#ok let's be realistic here

[hoperays-song]

Johnny’s Money

Can we look at the money we see Johnny have in Sing 2? 

One, his wallet is literally falling apart at the seams which supports my last theory. Two, the money in his wallet in the above picture is wrinkled to all get out, the money he places on the table is very much not. 

That stood out to me in particular because we know the money on the table is $50, all in smaller bills by the looks of it, so it’s not money from a heist (especially with those being so long ago), and it’s more than likely not how he gets paid for his work at the theatre. No theatre as successful as the New Moon Theatre would be paying their employees in small bills, so why does he have so many in such good condition?

The money still in his wallet appears to be two small bills, a $20 and a $5(?) and are pretty wrinkled. They look like they might be change due to how fast they appear to have been shoved in the wallet and since Johnny just bought a skateboard, that’s what I’m going with. The money he probably used to buy that skateboard was more than likely his own from working at the theatre, and he probably withdrew it from his bank account before the trip to avoid losing his credit/debit card (the boy grew up in major cities and keeps his wallet in the inside pocket of his jacket, he’s all too aware of pickpockets).

Now on to the theory. The fact that all the clean, unwrinkled money is exactly $50 stood out to me. It seemed like an oddly specific amount to mention, so I looked it up. And it turns out that buses between Las Vegas and Los Angeles, the real world base locations of Redshore and Calatonia, can range from $25 to $60. Johnny might have some money he’s found or been given by Rosita or Buster during the trip, but it definitely wouldn’t be $50 worth, and would likely look more like the crumpled bills still hastily shoved in his wallet. So who would have given him money, a fair bit of money to be honest here, in neat, clean bills? 

Well it’s obvious, Marcus would. Johnny and his family don’t have a ton of money in Sing 2, more than in the first movie to be fair, but still nowhere near the “$50 being play money” mark. They would more than likely be overly careful with their money, keeping it in good condition so there’s no chance of it being rejected for being a damaged bill (yes, that can happen), so the neatness of the bills would make sense. 

Therefore, my theory is: Marcus gave his son enough money to make sure he could get home if he needed to. He made sure Johnny had an out if need be, could afford a bus ticket even if it was a more expensive one. And judging by the family’s rough finances, that was probably all the spare money they had laying around. That was what they had left from costumers after bills had been payed and he gave it all to Johnny just in case he needed it.

[sunlit-mess]

how delusional can you be as if it's disrespecting

[ejaysstuff]

恭喜发财，红包拿来🧧🧧🧧

Happy 2024!

[retros-artandstuff]

homestuck doodle dump

[torchickentacos]

[mummer]

ten needs to be trapped in a torture chamber forever for what he does to martha. I hope jakey the time lord fucking dies

[baishouqijia]

i have 9 days off work now!! yippee!!

[revindicatedbyhistory]

yesterday while i was walking on the street with a friend a woman from amnesty international came to ask us to do a monthly donation for iranian women and like. im gonna be blunt. no one is gonna agree to that argentinians have enough shit going on as it is who is going to do monthly donations for iranian women

[palms-upturned]

.

[quiznak-ofgrayskull]

One day I will be an adult and all my naive fantasies will be crushed into the ground by Reality but that day is not today

[traumacodedtransbitch]

love the adventures of tintin 2011 film but let's be honest, addiction is serious mental illness that should not just be dismissed. i know this is the 40s, but...idk man, that stuff isn't funny whatsoever. also you can't just withdraw from alcohol completely. especially when it comes to severe alcoholism. haddock would be very ill just dealing with the side effects of not binge drinking for even a couple of days. even if it was just addiction he was dealing with, that doesn't make him any less of a human being.

[solidwater05]

Tragically, Genny VS Gabriel wasn't much of a fight. >:3

Genny noooo D:

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.

[malewifesband]

labru au where laios works graveyard at the gas station bc it lets him spend his free time doing werewolf erotica and furry commissions on the ipad falin bought for them at the register just at work not even horny about it thats just what pays the bills

and kabru is agonizing about what the gas station clerk is going to think about him buying condoms at 2 am (for his strap. he does not remember to clean that thing. put a rubber on it so no one gets an sti bc you fucked the least hygienic man on earth. its like hes a fucking line cook). but laios does not give a shit. kabru is here all the time and laios has never once recognized him

and then the store gets robbed while kabrus there holding his box of condoms and laios is like absurdly calm about this (not calm. seems calm bc he has problems) and kabrus just dispatches the dude while hes got a gun on laios. disarmed and restrained and handcuffed (he forgot to take the handcuffs out of his back pocket before his date made him go get condoms) (they are real. he is not practicing safe sane sex) bc his foster mom was an ex-marine and taught him how to do that

and laios is like phew! glad you were here! i really did not wanna get shot at again :) ok let me ring those condoms up. do you wanna be here when the cops show? i think this guys just drunk. um. so why did you have handcuffs?

kabru does leave before the cops show up. when he inevitably returns laios does remember him this time as "guy with the handcuffs and condoms" out loud in front of people and he sounds thrilled about it and kabru has to leave again as fast as possible bc it makes it sound like they were having crazy sex in the back and its making him insane bc now hes considering it. with the weird autistic gas station clerk who he has glimpsed drawing a man with a realistic horse cock with a look of complete boredom

[histrionics-and-haloperidol]

My hottest hot take is that George R R Martin has no obligation to finish the Song of Ice and Fire series.

Bro let his whole adult life be consumed by SEVEN thousand-page semi-historical-fiction books with a cast of near thirty well-developed, well set-up, well-characterized characters, and a complex and realistic geopolitical enviroment just because he thought a specific historical event should be better known. He deserves to enjoy the money he made in peace, and a lot of people (hell, a lot of WRITERS) whose only knowledge of writing is barely thought-out fanfiction populated by characters whose whole personality is to be horny for the character the author thirsts over, will jump at his throat and scream about how selfish he is just because he is taking time to develop HIS OWN GODDAMN NOVEL????????????

I know its frustrating. Believe me, I have no life, my only reason to wake up in the morning is that George MIGHT finish the series. But it's HIS intellectual property. HIS book. HIS characters. It came from HIS mind. If he wants to chill and just maladaptive daydream about it for the next decade than that is his right and he doesn't deserve the hate he gets just because ya'll can't accept the fact your favorite fictional war criminal who already has seven novels worth of content isn't getting an end? Well, welcome the plights of fiction fandoms. Sometimes, it's good enough just to not fix what isn't broken.

I'm sure plenty of writers here in tumblr can sympathise with the hope to not be harassed over when the next chapter for your story is coming. Sometimes we don't know. People have lives. Struggles. Health issues. Other interests. THEY ARE NOT YOUR FAITHFUL AI SERVANT. THEY DON’T PULL STORIES OUT OF THEIR ARSES. THEY HAVE TO THINK IT, THEN MAKE IT, THE EDIT IT, THEN SEE IF THEY LIKE IT. ITS A WHOLE PROCESS.

We are so used to immediate consuption that we cannot concieve of people taking time to perfect a craft that's meant to be enjoyable to them. And if we're honest, Martin has weathered a lot of fucking bullshit in silence. From fans, to editors, to bosses, to showmakers, he has had his fair share. Much more than its ok to take in silence. Please realize that just because something is out for the public to consume it doesn’t mean that it belongs to you.

[earthtooz]

x : CHANGE YOUR MIND ! :*+ﾟ

in which: it's 2 am and itoshi sae is outside your door, hoping for a second chance.

warnings: 1.2k words, angst to fluff with hurt/comfort, happy ending, exes to lovers, not at all realistic but it's itoshi sae ok and we're delusional, ooc!sae

a/n: second second chance romance fic for sae LOL he's just too easy to write for when it comes to exes to lovers. idk why the banner is so low quality but enjoy!

you wonder where itoshi sae finds the nerve. after breaking up with you six months ago ‘for the sake of his career’, you never thought sae would have the gall to show up at your apartment, let alone at 2am, rudely disrupting your sleep.

yet, here he is. a soccer prodigy and superstar in the flesh, standing under the harsh lighting of your apartment hallway that always casts an ugly glow on everyone except sae.

“what are you doing here?” you ask, gripping the door handle a little tighter.

“i just got off the plane,” he answers, evading your question. 

“i know. i can see your suitcases.”

he doesn’t say anything more after that. before the breakup, you were able to read the untouchable itoshi sae, translating his stiff silences into words he could never say but wholeheartedly mean, breaking through his ego to then understand the messages of his heart. he only hopes that you can interpret the one he’s brought to you right now.

“can i come in?” asks the athlete, his question shy and lacking the usual demand that sits in his tone.

still, you furrow your eyebrows and stand your ground. “why on earth would i let you in?”

softness is a weapon that itoshi sae owns. he knows that with his typical hardened exterior the best way he can get through people sometimes is with pliability. even you have fallen for it.

he frowns, “because i’m tired and i want to sleep.”

“don’t you have your own five star hotel that your manager booked for you?” 

“can i just come in?”

the nerve. “itoshi, please leave.”

“i will, i will, but will you hear me out first?”

“what could you possibly have to say that you didn’t befo-”

“-i love you.”

the world stills.

the air around you becomes delicate and you’re too scared to breathe in fear of disrupting the silence, but it feels like the floor beneath you just crumbled and you’re falling through the debris. you’re falling and the only thing you can do is search for sae in the chaos. 

but you don’t hold on to him. no, not this time.

“that’s not fair, that’s not fair at all, sae, you can’t-” a sob tears your words apart, “-you can’t break my heart then come back six months later to tell me that you apparently love me, do you know how hard it was for me to just- ugh!”

in a fit of exasperation, you leave your post at the door and retreat back into your apartment. sae quietly slips through the crack you left open, closing the door with a soft click and you don’t even have the energy to chase him out. he even left his suitcases outside- not that anyone would take them at 4 in the morning. 

“you left me so abruptly and carelessly. we were together for almost a year, sae, yet you threw me aside, called me a burden and moved on with a snap of your fingers! was it easy? moving on like that?” 

instead of flinching at your yelling, sae simply stands at the entrance and accepts it, letting your words prick his skin and sink into him as if would make up for the pain you’ve been bathing in. 

“do you know what that did to me?” your voice is quiet now, turned down a few notches. 

he knows. he knows that you’ve been trying to get over it and not let the breakup impact your life too much, despite what he did. you’ve been going out with friends, treating yourself to everything you deserve, and finding a peace that he’s proud of you for. but sae also knows about the many nights you’ve spent crying and being sensitive to loving again, he hears about all of it from rin who lectured him when he first broke up with you and most likely, will lecture him again when he hears about sae’s unplanned visit.

sae was stupid and naive, but you were the first person he ever loved, and the world is colourless without your splash of influence. 

sae knows he shouldn’t be here existing in your space after everything, however, the instant he stepped off the plane, the first thing his heart wanted was to see one of the few things he loves about japan, you. 

“-so, please, just leave me alone and don’t come back,” you request.

the last thing sae is good at is following instructions, especially ones he doesn’t like.

“but, i love you,” he tries again. you fall to the couch with a defeated sigh, his persistence impaling your heart. 

“stop it.”

somehow, he’s now standing beside you. “do you still love me too?”

“sae-”

“-if you don’t love me anymore i’ll leave.”

with your head in your hands, you lie to him, “i don’t want you to stay either way.”

“another chance, i’ll make it right, i’ll fix it with my life, y/n, just please say you love me too.” 

“you’ll hurt me again.”

“i won’t,” he falls down onto the couch beside you, enveloping you with his frame. “i’ll be good and you can kill me if i’m not.”

you laugh. it’s dry and reserved, but you’re laughing and he begins rocking you side to side. “i don’t want to kill you.”

“rin will, then.”

you take your face out of your hands, looking at him properly for the first time since he arrived. “i-i don’t know, sae. you’ll leave again when you decide that you don’t want me.”

he doesn’t know how to tell you that whilst abroad, all he could think about was you. that during the mundane chores, the tedious trips to and from training, and all the times that he had won a match, he was thinking about you. 

he thought about you in the music he played whilst cleaning, he thought about taking you to a restaurant he saw whilst on the way, and his thoughts about you are loudest when he has a medal around his neck yet all he wants to know is whether or not you’re watching.

but you’re not beside him singing along whilst he was mopping his floors, you weren’t there in his car pointing out every fun detail you saw, and he didn’t even know if you wanted anything to do with soccer after what him. 

everytime, the yearning for you would grow, to the point that it lead him here when he should have gone to the hotel to wash up and sleep off the tiring trip instead.

but sitting here now and looking at your tear-stained face, he knows he’ll always prefer you- he’ll always find and choose you, so long as you let him. 

“give me another chance,” and i’ll show you that i’ll never leave again.

“fine,” you surrender after a moment of silence and sae feels like he could jump to the moon. “but we take things slow-”

“-i love you,” he repeats, grabbing your face and pushing you down on the couch, peppering an endless stream of kisses on your skin. sae’s outburst of affection and happiness is uncharacteristic but contagious. “i love you, i love you, i love you.”

between each declaration is sae kissing a new part of your face, showering your cheeks, forehead, nose- everywhere with unbridled adoration that he has been keeping locked up for too long. you’re real between his hands, you’re real in his hold, you’re real beneath him, and he doesn’t want this dream to end. his kisses feel like healing promises and you melt right into them. 

“i get it!” you giggle out, hands on his shoulders as to wrestle him off. “you don’t need to keep telling me, and promise me that we’re going to take it slow-”

a cold tear slides down your cheek, silencing your giggles. it’s not you who’s crying though, so you hug sae a little tighter.

something tells you that this second chance won’t backfire.

© EARTHTOOZ 2023, do not steal, translate, repost my fics and do not recommend my fics onto any other site.