#more or less a part 1

[deoidesign]

FUCK-

[treasureplcnet]

assorted bodies doodles (transcript of that messy relationship square under the cut due to my handwriting/incoherency)

TAKE THESE W A GRAIN OF SALT i am like 90% joking:

hillinghead -> hasan, and vice versa: immediate mutual respect

hillinghead -> whiteman: he's incredibly smart, deceptively cunning but very kind. but he is also so annoying oh my god--

hillinghead -> maplewood: "please someone explain science fiction to me"

whiteman -> iris, and vice versa: two friends secretly think of the other as the sidekick

whiteman -> hillinghead: annoying him is quickly becoming a favorite pasttime

whiteman -> hasan: will not admit it but he wants parenting tips from her

hasan -> whiteman: has slipped a parenting book to him

hasan -> maplewood: deja vu about their future weirds her out a little, but she trusts her

iris -> hillinghead: fond of him from the time they spoke in the prison. enjoys fucking with him

iris -> hasan: SHE'S THE GOAT

[critai]

7

[glumspell]

My biggest hope for the Mighty Nein animated series is that they capture the tone correctly and don't use the same tone for TMN that they used for TLOVM.

I thought the tone in TLOVM was great for Vox Machina, it was littered with Scanlan style adult humor that suited the adult-style comedy/drama very well but I dont think that exact same tone would work well for the Mighty Nein.

Even though TMN had dirty humor, I think it's style of humor was different than TLOVM. Sex scene cut-aways and projectile vomiting, over the top gore and poop humor throwaway gags I don't think would hit the way for TMN as it does in TLOVM even though it exists in TMN.

I think that in the way that TLOVM is framed around Scanlan style humor, I think TMN is framed around Jester humor- which is still dirty, but sillier and a bit more naive and familiar that fits the mature tone of TMN much better than the throwaway humor of TLOVM.

And i'm sure TMN will be gore-y too but sometimes the gore in TLOVM was over the top in a way that detracted from some of the major villain deaths and made them less impactful when compared to some disposable npc whose skull gets exploded in a few scenes prior. What I mean is that I hope it's gore-y where it counts. Like Caleb crushing the guards while storming the sanitarium in rage and vengeance is not as impactful if everyone dies in a similar fashion all the time, if you know what I mean?

[carouselcometh]

The Glass Coffin Mocktail! In honor of my most beloved and favorite Saw trap 5ever :)

[andiwriteordie]

you can see me (as a secret mission) | part 1 of 2: Tuesday - Sunday.

Mike wonders what Will must be thinking about right now. If he, like Mike, notices the charged air; if he, like Mike, wonders what it might be like to caution to the wind and break all sorts of protocol for each other; if he, like Mike, ever daydreams about tugging on his necktie and pulling him into a room far away from the others and throwing his jacket onto the floor and —

“We’re spies, Mike,” Will finally says, breaking their silence and their tension in one fell swoop. A smile dances across his face, and he gives Mike a look like, You should know this. “I don’t know if we’ll have a good week, but at the very least, it’ll be interesting.”

Or:

Mike Wheeler is having a pretty boring week — at least for a spy. Luckily, that gives him some more time to daydream about his co-worker, one Special Agent Will Byers.

—

i present to you: spyler. 🕵🏻‍♂️ 

(inspired by this song, of course.)

[notfreetoday]

MPW Language Analysis Part 2

Segasaki x Yoh: Shifts in Emotion and Acknowledging Roles

Masterlist || Language Analysis Part 1 || The Importance of Amae ||

In Japanese, one cannot utter a sentence without communicating at least two things: (1) the actual content of the message itself, the referential meaning; and (2) a metamessage about the relationship between the speaker and the listener, an indexical meaning. A striking feature about Japanese is that it is the latter message that most often assumes greater importance.

From: Creating an Ideal Self: Theories of Selfhood and Pedagogy at a Japanese Ethics Retreat by Dorinne K. Kondo

Every sentence that Segasaki and Yoh say to each other carries 2 meanings - the one we read in the subtitles, and too often, the one that never travels across the screen. The "miscommunication" that many perceive to be happening isn't always just about "using actions vs words" (though there is much to be said about that too) - the words are being used, but it's hard to hear them when said words are in Japanese and packed with information English is simply not designed to carry.

So, with 6 episodes of corrections made and nuances explained, it's finally time to get back to actually talking about how all of this adds to our understanding of the characters and of their relationship. In these 6 episodes, both Segasaki and Yoh have run the entire gamut of speech levels - but where Segasaki shifts consistently and with purpose, Yoh tends to shift as a reflexive, or reactionary response.

Or, what Segasaki choosing to shift up a speech level means to Yoh, and what Yoh's inconsistent shifts tells Segasaki (and us), about his emotional state. I'm kinda sorta not really sorry about this but ah, it's maybe possibly probably even longer than usual??

Quick Recap of Part 1:

We established two key aspects of their relationship:

1) They both acknowledge the power differential between them - Segasaki, by using "rougher" speech patterns, and Yoh, by tending to stick to the more polite end of the scale. 2) They both consider themselves to be from the same "in-group" - Both of them default to informal speech patterns when speaking to each other (even Yoh, despite being the junior/lower on the social hierarchy)

And now on to Part 2!

Changes in Emotion: Yoh

Yoh tends to experience his emotions rather intensely, and through his monologues we understand that he isn't always able to process these emotions immediately. As such, the shifts in his speech levels tend to happen subconsciously - there isn't an immediately obvious, predictable pattern to those shifts, because they are simply a reflection of how he's feeling in the moment.

Y: あ、いや。なんでもない…です* Y: Ah, iya, nandemonai…desu* Y: Ah, no, it's….nothing* The shift to polite form, and the awkward manner in which he does it, reflects Yoh's growing insecurity (See EP 2 for other examples).

From the moment Segasaki starts returning home late, Yoh becomes more and more unsure of where he stands with Segasaki, and this growing emotional distance is conveyed through his speech patterns becoming (awkardly) more polite than in Ep 1. He speaks hesitantly and indirectly, until he gets drunk (and even then, his insecurity still shows in how he barely switches down to rough speech during their not-argument).

In Ep 3, we again see Yoh shifting up to polite forms often, except this time, the shifts show his gratitude as well as sincerity.

Because of how ridiculously expensive the pork bun is, Yoh expresses his thanks by saying the full ありがとうございます (arigatou gozaimasu) here as opposed to just "arigatou" or other more casual forms. In return, Segasaki acknowledges the formality Yoh pays him with a nod (and a mouthful of pork bun).

Y: すいません Y: suimasen Y: I'm sorry This is the more formal version of "I'm sorry" (textbook pronunciation is sumimasen, but textbooks are for nerds Yoh's version is very common as well and still polite)

In both these scenes, Yoh switches to suimasen as opposed to his usual, and more casual, ごめん / ごめんなさい (gomen/gomen nasai), that he also uses in this episode. As previously mentioned, "sorry" in Japanese can also be used to mean "thank you". Here Yoh is doing both - apologizing for Segasaki having to "go the extra mile" to take care of him (ie, he feels he has imposed upon Segasaki - a fear he has mentioned a few times), and at the same time also expressing his gratitude for being taken care of. However, it's the shift up to the polite version that conveys his sincerity, and carries the extra message that - despite his regret at imposing on Segasaki - Yoh still values these moments and feels touched by them.

Both times, you see Segasaki taking note of this, albeit slightly confused, and probably a little shy too (Segasaki is after all, very good at picking up on social cues - especially Yoh's - and spends the whole of Ep 3 doing just that).

Y: 漫画が　とてもだめです Y: manga ga totemo dame desu Y: (My) manga is... really bad.

Yoh spends most of Ep 5 safely ensconced in the informal speech level, switching up only twice - the above scene, and later when he attributes his recovery to Segasaki's care as a way of thanks. The switch in the bathroom is sudden, and adds a sense of certainty to his statement that reflects the intensity of the despair he feels (even though he comes across as more kicked puppy than anything). The formality is also a way to "distance" himself from the reality of it, because it does hurt to acknowledge this.

All of these instances show us that Yoh's shifts up in speech levels tend to reflect when he's feeling vulnerable in some way - when he's insecure, dejected or hurt, or when he feels that he has imposed upon Segasaki.

So then, does Yoh also shift down?

Well, yes and no.

Left (Ep 4): Y: ふざけんな [very rude] Y: Fuzakenna Y: The hell are you doing! Right (Ep 5): Y: バカにすんなよ！[slurred vowels] Y: baka ni sun na yo Y: Don't look down on me!

Even if we include (just barely) the non-argument of Ep 2, there honestly aren't many scenarios in which Yoh shifts down to a "rougher" speech pattern - and he never drops as low as Segasaki does. This has to do with both his acknowledgement of the power differential that exists between Segasaki and him, as well as his less assertive nature. In fact, even when speaking to Man-san, with whom he shares his thoughts more freely, Yoh remains casual, but not rough. (Man-san is waaaay rougher than Yoh, tbh). Hence, when Yoh does shift down, it tends to be explosive and short lived, just like his frustration or anger.

So why "yes and no"? Because being lower in the social hierarchy also introduces another, more interesting way to express yourself - by choosing not to switch up.

We see this in Ep 5, when Yoh tries to lie about going to Man-san's place. He sticks to his baseline informal speech when he announces this, whereas he previously used polite speech in Ep 4. Is it possible that Yoh was simply overcompensating and trying too hard to sound casual to hide his lie in Ep 5? Yes. But before coming to that conclusion, there is another important detail to note - that instances like this, where Yoh doesn't switch up, have gradually been increasing as the show progresses.

In Ep 5 and 6, Yoh uses the slightly less formal gomen nasai to apologize (contrast this with Ep 2's suimasen mentioned earlier). Given that Yoh himself mentions in Ep 5 that he thought Segasaki would be angry, and in Ep 6 clearly underscores his apology with a proper bow (yes, there are standards to how you should bow in Japan) - you would think that these 2 situations would be the perfect time to switch back up again. So why? Once again, the key to unlocking the metamessage is the wider context; i.e., we need to consider what Segasaki has been doing. please indulge my desire to sound cool and mysterious despite already announcing it in the title

Establishing Roles: Segasaki

In direct contrast to Yoh, Segasaki is very consistent with his speech shifts, and a clear pattern emerges. First off - when Segasaki is angry with Yoh, he drops straight down.

Left (Ep 2): S: てめぇ [very, very rude] S: temee S: You Right (Ep 5): S: 分かってねぇだろ　分かってねぇから　泊りで仕事とか言い出すんだろうが [slurred Rs, word contraction, slurred vowels] S: wakattenee daro wakattenee kara tomari de shigoto toka ii dasun darou ga S: You don't do you? You don't understand and that's why you can just say things like you'll stay out to work overnight.

Like, waaaaaaaay down. The argument in Ep 5 is the most obvious example of this, but using "temee" to address someone like he does in Ep 2 is very very rude and, together with the "haaah?!" Segasaki says before this line, also does a lot to convey that he is Not Happy.

S: 明日は仕事すんのか [word contraction] S: ashita wa shigoto sun no ka S: すんのかしないのか、どっちだよ [word contraction, informal, assertive end particle] S: sun no ka shinai no ka, docchi da yo S: Are you working tomorrow? S: Working or not, which is it?

The lines in this interaction from Ep 3 aren't really rude per se - certainly not compared to temee - but they are rougher than his usual and very direct. We've seen Segasaki do this multiple times throughout the episodes - dropping his levels when he's being assertive, and it is in response to that assertiveness, that Yoh gives the following reply:

Y: いや、ないです [plain forms, but with the addition of desu form] Y: Iya, nai desu Y: No, I don't [have anything planned]

Mixing plain forms with -desu at the end makes Yoh's reply a little more formal, and is another way in which Yoh acknowledges the power differential between them. Being higher in the social hierarchy means Segasaki enjoys a greater sense of linguistic freedom, and shifts down in speech level are therefore unsurprising, and indeed, expected.

So, if there is no real need for Segasaki to shift up, then, what does it mean when he chooses to do so?

Left: S: まあ　残念ながら　相手は大嫌いな俺ですけど S: Maa... zennen nagara aite wa daikirai na ore desukedo S: Well, unfortunately, your partner is me - who you hate so much Right: S: 好きにさせてもらうけど...な ？ S: suki ni sasete morau kedo... na? S: I'll gratefully do as I please...yea?

After an entire episode of using Yoh's own words to tease him as a way to try and get Yoh to face his own feelings, Segasaki lands his sharpest and strongest push of the day in these 2 scenes not by reinforcing the hierarchy between them, but by subverting it. Shifting up to a more formal speech level when he doesn't have to, particularly in the second scene where he uses deferential word forms, creates the illusion of elevating Yoh in the hierarchy, which is then immediately undermined by the irreverent tone in which Segasaki says them.

In other words, Segasaki only shifts up as a power play.

S: よくできました S: yoku dekimashita

We first see Segasaki use this formal way of saying "well done" at the end of Ep 3 and again in Ep 4, and it brings to mind the literal stamp of approval that teachers often give to students in school. Here, there is no teasing or subversion of the hierarchy going on. Segasaki is establishing his role in Yoh's life - to provide and care for him - through the use of polite speech, and reinforcing the power differential between them in the most straightforward way possible.

This use of polite speech allows the speaker to indirectly index their social identity - often as one who is in charge or responsible. Within the Japanese household, it also happens when a role/obligation (often parental) is being carried out - eg , a parent might switch to polite speech to indicate their role as provider when asking the rest of the family "What would you like to eat?". Similarly, we again see Segasaki underscore his role in the following:

Left (Ep 5) S: ごちそうさまでした S: Gochisousama deshita S: Thank you for the food Right (Ep 4) S: 寝るなら部屋いきな* S: neru nara heya ikina S: If you're going to sleep, then go to the room alright?

In Ep 5, Segasaki leads the saying of this standard phrase, customarily said at the end of a meal to express gratitude to everything that made the meal possible. It is the use of the full, more formal version (as opposed to just gochisousama) that indexes his role as Yoh's caregiver when he leads in saying this, and indeed he spends most of Ep 5 enjoying that role. In Ep 4, although he does not quite use the -masu form here, the imperative form "ikina" brings to mind a parent trying to coax their child to bed, the same way Segasaki is doing to a very drunk and sleepy Yoh.

This is the key we were looking for - with every episode, Segasaki consistently reinforces his role in Yoh's life, the same way he consistently responds to and encourages Yoh's amae. And with every episode, Yoh becomes a little more confident of his place with Segasaki, a little more willing to believe that maybe Segasaki might really return his feelings. It's easy to look at Yoh in Ep 2, see him push Segasaki away, and think that the same Yoh appears in Ep 5, but that couldn't be further from the truth. Because in Ep 2, a drunk Yoh barely drops to rough speech, whereas in Ep 5, a sober Yoh feels safe enough to even "curse" a little (well, as far as cursing goes in Japan at least, which admittedly is not far). In both word and action, they have both grown, and have both contributed to the strengthening of their relationship.

So! In conclusion (omg we made it to the end) we have established that:

Segasaki has a clear, predictable pattern in his shifts - he switches up to formal when establishing or reinforcing his role in Yoh's life, but when he's serious, or angry with Yoh, he drops all the way down.

Yoh is less consistent, because his shifts tend to be more subconscious and reflective of his emotional state. He's more inclined to switch up when he's in a vulnerable state, eg, feeling insecure or dejected, or when he wants to express his sincerity in apologizing or showing gratitude. When he's nervous, or in response to Segasaki either being direct with him or upset with him, he'll sort of switch up too (ie, he'll mix polite forms with informal forms, or he'll try to say things in an indirect way).

Through the use of speech level shifts, both Segasaki and Yoh indirectly reinforce and acknowledge their individual roles in each other's life, and by observing the changes in these shifts over time, we the audience are able to track the progression of their relationship as well.

In the next part, we'll look at the differences in the way they speak to others versus between themselves - looking specifically at examples from Ep 4, 6 and 7.

As always, thank you for reading, and feel free to ask any questions! (*ˊᗜˋ*)/

[henrybelly]

honestly when i tried to figure out why some fans are so mad at ivypool these days i was looking through avos and. the scene where ivypool apologises to twigpaw for not supporting sending a patrol for skyclan is genuinely very sweet??

i actually saw someone characterize this as "ivypool forcing twigpaw to forgive her". is it crack you smoke. is that what you smoke. you smoke crack?

[youngyoo-apologist]

I like this scene because when I was writing it I was thinking about how fun everything would be once Alberu joins the party ahaha

This poor guy will not only have to deal with Regressor Cale, but Regressor Choi Han AND Kim Roksoo. Those three will never let the opportunity to tease Alberu slip by. Also I find this one scene really funny because Alberu is absolutely thinking to himself ‘what the hell was that’ when he made eye contact with Cale, the young master of the Henituse family who is famous for his brutal honesty and words, is smiling at him in a way that reminded Alberu too much of himself.

Realistically, there should be no way the young master knows anything about him, not when they had only exchanged a few greetings in passing. Sure, the Henituse county was rich, but they had no reason to dig for information on him unless he provoked them. So why did it feel like Cale Henituse knew something very important about him?

[butwhatifidothis]

What gets me about GW defenders saying that "Claude siding with Edelgard shows how far he's willing to go to get what he wants, he'll use anyone to further his goals" is that, even if that were accurate to his character... that's not what he does in GW. At all.

Which one of Claude's goals are ever progressed once he sides with Edelgard? And how does siding with Edelgard, specifically, accomplish said goal?

Maybe... killing Rhea? But all of the reasons he says he wants her gone in this game are either completely unproven or blatantly incorrect - there's no proof of the Church forcing arranged marriages, Crests do not force obligations onto those that have them (which Claude himself literally proves), and the Church is helping Dimitri restore Duscur - a foreign nation - meaning they are actively willing to help fulfill Claude's main goal that he came to the officer's academy to achieve.

And... that's it! That is the only possible thing that even POTENTIALLY helps Claude's dreams, and taking a five-second look at it shows that it actually does nothing at all to help anything. But in the meantime? Claude weakens Faerghus through agitating Sreng and invading it himself, forcing Dimitri to fight a three front war; he actively helps Edelgard get herself out of a messy situation, even though not helping her and letting her die would have actually helped him and would have actually been him using her like people keep saying he's trying to do; he and Holst even admit that by the end of the war Edelgard is going to make a vassal state of Leicester after taking the lion's share of Faerghus' territory for themselves, which Leicester can't do anything about because of Adrestia's far stronger military. He is the one saying that! He is the one pointing out that that is going to happen! And yet he just keeps going anyway!

He is the one getting used. Very blatantly, and very extensively. Claude walked himself into a trap and lied to himself into thinking he's the one with the upper hand, which somehow managed to convince a large portion of the fanbase too. There's no gray morality here, there's no cunning being showcased, Claude is just an evil stupid tool

[wonder-worker]

"[Elizabeth Woodville's] piety as queen seems to have been broadly conventional for a fifteenth-century royal, encompassing pilgrimages, membership of various fraternities, a particular devotion to her name saint, notable generosity to the Carthusians, and the foundation of a chantry at Westminster after her son was born there. ['On other occasions she supported planned religious foundations in London, […] made generous gifts to Eton College, and petitioned the pope to extend the circumstances in which indulgences could be acquired by observing the feast of the Visitation']. One possible indicator of a more personal, and more sophisticated, thread in her piety is a book of Hours of the Guardian Angel which Sutton and Visser-Fuchs have argued was commissioned for her, very possibly at her request."

-J.L. Laynesmith, "Elizabeth Woodville: The Knight's Widow", "Later Plantagenet and Wars of the Roses Consorts: Power, Influence, Dynasty"

[aroaessidhe]

tell me about more books with the grumpy old woman + young man dynamic. I read these both this year and it was one of my favourite elements of both

[cornertheculprit]

i really do wonder HOW it is that mia wound up taking phoenix under her wing. like phoenix was only the second person she'd ever defended and clearly she would've worked at grossberg law offices for a while longer before moving out and starting her own office. was phoenix (obsessive freak that he is) coming to watch all the other trials she defended in or something. when word got out that she started her own law office did phoenix show up on the office's doorstep for the first time to offer his congratulations (maybe he brought flowers or something) while mia was just standing there like how the fuck did he even find out i was starting my own office that fast....guess he's still as insane as ever. and then phoenix started talking about how much progress he'd made with his law degree and asked if she would please please please consider letting him intern there even if it was only for a little while and mia, thinking about all the paperwork she very much did not want to do and thinking about how much she missed maya and how this dumbass kid sort of reminded her of maya, was just like. yeah fuck it why not. here's my business card. i'll get back to you

[britneyshakespeare]

The actor Junius Brutus Booth in costume as Edmund Mortimer in Shakespeare’s Henry IV, Part 1 (1823), painted by John B. Neagle

[qualityrain]

dude theres something abt firefly wedding. marry ur hired killer so u dont die and the love interest is a crazy yandere but also theyre trying to make it work???? before sakoto confesses that shes been playing along and cannot marry shinpei he was like lets talk because youve been off lately is it because of me i dont want to do something that makes you sad because im bad at reading peoples and my own feelings. like even before this its like sakoto going excessive violence is bad! and the whole would shinpei treat anybody that accepts him the same way he says hes in love with sakoto. that perhaps his love for her is not different from loving a child or an animal. what is love anyway (baby dont hurt me- )

[thewhizzyhead]

before I sleep, here is my definitive ranking on all the NPMD songs and some rambles on why I placed them there - also the ranking is based on how much I vibe with them (music production and lyricism have different rankings)

1. Hatchet Town (aka the hatchetfield trilogy theme song like this tune perfectly encapsulates the chaos Hatchetfield has to go through with every Starkid project pos-2018 and I love it - kinda wish it was a number that is more integrated with the plot with the kids tho BUT I REALLY DID LIKE that this melody was quite prominent in the other songs too)

2. High School is Killing Me (I've watched many teen centered musicals and believe me when I say that this song is one of, if not, the best introduction numbers out there for this genre - also it's a really great opening hook for a show)

3. Nerdy Prudes Must Die (FUCKING AMAZING HONESTLY - amazing way to REALLY re-establish a villain back from the dead and to establish the main theme for the nerds here: "I'm Not A Loser" (tho i fucking wish that motif was used a bit more))

4. Just For Once (everyone cheer for Lauren Lopez flexing not just her high tier soprano skills, but also how amazing of a fucking actor she can be like the concept of this song is quite layered and to pull it off both comedically and emphatically takes great lyrical and acting prowess)

5. The Summoning (a well-anticipated onstage introduction to all 5 of the LiB that balances out befuddling neon-entertainment with genuine fucking menace)

7. Cool As I Think I Am Reprise (A FUCKING GENIUS REPRISE I CAN'T STRESS ENOUGH HOW COOL I FIND THEM RECONTEXTUALIZING THE OG SONG AND IF I LOVED YOU TO FIT THE SITUATION AND BOTH OF THE CHARACTERS GROWTH. LIKE IN TERMS OF THEMATIC IMPLICATIONS WITH CHARQCTER DEVELOPMENT, THIS SONG AND ITS SCENE WOULD BE THE TOP)

6. If I Loved You (I think this song could be a bit more honestly like I know how much Starkid has explored Steph and Pete's relationship in their other projects and I was really hoping that they would have it more portrayed here - however the song is a bop nonetheless and it matches neatly with their themes and the harmonies are top tier. I placed this higher than the next just due to my personal bias like I really do like the song)

8. Dirty Dudes Must Die (A GREAT TWIST THAT MAKES ME WANT ANOTHER MUSICAL ABOUT GRACE CHASITY'S DERANGED SELF - also the new context of the song Grace is reprising here makes her a villain even scarier than MAX of all people but that's just me)

9. Literal Monster (A very catchy beat and well structured song that provides a good introduction to a jock-bully with the god complex. also kinda foreshadowing to nerdy prudes must die)

10. Cool As I Think I Am (the instrumentation reminded me of Dear Evan Hansen ngl fjsjd but it really does sound like an I-Want song from a teen-musical which is of course what they are going for - it sounds very nice and earnest though and I loved how it was utilised in the reprise. However I still fucking wish that the I'm Not A Loser motif was used more)

11. Dirty Girl (look I'm sorry for ranking this quite low on the list but like there is no fucking way I'm using this as bait to lure other people in like they'd be scared away I'm sorry fjdjs BUT I love how Will and Angela perform this though like top tier starkid performances ever - its not just what I would listen to on repeat personally jgjdjs)

12. Go Go Nighthawks! (This one gets plus points because of FUCK YOU CLIVESDALE GO GET FUCKED. otherwise its nice and cheery and perfectly shows how happy everyone is without Max but um I kinda wish it could be a bit more especially in terms of showing how happy the other nerds are now that Max is gone but that's just me)

13. Bully The Bully + Bury The Bully (Look I couldn't decide which was better like they both are the same melodies so like gjxjs these two are cute though and I liked seeing the 5 kids bonding in Bully The Bully since we don't get that many scenes with them)

14. The Best Of You (the pop-punk happy number is a staple of teen-centered musicals and it does really sound nice - just isn't that much of a standout compared to the others.)