to pry a little more. "I thought you and Jessie didn't get along?" Ash is confused, and tells Delia they get along great! "Jessie doesn't steal anymore! And she's getting better at battling which is cool." Delia brings up that she's head them argue before. "Oh... well I guess that's just how we are. I'd be weirded out if she was suddenly too nice to me all the time. Jessie's actually a lot like Misty. But taller!" This gives Delia a lot to think about but what's done is done and it's no use pressing on. It's easier this way.

The next morning Delia's getting ready for work. She must not have noticed that she was acting weird but Ash picks up on it. "What's wrong mom?" Delia's shocked he noticed (he's not usually this perceptive). She tells him it's nothing and that she just slept bad. "Hm. But Jessie says that when you're upset you get really quiet and intense." Delia notices that she was pretty intensely mixing the pancake batter. "Jessie told you that?" Ash nods. "Hey speaking of, where is Jessie? Haven't seen her since yesterday." Delia stops mixing and tells Ash that she and Jessie aren't together anymore. Ash is confused and upset at the idea of Jessie doing something that would hurt his mom enough for them to break up. Delia lets him know that Jessie didn't do anything like that and that them breaking up was just for the best. But Ash questions this, pointing out that he's never seen Delia as happy as she was when Jessie was there and also how Delia looks really sad now. Delia can't argue with that but then tells him that it's complicated. Ash, to Delia's surprise, looks a bit disappointed. He's bummed he wasn't able to say goodbye first and asks if she thinks Jessie would still be willing to come by and train with him sometimes. Delia asks him once more if he was really okay with her and Jessie dating. "Yeah I thought I said that already? Jessie's pretty cool when she's not being evil. And she really likes Pokémon which is a plus!" Such simple criteria. Delia's now worried that she might've made a mistake. She finishes making breakfast and heads to work.

At the restaurant she's met by James. She can feel an awkwardness hanging in the air. She knows that James knows. Before she can say anything James tells Delia thank you for employing him and helping him, Meowth and Jessie get back on their feet but that he's going to quit working at the restaurant and that they'll likely be leaving Pallet soon. Delia's heart sinks. There's now a ticking clock and she has to decide what she wants to do SOON. She asks James where Jessie is. James hesitantly tells her that she's at his and Meowth's place. Delia pleads with James to work the restaurant for one more day at least and to cover this shift. She has to go talk to Jessie. He agrees, hoping that this is a good thing.

Delia runs to James and Meowth's place. She knocks on the door upon arrival and waits. It takes a moment but she hears the door unlock. Jessie opens the door, disheveled, tears and snot all over her face, draped in a blanket. Jessie notices it's Delia and, frightened, slams the door. Delia's stunned for a moment and goes to knock on the door again but before she can the door opens. This time Jessie's tears are gone, her hair's fixed and she ditched the blanket. "Oh hey, Delia! What brings you here?" Delia can't help but be charmed. But this is serious. She shakes it off and asks if they could talk. Jessie invites her in. They get to the couch and Jessie starts frantically cleaning up all the crumpled tissues and dirty dishes off the ground. "Heh I caught a cold yesterday. A one day cold. I'm fine now." Delia doesn't call out the obvious lie and gets straight to the point.

She tells Jessie that she's worried she made a mistake. She made a panicked decision that she was hoping would protect Ash and her future self. But now realizes that she was afraid of the idea that she'd made a selfish decision by dating her. It was a selfish decision but that didn't mean it was a bad one. She was the happiest she'd been, Jessie and Ash were learning to get along and were getting along much better than she'd though. She acknowledges that Jessie has been there for Ash in a way that she can't quite be and is also grateful to her for managing to keep Ash home a little longer. She asks if Jessie would be willing to take her back (despite the distress she caused). Jessie starts sobbing with happy tears. She tearfully says she'll try even harder to get along with Ash and be a better person. Delia reassures her that she's doing just fine.

They kiss passionately but then realize it's weird that they're making out in James in Meowth's place and say they'll continue later. Delia tells Jessie to head back home and that Ash is looking forward to battling with her (and she also needs to let James and Meowth not to quit their jobs).

The end~