teenj12's Blog

20-year old. An avid reblogger about stuff on multiple fandoms, and posts on social justice. I'm also a Vidder on Youtube. My YouTube Channel: http://www.youtube.com/user/joshwim8

[emmachillbert]

Zac and Erik could’ve been friends if not for … the plot 💔

[teenj12]

This franchise was lowkey so repellent to 'boy whimsy' haha.

[gayfilmgeek]

Anemone Me (short film, 1990) dirs. Suzan-Lori Parks, Bruce Hainley

[greatrunner]

Short film is available on Vimeo for $3.00 to stream or download (YMVV on what "download" really means).

[probablyasocialecologist]

The Slow Release of the Epstein Files Is Psychological Conditioning . . . and It’s Working

The public is being shown just enough to know the truth, and to understand that nothing is going to happen.

Do Y’all remember the Pentagon Papers? When Daniel Ellsberg leaked them in 1971, the government panicked precisely because they all came out at once. The documents landed as a single, overwhelming moral event. They collapsed official narratives about Vietnam in one blow and ignited public outrage that couldn’t be staggered or softened. The lesson power learned from that moment was not “don’t lie,” but “never let the truth arrive whole again.” Since then, exposure has been redesigned to arrive in pieces that are manageable, deniable, and endlessly debatable. Do Y’all remember MKUltra? When details of the CIA’s human experimentation program began leaking in the 1970s, they didn’t surface as a single reckoning. They emerged through hearings, partial disclosures, missing files, and official shrugs. By the time the public understood the scale, which involved drugging civilians, experimenting on prisoners, and destroying records, the moment for accountability had already passed. The psychological effect was profound because people learned that even when the state admits to grotesque abuse, nothing necessarily follows. Remember Edward Snowden and the NSA surveillance revelations? This is one of the clearest modern parallels to the Epstein files debacle. At first, the disclosures were shocking. We saw mass data collection, warrantless surveillance, and the scope of the security state laid bare. But instead of a single, sustained confrontation, the information also arrived in waves. Each revelation triggered a brief spike of concern then followed by normalization. Over time, the public absorbed the idea that privacy was already gone and resistance was futile. Surveillance didn’t end. Folks simply adapted their expectations downward. The system didn’t change, but the public psyche did. You can also look at how the Catholic Church handled its abuse revelations. For decades, cases surfaced one diocese at a time, one report at a time, and one country at a time. The incremental exposure delayed full institutional reckoning and allowed the Church to posture as “addressing the issue” while continuing to protect itself. By the time the pattern was undeniable, many people were already exhausted, cynical, or resigned. Again, horror became procedural. What all these cases share is the same psychological outcome. When wrongdoing is revealed slowly, the public never experiences a unified moral demand moment. Instead, people are trained to live alongside the knowledge. To scroll past it. To argue about details. To accept that “this is just how it is” and nothing happens to powerful rich men.

20 December 2025

[some-1one]

Beautiful Rosefinch bird in the snow

[teenj12]

omg I have a new favorite bird.

[televisionenjoyer]

sims when you take away the pool ladder

[mikewheelerisaqueerler]

people making fun of will byers' bowl cut that defined his character so then they took it away last minute

people making fun of mike wheeler's long mushroom hair that kept growing so then they cut it off last minute

"conformity is killing the kids" and then a season later two of the main kids both lost their haircuts to conformity

[mcufam]

JOHN WALKER & BOB REYNOLDS in THUNDERBOLTS (2025)

[sovannadior]

Currently watching S3 of The Night Agent and I LOVE how Rose is haunting Peter's narrative even if she's not in the season.

[velvet4510]

Mike's s2 Speech to Will vs. Mike's s4 Speech to El

The main similarity between Mike's s2 monologue to Will and his s4 monologue to El is that they are both speeches in which Mike remembers the first time he met each of them in an effort to save each of them from supernatural control. But the differences are profoundly baked into the artistic compositions of each scene, especially in three particular aspects: the writing, acting, and cinematography, which are all polar opposites. Nobody is "delusional" to notice the creative choices that were made in each of these scenes. No matter if the filmmakers were intending for the El speech to be romantic and the Will speech to be not romantic, the fact remains that the finished scenes are vice versa in pretty much every way.

Writing: The speech to Will is entirely unprompted. Nobody else in the room asks Mike to say anything to Will, nor does Mike have any preconceived notion of what exactly Will wants to hear at this moment; he just says it, without hesitation. When he does, he describes with great specificity something that Will did for him. He admits how alone and scared he was until he saw Will that day, until Will became his ray of hope. He then recalls how Will accepted his offer to be friends, a simple action that changed everything for Mike. Finally, he describes their whole meeting as an active choice: the best thing he's ever done. And that's it. He doesn't embellish or dramatize his speech; the topic is clear and focused. There's nothing he needs to add; he connects with Will by simply speaking from his heart. He does not say anything cliche like “I love you” or “I can’t lose you”; he conveys those very sentiments by showing how much that specific moment meant to him, and still means to him to this day. On the other hand, the speech to El is prompted. Will urges Mike to say it, and Mike knows there is something El wants to hear, so he says it, only after a noticeable hesitation. He then launches into a long ramble full of what the text of s1 proves to be lies. His only specificity is in what her shirt looked like that day, then he switches to generalities. Instead of mentioning any specific moment where she actually did some particular thing that deeply affected him, he just makes claim after claim - “I love you on your good days AND your bad days” and “I can’t lose you” - without anything substantial to back them up. In short, though both are technically telling, El’s only has telling, while Will’s has showing within the telling.

Acting: Finn Wolfhard’s performances in these two scenes are night and day. At 14, he does some truly astounding work in his speech to Will, far surpassing the talent of most child actors at that age. He uses the “Will voice” the entire time, telling the story in that soft, low, tender tone and pitch. There is a restraint and yet a deep heartfelt passion in his face and his voice. And, in an extreme rarity for Mike, he openly sheds a tear. He doesn’t overdo it; he simply speaks directly from his soul to Will’s soul. It is an achingly intimate and emotionally genuine piece of acting. On the other hand, with El, he never whispers nor sheds any tears. Instead, he basically shouts. He speaks loudly and emphatically to her, which adds such a sense of artificiality to all his words, as his volume feels performative, like he’s thinking “I’m saying it, okay? happy now?” There is tension and pressure in his expression and overall physicality. It feels forced, not genuine. The eye contact is also polar opposite; he looks directly into Will’s open eyes, but there is a barrier between him and El since her eyes are closed and her reactions are literally a world away.

Cinematography: This is the most staggering comparison because the entire aesthetics of these scenes could not be less similar. The background behind Mike and Will is blackened, so that the room and people around them literally disappear, and they are placed into a visual world of just the two of them. They might as well be in the Void with how nonexistent their surroundings become. The camera is focused solely on the two of them; Mike’s baring of his soul, and Will’s reactions. Other people are in the room, but they are irrelevant, so they are entirely ignored. The shots of Mike include the back of Will’s head, emphasizing that Mike is saying this directly to him, rather than just sending words into space. Will’s reactions are brightly lit, symbolizing the light that Mike is restoring for him with his love. On the other hand, nothing is dimmed for Mike and El. The pizzeria remains visible behind him and the mindscape remains visible behind her. Not only that, but the camera does not stay with just the two of them. It also cuts away to draw attention to Will and Jonathan’s reactions, destroying any potential intimacy and adding to the sense of this being a performance with an audience. Also the shots of Mike either isolate him or frame him with Will visibly behind him; none of them frame him together with El. And El’s reaction shots show the vine tightening around her, and the lighting around her remaining dark and ominous and creepy; the visuals convey that his words are not moving her.

It’s not our fault that only one of these scenes was actually written, acted, and photographed to be romantic.

[velvet4510]

El needed the “independence from men” arc, not Nancy.

Steve needed the “it’s okay if your crush doesn’t like you back” arc, not Will.

Mike needed the “you’re braver than you think” arc, not Holly.

Mileven needed the “shared trauma doesn’t mean we’re compatible” breakup, not Jancy.

Byler needed the “I just needed you” resolution, not Lumax.

Either Willel or Elmax needed the “you understand me better than anyone” resolution, not Mileven.

They kept giving the right arcs to the wrong characters and the wrong relationships.

[teenj12]

forever reblogging this.

[ashcremated]

Winter, spring, summer and fall, four seasons, four loves

(i did this art for the zukka week of a couple of years ago but zukka still real and true 🤟🔥)

[labinoche]

the X files; Scully&Mulder kiss (7x04 Millennium)

[vllevalo]

lewis pullman as robert ‘bob’ reynolds

thunderbolts* (2025) dir. jake schreier

[thewisewill80sbyers]

The amount of effort put into queerbaiting in Stranger Things is something mind-blowing btw I've never seen so much care and work to fake a character being queer randomly... all the evident parallels ended up not meaning shit but are all still there

[stonathandreamer]

Fucker brothers be like: "We made Will realize he doesn't need Mike's love because it's realistic"

Oh, so now you wanna be realistic with your little shit show? Now? At the very end? Fine, let's be realistic.

nancy would never be able to properly wield a military-level rifle, as the recoil would throw her to the ground;

A gay boy in the 80s wouldn't come out to a group of +15 people. Why is Will coming out to Kali?! To Mr. Clarke?! To creep-o murray?!

15 year olds aren't smarter than military troops and actual scientists;

Hopper wouldn't survive the explosion of Starcourt Mall in Season 3;

Monsters aren't real;

Neither are telephatic powers;

The kids' parents wouldn't let their kids spend all night away from home while their town is under military occupation—you don't actually expect me to believe Claudia, Sue, Charles, Karen, and Ted are all okay with their kids being away from home every night, do you?

Two teens and a kid wouldn't be able to infiltrate a USSR top-secret base;

Steve wouldn't be able to tackle a fully-trained soviet soldier;

Robin wouldn't know russian—it's the cold war, why would someone from the US, and someone from a tiny town in Indiana, on top of that, know Russian??

And even if she did, I doubt she would be able to decode a top-secret military code;

All of those kids/main characters would be charged for high treason for attacking US soldiers, and nancy (who somehow is totally fine with killing people now) would be sentenced to death, as Indiana has the death penalty;

Jonathan would either resent or deeply loathe Joyce for her neglecting him and her obvious favoritism of Will;

Vecna would have snapped Joyce's neck when she came running at him at MAC-Z. He just killed 40 people with ease, why would he spare Joyce?

Lucas wouldn't be strong enough to kick a Demodog—those creatures just tackled fully grown men, but a 16-year-old can beat them?

Ted and Karen would be dead due to bloodloss by the time an ambulance got to their home;

Karen wouldn't be able to walk with those injuries—it's been, what? Two days since the attack? Nah, she would be weak as hell;

Jonathan wouldn't waste his money buying a ring just to dump his girlfriend—who does that?!

Jonathan, a poor kid, wouldn't throw away his girlfriend's clothes;

Joyce would never be able to infiltrate a USSR top-secret prison, rescue Hopper, and get out.

But sure, let's be realistic and have the gay kid realize his feelings are unrequited after a day and move on. 👍🏻

[prodigal-daughter]

post-canon madwise sleepover where will tells max about all the mixed signals mike gave him and she genuinely loses it.

[crown-prince-zuko]

Happy Lumax everyone.