#that's why i'm interested in programming

[dravidious]

How's the writing going? Well I've written over 2000 words and I'm questioning if I'm spelling "our" correctly, so you know

[non-un-topo]

Lol not to brag but I was meeting with the assistant of the grad program I want to apply for and she pulled up my transcript and yelled "HOLY SHIT!"

[hephaestuscrew]

"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character. 

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her. 

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.) 

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage. 

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…"  While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her. 

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity. 

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into. 

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with. 

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work. 

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation 

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on!  JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes?  MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind.  Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really?  LOVELACE: Sorry, Minkowski. It's... it's a little funny.  MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection 

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path. 

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be. 

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings.  HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care.  HERA: I think it's interesting.  MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals.  HERA: I don't see what's funny about it.  MINKOWSKI: Well, thank you Hera, but you're not exactly... you know.  HERA: I'm not... what? 

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS.  EIFFEL: Hey, Minkowski, we've - What are you guys talking about?  MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music?  BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY.  EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it. 

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done.  MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more.  EIFFEL: - one day more.  They both stop, dead in their tracks. MINKOWSKI: Did you just - ?  EIFFEL: Was that what I - ?  They look at each other: No way. And BURST INTO LAUGHTER.  EIFFEL: Man... this is really it, huh? The end of everything. 

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

[darkwood-sleddog]

not dogs, but work stuff driving me insane rn: the enshittification of all our crucial and most used programs as person working for local government.

1.) it's so clear that so many of these companies did not hire UX designers whatsoever or anybody that is meant to give any consideration to usability of the program. why must we take everything that had a relatively neutral colored but non-white background with the fields being white boxes with lots of space to breathe and turn it all into the same horrible on my eyes white background with white fields (hard to use) that bump right up against each other (hard to use)??? These are programs i have to look at most of my day. i do not want them white on white. my eyes are searing just thinking about it. LET YOUR DATA FIELDS FUCKING BREATHE.

2.) the deletion of crucial infrastructure within the programs we use and eliminating administrative control. i. am. the head of my department! i need administrative control.

3.) lack of consideration to towns that aren't city/county populations. yeah in place with a million people you might have users doing it one way but you can't JUST cater to that and eliminate the older process that works for smaller towns/villages.

like i don't know what back end the older programs/portals were made with, they certainly look "more outdated" than the new versions but they are honestly so much more functional and pleasant to look at. the new ones seem to all be made with the same drag and drop back end and it's driving me to insanity because it's so limited it what it can make. and what it does make? Is ugly and extremely hard on my eyes.

[youvebeenlivingfictional]

.

[ruvviks]

PLEASE DO NOT TAG AS YOUR OWN OC.

Sebastian has been searching for himself ever since he has freed himself from the shackles of Arasaka. Stripped from his identity and only just now rediscovering his own agency in life, he struggles with seeing his own worth— too used to existing solely for a purpose, and too used to relying on others' perception of him to define this purpose in the first place. He wants nothing more than to get back to himself; if there even is a self to get back to at all. SEBASTIAN VIDAL || BELONGS TO @MOJAVES.

mahmoud darwish, i didn't apologize to the well // 'out of control', by ruslan isinev // salt in the wound; boygenius // vardges petrosyan, a shirt made of fire // by liam wong // this is love; air traffic controller // bilal al-shams, sacrifice // 'the dying gladiator', by pierre julien // flesh and bone; black math // by hel7l7 // romance; fontaines d.c. // 'the invisible man smokes', rick castro // little words; the happy fits // georges bataille, the dead man // by matthew grant anson // deep water; american authors // kay redfield jamison, an unquiet mind: a memoir of moods and madness

[abandonedquishe]

The realisation of the fact that I'm the creator of one of the few games with a blind protagonist just dawned on me

[vargaslovinghours]

Y’all are being subjected to my Sims 2 tests, so there

The other set of Vargases came over for a visit and Scriabin picked up Shmee and started talking to Scriabin through him. Very normal, very usual

I downloaded some circle-glasses recolours and hghghh they look so good! Closer every day to his final details! Getting ever closer!

Edgar too! I made him a custom hair with a lighter undercut - I’m mostly happy with it, probably could’ve shifted it a shade closer to his skintone but the texturing was weird no matter what :P And his stripey shirt! I wish Body Shop didn’t have that hands-on-hips pose lol, it looks so much better in-game, but that’s all the better :)

I got some new clothes for Todd as well! As soon as I saw this ‘fit I was like “Oh that’s 100% Todd there he is.” Scriadad hug ♥ So cute

Foot-dancing together stopp it’s so cute!!

The way he looks at them stoppp <3 <3 They kept doing this right up til they left for home haha, Todd’s giggles are the cutest

Used SimPE to save him to the Body Shop, I now have infinite copies of The Boyyyy ♪

Moved him in with his “parents” as just shadow people basically, they’re not gonna matter in a bit as long as I remember how to get the Social Worker/Adoption process to work properly. Get her Todd!!

Wanna play? :D

Menacing :(

Look, Todd, your new dads are here! Initially I wasn’t sure who I wanted to adopt him, got lots of options; the first passes, the married couple with their own Todd, Johnny?? He definitely doesn’t have the facilities for a child lol But these are the ones that showed up on their own, so the married Vargases are the winners!

Scriabin cares more about him than his actual parents ;; A stranger off the street shows him more care! Not that it’s a high watermark

Look at him being a good dad!

Weh, he just wants friends ;; Poor baby

Best timeline, thank you

While we wait for CPS, let’s get some other interactions in! Nny is mean so he tended to prank the other two with a nose flick - mostly Edgar lol ♪ Now kiss

“Oh please don’t break all my bones~ :3” I love Todd looking up at them haha <3

Pffft, I think he was talking about the other Scriabin and just how attractive he is. Classic Scriabin. Alternatively, also funny to imagine him bragging himself up about how he’s just so handsome that Edgar can’t help but love him hahaha ♪

Allow me to tickle you with my KNIFE! >:D

Get a load of this guy lol

He ended up passing out at one point - I forgot which motives make CPS show up >.> - and completely 0%’d his comfort, but for some reason stargazing increased it?? It’s the same ground wh

Is two not enough to satisfy your butterfly bloodlust child?? He ended up with three, I had him release them before he was picked up by the Social Worker - success!

He rolled a new Want as soon as Todd was taken away - “Wants to see Ghost of Todd” Woah, dark! :0

And here he is on the married Vargases’ lot!! Success!! I did it right!! Heck yeah! :D Unfortunately they were uh, indisposed at the time. Good job guys pft

Goes right for Shmee, he really is Todd <3

[seeminglyseph]

while I've been distracted vroid added tails. time for me to try and mix my limited understanding of 3D modeling technology and vroid's limited boundaries again to try and make some character variations since my kemonomimi characters can have tails I don't have to learn a separate program or get weird with clothing to put together.

I honestly should just learn the right program to animate these models in. they look a lot like the MMD models, but some of it is almost like... a language barrier. It's what I get for using a largely Japanese program with a handful of passionate global users, and having kinda a learning disability lmao. but like sometimes it is a hard skill to pick up

I'm getting passionate again though now that there's tails so I'm probably gonna get all hyper fixated and make a bunch of models or experiment with some textures. I'll try not to spend money on booth though 'cause I really don't have any. dear brain; work with what you have. don't buy any new textures or presets.

[non-un-topo]

Why is emailing potential supervisors such a mortifying task

[moonlight-at-dawn]

Have a preview of Meoto de Safari!

[peaceblank]

Should I pursue a degree as pathology assistant, it pays well, but I'd have to stick around in this job, and I dont want to go back to school again.

[moyazaika]

housewife syndrome

yandere! rockstar x fem! reader

cw; possessive + obsessive behaviour, severe mental instability, paranoia, anxiety, violence, heavy nsfw themes, mdni 18+

genie's notes; commissioned piece by a very sweet anon ♡ thank you so much for trusting me with this absolutely stunning idea. i’ve always been a fan of domestic horror, especially of the spiralling housewife variety, so it was fun to explore a new dynamic and fresh writing style. <3

"welcome home, sweetheart!" the television runs on low volume in the background as you greet your husband with a knowing smile. you run through the motions as you always do, make sure to ask with the most innocence you can muster, "how was your day?"

feroze can make out the sound of gallant applause that indicates you'd been watching reruns of last night's award ceremony.

"such a fucking drag." your husband pulls you into his arms, buries his head into the crook of your neck with a long, satisfied sigh and takes his sweet, sweet time to breathe you in. "couldn't fucking wait to come home to you, meri jaan."

his answer remains the same as it is every other day, and you can't help but smile against his lips when he pulls you in to steal a little kiss; you sigh into his mouth, and feroze is so fucking overwhelmed by gratitude for the familiarity and comfort of this little routine the two of you have seemed to settle down into so well.

"i love when you call me that," you confess; my life.

you know just as well as him that, well—it wasn't always this easy.

"yeah," feroze hums. "i know you do, baby."

you weren't always so lovely for him, were you?

-

you're quiet.

though the two of you are sitting across from each other at the dining table, your attention is clearly elsewhere. conversation is slow, if not stagnant. it's a far cry from how talkative you usually are; and though he would never fucking admit it, least of all to you, he worries, for a fraction of a second, that things are slipping.

"meri jaan?" he sets down his fork very carefully, reaches for your hands over the table.

you blink, pulled away from wherever you'd been lost in your mind and back down to this moment that stretches on before you.

"oh, sorry, my love. what was that?"

feroze watches your eyes quietly track the movement of his fingers, sliding over your wrists, lingering, momentarily, on your pulse—nice and steady—before they intertwine with your own.

your gaze lands on him, then, expectant. he drags his thumb over your knuckles, glad to find they're soft; unmarred by any labour. he loves having you here, tucked away within the walls of this home he built just for you, away from the rest of the rotten world.

such a darling girl like you deserves to have everything taken care of for you. as far as he's concerned, the only thing on your mind should be him.

which is why the silence is beginning to irritate him, now. he's not really upset with you, doesn't have a reason to be, just yet—he's just wondering what it is you're so focused on. where do you keep going back to in that head of yours, and why aren't you here with him?

is this where it all falls apart?

—again?

"rosy?" you try. "is everything alright?"

"yeah," feroze's hazel eyes crinkle at the corners as he smiles, endearingly patient. "i just wanted to know how your day was."

"ugh, don't remind me." you stick your tongue out. "it was so boring. i woke up so late today and didn't really do anything interesting."

"shit, i'm sorry to hear that, baby."

your husband nods towards the television, still playing from inside the living room across the hall; the screen's bright colours reflect against the glass windows that take up half the wall. though the program is muted, he can still hear the echoes from the cacophony of applause ringing loud and true.

the four hour program's been running on loop on some of the smaller channels, and you really seem to enjoy tuning in, he's noticed.

it would be more difficult not to notice this new habit of yours, really. because if he's been counting right, this is the seventh time you've seen the whole thing through to the end.

"seems like you were at least watching the music thing again."

"well, when my stunning husband won half of the awards," you shrug coyly. "how could i not?"

"flattery won't get you anywhere," feroze deigns, though neither of you mention the involuntary curl to his lips as they lift into a small, self-satisfied smile.

"huh, that's strange," you frown, pull your hands away from his own and make a show of examining the elaborately stacked engagement ring and marital band wrapped around your finger. "if i seem to remember correctly, flattery is exactly what got me this ring."

"oh," he laughs. "is that so?"

"uhuh," you nod, still admiring the rings. they're big and they're flashy and there's no fucking chance anyone could ever miss the sight of them; make the mistake of misunderstanding what they mean. you're so obviously his, and fuck, it suits you so perfectly to belong to him.

i love you, he thinks fiercely. i fucking love you.

"you've got an ego, rosy." your knowing gaze flickers back to him, accompanied by a teasing smile. "bit of a praise kink, too."

"and yet, darling wife," he'll never tire of calling you that; never really overcome the thrill that overwhelms him when he sees you adorned in the markers of his devotion and tucked away all safe and sound. "you're the only person whose words mean anything to me."

"ohh, is that so?" you taunt, "whatever happened to 'flattery won't get you anywhere?'"

feroze takes in the sight of you. you're dressed casual, donned in a baggy old shirt and a pair of his softest sweats hanging low off your hips. comfortable in your own home, as you should fucking feel, you have no makeup on, and your hair is unkempt; overdue for a shower; but fuck if he cares.

feroze decides, within a moment, that he needs you—

now.

"come here, meri jaan. i'll show you."

"you greedy, greedy man," you chastise lightly, rising from your seat. "i've just fed you dinner and you're still salivating at my table."

feroze watches you make the small effort of pushing your chair in, before turning on your heel. you pause in the doorway for a second, spare him a knowing glance over your shoulder; "well? aren't you hungry, darling husband?"

he knows that none of it evades you; the nervous bob of his adam's apple as he swallows. the way his fingers are digging into the edge of the table to keep from sinking inside of you right here. his heart is racing; his pants are tight. though you're so willing to be his now, he remembers it wasn't always this easy.

"my love." feroze grits out, "i'm fucking starving."

you disappear into the hallway, mellifluous laughter like the loveliest song, echoing off the walls—inside of his head, for fuck's sake—as your husband follows faithfully behind you when you lead him into the bedroom.

dinner goes cold on the table. you never touched your plate.

upstairs, minutes later, your husband bottoms out inside of the welcoming warmth of your sweet cunt, just as your fingers brush against the butcher's knife tucked right underneath your pillow.

-

feroze gets you to come twice before he decides he has his fill. he's rummaging through your nightstand for the contraceptives he knows you keep in there. it's got less to do with what he wants and more to do with what he believes is best for the two of you.

it's not that he doesn't want children; he dreams of them often. a little baby swaddled in the softest fabrics, wrapping its entire hand around just one of his fingers. the sound of a second pair of footsteps excitedly running down the hall every time he comes home from the studio, from tour. something more to take care of. to keep you busy.

but your husband knows you.

and though he's always been selfish, he can't risk kids until—well, until he knows you won't try to kill them.

it's taken you years to accept him. he won't undo that.

feroze, so caught up in his thoughts, only really registers the blade until it's slicing into his skin, the sharp edge of it pressing against the side of his neck with just enough pressure to draw blood.

he is disappointed, though by no means surprised, to find you on the other end wielding the knife.

he turns to face you, abandoning his search. you're holding onto the hilt of your makeshift weapon with trembling hands, and though he's suddenly overcome by exhaustion—because, baby, how many more times are you going to pull this—an involuntary shiver runs down his spine at the sight nonetheless.

"jaan," he tries to reason with you in hushed tones; oh, love. "what are you doing?"

you dig the knife in just a little deeper, and he winces; "i hate you, feroze." the words sting, though the relative lack of conviction they’re laced with serves as a promising sign of reconciliation.

"i know, baby. can you please just put the knife down so we can talk like adults?"

he glimpses the almost imperceptible change immediately.

the lines of hesitation on your face; a flicker of uncertainty in your eyes. when your hold on the weapon looses just the tiniest fraction of an inch, he wastes no time in gently but firmly prying the knife from out of your trembling hands; tosses it underneath the bed where it lands out of your reach.

he’s getting better at this. gets through to you so much sooner than he used to.

you’re listening, now, aren’t you?

the thought of it makes him oddly proud.

"there we go," feroze says. you're still shaking, and though he wants so fucking desperately to pull you closer and console you—he's learnt to tread the waters carefully in times like these. you're evidently scared. obviously upset with him. he can give you a little room to breathe. “now do you want to use your words and talk to me properly?”

“i keep rewatching the awards show. every other winner had someone there with them. some girlfriend or wife they kissed before they went on stage. you’re the only one who—” you swallow, voice wavering. “i’m the only one who wasn’t there. i’m the only one who’s kept hidden away.”

“you don’t want to show me off.” the tears fall almost immediately. “you’re ashamed of me.”

there are millions of words in the english language, and millions more in his own. he’s put into words every fleeting feeling you’ve made him feel; spun both the most magnificent and mundane of emotions into beautiful songs and compelling lyrics and composed entire albums from nothing—and yet, somehow, in this moment all of it evades him.

"i spend all day stuck here w-waiting for you to come home, and when you do—i keep thinking about all those ceremonies and galas and parties you go to, rooms i can never follow you into—and i hate you. i hate you for how much you hate me—”

“i’m sorry,” feroze’s hands run up your spine, to lightly curl his fingers around the back of your neck. he tilts your head up so that you’re meeting his gaze; leaves you nowhere to look away, “meri jaan.”

his touch is so soft and so, so cold against your skin. you've always run warmer than him; but he thinks you might be burning up right now. maybe you've got a fever; or maybe you're just this delirious even without one. it doesn't fucking matter, doesn't change anything.

“i’m sorry for ever leaving you alone long enough to even think that. let me make it up to you. let me show you how much i adore you. let me build you back up again.”

“you can’t fix this,” you whisper.

he smiles, but it’s strange; doesn’t quite reach his eyes. “so you said the last time.”

-

hours later, you’re less of a sobbing wreck when he’s got you perched in his lap, and all curled up under his chin. “okay… then…” you sniff. your words are somewhat muffled as you bury your face into your husband’s chest. “i’m sorry, too. i didn’t mean to hurt you, rosy. i was just scared, i-i promise.”

"i know.” his knuckles wipe away the tears drying on your cheeks. “give me a kiss, please.”

and ever the sweet wife, you do; but your lips are trembling.

fuck, that’s—

shit.

—not going to work, is it?

with a gentle but firm hand, he pushes you down onto the bed and watches you land on your back amidst the dozens of pillows that decorate the bed. even then, the softest thing here is you. he forgets that, sometimes. let this be a lesson, he thinks to himself, to keep your fragility in mind. this is only further proof that you need him more than he'd even realised.

but you picked the right man, didn’t you? because none of that scares him.

the two of you have faced far more difficult times together; this is just a little hiccup in your life as a married couple. some story you’ll look back on and laugh about, when you’re all better.

so when you look up at him with wide, wet eyes and ask, "its just—can you promise me you still love me one more time?”

feroze regards you closely. you’re so beautiful. so fucking perfect that it overwhelms him. sometimes, he wishes you could see yourself the way that he sees you. though he’s always believed that may just scare you; knowing how deep his devotion really runs. things are fine as they are now.

well, mostly.

he has decided that he will retire from music completely, but the two of you can broach that topic when you’re in a better headspace for it. it’s been a long time coming. work keeps the money coming in, and he wants to spoil you but—he wants you to be happy, above all. you don’t really know what you’re asking for right now, but he has every intention of giving you exactly what it is you wished for.

he can’t give in when you beg to come along with him—but he can come and hide away next to you in this little pocket of the world that solely belongs to the two of you.

"you drive me to madness, my love. nothing about this life means anything if i can’t keep you happy.”

the two of you never had a white wedding; because he wanted to honour your union the right way and celebrate you as his culture deigned. so, yes, he never got to read you any vows, but he'd like to think you've come to know him well enough to understand he doesn't necessarily need to say something so sacred out loud for it to hold true.

"do you understand? i love you," he lowers his forehead against yours. “till death does us apart.”

you put your heart in his hands one more time, looking so small, so vulnerable beneath him. "you promise?"

"i promise," he closes his eyes and revels in the soft, sweeping feeling of your lashes fluttering against his own. "always and forever, meri jaan."

feroze loves you, of this he's certain.

he also knows that you fucking terrify him.

it's a small price to pay, if it means keeping you—

besides, he thinks, reaching once more for the contraceptive pills on the nightstand.

—marriage is all about compromise, is it not?

[theerurishipper]

-

-

-

-

"So, I talked to Clark today."

"Hm," Bruce grunts, as the voice of his eldest fills the Batcave. He has a brief idea of what this is about.

"What did you do, Bruce?"

Bruce leans back in his seat. "When Superman first created an account on Twitter, Clark figured it would only be a matter of time before Luthor followed suit. So, he approached me for help. He had the idea of taking up every handle that Luthor could possibly use for himself." He pauses. "I thought it was childish and irresponsible."

"Naturally."

"Nevertheless, I helped him out by developing a program that would generate all possible combinations of usernames involving the words "Lex" and "Luthor." It developed all possible combinations by cross-referencing—"

"I get the jist, thanks."

Bruce grunts. "So we generated the usernames, and Clark used the Batcomputer and his superspeed to create all the accounts. That very night, Luthor created his own account without being able to use 'Lex Luthor' in his name."

Dick whistles, and he can hear another voice whooping in the background. "I see Tim is visiting Bludhaven."

Dick ignores the change in subject. "Wait, is that the day I found the Batcomputer keyboard completely annihilated? Because you and Clark wanted to pull a fast one on Luthor?"

"...There were a lot of usernames."

"Well played, B! I didn't know you had it in you! I apologize for all the times I called you humorless."

"Hm."

"So that's why you and Clark were giggling so much that morning, huh?"

Bruce stills. "I didn't... giggle."

Dick laughs on the other side, while Haley's barks and Tim's laughter filter in from the background. "I heard you, Bruce. I was there."

"At 6 in the morning?"

"Yeah, I wanted to use the bars in the cave, but when I showed up, the both of you were bent over the Batcomputer giggling about something." He chuckles lightly. "I didn't say anything because I knew you wouldn't tell me anyway."

"Hn."

"Oh, chill out. So I saw you being a human being, big deal." Dick sounds exasperated, but Bruce can hear the smile in his voice. He allows himself a small one as well.

"Hm."

"So, was it worth it?"

Bruce thinks about the way Luthor's face had turned red with rage, so red that he could make it out with startling clarity even from the heavily pixelated picture Clark had sent him. The picture, of course, had been taken when he'd gone over to LexCorp as Superman to discreetly spy through Luthor's window and enjoy his reaction in real time.

"It was."

Amidst Dick's snickers, Tim's voice pipes up. "For amateurs, it was a solid prank, Bruce. But I think it's time to take it to the next logical step."

Bruce stops. He takes a moment to think about the millions of possible consequences and ramifications that this could lead to. He considers his options. He comes to a definitive decision.

"I'm listening."

-

Here's the link to the video Bruce linked if anyone is interested. It's actually really funny, I recommend checking it out.

First <- Part 4 <- Part 5 -> Part 6

Masterpost

[yumeyuyumeyume]

oh right if I talk abt wanting to play video games I'm gonna get hit with "oh games, so you're just gonna play and not study?" "but how abt studying? this college is your only chance-" don't think ppl either play 24/7 or study 24/7. and at least I don't vape or drink like some of my classmates.

fuck growing up as a mathematicslly challenged kid who's always last in math related subjects since 2nd grade no matter how much blood sweat and literal tears (from being yelled at) I would put into studying them.

how can other ppl talk freely abt their fav characters to their family meanwhile no one in my family knows shit abt me and I'm too embarrassed to do anything with them around. let alone talk abt my interests.

[glowettee]

✧ how to reinvent yourself without deleting everything this summer ✧

hey lovelies!! WELCOME TO SUMMER! so i've been obsessing over this idea of reinvention lately... like literally woke up at 3am last night to jot down notes in my phone because my brain wouldn't stop thinking about it?? summer always feels like this dreamy little pocket of time where anything is possible... where you can try on different versions of yourself between iced matcha lattes and sunset walks.

i know we've all been there... that moment when you're scrolling through pinterest at midnight and suddenly you're like "what if i just... became someone else??" (guilty of creating entire secret boards dedicated to my "french girl era" that never actually happened lmao). but the thing is, completely starting over is exhausting?? and honestly kind of impossible unless you're in a witness protection program??

so this post is for my girls who want that reinvention feeling without the whole dramatic disappearing act. because honestly? the you that exists right now is already pretty magical, we're just gonna help her shine in some new ways.

✧ why gentle reinvention just hits different ✧

i had this realization while reorganizing my bookshelf last week (yes, for the third time this month, don't judge me) the most interesting characters aren't the ones who completely transform overnight. they're the ones who slowly evolve, keeping their essence while discovering new facets of themselves.

like, remember in "emma" when she realizes she's been in love with mr. knightley the whole time?? she didn't become a different person, she just finally understood something that was already there. that's the kind of reinvention i'm talking about: the recognition, not rejection, of who you are.

✧ actually magical reinvention tips that feel like character development ✧

digital presence evolution (without the cringe factor)

• create a finsta where you post the aesthetic you're curious about but not ready to commit to (mine started as dark academia but somehow evolved into cottagecore with a side of astrology memes??)

• change your social media bios to describe who you're becoming, not who you've been

• make an email signature that makes you feel like the main character (mine has a tiny moon emoji that literally no one has commented on but makes me happy every time)

• curate a new spotify playlist with songs that feel like your "becoming" soundtrack (tip: add one new song every morning as a little ritual)

• start ending your texts with a new sign-off or emoji (i switched from "x" to "✨" and now my friends get worried if i don't include the sparkle)

• take selfies from a completely different angle than your usual (overhead instead of straight-on changed my LIFE)

tiny identity shifts that nobody notices but YOU

• give a slightly different name at starbucks, not completely different, just a variation that feels like an alter ego (i use "amelia" which is my middle name and it feels like slipping into another dimension for 5 minutes)

• create a secret signature scent combination by layering two perfumes you already own (vanilla + something citrusy has main character energy, trust me)

• change your handwriting slightly, make your y's loopier or dot your i's differently (sounds so minor but feels so intentional)

• develop a subtle personal symbol and incorporate it places only you would notice (i draw tiny stars on the corners of important journal pages)

• start carrying something unexpected in your bag that represents your new era (i have a tiny rose quartz crystal that literally no one knows about)

• choose a "power color" you don't usually wear and incorporate it somewhere small every day (even just as a hair tie or phone background)

space magic that costs zero dollars

• rearrange your room based on the energy you want to create (bed facing the window changed my sleep quality so much??)

• create a tiny altar/intention space somewhere private with objects that represent who you're becoming

• switch up where you do everyday activities (i started doing my skincare routine by the window instead of the bathroom and it feels like a whole spa moment)

• change the scent of your space. different candles, incense, or even just boiling cinnamon sticks on the stove

• put up photos from a completely different phase of your life than what you usually display

• rearrange your books by color or theme instead of author (my shelf organized by "books that made me cry" vs "books that changed my mind" feels so personal)

• sleep on the opposite side of the bed or with your head where your feet usually go (literally changes your dreams, i swear)

style whispers that feel like screams

• start wearing your hair in a completely new way just one day a week (slicked back bun on tuesdays has become apart of my routine)

• change where you wear your everyday jewelry. ankle bracelet instead of wrist, rings on different fingers

• try "dopamine dressing" where you wear something purely because the color makes you happy, not because it "goes" with anything

• experiment with makeup placement rather than buying new products (blush higher on cheekbones or across nose bridge instead of apples of cheeks feels revolutionary)

• wear the "special occasion" clothes on random weekdays

• try to add one unexpected accessory to elevate basic outfits (a silky scarf tied on your bag handle)

• match your nail color to your current emotional goal rather than your outfit (blues for calm, reds for confidence)

routine alchemy that changes everything

• take a completely different route home, even if it's longer

• switch when you shower AND the temperature (night showers ending with 30 seconds of cold water changed my sleep quality)

• read the last page of a book first before starting it (chaotic energy but changes how you perceive the story)

• change where you sit in every familiar setting... different spot on the couch, different chair at the dining table

• set alarms for weird specific times (9:43 instead of 9:45) so you actually notice them

relationship refreshers that feel magical

• respond to texts with voice memos if you usually type (this transformed my friendship with my long-distance bestie)

• ask people completely different questions than usual ("what made you smile today?" instead of "how was your day?")

• suggest a different type of hangout than your usual (art gallery instead of coffee shop, sunrise instead of brunch)

• share something slightly vulnerable if you're usually private (i told my friend about my secret passion for astrology and now we have the best conversations about it)

• write actual handwritten notes to people instead of texting

• create little rituals with friends that feel special

• be the first to suggest plans if you usually wait for others (this tiny shift literally expanded my social circle overnight)

mindset magic that costs nothing

• choose a new word to eliminate from your vocabulary (i stopped saying "sorry" before asking questions)

• pick a new word to deliberately use more (i've been using "delightful" instead of "cool" and it makes ordinary things feel magical)

• create a secret personal holiday that only you celebrate (i have "manuscript monday" where i work on my secret novel for just 20 minutes)

• start a collection of something weird and specific (i collect interesting sugar packets from cafes and it makes every coffee shop visit feel like a treasure hunt + i get to discover new food brands).

i literally started taking a different route to my morning coffee last month and ended up discovering this tiny bookstore that's now my favorite place?? sometimes the smallest detours lead to the biggest discoveries.

the most interesting people aren't completely different versions of themselves every season. they're just constantly evolving.

xoxo, mindy 🤍

p.s. make sure to rest this summer, you're gonna need it <3