I love these losers very dearly
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@basidob
I love these losers very dearly
(ćĀ“āļ½)
I saw the answer on series comparable to Animorphs. So in the spirit of that question, from one Eleutherophobia fan to another, is there a series comparable to Eleutherophobia that you could recommend?
I have an entire Goodreads shelf called "After the Adventure" for books set after the end of a different story! Here are some of them:
Die by Keiron Gillen. One of my all-time favorite series, which is why it gets top billing despite being a comic not a novel. The 42-year-old survivors of a fantasy adventure that stole their adolescence (and one character's arm, and one character's life, and the protagonist's gender) realize they left a friend behind when they escaped last time, and now they need to go back in.
Kings of the Wyld by Nicholas Eames. The world's greatest band of monster-killers has been retired for decades, but their former leader's daughter got her army in over their heads. So now the 60-something curmudgeons will just have to dust off their armor, ignore their aching knees, and go try to rescue her.
We Are All Completely Fine by Daryl Gregory. Tells the story of a support group for sole survivors of adventures that no one else believes, because they all feature magic or monstrousness. One of the few high-quality depictions of therapy I've ever seen in a horror novel.
Mister Magic by Kiersten White. A group of former Mouseketeers child stars come to realize the show they were on was less Mickey Mouse Club, more Candle Cove, and now they're being forced onto a reunion tour that's even more sinister than it seems.
Wendy, Darling by A.C. Wise. Picks up at the end of Peter Pan, when an adult Wendy sees her daughter leave with Peter āĀ and decides to hunt Peter down and steal her kid back, because her perspective on Neverland has shifted a lot in the last 30 years.
The Secret Country by Pamela Dean. Five cousins co-wrote an adventure story by playing pretend in their backyard āĀ and then they switch universes with their fictional protagonist selves, and find themselves in their imagined country. Now they have to decide whether this is a game they want to play out, or an all-too-real political intrigue they need to escape before it turns deadly.
Fuck Fairyland by Skottie Young. When she was six, Gert fell into a magical world of candy and rainbows and talking animals. That was forty years ago. Now a bitter middle-aged alcoholic still trapped in her six-year-old body, Gert is determined to escape Fairyland no matter who she has to dismember to do it.
Every Heart a Doorway by Seanan McGuire. The most famous after-the-adventure novel ever written, featuring a boarding school for the survivors of portal fantasies. That said, McGuire is not my jam āĀ I've tried several of her books and this is the only one I've ever finished. IMHO it's both cozy to the point of cloying and half-heartedly shocking. Plus, when I hold it up against We Are All Completely Fine, its casual "therapy sucks, amirite?" attitude is super annoying, especially in combination with the protagonists' therapy-speak.
It's probably the best known version of this currently, but it would be strange if nobody mentioned Frieren: Beyond Journey's End.
(I've finished the first half of the first season.)
A Bat in the Shadow
Somebody tell my boy about bug puberty
Atom Eve ā Lioness of the Viltrum Empire
Would you mind jogging my memory? When the kids start talking about who to recruit to be the auxiliaries and wind up settling on disabled kids, did the idea of former hosts ever come up? Like, once their identities were already out, was there anything stopping them from grabbing known controllers, tying them up for three days and then going "work for us or stay out of the way, either way what intell do you have" or did it just not occur to them?
The whole discussion takes place on p. 41-44 of #50, and they discuss a few different options for how to get more help, but starving yeerks to death isn't one.
Jake first suggests the Yeerk Peace Movement, but Cassie points out that Mr. Tidwell has disappeared and they don't have another contact. Then they talk about having hork-bajir morph, but all decide that the mental abilities of a hork-bajir aren't suited to dealing with the instincts of a morph and that the risk of nothliting would be way too high. Jake starts to suggest Eva, but Marco immediately declares his own parents off-limits and the other kids respect that. Marco adds that most adults won't listen easily to kids about the need for secrecy, so it's gotta be kids. To which Tobias points out the one population of kids they know won't be controllers: those with serious physical disabilities.
If I had to guess, the biggest reason they don't go for the plan of starving out yeerks (beyond the risk of keeping a controller for 3 days) is that it would be extremely cruel, and they try never to be needlessly cruel, even to yeerks.
They're also looking to recruit as many people as they can, and kidnapping Controllers probably seems more like a one-at-a-time kind of deal.
Oh yes, good point! They get like 20 Animorphs at once in #50, and controllers would have to be a slow process.
It's weird to me that Tobias was the one who said that, since he's the only one who definitely knows Taylor's backstory, which disproves his point.
happy invincible day!
[...We were in the dark, deep woods, and I was hunting him with all my tiger skill....]
Brother's dream.
baggy clothes with a belt to cinch the waist
Zelda 40th birthday
š¦š¦øš» One more
Their fanbase would be absolutely feral
375 - My Own Private Idaho
We're finally pulling one of our most passionate entries to our 100 Snubs series, Gus Van Sant's My Own Private Idaho. Adapted loosely from multiple Shakespeare plays (particularly both Henry IVs), the film follows an epileptic young sex worker named Mike (River Phoenix) as he drifts the globe with his loyal cohort Scott (Keanu Reeves). Van Sant was post-Drugstore Cowboy ascendant when the film arrived, but it's the Venice Film Festival-anointed performance by Phoenix that got the most attention and helps the film live in bittersweet infamy.
This episode, we talk about Phoenix's stunning performance and his Oscar nomination for Running on Empty before his tragic death. We also discuss the highlights of Van Sant's filmography, the unfair ridicule that greeted Reeves' Bram Stoker's Dracula performance, and where we would place the film in the 1991 Adapted Screenplay race.
Topics also include the 1991 Venice Film Festival, nipple pulling, and New Queer Cinema.
The 1991 Academy Awards
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Thank you so much for covering this! I'm an intermittent listener because I haven't seen most of the movies you talk about, but I love learning more about the ones I know. People probably already mentioned it on a different platform, but I was a bit surprised you only referenced I Love You to Death in the list of Keanu's filmography, since it's how he and River Phoenix met. It's another look at Phoenix in "funny mode," and his role in it is larger than in Sneakers.
If I recall correctly, the Henry IV character whose lines get reassigned to Mikey is called Ned Poines. His portrayal is mostly up to the actor and director, though, since there's not much to him in Shakespeare's script.
Denreze on the run from Makima
Yeahā¦
First art for 2026 is the most breathtaking Denji Iāve ever drawn (honestly I find myself staring at this piece for hours without blinking⦠my eyes and heart hurt)š«š©µāļøāš„
first art of the year and it's csm doodles