I’m going to paint you a picture of modern communication, and how it is fundamentally broken.
Let’s look at one friend. You chat pretty much everyday, and mostly talk to this person on twitter and discord, with occasional tumblr DMs. That’s three places you talk. But that’s actually not true, because you also have each other’s priv twitters and talk there as well. That’s four. Now account for, let’s say, one post reply per account per person, in addition to your DMs. That’s eight. But that’s ALSO not true, because not only do you talk in discord DMs with each other, but you’re in a friend group server as well! And you talk in those channels together! That’s nine.
This is one friend.
Now look around you. How many friends, how many mutuals are you in contact with. A few, a handful, a dozen, more? How many accounts per person do you have, how many places can you send each other posts, devolve into separate topics and conversations? How many people text you as well. Friends, family, coworkers? What do you do day to day around catching up, what IRL commitments will rip you away long enough to let the pile build again?
I can’t do it. I cannot live an actual life in the real world and balance this much interaction, it’s crushing. I reply to a friend’s post because I’m interested in the subject, I want to have a discussion! I WANT to talk about it with them, but I immediately kick myself for adding another conversation to the pile. Day by day, I ignore messages for hours on end and watch mountains pile around me, to reply en masse at the end of the night to let the cycle repeat. I wake up to six discord DMs and as I clear the third, the first replies back again.
We weren’t meant to have thirty simultaneous conversations. We weren’t. And you know in your bones that the number isn’t an exaggeration.
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Color theory in Mean Girls 2024 (and 2004) and why it matters (long post ahead)
So, like a lot of us, I've seen and fallen down the Mean Girls rabbit hole, and say about the outfits what you will, the costume designs actually did a great job displaying symbolism in characters like Regina and Cady through color alone, let me explain
Random Disclaimer: I'm aware that a lot of what I'm about to talk about was utilized in the original, I'm mostly pulling pictures from the newest version since it's the main focus of this post. There will be mentions of the original, but the newest iteration is my main focus today ^^
Let's start with the film's use of Black
Now, we know in Regina's first appearance in the original, she's first seen wearing pink like the rest of the plastics and doesn't wear black until much later in the film (which I will get to don't worry lol) but what's different with this newest version and what I find interesting, is the decision for Regina's introductory outfit to be entirely black.
now you could be saying, "But Amaru, black is sexy, seductive, of course she'd be wearing it." And you're right! But, black also has some different meanings outside of that, which is power.
The first time Regina walks in, time stops. Everyone's eyes are on her, Cady is in awe, and to sum up the musical number, Regina has complete control over everyone. It's seen again when she sits amongst Karen and Gretchen,, but Regina stands out as the only one wearing such a bold black outfit, signifying her control over the two of them. And not to mention the second she gains even more control over the school by creating an entirely new fashion trend, she's wearing an entirely black dress
Now let's talk about the color, Blue and how it ties in with Black
So, when Regina falls from grace and is shunned from the plastics, notice that it's the first time she wears blue. Blue has about a dozen or more different meanings, but the one I'm gonna focus on now is that Blue can be seen as both a conservative and depressed color
Everyone's eyes are on her in this shot, but this time for a completely different reason than in the beginning, and because we brought up how blue can be conservative, we could read this as Regina not only being upset but not wanting to be perceived.
Let's circle back around to Black and why it's important with Cady
The first time she wears black is when she takes over Regina's role within the plastics and makes the final decision on whether or not Regina can sit with the group. Yes, she's wearing blue, which we will also get to, but also wears a black skirt. It's the color palette she wears for the entire second act.
When she's seen wearing all black, it's at her house party while having reign over the plastics and taking the title of the most popular girl in school. It's also when Aaron calls her a clone of Regina, and Janis confronts her about lying. There she has the realization that she has indeed become Regina.
Remember what we talked about with Regina with Blue? Well, let's apply that same logic to Cady.
During a rewatch I noticed how that during "World Burn" and the scenes that follow, Cady is shot from the waist up, only showing the blue part of her outfit, whenever someone brings up the book, or she thinks Janis and Damian are onto her, or even when they ignore her in the gym, you can only see the blue. (Yes, you could argue the angle was used in other shots, but this felt more deliberate, especially with how much the blue stood out against the otherwise dark color palette of other students and the background) Which from before we established as conservative. meaning that not only does she not want to be perceived by Regina, but as the one who wrote in the Burn Book in the first place.
Okay, let's go back to Regina one more time, and talk about her more prominent black outfit, during "World Burn" and when she releases the book for the school to see and causes a riot. (This is also being applied to the original as well)
Since we've established black is a symbol of power, we can see as more chaos descends on the school (as also seen in the original) Regina is placed in the middle of the crowd, all in black. It shows how she has control over people once again through manipulation. Therefore, showing that she's back on top.
And that's it, everybody! Thank you for coming to my TED talk
Sincerely,
someone who has thought about this waaaaay too much after doing extensive color research for a presentation and does a lot of character design
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Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.
I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.
Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?
How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"
And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.
So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.
So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.
And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.
-
And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.
Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.
And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.
So you sail away in a boat together.
And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.
But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.
But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.
You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.
And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-
-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.
You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.
-
And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.
It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.
And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.
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Interesting thing about Lincoln.
As a person and a politician, he was defined by his way with words. He was a lawyer, which involves speaking in courtrooms and appealing to audiences. He rose to national prominence because of how well he did in a series of public debates. He wrote speeches that have lasted through the ages because of their concise yet vivid phrasing.
He understood the world through the lens of storytelling. He had anecdotes for every situation, and constantly used them to provide metaphors explaining his stances or his strategy or his view of an issue.
As president during a Civil War, a huge part of his job was crafting the narrative explaining what they were fighting for. The Gettysburg Address reframed the national narrative so the founding moment of the country wasn't the ratification of the Constitution--as the South claimed--but the Declaration of Independence that listed the ideals that all the states should be held to. Of course, the South was doing the same thing, so that the conflict was not only a battle of muskets and cannons--it was a war of stories.
And he was killed by an actor.
In a theater.
He was struck down by an opposing storyteller in a palace of artifice. An actress made a point of cradling his dying head in her lap so she could have a part in the drama. He lived by stories and died as the center of one, in a place made for telling such stories.
It's poetic and tragic and so shockingly fitting that the war of stories claimed him as its central victim.
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