#( stories like this CAN'T come true ; (meg) )

[princesssarisa]

As I've read different people's views on Little Women, I've realized that for different readers, it's a fundamentally different book.

When I see someone describe the "universal" experiences of identifying with Jo, wanting her to marry Laurie, and disliking Amy, I remember all the proof I've seen that these are far from universal. The latter two weren't even my experiences: identifying with Jo, yes, but shipping her with Laurie and disliking Amy, no!

Even people with equal amounts of knowledge of the historical context and of Louisa May Alcott's life seem to come away with vastly different feelings about the story and characters.

I suppose there are a wide variety of reasons for this. First and foremost, which of the four March sisters you personally admire or relate to the most. Then there are other factors like your gender, your age when you first read the book, your relationship (good or bad) with traditional femininity, whether you read Parts I and II as a single novel or as Little Women and Good Wives, your relationships with your own family members, your religion and ethical values...

The list goes on.

That post from @theevilanonblog that I reblogged recently about the different interpretations of Frankenstein makes me want to write out a similar list of ten different views I've read of Little Women. Here it is:

Little Women is about the March sisters learning to be proper virtuous women of their time and place. With Marmee as their role model (a role later shared by Beth as she becomes increasingly angelic in her illness), they learn to conquer their flaws, give up their wild ambitions, and settle down as good wives and mothers. This is especially true for Jo, whose character arc is a slow taming from a rough tomboy to a gentle nurturer. It's a conformist and anti-feminist message, which Alcott probably disliked, but she wrote it to cater to public tastes. (This reading seems mainly to come from critics who dislike the book.)

Little Women is about Jo's struggle to stay true to herself in a world that wants to change her. She struggles with whether to stay a tomboy or become a proper lady, whether or not to marry Laurie despite not loving him romantically, and as an author, whether to write what she wants, write what earns the most money, or give up her writing altogether. In the end, she changes only in ways that make her happy, e.g. by learning to control her temper, and later by embracing romantic love. But in more important ways, she stays true to herself: always remaining slightly rugged, clumsy and "masculine," finding success as a writer, and marrying Friedrich, a man just as plain and "unromantic" as herself, but whom she loves and who respects her as an equal.

Little Women is about learning to "live for others." That phrase is used often and could well be the arc words. Beth is the only March sister to whom a selfless life comes naturally, but the other three master it by the end of the story (as does Laurie). They learn to conquer their moments of pettiness and selfishness, to live in better harmony with each other and with their friends and love interests, and to give up their self-centered dreams of fame and wealth, building lives that focus on service instead.

Little Women is about growing up. The first half is mainly about the March girls' maturing by surviving hard times and learning to be better people, while the second half is about reaching adulthood and bittersweetly parting ways to start new lives. At the beginning, Jo is a girl who doesn't want to grow up: she wants to always be a wild young tomboy with her family (and Laurie) by her side forever. But of course, she can't stop time or womanhood, and is eventually forced to accept the loss of Meg, Amy, and Laurie to marriage and Beth to death. After grieving for a while, she lets go of her old life and willingly builds a new one with Friedrich.

Little Women is about family bonds and the fear of losing them. We meet and become attached to the wonderfully close, cozy March family, which gradually expands through friendships, marriage, and new babies. But throughout the story, the family is in danger of breaking apart, whether due to conflict (Jo and Amy's sibling rivalry, Meg and John's marital problems), or separation by distance (Father going away to war, Amy going to Europe, Jo to New York), or death (the danger of losing Father and Beth in Part I, and the ultimate loss of Beth in Part II). But in the end – unlike in reading #4 above – the family doesn't break apart and never will. Conflicts are resolved, travelers eventually come home, the surviving family members always live near each other and stay as close as ever, and even Beth isn't really gone, because her memory and influence live on.

Little Women is about femininity and each March sister's relationship with it. Meg and Amy happily conform in different ways: Meg to "domestic femininity" as a housewife, Amy to "ornamental femininity" as a society lady. Beth pressures herself to conform to self-effacing domestic femininity, until sadly, it kills her – either because she's too selfless and nurturing when she cares for the fever-infected Hummels, or because she has anorexia, as Lizzie Alcott might have had. But Jo strikes a successful balance in the end, conforming just enough to fit into society, but only on her own terms, and otherwise living a happily unconventional life as a writer and schoolmistress.

Little Women is about Jo's unlearning of internalized misogyny. At the beginning, she's a "Not Like Other Girls" tomboy, who wishes she were male, disdains feminine girls (especially her sister Amy), doesn't care enough when "her boy" Laurie behaves badly toward women, and is afraid to be vulnerable. But gradually, and without losing her strength of character, she learns to embrace the sweeter and more tender aspects of herself, sees that Amy's ladylike manners have practical benefits, and learns to say "no" to Laurie when he turns his childish, unhealthy romantic attentions to her. Then after Beth dies, she realizes how precious Beth's utterly domestic, feminine life was, and embraces a more domestic life herself. Yet by doing so, she becomes a true feminist, as she enters an egalitarian marriage and devotes her life to teaching boys to be good, respectful men.

Little Women is only what US Americans know as the first half. It's just about the March sisters getting by and learning moral lessons over the course of the year their father is away at war. Nobody gets married and nobody dies. Everything else is in Good Wives, which is a sequel with different character arcs and different themes, and which should be published separately, as it originally was and still is outside the US. Trying to tie them together into one narrative never feels quite right.

Little Women is Alcott's idealized version of her own life and family, where no one suffers quite as much as they did in real life, everyone is slightly less flawed, and Jo ends up happily married to a man very much like Alcott's lost love Henry David Thoreau. She wrote the life she wished she had.

Little Women is just a semi-autobiographical slice-of-life that Alcott wrote quickly for money.

Which is the truest to Alcott's intent? I don't know. But while some of these readings I like better than others – and some of them I despise – I'd say they're all understandable and reasonably valid. Some aren't even mutually exclusive, but can be used together... although of course, other readings are mutually exclusive, like whether the story is feminist or anti-feminist, or whether the March family ultimately breaks apart or holds together. And they're all worth using as springboards for discussion.

Alcott wrote more books than she ever realized she did, because Little Women can be many different books to different people.

@littlewomenpodcast, @joandfriedrich, @thatscarletflycatcher, @fictionadventurer, @fandomsarefamily1966

[dancingundermoonlight101]

The times I've thought about you have been plenty. It's a never-ending cycle, for you see, I am falure of a Prime.

Megatron, as you stand before me, blade stabbing through my spark, through the pain and sorrow, I can't help but feel relief. Relief that between the two of us, you are the one to remain alive. With the war over, you having won, I would like to make one final request of you old friend.

Don't kill my comrades.

No matter how much you hate them, what threat they may pose, I beg of you. Leave them alive. It pains me to say, but without me, they won't interfere much with your plans anymore. I can only hope you remember your roots. The kindness and hope for something better your spark held when I was but your archivist, and you, my warrior. It might be selfish to think this in my final moments. But I've always loved you, Megatron.

Perhaps in death, will these feelings finally meet their end.

I love you. I loved you. I never stopped loving you, even in my final moments. I hope to Primus we meet in our next lives and I hope again that it's a much kinder life. One without war or inequality or corruption. One where I can hold your servo in mine without shame. One where you are not Lord Megatron and I Optimus Prime. Leaders of the Decepticons and Autobots respectfully.

Until we meet again in the well of all sparks...

------

Megatron glared at the body of the deceased Prime. A dark pit in his spark. A black hole threatening to swallow all its light. He had thought it a good idea to have Shockwave and Soundwave make a machine that would make the last moments and thoughts of anybot visible and audible. He thought maybe he'd see the Prime's thoughts pleading him to not kill his comrades, as well as fear. Something to explain why Optimus in his final moments commed him ".: Spare them:."

Megatron didn't spare them, of course. He was frankly going to enjoy killing them one by one. But they had all escaped.

How bothersome.

He'd find them someday. He's sure of it. And just to spit in Optimus's last wish, he will torture them, too.

The Prime's face in his last moments echoed in his mind. He growled at the useless longing in his spark, squeezing a random object and breaking it.

He still couldn't believe it. Optimus Prime in love with his arch nemesis. How foolish. How stupid. Ridiculous!

Megatron clawed at the chesplates just over his spark. He could not cry, for his tears had run dry long ago. Foolish indeed. This is not what he thought he wanted. Ruling over Cybertron, having cyberformed earth into a second world for his species.. He had thought he wanted it. Now that he had it, Megatron found it empty. His ambitions were gone, no longer did he have a true equal in this whole galaxy.

None would ever be Optimus Prime.

No, he had to set things right. A world without Optimus is not a world Megatron can live with. Where's the fun in getting everything he wants without a little bit of a constant challenge?

.

. .

. . . .

Megatron, a true Decepticon, able to deceive even himself. Primus mused at this. Silly child, went on to kill his other half. This just won't do.

Their short story won't end like this. Primus will not allow it. He Who is Forever Tainted by Unicron, you will live life anew. You shall only know when the time is right, and your debt to Primus has been paid off of what they have done. Do not make the same choices that lead you to make your biggest regret. Make no mistake, this wish is not for you, but for he who is favored by me.

Make the child of Primus, he who was once Orion Pax and later one of Primus's true Primes enjoy a life worth living.

This is your one and only chance. Make it count.

. . . .

. .

.

M—

—atr–n

Meg-tron

"MEGATRON!"

Megatron woke up with a jolt. He tried to online his battle protocols, and they hummed loudly, ready to come out. But something stopped him. A servo, two, actually. Each cupped his cheeks and wiped away his tears. He turned to look at the bot whose servos they belonged to and found none other than Optimus Prime. "You're alive?"

Optimus looked bewildered for a moment, he could feel it through their bond. Bond? He felt affection, worry, and love from the Prime.

"I am very much alive, Megatron." Optimus leaned in to press their forehelms together. Megatron's servos easily reached to hold the Prime's waist as if they'd done so thousands of times. Maybe even more than that. "You must have had a nightmate."

"A nightmare.." It seemed so vivid. A world without Optimus, one where he had..

Megatron doesn't even want to think about it. His spark was still beating wildly in its chamber, and he recognized he still felt fear. A few well placed kisses from his bondmate further eased his worries and sorrow that still felt fresh in his processor and spark. Right. He and Optimus were Conjuxed now. Megatron greedily leaned into the kiss, but one small playful bap from his beloved made him huff and smile. Softening the kiss that would have become more desperate had it continued.

Megatron held Optimus for a long moment. His helm burrowed on the Prime's neck, the action mirrored by his other half. Small comforting kisses are being pressed on Megatron's neck along with quiet words of love. Primus, Optimus was a soft fool. But he was Megatron's soft fool.

They had layed back down at one point, still as close to one another as they could be. And they remained like that. Optimus having fallen asleep again at one point.

Megatron knew Optimus was a blessing, he just hadn't realized how much of one he was until he had that dream. No. The fragmented memories of his past life. Megatron had never seen them before, and even now they were hazy. But the feelings had persisted and carried over. He realized this now. It was thanks to them he reacted rather irrationally at many points in this life, but his longing for Optimus to be by his side remained the same. It had just taken a much, much more romantic turn than his other self would have thought.

Megatron had no regrets though. None at all. As he pressed a soft kiss on Optimus's audial, he smiled soft. "I love you." He wispered. He had said it so many times already, yet somehow this felt like the first.

[deancaspinefest]

all that we intend

Author: dothraki_shieldmaiden | Artist: NeverSleepUntilFive

Posting on Tuesday March 26

When Dean Winchester met Castiel Novak in college they were both headed for amazing things: Dean was a rising star in the art world while Cas was a promising medical student. Now, thirteen years and one marriage later, none of those dreams have come true. Cas works twelve hour shifts as a nurse while Dean works as a mechanic, his art supplies wasting away in a dusty room. With his marriage to Cas on rocky ground, Dean starts to feel like he made a mistake all those years ago. A chance encounter and a hasty wish land Dean in another world -- one where his art career is skyrocketing him to fame and fortune... And one where he never married Cas. Now Dean has to make a decision -- whether to go back to Cas and his mundane life, or whether to stay... and lose Cas forever.

Keep reading for a sneak preview!

Just to the side, off hospital property, a street vendor has set a table up. A very familiar street vendor.

“You,” Dean snarls, almost jogging in his haste to get to the man. The vendor looks up from his phone, a smirk spreading across his face when he sees Dean. Not even Dean’s hand shooting out and grabbing the front of his shirt can dim his superior expression.

Aware of the eyes on him, Dean avoids slamming that smug face into the table, but it’s a struggle. “You,” he repeats, giving the vendor a little shake. “You did this.”

“Afraid you’re going to have to be more specific bucko,” the vendor drawls. “If it was your wife or your sister I knocked up, then honestly, they should be grateful. And even though you are a stud, you’re not really my type, so…”

The last word is elongated into a monstrosity of syllables. Dean’s resolve to not punch the vendor is growing thinner and thinner by the second. His knuckles crack with the strain of holding himself back.

“This,” he finally spits, dragging out the pendant from underneath his shirt. “You gave me this and told me some bullshit story about how it could grant wishes.”

“Hm,” the vendor says, making a big show of pondering. He even taps his chin with the tip of his index finger, the absolute fuckwit. “Doesn’t seem so much like it was bullshit, now does it?”

For just one moment, Dean’s brain is wiped blissfully blank. He doesn’t even have the background noise of static to distract him. There’s just… nothing, but then reality intrudes in the form of someone laying on the horn when the person in front of them lingers for a split-second too long at a green light.

“You’re insane,” he finally says, bringing his brain back online. “There’s no such thing as… As…”

The vendor raises one supremely smug eyebrow. “No? Then explain why your husband just treated you like the annoying kid at a high school reunion.”

Furious, Dean clenches his jaw. He starts and immediately slaughters at least half a dozen sentences. The truth... The awful truth that he can't admit to himself is that there is no rational explanation. Not even his most far-fetched notions explain the phone call, Cas and Meg’s behavior, and the disappearance of his wedding ring.

Nothing except the impossible, that is.

(continue reading on Ao3 on Tuesday March 26)

[lyrenminth]

The one who got away

Angst. Fwb situation with Justin.

In another life

I would be your girl

We keep all our promises

Be us against the world.

You didn't know how it began. These dirty feelings for him. The way your heartbeat increases watching him making you a sandwich after fucking the life out of you. It was unnatural, unwanted, unexpected.

It was unreasonable knowing damn well you weren't ready for a relationship. But you enjoyed the way the treated you, how smooth his skin was, how strong he was not having a problem fucking you standing up, how his hips connected with yours and how raspy and masculine his hands felt while touching your body.

And you didn't want to think about the other side. The side it that made your mind betray every rational thought. The side that made you dream of a house with a beautiful garden and little children with blond hair and slint eyes running all over the place. The side that made your heart hurt.

You had your life's plan already and that never include a 6'6 athletic man in the mix, and for once you wanted to follow your path after fighting for a ounce of independence with your family. You could hear Meg voice telling you "don't lose your mind for a dick" and she knew better than you in many aspects.

But you looked at him, all focused cutting the sandwich in a perfect half (like you like it) and pouring grape juice (your favorite) in a tall glass. You knew it was a dangerous territory to have this family dynamics with him, but you couldn't stop.

And Justin looked like he didn't want either. You saw each other at least twice a week, only to undress each other, but everything started when he asked to stay a little more time. Suddenly, you were having deep conversations about football and your deeply dislike of mac-and-cheese. Sharing silly stories from your childhoods, those he would never share with the media.

The mistake of Justin was paying attention to you like he actually care. And you mistake was believe that he actually care.

Now you were pondering in that horrible and hurtful question: are we fuck buddies or something else? And the answer was unclear for you too. Because you can't...you must not like him.

Your dreams were first. You were first. You traveling schedule, your clothing brand, your goal of becoming someone important by your own right. Having Justin in that equation with his almost-celebrity status tainted your purpose. You weren't Gisele Bündchen.

"Here you have" he said, giving you your plate and sitting next to you. He made two sandwiches for himself, you knew how much he liked to eat. He was a big foodie just like you.

You still felt the spams in your core, the emptiness of something missing. It was to early to fuck again? Your libido with him was always high. How annoying.

"Thank you" you started eating avoiding looking at his beautiful face.

"I was wondering if you are going to stay in LA for the next week?" he asked, cleaning his lips with a napkin.

"Yeah, I leave in two weeks" you put your sandwich down, feeling the butterflies in your stomach. You wanted to punch yourself. "Why?"

"Umm" he played with his napkin. Was he nervous? "I got an extra ticket for the game, and if you want it it's yours"

You frowned. How agressive were those damn butterflies?

"Someone in your family can't go?" it must be. It has to be.

"Yeah, something like that" he looked at you, and your eyes went to his lips as usual.

"We say no public sightings" it was a rule he proposed. "Technically, we are not going to be together" he said.

Stay true to yourself. You can deal with a broken heart, you can't live his ways. Stay true to yourself. Love come and goes.

You bit your lip, and lower your gaze. It was your fault for allowing these interactions. The truth was you were scared, you didn't want to lose yourself but you enjoyed his company.

"What do you say?" his tone was so kind and hopeful that made you want to run away and throwing yourself at him in happiness. All at the same time.

You didn't want to know how he felt about you. Maybe he was in love, maybe he wasn't.

You sighed, not hungry anymore. You turned around to face him.

"Justin, I can't" it was the truth, it was the painful truth. "I can't go to your games, and I can't keep doing this" you move your hand between your bodies "I-um...I-" you gasped for air, feeling the knot in your throat "We agree this was something casual"

Maybe in another life. In another moment of your life. But not that night.

"I know" was all he said, frowning.

"Then, let's keep it casual, ok?"

"Yeah" he sounded sad? It was your imagination.

"I mean...I don't want to catch feelings and going to your games and all that stuff" your shake your head "It's going to erase the lines. I need the lines, Justin"

"Okay"

"Maybe we need a time apart too" he laughed without fun at you proposal "I don't want to catch feelings" you repeated "And you have tons of choices, I mean there are girls throwing themselves at you. You aren't going to starve" you joked trying to light the mood.

Then you saw how he closed himself. His expression hardened and you swore his eyes lost all shine.

"If that's what you want" he said, serious.

I don't know what I want, dumbass.

"It's what I need"

He only nodded. Yup, he was mad. But why? He started cleaning the table, you noticed he didn't eat much too.

"I'm going to call an Uber" you stated, understanding he didn't want you there, you started looking for you phone.

"It's too late. I'm gonna take you to your house" he declared.

It's something you liked about him, he could be mad but he wasn't an asshole.

"You don't have to" you find your purse, and took out your phone.

"Don't argue with me. It's late, it's dangerous. I know you don't want to spend more time with me but at least let me take you to your house so I know you're safe" he sounded bitter, and sad.

Wow. You stopped what you were doing only to look at him. He turned around, avoiding your gaze, like looking at you was unbearable.

"Thank you" you whispered.

The car ride was silent. And you were doubting your decisions. Maybe it was too soon? Too harsh? When you building complex appeared in sight you were about to cry. Why? You were the one who asked for it. You looked at his hands, his strong thighs and his stern look...oh.

"Thank you for the ride" you said, clenching to your purse. A heavy energy settle between both. You noticed he was holding tight the steering wheel, his knuckles white.

"You're welcome"

"Thank you for everything" he shook his head slightly at your words. His Adam's apple moving up and down. "Good luck for the rest of you seasons. I truly believe you are a great athlete, and you must be proud of yourself"

He took a deep sigh. "You don't have to do this" he declared, you heart sank "Good night"

And that's how you knew it was over.

"Bye"

In the next month you spend trying to get rid of him. You told your friend to help you to keep your mind free of him. You avoid watching his games, or being closer to anything related to him. It was relatively easy since you never went public with him. But the ache you felt made you sleepless and weak. You cried whole nights, realizing that you miss him. His scent, his dry sense of humor, his warm body, his hugs after sex, how good he made you feel.

Your dreams were the only thing you clinched for dear life. It was the reason you took that decision. Somehow, you didn't find it enough at that moment.

The nail in the coffin was to block his number and unfollow him from social media. After that you become a workaholic, traveling here and there, meetings with others brands, designing new clothes. Efficiency was your second name.

Everything was falling into place, but during some nights you would miss him. The sex, the intimacy. You had to fight against some actions, including stalk him or watch interviews. It was bad because he was a quarterback, face of a franchise. One Subway commercial and you were ready to unblock him. It was pathetic.

You were too stubborn to call him. To admit it. To give a second chance. And you had to learn to live without him.

Because you were the one afraid. The one who got away.

[primus-why]

Vital Signs

Imagine some kind of Plot Thing happens while Megatron is teamed up with the Autobots that renders him unconcious, and the 'Bots are out of ideas as to how to wake him up from this comatose state.

That is, until they notice his vital signs pick up whenever Optimus comes by to check on him. No one knows why this is-- it can't be just his voice, they've seen the reaction to his presence even when he simply walks into the room.

Cut to one of the human kids telling them about stories of True Love's kiss. Optimus insists their relationship is Not Like That-- "no really guys, I swear"-- but since they are running low on solutions to their problem, Optimus decides oh what the heck, let's give it a shot-- but don't be shocked when it doesn't work!

So the moment arrives. Optimus gets closer and closer, Megatron's vitals continue to improve, and he gulps-- what if the kids are right? Has he really been that obvious? Oh Primus, does Megatron know? Is that why he's reacting? This is all too soon for his liking, but Optimus presses on for Megatron's sake.

But then, right as he's inches away from Megatron's face... the damn warlord wakes up.

Cue shouts of surprise. Megatron is shocked to see Optimus so up-close; Optimus and all the medics are shocked to see him awake.

"Did it work?" Asks one of the kids.

"No! I didn't even-- I mean, something worked, but it wasn't because I kissed him!!"

"... You were trying to kiss me?"

"... Yes, sorry, the humans... I-I have to go."

Turns out after some further investigation that it was being in proximity to the Matrix that was causing Megatron to stir, not uhhhhh.... True Love or whatever.

(Though that doesn't stop Megs from confronting OP about it later, goading him into testing their vital reactions to an actual kiss 👀)

[popculturebuffet]

Transformers Cyberverse: Megatron is My Hero Review (Patreon Review for Brotoman.exe)

Hello all you happy autobots. If you've been missing my look at more than meets the eye, don't worry as we're back with some robots in disguise. Transformers ONE is here and it is incredible and while i'll gladly review it next week for now we're looking at something related, another look at Megatron as he broke bad, the Transformers Cyberverse episode, Megatron is My Hero.

Transformers Cyberverse is a series I tried but could not get into. I loved animated, tried prime but fell behind on it, and fresh off getting into MTMTE I very much wanted more Transformers. I tried the first ep.. but it's just bumblbee using the radio gimmick and Windblade being the straight man.

Cyberse's problems, as I expected and tv tropes helpfully confirmed come from executive mandates: exceutive swanted Bumblbeee to have his car gimmick from the movies, which dosen't work nearly as well when you can't lisence songs or car commericals for it, the heavy flashbacks. These were ditched with season 2 and apparently the show picke dup from there so i'm more than happy to give it a full look at some point, as it does seem to get genuinely better and has an arc focusing on my boy hot rod. That alone is enough.

For now we're looking at an early episode under the cut as Bumblbee makes friends, gets throat crushed and otherwise is kind of an accesory in his own memories

We begein with Bumblebee is in his mind palace , which I suspect was a way to let bee talk normally before doing away with the voice box gimmick the second they could in season 2. He's reliving his past memories of Megatron and opens with Bee in the past chilling with Shockwave of all bots as they watch Megatron easily win as a gladiator.

Megatron as a gladiator happens in way more continuties than I realized which I found out thanks to reddit, starting wtih the UK G1 comics and continuing into both IDW continuties , the alligned continuity and more. I mostly associate it with IDW where he went from miner to gladiator hero. It's a backstory I like, that he was a hero of the people.. but in a way that still kept him down as like gladiators of old he has little choice

Here it's santized slightly being more like pro wrestling, though Megatron still beats the crap out of his opponent, gladly working the crowd. Bumblbee also high fives Shockwave, an image I will never forget and will treasure forever.

So Bumblebee declares Megaton is his Hero and this annoys his mind palace roomate Windblade. Windblade is a recent addition to the franchise, being added in the idw comics but quickly appearing in cyberverse and elsewhere. She's a cityspeaker, who can talk to city sized transformers and is generally pretty goo din the comics. In this season she's more an overprotective big sister and gets mad at an amnesiac for not remembering his greatest foe sucks dirty ass in thunderstorms. So she gestures him to a ... memory of Megatron holding a rally.

Rather than talking about his good friend hanniballectertron, Megatron is a good politican with an actual point: that cybertron needs to be better and optimus and co are all behind him.. literally and figuratively.

So to help the next memory... abrubtly skips to Megatron being awful.

Yeah this is what happen when you DEMAND the writers make every episode self contained yet also part of a larger story.. in 11 minutes. Hasbro.. thought none of this through and as such the crew kinda had to speed run his origin, which means the key pieces that make Megatrons origins in IDW and One so intresting.. are missing. We don't know WHY he went from a beloved politican to having his minons torture people and a tense conversation with optimus. Marc Thompson does a good job as Megs, easily.. but he dosen't really get filled out. He just goes from seeming genuine and helpful to

He COULD have been faking, true.. but we never get that. Or any sense at least in this episode WHY he's like this. I get it's from Bee's perspective, but we know Bee looked up to him, genuinely idolzied him and we could've gotten some insight into who megs is and why he became the monster he did thorugh how he handled bumblbee's disllusionment. Instead by the time we catch up Bee's already mildly scared of the guy. We miss a whole chapter of Megs life that explains why shit is this bad for him just in his villian later chilling and vaugely threatning optimus and bee.

That said the crew still did their best and the final scene.. is genuinely chilling. It's also one Windblade is TRYING to keep from Bee, wanting him to stop digging as she apparently just realized "Shit he'll probably relive the worst moment of his life" as it involves megatron.. and thus Bee directly looks for it.l

Bee was on a mission for the autobots early in the war when , despite his best efforts he was captured and taken directly to Megatron. Megatron is at his best all episode here: he offers bee a choice, making a case for how the strong must rule and all that jazz. Well okay maybe not that Jazz he's on the Autobots but Megatron is working on him. Bee refuses.. and Megatron shifts, revealing his evil plan and i'ts chilling: to make EVERY cybertronian a decepticon wether they want it or not. Peace through Tyranny. It works well.. and it makes what he does next chilling.. so Bee dosen't tell anyone.. he crushes his throat. And while we don't SEE most of it, we hear it and it.. is chilling

Bee takes it in stride, restored in who megatron was.. and okay with it. He can talk in his brain at least.. and talk and talk and.. maybe shut up now please?

Megatron is my hero is .. okay. That last scene does most of the lifting, but i'ts a hint at what the show COULD be and apparently is after this point. It's very much a one sccene an done high five episode but at 11 minutes it wasn't painful either. It was just kinda there. Still it does have me curious about the rest of the series at least so that's.. something. Thanks for reading

[cosmic-kinglet]

I GENUINELY didn't think he'd be back already!! Like, when Eclipse said Solar would be back "soon", I thought it would be at least a few more days, if not more like a week! But, he's back!! And now he looks the way he did in the thumbnails (using meg's design)!

Yeah, the catching up part of things was JUST as painful as I'd thought it would be. Like...he doesn't even want to believe SUN! But...he'll have to hear about it from Earth at some point...then, he'll have to know that it's all true.

I can definitely tell he's going to be distant, and maybe even a bit hostile toward Moon, for some time. Like he said, he had only spoken briefly with this Moon a few times. And, now, the first person he came across after coming back is a Moon he barely knows, who looks exactly like the Moon he grew close with, telling him that the Moon he grew close with went insane and is now working with Dark Sun. I seriously can't blame him for not wanting to believe it all, and I can absolutely understand him not having great feelings about this Moon.

Now, (hopefully when the channel is back up ^^') we just need to see Lunar and Earth reuniting with him. There's definitely going to be a moment of extra caution at first, after what the creator tried to pull not too long ago, but I can imagine it'll be sweet. I'm...also interested to see him being introduced to Dazzle and uh...if they'll tell him the full story of who she is/was.

[littlewomenpodcast]

Little Women Inspirations: Friedrich Schiller (With Hejar Sinem) Part 4

Niina: What you said about Schiller made me wonder if Schiller was the one who Friedrich was named after in Little Women, or maybe it was Friedrich De La Motte Foque? I have a feeling it might have been Schiller.

Sinem: Yeah, me too. Yes, that's of course my own theory, but like I said, I also think that besides Goethe, I think Schiller also may have had an impact on Louisa, because in The Robbers, I think it's called, in Schiller's first novel, there's a female character called Amalia, I don't know how to pronounce her name in English, but she is very sweet, very generous. She is like Beth, she is very kind and giving and generous, and she only wants the best for everyone. So I found some parallels between Schiller's work and Louisa's work.

Niina: That's really interesting. What was the name of that book?

Sinem: It was called The Robbers. It's his first novel, he wrote that one when he was 17.Suppose he was not allowed to write at that time, I forgot why he wasn't allowed, and I think it's funny that he made a story that is close to Louisa May Alcott’s Blood and Thunder stories, and the main character Karl is very much an archetype of the movement that was around in Germany at that time.

Niina: I was just saying that in Rose In Bloom, Mac reads Goethe, but I realized he doesn't read Goethe, he actually reads Henry David Thoreau. In Little Women, there's a moment in part one where John translates a poem from Schiller to Meg.

Sinem: Yes, that is very cute, and it's also very funny, because John also knows German, and it's also funny if you think about it, it's like the whole March family is very interested in German culture. I think Meg was also very eager to hear the translation a bit, and John was also like, Yeah, I'll help you translate it, or I can teach you with German, I think he said that, I'm not sure, but I think he said that, and it was also very sweet.

Niina: Yes, I have forgotten about that, I love it. It kind of goes along with my theory that Louisa May Alcott planned Jo's marriage years before she wrote Little Women, because it does feel like a natural thing to do, to introduce a German character to this family that is really obsessed about everything that comes from Germany.

Sinem: I have to say, the first thing that comes to my mind when I see people saying Louisa was forced to marry Jo off is, well, but what if she was forced? Why in the world would Louisa May Alcott write so many things about Jo’s and the March family’s love for Germany?

Niina: I think we can all agree that this really comes from that the quote that she wrote in her journal was about reuniting with her loved one in the afterlife, so Little Women is a wish fulfillment.

Sinem: Yes, that's true, when people read it, I think it's also kind of racist of them to state that he was shoveled into the novel, because, I mean, they know Friedrich is German, and it almost always feels like they dislike him, especially because he is German, even people today are like, meh, she should have stayed single or with Laurie, which, to be honest, I can't stand either. I could never stand the thought that Jo might have ended with Laurie or alone, especially after reading the chapters All Alone and Surprises, because in these two chapters, you can see how lonely Jo is, and then there are people who say she only married Friedrich because Friedrich was invented, because Louisa May Alcott was forced to marry him.

Niina: I think you are correct about the racism, because I have read so many Louisa May Alcott studies that are like, Jo should have married Laurie or Jo should have been alone. There usually is a racist undertone when they start to speak about Friedrich's character, and then they do not include these parts in Little Women, where Jo clearly loves everything that comes from Germany, or Louisa May Alcott’s adoration to Germany. In Rose in Bloom there is a Chinese character, and he marries an American girl.

Sinem: She made him marry an American because it shows how inclusive she is and while I know that many people are like, well, yes, but Louisa May Alcott had something against the Irish, while I can read a bit of it in their novels, we don't know what happened to her.

Niina: I think it was a common at the time to mock the Irish people, unfortunately. I spoke with someone who was working in the Orchard House, and they said that it was really more about the effect of the time period. I don't know. Yeah, Irish people don't really get a good reputation in Little Women, because when Amy's limes are thrown into the snow, they are the Irish girls who are picking on her.

Sinem: We don't know. But it's also kind of funny, because Hannah herself is Irish, and Hannah is portrayed in a good light, though. I agree with you. I think it is more like the effect of the time, because, I mean, if Louisa May Alcott included Chinese and Asian characters in one of her novels, had this person marry an American, and it was portrayed as a good thing, then why should she be completely against the Irish? Since Hannah was portrayed in such a good light.

Niina: I think it's the same with the Italians, because on one hand, we have Louisa May Alcott, who shows what she considered good qualities of Italians, and maybe the less good qualities, but there was lots of hate against Italians at the time period. So it's quite remarkable that Laurie is half Italian in the book, and Germans were also really disliked during this time period in America, in certain circles.

Sinem: I also think it's very important, the way Mr. Lawrence is actually portrayed. He's a very kind and giving and lovable person, but he has a flaw, in part one, we learn that his son married an Italian and he was against it. Mrs. March states that he never could like the lady, even though she was very kind and loving, and overall a very nice person, and Mr. Lawrence couldn't like her, even though she was very kind to him and all that stuff, simply because he represented, the culture or the society around that time.

Niina: If Mr. Lawrence was raised in an environment where there is lots of pre-consumption against Italians, then he would be part of that kind of generation that sort of automatically sees them as lower than he. It sucks, but that's the way a lot of people are, even still today.

Sinem: Yes, sadly, but I also have tosay, I really love how Louisa May Alcott made the interracial marriages in Little Women work so well. Whenever I read those passages between the couples, except for Meg and John, they are both American, they are still a lovely couple, though, but whenever I read them, I love the way Louisa May Alcott writes these couples, Amy and Laurie, and Jo and Friedrich, because it really gets lost in all of the adaptations. I think the only couple which gets marriage time, is the one between John and Meg, only because Meg is the first one to marry, I assume, but then, the movie-makers all like everything is about Jo and Laurie, and it doesn't feel right,

Niina: Because that's not the way things happen in the novels, and because Laurie is partially based on Laddie Wisniewski, and the more I have read about Louisa May Alcott’s relationship with Laddie Wisniewski, it more and more feels like a mother and son relationship.

Sinem: Little Women would not have been the masterpiece, as I call it, if Jo had ended up with Laurie, because first of all, Louisa May Alcott based all the characters around someone she loved, who she cared about, and it would not have been right for her to marry Jo and Laurie, because Laddie is one of the inspirations for Laurie, and she did not end up with Laddie and I don't think it will work, because I know it's only semi-autobiographical, but it would not have felt right, because in the proposal scene, which I rather call the harassing scene, in that one you see in the novel, of course, only, because why would the movie-makers do such a wonderful thing, they very much don't show that in the movies, Jo really, talks to Laurie, as if he was her child. She's like, you will meet an accomplished woman, you sensible good boy, and all that stuff.

That is really there, and the movie-makers just don't use it. Okay, the movie-makers, for me, are more likely to be after the money, because Little Women is such a beloved tale, but that's another thing.

Niina: I agree, and we will get into this chapter soon. Throughout this chapter, Jo refers to Laurie and Amy as children.

Sinem: Yes, that is also very cute and funny, and it also shows that Joehas always been much more mature than Laurie. I can't say whether she was more mature than Amy, after Amy grew up, but I think it shows that, while Jo is a free spirit and independent and, I will not say egoistic, but sometimes, she says, I only want to do things for myself. She cares very much about herself, and she also respects herself very much, and I love that she calls them children, because, first of all, it's cute, second of all, it shows that she is very much mature.

Niina: I think in part one of Little Women, Jo is more egoistic, but so is Amy, and so are Meg and Laurie, because they are teens, and when you are a teenager, your life pretty much centers around yourself.

Sinem: Yes, that's true. I also have to say, I really love how Jo evolves in the end, because many people are like, she was such a feminist in the first book, and then in Good Wives, or part two, as I call it, they are like she is so anti-feminist, and she's very man-loving, that's not the Jo we love blah blah blah, and then I'm like, I think the toxic masculinity of Jo shows even in chapter three, when she goes to Laurie, when he's sick, and she's like, why don't you invite somebody so you have company, he says, well, I don't know, the boys are too loud, etc., and then she's like, well, then why don't you call a girl, because girls are quiet and they like to play nurse.

Niina: I see what you mean.

Sinem: I get why people would fall for the idea that Jo is a feminist in the first part, but that is not the case, she loves men very much, she idealizes them, and she thinks it's a shame to be a woman, and that is the complete opposite of what feminism is about. I think it's very important that we study it, and later parts, when, for example, Laurie, her sister, and all of Beth’s deatH and twins birth, Jo grows to be a feminist, because she accepts that having feminine empathy, feminine kind of interests, isn't a bad thing, it's more a bad thing to be everything female is bad, and everything male is wonderful.

For Beth fans @fandomsarefamily1966

@princesssarisa

[blue-eyed-giant]

i saw poto for the first time ever today since wanting to see it since i was 11 years old and there are some stuff i've noticed (and i will talk non stop bc this was a dream come true)

this was an incredibly creative stage. it was rather small but it was used so well. there was a spinning stage frame on the real stage and during in-play opera performances it would spin to show you what the cast backstage would see. it took all shapes throughout the play as if it was playdough just by spinning. it was stage, it was christine's dressing room (yes, phnatom stepped out from its inside through the mirror), it was andre and firmin's office, it was rehearsal room... i think if it was on broadway it could get a tony for stage design

DRAMATIC. ASS. LIGHTING. for the first half and hour or so it was so impressive because it made every movement so dramatic and it was perfectfor the spooky mood but. it got too much. sometimes it was hard to see actors' faces and expressions and it was constant. if the light had been used more variably this would be an incredible lighting piece.

the overture. i had never seen how the stage looks during overture but i loved this sooo much it looked like those start-credits scenes from movies. it showed all the key moments from the show in slow mo with shadows, as if raoul was remembering what had happened all those years ago. it was nostalgic and it was terrifying because even if you didn't know anything about the story you would clock something terrible and tragic happened there. at the very start you see two actors with an actress between them bowing together and then the actress goes to the side with one of them, the other looking at them as they go and taking some time before going to the other side himself. yeah, i think you got my point.

orchestra was live. and it was magnificent i think. this is all i have to say i can't think of a way to make you believe how a not particularly big orchestra was so impactful without actually showing you live.

carlotta's comedic acting was so on point. the "these things do happen" bit is my favourite and i loved seeing it a lot. "think of me" also was very well acted not just by carlotta but also by andre and firmin.

madame giry sounds real young. she is also less strict or stiff than the way she is traditionally portrayed.

the head male ballet dancer was surprisingly delicate for his size and i tell you that guy had a real broad torso and a lot of big muscles and the hannibal damce was beautiful

SO MUCH FUCKING MEGSTINE!!! during "think of me" christine panics and stops singing with a hitch in her voice and only gets her courage up and continues when meg holds her hands and has her sing looking only at her eyes

you very quickly realize meg is just as vocally strong as christine in this production

you immediately notice ramin's microphone being loud as fuck. the sound team said "people come here for this bitch let's give 'em what they want" so everyone is singing at a normal volume and quality and then ramin comes in with his full hd 4k stereo 1080p voice (not complaining tho)

you don't get it. this fucker isn't just playing phantom. he IS the phantom. he's studied, he's acted, he's lived, he's embraced, absorbed, eaten the part. i doubt the fucker drops a chandelier every week in his house. you know how people say "oh he's added a second/third dimension to this part"? this bitch is forcing his way into the sixth at this point. he's doing it such naturally and in a nuanced way i could believe this is his office job. think of 25th and make it better, that's what it was.

this phantom isn't just miserable. he is so much older and wiser than our leads and he knows this and he is actively holding this over their heads. he knows exactly what leaves christine vulnerable and plays into those things. he knows he's manipulative, you can sense that in his mimics and voice and chuckles. he holds great power over christine whether she allows it or not. he also treats christine like a predator does to a younger person, which makes the dynamic very realistic bc it is exactly that

amelia milo is young, which makes you realize just how young christine actually is because she actually looks, sounds and acts like a 21 one year old and this makes a lot of her decisions and reactions make so much more sense

when the ballet starts andre keeps bumping into the dancers and the male dancer doesnt know what to do with him so he just. picks him up, spins him and moves him out of his way.

"all i ask of you" is portrayed in such a different way without changing a single line i was speechless. like yea??? technically you can play it like that and it will change everything about raoul and christine's relationship even if the script is the exact same. right before the song starts christine rushes to the roof with raoul following, gives her speech about the phantom, and tries to jump off, rould yells and begs her name to stop her. then he sits right at the edge with his legs dangling, as if he's showing if she jumped so would he. AIAOY sounds like raoul desperately putting in all his effort and saying everything he could to keep christine from killing herself. it isn't the little ray of light in the midst of the chaos, it is just another little, happier chaos in the big chaos. even christine doesn't seem to be particularly happy, they both seem to think "we'll look into this later"

not a huge fan of vinny coyle's raoul. like many raouls he wasn't particularly bad, but also he wasn't so good either. ofc he had his moments like his good dancing and small stu ts during "masquerade" but he couldn't shine where he had to shine big and be the prince charming (aiaoy was very underwhelming bc of that). in the end i was wondering how would bradley jaden be if he stayed for the milan cast as well

this

also, probs due to lack of ensemble members, half the masquerade guests were puppets on wheels which made the whole vibe so creepy

after long years of poto, earl carpenter was also a cast member that shined and added so much character to the production

THE SPECIAL EFFECTS!! PHANTOM APPEARING, REAPPEARING AND THEN DISAPPEARING!! HIM TAKING PIANGI'S PLACE WITHOUT THE CHARACTER LEAVING THE STAGE! the special effects were top notch

at first she sounds kinda weak but towards the middle of the play amelia milo's voice gets so strong and impressive you start to hink she did it on purpose to show how amateur christine was at the beginning.

PHANTOM HAS BLACK BAT WINGS AND SOARS IN WANDERING CHILD

thank for coming to my ted talk :)

fr tho, they either fucked with ramin's mic or he just sounds so strong his voice feels solid bc that IT'S OVER NOW THE MUSIC OF THE NIGHT was something else

edit: at one point during an opera meg jumps on stage just to yell "he's there the phantom of the opera!!!!". it's not even her scene, she wasn't supposed to be on stage and gets called back by her mom. we love a hatergirl <3

[fierce-kiwi]

Thrum

I recently finished reading Meg Smitherman's novella, Thrum, and I have some thoughts. I was not expecting to be so captured by this tiny little book as I was. None of what I am about to say is earth shattering, but I wanted somewhere to put my thoughts anyways, here it is......spoilers ahead, proceed with caution.

**SPOILERS**

How would our simple human brains react to coming face to face with something that is otherworldly? The talk of extra-terrestrials and are we truly alone in the universe is such an interesting topic and whether or not you agree or disagree with the idea, the question holds true. Throughout the story, Dorian, this vampire-esque alien gentleman, constantly tells Ami that the ship is sending out a frequency to protect her mind from basically imploding on itself because human minds are too fragile to grasp the concept of his entire existence. The ship, although somewhat protecting her, is also the cause of her extreme paranoia and memory loss. Ami inevitably makes it to the heart of the ship, where Smitherman provides an intense scene of light gore and somewhat of a reveal of who or what Dorian truly is. Blood is leaking out of every orifice on Ami's body and her skull pounds as if it is seconds away from shattering; ultimately this scene depicts a human nervous system collapsing from the brain trying to formulate what it is seeing into something it understands but is failing. If we were to make contact with something within or outside our own solar system, would this be how our bodies and minds would react or is the human mind capable of more than we think?

Smitherman also addresses throughout the book the concept of reality. Scientists are still debating and testing the brain to understand how it formulates reality; how experienced realities differ from perceived realities, no two brains are alike, and so on. I am by no means a neuroscientist, but its books like this that make me wish I would have gone that route. I will never be able to eloquently discuss in depth make-ups of the brain at this point, but it still fascinates me that two people can be sharing an experience but be processing it differently. Ami, in our story, is losing her mind quickly, or so we think. Towards the end of the book, it is revealed that she possibly has been losing her mind much slower and over a longer period of time due to the frequency emission of the alien ship/Dorian. She hits a breaking point and no longer believes anything she is experiencing or seeing is real. During these instances in the book were probably the main times I would consider the story a horror novel. The panic I felt as I imagined myself in Ami's place definitely caused some heart palpitations and secondhand stress. Later in the book, I start to wonder if it is actually the ship continuing to portray these images of false realities, or is she experiencing an extreme case of PTSD, and her own mind is creating her new reality. Especially the "ghosts" of her crew that she sees in the shadows and confronts on her trek to the ships core.

At the end, Ami chooses to stay with Dorian, who at this point is screaming Eldritch terror, but I felt she was caught between a rock and a hard place. She either stays with Dorian or accepts a slow painful death drifting through space on her dead ship. It seems that with her final acceptance of Dorian, she experiences an extreme calmness that I am assuming is her brain coming to an acceptance of the things around her, almost lowering her brains mental shields entirely and fulling succumbing to the ship. However, I can't help but wonder if the "memories" Ami was experiencing that explained what happened to her crew were true, going back to the issue that led her into this frenzy panic about what is real and what isn't. She just all of a sudden accepts the images she is seeing, concerning the deaths of her crew members, as fact. What if these were false memories created by the ship/Dorian to make Ami stay with him? Does Ami believe the feelings she is experiencing for this extra-terrestrial being are real? The fact that she killed her human love, Lily, makes me feel like everything Ami was experiencing, once contact was established, was a reality created for her for the selfish desires of the ship/Dorian. If allowed to be in her right mind, she would have remained with her crew and would have found a way together to get away or died trying. Or possibly would have been swept away by this all powerful being to sail across the galaxies in a very BBC special kind of way.

Maybe that is where the true horror of this novella lies. Having everything you know warped and taken away from you; only realizing it when it is already too late. To have control over not only your body but the deepest recesses of your mind, consumed for the gain of another; engulfed in an endless night and falling.

[giggly-squiggily]

and now... in honor of the modern au sanemi os having surpassed... *drumroll*... the 10k word mark *hold for applause* (thank you thank you) i shall bother you with THOUGHTS

modern au kamaboko squad and their childhood trauma movies (heavily inspired by me and my friends)

tanjiro: harry potter and the prisoner of azkaban - listen zenitsu said it was good (he had a crush on emma watson) and their parents wouldn't find out anyway (they watched it at a sleepover when they were seven and eight respectively) so tanjiro let himself get talked into it. long story short they both ended up crying and running to zenitsu's grandpa when the dementors showed up and tanjiro never let zenitsu pick a movie again.

zenitsu: every movie was scary to him as a kid disney's hercules, seeing meg get crushed by that pillar gave him nightmares for MONTHS.

inosuke: little inosuke was too busy running around outside and eating things not meant for human digestion to bother with movies but he watches princess mononoke at tanjiro's birthday when they're fourteen and ends up being so distraught by the death of the forest god that he joins green peace.

nezuko: her mother took her to watch a princess lillifee movie when she was four and she ended up crying because they were the only ones in the theater and that scared her. (true story, except i didnʼt have a meltdown over it and my mom told me years later that she wished i had gotten scared so she would've had an excuse to walk out of the movie)

genya: sanemi had a sleepover with mitsuri when genya was nine and they were watching pirates of the caribbean. genya had hidden under sanemi's bed to spook them but then he couldn't come out and ended up sobbing when the ghost pirates showed up and then sanemi and mitsuri spent the rest of the evening consoling him and watching lego ninjago to help him calm down. (genya doesn’t like pirates now and sanemi knows it's mean but he thinks it's kinda funny)

kanao: kanae LOVES old disney movies and tried to drag all of her little sisters into it until five year old kanao watched snow white with her and got so freaked out at the entire final fight against the evil queen that they had to turn off the movie. kanao slept in kanae's bed for two weeks and she never actually finished the movie.

aoi: watched mulan when she was six and couldn't sleep properly for weeks. she told everyone who asked that it was the huns that scared her but she was actually super paranoid that mushu would crawl under her blanket in the night and bite her. he was her monster under the bed until she was like thirteen and she would rather die than tell anyone about this.

AHHH YAY!!! :D I'm so hyped for you and your work friend!

KJRKJEKJRJERKJEJKRJKE HELP! I relate so hard to Tanjiro and Zenitsu in that; those freaking dementors messed me UP when I was a kid! Nowadays I find them pretty neat, but little 9 year old Squiggily? Nope, not happening akjrekjajkr

AND OOF- I haven't seen Hercules, but I can imagine how scary that scene was holy-

HELP INOSUKE KJWJREJKRJKER He's sitting there eating a bug he found while watching the movie- that scene comes on and he's absolutely distraught and can't even look at the bugs he usually watches for awhile.

KEKRKJEKJRJEKRJKEJRJE The anxiety is real, I feel you Nezuko! (and good lord the movie was that bad? kjarkekjrajkrjkeajkrj No but really that's both adorable and utterly hilarious kjarkjeakjr)

OH NO GENYA!!! Poor little guy; all was fine and good until those ghost pirates showed up! Sanemi probably has the caribbean theme song set for his ringtone whenever Genya calls him. No one gets it cause Sanemi rarely talks about the movie and Genya's too embarrassed by the childhood memory to explain akjrjkeajkr

OH NO KANAO! Bless her- that scene was pretty intense! Though the idea of her sharing a bed with her older sister is beyond wholesome oh my goodness kjaerjkajkrajke I like to think she eventually finished the movie as an adult- or at the very least in highschool but still gets freaked out over it somewhat.

OH AOI! I think she'd really love Mulan besides that part cause Mulan herself is so amazing- she's got that complicated relationship cause she watches it but also gets paranoid whenever she does for the Mushu reasons until like you said, 13.

These are absolutely amazing and now I wanna share a few to add to it hehe!

Giyu: He watched The Nightmare Before Christmas with Sabito when they were around 11; everything was fine until Boogie got his sack ripped off and all the bugs came out. He has a somewhat mild fear of bugs since- if there's one in the apartment he'll text Sabito a picture of it with a "Help."

Shinobu: She doesn't get scared of movies too often but that one scene in Pee-Wee's Big Adventure where Large Marge made The Face (TM) freaked her out so badly she had nightmares for weeks. It's on her "Will burn it before I watch it again" list.

Akaza: You know that blue trumpet thing from Courage The Cowardly Dog? "You're not perfect"? That whole show was a time but like- that one thing was the kind of scary it creeped up on Akaza. He watched it, and slowly over the course of a few days he was too scared to touch the VCR tape of the cartoon. He still quotes things from the show- mainly King Ramsey quotes cause he found it funny. (Plus it freaks Douma out jarkjeakjrje)

Thank you for sharing these- they were absolutely DELIGHTFUL! (And I got your Askeladd ask friend! I'm just really slow to reply to things lately lols)

[eisforeidolon]

Question: Because the Impala is very important to me, I would love to hear some stories about the finale of The Winchesters and Meg driving Baby? And that whole experience about getting the car back on the show?

Jensen: Yeah, I think Robbie knew that he wanted to make that happen at the end, for the finale, quite a while before we even broke that story. So it was something to try to spice up that season finale, they try to do that just about on every show. Whether it's bringing back a familiar character or bringing in - paying for a very expensive song, which we also did? [audience cheering] No kidding, Kripke called me and is like, 'H-ho-how, how did you get Zeppelin?' And I was like, 'Name your kid Zeppelin, you get some Zeppelin.' So we knew we wanted to somehow incorporate the car, obviously I was on the docket to come back in my capacity and then we were also like we should get some other familiar faces. Luckily Jim was available, and Alex was available. Misha offered, but I said no. [turns to Jared] It's true. [both crack up] It's like, 'I'll come back, I'm not doing anything!' And I was like, 'Aww, it's okay.' [both crack up more] He was so hurt! [Jensen's still laughing] He's like, "Really?' And I'm like, 'Yeah, we're good. But good [??? luck, get out/looking out ???]'

Jared: Let me know how you [???]

Jensen: There is a reason for that, but I can't get into that. If we get to go, depending on the future of the show, I'll let you know sometime. That being said, yeah, getting the car back over there was something that we knew we were gonna do and so when we did, and then I saw the script and I was like 'Uh-oh-Meg's gonna drive it. That's, that's good. Didn't she just get her driver's license last week?' [to Jared] She grew up in New York, bro. She didn't need a driver's license. She learned to drive this year - last year. So luckily Meg is a skilled performer but also she's a truly talented singer and dancer, so she's very athletic, so she has really good spatial awareness. And she's got good motor skills, which are a necessity when you're driving.

Jared: Ha, I heard boner skills!

Jensen: Shut up! [snorts]

Q: She did say that she could barely reach the pedals.

Jensen: Well, that's her fault. She is height deprived. But yeah, I was just like, 'Okay, don't mess this up.' I did know that if anything ever happened to it, the car was immediately going back to a shop and getting fixed, so. But she did great and I'm glad that it worked out that way and I was really proud of what everybody did in that finale and I think it turned out really well and it's something I'm very proud of.

[noblevicartstudio08]

Okay. So. Was thinking of a way to fix "Love never dies," cause as it is, It sucks ass. For starters, we need to add a few things so that in the context of the original Phantom of The Opera, Love Never Dies should've never really happened. However, I think I've come up with a few ideas that could fix up the story and make LND make just a little bit more sense.

For starters, if you're gonna make Raoul villiainous, and make The Phantom the main love interest, give hints in the original play. In Phantom of The Opera, Raoul is still a spoiled rich boy, but he is still kind, loving, and cares for Christine so much that he is willing to risk his life for her. Home boy loved her through and through and it makes no sense for him to have this heel turn for literally no fucking reason. However, in the book, he was more whiny, entitled, and selfish, so if you implement more of those traits in the original Phantom of The Opera, then not only do you give Raoul more character but Love Never Dies makes more sense. Plus it gives that added tragic factor where Christine chooses Raoul over the Phantom in the end. So that would be the first thing I would do. Make Raoul a legit villainous character that wins in the end because The Phantom can't keep her. Hell, for added flavor, make Raoul responsible for some of the murders and pin it on The Phantom! That will also contribute to Raoul basking in his role as "The brave hero that slayed The Wicked Phantom and saved his childhood sweetheart."

Okay. Now onto The actual events of Love Never Dies.

I feel like Erik would take whatever riches he could and flee to America after the events of "Phantom of The Opera." He would become an anonymous poet, composer, and even an opera singer himself. His talents get him recognized in a smaller theatre on Coney Island where he thinks he can start his life anew. I think that Meg and Girys would still help him escape as they might have sympathy for him. Meg is a kind and gentle soul that Love Never Dies does DIRTY. So if she is going to have a new role, it's a support system for Erik. They help him craft a new identity and start a new life to cope with his heartbreak.

10 years later, Raoul, Christine, and Guastave move to Coney Island, with little Guastave wearing a mask that covers his entire face and his father giving him a dirty look. Yup. Raoul has a similar deformity to The Phantom when he was born and Raoul is not happy. He constantly accused Christine of going behind his back and, "whoring herself off to that hellspawn." When, no. No, it was sheer coincidence, or the gods above not giving poor Christine a break. At least The poor boy has his ever-loving mother to comfort and raise him while his father is getting drunk and gambling their money away. Things get so bad, that Gustave starts singing on the streets for cash as a street performer at night. Meg catches wind of Christine's financial situation and how Raoul has been treating her, so she gets a plan. She invites Christine to perform at the same theatre she's performing at along with her "new friend and colleague," Simon Rose. Upon meeting "Simon" she knows exactly who he is, but she keeps it to herself, but stays professional for her family's sake… and his. Simon does the same. However, upon seeing the love of his life again, he starts to spiral. He threatens to fall back into his old ways, and Raoul grows more and more suspicious with each passing day.

One night, Simon is walking the streets alone at night, when he sees Gustave performing for a few coins so the poor boy can buy groceries. Simon, feeling pity for the child as he was in the same position once, gives Gustave pretty much all the money in his wallet. Not only that, he takes the boy to a nearby park to perform a small song together on the park piano. Feeling comfortable with the child, he removes his mask showing the child his true face. Gustave is delighted and takes his off. Erik is the first person that's just like him. They share a tender bonding moment that has Gustave wishing Erik was his father instead of Raoul.

Alright. Alright. Because I am a slut for "Devil takes the hindmost" & "Devil takes the hindmost Quartet," I found a way to work into this version. After getting Gustave home safely, Erik is outraged at Raoul. Here is his poor son, begging strangers for money, while he's becoming a stinking drunk that practically burns through what little money they have. Erik confronts Raoul at the bar he's drinking at and the wadger is on. During Christine's next performance, if she doesn't sing, Raoul wins. He gets Christone, his family, and all the money to fill his pockets and pay off his gambling debt. If she does sing, Raoul leaves alone. Forever. The devil takes the hindmost. However, Raoul panics and tries to bring back that pretty boy charm to win Christine back. Something of note here. In "Before The Performance," The Phantom puts a diamond necklace on Christine. While it may appear to be a romantic gesture, similar movies like Moulin Rouge and Titanic portray this as an act of control and obsession for our female heroine. Like a diamond encrust collar or leash of sorts to tie them forever in a golden cage. I think this kind of thing would be better if it was Raoul putting the diamond necklace on Christine, using the last of his money in a last-ditch effort to secure his love before the show. It would also be more thematic if Erik came to her and took the necklace off her as he sings about her setting the music in her free. As for Devil takes the hindmost Quartet, Girys' lines would have to be changed, but you're gonna have to that. Just because I'm the firstborn of a lyricist doesn't mean I am one folk.

Christine chooses to sing. And love never dies can have a few meanings here. Not just love for Eric. But love for Gustave, Meg, herself, and The art of performing. Christine had to give up all of that except for Gustave after she married Raoul, but she takes back her life and choose her happiness for once instead of the happiness of others. After the performance, Erik runs up to her backstage and gives her a Hollywood-worthy kiss, dip, and all. They then give their short reprise version of "All I ask of you," but there's one problem… Where's Gustave? Erik and Christine panic, when Meg states she saw Raoul run off with Gustave towards the pier. Christine, Erik, Meg, and Girys all rush off to find Raoul and the poor child before something tragic happens.

Meanwhile, at the pier, Raoul debates whether to shoot little Gustave or drown in the ocean with him, all while the poor child is sobbing and pleading for his life. Erik and company show up just in time, but Raoul holds a gun to all of them, threatening to kill Gustave if they get any closer. It's there that Raoul hashes out all of his grievances, his insecurities, and his hatred towards Gustave. All he can see is "That Damned Hellspan," even though that's 100% biologically his son, he just has a similar deformity to Erik. Erik uses his skill to lasso the gun and Gustave away from Raoul and has the cruel drunk at his mercy. He's tempted to kill him right then and there, but then looks over to Christine and Gustave. His anger quells and Erik gets a bit of character development here. Because he now knows what real love is… It's taught him so much. Romantic. Familiar. Platonic. Self-love. It has changed him forever. It has taught him patience, kindness, empathy… and mercy. Erik harshly tells Raoul to board his cruise and leave. Never return. Raoul leaves like a dog with its tail between its legs as Erik comforts his family.

Time skips to an elderly Raoul lamenting about the woman he lost, and "has died," because while he still loves Christine, she's dead to him now. (You know, mirroring the beginning sequence of the original play~?) Meanwhile, on Coney Island, Erik, Christine, and Meg sit in the opera box and listen in awe as a grown-up Gustave's voice fills the opera house with a beautiful rendition of "Think of Me."

The end! This is… by no means perfect, and could DEFIDENTLY use some tweening, but this is what I got so far. Hope you all enjoyed reading it as much as I enjoyed writing it and feel free to give me some feedback!

[adrianasunderworld]

Seeing that Ghost Marriage post and how Meg didnt ridicule Idia when he almost got married, it makes me think Meg thinks this is wrong for the bride to force someone to love due to her experience. I like to think her role in the story is just to advice the men on how to seduce the bride only to fail. Even agrees with Ace when he said about what is a true love. I imagine many of men and princesses angry at Idia for insulting despite coming to save him but Meg defended him as he already suffered enough as they should go easy with him which is surprising for Meg since she is the least person to sympathize him but she does. Meg helps him calm him down from the traumatic experience especially when he was rejected despite not loving her. Meg understands how he feel and that he shouldn't experience so hard, Idia is surprise that Meg is like and learns that Meg once had a boyfriend who passed away. Since she doesn't want to separate him, she made a deal with the God that got him back to life. She was happy until her ex left her for someone which not only made her heartbroken but how she foolishly made a deal only to be rejected by him. Idia can't help but feel sorry for her and even thinks that guy doesn't deserve him which Meg didnt mind as because of that moment doesn't believe in true love. I figure in the second variant of the au in which she revealed to have a boyfriend which is Hercules. Idia can't help but it annoyed who the boyfriend is mostly because he sees him as a himbo and how cliche on what girls likes. But nevertheless, they bond well about this.

Anna: Honestly, I love your speech about true love. It reminds me of the time I fallen in love with someone and even got engage in a day before he backstab me.

Ace: What?

Also love to think Anna might mentioned having an ex-fiance during this event which resulted on the men wanted to kill Hans for that.

I think this would be Idias little peak into why Meg is the way she is, and maybe the first step into them being actual friends.

Also Idia and Meg having their own version of "He's a guy!" conversation when Idia what she sees Mr.Sunshine jock Hercules.

Also yes, everyone knows it's on sight with Hans. It is the natural order of things.

[night-unfurls-its-splendour]

Phantom of the Opera Lyrics by Popularity

Angel of Music: Part III

The Phantom: Brava, brava, bravissima~

Meg: Where in the world have you been hiding?

Really, you were perfect

I only wish I knew your secret

Who is this new tutor?

Christine: Father once spoke of an angel

I used to dream he'd appear

Now as I sing I can sense him

And I know he's here

Here in this room he calls me softly

Somewhere inside hiding

Somehow I know he's always with me

He, the unseen genius

...

A. I watched your face from the shadows

Distant through all the applause

I hear your voice in the darkness

Yet the words aren't yours

B. Christine, you must have been dreaming

Stories like this can't come true

Christine, you're talking in riddles

And it's not like you

[incarnateirony]

Thinking about that nonnie that threw a tantrum because I wouldn't label the truth and reality "spec" to pacify them.

It reminds me of back in S15. We already knew about the confession. I was writing cosmogenic meta that happened to cross into deancas, because it's not MY fault they installed it to the FUCKING mytharc. But then megstielers and multishippers in a ship server started complaining that it was posted in general and not ship, because it dared to breathe about what the writers were doing with the actual text. Then boom here it all comes true.

In the meantime those same people were building deranged headcanons that Meg was Cas' endgame and the were going to break out of the empty together and save the day. Because they had ZERO pulse of the actual text but DAMN if they didn't want to argue about it the whole damn way while half of us already had the goddamn scripts at that point.

But they entered that shit to conversation like it was somehow a viable argument. Fandom's become so deluded in All Interpretations Are Equal, these people came to truly confuse their Ao3s with the authors intents. Be that megstiel, samstiel, wincest. Notice the list of multishippers with agendas that got swept up in my askbox block spree. There's a trend here, kids.

People are going to learn real quick that your emotions and opinions are only in your head, and you never once listened to the authors for real--be it Robbie in public or any of them for the morals, ethics, and philosophies they were trying to teach you. But those are still driving the show, and now, with the muzzle off, they're tweeting it out: this is revenge.

But these people still can't hear. Won't hear. Refuse to hear. They continue to cobble up their weird ass takes like this and hope everything stays Fair And Balanced(tm) in their multiship sandbox, or whatever. Literally just projecting AO3 at the text and trying to cram pack their nonsense into it. And after doing it for years, they can't stop, even when Robbie's putting out warning lights and you hear the bunker alarms screaming danger, will robinson, it's deancas and it's gay, just look at the socials.

Truly. What rot is being punished, here.

Like Jojo says. Robbie's a wonderful person. When he meets you, he doesn't tell you how it's going to go. He asks you your story, and lets it inform his.

It's time to start coping kids. We took it.