#(don't want to if im honest)

[crabsnpersimmons]

i'd love to celebrate my birthday with y'all! no pressure to say or do anything, just wanted to share and "invite" you all 🥰

[seventeendeer]

this isn't at all meant to be condescending or finger-waggy because 100% we all have blind spots like this, but I'm really, really hoping that the people who never found Gaiman's approach to his own fandom concerning in any way will take this all as a learning moment.

he was an older, hyper-famous author engaging directly and frequently with an online audience of largely vulnerable young marginalized people. he presented himself as cultured and worldly, and made himself approachable as someone to go to for advice, encouragement and "wisdom." his manner of speech was extremely pathos-heavy and clearly intended to be comforting and encouraging in exactly the way his target demographic needed it to be to swallow every word. the way he spoke about stories and creativity was designed to make young creative hopefuls feel special and important, while sweeping real analytical techniques under the rug - in hindsight, likely so no one would think too critically about the disturbing amount of patriarchal abuse played for cheap shock value and voyerism in his own body of works.

Gaiman saw a target demographic that was desperate for an older creative role model to tell them they were worth something, and he exploited that pain to twist a narrative around himself where he was king and any critique leveled at him or his works were the enemy.

to be clear, he could have been innocent. he could totally have been just an out-of-touch old man saying nice things to people because he wanted to be kind and he thought he was a lot smarter than he really was. red flags are warning signs, not a surefire way to tell if someone is actually "secretly shitty."

but if you used to look up to him, PLEASE take this moment to revisit the ideas you absorbed from him. did you take his words to heart because they seemed to have objective merit? or did you take them to heart because it felt good to believe what he said? do you still hold these values? does knowing he was intentionally manipulating his online audience make you less certain? do you need more information from a different source before deciding one way or another?

again, I'm just really, really hoping people on here will take a moment to reevaluate the ideas and opinions he's injected into tumblr fandom culture, because his reach is immense and he has absolutely been manipulating popular perception of relevant topics to gain further influence and control the narrative around both his own and Pratchett's legacy. please, please take this moment to notice what he's been doing - and next time someone tries to pull the same shit, hopefully we'll be able to apply what we've learned from experience.

[ghost-proofbaby]

It's summer for you, winter for me. Warm me up with strawberry fluff! As always, my muse, your muse, the one and only, Eddie.

Midsummer's night, because I don't have a lot to inspire you with. I'm thinking something cute but weird? Maybe some human body softness where Eddie is a bit of a freak and we love him for it. And we're told our bodies are lovely, even when they're doing weird shit.

I lalalove youuuuu. xo Rhi

RHI!!!! <3 i adore you. thank you for this prompt - i had far too many ideas for it, but ended up on settling for this one, which coincidentally feels like the most subtle of them all? either way, it definitely turned out being the softest. give me an eddie munson who just wants to sniff me like a dog. this definitely got a bit long but i hope you enjoy, my dear <3

the smell of you

warnings: weirdos in love? idk. i have a skewed sense of what is actually weird i think. mentions of death and coffins jokingly. eddie 'manhandles' reader sort of. not edited.

wc: 2.2k+

come enjoy a sweet summer treat with me <3

“Eddie?”

The entire apartment is quiet – too quiet – as you drop your keys into the old crystal bowl on the counter. The clink resonates through the air, louder than the soft murmur of the stereo static you can hear from down the hall. 

“You dead?” you call out again, slipping off your running shoes and tossing down your headphones onto the counter as well now, “Do I need to call the coroner?” 

Your tone is lilted, teasing with airiness as you continue to wander deeper into the apartment and head straight for the room you know Eddie has to be in. Like the waves pulled by the moon, there’s an incessant string tied around one end of your soul that connects you to his, and you follow it all the way down the hallway. The bedroom door is wide open, and you can hear his mumbled yell of a response without clarity before you even cross the threshold. 

You wouldn’t have even needed him to verbally respond to find him in this tiny apartment. You two could get separated on the streets of a bustling city, of a buzzing New York sidewalk, and you still wouldn’t properly lose him. It’s more than just soul ties and his gravity that keeps you pulled to him. 

Something unspoken. Something homely. 

“Sorry, what was that?” you hum as you spy him face-down in the bed, pillow muting him by the mouthful, “Say it one more time, and this time not into the pillow.” 

When he finally properly turns over, he’s a vision. Sleep lines folded into his skin and a bit of drool in the corner of his mouth, eyes squinting in irritation not at you but the sunlight flooding in through the bedroom window. Messy hair, messy shirt, messy everything. A kind of mess you just want to collapse into currently, curling up in all that he is from the day’s exhaustion. 

He’d mentioned wanting to take a nap before you’d left for the gym. Something about the summer heat draining him, trailing off as he’d rambled about how he’d probably thrive as a vampire. 

“I said,” he huffs, sitting up, the frizz of his hair becoming a makeshift halo, “If you call the coroner, request the comfiest coffin possible.”

“Why do you need a comfy coffin if you’re already dead?” 

“You dare deny me of being buried in tempurpedic memory foam? In my hour of need?” 

You roll your eyes as you huff out a little laugh, forcing yourself to turn away from him long enough to strip out of your socks. But just as you reach down for the pieces of clothing, you catch sight of the source of that stereo static flooding the room. 

Your shared record player, spinning a blood red pressing of one of your more recent vinyl purchases. The album has been played through, but the player no longer had an automatic stop mechanism, probably from years of use. 

The center of the record is probably scratched, and Eddie knows it, from how sheepish he looks when you glance over your shoulder at him. 

“Speaking of death,” you walk over quickly, purposefully, before carefully lifting the needle and cutting the static finally, “Care to explain why you’re burning scratches into my Momento Mori vinyl?” 

“I’m sorry,” he quickly apologizes, nearly flinging himself off the bed as he scooches quickly to the end, clearly fully awake now, “I put it on and thought I’d just lay down for a quick second, but then the bed was so comfy, and I thought it wouldn’t hurt to take a quick nap, and then…” he trails off, looking up at you through his lashes with big eyes already pleading for forgiveness, “I’ll buy you a new one. Swear it.” 

It’s impossible to be mad at him when he’s looking like this, inhumanely soft and easily forgiven, “You’re lucky you’re cute, or you really would be dead.” 

He doesn’t respond with words, but instead the outstretch of his hands, fingers flexing as he beckons to you. The needle rests on its perch, the vinyl left behind to gather dust for a few extra moments, as you go straight to him. 

When his palms slip beneath your old t-shirt and meet your skin, they’re pleasantly warm. 

“You were right,” you admit as his knees spread, delegating even more room for you to stand in front of him as your hand wanders to cradle the side of his face, fingers tangling in sweaty curls from his rest. Your thumb mimics his on your own skin instinctively, tracing a large arch right up over his cheekbone, “It’s hot as balls outside.” 

“Told you so,” he murmurs, smiling softly in satisfaction as he leans lazily into your touch. 

“You did,” you agree quietly, half-entranced by his relaxed face, no sight of pride in the room currently. 

He resembles a cat as he continues to preen under your gentle hand, and you almost expect him to start purring right before you find the strength to pull away, removing his hands from where they'd wandered to your lower back. 

One swipe of his finger along your sweaty spine, and you’d remembered what your original intentions had been immediately upon getting home. 

“Wai- Where are you going?” he’s seemingly brought back down to Earth the moment he loses the pattern your thumb had been tracing, the press of your fingertips into his scalp. When he reaches back out to latch onto you again, you take a step back, “Get back here-”

“I need to shower,” you laugh, shaking your head and smacking his hands away as he continues to barter, “I’m all sweaty and smelly, let me go clean up and then we can nap togeth-” 

“You can shower after we nap,” he nearly whines, finally catching your shirt between his fingers and tugging, uncaring for if he stretches the fabric. A small price to pay to have you close to him, “C’mon, sweetheart. I know you’re just as exhausted as I am.” 

You swear you meant to take another step backwards, but somehow, you end up back between his knees, “Did you not hear me, Munson? I stink.”

“Good.” 

He doesn’t give you any time to react – in an instant, he’s throwing his face forward, burying it against your stomach as you let out a gasp and immediately try to pry him away with far too gentle of hands in his hair. 

“Eddie!”

If it were anyone else, you’d probably be mortified. But Eddie just takes a dramatic deep breath in, nose buried just shy of your belly button, and when his shoulders start to shake with muted laughter, you can’t stop the smile from breaking. Your fingers are still twisted in his hair, still pulling back in an attempt to get him away from you, but he’s resilient. 

And all your faux resistance is weak in comparison. Soon enough, you’re back to melting into him. 

Only once you’re relaxed once more, no sign of trying to pull away again any time soon as his hands once more evade the space beneath your shirt to wander up and down your sticky skin without a care in the world, does he lift his face away from you long enough to breathe and speak, “I’ll have you know – I love your stink.”

“Shut up.”

“I’m serious.” 

“You’re an idiot.” 

“I’m your idiot.” 

The game of banter is cut short when he goes back to pressing his nose into your clothes that surely can’t smell good. No amount of deodorant or perfume could erase that underlying stench of sweat. Hell, the shirt is still a bit moist from it all: from the walk to the gym, from your workout itself, from the walk home. It’d been through the ringer, and you’re back to tugging him away from you. 

“I refuse to believe you like how gross I smell right now,” you reinforce, eyes darting towards the bathroom connected to your master bedroom, “I promise I’ll be quick with the shower.” 

“Baby,” he fights back, wrapping his arms around you securely, no intention of losing this battle, “You remember that time we went to the fair, and you were complaining about how you were sweating, so I tried to lick your face?” 

Your nose scrunches quickly at the memory, “I do, unfortunately.”

“You really think I’d be willing to lick the sweat off your body but be afraid of you smelling a little bad while we cuddle?” his shoulders drop as he looks up at you, head tilted, almost as if amused with the conversation, “What kind of man do you take me for?” 

“The kind that gets off on annoying me.” 

His jaw drops, putting on a fake look of offense before he dramatically throws himself back onto the bed, laying flat as he makes a fist to mimic stabbing his chest, “You wound me.”

You’ve heard those words a thousand times in a hundred different ridiculous voices. You’ve seen this scene enough to have it mesmerized at this point, down to the over-exaggerated pout of his lips and the lingering of the fist against his sternum. 

You never grow tired of it. You never will. 

“Need me to kiss it better?” you joke as you prop a knee up on the bed, following the same script as always. 

And he hits his queue perfectly when he lifts his head eagerly at the expected response, wiggling his brows a bit. “Absolutely. Doctor’s orders, in fact.” 

“Great,” you see an opportunity, and take it, “I’ll get right to it, after my showe-” 

You don’t even get the final syllable of the word off your tongue before he’s clenching his thighs around your own, knees pressing hard before he wraps his legs the rest of the way around your waist to pull you in. A squeak of surprise leaves your lips as you begin to fall forward, but Eddie is quick to break the fall with ease. Catching you with his eager hands, maneuvering for you to half drop to the mattress while some of you still lands atop of him. 

He has you right where he wants you, turning his head to be face to face with you, noses nearly brushing, “Unfortunately, the doc said you have to kiss it better now, or else you’ll be comfy coffin shopping.” 

“A fatal wound?” you gasp, nearly mocking him. It doesn’t offend him – if anything, his boyish grin only grows wider, “First, I’m smelly-”

“Again, I like when you’re smelly.”

“-And then I inflict a fatal wound upon my lover? Oh, how dare I.”

Slowly, all your insecurity of how you currently smell is simply fading. The entire ordeal has become an art of childlike, whimsical jokes – and Eddie is an artist. A professional at the dance, locked and loaded with his incomparable skill set equipped for disarming you this way. The ability to make someone feel loved, imperfections and weirdness aside. 

He likes you, even when you claim you don’t smell your best. And you like him, even when his hair is tangled beyond recognition and one of his socks is half-hanging off his foot from a nap.

You like him when he’s embarrassing you in public, tongue chasing after you with the threat of licking your sweat away, and he likes you when all you can do in response is a weak palm to his chest (that isn’t even making an effort to push him away) as you giggle relentlessly. 

You like each other on the good days, the bad days, the weird days. 

Disarmed entirely, you don’t even notice when his face conveniently slots itself far too close to your armpit as you two scooch further up into the bed. You’re more occupied with the way your legs tangle up, toeing each other’s socks off properly as he slings a heavy arm across your torso. 

“We’re gonna have to wash the sheets,” you mumble, exhaustion catching up as the two of you finally settle. 

He hums absentmindedly, nuzzling into your skin a bit further as he makes himself comfortable. “And wash away your sweet, sweet stink? I don’t think so, sweetheart.” 

“Oh, fuck off,” you laugh, unbothered as your fingers start to trail up and down his back over the t-shirt, smoothing out wrinkles along the way, “I’m serious. We need to change them soon anyways, I think I got crumbs in the bed the other night with those crackers.” 

“Bury me in the crumbs of all your midnight snacks,” he almost slurs, clearly drifting back off. 

You snort in response, relaxing and letting your own eyes shut. Matching all your deep breaths with his own, a million different last words crossing your mind to whisper to the boy you’re sure is once again asleep. 

I love you.

I adore you. 

I would like to spend the rest of my life with you, if you’ll have me. 

And maybe some of those unspoken thoughts slip out without you realizing, because he squeezes you just a little bit tighter, presses his face just a little bit deeper into your skin as his scruff tickles you. 

The only actual thought you can know for certain that you say, though, is, “Do you think they actually make coffins with memory foam inside?” 

To your surprise, even despite the almost-snores that had been escaping him, he answers in a heartbeat. 

“Oh, definitely. We’ll order two.”

[hydrodragons]

genshin impact gif challenge ✦

[1/?] pyro characters → lyney

“magic isn't just a performance art, it's also a way of thinking. many things in this world seem simple at first glance but play host to all sorts of secrets if you look deeper.”

[chronicowboy]

extract from a devastatingly beautiful poem by @diazass

[batshaped]

i never know what tadano is talking about

[floofanflurr]

don’t you wanna take his hand? go on. take it. i’m sure nothing bad will happen.

take it?

Oops. You got gooped.

...Still, I'm sure things are fine.

...Right?

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[rithmeres]

what's up homos ‼️‼️ i’m tight on money rn so i’m opening up an INPRNT store in the hopes of selling some prints. much of my old stuff is too small to get printed so it's mostly newer pieces, but if there’s any particular piece you want, let me know and i’ll try to get it up for you.

[paintpanic]

i loved your AU resurection and i have a question Marx will appear in your AU??

(a fanart)

Thank you so much for the lovely art! You've captured him beautifully.

Marx isn't *super* relevant in this AU, but he's 100% present.

[cherry-207]

Something for Vargasversary! :D I forgot to upload Please read this beautiful story, It made me so happy, and it's one of my favorites, I can't thank @zarla-s enough for creating something so amazing, and thanks to this story I met such great people,

[mechieonu]

togachako and kudoichi are still making me go insane. it's the purposeful queer lens vs. the purposeful romantic ambiguity

[nartml]

"He's just so plain looking, you know?"

*meanwhile izuku pulling up to the function with a messy head of fluffy curls, the prettiest, sparkliest, biggest pair of emerald green eyes you'll ever see, constellations of freckles dusted over cheeks that are still holding onto a little baby fat, albeit without sacrificing a single degree in that jawline, a sturdy build compiled of broad shoulders and powerful thighs, finished off with a grin of stunning, dazzling, beaming, adorable proportions*

[yakny]

"NUNCA APRENDES, PLATITA."

[keithbutgay]

i think um

well i think you should make the post just so i can pretend to be useful

but

yknow thats like

not a good reason i guess haha :P

i might make it at some point haha :PP

[chiarrara]

on one hand I'm kinda like....duh what are y'all so upset about, we been knew. but on the other hand...thinking about what it would take to pick yuri on ice back up again now that it's been officially put down, kinda makes my heart hurt. I don't know if there's ever going to be a path forward for this series that had so much potential left.

Mostly, I'm annoyed with the announcement. Really vague language about unspecified circumstances. I wish they would be straight with it because there are numerous reasons that could've contributed to the decision not to move forward. The prevalence of Russian skaters, the issues with and reorganization of the studio, the amount of time that's passed and the acquisition of more relevant projects. But I guess there's less to talk about and less blowback the less you say? Or maybe just not enough people care anymore.

I don't feel like we're missing anything with what we have exactly, so I've never been that cut up about the show not continuing. but no other piece of media has ever meant as much to me as yoi does. probably a lot of that is how much space is left in the story for more. I don't know, I don't feel like I should be upset but I'm feeling upset man. Just a little bit of silly grief for my favorite media of all time being unceremoniously cancelled....

after 5 years of radio silence tho so like, what did we expect. it's been over.