Lena with no friends writing fake pleas for help on notes and tossing them out to sea, only for lonely left-out Webby to find them and follow them back to her-
Lena deciding to leave Magica, just to be reminded that she can’t- being forced to give up the friendship bracelet Webby made for her and laying it gently in the same salt water…
Lena's not at her waterside hideout, the writings she left behind say she was Magica's shadow spy, but Webby doesn't believe that and her friendship bracelet gives Lena a way to come back- for a moment- long enough to prove Webby right
Lena's gone in the nightmare. Magica's here. She's wearing Lena's friendship bracelet, she just pushed Webby out of harm's way; Webby realizes she's actually Lena-
this time she gets to save her. A few tears, a bit of salt water spilled between them, a few carefully woven threads, and the nightmare ends
Lena standing in the middle of a swamp when she stops needing Magica's power to stay with her friends- Webby and Violet's support for her channeled through the bracelets- and now Magica's the one dropped in the stagnant water and left behind
yeah idk where I was going with this. something something parallels ripping apart my heart
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a little Welcome Home theory that's probably me looking entirely too much into a single line <3
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so i was clicking through the site for the thousandth time and this line caught my eye. maybe its 4 am and i haven't slept, maybe i'm onto something. who knows!
but this little thing... "and lively sets unlike anything seen before!". yeah, it could just be them propping up the show. OR maybe the puppets have been alive the whole time, fully autonomous but entirely unaware that they are puppets on a show. maybe to them, the neighborhood is real, and they simply cannot comprehend the presence of humans so their puppet minds don't register them. this could make for a "cosmic horror but for puppets" spin, which would be sick as fuck
their daytime is when the studio lights are on and people are around. idk how the people would teach them the scripts - maybe they did it at "night"? or maybe there was no script, and the puppets would automatically come up with their own shenanigans, dialogue, and segments that aligned with the show, bc that's what they were made for.
bc its not like the whrp team have physical puppets, or much other than art & reports, right? any information on the puppets - like Howdy being rotated between live-hand and walk-around - could've easily been a lie by the creators of the Welcome Home show. i mean, i don't think it would've gone down well if they came out and said "yeah the puppets are alive"
and now that i'm wondering how they could have living puppets, weren't the 60s/70s chock full of cults? could the WH creators have dipped into the occult to create living puppets for a ground breaking, popular, lucrative show, using minimal effort because "the show writes itself"? all they have to do is film and maybe change the puppets' costumes. if that - they could have set up hidden cameras or something.
and this is gonna sound even more far-fetched, but what if creating the puppets required human souls to power them? im not suggesting that the puppets have locked away memories from a "human life", bc that would be uh... a lot. but it's enough that given time and the right prompts, they could gain awareness, and maybe the soul does influence them in minor ways - in likes and dislikes etc.
and Wally being aware means that he fully saw the humans running the show. and maybe the occult thing is what's under Home - the source of black magic that brought the puppets to life seeping out. and he's aware because he looked into that source and it flipped a switch in his lil cotton brain
maybex2 this is what caused the show to not only shut down, but be wiped from existence. the magic seeped into Home, maybe killing someone in the process, and Wally was revealed as aware. maybe on live television. so the creators panicked and shut it all down, tried to destroy everything and gaslight the country into forgetting it ever existed. maybe in the hopes that once no one remembers the puppets, the magic will leech out of them and leave them lifeless
and that loops back into Wally being the only one referred to in present tense in the neighborhood bios. he's still aware, maybe trapped in the studio, alone. i mean, i sure hope he's not alone - i hope he has his friends with him. unless they're all decommissioned (dead)... maybe Wally is trying to bring them all back or "fix" them?
but then there's the case of all of this currently going down online. have the puppets' consciousness somehow been transferred to the internet? or has Wally gotten his little felt mittens on a computer? something else? and then there's the whrp team... could they be fake, and its really just Wally trying to cobble together the remains of his life/friends? i mean, the Question-Answerer sounds like a title a kid or naive puppet would come up with. people would've called them the Curator or somethin?
i have too many thoughts
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i feel bad for raquel lee bolleau and i feel like what she's saying about the lack of transparency behind quiet on set is a bigger issue that the consumers of this type of content don't want to talk about or criticize. social media has led to a huge boom in tragedy porn and trauma porn about the entertainment industry but especially the children's entertainment industry, especially especially from the eras when the largest demographic in that audience were consuming it themselves.
it's already been problematic in itself that there is an oversaturation of unresearched and repetitive videos on the exploitation of former child stars. it seems like the creators and audience don't often ask themselves "have we gotten enough of this? do we need another take on it? is another video full of dan schneider rumors and gossipy forum posts really adding to the public discourse?" i don't know quite at what point it becomes exploitative that this content continues to be made, and be evergreen in social media algorithms. the volume, the reach, and the general lack of quality control are the evil triad. because we are far past the point where i really believe everyone consuming this stuff cares about exploited children. there's far too many people gawking and not reevaluating the systems of power involved. or, to put it more concretely: how many times do we all need to watch those clips of ariana grande squeezing the potato and spilling water on her neck? at what point is this just personally disrespectful and retraumatizing for the victims that for the most part we, the consumers of internet content, are claiming to advocate for?
quiet on set is the first time traditional media got involved in this niche. there is still a lot of value in some of the discoveries made by the series. but it does not have completely clean hands in this either. it does not feel like everyone involved in making the executive decisions cared nearly enough about the vulnerability of former child stars they recruited to share their stories, or hell, whose stories were told without their involvement, such as amanda bynes and racquel in episode 5. these people did not even give statements.
the focus of this docuseries was far too broad and not coherent enough at the end of the day. and they did not give enough support to all of the people they roped in to tell their stories about childhood trauma. i have a hard time trying not to be completely cynical about its whole production, because i really want to believe that many of the people who worked on it do care. not every individual involved knew or had control over the injustices that happened in its own production. but the executives? fuck em. they greenlit this thing, and probably incentivized the creators to make these episodes as fast as possible, because they knew it would be a cash cow. something as sensitive as THIS series should not be so poorly produced just because it will be a guaranteed smash.
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they should put the entire nct nation tokyo day 2 concert into a dvd and ship it to my home for free
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a couple times when i taught first grade i used frog and toad to do a little mini-unit for a small group (of first graders who can more or less independently read frog and toad, which most can't for most of the year) about character, because frog and toad is great for that because the books are never like, "frog is cheerful and optimistic. toad is a loyal friend but very grumpy and gets upset easily," but the characters are so vividly drawn across the stories that the vibes really come across, so it's good training wheels for the concept of, "we can figure out what characters are like even if the author doesn't come right out and tell us." there's this one frog and toad story where frog wants to hang out, but toad doesn't because it's january, and he wants to sleep until spring, so he goes back to sleep and tells frog to wake him when its spring. so frog rips off the pages off his calendar until it says may and then wakes toad up and says "wake up! spring is here!" and and toad bounds out of bed all excited and the last page is the two of them contentedly heading out into the snow while the text says "and they went out to enjoy spring," or something like that. it's real cute.
anyway. so i did this story with a small group one year, and when we were discussing observations we could make about the characters that we could then turn into inferences about their traits, one of the things the kids decided was a takeaway re: frog here was: he's a bad friend. why? because!!!! he lied to toad!!!! you shouldn't lie to your friends!!! they were very offended on toad's behalf, that frog had taken his earnest request and used it to trick him. and, you know, i couldn't really argue with that. i could, and did, tell them that frog's behavior as a friend would be much more upstanding in upcoming stories, and that in this story he sure wanted to spend time with toad which is a good-friend thing to do, and i could and did attempt feebly to explain that i thought the author maybe was trying to be a little bit funny and show us that toad was being a little dramatic the whole time, but that type of sophistication was i found beyond even these slightly precocious first graders, for reasons less to do with reading comprehension and more to do with their general developmental capacity for complexity of thought and psychological reasoning. but, ultimately, if they decided in their personal value codes that lying to a friend for personal gain was really really bad and they would never consider someone who lied to them for personal gain to be a good friend, like, that's their right as readers. (i think eventually they landed on, frog is mostly a good friend but not always, which was about as much nuance as i could hope to squeeze from their tiny brains and left me satisfied. lol.)
but my point is: they knew that it was their right as readers. they felt no compunctions whatsoever about exercising their own moral judgement on the text, regardless of how unpunished frog's transgression remained. i didn't have to teach them that part.
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okay....a desi playlist for kinnporsche in honour of my personal kp anniversary
(these are sad btw...and these are yt links so please run them in a separate tab and enjoy JUST the song...the vid might ruin things lol)
Tere Bina by Fuzon -- Kinn and Porsche
Phir Le Aaya from Barfi -- Vegas and Pete
Agar Tum Saath Ho from Tamasha -- Vegas and Pete
Aaoge Jab Tum Saajna from Jab We Met -- Kim and Chay
Nahi Saamne from Taal -- Kim and Chay
O Sanam by Lucky Ali -- Kim and Chay
Abhi Mujh Mein Kahin from Agneepath -- Kinn and Vegas
Zinda by Strings -- Kinn
Yaar Maangiyasi from Kaante -- Kinn (right after Tawan)
Awarapan Banjarapan from Jism -- Vegas
Bekhayali from Kabir Singh -- Kinn, Vegas AND Kim (it's just a very theerapanyakul song what can i say)
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