OP turned reblogs off but as someone with a crazy wicked scar that's been called "body horror" a few times, I really wanted this on my blog

Wow! Well, isn’t that another example of Viv not giving a flying fuck about anything but her fujoshi “self-service”? I guess it is!

this gets reposted on twitter a lot apparently and it's the best thing i've seen in a while related to how the series actually works behind the mask of what it's trying to be without using obviously incriminating terms. for all of adam's faults he was right, even if for the wrong reasons, and unfortunately that will never be acknowledged.

the artist is TioLimonD (private account, so thank you to the one person who gave a name since reverse image search hardly helped with countless results!).

irl, i live alone. irl, i am disabled. irl, that intersection and my lack of interest in partnering actively makes life really hard. everything is expensive. i can't always cook when i want to or have fresh ingredients, because my symptoms don't care if I want to cut up vegetables and eat something homemade before they go bad. if I have a bad flareup and getting up is not in the cards, that's it. i have what's next to me. the lack of social support for single folks, for disabled folks, for folks whose family care is inadequate or damaging... it's impactful.

I talk about how i once visited a place with an ex partner. i mention how our relationship started because i was pressured into it, and i wasn't really into the level of seriousness and 'forever' she treated it with. everyone says it's weird that i agreed if i didn't want it to be serious. i remember being 16, saying no, and a chorus of people telling me i was stupid and immature, that her family was rich, that we would be cute and to listen to them, not my heart. my heart was saying nothing.

i look at my current age and life goals. for many of my peers, dating and marriage and eventual kids are common goals. i am watching my rights erode and trying to practice good mental hygeine. my five year goal is to be alive. my next major life milestone is a nebulous desire to find a life i can tolerate living.

being aromantic significantly impacts my day to day. i want to see aro people living their lives, and doing so with joy. i want to see aro adults making it, ones like me. i want aro people to thrive. i want to live, aromantically.

The next shot pans backward towards two guys by the door of this bedroom, the black bar now gone. One has brown curly hair and blue jeans, and holds a can of whipped cream. The other has similar hair, a gray hoodie and shorts, and a camera in hand with the light on. As the first guy throws his can of whipped cream at the camera, angled to be where the bed was, he quickly tells to the guy behind him: "Go go go!". Some dramatic music starts playing.

The camera quickly turns back to the guy who is covered in the ingredients, looking around himself confused, as well as shows how the can of whipped cream lands in the bed. This second long shot switches back to the two guys, who rapidly exit out the room, a close up shot showing the man with the jeans closing the door, which makes the music stop playing. He looks toward his friend and says "Run it". The other guy turns to the thermostat and turns it up to 350 degrees Fahrenheit with a brief music clip that matches how the temperature is rising and ends as he finishes entering it in. A cooking timer is heard as the two boys look and wait at the door, the white shirt even checking his watch. As it dings, they open the door, where they see the man in the bed with a fully baked cake on his lap. A woman can be heard vocalizing, some mystical and magical music playing. The sleeping man looks confused as he stares at this cake. As the two boys look at it, one goes "No way".

From the back, someone else asks "Is that for sale?" in doing so cutting off the music, the camera turning over to show a bearded man in a gray long-sleeved shirt and jeans. The other two boys look confused, one of which responding with "uh... sure." The next shot is them being given a 100 dollar bill, to which a cashier sound is played, and the cake being handed over. Sentimental music starts playing as it shows the bearded man holding the cake and saying "Thank you". As he exits, a new man appears from around the corner. He has a teal short-sleeve with black and white striped long-sleeves underneath. He puts away his phone as he says "I'm gonna get two carrot cakes, one strawberry, one banana, three pecans-". As he talks, the music stops, cutting over to the boys, who now have a TV menu behind them. It cuts over to the man ordering again, who impatiently asks "Are you guys writing this down or?". As we look back at the two boys, an editing boom plays to emphasize their outfit change, which is now into full chef uniforms with hats. They stare at the camera confused. The other man is heard continuing to berate them in the background, "Like, what are we doing?". One of them is sent to the back and some pots moving around can be heard as the other pulls out a pencil and notebook. He tells the man: "Sorry, could you, uh, repeat that again?". The teal-shirt man, with an upset smiles, says "two butter pecans-"

He is cut off as a confessional-style shot is filmed. The chef with the notepad is in front of a red background, with a golden text box that reads "Grant Beans" and "Master Chef" in all caps below it. He speaks to the camera: "Rule number one, never let the customer see weakness, it's bad for morale." A shot of him putting the written order in his mouth is seen, then it cuts to the other chef, who is aggressively mixing something unseen in a metal bowl with a whisk. Dramatic background music is playing. There's a few shots of the bedroom-now-kitchen busy with cooking as Grant Beans continues talking over the shots. "Because if you don't have the customer's confidence, then what do you have?" At the last part, it cuts back to him talking, the music stopping dramatically. After a second, we cut back to the kitchen, dramatic music picking back up. Grand Beans at first off camera then on camera yells to the chefs the order: "We got two carrots, three pecans, five blueberries, one pound cake!" He reads off a sheet he holds in one hand and shows on his other the amounts he reads. The camera pans over to another chef who turns around to where the camera is: "Didn't we have an order of pound cake come in like an hour ago?". Another chef with short curls coming out of his hat is cut over to, saying "we're a little behind, it happens." It goes back to the other chef, with his arms out defensively and yelling: "Okay, okay, well the simple fact is if they would have baked the sponge-" A pressure releasing sound puts emphasis on that, as well as briefly cutting over to the curly-haired chef who puts his hand on the side of his head in stress before cutting back- "when they were supposed to, we wouldn't be in this mess!". Another chef is cut over to, who says "Look, nobody's slacking!". The first chef asks "What about him? What's he doing", gesturing to a figure out of frame before it shows the man who was asleep in bed, rubbing his hands across his face tiredly. He says, "I was trying to sleep before you guys came in here!". A shot from the bed is shown as the first man angerly leans in at the camera, saying "Oh yeah, you wanna talk about it?" as the music stops.

As it cuts back over to the man in bed, he's now in a gray shirt, microphone in front of him as he grabs the extender on it to bring it closer. The tone of everyone changes as he goes "Yeah, we should talk about it." It cuts over to the blue hoodied man from before as he sits in a chair also with a mic and goes "Yeah, we should really talk about it." Another cut is made over to the man in the white shirt, who also has a microphone and goes "I think we should really talk about it." The video style moves away from the cooking drama-show to a Tiktok-clipped podcast, as a whoosh sound effect plays cutting back over to blue hoodie man with chill background music playing and white glowing text showing one word at a time of what they're saying. Each cut between the three is done with a transition that makes them blur and glow. For sake of transcribing clearly, the man in bed is man 1, hoodie is man 2, and white shirt is man 3.

Man 2: Do y'all mind if I about something first?

Man 1: Let's do it!

Man 3: Oh yeah, I'm ready.

Man 2: Okay, hear I go! Have y'all heard that new conspiracy theory about the mob? (As he speaks, an image of a man inspecting something then a black and white image of two well dressed men in bowler hats and coats appear on screen.)

Man 1: Uh, no! (At the "no", an emoji of a woman with her arms crossed in an X appears above it. The man himself looks at the camera with an exaggerated confused expression.)

Man 3: No, tell me more!

Man 2: So allegedly, the mob (While this is being discussed, a phone transition shows photos of the mob) has this completely normal bakery (At the word "bakery" appearing, a bagel emoji appears above it. Additionally, an image of a bakery is displayed over the mob, with a computer digital mouse clicking on it, which is accompanied by a clicking noise.) where you can walk in and order pies or cakes or whatever (The "whatever" word caption is accompanied by an emoji of a man in a white shirt shrugging. Some stock footage of a bakery can be seen.), but the whole bakery (Once again, the "bakery" caption has a bagel emoji about it. Additionally, stock footage of the mafia is shown.) is just a front so they can distribute their drugs (At the caption "drugs" a pill emoji is put above it. As they cut away from it, they show shots of the sky and an eagle cry is played.) in broad daylight. Apparently, they're hiding the drugs (Once again, "drugs" caption is accompanied by pill emoji above it.) under the pies then selling them in specially marked boxes (Boxes is accompanied with a box emoji above it's caption.).

Man 1: (The stock footage stops here.) Why is reminding me of Breaking Bad? (As "reminding" appears on screen, above it's caption is a bell emoji.)

The shot itself shows someone off camera holding a phone outside in the dark, the audio now sounding more like it came out of a mobile device and less clear than before. The camera flips to show the teal-shirt man from before watching it on his phone.

Man 3: Dude, right? Hey, should we kiss?

The talking stops as the man puts the phone away and looking around him nervously, guitar strings played dramatically are heard. The camera pans out to show a man in a black long-sleeved shirt walking by the storage compartment he was leaning by, now in full view, with a cop siren distant in the background. As they conversate, the camera shows them both up close when they speak.

Black shirt: You the guy?

Teal shirt: Hundred dollars a gram, take it or leave it. (He's leaned against a stack of white boxes which goes up to his arm pit.)

The black shirt man hands him a 100 dollar bill as he grabs a white box from the top, looking out behind him as he walks away. The music gets more mysterious and dramatic. As he walks, the camera shows two chefs in white aprons and chef hats, but with black striped suits with red ties and slicked back hair. One of the men talks to the teal shirt: "You reselling our product Joe?". He grabs hold of his chef hat.

Teal shirt, or Joe, looks at them and says "Hey fellas."

The two men walk towards him, both holding crowbars. Their aprons are gone, and their chef hats are replaced with white bowler hats, and the first one can be seen tossing his hat to the side. The other one of the two now speaks, saying "I think you need an adjustment, Joe." He threateningly lightly hits the crowbar against his palm.

"Woah, who do you guys think you are?" Joe says as he slightly holds up his hands defensively. The camera cuts back over to the man in the long-sleeved black shirt, who peaks out behind another storage container, box still in his hands.

The first mafia man, who is now more obvious to have been "Grand Beans" from the chef-drama section, has a close up shot of him yelling at Joe. "I think I'm the biggest drug dealer in the history of New York, and there's nothing you can do to stop me!"

As it cuts back to Joe, the stack of boxes is gone. With a smile, Joe lifts up his shirt to show a listening device put into his belly button. It cuts back to the mafia man, who defeatedly goes "Oh." as he lowers his arms and stops fighting (the music also stops as the listening device is revealed). Looking back again at the black shirt man, he now no longer has tt a police costume on and a radio in hand with the box in the other. He speaks into the radio, "We got him." as he runs around the corner he was hiding at. He tosses the box to the side as he runs towards the group, yelling "Get on the ground!".