#that's significant eh? lol

[an-stoirm]

Me: Gosh I could use a sign that Lugh is looking out for me today.

Me: Oh hey yellow flowers by the side of the road I never noticed before... I just asked for a sign though, so I think I am fabricating that significance.

Me: ........ okay those are three hawks on a billboard...

Me: ...

Me: I GUESS I'LL ACCEPT THAT AS A SIGN. Thank you ;-;

[prismit]

been playing 5bc too long. went back to 4bc because it's hard to focus on achievements when you have to worry about malaise and Oh Shit, Collector Jumpscare

[avoiltaire]

EMMA: LEGACY

even if it is impossible. even for my life.

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[greensaplinggrace]

whelp. just finished the fall of the house of usher and i can now finally say with absolute certainty that it wasn't his best work

[azxremoon]

i listen to monochrome no kiss one time and suddenly im being dragged into the shadow realm by my ankles

[supercantaloupe]

conducting student nicely informed me yesterday that we'd be reading polovtsian dances tomorrow in rep orchestra so i could bring my english horn, which is great except i am also the only oboist available this week...

[bmpmp3]

a bit of a mild milgram fan (i adore the music and music videos but i still havent checked out a lot of the dramas but i still vote because i like being involved LOL) and i feel like giving my unsolicited opinions on season 2 so far. even though it makes perfect sense based off what i see from the fanbase that Futa was voted innocent BUT as someone who was largely neutral but uninterested (aside from his awesome song) in his character in season 1, season 2 made me actually really REALLY like him but in particular way where i want to see that little twerp squirm so im SO sad no one else voted him guilty q-q i WANTED to see him suffer for the NARRATIVE

also I think Mu should be voted innocent because she slays

[rassicas]

Marina's Dev Diaries: localization differences

yeah so I just read through all of Marina's Dev Diaries in Japanese while cross checking it to English localization, just to see how faithfully translated it is and.... GREAT NEWS there's like no significant changes! Like there's the expected minor moving things and wording it different to flow well in english of course, but in terms of overall meaning and characterization its very faithful. I'll cover some minor changes I found but like. again these are so minor it doesn't really matter.

4th Entry Localization: "Poor Pearl doesn't know what to do with a free moment anymore. I'm always catching her bouncing with anticipation."

JP: "Pearl is always bouncing from side to side whenever she has a free moment" This is a reference to Pearl's side hops she did in octo expansion to get hyped and charge her special...this was localized to her "warming up her vocal cords" for the sake of story and the english version just refuses to acknowledge the side hops thing which is. minor inkling biology tidbit at most but eh whatever

8th Entry localization: "I'll handle system management myself! And I think user guidance would be a great fit for Pearl."

imo in JP marina seems more certain and enthused about pearl being in charge of user guidance? I considered not adding this to this post it's barely noteworthy. pearlina crumbs ig

8th Entry Localization: "All that experience making training stages from my days as a tutor at that training program is about to pay off!" JP specifies that Marina tutored at a Takozones training program. What's really annoying is that Takozones are just called something like "Rival Octoling" or "Enemy Octoling" or just "Octoling" in english, but they're supposed to be a specific rank of elite female octoling soldiers. this is just a longtime issue with how muddied octarian classifications are between english and jp lol

12th Entry Localization: "Pearl is joining us too. She doesn't seem to get what it's all about, but she's usually down for whatever. Together, the two of us will make sure Eight gets through it safe!" JP: "Pearl is joining us too. With her being like "I don't really get it, but 'cuz it sounds like fun I'll go!", us two will keep Eight safe!"

This is a super minor change but it's cute getting a quote from pearl where she sounds actually hyped for it vs a "yeah ig shes down for it"

Acht's Letter 1 Localization: ""You should be diligent and dedicated, like a true Octarian!" I heard it so many times that it turned into white noise."

I just wanted to share a pun here that doesn't translate instead of "white noise" Acht says an equivalent idiom of "I got calluses on my ears (from hearing the same thing over and over)" The word for "callus" is homophonous with "octopus", tako. lol octopus jokes

[atmymercy]

i accept fun and fictional questions as well! aka what's it like being married to a leprechaun for you? or does santa claus think you're naughty? lol sounds like a fun reading to me! woot!

all selections are open to extra cards and longer responses. i accept kofi, paypal & credit card check out. if you are looking for something particular, feel free to message me and we can discuss it!

all questions include a clarifying question afterward except for {minis}! it's essentially a free mini included as a thank you from me! clarification questions need to be used within 48 hours! i won’t leave you high and dry after your reading! i get that sometimes you might want to get a little extra detail or understanding of some detail and i’ll be right here! this clarifying question must be related to your initial question or it becomes a whole new question! lol

in-depth option means you get a longer reading (the single question is 2-3 paragraphs & in-depth single is 3-5 paragraphs or more!) and numerology information directed toward your question! let’s get real in-depth here and even inspect the small details! lol

extensive option is at least a page-long reading (text size 10.5 normally). a question can be included!

minis are one-line readings. only the {mini reading & song vibe} going up to 5 lines.

add-ons are for adding to your existing reading! to make the reading you choose extra special or personalized to you!

.

tea tarot feedback && past free tea tarot readings to give you a taste before you book with me!🧡

compatibility reading - let's see how compatible you and the person in question are! we will dive into physical, intellectual, spiritual, emotional & sexual compatibility! let's see how well you two measure against each other in areas of journey alignment, humor and more!

crush tea - oh my! somebody has a crush. tell me more! tell me more! in this cup, we will explore how they currently feel about you and what guidance spirit has for you to feel/be closer to them!

spirit tea - interested in getting more in touch with your spirituality and spirit guides? let’s see what your spirit guides have to say and what guidance they wish to share with you!

journey tea - are you feeling a bit lost in your true potential? let me pour you a special cup and we can explore your path and talents together. there’s no reason for you to wander aimlessly!

intuition tea - you’re ready to explore your own intuition and your dark side of the moon, eh? okay! let’s do it! spirit and i don’t gatekeep but we can’t promise this will be an easy journey. or fast. dip your toes in and let me hold your hand as you close your eyes and open your third eye. ooh chills!

heart tea - bubbling for some heart tea, i see! sit! sit! let’s find out all about your significant other! this is all about your love life and how it heats you up! 2 clarifying questions are included afterward to get all the steamy details!

astrology chart - let’s explore your birth natal chart and discover how the energies of your rising, sun, moon & more affect you and your everyday life! what insights can we find here!

♡ message me for details/questions & to book a reading! ♡

[maritessa]

I wanted to make a "Would you love me if I was a worm" series for Twst but I got lazy so I'll just post the dialogue. If artists wanna try to draw this, go ahead but please tag me cause I wanna see.

Ships included:

MalleKei (Malleus x Cater)

SilKali (Silver x Kalim)

IdiAzu (Idia x Azul)

JamiFloi (Jamil x Floyd)

AceRid (Ace x Riddle)

Apple Juice (Epel x Deuce)

LeoJami (Leona x Jamil)

Lilia x Trein (help me give them a ship name)

Mallekei

Cater : Would you love me if I was a worm

Malleus: ??? I can just turn you back —

Cater: No, no no! It's about the principle! SO WOULD YOU LOVE ME???

Malleus: ... Sure???

SilKali

Silver: Apparently, Cater asked Lord Malleus about becoming a worm the other day

Silver: Is it a phenomenon that's been happening as of late?

Kalim: *got pulled by Scarabia students*

Students: Housewarden! We need some advice!

Silver: We have to be careful, Kalim *turns around and Kalim is gone*

Silver: Kalim? *Looks on the ground and sees a worm*

Silver: KALIM?! how could this happen

*Picks up worm and puts him in his handkerchief*

Silver: For now, let's make sure you don't get stepped on

Silver: I'll help you get back to your usual self, Kalim! Even if you're a worm, you're my precious friend!

*Kalim in the background*: I'm glad everything's sorted out then!

Silver: Yes, I'm glad I can still understand you even though you're a worm, Kalim....

Kalim: Eh? I'm right here tho?

Silver: Huh?

Kalim: Is your pet worm named Kalim?

Silver: No, actually— well, I'm glad you're safe.

Board game club

Azul: During the Housewarden meeting, Malleus and Kalim were talking about worms for some reason.

Idia: Yeah, it's a meme dude

Azul: Meme?

Idia: Ye, like you ask your significant other *ahem*

Idia: "Would you still love me even if I was a worm?"

Azul: No, I would not. First of all, when we agreed to this relationship, I agreed to it under the premise that we are both intellectual beings who are capable of doing things on their own. Secondly, I'd like to point out that being a worm would mean that you would have a completely different lifestyle, trait, quality of life —

Idia: .... I wasn't genuinely asking, bro. Why are you so serious about this lol

Azul: Shut up!

Basketball Club

Floyd: Jamil!!!!!

Jamil: ?

Floyd: Look at me I'm a worm!

*Does the worm dance move*

Jamil: Yeah, cool. (Why is he talking to me?)

Floyd: Do you love me now?

Jamil: Huh?

Ace: Lolol you're getting it wrong

AceRid

Ace: Housewarden! I finished feeding the flamingos

Riddle: Thank you, Ace.

Ace doesn't leave

Riddle: Is there anything else?

Ace: Hey, Housewarden. If I become a worm, would you still look out for me?

Riddle: Of course.

Riddle: However, you must be underestimating me. As queen, I'd protect you so you won't become a worm in the first place.

Ace: Y-yes, of course. I'm sorry for even considering it.

Apple Juice:

Epel: I got some apples from my hometown, Deuce.

Deuce: Thanks Epel.

Epel: Don't worry, I washed the apples so there won't be any worms.

Deuce: Worms have the luxury of always eating these apples, huh... I wish I was a worm

Epel: Pffft, I'll have to bring you more apples then

LeoJami

Jamil: (what's up with everyone and worms lately)

Leona: ... *Staring at Jamil*

Jamil: ... (why's he staring at me)

Leona: *pushes the vegetables on his plate away from him*

*Vegetables land on Jamil's side*

Jamil: (Why is he giving me vegetables?)

Jamil: I won't turn into a worm so no need for these!

Leona: Huh? What are you talking about

Jamil: (So it wasn't that after all)

Lilia Trein

Trein: it seems like the children are all talking about this "worm" phenomenon

Lilia: Yes, yes. Even my boys seemed excited over it

Trein: I wonder what the whole fuss is about. It's impossible for someone to just become a worm.

Lilia: Well, well. We aren't sure about that now, are we Trein?

Trein: ? Huh

Lilia: I'm just saying you never know what could happen *shrug*

Trein: ....

Lilia: I'll still come visit you like this even if you become a worm though *disappears*

[shellofhappiness]

Eric Harris psychoanalysation OP here.. I am not sure what else I'd call it to refer to myself, lol.

Thank you for the nice words, you are a very kind person.. I would have left this as a comment, but you said what you did under a reblog and I am not commenting under my own post, hahah.

Just know your words are appreciated by me

OMG!! That's quite the title, but I recognize you because of it nonetheless! No need to thank me either, you really do deserve the praise. ^.^

I get to geek out now ... There was so much more I wanted to say, but couldn't because I didn't want to directly add to the post nor didn't want to clog the tags. We indirectly found ourselves under the same dilemma ... but we're here now, so it's okay!

The most I've ever seen people discuss directly relating to Eric's depression stems from the court-mandated diversion papers both he and his mother filled out, also acting as the confirmation for its existence outside of psychological analyzation.

( I think the juxtaposition of Katherine's neat check-marks in contrast to Eric's chaotic X's is so interesting to point out ... don't mind me. )

You noted how true to himself Eric was when filling out this document, something that a lot of people, even when they do want help, avoid to stray away from more "serious" intervention. I didn't mention it in my own post on the topic of EH's own personal struggles outside of anger, but I thought it was very interesting how his mother noted that he would only lash out in school or work, but never at home. Originally, I thought it was because he might have viewed his home as a safe-space, where he didn't feel the urge to hide from himself like he did in public, thus avoiding situations where he would be pushed to snap. But, it could also be that he had attempted acting out at home before as a cry for professional help, but his parents didn't see the point in it ( tying in with men's mental health and the time period; seriously such a good inclusion for your post!! ), so he gave up. Personally, I think the prior is still more likely, but who knows?

You really did such a great job seeing from his perspective with the turmoil that came from the instability of how he grew up ... I feel that's something a lot of people overlook, even denounce in significance, but no one can stress enough how important it is to be in one place where you feel right as a child. In the basement tape's, it was a series of stringed events he came back to reflect on frequently, more often than the average person would think. The lack of contact with past bonds ate him up inside ... I think that's why he clung so abundantly to Dylan.

Now, this is very much me reaching, but do you ever think he found a sense of completion ending his life alongside him, even before he knew their initial plans for NBK would tank? He was planning to die with his best friend ... Did he think their bond was realer than any other friendship he had to grieve in the past because instead of Dylan leaving, it would be them, together? Do you think that's why he shot himself first when it finally came down to it, either subconsciously or purposefully before Dylan so he wouldn't see him leave too? ... All rhetorical (I wouldn't put the weight that is answering those questions on you LOL), but still very entrancing to contemplate.

Somewhat related to what I just say, an anecdote that particularly sticks with me is when a student at Columbine ( cannot remember who for the life of me! ) told their experiences with EH, the two of them sharing a class together where students could anonymously submit their dreams. Paraphrasing, "everyone knew when Eric wrote something because it would always be "me and Dylan," "me and Dylan." The influence they had on each other was worth a lifetime. I appreciated how you let aloud the fact that it's difficult to discuss the mental health of one of them without mentioning the other because of how they lost touch between everything & everyone together with their plans.

Another pile of information that really helps to humanize Eric are the accounts from his female friend who knew him from work, and the letter she wrote to him post-mortem. It's the closest thing we have to any friend or family coming out about who "he" was instead of what Columbine made him. Something, as you mentioned, Klebold has an profusion of in comparison.

This article is also a very good read ... It's an excerpt from a book written about the effects gun violence can have on teenagers by proxy. The part taken is an interview from a girl Eric knew from sixth grade when he was staying in New York. It's bittersweet to think on how much effort the two of them put into remaining in contact up until his death. I think that's why EH and the general concept of "love" ( at least what I define love to be ... ) in his life really fascinates me compared to other ideas that can be focused on outside of April 20th. From the way his more positive romantic encounters described and cared for him, it really is shell-shocking to think that's the same guy.

... I'm sure you weren't expecting this elaborate of a response! I just wanted an excuse to ramble at someone indirectly, hope you don't mind. >.< Anyway, I seriously can't wait to read more of your psychoanalysis, let alone any of your more enlightening posts in the future!! I am your #1 cheerleader and I sincerely believe what you think needs to be said because no one else is! Waving my pompoms at yoouuu.

[sergeifyodorov]

Which active players do u think will have their jerseys in the rafters after they retire? This might be tricky bc of course they could get traded at any moment but I wanna hear ur thoughts!

mwah oh this is such a good q... for me the answer to this is distinct from like, active hall of famers being that in order to get your number retired you have to be relevant to a specific team... like u can be one without the other. anywho here's my attempt

boston bruins: patrice (37) hasn't had his retired yet but he will, even though he's not active anymore. pasta (88) also a lock, marchand (63) a significant probability

buffalo sabres: n/a

detroit red wings: larkin (71) is still pretty young but he's the only one id consider right now

florida panthers: barkov (16) for sure, tkachuk (19) very probably, bobrovsky (72) slim but nonzero chance

montreal canadiens: carey price (31), in the same vein as patrice

ottawa senators: n/a

tampa bay lightning: kuch (86), vasi (88), stamkos (91), and heddy (77). god the bolts dynasty years were really fuckin something eh

toronto maple leafs: auston (34) is a lock, willy (88) almost certainly a lock, mitch (16) will be a lock if he stays after this contract, morgan (44) is a solid 50-50

carolina hurricanes: n/a

columbus blue jackets: timely ask because it NEEDS to be matiss kivlenieks (80) and im lowkey shocked they haven't done that yet

new jersey devils: n/a

new york islanders: n/a

new york rangers: very very slim chance of kreider (20) but idk

philadelphia flyers: maybe giroux (28)?

pittsburgh penguins: lol and lmao obviously sid (87) geno (71) and kris (58)

washington capitals: ovi (8) and nicke (19)

coyotes/utah: n/a

chicago blackhawks: kane (88) and toews (19) 100%. idk do keith and seabrook already have their numbers retired bc if not then maybe one of them too

colorado avalanche: natemac (29). makar (8) probably too idk

dallas stars: n/a

nashville predators: maybe josi (59)?.maybe.

minnesota wild: n/a

st louis blues: n/a

winnipeg jets: n/a

anaheim ducks: n/a

calgary flames: n/a

edmonton oilers: obviously cmd (97) and leo (29). slim but nonzero chance of nuge (93)

la kings: kopi (11) and doughty (8)

seattle kraken: n/a

san jose sharks: maybe pavs (16)

vancouver canucks: solid chance of quinnifer (43)

vegas golden knights: n/a

[katamaridamacyonline]

tell me all of your ace attorney headcanons

to make it easier, maybe for maya fey specifically! I feel like you probably have a lot of thoughts on her

HI sorry for ignoring this ask for 12 days im gonna do it now (very very long post like holy shit how did i even type this much)

okay so for maya i have. a lot of hcs. basic stuff first she it trans (she/her), lesbian, poly, fat, and mixed black+japanese. actually there's a bit more to the fat headcanon cause i think she gains weight as she gets older, sort of as a "weight gain to represent healing" type of thing. i think around aa1 timeframe she's closer to her canon design but as she reaches more into adulthood she gains weight over time and is happier that way (part of this is because gaining weight is usually a good thing for transfems on estrogen)

okay anyways here's the part where i rant about trans maya stuff. actually i should probably talk about trans mia first cause theyre both trans in my hc and her transition actually plays an important part in maya's experience. basically mia was the first trans kurain spirit medium, before her it wasnt known that a trans woman could be a medium, but that all changed after mia realized she was a girl. for a while (months? years? not sure) mia thought that she would never be able to channel and just accepted the fact that she could be a woman but she wouldnt be able to channel, but eventually eh found that her realization of being a girl actually awakened significant spiritual power within her.

so anyways, onto maya, similar to mia she realized she was a girl when she was young, some time after misty left but while mia was still around. when mia came out, misty was very accepting in letting her transition, but with them under morgan's care they were both worried things wouldnt go as well. fortunately, mia would not let anything stop her sister from transitioning. i'm not completely sure if i think morgan would try to stop maya from transitioning or not (like yeah she's evil but idk if i see her as transphobic lol???) but if she did try to stop her mia would fight back no matter what.

anyways, maya transitions, but unfortunately things end up harder for her than mia, as maya isn't able to channel spirits. while she shows some signs of having spiritual powers, she's not anywhere close to as powerful as mia or any of the cis mediums in the family. this is deeply painful for maya and becomes a horrible source of dysphoria. how she sees it, if she can't channel spirits, she'll never really be a woman. in reality, this dysphoria is entirely false, plenty of cis women in the fey clan don't have spiritual powers (even morgan!). mia comforts her by telling her this, that she will always be a girl even if she can't channel spirits. this helps maya a lot, but it still isn't enough to fully rid her of her irrational dysphoria. it's all very hard for her, and i think morgan would definitely make everything worse for her, likely reminding her of her inability to channel for no reason other than to hurt her and make her feel inferior. but mia's positive influence helps her make it through everything, even if she does struggle a lot.

anyways, aa1 happens, and she's finally preformed her first channeling. but there's still a ton of doubt in her mind. despite now knowing she CAN channel, she's still struggling with this same dysphoria. probably thinking along the lines of. 'the only was i can channel is if i'm an urgent situation. If i was a real woman, i could channel at any moment, but i can't. I'm still just a man and nothing more." this all culminates with her inferiority complex in Turnabout Goodbyes. I actually really like reading into Maya's struggle in turnabout goodbyes as a representation of dysphoria, because the way she's hurt by not being able to channel mia is heartbreaking. hell, she literally says some genuinely suicidal things after the taser scene.

ultimately, I think maya finally begins to move past this dysphoria not because she learns to channel better, but because she finally, fully accepts mia's words to her, and i think Phoenix is really the person to finally help her out of it. sometime after turnabout goodbyes, maya opens up to phoenix about how hard this all is to her. tells him about how hard it is to feel like her womanhood is entirely dependent on a skill she struggles to grasp. phoenix would choose this as the time to finally come out to her that he too is trans, and would try his best to comfort maya, telling her how he's always seen her as a girl, how she should never doubt who she is just because she's not as skilled as her sister or mother. i think phoenix would feel some sense of guilt at this point, as he would feel like he played a part in maya's dysphoria since he was always hoping maya could channel mia again. with this, he would feel very motivated to help her through everything, both because of this guilt and just because he's now very committed to protecting maya. this of course wouldn't immediately fix everything for maya, but phoenix's continued support as they spend their days together would end up pushing her into learning to finally accept everything. over time, she's finally able to accept that no matter how strong or weak her spiritual abilities are, she'll always be a girl no matter what. of course, eventually she does become a very successful medium, but that takes much more time, and gradually freeing herself from her painful dysphoria helps her make it there.

okay wow i typed a lot what the fuck i was gonna write some stuff about other characters but this post is so long uhhhhhh apollo athena juniper trucy ema katherine sebastian adrian jinxie penny and a bunch of other ones i forgot to mention are trans women lol

[wannaeatramyeon]

You hit the nail on the head! I‘ll ask for more professional assessment: honest opinion on Crystal?

Following on from my ramblings about Sally Park. Oops! Edited to add in Zoe too.

Well written female characters in Lookism? Uhh...

When the bar is at an all time low, it's really not hard to step over it.

At this point, I've been pavloved to think that any female character that expresses a personality trait other than 'simp' is pretty good. Simp is fun when it's part of a list of characteristics (Zack, Ryuhei). Not so much when it's the only thing.

Long live PTJ, the greatest feminist. Anyway.

Female characters I like

Mary Kim

Love her. Empress of 2 seconds. Queen of my heart.

Surprisingly kept a platonic relationship with Vin Jin, showing quite a healthy mixed gender friendship. Sassy and smart. Loyal. Good taste in men (Jace). Is shown having a life and interests outside of a man.

On my hands and knees praying that PTJ doesn't ruin her. Kinda glad she hasn't appeared in a while so she is kept away from his incessant need to turn everyone into a love interest.

Lua Im

Once we got over the odd Johan panels, which I heard the Korean audience didn't like and I'm quite happy about, she's fine. And it's not that I care that much about Johan staying a single dog-dad, I just needed a coherent reasoning/build up why they would be interested in one another.

Lua has potential.

Sourcing intel, even impressing the likes of Gun? A little Muay Thai knowledge? Jake and Jerry scared of her? Lol. Ok. Good. Let's build on this.

Just please don't white knight her.

Crystal Choi (meh)

And Ms. Choi, because anon specifically asked. I really don't mind her? I know she's meant to be anti-Lookism but still judges people based on their looks eh. That's fine. Pretty realistic actually. Whatever.

She can be a bit bitchy for no reason. So can I. Handwaving all that.

What I do take issue with though, is her so called title of Business Genius. Please show me the chapter where she actually does something to earn that title besides the one where other people ooh-ed and aah-ed over her in the meeting with DG.

Wow she's sooooo gorgeous. Ok good for her. If that's the route they're taking her character then at least OWN. THAT. SHIT. Use her beauty and looks to sign deals and get what she wants. GOOD. DO IT.

Zoe Park (also meh... Wait)

Sorry anon, I think 'really well written' is a bit of a reach... She does have some decent character development, starting as quite a flighty, shallow girl and then showing that she has a heart of gold, liking both Daniels and. Huh.

Wait. You're right. She is pretty well written. She's selfless and kind and loyal to her friends, putting up with Logan's bullshit. There's enough of a character arc for her from the Zoe we're introduced to at first.

And I do like that she's good at maths too.

Wasted potential

Minseong Kang (Jake's momma)

Appreciate this is the older generation and from a much more conservative culture. Saying that, I am so over the slighted and bitter housewife rotting at home while her big powerful husband cheats on her.

And then some sort of marriage redemption cos they pop out a kid. Whatever. (Sorry Jake bb, I love you).

If you were going to do that, give me the most toxic red flag shit where they are constantly at each other's THROATS. Show me how they are equals. Can't live with or without one another. That's the good kinda shit.

Leonn Lee

I just. What the fuck was this.

A girl in Burn Knuckles? A group that reeks of testerone and (positive) masculinity? Show us why she joined! Show us why she stays. SURPRISE. Main character trait?? Having a crush on Vasco.

She could have been SO interesting. And she obviously trains, why not get her to fight?

Hate for irrational reasons

Joy Hong

Listen, she's not really in enough or significant enough for me to really feel one way or another about her. BUT. The reason I HATE her is because I was trying to write a headcanon involving everyone and then I got to Joy and I was STUMPED.

Sub in a plank of wood, and it would have the same depth of personality.

Truly. Who is she apart from Jay's sister and a Daniel simp? At least everyone else has something.

Others

I don't really think about them. Sera Shin has potential I guess.

And of course a special mention to Daniel's momma. She's not exactly a unique character, but who doesn't love her?

LET. THEM. FIGHT.

Lastly. Why can't we see women fight? Like the men's fights are realistic LOL. Ultra instinct? Smashing through walls? So why are women fighting men outside the realms of this.

And yes yes. Men are SoOoOoOo strong. But can they take a kick to the balls?

Are you saying Gun Park has been training his dick and balls and would be able to eat a hit there? He wouldn't go down like a heap of shit??

HUH. TELL ME THAT.

In Summary

Mary by and large is pretty well written. Lua has improved.

I don't care much about anyone else.

And I wanna see Gun, Goo, Sammy, Vin etc. get kicked in the balls in a fight.

[noddytheornithopod]

Some more in-depth Tales of the Empire thoughts/questions

This is really nerdy and nitpicky of me to ask, but... what is Barriss' Inquisitor name? I can't help but wanna know. Then again, we don't know Marrok's name either, and also what the fuck up is with bird man (who until confirmed otherwise I'm treating as the the Sixth Brother being an edgelord dressing as a plague doctor, I will insist the only reason they aren't calling him Sixth Brother is because then the Lucasfilm Story Group would have to admit Tales of the Jedi overwrote published material in significant ways, and then they'd get more angry nerds than they already have to deal with, lol).

I do kind of wish we leaned a bit more into Barriss' established relationships a bit, Luminara Unduli is indirectly mentioned in the last short, and Barriss mentions having a "old friend" who would know more about the Imperials hunting after kids which I HAVE to imagine is Ahsoka... but we don't really explore these. Like, if she DID reconnect with Ahsoka, I kind of wish we got to see that? I do understand why Luminara didn't appear, with Barriss' characterisation I don't think she could've gone through with killing her if they had a test, but still. I don't know if we needed to see her react to her death, but part of me is curious about that anyway. I will say she seemed to sense something when Vader entered the room, though. Did she sense a familiar presence there? Also surprised they didn't even throw in a small nod to how the Grand Inquisitor became what he was because he heard Barriss' speech and that suddenly validated everything he thought already (if you follow the comics anyway). Not even a simple "pleased to see you as a candidate after your rousing speech" line (which was given to... see below). I wouldn't have called this necessary for the story itself, but I always found it annoying that we have to go off on so much of GI's backstory based on paratext instead of actual stories. Also, still don't know his original name even after a decade, RIP.

On a similar note, I'm not really sure how I feel about Lyn Rakish? Specifically, how her relationship was the central one to Barriss' here. I'm not opposed to Barriss knowing more people, it even helps make these characters' lives feel bigger, but I do kind of feel like there's stuff here that would be nice to know. Like, even when Lyn enters her cell, Barriss recognises her, and they way they interact throughout the shorts implies some kind of connection. Especially since...

...her stabbing Barriss was what made her snap out of being an Inquisitor. Okay, I'm not really sure how to feel about this. I love where Barriss ends up, but also... I'm not really sure how I feel about dying? If she's even dead? The scene was clearly mirroring the second short, where Barriss wanted to save that other Jedi, and nothing suggested that she never got to save her (I mean, she's known as "the healer" next short for crying out loud, also hey nice Legends callback), so even if Barriss looks far more dead, there is that part of me still in denial, lol. But thing is, it's kinda like they went "this is actually about Lyn, not Barriss". Sure, Barriss reclaimed her old self and her development was arguably "complete" in that sense, but that doesn't always have to mean death? Meanwhile, we only really get to know Lyn through these shorts, and while I'm very pro-villain redemption, I'm not sure if doing this through three shorts was enough to do it justice. So I'm kinda feeling like being asked to feel for a character finally returning to the light because she maybe killed her sorta protege while barely knowing anything about their actual relationship on a personal level is kinda eh.

That's something I felt in general. Maybe I'm just greedy, but I really wanted MORE of Barriss' story. Like, at least make it clear why Lyn is someone important in her life besides giving her a literal get out of jail card.

With Fortress Inquisitorius, I do think it's interesting they show it being built, but also not really alluding to how the headquarters is apparently on Coruscant, especially with Vader's throne and all. I don't think there's any real contradictions though, the Inquisitorius probably had several bases (I wonder if Stygeon Prime in Rebels was another?), and the main one just became Fortress Inquisitorius when Vader was given reign over the Mustafar System and therefore Nur, where FI is located.

Barriss' line about how she felt like she was lied to and deceived is actually pretty clever, because its placement is almost like an admission she was wrong. She's still clinging to the Inquisitorius by justifying it as "the Jedi failed because of their hubris, they deserved it, we're here to bring peace and order" but her heart was clearly never in it. Despite feeling like the Jedi betrayed their principles, she actually still followed them. In a way, I think it even kind of recontextualises the Temple Bombing, because it feels more like Barriss being panicked and desperate, basically having a breakdown. She did go to the Dark Side, but with the kind of person she is, those emotions aren't natural to her. We see she can certainly still go there, that other former Jedi basically saying "screw you, all for me" certainly evoked betrayal which would evoke those dark emotions, and of course she goes along with the Inquisitorius basically to survive, aka out of fear, and as mentioned justifying it to herself by saying this is justice for how the Jedi "fell" even if she's clearly hypocritical in that regard. We then see in the final short she's reconciled her past with the Jedi, talking fondly of her time as one, and regretting her turning to the Dark Side.

Huh, just noticed the Jedi is referred to with they/them pronouns.

Now for the other stuff

I don't have as much to say about Morgan, but I will say that Bo-Katan receiving the distress call kinda cleared up a contrivance in The Mandalorian for me. I was like "okay sure, even IF Bo-Katan still was in contact with Ahsoka, how would she know exactly where she is at this moment? what if she went off somewhere else?" But then this episode makes it clear Bo received the call, and thus would've figured out what was going on, and then actually tell Ahsoka to go to Corvus.

I hope the Eli Vanto fans are okay, especially since Pellaeon was shown as Thrawn's number 2 in the short. What I will say is - this was just a glimpse of one mission, this isn't retconning Eli out of existence. Thrawn and Eli wouldn't have been together on every single mission.

Morgan was the original person to pitch the TIE Defender? Huh, that is certainly a very random piece of lore. Also, surprised there's still Venator Star Destroyers instead of all Imperial Is at this point.

When Thrawn asks her the real reason she wants the Empire's favour and admits it's revenge, he accepts. He also shows interest in the Nightsisters even here. I do wonder if what made him receptive was he could kind of empathise on some level, if the threat of the Grysk made him open to Morgan's desire to avenge her sisters.

Mountain Clan appears in visual media, cool. Now people know there's even more witches on Dathomir. With the new lore about the Nightsisters, I do wonder if the other clans also have extragalactic origins in Peridea, or if they developed independently and it's specifically the Nightsister sect that was from there. Either way, it seems like the Nightsisters were the biggest and most powerful, apparently Talzin even united many witch clans. Also, I wonder if Morgan and her mother were originally from another clan but moved to the Nightsisters? Because obviously they look pretty different from the standard Nightsisters. Also was interesting to see the architecture resemble what we see in Jedi: Fallen Order, so that was cool.

Also thought it was a cool touch that the Separatists weren't done killing everyone on Dathomir. We only see the initial battle in one location in Massacre from The Clone Wars, but it does help make the genocide feel bigger, even showing that even other non-Nightsister clans weren't entirely safe. IDK if this makes the droid gunships appear earlier than implied to be their creation in TCW Season 5 (then again, chronologically the Dathomir and Onderon arcs are back to back), but also Grievous didn't have a cape in massacre, which is the REAL crime of this short. Hashtag remove his cape!!!!!!!!!!