No, No, No, No, let me ask you a question. When you came pulling in
here, did you notice a sign out in front of my house that said “Dead Pegasus Storage”?
I watched Pulp Fiction with the gf a few nights ago and totally loved it. It inspired this Sweetie right here, which will be going on some mugs that I’ll be selling at conventions in the future. Which conventions bobdude? Well that’d be Babscon, Everfree Northwest, and Bronycon, so be sure to stop by and grab one if you’re around for any of those.
Sorry about the art silence fam, I’ve been completely bogged down by school and convention prep. I’ll be pumping out some new stuff here very shortly though, spring break is here and I have a lot of art to get done for those conventions up there, so stay tuned.
*JD and Veronica have brought Heather Chandler's corpse to Heather Duke's house to figure out what to do*
I don't need you to tell me how fucking good my coffee is, okay? I'm the one who buys it, I know how good it is. When Bonnie goes shopping, she buys shit! I buy the gourmet expensive stuff because I want to taste it. But you know what's on my mind right now? It AIN'T the coffee in my kitchen! It's the dead Heather in my garage!
Oh, Heather you don't--
I don't want to think about anything, I wanna ask you a question. When you came pulling in here, did you notice a sign on the front of my house that said "Dead Heather Storage"?
Heather, you know I didn't see shit--
DID YOU NOTICE A SIGN ON THE FRONT OF MY HOUSE THAT SAID "DEAD HEATHER STORAGE"?!
.....No, I didn't.
Do you know why you didn't see that sign?
'CAUSE IT AIN'T THERE 'CAUSE STORING DEAD HEATHERS AIN'T MY FUCKING BUSINESS! THAT'S WHY!
Hello! Welcome to the second round of exhaustive rp guides
for mechari. This time a focus on
‘medical’ Why? Because everyone understands what to expect
when an organic character is injured or ill since all the players live that
life already. Mechari? Not so much.
Often rp defaults to the closest parallels we can find in our modern
world- cars and computers. From a lore
standpoint this simply will not do. Mechari are advanced beyond our current
reckoning. Created by a race who
mastered everything they touched with
technology and magic, mechari would be well beyond arc welding and oil changes.
The following is a blend of existing lore and headcanon
based on current bleeding edge prosthetics and robotics. It is meant as a guide to help out with
confusion and help immersion in RP. Should you chose to use this just like my
other guides is entirely up to you (note- for Junction Nexus 01 this is the
lore we go by)
Some men got to hold their spouse’s hands while they were dying. A fortunate few got to whisper their goodbyes to people who could still hear them, caress skin that was still warm and rosy with blood. They could mourn openly and unashamed, and others would feel sorry for them, say kind things to them, fill their freezers with casseroles.
Friendly Reminder That We Still Don't REALLY Know Red's Crime on OITNB
One point of constant fascination on Orange Is the New Black is its willingness to dip into backstory. Over the course of the past five seasons, we’ve learned why nearly every inmate has been incarcerated, from a main character like Piper to someone who doesn’t get nearly as much screen time, like the chronically mute Norma. After all this time, though, there’s one major inmate whose backstory has remained more or less cloaked in mystery: that of Galina “Red” Reznikov. To be fair, we’ve seen a lot of Red’s background, going all the way back to season one, but we have yet to see the moment of her arrest and the actual crime that ended up putting her away. Let’s review everything we’ve witnessed so far.
The First Flashbacks
We get our first glimpse of Red’s origin story back in the second episode of the whole series. Here, we see how Red (aka Galina) owns a Russian market with her husband, Dmitri. In an attempt to get into the good graces of the Russian mob in NYC, Dmitri urges Galina to befriend the wives of the mob bosses. It quickly becomes clear that she doesn’t fit in with the more “refined” women, and after just one outing, they exclude her. Galina confronts them and ends up shoving the leader; she accidentally pops her breast implant in the process.
To pay for damages, the Russian mob boss demands $60,000 from Galina and Dmitri. Since they obviously can’t afford to pay, Dmitri instead agrees to let the Russian mob use his freezer for storage … of dead bodies.
Red’s Rise Through the Russian Ranks
In season one, episode eight, we see how Galina sweet talks her way into the Russian mob’s inner circle. It’s really a rather innocuous issue: the mob boss can’t seem to figure out how to make money off of tomatoes. They have too many, they always go bad, and they can’t compete with other stores. Galina advises the boss to look for steady purchasers, like schools and hospitals, and it works. Next thing we see, she’s in tight with the mob and has somehow switched roles with her husband, who now makes the coffee.
It’s not until season four that we get any additional insight on Red’s incarceration. We don’t even get to see this portion of Red’s story in a flashback. Instead, Piscatella reads it from her file while interrogating her about the dead guard at Litchfield. Piscatella cites how, at the time of Red’s arrest, she had five bodies in her freezer. For this, we can assume that she got in deep with the Russian mob. It’s hard to say how deep, and it’s hard to say what exactly she started doing. Maybe she simply continued to help the Russians hide their bodies, or maybe she started to run the show. But that begs the question: how did she not end up in a maximum security prison?
Meanwhile, Back in Russia
In season five, we actually don’t really get any more insight into Galina’s crimes, but perhaps we get a bit of context. We flash back to her much younger days as a factory girl in Russia. She becomes involved in a relatively much more innocent line of illegal work: producing and selling Levi’s jeans, which at the time is prohibited in Russia and referred to as “Western decadence.” Galina’s partner in crime eventually chickens out of the contraband denim business, but we see a fire bloom inside Galina. She’s addicted to this insubordination of higher powers. She eventually escapes Russia with Dmitri and goes on to open the Russian store we see in earlier episodes.
This flashback might be the core of Red’s character. It explains how she always hungers for the power that comes with pushing back. Not only does her time in Russia explain how she so willingly slides into the Russian mob, but it also informs her prison persona. This is why Red pushes so hard against everyone, why she loves being the “mom” of the prison. This is why Red covers up the murdered guard and seems to relish in the emotional torture of Piscatella. This is why she is the way she is.
[Tim, Jason and Roy are drinking coffee in Tim’s kitchen]
Mmmm! Goddamn, Tim! This is some serious gourmet shit! Usually, me and Harper would be happy with some freeze-dried Taster’s Choice right, but he springs this serious GOURMET shit on us! What flavor is this?
Knock it off, Jason.
I don’t need you to tell me how fucking good my coffee is, okay? I’m the one who buys it. I know how good it is. When Alfred goes shopping he buys SHIT. I buy the gourmet expensive stuff because when I drink it I want to taste it. But you know what’s on my mind right now? It AIN’T the coffee in my kitchen, it’s the dead drug dealer in the garage.
Oh, Timmy, don’t even worry about that…
[interupting] No, No, No, No, let me ask you a question. When you came pulling in here, did you notice a sign out in front of my house that said “Dead Drug Dealers Storage”?
Tim, you know I ain’t seen no…
[cutting him off again; getting angry] Did you notice a sign out in front of my house that said “Dead Drug Dealers Storage”?
[pause] No. I didn’t.
You know WHY you didn’t see that sign?
‘Cause it ain’t there, 'cause storing dead drug dealers ain’t my fucking business, that’s why!
So this is the haunted Wolfe Manor mansion in Clovis, California. I pass this place all the time and did some research about it to learned a crazy amount of stuff. It turns out it used to be one of the most beautiful mansions in the area back in the 1900’s. An Italian immigrant couple built this home in 1922, however the wife pressured her husband into making it the most extravagant home around and unfortunately lost it to bankruptcy. The mansion had murals on the ceilings, a ballroom, and even a swimming pool in the basement.
In 1935 the mansion became the Hazelwood Sanitarium which housed large amounts of people suffering terminal illnesses (most commonly tuberculosis) in hopes of recovering promptly, since this was a popular but unreliable method to cure tuberculosis in the 1900’s.
In 1950 the sanitarium became a mental hospital where unfortunately the patients where awfully mistreated. The hospital was over crowded, mass amounts of people died and the basement even became a place to storage dead bodies.
The mental hospital finally closed in 1992 and was basically abandoned until Todd Wolfe purchased the hospital and made it a haunted attraction. Countless amounts of paranormal activity has occurred that it is now known to be one of the most haunted places in the western part of the country.
The mansion was featured on various paranormal television shows such as Ghost Hunters and Ghost Adventures.
In current day the mansion is being repaired to become a haunted hotel for the public.
It’s crazy to think I and so much people pass this 92 year old building all the time without knowing the history behind it.
So I’ve decided to make a post about the problems I have with Pulp Fiction. Before anyone reads this I would like you to keep in mind that this is just my opinion and I’m not trying to offend anyone. It’s still a great film that I love just as much as the next guy, but it has problems that should be addressed.
IMAGINE Bucky doing some grand romantic gesture for Steve, that the other Avengers just don't get. Steve does and it chokes him up.
Steve spends the evening of July 4 with family and food and a downright embarrassment of presents. Tony had wheeled out a cake with 90-odd candles on it, the fucker, and Steve had taken one look at it and co-opted the rest of the Avengers to help him blow them out – he’s Captain America, not Superman.
He’s surrounded by what feels like piles of lurid wrapping paper when Bucky slips him a flat, brown-paper, string-bound present. The minute shifting inside the package tells him what it is before he opens it, but he still sighs with pleasure: high-quality pencils in a rainbow of colors, and a sketchpad.
“Are you going to pose for him, Barnes?” Tony’s grinning.
“Hah,” Bucky shoots back. “Let’s just say you’re not invited.” Tony staggers, miming injury.
Steve lifts the cover on luxuriously thick, textured pages. In the bottom right corner of the first sheet is a note in Bucky’s handwriting.
You, me rm1502 0700hrs
He stares at it, and closes the cover wordlessly.
Hours later, when Bucky makes their apologies and tugs Steve away, they’re followed by good-natured whistling. “Happy drawing!” Nat shouts after them.
They leave the sketchpad on the nightstand and crawl into bed together.
“Happy 29th,” Bucky whispers into Steve’s neck, and Steve kisses him, carefully. They’re still feeling their way through this – piecing together Bucky’s memories, untangling the horrors of the war from the horrors of Hydra, and celebrating any resurfacing of Brooklyn or the Howling Commandos, no matter how bittersweet.
They don’t draw that night – euphemistically or otherwise; they sleep, Bucky nestled on Steve’s shoulder.
Bucky slips out of bed at 0630, and Steve feigns unconsciousness. At 0650, he gets up and dresses, gathers the sketchpad and pencils, and goes searching for 1502. He’s not spent much time on this level. It seems to be offices, or storage. It’s dead quiet, but the door to 1502 opens under his tentative knock.
The floor is carpet, not wooden boards. There is a window at the far end, but the room is wider than their apartment had been. The furniture – bed under the window, chair, table – is all metal. But Bucky is in the narrow bed, naked, sheets tangled like he really has slept there, and the light coming through the window, spilling over him…
“Bucky,” Steve whispers.
“Shut up, Stevie, I’m tryin’ to sleep here.” Bucky keeps his eyes closed, and Steve is immeasurably grateful, because for whole seconds he can’t speak, can’t see for the tears that are overwhelming him.
The light is the same. The light is early morning, summer Brooklyn. Saturday, Steve thinks. A hundred lazy Saturday mornings with his sketchpad in his lap, coffee by his elbow, and he has to sit down, hard, in the chair that Bucky has positioned just so.
Bucky cracks an eye open: a quick, nervous check in the silence.
“’S perfect,” Steve manages thickly. His hands are trembling ever so slightly as he opens the box and selects his first pencil. They’ve both changed so much – the pencil feels shockingly delicate in his grip, and there’s the multitude of new lines and angles of Bucky’s prosthesis to learn – but Bucky’s bought a lot of paper. They’ve got all the time in the world to get this right.
Love: The fact that he has such douchey stans and so many shitty little freshman film students and bartenders with rich parents make poor imitations of his work tends to distract from the fact that he is actually an excellent filmmaker. Sure, his writing can be a little up-its-own-ass at times, and sure, it can verge on pastiche, but at the end of the day, he’s an excellent writer with an excellent visual sense who gets excellent performances and has an excellent grasp of structure and pacing. And he’s good at “killing his darlings.” His scripts tend to be overlong everything-up-to-and-including-the-kitchen-sink works, but he has no problem cutting what doesn’t work, even if that thing is something he loves, and as a filmmaker, I can tell you that’s one of the hardest things to do (and is one of the biggest reasons my Haiti script is still not done after all these years).
Hate: I’ve mentioned this before in posts about Django Unchained and Tarantino in general: Tarantino’s anti-racism makes him too comfortable and loops his films around into territory that requires too much outside knowledge to not come off actually racist (and, because of his primary audience, who doesn’t know the things that he knows, perpetuate racism). He, like Scorsese, likes to use the n-word as a signifier that someone is shady or not to be trusted, but it often doesn’t work, especially when used in a quotable scene like the infamous “dead nigger storage” scene in Pulp Fiction.
And the best example, IMO, of where Tarantino’s attempts at anti-racism go wrong is in Django Unchained. Some of the anti-racist rhetoric is obvious–the scene with the proto-Klan struggling with their hoods, for example. Other bits are not. Like when Leonardo DiCaprio’s Monsieur Candie has the skull at the dinner table and is explaining the (current to the movie’s setting but since discredited) pseudoscience of phrenology. Tarantino uses that moment to subtly point out flaws in racist ideology, but in a way that only makes sense if you both know the history of racism and have engaged in arguments with neo-Nazis in the modern day. Candie uses the skull and points to the dimples that supposedly indicate the black race’s inherent loyalty, subservience, and docile nature, which was the stereotype from the antebellum period to the collapse of Reconstruction. This was supposed to illustrate that the stereotype completely reversed after the war and show how little sense any of it made to begin with. But most people don’t know that history, don’t know that neo-Nazis still believe in phrenology to this day, and likely didn’t engage with the scene enough to notice the message he was attempting to deliver through it. Thus to most people, the scene was just Leo’s character getting progressively angrier at being tricked and losing his shit and saying the n-word a bunch.
The critical reactions to Samuel L. Jackson’s character Stephen from that film also illustrates how easily Tarantino’s point was missed. The character was intended to demonstrate how some black people, when treated with relative kindness by racist whites, are willing to betray their own for that seat at the foot of the table, how being born into that system can brainwash intelligent people into betraying their own self-interest. It was taken instead, even by critics who are generally intelligent and progressive on many issues, as “anyone can be racist.” They viewed him as more evil than Candie rather than as a pathetic, brainwashed pawn. And that was in large part because Tarantino didn’t plan for an audience with a different perspective than his. In the end, it helped no one.
So I haven’t posted something in the last few days. That’s just because I was rewatching a lot of episodes and collecting stuff to make this theory as convincing as possible.
As you may have read, in this theory I want to show that Mona probably did fake her death.
First of all Janel Parrish and also Marlene King said that Mona won’t disappear totally out of the show. Although they confirmed she would appear in flashbacks I have a strong feeling she will also appear regular because she isn’t dead at all.
Secondly Mona was incredibly sure that she would be the next to get killed.
It wasn’t just foreshadowing like it’s sometimes in Pll. You could clearly see that Mona tried to mention everytime she was with the Liars that she believed in her death coming up soon. She also tried to lead them into thinking that Alison would be the person they should be afraid of the most.
Another hint is that Mona was really sneeky in the last few episodes she was in. For example she was hiding behind the walls to listen what her mom and Hanna were talking about. Hanna, who was closest to Mona, was already influenced by her “Alison is the bad guy” theory so she could also convince Mona’s mother, which lead to her speaking with Mr. Hackett. Although it looked like Mona wasn’t responsable for Hanna talking to her mother and her mom going to the principal, she’s actually the person who’s holding the threads and the liars are her marionettes.
Some of you may now wondering how it could have been possible for Mona to fake her death? Here are my answers:
1. Blood: As you know, when the liars finally made it to Mona’s house it was blured with blood, which obviously belonged to Mona. The police officer announced that she couldn’t have survived because of the amount of blood which was found. However you may remember the time, Mona was in Radley and when she began to hurt herself with Hanna’s eyebrow tweezers?! I believe that’s when she began collecting her blood.
There was also recently a scene in which Mona passed out in choir lesson. Maybe it was because she had drawn too much of her own blood. An evidence to this is the bandaid she was having on her crook of the arm.
2. A: Almost everybody believes that A has killed Mona, but there are some kind of contrasts with regard to the “normal” behaviour of A and Mona’s killer. First of all, you can’t see the knife, the murder weapon in any scene, while Mona’s killer was in her house. Even if you rewatch the scene and look closley. First the murder pulls out his hair/wig with both hands, while going upstairs to Mona’s room, which makes no sense because normally the knife would’ve been in the kitchen which is downstairs. Secondly in the next scene, in which he/she goes into Mona’s room you also can’t see that there’s anything in his/her hands.
Which is unusal for A too is the fact, that Mona’s house was destroyed after the murder. Normally A is very careful and tries to become almost invisible for everybody else. So why would he/she make such a mess?
Another thing that doesn’t fit in, is the question why A would take Mona’s body. Through out the season’s, A never put one of his/her victims into his/her car. The bodies were always placed in public locations. I’m not really sure if it was anyway Mona in the trunk. Maybe it was just some kind of full size doll. You may remember Hector, the guy who made the masks. Maybe he also helped Mona.
3. Confirmation through Marlene King: On the picture below you can see Marlene King’s tweet as well as the scene, in which A/Mona’s Killer was putting the Mona doll into the crib and was consequently replacing the Jesus doll, which ended up next to Mona’s body. Maybe the tweet and this scene is an allusion to (Mona’s) “resurrection”.
Another thing you can see in the second photo is a strand of dark/brown hair. This could mean that Mona herself did place the doll into the crib.
The next important confirmation, Marlene King did, was this one:
“This death (Mona’s death) has been in the works for more than a year — it’s been a very well-thought plan.” - Marlene King
This statement would fit pretty well with my thought, that Mona already began drawing her blood when she was still in Radley.
4. The car: A lot of people recently hinted out that Paige is having a blue car and that’s why they’re thinking she’s the one, who killed Mona. However actually Mona herself is also having a blue car.
Things you should keep in mind: It wouldn’t be the first time for Mona to fake a death. Remember Alison and Toby. Mona helped them both and made sure that nobody would become suspicious
Some of you also wondered why Mona was calling Aria and not Hanna to tell her that she knew Alison was A. That’s what I think:
- maybe Hanna knows that Mona isn’t dead. She was the first one to go upstairs in Mona room and screamed immediately, although she couldn’t know if Mona was dead. The storage is also rented in her name. In the beginning we thought that A wanted to blame the murder of Mona on her, but maybe Mona herself rented the storage, not to tease Hanna but just to get her stuff in there. I could also imagine that she catched that Hanna got in trouble with the police and that’s why she removed the stuff, just to protect her best friend. She maybe also had somehow access to Alison’s blood and that’s why she placed some of it in the storage to make it look like it was actually Alison.
I’m also pretty convinced that Mike also knows that Mona’s alive. Rightnow he seems to meet a lot with Alison, but maybe just to get some information for Mona. That could be the reason too, why they had an argument. I can really imagine that Mike wasn’t really pleased with the idea to get closer to Alison, after all she had done to him. (For example; made fun of him and Hanna when they where dating.)
So what are you’re thoughts on this theory? Please post it below, xo
I saw Quentin Tarantino at a bar in San Francisco. He was hanging out with and playing patty cake with three young Asian girls. I was absolutely trashed and my friends had to restrain me from going up to him and saying "IS THERE A SIGN ON THIS BAR THAT SAYS DEAD QUENTIN STORAGE."
you know how quentin always manages to feel like he’s a massive creep but never actually does anything to confirm it, it’s just kinda off putting? ‘Playing patty cake with three Asian girls’ seems exactly like that kinda weird shit he would do