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Just knowing that Brennan Lee Mulligan has a bunch of NPC Drama that he just hasn't released because it would get in the way of the PCs doing things makes me just want to know what it is
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Firstly, the exact moment the song sings "Sunshine", Hunter spots Kip in the audience; the second time "I need sunshine" is sang, the whole line is accompanied by just a shot of Kip in the audience, echoing back to what Elena said "He deserves sunshine, so do you"
Not only that, but the light behind him shines bright at the word too
Secondly, this is an example of what I said about Francois and Robbie conveying an incredible about of internal emotion with very limited screen time: (timestamps are in references to this embedded videoďź
00:00 - 00:08: Scott's actually pretty dejected: all his team mates' family and loved ones came to watch and came onto the ice, but he doesn't have any one
00:09: at "Sunshine" he spots Kip
00:10-00:11: You can see Scott going "Oh"
00:15- 00:17: Scott glances down, that's him thinking and processing everything: the fact that they won, and the fact that Kip's here
00:16 - 00:18: Scott looks back up at Kip, exhales, swallows, as if he's making a decision
And then the next time we cut to him he's skating towards Kip
In two shots through Francois' incredible acting, we see the exact moment and process of Scott deciding to change the game
Scott and Kipâs moment and how Shane and Ilya reacted is why queer visibility is so important.
Conservative people always say queer people shouldnât be so loud or open about who we are. Theyâll tell us to hide away, to keep our âlife styleâ private and âno one needs to see that.â They hate seeing any amount of queer representation and think itâs âindoctrination.â
Well other queer people need to see that representation. We need to see other people like us who can be ourselves loudly and proudly. It means the world to see people who are like you out in the world who are happy. Especially in spaces where you donât often see that representation. Itâs so much less scary knowing youâre not alone. Representation and community is everything.
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This guy (Cory Doctorow) wrote the book on Enshittification. He is pretty much describing what is happening in the United States economy as of 2025. Rightwing economists spent decades weakening the government's ability to regulate anticompetitive behavior and break up monopolies to the point that those companies merged and grew big enough to hold more power than the government or society at large. And they use that power and legal immunity every day to enrich themselves by siphoning surplus value from customers and workers and giving it to shareholders.
[waving] Hi, hello, it's me, the old gen-x'er on your dash! How's it going kids? [bad, it's going bad, I know, sorry for asking]. Let me tell you a personal story of how I watched exactly this play out in my social circles.
Anecdotally, my fellow cohort of gen-x'ers were convinced this was going to be the solution, the ticket, the fucking way. Inevitably, all we had to do was outlive these old mayonnaise white devils, because that's where the racism was societally stored - like a big racism appendix that would get removed someday.
We thought we knew what was up because we were cool white kids who listened to Public Enemy. And because we thought we were largely inoculated against racism, it was just a long cool slide into the Clinton years and we'd be set.
So we didn't question shit like South Park. We didn't question shitheads like 'ironic' (at the time) racists like Weev in our IRC channel. We had zero fucking awareness of how racism shifted, because the only examples of racism we were ever taught either wore a white robe & burned crosses, or sig-heil'd and lived in misery. We shamefully thought racism = southern*, and since we were alt-goth kids living on the west coast, we were fucking sorted out and safe.
It wasn't on our radar. We weren't ready. We hadn't listened to anyone, because we thought we'd learned enough to not be a problem, and wasn't that enough?
We didn't clock or understand the way racist language shifted into a new economic handwringing. We fell into stupid rhetorical traps that snuck racism into concerns about unhoused people and substance abuse. We refused to recognize and realize our own inherent racist attitudes because of the sunk cost fallacy of wanting to believe we really didn't have to do anything other than be cool and wait it out.
I watched some people absolutely lose their shit when called out on this and flounce directly into the arms of right wing philosophy (always some variation on "left wing politics has gone too far!" when it's pointed out how they're upholding inequality with a cherished attitude or anecdote they've leaned on for years to prop up the mythology of their self-worth).
No one was ready to realize they weren't good just by being alternative. And some of them cracked apart.
Racism has a full time advertising budget ready to repackage and rebadge it minute to minute, and you always have to do the work. It never ever fucking stops. And making sure you're always doing the work has the very valuable side-benefit of keeping you in touch with yourself and what you're about.
I actually don't think culture shapes the survivors' responses as much as people are making it out to. Yes, Carol comes from a very American individualist standpoint, but also, she's the only one of them who lost the one person she loved due to the joining. Apart from Koumba, everyone else still has family, or the illusion that they do, which plays a significant role in how they think about the hivemind.
As viewers, we like to individualise Zosia. It's difficult for us to remember that, at this point, that individual is simply a vessel of the hivemind like everyone else is. Even Carol keeps turning to her when talking to the hive at the dinner, even though she could easily address someone closer to her. So imagine how difficult it is for the other immune to remember that their loved ones are not their loved ones, when the hive is so good at maintaining a semblance of normality.
Everything is so carefully crafted to manipulate them. Look at Laxmi's mother and husband -- two hive vessels! -- talking to each other. Otgonbayar's daughter and Xiu Mei's husband having normal conversations with them. Ravi grinning at his nuggets and chips like any 9-year-old would (the food choices are a deliberate part of the show, of course), reacting to Laxmi's smiles and encouragement. Kusimayu positioned between her aunt and cousin, under her aunt's maternal gaze, to encourage her desire to join them.
For us humans, it is near impossible not to fall for this. To not cling to the illusion, the hope, despite knowing the reality. Our brains have a hard time grasping the concept of consciousness as it is, and we're not wired to see individuals and think of them as one being! The loved ones are behaving exactly like themselves. Maybe there's a bit of uncanny valley there, but for the most part the act is entirely convincing. So the other survivors' reactions are not only understandable, they're inevitable, and it doesn't really have to do with their cultures.
As parents, Laxmi and Otgonbayar would believe absolutely anything if it means holding onto the idea that their children are still alive. Xiu Mei can't bear to consider herself a widow when her husband is right there laughing with her. Kusimayu is a frightened teenager who just wants to be with her family.
Just like Carol, they have lost everything and everyone to the joining, but unlike her, they have been given the horribly cruel and devastatingly kind illusion that they haven't.
Koumba is another matter. He hasn't lost anyone, because he never had anyone in the first place. You can find a more detailed discussion of this on my blog or in the Pluribus community, but, in short: we know his mother died in childbirth because of his name, and he's obviously not mourning, yet has no loved ones with him. While Carol is reacting to the murder of her wife and the violation of everything they had together, and the others are trying to maintain their past realities, Koumba is going through the sudden high of being offered everything he could ever want, and never had.
⢠This knitted elephant with his bright red saddle-cloth will bring long-lasting joy to a kiddie. Easy to make too. Just follow directions to success.
Materials required: 3 skeins Sun-Glo shrinkproof or Sunbeam super 3-ply fingering wool, shade No. 347 (grey); 1 skein shade No. 2138 (red), and a small quantity of yellow and white wol; 1 pair No. 11 needles; 1 crochet hook; 2 black shoe buttons.
Using double wool throughout, cast on 16 sts. K 2 rows (working into back of sts. on the lst row).
3rd Row: K twice into lst st., k to end.
4th Row: Cast on 21 sts., for hind leg, k to end (38 sts.).
5th Row: K twice into 1st st., k to end.
6th Row: K. Repeat 5th and 6th rows 5 more times (44 sts.). K 5 rows.
22nd Row: Cast off 19 sts., k to end.
23rd Row: K.
24th Row: K 2 tog., k to end. K 26 rows.
51st Row: K twice into last st. of row.
52nd Row: K.
53rd Row: K twice into 1st st. (neck edge), k to end.
54th Row: Cast on 19 sts. for foreleg, k to end.
55th Row: K twice into 1st st., k to end.
56th Row: K. Repeat 55th and 56th rows 7 more times (53 sts).
71st Row: K twice into lst st., k to end.
72nd Row: Cast off 24 sts., k to end (30 sts.).
73rd Row: K to last 2 sts., k 2 tog.
74th Row: K. Repeat 73rd and 74th rows twice (27sts.).
79th Row: K to last 2 sts., k 2 tog. Repeat 79th row 3 times (23 sts.). K 4 rows.
87th Row: K 2 tog., k to last st., k twice into last st.
88th Row: K. Repeat 87th and 88th rows twice.
93rd Row: K 2 tog., k to end.
94th Row: Cast on 20 sts., k to last 2 sts., k 2 tog. (41 sts.).
95th Row: (R 2 tog.) twice, k to end (39 sts.).
96th Row: K to last 4 sts. (k 2 tog.) twice. Repeat 95th and 96th rows 4 more times (21 sts.). Cast off. Work another piec the same way.
THE UNDERBODY AND INSIDE OF LEGS
Cast on 3 sts. and k into back of sts.
2nd Row: K twice into 1st st., k to last st., k twice into last st.
3rd Row: K. Repeat last 2 rows twice (9 sts.).
8th Row: Cast on 21 sts. for hind leg, k to end. Repeat last row. K 16 rows.
26th Row: Cast off 19 sts., k to end (32 sts.). Repeat 26th row (13 sts).
28th Row: K 2 tog., k to last 2 sts., k 2 tog. K 25 rows.
54 Row: K twice into Ist st., k to last st., k twice into last st.
55th Row: K.
56th Row: Cast on 19 sts. for foreleg, k to end. Repeat 56th row. K 16 rows.
74th Row: Cast off 24 sts., k to end (27 sts.). Repeat 74th row (3 sts.).
76th Row: K twice into 1st and last sts. K 5 rows.
82nd Row: K 2 tog., k to last 2 sts., k 2 tog. Cast off.
FOOT-PADS
Cast on 4 sts., k into back of sts.
2nd Row: K twice into 1st st., k to last st., k twice into last st.
3rd Row: K. Repeat 2nd and 3rd rows. K 4 rows.
10th Row: K 2 tog., k to last 2 sts., k 2 tog.
11th Row: K. Repeat 10th and 11th rows (4 sts.). Cast off. Make 3 more pieces the same.
EARS
Cast on 4 sts., k into back of sts.
2nd Row: K twice, into 1st st., k to last st., k twice. into last st. K 3 rows. Repeat last 4 rows (8 sts.).
10th Row: K twice into 1st st., k to last st., k twice into last st.
11th Row: K. Repeat 10th and 1lth rows 4 times (18 sts.). K 14 rows.
34th Row: K 2 tog., k to last 2 sts., k 2 tog.
35th Row: K. Repeat 34th and 35th rows twice.
40th Row: K 5, k. 2 tog., k 5.
41st Row: K
42nd Row: K 4, k 2 tog., k 5. K 1 row. Cast off. Make another ear the same.
TAIL
Cast on 3 sts. K lst row into back of sts.
2nd Row: K twice into 1st and last sts.
3rd Row: K. Repeat last 2 rows twice. K 6 rows.
14th Row: K 2 tog., k to last 2 sts., k 2 tog. K 7 rows. Repeat the last 8 rows. K 8 rows. Cast off.
SADDLE-CLOTH
Using red wool, cast on 20 sts. Work 60 rows st.-st. Cast off 7 sts. at the beginning of the next 2 rows. K 40 rows or enough to go round body on these 6 sts. Cast off.
Join to opposite side of saddle-cloth.
Using yellow wool, work 1 row of d.c. round saddle-cloth, working 3 times into each corner st. to keep work flat.
TUSKS
Using white wool, crochet 11 chain. Miss the 1st chain and work 1 d.c. into each of next 5 chain, then sl.-stitch along the remaining 5 ch. Fasten off.
Make another tusk the same way.
TO MAKE UP
Sew the 2 pieces of body together from neck to end of back, press this seam and the rest of the knitting.
Sew from the throat along the trunk over the head to the neck. Sew in the under-body and foot-pads. Stufi well with any suitable material, stuffing the legs, head, and trunk well to make a good shape. Sew up back opening. Sew along the seam of tail and stuff lightly.
Sew the ears in position, and sew on buttons for eyes.
Sew on tusks, placing the broad part of the face and stitch the narrow end to the trunk. Sew on saddle-cloth.
I used Lion Brand Re-spun worsted weight (it's more like light worsted) held double and US 7 needles.
He's about 10" tall and 16" long.
I did a few modifications. The pattern has some crochet (tusks and saddle edging). I love crochet and consider myself a crocheter before a knitter, but I wanted to keep him entirely knitted. I did the tusks as an icord and modified the saddle to have a seed stitch edge. Also, with the way I did the saddle, I was trying to keep 6 strands of yarn organized. Probably the hardest part of the pattern, but entirely self-imposed.
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when the door first opened and those familiar brown eyes latched onto him, did he shiver inside as he saw seong gi-hun staring back at him?
and then:
'knows' not 'knew' i wonder if he sees gi-hun in mirrors and out of the corner of his eye? does he dream of him, his smile, his laugh every night? does he see the lack of life in his expression as he stared at his broken form and was the last to mourn his body over and over again? does in-ho hear his voice whispering through the darkness of his mind?
the fact he couldn't meet her eyes. so long he spent staring at gi-hun, obsessing, and he finally meets the copy of him and he can't look in her eyes. looking into her eyes, seeing the life, seeing the familiarity.
gi-hun lives through ga-yeong and he can't bear to look.
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