#yoko has a point

[eidolons-stuff]

Yoko: "we can't, in good conscience, spy on them"

Thing: *signs* "maybe YOU can't"

Bianca: "I say we spy on them"

Yoko: "since when are you so interested in them?"

[jellyfishsempai]

Ba-da dum-dum-dum 🎺ba-da-baaaa-baaa da da-da🎺 dum-dum-dum 🎺baa-ba-da BA🎺 BA BA BA

[tabrisofmars]

Enid: You ever think the Wind is trying to tell us something and we don't know how to hear it any more?

Wednesday:

Yoko: I told you not to eat one of Ajax's brownies

[eudico-my-beloved]

Rnadom yoko doodle on my workspace

Bonus: eight and an elite octoling chilling

[13eyond13]

actually stunned by how gay The Beatles has been all this time and I just never knew

[male-duckk]

thinking abt joe/carlos

[idontwanttospoiltheparty]

im still stuck on the concept that maybe yoko made up mclennon out of whole cloth. god. plot twist of a lifetime that would be.

[todayisafridaynight]

So Allegedly Infinite Wealth is 100 hours... not that you can't already spend that long on the games if you really want to, but I'd say it's the first time that could be said to be the base experience rather than a time only hardcore completionists are likely to get.

Yokoyama was talking at length about wanting to make the game worth the price tag since the team is incredibly conscious about the value of the players' time and money. They essentially feel they owe players ten times what they paid, so they're aiming for "an enjoyable 100 hours, but also an unforgettable 100 hours."

If they pull it off, I personally think it'd be 100% worth it and not just a "well other studios are doing it so we can get away with it too" price hike... I'm at least happy to know that's not the intent, and I'm intrigued to see how everything pans out and what the ratio is between story and side content

oh yayaya i saw that article this morning!!! 100 hours is actually so unfathomable to me in terms of an rgg game- i mean y7 was At Minimum around 45~50 hours but when i think of other RPGS that easily dip into 70's and 100's of hours, i'm not too surprised to see LAD start to climb towards those numbers now. it'd be such a jump in rgg's terms tho, so i'm TRULY curious to see where the nearly doubled gameplay hours comes from..

i really appreciate yoko's respect not just to RGGS but also to its customers: they want to make a great product, but they also don't want to sacrifice what they want to do to do that in the process

[waywardsalt]

oh yeah i’ve got a bunch of loz aus that i haven’t really talked about. a few of them are listed and slightly explained in this poll and explanation reblog but i haven’t gone out of my way to actually list the aus i have and really explain them. so that’s what this post is for. here are some... decently simple explanations of my major aus and what they're generally about

i have two kinds of aus: original aus (loz aus that are set in their own kinds of worlds with their own stories and twists on character roles) and then crossover aus (we all know how this works i just mash loz and a thing i like together)

original aus: (many currently dont have actual titles, so the titles will often just be concept shorthand)

in the court of the crimson king/crimson king au: probably the most developed and closest to being written out. it's got one of the longer premises; set in a industrial-esque hyrule city, following linebeck as the main character, as the adoptive older brother of link and aryll, living with them and their grandmother as the only one able to reliably make money to pay for rent and food, leaving every other week to do jobs, but he moonlights as the 'demon of the gray moon', a masked persona he'd created as a child that had long since become a city-wide urban legend, anonymously taking unsavory jobs from whomever can contact him and offer pay, often working directly for bellum, a childhood friend, the one who enabled and trained him to become the demon, and one of five anonymous leaders of the city. linebeck effectively lives a double life, and tries to stay out of too much trouble to avoid drawing attention to himself or making his adoptive family worry, but he gets dragged into more and more danger as bellum becomes curious about the identities of the city's other leaders, and linebeck falls in love with a man named ganondorf, suspected to be one of those other city leaders. ive got a few posts related to it already: this one being another vague concept descriptor, this one being an actual scene i have written out.

'gimmick' au: i cannot explain the gimmick without spoiling the au. put simply, in this au, hyrule as a whole has been at war for ten years, every race and kingdom taking sides in a conflict that seems to be going nowhere. link joined the hylian army young, and has made his way up the ranks to become trusted by queen zelda herself, and things in the war take an interesting turn as he and zelda discover a new faction, unaligned with any particular kingdom and with unknown motives, and zelda decides to set out to the different parts of hyrule, link and a chosen group of trusted allies in tow, intending to try negotiation one more time before things take a turn for the worse.

sci-fi/space au: the fun one that probably would need to be done in a visual medium. it takes place in a solar system of a few planets, link growing up on the planet hyrule and occasionally traveling to the others as a knight specializing in investigating and taking down dangerous bounty hunters, working for zelda as a friend. he and zelda uncover a plot by the yiga clan to accumulate a number of highly dangerous research and weapons held by each species as they aim to resurrect a demon to wreck havoc on the solar system- the b plot being about the top bounty hunters in the solar system screwing around, eventually colliding with link and zelda's a plot as it begins to involve them.

murder mystery(?) au: one of the older ones, maybe one of the oldest that i still stick with. this might actually be one of the first ones i tried writing. the plot begins when zelda returns to hyrule city years after her father- the former mayor- was murdered, finding that he has been replaced by ganondorf and that while things seem fine enough on the surface, random and organized crime run the show, and she begins a private detective agency as 'sheik', a masked young man, and with the help of impa, and old friend and confidant, she moonlights as sheik and uses her daytime identity as zelda to help chip away at some of the city's biggest problems and finds herself drawn into a long string of murders that appear to be anything but random violence.

ruined hyrule 1: i have two au’s with the premise of hyrule being ruined. neither of them have more specific names yet. this one begins with the majority of greater hyrule's population having long since locked themselves in hyrule castle town in order to escape the increasingly dangerous wildlife. zelda, a young girl at the beginning, becomes curious about what lies beyond the city walls, and makes friends with many other children within this sheltered hyrule, and as they grow up together, aim to eventually venture out into the wilderness to see what may have caused the outside world to become so incredibly hostile.

ruined hyrule 2: the other ruined hyrule. set in a devastated hyrule, roughly ten years after the royal family was killed, link failing to save them or hyrule in the time since. he now resolves to set out and indiscriminately destroy every demon that plagues the ruined hyrule, meeting and bringing along various allies, each of which has been uniquely affected by and have different lived in this altered, dangerous shell of hyrule.

modern (school): i also have two modern aus. this one isn’t plot driven, just a concept i have, would work best as little vignettes or something. essentially just the idea of a group of loz characters hanging out together in a modern high school (or college?) setting.

modern: this is the one with an actual plot. follows the general idea of zelda characters living in a modern world only for the typical legends to begin resurfacing and heralding dark events. plot specifics are murky, but that's the general idea.

dark mage: this is the au that where the seas meet the sands takes place in. basically just ganondorf x linebeck shenanigans in this alternate hyrule while actual plot sneaks up on them. named 'dark mage' mostly because the initial idea behind this au was that linebeck would learn magic.

horror au: doesn't have the best name, and it's ended up just being a personal sandbox for me. constantly changing, with the cast and setting often altering if i find that something isn't working or sticking. it's an au i've considered (and even briefly tried) writing in the past, but it's still too fluid, and writing horror effectively is difficult. it's a fun au, though.

mecha au: spawned because i watched neon genesis evangelion. a lot of this au's basic concepts can be found here: x but the short version is that hyrule is being besiged by massive monsters, but each race has created their own mechs to combat them. link is just a farmer who happens to have a strange knack for being a mech user, so is brought in by zelda as a gamble to bolster their chances, and he is tasked with working with a new and less-than-trustworthy crew to help fight those monsters.

'amnesia link' au: an au that sprang up in about a day and hasn't gotten too far since. basic premise being that three years prior to the story, link and a group of allies has faced off against ganondorf and, despite their best efforts, lost, with link being presumed dead by their enemies. now, link has woken up from his coma, his memories gone and hyrule taken over, and, with guidance, must once again travel across hyrule, aiming to rediscover his allies and try to face ganondorf once more.

A quick list of crossovers: I won't explain these in length, since they can range from having their own plot to just being a fun mental concept. So, the things I have made crossover aus with are:

Warrior Cats

Batman

Jojo's Bizarre Adventure

Persona 5

Pokemon

(there are other, smaller ones, these are just the ones i consistently pay attention to)

So! These are the majority of my legend of zelda aus, some of which I may write, some of which just exist in my mind for fun, all of which I wouldn't mind talking more about if anyone is curious!

[astrolotte]

Yoko from Ink Theory my beloved???

[jazbell]

ok the pdf got to the gamergate and videogame feminism part and it mentions splatoon as an example of games having either a male protag or a straight up inhuman character.

but i gotta say i do think splatoon is pretty feminist? not revolutionary obviously but its generally good with its female characters. like most of its important characters are female (or commonly depicted as female for the agents) and they all have pretty thought out lives and personalities, beyond their initial archetype. they also kiss each other but thats beside the point.

[poisonlove]

Absolutely ignore/get rid of this is you don't wanna do it buttt

Can I request a Wednesday x Fem!reader where Wednesday has a general disregard for everyone and their feelings EXCEPT for her little situationship (reader) and it's just little instances where she's softer with her?

YOU | w.a

pairing: Wednesday Addams x reader

A/N : I tried to satisfy your request as much as possible but Wednesday and reader don't have a situationship, they will develop... something ;)

"The most precious things in life are usually the most helpless." Penn Badgley

Wednesday Addams walked along the corridors of Nevermore Academy with a brisk yet graceful step, the sound of her shoes against the cold marble determining her hurry to get to the library. The other students stepped aside as she passed, probably intimidated by her dark and menacing gaze that seemed carved into her features.

"Addams, one word"

Wednesday reluctantly stops, turning slightly and raising an eyebrow. Yoko Tanaka strides toward her, sunglasses perched on her head revealing a pleading look. Wednesday had no intention of wasting her time with her roommate’s best friend, but seeing the vampire in such a state of despair piqued her curiosity.

"What do you want Yoko?" Wednesday asked, her tone of voice deliberately rude. But the brunette didn't care at all.

"I need your help," Yoko began, trying to keep calm, but her voice betrayed a certain frustration. "Could you help me with Thornill's homework? I can't find the damn Moon Flower anywhere."

Wednesday could hardly believe her ears: how dare she interrupt her plans for something so stupid? With her classic impassive gaze, the brunette stared at Yoko in a prolonged silence that made her feel more and more uncomfortable.

"I don't care," Wednesday finally replied with venom and disinterest, surprising the vampire. "If you can't do such a stupid task, maybe you deserve to fail," the brunette added in a cutting tone.

"but it doesn't cost you anything!" Yoko exclaimed in despair.

Wednesday's behavior annoyed her deeply, but Yoko had hoped that following Enid's advice to be kind and tolerant would at least provide some relief. Apparently she was wrong.

"I said no, Yoko," Wednesday replied, her tone even more icy. Her gaze was steady and impenetrable, and her patience, already thin, was completely exhausted.

Yoko sighed deeply, realizing that pushing further would get her nowhere. She put her sunglasses back on in a quick, controlled motion, hiding her annoyance behind a forced smile. Her grin revealed her pointed canines, a gesture that might have seemed threatening in other circumstances, but here it only served to hide her irritation.

"ok, Addams"

with one last look, Yoko walked away, keeping that forced smile until she turned the corner. Wednesday didn't follow her with her gaze, already tired of that brief and, in her eyes, pointless interaction.

As she set off again, determined to finally reach the library, she was interrupted again. This time it was her two friends Ajax and Xavier who stopped her. The two approached quickly with an air of urgency that seemed to want to drag her into some other stupid discussion.

"Wednesday, can we talk to you for a moment?" Xavier asked hesitantly.

the brunette stopped again, clearly irritated now. her gaze narrowed to a slit of annoyance as she waited for them to speak.

"I have a problem with my new work... and I think you can help me," Xavier said, trying to be persuasive.

Wednesday looked at both of them coldly, her patience crumbling with every passing second. All of Nevermore ignored her and labeled her as the school freak, psychopathic and creepy... and now, by some strange twist of fate, everyone needed her today? She simply wanted to go to the library to further her research on poisons and their uses , see you , continue writing her story, or go to the cemetery later.

“I don't care,” she replied coldly, hoping Xavier would understand that she felt some urgency in leaving.

"Addams," Ajax intervenes, "I wanted to ask you for advice... you know that I'm interested in Enid and since you're her roommate..." the gorgon continues, purposely leaving the sentence hanging.

Wednesday stared at them in silence for a few moments, her impassive gaze betraying her impatience. "I don't care in the slightest about your problems and if you don't get out of my way immediately, I won't hesitate to make you regret this conversation" the brunette threatens in a low and cold tone.

Ajax and Xavier look at each other in confusion and fear, pondering Addams's words. They both knew Wedsnesday's reputation and the very real danger of being killed by the shorter girl terrified them.

they decided to step aside.

Wednesday continued on her way, completely ignoring them, while the two boys exchanged glances of resignation. The massive wooden doors finally loomed in the distance and the swarm of students' voices faded as she entered the less frequented part of Nevermore.

"WED!" an all-too-familiar voice shouts enthusiastically.

For the third time that day, Wednesday had to stop. She closed her eyes for a moment, trying to suppress the killer instinct that threatened to surface and put an end to her blonde roommate's irritating exuberance. She was seriously starting to believe that it was a curse cast by her mother, some sort of psychological torture designed to test her patience. Unfortunately, it was far from her favorite torture, and she focused on something she knew would calm her down: you.

"Wednesday," Enid exclaimed, catching up with her with a beaming smile, "I was just looking for you... The Poe Cup is coming up again and we have to defend the title! You'll be there, right? We can't do it without you!"

Wednesday stared at the blonde, impassive. Entering the Poe Cup again was the last thing she wanted to do, but she knew Enid wouldn't give up so easily.

"I'll think about it," she replied, keeping her tone detached. She didn't want to seem too involved, but she didn't want to completely dampen Enid's enthusiasm either.

"Awesome!" Enid clapped her hands, thrilled by the response. Then she walked away, skipping happily down the hallway.

Wednesday watched her go, mentally wondering how Enid managed to maintain all that vitality. With a barely audible sigh, she finally resumed her walk towards the library. The brunette lifts the corners of her lips as she enters her haven of peace, looking at the shelves covered in books and dust.

the sound of footsteps echoes throughout the library, her figure getting lost among the endless avenues of shelves and books of Nevermore. Her diligently runs her fingers through the tomes, grazing their rough and fragile covers, the wisdom that hides within them. The few students who were there were busy reading or studying among the various desks scattered around that place, the silence broken only by the sound of the pages being turned.

but it is among those shelves that she finally sees: you

she knew basically the essential things about you: your name is Y/N; you are a year older than her, you are Italian, you love blue and your power is to control fire. You were very good friends with Yoko, for some strange reason, and you were a person who despite the aura of mystery and darkness that surrounded you, smiled and was kind to everyone.

she noticed you a few days ago and still hasn't figured out who you are. Were you really that nice? what's really bothering you Y/N?

Wednesday watched you intently, savoring your every move. She noticed the way you brushed your hair back from your face, the smile that lit up your face when you read something that excited you, and even the grimaces you made in response to bizarre or banal passages you encountered.

Some might call it stalking, but she's really just trying to understand you better.

her black eyes never left your figure: you were tall, you had a sharp jaw that accentuated your strong face and you had full lips that were somehow always ready to whisper something provocative or sarcastic. at that moment you had chosen to gather your hair in a messy bun, a practical choice but one that added a touch of carefree elegance to your appearance.

you were struggling with a pile of books that seemed to have a life of its own. Some had already fallen, scattering across the floor. You quickly bent down to pick them up, but each attempt only seemed to make things worse.

Were you disorganized or did your hunger for books make you so careless?

Wednesday realized it was the perfect time to come out of hiding. She approached you cautiously, then crouched down and picked up a couple of books. Her cold fingers landed on Wicked Plants: The Weed That Killed Lincoln's Mother and Other Botanical Atrocities by Amy Stewart, and a thin smile threatened to appear on her lips. She was almost certain that she was the only one, aside from maybe Thornill, who had read that book in the entire school. Finding out that you shared the same literary tastes hit her in a surprisingly pleasant way.

“Here.” Wednesday’s voice was almost a whisper, as if she were intimidated by the idea of an interaction.

your eyes lift from the floor to meet hers.

Wednesday held her breath. They were the most beautiful eyes she had ever seen. You looked at her with curiosity, maybe surprise, but there was something in your eyes that made her feel strangely vulnerable.

“Thank you,” you croak embarrassedly, your cheeks pink knowing someone had witnessed your disaster.

“Maybe you should stop devouring more books than you can handle,” Wednesday said venomously. Her words were a wall behind which she hid the slight agitation she was trying to ignore.

you smile. Shouldn't you be annoyed by my answer?

"What's your name?" she asks curiously

Wednesday stared at you for a moment, cold as ever. “Wednesday,” she replied dryly, not giving anything away. But when you smiled again, the brunette felt a shiver run through her mind, one she tried desperately to ignore.

“Happy reading,” Wednesday adds quickly, turning around as she notices the slight look of confusion crossing your face. It was clear that you wanted to continue the conversation, maybe tell her your name, but Wednesday couldn’t stand there beside you without feeling her body boil.

she needed to leave the library and distract her mind

would have continued after the search, with the necessary calm

but there was an unexpected relief in knowing that she now knew her name

just like she knew yours.

A/N: yes I know, very inspired by the YOU series

[muzaktomyears]

Two of Us play notes/thoughts/Easter eggs I noticed

they played solo Beatles tracks as waiting music before the play began so I sat there listening to ‘Monkberry Moon Delight’ with a theatreful of people which was great 

before Paul turns up John is baking(/burning) bread

John is wearing underwear under his dressing gown which obvs had to be but also my suspension of disbelief was CHALLENGED

when Paul rings up to be let in John does a little rhyme to make him prove he is who he says he is. this is not the exact wording but it went something like: "Five little boys in Hamburg did play/All through the night and all through the day/Ingrid the stripper would do anything/But who got the clap? Was it sexy Stu Sutcliffe - or the lead singer in Wings?" and then Paul has to admit it was him who got the clap

when Paul takes his shoes off he also takes his socks off - idk if this is an intentional barefoot Paul thing but it is hilarious later when they're fighting and Paul is about to leave and angrily putting his socks back on

John and Paul have Get Back era hair/beards, which is weird - presumably because they assume people going to see this will also have seen Get Back but might not know their 1976 looks as well?? idk

some of the dialogue and references have been made a bit more British - the skit they do at the piano is now set in a British greasy spoon instead (still with the American accents)

instead of fighting "like the Hatfields and McCoys" they're now fighting like "the Montagues and the Capulets" (👀)

'Sh-Boom' is played on the record player while they smoke weed (Paul uses the album cover to roll the joint)

George and Ringo both get more of a mention! Paul says that George is happy now (John replies that he's not happy, he's reincarnated). John tells Paul a story Ringo told him about going on a bus in NYC and being recognised.

"I'm the best fuck you ever had" is said by John during the fight (Paul replies "If that's your way of saying you were the real brains behind the Beatles-" etc. etc.)

"You should have married me when you had the chance" is said by John during the Yoko/losing my friend bit

"It's only me" as John's way to get Paul not to leave after the fight

when John goes out to get disguises for them Paul sits at the piano and starts playing some notes he finds there (he'd asked about them earlier and John had said they're nothing). we get a few notes of 'Now and Then' before John returns (ghjshgkhgkdshgksd who did this I HATE YOU)

the appearance of the I Love Paul badge!! John wears it on his disguise jacket and Paul asks what it says. John tells him and then Paul replies "Lucky Paul".......

they never go outside in this version - John says he'll go but then thinks better of it. this means that John comes across as even more locked away than he does in the film.

the police bit is sort of done when Paul puts on a leather hat from the disguises and pretends to be a policeman come to question John, who John then talks back at. he also yells out of the window at some police below at one point.

Paul realises they're never actually going to Luigi's, so John lays the table for him as if they're at a restaurant together (including calling him "Lady McCartney" and "my love")

the bit with the fan is sort of recreated but instead it's John asking Paul whether he truly thinks Wings at the Speed of Sound is the number 1 record in America (which obvs changes it quite a lot)

Julian is brought up - they're toasting to various people/things (ending with "Dr. Winston O'Boogie and Paul Ramon") and Paul says "to Julian" and sort of confronts John about him and how he treated him

during the toasting Paul also mentions "putting hair on a seagull's chest" which John questions and then Paul says it's something his dad used to say

I thought the lift scene/roof scene wouldn't be happening... BUT THEN a lift descended from the ceiling ❤️ the magic of theatre

the kiss still happens and idk but I thought the vibe was a bit different from the film version - less jokey (and no lines after about brushing his teeth/is my name Brian)

Paul: I bought into it that you and me didn't get along well (paraphrasing the Stephen Colbert interview)

they hug at the end of the roof conversation (I was sat very close to this since the actors come in front of the stage to do it and they were both crying and it WAS ALL TOO MUCH 😭😭)

John gets them two guitars to practice with before they go out and they sit opposite each other in chairs and Paul says “I know which one to begin with” and John says “What?” and they lean forward and then the phone rings

when Paul leaves John he’s crying and it’s like okay rip out my heart I guess

the play ends with Paul on the phone to Linda and John on the phone to Yoko, at opposite sides of the stage, and they say “I love you” to their wives but also to each other and it’s ridiculous????

yeah then ‘Give Peace a Chance’ plays which is such a bizarre choice idek

anyway who knows if it's a good play or what the actual people there thought about it because obvs I can have no rational reaction to it but I'm so glad I went to see it because someone on the writing team is one of us I SEE YOU

[thewalrusespublicist]

So didn't realise that people didn't know about the John Lennon 1980 'dear one' thing. As we're all here though I wanted to mention that the phrase 'my dear one' potentially has a bit of a story arc when it comes to John's relationship with Paul. For those familiar with British English, 'my dear one' sticks out as it's not a used term of endearment at all. So where does it come from? It could be a non-straightforward Victorian throwback, but more likely its hearkening to the use of the phrase in Eastern meditation to denote your nearest and dearest. Great, already off to a sweet start (and lines up with Yoko having Paul on the next-of-kin list with Julian and Mimi when John died).

It POTENTIALLY gets a bit more layered than that though once you add in the idea of hugging meditation. Contrary to what Paul says (sorry Paul, I do believe you on most things, just not this) despite being 'Northern men' TM the Beatles were a huggy bunch. John mentions it in the 1967 Hunter Davies interview:

''We used to be embarrassed about touching each other. We’d do an elaborate handshake just to hide the embarrassment… or we did mad dances. Then we got to hugging each other. Now we do the Buddhist bit… arms around. It’s just saying hello, that’s all.''

As pointed out in @thecoleopterawithana and @monkberries amazing posts, the Buddhist bit is hugging meditation which became popular in the 1960s. In hugging meditation, you

''have to make him or her very real in your arms, not just for the sake of appearances, patting him on the back to pretend you are there, but breathing consciously and hugging with all your body, spirit, and heart. Hugging meditation is a practice of mindfulness. “Breathing in, I know my dear one is in my arms, alive. Breathing out, she is so precious to me.”''

We know physical touch was important to John. One of the plusses of being with Yoko was being affectionate with his best friend, he tells Paul that touching is good whilst hugging him and in the Get Back sessions he delightedly asks Paul about a vivid dream where he was touching Paul (whether platonic or romantic this always read to me as a blatant subconscious desire for increased intimacy with Paul). The desire for intimacy is still present in the 'Real Life/Love' demo in 1977 where John muses about holding a mysterious has-a-baby-expecting-another-lives-on-a-farm someone in his arms as if it was only yesterday (another piece of media I still cannot believe we have on tape).

With John's evident desire for physical intimacy in mind and the focus on holding dear ones in hugging meditation, I don't think it's too far to think that John would associate this term of endearment with a certain level of both physical and emotional intimacy. Whether its a slightly bittersweet ironic recollection of those times together in the late 60s or a sincere statement of their current relationship, Paul as his dear one could be seen as continuation of John's suppressed, resentful but ultimately present desire for reignited intimacy with Paul on multiple levels (again romantic? Platonic? Choose-your-own-adventure there, I'm not in charge of you).

Or I could be talking shit. Who knows? It's just fun to think about!

[achromatophoric]

Divina: Bianca has a point

Yoko: Well, I have two. *bares fangs*

Enid: And this kitty’s got ten! *snikts*

Wednesday: Not to overshadow my wolf, but I always carry at least a score. *lifts skirt to reveal knife bandoliers*

Enid: Guh.

Eugene: SEVENTY THOUSAND!

Everyone turns to stare at Eugene.

Bianca: Genie, just how—

A torrential buzzing surges outside.

Eugene: 🤓

Bianca: Oh right. Duh.

The buzzing fades.

Divina: Okay then! Looks like Genie picks the movie.

Yoko: *sarcasm* Oh great. So we’re watching what? Bee Movie?

Eugene: *makes face* What? Hell no! We’re watching Nimona.

The suggestion is met with cheers and a vampiric whoop.

Divina: Nice! Queer rep, here we come!

As everyone gets settled in, Wednesday whispers a question to Enid.

Wednesday: What is this Nimona about?

Enid: Mm. It’s got a violent shapeshifting teen who is totes neurodivergent and misunderstood, that everyone thinks is a monster.

Wednesday: 🤔

Enid: Oh, and she fights against the establishment. With violence. You’re gonna love it.

Wednesday: *scoffs* We’ll see about that.

— After the movie. —

Divina: That was such a good pick, Genie!

Eugene: 🤓👍

Enid: So babe, what’d you think?

Wednesday: First, I am not babe. I am shark. Second, arm-chopping is most certainly a love language.

Enid: *beams* So you liked it?

Wednesday: 😑

Wednesday: I suppose it was sufficiently… metal.

Enid: 🥰

[mclennonlgbt]

(JUST LIKE) STARTING OVER WAS DEFINITELY FOR PAUL – a compilation

A meaningful wordplay As you know, John attached great importance to the lyrics of his songs. He liked to smuggle in word games and hidden meanings. Let's look at a fragment of the lyrics of "(Just Like) Starting Over". It's time to spread our wings and fly Wings was Paul's band in the 1970s.

Don't let another day go by

"Another Day" is a song by Paul and Linda that was released as the A-side of a non-album single in February 1971. It was Paul's debut single, following the Beatles break-up in 1970. (Sidenote: giving credits to both himself and Linda, Paul broke up the Lennon-McCartney partnership, angering Allen Klein).

my love

"My Love" is a 1973 song by Wings. The single was viewed as Wings' first significant success.

2. The demos

In the first demo, John uses the word "walrus":

Everyday we used to make it love so why can’t we be making love – it’s easy. The time has come, the walrus said, for you and me to stay in bed again, it’ll be just like starting over

The walrus is a famous motif from Beatles songs. In the song "I Am The Walrus" (1967) John declares that he is the titular walrus, a year later in "Glass Onion" he stated: „And here’s another clue to you all – the walrus was Paul”. In "God" (1970) John sings: "I was the walrus." In an interview from 1969 or 1970, George jokes: „And if you are listening, I am the walrus too”. Regardless of which Beatles was the walrus, John is for sure giving us an interesting clue here.

As for „in bed”:

Here's another fascinating demo... This requires no comment. It's just that John suddenly referred to "Why Don't We Do it In the Road", a song by Paul from the Beatles era.

EDIT:

The whole fragment is:

Just take your clothes off honey, and stick your nose in money.. why don’t we… do it in the road?! (Laughs) A little hotel where we used to screw A little place down in Montauk Just you, me, the cook and the servants too

As @i-am-the-oyster pointed out (the screen is theirs) - it's a 17 minute drive from Paul's house in the Hamptons to Montauk Motel.

3. John explaining who the song is for

„I’m not aiming, I am not aiming at 16 year olds. If they can dig it, please dig it. But when I was singing and writing this and working with her, I was visualizing all the people of my age group from the 60s. Being in their 30s and 40s now, just like me, and having wives and children and having gone through everything together, I am singing to them! I hope the young kids like it as well, but I’m really talking to the people that grew up with me and saying: „Here I am now, how are you? How’s your relationship going? Did you get through it all? Wasn’t the 70s a drag? You know, here we are, let’s try and make the 80s good, you know, because it’s still up to us to make what we can of it. It’s not out of our control”. I still believe in love, peace. I still believe in positive thinking when I can do it. I’m not always positive but when I am, I try and project it”.

Source: https://www.youtube.com/watch?v=rqxPx2Tvf6A

Let’s point out that the song which convinced John to come out of retirement was „Coming up” by Paul. You want a love to last forever One that will never fade away I want to help you with your problem Stick around, I say

(…)

You want some peace and understanding So everybody can be free I know that we can get together We can make it, stick with me

BONUS (this is not evidence or premise, but maybe Paul understood that the song was addressed to him): Paul's reaction to the song after John's death.

„…Time passed. Paul locked the door of his home studio and played (Just Like) Starting Over, the first single from Double Fantasy. Top volume. For days”.

- Christopher Sandford, „McCartney”

EDIT:

(it's also @i-am-the-oyster's reveal): One Sweet Dream podcast did an interview where May Pang agreed with the host (JL)SO was for Paul and emphasised that it wasn't about Yoko -- it's a patrons-only episode so I can't link it, but it's April 2023, around the 1h29 mark).

I would take it with a grain of salt, though, because May (for valid reasons) dislikes Yoko.

As @paul-mccartney-official noticed, the stripped down mix of this song begins with:

When they were teenagers, John and Paul identified with their musical idols: John was Buddy Holly and Paul was Little Richard or Elvis.

This is Lennon talking about his and McCartney's meeting at Village Woolton fete:

It is possible that John refers to his youthful years in this dedication. However, there is also an option that he mentioned his former idols, because "(Just like) starting over" musically refers to the 1950s. It depends on you what you believe in.