The fact that every single actor is clearly 20 years older than their character
The opening is animated for almost no reason
The one boy sitting in the girls’ section during “Summer Nights” just… daydreaming… staring off into space. I don’t think he even knows there’s a musical number going on
Patty calls herself a clod
If you pause the end of “Summer Nights” in the right place Sandy’s face is right in the middle of a pole
Sandy pukes when she sees blood??? what does she do during her period??
Danny’s face creepily showing up in the pool during “Hopelessly Devoted to You”
The people who work in the car shop just kinda staring awkwardly at the Greasers during “Greased Lightning” like they have no idea wtf they’re doing
The entirety of “Beauty School Dropout”
One of the boys spikes the punch and when questioned says he was washing his hands in it
THE FRIGGIN FBI WAS CALLED IN TO FIND OUT WHO WAS MOONING THE CAMERA LIKE HOW MUCH FREETIME DID THEY THINK THE FBI HAD IN THE 50s?
Rizzo trusts Marty to keep a secret like you’ve known this woman since Kindergarten did you seriously think she’d keep her mouth shut
Danny sings about how Sandy rejected him as if she didn’t have valid reason
The car race that comes almost out of nowhere but at least it’s better than the musical which had literally no payoff for Greased Lightning at all
Sandy decides to become a Greaser kinda just because
Rizzo and Kenickie screwed around at the beginning of the school year but she didn’t realize she wasn’t pregnant until the last day like did she just assume baby bumps weren’t a thing?? Did she think gestation was nine years instead of nine months???? How the hell did this timeline work?? Did they have any sex ed in the 50s?
i got chILLS
AND I’M LOOOOOOOSING CONTROL
They only start to wonder wtf they’re doing after graduation at the fair celebrating graduation
If you listen at the end of “We Go Together” you can hear the Chipmunks singing
THE FUCKING FLYING CAR WAS THAT EVER EXPLAINED
The fact that High School Musical was originally going to be a second-generation sequel to this
Black Lives Matter. ALL of them. Even those who are poor students, high school dropouts, or who might have had a troubled past. The repeated police shootings of innocent, unarmed black people is always wrong. Respectability politics should not play a role in who is more or less deserving of our collective sympathy or outrage.
Say it with me: Respectability politics will not save us.
Respectability politics only divide us and plays into racial stereotypes.
i'm curious: do you think the animorphs could have won if they were adults? marco starts out as the only one with the maturity to understand death; it's sort of because the others don't have that understanding that they're so eager to fight. jake NEEDS to idealize past soldiers/leaders in order to keep himself, well, 'good', acting like he thinks they did, as much as he can. what do you think??
Let’s suppose the Animorphs are five adults—thirty-three, let’s say,
instead of thirteen—who encounter Elfangor as they walk home from where they
were getting a few drinks at the local bar.
Suppose Marco is a smart-mouthed lawyer with more secrets and lies than
genuine wins in his resume. Suppose Rachel
works as a graphic designer for a fashion magazine by day, but she lives for
the nights when she goes surfing in the moonlight swells off the California
coast or skiing at breakneck speeds in the Canada Rockies. Suppose Tobias has been an adjunct professor
at the local college for five years now and suspects he’s headed nowhere
despite his Ph.D., whereas Jake is a high school dropout rocketing up through
the ranks of his contracting firm thanks to his canny leadership skills. Suppose Cassie’s in night school so that she
can continue as a vet tech, always exhausted and always telling herself it’s
all worth it. Suppose they’re joined two
weeks after the war begins by War-Prince Aximili-Esgarrouth-Isthill, who got
his own self out from under the ocean without calling for help.
thing the Animorphs do is fly north and tell the governor about the
invasion. She calls the National Guard,
the president, and the United Nations. Within
a month, the yeerks have doubled their force on Earth and the two species are
in open total war.
The U.N. appoints a military commander to
oversee the Animorphs, a five-star general with thirty years of combat
experience. Jake and Ax both salute him
and call him “sir,” but they’re the only ones.
Cassie calls him by his first name when she asks about his family. Rachel and Marco hold side conversations in
whispered thought-speak throughout his briefings. Tobias sits in the back of the room, either
preening feathers or doodling on his intel packet depending on what form he’s
in. Every time he gives them an order they
thank him, leave the room, and then look at Jake to find out whether or not
they should obey it.
The war wears on for months, then years, and the
humans lose steadily.
Here’s the thing that it takes the U.S. and the
U.N. a dangerously long time to adapt to: every time they lose a soldier, they lose
every single scrap of intelligence contained within that soldier’s brain. Every single time they’re forced to leave a
man behind, they lose every base that person has ever visited, every file that
person has ever seen, every scrap of knowledge once kept secret in that brain. The humans start equipping their soldiers
with cyanide capsules; the yeerks start gagging hosts the instant they’re
Here’s the other thing they don’t figure out
until it’s too late: even hardened soldiers balk at shooting their own friends
and neighbors and siblings. Even the
ones with years of training will hesitate to shoot a child. The yeerks know this, and they take
David is the son of the deputy director of the
NSA, placed with the team in a blatant act of nepotism after he finds the morphing
cube. Rachel gets dishonorably discharged
in the aftermath of the “accident” that causes his death.
Dissent starts to grow large within the ranks of
the humans. Several believe that the
yeerks come in peace; several more believe that the humans should stop fighting
and negotiate a truce. There are still
pockets of people who insist that there are no such thing as aliens, and the
whole thing is made up to target certain types of people as “controllers.”
The yeerks take the entire Eastern seaboard of
the U.S. and Canada. There are simply
too many people, too densely packed; the human military cannot protect those
areas. The humans retreat to the Midwest
Visser One gets put in charge of the invasion
force, quietly moving Madra and Darwin offworld in the process. Marco and Rachel, acting against orders,
infiltrate her base and kill her and nearly sixty other high-ranking
controllers before they are themselves gunned down. The U.N. erects a statue in their honor,
makes fifty other morph-capable soldiers to take their place, and keeps
Jake and Cassie marry. She gets pregnant twice during the war, and knows
that she can’t afford to keep either pregnancy.
She never tells Jake about this. Later,
they will divorce in the last weeks of the war.
Visser Three once again takes over the invasion
of Earth; he thrives at open war. He
bargains and threatens and calmly assures the human forces that they will lose, and that there is only one
way to avoid death. All they have to do
is walk to the nearest yeerk compound, surrender, and let one of his warriors
take away all their worry and pain.
The human race is dwindling. There is no other way around it. The yeerks kill humans because they already
have more hosts than they need, and the humans kill humans every time they succeed
in bombing a yeerk base or shooting a controller. The species has already been decimated;
everyone fears that within a decade it will be annihilated.
The humans destroy a Blade ship. Forty humans and eighteen hork-bajir
Visser Three gets revenge by turning his dracon
canon on China’s east coast. Two hundred
million humans die.
The humans blow up a yeerk pool. Two hundred thirty-eight humans die.
The yeerks blow up Rio de Janeiro. Twelve million humans die.
So it goes.
The human armies take refuge in Brazil and
Argentina, in Tanzania and Angola and the DRC.
The yeerks have control over the entire northern hemisphere. Communications between the two continents are
constantly intercepted. Jake and Cassie
and Ax go on mission after mission after mission, no one bothering to tell them
what to do anymore. Tobias comes
sometimes; more and more since Rachel’s death he’s nowhere to be found.
Food runs short.
Electricity runs out. In the heat
of the summers and the cold of the winters, in the times when a few handfuls of
dried sorghum are all that can go around, dozens of humans quietly slip
away. The controllers are well-fed,
well-equipped, well taken care of. All
it takes to earn safety and comfort is to give up your soul.
Three years pass this way, and the andalites
They are merciful: they rescue the few hundred free
humans who remain before they blow up the planet.
Of all the mental disorders out there, none is taken less seriously than ADHD. Lots of people believe that it’s made up. Some people believe that ADHD is nothing more than bad parenting. And plenty of people believe that it’s an excuse to medicate otherwise normal children. But here’s the thing:
ADHD is a very real disorder, and it profoundly affects the lives of those who have it.
Let’s look at some facts about people with ADHD:
- 35% of teens with ADHD will not complete high school - that’s double the dropout rate of average teens.
- 30% of kids with ADHD will fail a year of school, or be required to repeat a grade.
- 45% of kids with ADHD get suspended from school at some point.
- Only 5% of teens with ADHD will earn a college degree, compared to 28% of the general population.
- Only 0.06% of people with ADHD will earn a graduate degree, compared to 5.4% of the general population.
- They have four times as many car accidents as the general population.
- They are 4 to 9 times more likely to go to prison.
- They are 11 times more likely to be unemployed.
- 61% will be fired at some point, compared to 43% of the average population.
- They earn, on average, $2 less per hour than their non-ADHD counterparts.
- They run a significantly higher lifetime risk of depression, anxiety, and antisocial disorders than people without ADHD.
ADHD is not a made-up disorder; it is a very real thing that has a profound effect on the lives of people who have it.
So what other myths about ADHD are floating around?
- Contrary to popular belief, ADHD is under-diagnosed. While there is some evidence to suggest that little boys are being over-diagnosed with it, girls are being grossly under-diagnosed. Teachers and parents’ are quick to recognize the disorder in boys; girls with ADHD, on the other hand, are dismissed as ‘ditsy’ or ‘spacey’, preventing them from getting the help they need. Doctors estimate that ADHD occurs equally in boys and girls, but boys are six times more likely to be diagnosed and treated.
- ADHD is not a childhood disorder. Studies have found that anywhere from 30% to a whopping 80% of childhood cases of ADHD continue on into adulthood, affecting sufferers for the rest of their lives. Even when cases don’t continue, the education gaps created in early years can affect a person long into adulthood.
- ADHD is not caused by diet. The vast majority of cases of ADHD are genetic. Other major causes include prenatal exposure to alcohol, and traumatic brain injuries. No cases are caused by food dyes, or excessive consumption of sugar.
- ADHD is not a “short attention span”. People with ADHD do not lack attention spans, they lack the ability to regulate their attention. When people with ADHD discover an activity that highly interests them, they can focus on it single-mindedly for hours, ignoring all other activities, much like you’d see in autism.
- ADHD medication doesn’t turn kids into “zombies”. At least, not if they’re on the right one. The medications prescribed for ADHD are not addictive or dangerous. In kids with ADHD, the proper dose of of the right medication can ease symptoms and allow children to regulate their attention and control their impulses. Untreated children with ADHD are more likely to grow up to be drug or alcohol addicts; medication significantly reduces that risk.
ADHD is one of the most common mental illnesses that any of us will encounter, but despite that, it remains poorly-understood, and is not treated as a serious disorder. People have grown skeptical of the disorder entirely, and look down on cases of ADHD as poor parenting or simple ‘drug-pushing’. The reality is that ADHD can make it extremely difficult to lead a normal life or achieve goals, and no one should look down on the treatments that make it possible for so many people to function.
The FX show Baskets stars comedian Zach Galifianakis as a French clown school dropout who has moved back home to Bakersfield, Calif. There, he finds work as a rodeo clown and competes with his twin brother for his mother’s affection.
Galifianakis created Baskets with fellow comic Louis C.K. He tells NPR’s David Greene that the show can be strange and dramatic, but then it’ll undermine that drama with a joke. “It’s just a weird mix,” he says. “It’s not for everybody. … That is the first thing I say to people. Well, firstly I usually say, you know, ‘I’m in it. Don’t watch it.’ And then I say, 'It is an acquired taste.’ And that was the point.”
A long while back, some people noted that they enjoy the way I write dialogue. To be completely honest, I do firmly believe that the way I write dialogue is one of the better things I do in my writing
So I thought I’d write an explanation/guide as to how I write it!
There is a lot of debate regarding writing dialogue and like a lot of things when it comes to writing, a lot of it comes down to preferences.
A big rule I agree with and try and stick with is that your dialogue should be good enough to carry how someone is saying something. That, or the context of what is happening instead of just a speech tag.
I take this to the extreme, however. I try my best to write my dialogue as strong as I can to convey the meaning, but sometimes that isn’t enough.
I write my dialogue phonetically. Meaning, I write it how it would sound if someone were speaking.
A general rule I use is that characters who are well spoken, well educated, and older tend to speak in full sentences, don’t trail off, don’t mumble or stutter over their words, and speak with a higher caliber vocabulary. That’s just a base rule, however. When writing for different characters, I take that a step further and tweak how they would say certain things to match their personalities and backstories.
On the flip-side, characters who are younger, not as well educated, and are perhaps more humorous tend to trail off, stutter over words, use improper grammar, repeat certain words, and have a weaker vocabulary. And again, mattering on who the character is, I further tailor how they would speak mattering on their background or even where they came from.
For example, I have some characters who come from the southern United States. They are younger, and some are still in high school or are college dropouts. They also tend to use slang; y’all, ain’t, fixing to, and etc. Sometimes, I’ll drop the -g off of words that end in -ing. “Fixin’ to.”
Characters who are more northern that I have never use this sort of slang.
I have a strong belief that as long as you’re writing dialogue, you can break most grammar rules if you want. People oftentimes don’t speak properly. I almost never hear someone say “Sally and I” when referring to themselves and another person, for instance. It’s always either “me and Sally” or even “Sally and me.” I’ll write someone saying is instead of are, use commas to break up a long sentence to indicate someone is talking with little pause. Or use and between every item in a list. Such as “We need to get milk and eggs and bread and butter from the grocery store.” I’ll write people randomly changing what they are talking about in a sentence without a comma to make it read as if they are talking faster and faster, or to indicate there is no pause when they speak and they talk quickly. I also use a lot of “ums” and “ers” and stutters “S- such a- as th- this, for i- instance.” I use words that just take up space, such as “very,” and I also start sentences with “and” or “but.” More rarely, sometimes I write words wrong and purely how it sounds. “Fixin’ ta” is an easy and quick example. I use this very rarely as to not be annoying, however.
Ellipses are a huge favorite of mine. I keep them out of the narration unless I am heavily stylizing something or if it’s actually needed. In dialogue, however, they’re one of my favorite tools to show a character is trailing off, running out of breath, pausing in their own thoughts, and to give the dialogue a slower, more thoughtful or hesitant feel. That being said, I still stick to using ellipses as they are supposed to be used as best as I can.
Now, I don’t use all these techniques all the time. Again, each character I have has different quirks in how they speak. Certain characters speak a certain way, and others in a different way. I also try my best to not make the dialogue too painful to read, so it stays easy and fast to read.
Though I am all for writing dialogue phonetically, I do shy away from writing accents. That just gets annoying and can be hard to keep up with. I’ll just mention it in a speech tag and move on.
Now, besides all that, I also try and pay attention to what certain characters would never say. An easy example is saying “sir” or “ma’am.” My older characters or characters grown up in more “old-fashioned” homes tend to use “sir” and “ma’am” while younger characters or characters grown up in more relaxed homes about respect of that kind don’t ever use it. There are other things that fall under this example, but I want to keep those a little private for now. I think watching what a character wouldn’t say is quite important and gives them more character and personality in the long run.
Another trick is that I change how someone speaks based off of who they are speaking too. Someone shy would speak very differently to a stranger than they would a friend. People speak differently when faced with different people; teachers, family, friends, co-workers… the list goes on and I try my best to reflect that in my dialogue.
Cursing is another thing I pay attention too. Characters I have who are younger tend to curse more than those who are older. Certain characters who have certain personalities also curse more than others. Hell, I’ll write some characters cursing/cursing more when around certain people and not at all around others. It’s just another layer.
For me, dialogue is incredibly important. The way a character speaks does add to personality a lot. Same with the things they say, if they curse or not, how much they stutter, and etc. It shows a lot of personality. And that all ties back into that age-old rule of “show, don’t tell.”
This, of course, is all just my opinion and how I personally do things. It’s not the “right” way and is, by far, the “only” way to write dialogue. I just thought I’d share what I do.