"girl" as in girl help & good afternoon girl im in the water & #girl
"boy" as in boy you want some hotdogs & its me boy im the ps5 & autism be damned my boy can work a grill
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Here's a neat detail:
Not to talk about season 1 Good Omens in the year of our Lord and Season 3 announcement 2023, but I kind of just realized another little moment that's very sweet and true to real life.
I really like that Crowley isn't just fine again after he learns Aziraphale survived the bookshop burning after all. Normally in stories when there's a "surprise, I'm alive!" moment, the characters just kind of celebrate for a minute and then move on business as usual. But Crowley doesn't. He continues to be visibly be shaken and a little unfocused throughout his conversation with Aziraphale, and when he has to explain what happened, he starts crying again.
I don't know I just thought that was a really nice detail because anyone who's experienced similar whiplash in real life knows about that... residual grief period I guess? I think this was a core memory that informed a lot of Crowley's behavior in season 2, you don't ever really forget that moment you lost them no matter how brief. There's just something very loving and vulnerable in him being like "I thought you were gone, and even though I know now you're ok, I want you to know just thinking about it upsets me deeply."
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Just a comic about Rem Saverem.
Nai loved his mother, he truly did. If not, why would he grace her mercy to escape the ship with them? Why wouldn't he kill her himself, and instead left fate to decide upon her demise?
He loathed the Rem he sees in Luida, the Rem he sees in Meryl, the Rem he sees in Vash; he hates the 'Rem' that was crafted in his mind over the years, haunting him wherever he go. But would he hate the actual Rem had he seen her again?
Nai loved her just as much as he hates her, and he hates that he loved her, just as much as he hates the humanity both his loved ones had chosen over him.
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Here’s some tiny submas boys!
Emmet found tynamo while the twins were wandering chargestone cave. (Their uncle lets them free roam.)
Tynamo’s very timid but wants to be the strongest. Emmet’s looking for a starter and has all sorts of unhinged training plans. It’s a match made in heaven.
Anyways tynamo had trouble with their electricity glands for the longest time. Emmet’s very supportive! (In hindsight, him working with joltiks felt like an obvious train track.)
(Yes that’s a car battery. They do this weekly until electross evolved.)
Here's the masterpost for the rest of my subway rat shenanigans!
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Did you make Needles for the atrocious amount of Michael Shelly stans out there (a group in which I can be counted) or were the similar vibes just a happy little accident?
Neither, really - sometimes you just gotta write a nasty sharp man, then part if your brain goes "the shellyfellas are gonna love this" and another part goes "is that a problem?" and the first part goes "no, just sayin" and then you go make a cup of tea.
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So I'm reading for an art history class, and Baudrillard is talking about the trends in colour usage from generation to generation (mostly in interior design, but there's definite spillover into fashion, architecture, etc.), and how every new colour movement is a direct rebellion against the previous one, like how the bright colours of the 60s/70s were a direct response to the austerity and seriousness of the WWII/postwar era, and how a shift back to organized, moralistic neutrals were a direct rejection of 60s/70s gaudiness, etc., and that all makes sense, people find their parent's style tacky, sure
But he goes on to observe how we've now been stuck in a lull of pasty tones and naturalistic finishes for some time, and I'm thinking yes, he's so right, but that's weird, because its been hanging around for so long, like what is it rebelling against anymore? What is it answering to? Well all I had to do was be patient because lo and behold, Baudrillard provides the following sentence, which caused me to completely wig out:
"...except of course, for the spheres of advertising and commerce, where colour's power to corrupt enjoys full
rein"
And I'm like ooohhhhHHHHHH, so this colourless minimalist wasteland of a design principle:
Is maybe hanging on so stubbornly because this corporate hellscape:
is assaulting all of our eyes, inside and outside of our homes, every waking second, and is tainting the very concept of colour into something we can't relax around in our living spaces.
EDIT: The reading was The System of Objects by Jean Baudrillard, 1996 Ed., Part A, Section II, Subheading "Atmospheric Values: Colour" (p. 30-36 in my copy). Even if this was a passionate spur-of-the-moment post, omitting this was pretty silly; my bad.
EDIT 2: I was trying to be chill and leave this one alone, cuz I know most people in the notes are talking to themselves and their followers and not actually me, but 11,000 notes in it's starting to get to me - yes, I am aware that decreased homeownerhship/increased renting/landlord specials/hyperfocus on resale values, are all very direct causes of this too. I totally agree. For me, those were the obvious answers; I think we all get why the owning class is serving this to us. My epiphany moment was about understanding the flip side, the psychology of the consumers who keep accepting it, and even seem to enjoy it. That's what I couldn't understand before, but now I suddenly do. (And for those of you saying such people don't exist, no one actually wants to live without colour - check the notes, bb, they're everywhere. Not everyone has the same brain as you. We all deal with the horrors of capitalism differently.)
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i'm sorry but steven going 'uwu its just 6 dollars, everyone can afford it' made me want to whack him with a stale baguette filled with lead, like how tone-deaf can you be, you silly little tesla-driving man
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