excess meta & cheers-collecting sideblog to @readbetween. you could treat this as a fandom and discussion blog, whereas my roleplay blog's relatively private.

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@1982-1993
excess meta & cheers-collecting sideblog to @readbetween. you could treat this as a fandom and discussion blog, whereas my roleplay blog's relatively private.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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an untold risk about bartending that will mentally creep up on you if you're not mindful to it, is that, because you're talking to crowds of people on a daily basis & learning about their lives, while telling them the same old about your own* because time doesn't move as quickly as the volume of Lives you hear about (*when i don't feel like shutting them down lol for ~trespassing on private property~) you begin feeling more like a passive observer of lives than an active participant in your own. it can feel like your job is facilitating. and being a witness. to other lives. you're here in this purgatory seeing patrons through who come & go. that's actually a beautiful part of the job & human connection, but you have to catch that sort of feeling if it starts to diminish! before it affects you subconsciously!
but the reason why i am posting this observation here is because it has me flashing on the Tragedy of s(am) m(alone), and how in the end/show's finale, everyone has something outside of the bar (whether a person, pursuit, what have you! just something outside it) to go home to but.... sam's.... left with his bar. just his bar. in the darkness. lights out. closing time. then we see him through the door?! like he can't leave his purgatory because where would he go?
it's bittersweet and existential and he brought about his own self-alienation, ultimately and it's supposed to be all these things because in the end cheers is both (but not just) a. a romantic tragedy; and a b. cautionary tale, through the mechanisms of satire, but, AHHHHHH! the way this show harnessed setting! just absolutely artful
what the fuck ever, man
i have observed in the cheers fandom today a tendency to misdirect feelings of missing diane into a dislike of rebecca, or what circulates still is this false idea that rebecca's character was never her own independently but was contingent on dethroning sam/diane as the show's heart and sinking ship (which isn't supported anywhere by the text: the writers never wrote their dynamic as remotely identical or as the show's axis. i wouldn't even say they wrote them as a "ship." this is a reading that's riddled with issues as well.)
what's lost in that vitriol is the recognition that diane and rebecca would have supported each other as two women who were under-recognized and undervalued in their particular spheres, one being the academic elite and another the business world. in just a comparison of those worlds and structures, it becomes clear that they're dealing with several of the same types of sharks. take the boogeyman of john allen hill for instance, who sits neatly at their crossroads as the refined proprietor. (this is one intriguing way cheers kept the class satire going past the diane years: pivoting to instead look at corporations [robin colcord/lillian corp] and how corrupt white collar professionals divest power from blue collar small businesses and their owners, i.e., sam; through capitalistic ventures.)
in a world where diane and rebecca co-existed, i think that if they spooked each other it would only be through how they'd prompt self-reflection in each other (akin to the workings of the sam/diane dynamic) re. striving, ambition, and, again, who they're up against, inevitably resulting in a few, "oh god. am i like this?" moments, which would have been apt humor for the show, that is, sweet and consolatory, but existential and without being interpersonally simple or straightforward. the bottom line is they would appreciate each other, although they may not always agree with each other. (sam could not have run cheers on his own into the 1990's. there could have been a place for rebecca even in such a world! frankly, imagining sam/diane fix-its where rebecca's a presence is great fun.)
and those Riddled Issues: 1. expected disclaimer: we just need to re-cast rebecca. but thanks to laurel, we have. ;-) 2. sam and rebecca were best suited for the "antagonistic siblings" configuration. that conceptualization for them from the get-go would have remedied the problems in the writing of the rebecca years. but all that (on how the characters were reconfigured to function as Syntax for different commentaries, and where the writing suffered from this decision) is a post for another day. otherwise i might gloss over points about the show's execution and ultimately reinforce the "shelley leaving the show ruined it" mode of thinking which only 1. keeps the blame pinned on shelley long who's been blamed enough, and 2. i just don't agree with this because it's not true. cheers ran for 11 seasons and won more awards than i have fingers for. i say this despite my iron-clad belief that the best writing was, indeed, the diane years.
i keep forgetting (we're not in love anymore) by michael mcdonald playing from another room

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming