ok New Jersey is the butt of just about everyone’s jokes, and so it honestly shocks me that no one ever talks about pork roll. Because it is frankly the most hilarious thing about New Jersey.

Pork roll is a pork-based processed meat that’s served as a patty. It’s essentially a hotdog shaped like a hamburger, and it’s exactly as disgusting and horrifying as it sounds.

Except everyone in New Jersey loves pork roll. We fucking love it. Every deli offers it as part of a sandwich, and some people just order it as a side and eat it with a fork and knife. The capital of our state literally has a yearly pork roll festival. Even the McDonald’s in New Jersey will make you a pork roll egg and cheese (called a “Jersey breakfast” around here). We are fucking serious about our pork roll.

I forgot to mention the best part, which is that only half of us call it pork roll. The other half calls it Taylor ham. North Jersey says Taylor ham and south jersey says pork roll, and central jersey is our Switzerland because they say both. Multiple New Jersey newspapers have done studies to try to figure out where the line between the two names is, and they’ve come out with tons of different maps trying to show exactly where the border between Taylor ham and pork roll is.

And this isn’t a friendly debate: people in New Jersey are ready to go to war and die over what the correct name for this lunch meat is. I went to college in central jersey, and I witnessed people get into legit FIGHTS over what it’s called.

The most hilarious part, though, is that a couple years back, state legislators thought it would be fun and easy to make it the official state sandwich. Except then they DIDNT KNOW WHAT TO CALL IT, and the politicians we elected to represent us literally spent our tax dollars debating the name of this lunch meat on the fucking senate floor. And the best part? They never made a decision and dropped the bill altogether. The debate between pork roll and Taylor ham rages on, and probably will forever.


Many of the remaining Initiative staff and cadets are not thrilled with Norman Osborn taking control of the Initiative program and putting the supervillains into training. Nonstop (Madeline Michaels) was one of the cadets who tried to run away after she exposed the supervillain, Boomerang/Outback (Fred Myers in a different costume and codename) for his crimes. However, she was caught by her teammates until Prodigy (Ritchie Gilmore of the Slingers) got fed up and defied Osborn’s Initiative by punching Boomerang in front of the news cameras and declares that he, Nonstop and Telemetry decide to leave the Initiative. 

- Avengers: the Initiative v1 #28, 2009

anonymous asked:

I just feel like in 2017 justin would be back to being a kickass protest artist because of trump and brian would secretly (or not secretly) make or finance snarky and witty and thought provoking ads against him. Idk this just makes me smile a little during this gloomy political landscape we are in

HELL YES HE ABSOLUTELY WOULD BE!!!! Seriously, everything Justin did to take down Stockwell would seem like child’s play compared to him in 2017. Justin would be very publicly protesting, but then also roping Brian into some stealth action from within. (Because, yes, Brian would probably still be apathetic at first, but when push comes to shove, he would be ALL IN taking the bastards down.) And since they’d both be even more powerful and influential than they were during the show, you know they’d be able to do it.


Why can’t they be real?

Supporting Evidence: LWYMMD, PR Relationships, and Taylor's Rage, Part ii

We jump cut (flash back? flash forward? flash sideways?) to the figure in the grave now. It’s Met Gala Taylor.

Why this Taylor? Well, the structuring of the scene offers some answers. It’s cut so as to be ambiguous. When the camera cuts to Met Gala Taylor, is she lying in the grave right now? Was she put there or “killed” by zombie OOTW Taylor? Or is this a flashback, to the original Taylor who was buried? Did she start off as Met Gala Taylor and metamorphose into OOTW Taylor while in the grave - as Met Gala Taylor eventually grew and became OOTW Taylor in life? Is the grave zombie Taylor is now working so hard to fill an empty one? (Making this a pointless task, and a metaphor for the futility of any attempt to salvage her lost reputation?) There are so many possible interpretations of this scene.

But if events are linear, and zombie Taylor really is burying Met Gala Taylor … why? Why her, of all the Taylors?

Taylor’s appearance at the 2014 Met Gala is widely considered to be the start of the 1989 era, and OOTW was the last original music video “look” of the 1989 era. So … the post 1989 Taylor is burying the previous era. Right? “New” Taylor is burying “old” Taylor! That’s the most common interpretation, and it might even be the right one. But Met Gala Taylor doesn’t necessarily pre date OOTW Taylor. In fact, it may be the other way around.

What’s interesting here is that OOTW, while the last music video of the era, was in fact a song created long before Met Gala Taylor ever appeared. (And was the second song to be released, after Shake It Off, before the album dropped. The song itself has been in the public consciousness a long, long time.) OOTW relates to an experience (Taylor’s relationship with Dianna, and the media maelstrom of bearding with Styles) that was in fact over by the time the new era began.

It’s one of the idiosyncracies of songwriting - though the audience feels they are getting “fresh” information and feelings, by the time the song reaches them the songwriter has (emotionally) moved on. Taylor sings in the present tense but the emotions conveyed may not be reality any more. They’re kept alive by a kind of magic. Artificially alive. Dead, perhaps, but reanimated by the art of performance. In a way, by the time they reach us, Taylor’s songs are themselves … zombies. (On a side note, it is very interesting that Dianna posted about “zombie love” and the need to “find your light” to her social media, around the time of the LWYMMD music video release. Coincidence? Or a subtle nod to all they once shared? You decide.)

The fact that OOTW Taylor (and her emotional journey) actually predates Met Gala Taylor makes the burial even more interesting. Look at it like that, and this isn’t the “death” of an era burying its symbolic “birth”. The “new” and “old” Taylors aren’t who you think. In this interpretation, Taylor - older, wiser, recovered Met Gala Taylor - is lying there and allowing herself to be buried again by the Taylor who came before. By that angry, only half alive Taylor. The death that OOTW Taylor just clawed her way back from is something she revisits again upon her future self. Why? Why would she do that?

A clue might lie in her Met Gala date for 2014: Karlie Kloss. Met Gala Taylor is willing to suffer that burial again - to go through it all: the closeting, the suppression of self, the living a half life, and the death of her reputation - because she has fallen in love again. Maybe she believes it will be worth it? Or maybe she feels caught in this cycle, unable to break free completely. Whatever the reason, though, she does believe she can come back from it, as OOTW Taylor did after her experience with Di. “I rose up from the dead,” she sings, in reference to her survival. And she knows she will again - “honey, I do it all the time.”

Met Gala Taylor, who is in the first flush of love, wears a sad, almost smile as she she is buried. Meanwhile Zombie Taylor, who still bears the scars of that last journey into woods, is visibly enraged as she shovels dirt over this fresh new self. And yet, she does it. This Taylor doesn’t hate the “player”. Her rage is reserved for the viewer, not her suspended self. She snarls into the camera, not down into the grave. This Taylor? She hates the *game*.

But who is the game for? Why is she doing this? Who has to be appeased by this deceit? Well … “You”, for one.

You. The silent observer. The audience. “No, I don’t like you,” she sings - and then we cut away, from the buried Taylor to the results of this burial.

Taylor, in a bath full of diamonds. The result of suppressing her true self? Unimaginable wealth - and a cold, angry Taylor, raging alone in a circle of mirrors, unable to escape her own distorted reflection.


Few days after winning the battle against Hood and his army, Justice (Vance Astrovik) and his Counter Force are in the victory party with the Avengers and the Initiative at the rooftop of Avengers Tower. Also, this marks the first appearance of Tigra’s cat-baby son William. 

- Avengers: the Initiative #35

LWYMMD Is Taylor Raging Against A World That Pushed Her To Beard: Supporting Evidence From The MV (part i)

I put out some lyric analysis on this before the video dropped, but the video kicked it up another gear. There is SO MUCH to dig into here that this post will need multiple parts.

If you missed it: my theory basically runs that LWYMMD, while it plays on the obvious imagery of her past “feuds” (and likely is also throwing shade in their direction) is PRIMARILY about Taylor’s rage at the industry, world, and audience that made PR relationships a necessary component of her success.

Lines like “I don’t like your kingdom keys, they once belonged to me”, and “locked me out and threw a feast” all allude to Taylor’s feeling of being used by this arrangement - of her happiness being sacrificed for other people’s profit, in a “perfect crime” it appears she chose to commit against herself. (“You said the gun was mine”.)

So how does this video support this interpretation?

Well, it opens with OOTW Taylor clawing her way out of the grave. Interestingly, the grave is not marked as being for Taylor herself, but for her reputation. There are many different interpretations of OOTW, but it is most generally assumed (in the Gaylor Swift fandom, who I’m addressing here) that the song is about Taylor’s relationship with Dianna Agron, and the PR relationships she had to engage in to obscure it. (Most notably with Harry Styles, though Conor Kennedy was also employed as a smokescreen.) The music video for OOTW features Taylor overcoming a number of obstacles and battling her way back to herself. It is interesting that this Taylor - the one who survived the bearding process and managed to reconnect with herself - should be the one shown to be dead.

Why is this Taylor a zombie? If she “found herself, and that was everything”, then why is she depicted as the living dead, still clawing her way back? Well, one could argue that the damage to her reputation she sustained during the fauxmances (the “cradle snatcher”, “man hungry”, public image) directly contributed to her ultimate downfall. She was still feeling the after effects of those blows, all those years later.

Another explanation is that Taylor found herself (as evinced by the angry, in-control Taylor singing direct to camera: she may be dead, but this girl is in complete possession of herself) BUT this didn’t prove to be “everything” - because she still couldn’t be this self openly. She remained in a halfway state - like a zombie.

The graveyard around her is also not what it appears. It’s skewed, but so subtly the viewer doesn’t immediately pick up on that fact. Angry zombie Taylor puts it to rights, staring into the camera as she does so in challenge to her audience, who didn’t notice there was anything wrong until she acted to alter their perspective. Do you begrudge me this, she seems to say. Do you dare?

What happens next? Well, we see the name “Nils Sjroberg” on a headstone nearby. Nils does not reanimate in any form - indicating that this alias is dead. Why is this relevant? “Nils” was an alias, under which Taylor wrote the song “This Is What You Came For”. The song is in second person perspective (already a lyrical distancing tactic) and was then given to somebody else to sing; but it is undoubtedly about the writer’s reciprocated desire for a woman. If Nils is dead, then the Taylor who felt the need to obscure this is also dead - and sure enough, we witnessed that Taylor’s demise when she publicly claimed the song, and then performed it at her 2016 Formula 1 show. (As a stripped-back piano number, sung in her own voice and with no lyrical alterations.)

We pan past the gravestones and focus on zombie Taylor again. What is she doing? Filling in the grave she just climbed out of. We jump cut (flash back? flash forward? flash down?) to the figure in the grave. It’s Met Gala Taylor.