AU where after Glamrock Bonnie’s decommission/after he goes missing, Glamrock Freddy and the rest of the remaining animatronics end up being reprogrammed—or, basically, having their memories messed with.
The only change to the rest of the animatronics is that they don’t remember anything about Glamrock Bonnie. They’d know about Bonnie Bowl and small things like that—but have no idea that they all had a Bonnie.
As for Glamrock Bonnie himself, they end up having something wrong with the memories, too. Although it’s not because he was reprogrammed or anything—it’s because of the damage/the state they are in.
And with them, whether it’s a “Cassie finds them during Ruin and helps, then leaves with him” type of situation, or something different (like Gregory staying and finding him), Glam. Bon would eventually see Glam. Fred again.
Though, there’s that problem: Reprogramming for Glam Fred to literally not know who the bunny is, and Glam Bon having all of that damage.
But, despite that, both of them feel like there’s something—even just the tiniest bit—familiar about the other.
Long story short: Glam. Bon goes, the others are reprogrammed and forget them—Glam Bon’s damage causes him to forget. The two reunite, but have no idea who the other is.
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i need more positivity in my life and since it's been over 10 years of making memories and with dreadwolf on the horizon , i want you guys to tell me about your favourite moments / characters / areas / etc , from the dragon age games !! main , dlc , all of it !! don't be shy , reblog , go on a rant , whatever you want !!
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[ID: fifteen shots from 'revolutionary girl utena' with black text on a white background edited over them. the first is of utena sitting in the planetarium, which is subsumed in darkness. behind her is the coffin she hid in as a child. text reads: 'time is so central that i forget about it.'
the second is of miki handing kozue the letter from their mother. text reads: 'i like postcards because they move through time and space.'
the third is of nanami sitting pensively in front of a cello and music stand. text reads: 'music, film, and writing move in time, beat by beat.'
the fourth is of utena and anthy standing beneath the projector, posing for a photo. text reads: 'photographs, sculptures, and architecture happen all at once,'
the fifth is of a dining table in front of nemuro memorial hall. the white tablecloth endlessly extends off the right side of the frame. text reads: 'though we experience them through time, revisiting them, moving arund and through them.'
the sixth is a close-up of the fourth shot. text reads: 'we document to share with the future.'
the seventh is of akio's dining table standing empty, whilst a red rose spins in the top right corner. text reads: 'we benefit from all the previous documents.'
the eighth is of utena prying open anthy's coffin, crying out to her. text reads: 'we say, "i was in this room once.'
the ninth is of baby utena curled up on a bed of roses, her eyes barely open and expression somber. text reads: 'it is a difficult room.'
the tenth is of utena's bloody hand reaching desperately out to anthy. text reads: 'i left this on the table for you. i hope it helps."'
the eleventh is of anthy staring up at utena, weeping freely. text reads: 'it's so obvious it's terrifying.'
the twelfth is a row of girls' shadows, changing behind a curtain. text reads: 'whoever you are, reading this interview, it would have been nice to meet you'
the thirteenth is of anthy standing in her pink outfit at the gates of ohtori, looking back at the tower. text reads: 'but i couldn't wait,'
the fourteenth is of a framed picture of utena and anthy. akio has been cropped out. there is a pink rose frame around the shot. text reads: 'i had to move on,'
the fifteenth is a close-up of the same photo with the same pink rose frame. utena and anthy are tentatively holding hands. text reads: 'i am already so far away.' /end ID]
richard siken, excerpt from the need for making / revolutionary girl utena (1997)
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something I find especially entertaining about Edward IV's reign is how Scandalous™ it was lol
he married a woman “whose origins broke all established conventions for English queenship” in a secret ceremony without consulting any of his lords and then made it everyone else's problem. he committed regicide, he committed fratricide; he was accused of bastardry, he was accused of bigamy and a 19-year-long sham marriage, he was accused of using necromancy against his subjects, he was accused of being enchanted by witchcraft by both his wife and his mother-in-law (multiple times). his own mother was said to "rule the king as she pleased" in the early years of his reign. he knew he was hot and actively milked it for money. he was vain as fuck: “he was wont to show himself to those who wished to watch him, and he seized any opportunity that the occasion offered of revealing his fine stature to onlookers”. he knew everything about everyone. "he was more favourable than other princes to foreigners". he was “fond of boon companionship, vanities, debauchery, extravagance and sensual enjoyments”; he was "thought to have indulged in his passions and desires too intemperately”; "it was ever feared he was not chaste”. his subjects publicly gossiped about his sex life, his doctors thought he was insane. NOBODY understood how he was still competent despite all this.
honestly, who was doing it like him?
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Returning to Paris, I had to pay. With rage in my heart and often tears in my eyes (the makeup artist Chakatouny lamented each morning my poor appearance, and couldn't make me look any better), I made one film — just one — to guarantee the freedom of a person I loved. I was ugly, terrible; everything in me refused to be. I still remember the look of my [screen] partner Raymond Rouleau (who knew Igor and the causes of my breakdown) studying me and trying in vain to give me a little encouragement!
— Edwige Feuillère reflecting on the making of Mam'zelle Bonaparte (1942) and aiding the escape of her fiancé (named here as Igor) from Nazi-occupied France
(From Les Feux de la mémoire by Edwige Feuillère, 1977. Translated by me. ♡)
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"It looked like a good day for setting fence posts, and my mother said so while taking the biscuits from the oven. 'Some morning early, when I can get away, I want you to come with me along the edge of the hill in the wood-lot," she continued. "When the shadows of the trees begin to come down the slope, as the sun rises you feel the turning of the earth. You feel the whole globe under your feet rolling into the sunlight. . . . That's something I found one morning when I was driving the calves to pasture. I've been saving it up for you. I wonder if you've seen a more beautiful dawn in any of the places you've been.'
On my fingers I count the dawns I have seen--memorable, just in being dawns. Sleepy-eyed dawn from the Paris markets after a night of dancing; mist dawn against which I was just to late to see the minarets of Constantinople--all the fault of the stupid stewardess who didn't wake me in time; one startling moment of color on the hills around the Dead Sea before they went colorless in merciless heat; sudden dawn like a clap of light over the freezing-cold Syrian desert. Four dawns in twenty years. No, I do not know dawns as my mother does."
-- Rose Wilder Lane, "A Place in the Country" (1925)
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