#phoenix palmer

[deckeman]

🩷🤍🩵 trans guy marzipan and trans girl strong sad 🩵🤍🩷

(don't tag as genderbend)

[agentsanonymous]

Okay...crackpot idea.

All the secret agents, spies, assassins, all of them...

...in one room.

Can't get the idea out of my head.

Just...imagine.

The chaos.

...

...nope. think I'm gonna make it.

Hold on.

[lolzitstheo]

I hope people see my vision. Now I present a Tad Strange x Phoenix Wright comic, enjoy.

And the full page. This is a joke btw.

[heycerulean]

this is for a very specific group of people but i feel like wtnv and ieytd characters would vibe roxana and carlos would be really professional at first but they would totally turn into besties. science besties. and i think cecil (although he would get along with everyone) would vibe with phoenix and the handler pretty well

[moorheadthanyoucanhandle]

DOG; DAYS

Happy Friday everybody! Check out my reviews, online at Phoenix Magazine, of Dog Man...

...and One of Them Days...

...now in theaters.

[magnificent-mlm-matchup]

Trick or treat🎃💛🧡

A bit late, but for your treat:

THE SECOND SEMIFINAL POLL WILL GO UP NOVEMBER 5TH AT MIDNIGHT EST (SO TOMORROW NIGHT)

Sorry about the delay of only like 6 and a half months, I kinda lost motivation to do the poll.

As a reminder, Cecil Gershwin Palmer beat Spock in the first semifinal match, and thus will go up against the winner between Phoenix Wright and Miles Edgeworth after that poll has concluded.

[browsethestacks]

Marvel Age (1988)

[hannahwatcheshorror]

THE AUTOPSY OF JANE DOE (2016) + REWATCH

😿Cat Dies 💁‍♀️Strong Female Lead

Stunning movie. Sad but stunning. It was smart, different, and the ending didn't let me down (for once). It felt complete and it flowed from start to finish in a way that made everything feel so real, each character's action was genuine by part of the writing and the acting. A captivating film. A must watch for thriller fans.

⭐⭐⭐⭐⭐

REWATCH

An incredibly strong horror movie that is quite satisfying and fun to watch.

⭐⭐⭐⭐⭐

Trigger Warning Flashing Lights, Suicide Mention

Cute morgue boy works on a mysterious and beautiful young lady who was inexplicably found buried at a gruesome crime scene. As the father-son team work through the autopsy, strange events begin to occur. When they peel back her skin to reveal ritualistic markings all hell breaks loose. The strategic addition of the three other bodies in the morgue showing their own horrifying causes of death (a woman with a sewn up face, a point-blank gunshot victim, and a severely charred man) rising and stumbling around was also gruesome and captivating. Another horror story that makes itself more scary because the villain gets away at the end to (no doubt) do the same thing to the next unsuspecting group. Amazing movie. 

REWATCH

We first find ourselves at a very bloody crime scene. The police cannot seem to make heads or tails of the events that took place in the home but they do discover a Jane Doe in the basement who is buried yet pristine. Cut to the morgue where we will be spending the rest of the movie, the Tilden Morgue and Crematorium to be exact. Run by father and son, Tommy and Austin. The son has dreams of getting out of there but he just can’t seem to find the courage to tell his father he wants to go. We meet Austin’s girlfriend Emma, they are planning on going out for the evening, but this dead Jane Doe interrupts their plans. Austin stays back to help his father examine the body but asks Emma to come back a little later in the evening when he will be done. As they begin the Autopsy of the Jane Doe they discover things about her that don’t make sense like no outward bruising but her wrists and ankles were shattered. Weird stuff begins happening like blood spilling for no reason and the radio turning on by itself too. After cutting into her they find that all of her internal organs have scars on them which should be impossible since she has no external scars. At this point they hear a noise in the air vent and it is their cat and he is hurt badly so the dad puts it out of its misery which was very sad. When they examine her intestines they find a paralyzing flower and a cloth with the girl’s tooth in it (there are symbols on the cloth). Austin wants to leave but the father asks for help peeling her skin back because she has symbols under her skin. Wack. Then the lights all burst at the same time!

The boys quickly identify that they want to get the hell out of there but the elevator isn’t working and the only other exit is now blocked by a fallen tree (damn, this storm!). They hole up in the office but the father is somehow still attacked in the bathroom. Austin is sure this is all Jane Doe’s fault and he convinces his dad that. It also appears that the other corpses in the morgue might be coming to life too. Spooky, scary! The boys are running from one of the corpses when it comes a little too close and the father uses an axe on it. Turns out it was an illusion of the senses and it was the girlfriend the whole time! Oh, no! She is now dead and Austin is beside himself. The father tries to comfort his son a bit but he is in extreme pain from being beaten up in the bathroom. They have a heart-to-heart in the elevator about the mother who it is hinted at that she passed via suicide. Austin realizes that Jane Doe tried to stop them every time they cut into her, almost like she doesn’t want them to find out what happened to her so he thinks that is the only way they can survive the night. They make it back to the morgue and begin to autopsy her brain and what they see baffles them. “That’s why we couldn’t find [a] ‘cause of death’… She’s still alive.” Even after taking out all her organs, setting her on fire (oh, yeah, they tried that), cutting open her head, her brain was still active. They figure out that their Jane Doe is a witch and that explains what was done to her as well as what she is able to do to the world around her. The also speculate that perhaps she wasn’t a witch when she was tortured but that the torture turned her into a witch and that even now she can feel everything that is being done to her. That is why she is leaving the boys alive, so she can make them feel like she felt before she kills them. 

The father understands the score now and tells Jane Doe that he will not fight her, he just doesn’t want her to hurt his boy. She enacts her revenge on the father, inflicting all her wounds onto him, the burnt lungs, the scarred organs, the broken wrists and ankles. Finally, he begs Austin to kill him which the dutiful son obliges. Austin cries while our Jane Doe lies on the table largely healed, even with brown eyes now instead of the cloudy grey ones she sported previously. Austin hears the Sheriff come around, he is there to rescue him finally, but when Austin goes to the door he hears the Sheriff start to sing a creepy song that kept playing on the radio when they were trying to perform The Autopsy of Jane Doe. Austin is spooked and basically pushed off of the top of the staircase by the ghost of his father so he hits the floor and dies. We end much like we began, with the police walking around a devastating crime scene with no heads or tails to be made. The bodies of the father, son, girlfriend, and Jane Doe all are being taken from the scene but we get one last cheeky little toe waggle from our Jane Doe before the movie ends.

-----------------------HANNAH WATCHES HORROR--------------------

[rebellesims420]

Palmer & Phoenix in The SPLASH Set by - @simcelebrity00 x @twisted-cat 📸🖤

[pupsmailbox]

NEUTRAL LEANING MASC NAMES︰ abner.　 abram.　 adam.　 adrian.　 alex.　 alistair.　 andreas.　 ariel.　 arlen.　 arley.　 arlo.　 ash.　 atlas.　 auden.　 august.　 austin.　 avery.　 bailey.　 baron.　 barrett.　 baylor.　 beauden.　 bee.　 bellamy.　 bennett.　 blair.　 blaise.　 bowen.　 brayden.　 brendan.　 bronson.　 bryce.　 byron.　 caius.　 caleb.　 callahan.　 callan.　 calloway.　 callum.　 camden.　 cameron.　 carlin.　 carson.　 casey.　 cassian.　 chandler.　 chase.　 cody.　 cole.　 connolly.　 corban.　 corwin.　 cyrus.　 dallas.　 damion.　 damon.　 daniel.　 darius.　 davis.　 dawson.　 daylon.　 denver.　 desmond.　 devin.　 doran.　 dorian.　 drew.　 elian.　 elias.　 ellery.　 ellison.　 emery.　 ethan.　 evan.　 ezra.　 fallen.　 farren.　 finley.　 ford.　 foster.　 gabriel.　 gannon.　 garner.　 gavin.　 gentry.　 graham.　 greer.　 griffin.　 guthrie.　 harley.　 harlow.　 hartley.　 hayden.　 henley.　 henry.　 heron.　 hollis.　 hunter.　 ian.　 irving.　 isaiah.　 jace.　 james.　 jameson.　 jared.　 jeremiah.　 joel.　 jonah.　 joran.　 jordan.　 jory.　 josiah.　 jovian.　 jude.　 julian.　 juno.　 justus.　 kalen.　 kamden.　 kay.　 kayden.　 keaton.　 kellan.　 keller.　 kelly.　 kendon.　 kieran.　 kit.　 kylan.　 landry.　 lane.　 lennon.　 leslie.　 levi.　 leyton.　 liam.　 linden.　 lowell.　 luca.　 madden.　 marley.　 marlow.　 marshall.　 martin.　 mason.　 mathias.　 mercer.　 merritt.　 micah.　 miles.　 miller.　 milo.　 morgan.　 morrie.　 morrison.　 nate.　 nevin.　 nick.　 nicky.　 nico.　 nicolas.　 noah.　 noel.　 nolan.　 oren.　 orion.　 owen.　 parker.　 percy.　 perrin.　 peyton.　 pierce.　 porter.　 preston.　 quincy.　 quinn.　 reece.　 reid.　 reign.　 rein.　 remi.　 remington.　 renley.　 riley.　 river.　 robin.　 rollins.　 ronan.　 rory.　 rowan.　 russell.　 ryan.　 rylan.　 sam.　 samuel.　 sawyer.　 saylor.　 seth.　 shiloh.　 soren.　 spencer.　 stellan.　 sterling.　 talon.　 taylor.　 thaddeus.　 thane.　 theo.　 toni.　 tracy.　 tristan.　 tyrus.　 valor.　 warner.　 wells.　 wesley.　 whitten.　 william.　 willis.　 wylie.　

NEUTRAL LEANING FEM NAMES︰ abigaël.　 abilene.　 addison.　 adrian.　 ainsley.　 alexis.　 and.　 andrea.　 arden.　 aria.　 ashley.　 aspen.　 aubrey.　 autumn.　 avery.　 avian.　 ayla.　 bailey.　 beryl.　 blair.　 blaire.　 blake.　 briar.　 brooklyn.　 brooks.　 bryce.　 cameron.　 camille.　 casey.　 celeste.　 channing.　 charlie.　 chase.　 collins.　 cordelia.　 courtney.　 daisy.　 dakota.　 dana.　 darby.　 darcy.　 delaney.　 delilah.　 devin.　 dylan.　 eden.　 eisley.　 elia.　 ellerie.　 ellery.　 ellie.　 elliot.　 elliott.　 ellis.　 ellory.　 ember.　 emelin.　 emerson.　 emery.　 evelyn.　 ezra.　 fallon.　 finley.　 fiore.　 florence.　 floris.　 frances.　 greer.　 gwenaël.　 hadley.　 harley.　 harper.　 haven.　 hayden.　 heike.　 hollis.　 hunter.　 ivy.　 jade.　 jamie.　 jocelyn.　 jordan.　 jude.　 juno.　 kelly.　 kelsey.　 kendall.　 kennedy.　 koda.　 kyrie.　 lacey.　 lane.　 leighton.　 lennon.　 lennox.　 lesley.　 leslie.　 lilian.　 lindsay.　 loden.　 logan.　 lou.　 lyric.　 madison.　 mallory.　 marinell.　 marley.　 mckenzie.　 melody.　 mercede.　 meredith.　 mio.　 misha.　 monroe.　 montana.　 morgan.　 nico.　 nova.　 oakley.　 olympia.　 owen.　 page.　 palmer.　 parker.　 pat.　 paulie.　 perri.　 petyon.　 peyton.　 phoenix.　 piper.　 priscilla.　 quinn.　 raven.　 ray.　 reagan.　 reece.　 reese.　 remi.　 remy.　 riley.　 rio.　 river.　 robin.　 rory.　 rosario.　 rowan.　 ryan.　 rylie.　 sacha.　 sage.　 sam.　 sammy.　 santana.　 sasha.　 sawyer.　 saylor.　 severin.　 shannon.　 shelby.　 shiloh.　 skye.　 skylar.　 sloane.　 sol.　 soleil.　 sterling.　 stevie.　 sutton.　 swan.　 swann.　 sydney.　 tatum.　 taylo.　 taylor.　 tracey.　 valentine.　 vanya.　 vivendel.　 vivian.　 vivien.　 wren.　 wynn.　 yael.

[mostlysignssomeportents]

The majority of censorship is self-censorship

I'm on tour with my new novel The Bezzle! Catch me TONIGHT in SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA (Saturday night, with Adam Conover), Seattle (Monday, with Neal Stephenson), then Portland, Phoenix and more!

I know a lot of polymaths, but Ada Palmer takes the cake: brilliant science fiction writer, brilliant historian, brilliant librettist, brilliant singer, and then some:

https://pluralistic.net/2022/02/10/monopoly-begets-monopoly/#terra-ignota

Palmer is a friend and a colleague. In 2018, she, Adrian Johns and I collaborated on "Censorship, Information Control, & Information Revolutions from Printing Press to Internet," a series of grad seminars at the U Chicago History department (where Ada is a tenured prof, specializing in the Inquisition and Renaissance forbidden knowledge):

https://ifk.uchicago.edu/research/faculty-fellow-projects/censorship-information-control-information-revolutions-from-printing-press/

The project had its origins in a party game that Ada and I used to play at SF conventions: Ada would describe a way that the Inquisitions' censors attacked the printing press, and I'd find an extremely parallel maneuver from governments, the entertainment industry or other entities from the much more recent history of internet censorship battles.

With the seminars, we took it to the next level. Each 3h long session featured a roster of speakers from many disciplines, explaining everything from how encryption works to how white nationalists who were radicalized in Vietnam formed an armored-car robbery gang to finance modems and Apple ][+s to link up neo-Nazis across the USA.

We borrowed the structure of these sessions from science fiction conventions, home to a very specific kind of panel that doesn't always work, but when it does, it's fantastic. It was a natural choice: after all, Ada and I know each other through science fiction.

Even if you're not an sf person, you've probably heard of the Hugo Awards, the most prestigious awards in the field, voted on each year by attendees of the annual World Science Fiction Convention (Worldcon). And even if you're not an sf fan, you might have heard about a scandal involving the Hugo Awards, which were held last year in China, a first:

https://www.nbcnews.com/news/world/science-fiction-authors-excluded-hugo-awards-china-rcna139134

A little background: each year's Worldcon is run by a committee of volunteers. These volunteers put together bids to host the Worldcon, and canvass Worldcon attendees to vote in favor of their bid. For many years, a group of Chinese fans attempted to field a successful bid to host a Worldcon, and, eventually, they won.

At the time, there were many concerns: about traveling to a country with a poor human rights record and a reputation for censorship, and about the logistics of customary Worldcon attendees getting visas. During this debate, many international fans pointed to the poor human rights record in the USA (which has hosted the vast majority of Worldcons since their inception), and the absolute ghastly rigmarole the US government subjects many foreign visitors to when they seek visas to come to the US for conventions.

Whatever side of this debate you came down on, it couldn't be denied that the Chinese Worldcon rang a lot of alarm-bells. Communications were spotty, and then the con was unceremoniously rescheduled for months after the original scheduled date, without any good explanation. Rumors swirled of Chinese petty officials muscling their way into the con's administration.

But the real alarm bells started clanging after the Hugo Award ceremony. Normally, after the Hugos are given out, attendees are given paper handouts tallying the nominations and votes, and those numbers are also simultaneously published online. Technically, the Hugo committee has a grace period of some weeks before this data must be published, but at every Worldcon I've attended over the past 30+ years, I left the Hugos with a data-sheet in my hand.

Then, in early December, at the very last moment, the Hugo committee released its data – and all hell broke loose. Numerous, acclaimed works had been unilaterally "disqualified" from the ballot. Many of these were written by writers from the Chinese diaspora, but some works – like an episode of Neil Gaiman's Sandman – were seemingly unconnected to any national considerations.

Readers and writers erupted in outrage, demanding to know what had happened. The Hugo administrators – Americans and Canadians who'd volunteered in those roles for many years and were widely viewed as being members in good standing of the community – were either silent or responded with rude and insulting remarks. One thing they didn't do was explain themselves.

The absence of facts left a void that rumors and speculation rushed in to fill. Stories of Chinese official censorship swirled online, and along with them, a kind of I-told-you-so: China should never have been home to a Worldcon, the country's authoritarian national politics are fundamentally incompatible with a literary festival.

As the outrage mounted and the scandal breached from the confines of science fiction fans and writers to the wider world, more details kept emerging. A damning set of internal leaks revealed that it was those long-serving American and Canadian volunteers who decided to censor the ballot. They did so out of a vague sense that the Chinese state would visit some unspecified sanction on the con if politically unpalatable works appeared on the Hugo ballot. Incredibly, they even compiled clumsy dossiers on nominees, disqualifying one nominee out of a mistaken belief that he had once visited Tibet (it was actually Nepal).

There's no evidence that the Chinese state asked these people to do this. Likewise, it wasn't pressure from the Chinese state that caused them to throw out hundreds of ballots cast by Chinese fans, whom they believed were voting for a "slate" of works (it's not clear if this is the case, but slate voting is permitted under Hugo rules).

All this has raised many questions about the future of the Hugo Awards, and the status of the awards that were given in China. There's widespread concern that Chinese fans involved with the con may face state retaliation due to the negative press that these shenanigans stirred up.

But there's also a lot of questions about censorship, and the nature of both state and private censorship, and the relationship between the two. These are questions that Ada is extremely well-poised to answer; indeed, they're the subject of her book-in-progress, entitled Why We Censor: from the Inquisition to the Internet.

In a magisterial essay for Reactor, Palmer stakes out her central thesis: "The majority of censorship is self-censorship, but the majority of self-censorship is intentionally cultivated by an outside power":

https://reactormag.com/tools-for-thinking-about-censorship/

States – even very powerful states – that wish to censor lack the resources to accomplish totalizing censorship of the sort depicted in Nineteen Eighty-Four. They can't go from house to house, searching every nook and cranny for copies of forbidden literature. The only way to kill an idea is to stop people from expressing it in the first place. Convincing people to censor themselves is, "dollar for dollar and man-hour for man-hour, much cheaper and more impactful than anything else a censorious regime can do."

Ada invokes examples modern and ancient, including from her own area of specialty, the Inquisition and its treatment of Gailileo. The Inquistions didn't set out to silence Galileo. If that had been its objective, it could have just assassinated him. This was cheap, easy and reliable! Instead, the Inquisition persecuted Galileo, in a very high-profile manner, making him and his ideas far more famous.

But this isn't some early example of Inquisitorial Streisand Effect. The point of persecuting Galileo was to convince Descartes to self-censor, which he did. He took his manuscript back from the publisher and cut the sections the Inquisition was likely to find offensive. It wasn't just Descartes: "thousands of other major thinkers of the time wrote differently, spoke differently, chose different projects, and passed different ideas on to the next century because they self-censored after the Galileo trial."

This is direct self-censorship, where people are frightened into silencing themselves. But there's another form of censorship, which Ada calls "middlemen censorship." That's when someone other than the government censors a work because they fear what the government would do if they didn't. Think of Scholastic's cowardly decision to pull inclusive, LGBTQ books out of its book fair selections even though no one had ordered them to do so:

https://www.nytimes.com/2023/05/06/books/scholastic-book-racism-maggie-tokuda-hall.html

This is a form of censorship outsourcing, and it "multiplies the manpower of a censorship system by the number of individuals within its power." The censoring body doesn't need to hire people to search everyone's houses for offensive books – it can frighten editors, publishers, distributors, booksellers and librarians into suppressing the books in the first place.

This outsourcing blurs the line between state and private surveillance. Think about comics. After a series of high-profile Congressional hearings about the supposed danger of comics to impressionable young minds, the comics industry undertook a regime of self-censorship, through which the private Comics Code Authority would vet comings for "dangerous" content before allowing its seal of approval to appear on the comics' covers. Distributors and retailers refused to carry books without a CCA stamp, so publishers refused to publish books unless they could get a CCA stamp.

The CCA was unaccountable, capricious – and racist. By the 60s and 70s, it became clear that comic about Black characters were subjected to much tighter scrutiny than comics featuring white heroes. The CCA would reject "a drop of sweat on the forehead of a Black astronaut as 'too graphic' since it 'could be mistaken for blood.'" Every comic that got sent back by the CCA meant long, brutal reworkings by writers and illustrators to get them past the censors.

The US government never censored heroes like Black Panther, but the chain of events that created the CCA "middleman censors" made sure that Black Panther appeared in far fewer comics starring Marvel's most prominent Black character. An analysis of censorship that tries to draw a line between private and public censorship would say that the government played no role in Black Panther's banishment to obscurity – but without Congressional action, Black Panther would never have faced censorship.

This is why attempts to cleanly divide public and private censorship always break down. Many people will tell you that when Twitter or Facebook blocks content they disagree with, that's not censorship, since censorship is government action, and these are private actors. What they mean is that Twitter and Facebook censorship doesn't violate the First Amendment, but it's perfectly possible to infringe on free speech without violating the US Constitution. What's more, if the government fails to prevent monopolization of our speech forums – like social media – and also declines to offer its own public speech forums that are bound to respect the First Amendment, we can end up with government choices that produce an environment in which some ideas are suppressed wherever they might find an audience – all without violating the Constitution:

https://locusmag.com/2020/01/cory-doctorow-inaction-is-a-form-of-action/

The great censorious regimes of the past – the USSR, the Inquisition – left behind vast troves of bureaucratic records, and these records are full of complaints about the censors' lack of resources. They didn't have the manpower, the office space, the money or the power to erase the ideas they were ordered to suppress. As Ada notes, "In the period that Spain’s Inquisition was wildly out of Rome’s control, the Roman Inquisition even printed manuals to guide its Inquisitors on how to bluff their way through pretending they were on top of what Spain was doing!"

Censors have always done – and still do – their work not by wielding power, but by projecting it. Even the most powerful state actors are not powerful enough to truly censor, in the sense of confiscating every work expressing an idea and punishing everyone who creates such a work. Instead, when they rely on self-censorship, both by individuals and by intermediaries. When censors act to block one work and not another, or when they punish one transgressor while another is free to speak, it's tempting to think that they are following some arcane ruleset that defines when enforcement is strict and when it's weak. But the truth is, they censor erratically because they are too weak to censor comprehensively.

Spectacular acts of censorship and punishment are a performance, "to change the way people act and think." Censors "seek out actions that can cause the maximum number of people to notice and feel their presence, with a minimum of expense and manpower."

The censor can only succeed by convincing us to do their work for them. That's why drawing a line between state censorship and private censorship is such a misleading exercise. Censorship is, and always has been, a public-private partnership.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/02/22/self-censorship/#hugos

[specialagentartemis]

tell me more about classic filk i know a few songs but never got deep into it

Heck YEAH

"Filk" is music (often but not always folk music-style, often but not always song parodies to the tune of famous pre-existing songs) about sci-fi, fantasy, and other fannish topics. Filk circles are popular events at science fiction conventions, and that's really where the genre started. The word "filk" actually arose from a typo in a convention program once, and people just rolled with it ever since!

Some of the most iconic albums in the filk world are the anthology albums "Minus Ten And Counting" (songs about space exploration and the real-life space program), "Carmen Miranda's Ghost" (songs about sci-fi space shenanigans and space ghosts), and "Finity's End: Songs of the Station Trade" (songs set in the world of CJ Cherryh's Alliance-Union novels, and my personal favorite. I've never read any of CJ Cherryh's books, but these songs paint such a vivid world.) "Space Heroes and Other Fools" is another big one, it's more hit-or-miss for me but it's iconic. Other really good and foundational ones are "Divine Intervention" by Julia Ecklar, "Avalon is Risen" by Leslie Fish, and "We Are Who We Are" by Vixy & Tony.

I lean more towards sci-fi and space than fantasy, but fantasy and paganism are huuuugely popular filk topics too.

Some of the most popular names to look into include Leslie Fish (intensely prolific, barely a fraction of her work is on any streaming or music service), Julia Ecklar (famous for her "ose," the filk-world word for sad songs - because they're "ose, more-ose, and even more-ose), Juanita Coulson, Kristoph Klover, Vic Tyler (who just recently died :( rest in peace), Duane Elms, Kathy Mar, Bob Kanefsky, Alexander James (trans, with lots of filk under his previous name as well), Vixy & Tony, and Seanan McGuire. (I like Seanan McGuire's filk music better than her books, hah.) Some other great ones include Cat Faber (most acapella), Astrisoni, The PDX Broadsides, Kari Maaren, and Sassafrass (also mostly acapella. Includes Ada Palmer). Heather Dale, Tom Lehrer, and Jonathan Coulton are kind of honorary filkers too haha.

The best place to get the ones from 80s and 90s cassettes are on the Internet Archive or Youtube; a few filkers who are more currently active have their stuff on Bandcamp.

And I'll leave you with a few of my Favorite Ever filk songs:

"Sam Jones" by CJ Cherryh and Leslie Fish

"Pushin' the Speed of Light" by Julia Ecklar and Anne Prather

"Chickasaw Mountain" by Leslie Fish

"Fire in the Sky" by Jordan Kare

"The Phoenix" by Julia Ecklar

"Freedom of the Snow" by Leslie Fish

"Burn it Down" by Vixy & Tony

"Hope Eyrie" by Leslie Fish, or this Minus Ten And Counting version

"Rocket Rider's Prayer" by Kristoph Klover, Ernie Mansfield, and Cecilia Eng

"Dawson's Christian" by Duane Elms, performed by Vic Tyler or Vixy & Tony

"Somebody Will" by Sassafrass

"Chances & Choices & Fortunes & Fates" by Astrisoni

... my tastes lean sentimental and ose but I swear there's a lot of very funny filk out there too

"Never Set the Cat on Fire" by Frank Hayes (a famous one)

"Banned From Argo" by Leslie Fish (an INFAMOUS one)

"Don't Push That Button" by Duane Elms and Larry Warner

"No More SF Cons" by Juanita Coulson

"One More Ose Song" by B. J. Willinger

everything Bob Kanefsky writes

[mlmshipbracket]

All-Star Bracket Ships!

Good Morning, Good Afternoon, and Good Evening to all, depending on where you are in the world.

Below you'll find the ships who made the cut for the All-Star Bracket. You might notice there are 34 ships who made the cut, due to having the same amount of votes. Therefore there will be a preliminary round for the All-Star Bracket as well.

Down Far Below you will also find another submission form - this form is for submitting further propaganda and images to be used for ships. I have also added the Spreadsheet so you can all see the propaganda and images submitted. Repeat ships with additional propaganda and images are welcomed. I will also do my best to include previous propaganda for each ship. As of right now, I will provide one week to submit propaganda.

Link/Sidon (The Legend of Zelda)

Zagreus/Thanatos (Hades)

Merlin/Arthur Pendragon (BBC’s Merlin)

C-3P0/R2-D2 (Star Wars)

Jayce Talis/Viktor (Arcane)

Carlos/Cecil Palmer (Welcome to Night Vale)

Lestat de Lioncourt/Louis de Pointe du Lac (Interview with the Vampire)

Dorian Gray/Basil Hallward (The Picture of Dorian Gray)

Charles “Charlie” Spring/Nicholas “Nick” Nelson (Heartstopper)

Chad Danforth/Ryan Evans (High School Musical)

Achilles/Patroclus (Hades)

Sir Ambrosius Goldenloin/Sir Ballister Boldheart (Nimona)

Steve Rogers/James Buchanan “Bucky” Barnes (Marvel Comics)

Victor Nikiforov/Yuuri Katsuki (Yuri on Ice)

Clark Kent/Bruce Wayne (DC Comics)

Zuko/Sokka (Avatar: The Last Airbender)

Kim Kitsuragi/Harry Du Bois (Disco Elysium)

Captain James T. Kirk/Spock (Star Trek)

Will Graham/Hannibal Lecter (Hannibal, 2013)

Prince Gumball "Gary Prince"/Marshall Lee (Adventure Time)

Fiddleford Hadron Mcgucket/Stanford Fillbrick Pines (Gravity Falls)

Dean Winchester/Castiel (Supernatural)

Legolas Greanleaf/Gimli son of Gloin (Lord of the Rings)

Phoenix Wright/Miles Edgeworth (Ace Attorney)

Stede Bonnet/Edward Teach (Our Flag Means Death)

Finn/Poe Dameron (Star Wars)

Gaius Octavius/Jedediah Smith (Night at the Museum)

Daffy Duck/Bugs Bunny (Looney Toons)

Wario/Waluigi (Mario Franchise)

Bowser/Luigi (Mario Franchise)

Crowley/Aziraphale (Good Omens)

Tulio/Miguel (The Road to El Dorado)

Frodo Baggins/Samwise Gamgee (Lord of the Rings)

Mike Wazowski/James "Sulley" P. Sullivan (Monsters, Inc.)

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[lboogie1906]

Private First Class Oscar Palmer Austin (January 15, 1948 – February 23, 1969) was a Marine who posthumously received his nation’s highest military honor, the Medal of Honor for heroism and sacrifice of his life in Vietnam.

On February 23, 1969, his observation post near Da Nang was attacked by a large North Vietnamese force. His fellow Marine was wounded, and he went over to help him. He jumped onto an enemy grenade landing near the wounded man and suffered severe injuries, and then protected his fellow Marine by jumping between him and a shooting Vietnamese soldier. He was mortally wounded during this action and was posthumously awarded the Medal of Honor in 1970.

He was born in Nacogdoches, Texas. He attended Phoenix Union High School.

He joined the United States Marine Corps in Phoenix, Arizona April 22, 1968, and completed recruit training with the 3rd Recruit Training Battalion at Marine Corps Recruit Depot San Diego, in July 1968. He completed his combat training with Company T, 3rd Battalion, 2nd Infantry Training Regiment, Marine Corps Base Camp Pendleton, in August 1968; and basic infantry training with Weapons Company, Basic Infantry Training Battalion, 2nd Infantry Training Regiment at Camp Pendleton, in September.

Promoted to private first class on October 1, 1968, he was transferred that month to South Vietnam where he served as an ammunition man with Company E, 2nd Battalion, 7th Marines, 1st Marine Division. While participating in combat 6 ½ miles west of Da Nang on February 23, 1969, he was killed in action. #africanhistory365 #africanexellence

[bell-swamp-fitzjames]

Oops all Beechey Boys! for Terror (2018) playlists

As promised, if I finished them in time, here are John Hartnell, John Torrington, & William Braine playlists! Although technically only in the show in spirit/by name, I thought it would be a funny addition and honestly I do think about the Hartnell brothers often. It occured to me the approach I was going was already incorporating songs that were introduced to me by dearest companions, my family. So in John Hartnell's today, and when I post Tom Hartnell's playlist on Sunday, they were both made with those folks in mind, who mean everything to me. Not that this project is deep, i just play by my own rules. Thanks to anyone who checks these out in any capacity, peace and love on planet earth <3

John Hartnell [LINK]

Take Your Time (Coming Home) - Acoustic by fun. || Microphone by Coconut Records || Moonshadow- Remastered 2021 by Yusuf / Cat Stevens || Ashes to Ashes by Jherek Bischoff, Amanda Palmer || And I Love Her by John Denver || Save The People by The Mountain Goats || Pretty Ballerina by The Left Banke || Landslide by Fleetwood Mac || Gold Day by Sparklehorse || Phoenix by The Jane Austen Argument || Hang Me Up To Dry by Cold War Kids || Birdies Singing by Kelley Stoltz || Life Is Hard by Edward Sharpe & The Magnetic Zeroes || Dedicated To The Ones I Love by The Mamas & The Papas || Old Black Train (feat. Justin Rubenstein) by The Blasting Company, Justin Rubenstein || Creek, Thunder by The Reverent Marigold || Los Angeles, I'm Yours by The Decemberists || Queen Of The Surface Streets by DeVotchKa || Me and You by Barry Louis || On My Way by Phil Collins

John Torrington [LINK]

Video Killed The Radio Star by The Buggles || Crack of Doom by The Tiger Lillies || Don't You (Forget About Me) by Simple Minds || Sunglasses At Night by Corey Hart || Stayin' Alive by Brian David Gilbert || Foxes Mate For Life by Born Ruffians || Write Me Letters by Hot Freaks || Washing Machine Heart by Mitski || Instrumental 3 by Florist || Du hast by Rammstein || Copacabana (At The Copa) by Barry Manilow || Just Can't Get Enough by Depeche Mode || Evil by Interpol || The Sea by Owen Pallett || Did My Best by The Voidz || Alles aus Liebe by Die Toten Hosen || Xanadu by Olivia Newton-John, ELO || Mad World by Tears For Fears || We Are Going To Be Friends by Bright Eyes, First Aid Kid || Riptide- FlicFlac Remix by Vance Joy, FlicFlac

William Braine [LINK]

Call Me- Stereo by The Foundations || Out of Touch by Hall & Oates || Africa by TOTO || Pay No Mind (Snoozer) by Beck || Dancing In The Street by The Mamas & The Papas || Poison by The Symposium || Neurotic Nirvana by Fuzz Sagrado || Venus Ambassador by Bryan Scary || Life Is Real (Song For Lennon) by Queen || Girl From Germany by Sparks || People I Don't Like by UPSAHL || Cure For Pain by Morphine || The Stranger by Billy Joel || Calling Occupants of Interplanetary Craft by Klaatu || Cherub Rock- 2011 Remaster by The Smashing Pumpkins || Save It For Later by The English Beat || Crazy On You by Heart || All Seeing Eye by Blasphemous Creation || All the Rage by Allie X || 25 or 6 to 4- 2002 Remaster by Chicago