sabotabby: tulip pointing a gun (preacher)
Taking a break from updating my job application package to write about some more fun things, like the TV, movies, books, and music I have appreciated this year. Let's see how far I get.

Telly is the easiest to talk about because I'm a lazy bastard and I enjoy long-form narratives. In addition to things I've enjoyed in the past, like Game of Thrones, Orphan Black, and Peaky Blinders, here are some of the things that I got obsessive over this year.

Cleverman: The best show you've probably never heard of, unless you're Australian. Erroneously billed as an Aboriginal superhero show starring the whiny Nice Guy from Game of Thrones, it is actually a brilliant, subversive fantasy about racism, allyship, and indigenous identity. God, I made it sound boring and political, didn't I? It's very political, but it's also jam-packed with intriguing anti-heroes, redemption arcs, dystopian worldbuilding, and surprisingly decent special effects.

Black Sails: I just started watching it this year, although it's been going since 2014. I started watching it because it was apparently a decent pirate show with Anne Bonny as a major character, and I guess it's sort of marketed as a prequel to Treasure Island, but neither of those are things that I fell in love with. It's jaw-droppingly good. Michael Bay is the executive producer and this show singlehandedly makes everything he's done, including all the Transformers movies, okay, because it balances them out. It is as good as Transformers is bad; that's how good it is. Think of all the things we don't get to see often on television: intelligent, complex political maneuvering, well-written, complicated female antiheroes, queer characters, poly characters, lesbians who don't die horribly, anti-imperialism. I almost want to stop there because there are a whole bunch of reasons I like it that would give away critical plot points. Non-spoilery reason to watch it: Jack Rackham as a pirate Nick Cave—once you see it, you won't be able to un-see it. Season four airs soon and I'm a wee bit scared because the fates of most of my favourite characters are a foregone conclusion.

Class: I started watching this because, as a result of this being the Darkest Possible Timeline, there was no Doctor Who in 2016 other than the Christmas special. The trailers made it look like utter crap and no one was talking about it, but Peter Capaldi was in the first episode, so I gave it a whirl. It is 1000x better than the trailers would lead you to believe—hidden in the Monster of the Week premise is a surprisingly intelligent take on trauma, abuse, war, and genocide. The teacher character has to be one of my favourite fictional teachers and she is basically my Id that I shall carry around in my heart for particularly rough days at work. Also, joy of joys, there are no straight white guys in the main cast.

The Get Down: I'm not even sure why I started watching this. I'm not super into Baz Luhrmann but multiple people told me it was good, so I checked it out and then binge-watched it in like two days. It's a semi-fictional semi-musical about the birth of hip hop in New York, and the story and characters are so compelling that I ended up caring about disco. Disco. It's a story about how new art forms get made, and challenged, and co-opted. I take some issue with Luhrmann's editing choices; he needs a lighter hand, since the acting, music, and writing all really speak for themselves, but overall amazing.

Better Call Saul: The second season aired, and I'm pretty sure that it's ultimately going to be better than Breaking Bad. It's a smaller, quieter story, and again with a forgone conclusion, taking the comedic side character from Breaking Bad and giving him a backstory and inner life that is as wrenchingly tragic as it is darkly comedic.

Ash Vs. Evil Dead: I'm really shocked that like two people I know watch this. Didn't we all love Evil Dead? It's like that, only a little more heartwarming. Ash Williams is overweight, aging, and has done nothing meaningful with his life—except saving the world. Which he has done a lot. The second season sees much, much more Lucy Lawless, and also one of the grossest and funniest scenes I've ever witnessed on telly, which I watched with my hands over my eyes.

Black Mirror: I was into this show before it was cool. Thanks to #piggate, Netflix realized that Charlie Brooker was right about everything and revived the show for a third season. Aren't you glad David Cameron fucked a pig so that you could get quality TV? The best episode, of course, is San Junipero, which manages to do what Black Mirror does best—examine the societal impact of technology—while also making me cry like a wee girl.

Westworld: Yeah, everyone watched it. I also watched it. It was wonderful and gripping and upsetting and I can't believe we have to wait two years for another season, WTF?

The Magicians, Preacher, and Luke Cage: I can probably go on and on about why I loved these shows...or you can just read my reviews of each episode at [ profile] terror_scifi.

What am I leaving out? What did you love this year?
sabotabby: (jetpack)
I genuinely liked it. As in into every second of it and applauded various creative decisions and almost, almost forgive J.J. Abrams for screwing up Star Trek.

I had zero expectations, as part of the generation that was betrayed by the prequels, and even though it had good reviews, I did not believe it would be good until:

spoilers )
Anyway really happy to be wrong.
sabotabby: (jetpack)
[ profile] lienne wanted to know about my masochistic tribble.

What do I say about my tribble? It was a gift from the lovely and wonderful [ profile] snarkitysnarks, who I can only assume bought it from a guy named Cyrano Jones on Deep Space Station K7. Or at a con, but the other explanation is better. It has a purring mechanism. You would think that a tribble would be like a cat in that you can make it purr by petting it, but in regards to this particular tribble, you would be wrong. The way to make it purr is to spank it. Hard. On where its ass would be if tribbles had asses, which they don't. Then it purrs like a mofo.

If this is a bug rather than a feature, I'd prefer not to know, because let's face it, masochistic tribbles are hilarious.

The tribble's name is O.K. Corral because I don't care how awful everyone says that episode is. It's Star Trek TOS + Westerns and it is the greatest. Then again, I don't understand why everyone hates the space hippie episode either.
sabotabby: raccoon anarchy symbol (Jenny Sparks)
First, this is a good summary of why the show sucks so far. (Teal deer: There are no superheroics and all the characters are really bland.)

Opinions about silly TV )

I am mostly watching because new Joss show and I'm willing to give it half a season in the hopes that it gets good, and also because there's a temporary TV void in my life while everything I like is either ended or on hiatus. And also because I enjoy mocking it, but it'd be nice to have something good to watch.
sabotabby: raccoon anarchy symbol (hellraiser kitty)
Shamelessly stolen from [ profile] jvmatucha:

There is an evil alternate universe according to Star Trek.

1. How does your evil altenate self differ in appearance? (Added goatee? Exposed midrift? Taller hair? More tattoos? )

2. What does your evil alternate universe self do for a living?

3. How would your friends/family/coworkers respond to your evil alternate universe self when they were transported to this universe and took over your place?
sabotabby: raccoon anarchy symbol (commiebot)
Leigh Phillips joins authors Gwyneth Jones, Marge Piercy, Ken MacLeod and Kim Stanley Robinson to discuss the role of science fiction in extending the radical horizons of our imaginations.

I don't agree with everything in this article, especially in regards to Zizek (Ken MacLeod, you know that's not what he meant) but it's a pretty fascinating read on the radical potential of science fiction and a good starting point for discussion. I particularly liked the last question, about technology and its place in cultural narratives. All of the authors really hit the nail on the head in terms of describing exactly why I feel uncomfortable with the emphasis on anti-GMO/anti-Monsanto/pro-woo stuff on the left:

Gwyneth Jones: Progressives have a right to be cynical about nanotechnology, likewise GM foods and crops, as long as these developments are controlled by ruthless corporate interests. It isn’t about the science; it’s about the tragedy of the commons.

On a more mundane (but still futuristic!) note, this article on organizing workers in a service economy (from Macleans, no less!) is also an interesting read. The premise is that traditionally middle class jobs aren't coming back (likely true) and thus minimum wage service sector jobs should be transformed so that one can actually earn a living at them.

Proponents of the idea that service jobs can become the new ticket to the middle class point to sweeping changes in the manufacturing sector in the early 20th century that helped transform factory work from dangerous low-pay jobs into secure careers that could support a family. From 1914, when Henry Ford declared he would pay his employees what was then an exorbitant sum of $5 a day in order to reduce turnover and boost demand for his cars, governments saw higher wages and greater workplace regulation as the start of a virtuous economic cycle. But whether the service industry can follow the same model is far from certain.

Read and discuss.


Jul. 9th, 2013 11:01 am
sabotabby: raccoon anarchy symbol (quit your whoring now)
Remember when Orson Scott Card was going to overthrow the American government if gay marriage became legal?

Now he's pleading for tolerance. Um. OSC, you're on the board of an organization that has, as pretty much its sole mandate, intolerance.

A boycott is not censorship. No one owes OSC, or anyone else, a living as a writer. No one owes him a platform from which to spew his bigotry. Man, I hope this movie flops harder than a dying fish.
sabotabby: raccoon anarchy symbol (motherfucking books)
I finally finished reading Samuel R. Delany’s Through the Valley of the Nest of Spiders, a.k.a. the rather large brick that’s taken up residency on my nightstand for the past few months. With some caveats, I’d say that it was worth slogging through and that some of you might want to read it (though I think that the handful of people on my friends list who would want to read it most already have).

I’m going to put all my other thoughts under the cut. I don’t believe in trigger warnings and don’t generally employ them on LJ, but if you’re triggered by something, it’s probably somewhere in this book.

keep reading? )

Hat-tip to [ profile] nihilistic_kid for sending me a copy since for some reason it wasn't at the library. You can read his much more detailed review here. Jo Walton's is also worth reading.
sabotabby: (jetpack)
A quick review, 'cause I have a long day tomorrow.

I...didn't hate it? I kind of thought I would. I didn't think it was actually a good Star Trek movie, but as a summer blockbuster with exploding spaceships, it was highly entertaining. I don't think a good Star Trek movie is actually commercially viable, and it also requires a good series, which we don't have at the moment. (What I wouldn't do for a DS9 movie, but that's never gonna happen.)

The puzzling thing about JJ Abrams' reboot is how fundamentally embarrassed it seems to be about the source material. Sure, there are winks and callbacks to TOS, but if you want an indication of what I'm talking about, calculate the actual on-screen time any of the characters are in the iconic uniforms. (Well, except for Uhura and that mini-dress. Not that she doesn't have the legs for it.) Kirk in particular seems to get into a leather jacket at the earliest opportunity. ("This can't be an official Starfleet mission!" Right.) And everything has to be constantly moving, lest the summer blockbuster audience get bored. At least he's limited most of the lens flare to the bridge scenes.

More central, however, is how the space exploration and meeting exciting alien thing—the core purpose of the original series and those that followed—is also faintly embarrassing to a modern director and a modern audience. There has to be a terrorism allegory, because sci-fi for the sake of sci-fi isn't relevant. The movie itself takes a fairly progressive stance in terms of the War On Turr, but whatever message it's trying to send is buried under the cool explosions.

(I like explosions, and so I enjoy this. But. This is why it's not a Star Trek movie.)

More spoilery type things under here )

Since a Star Trek movie about, you know, boldly going where no man has gone before, is not ever going to happen, and since studios won't take a risk on a big budget sci-fi movie that isn't part of some known franchise, I'm going to shrug off whatever nerd rage and just enjoy big dumb movies for what they are. Be honest, it's still more fun than Star Trek: The Motion Picture. And most of the others. I admit that I have terrible taste and my favourite is actually the one with the whales, but I have a feeling they won't try to remake that one.
sabotabby: (books!)
Oh weird; they're making a movie of The Fifth Sacred Thing by Starhawk. I can't quite explain this book's place in my life. I read it at a wayyy too impressionable age, and at some level, it shaped a lot of my ideas about politics and ecology and urban planning. When I read it later, it had aged badly—to say the least—and I found the resolution wholly upsetting in a way that exemplified why I reject pacifism as an ideology even while I agree with a lot of the author's ideas.

...but damn I do kinda want to see it as a movie, if they do a good job. And if they do a bad job, I think it's fodder for the most epic screenshot review since Atlas Shrugged.
sabotabby: (jetpack)
Oh you guys, you guys. I am so enjoying the explosion of pure nerd rage that has accompanied Chris Sprouse's decision to quit Adventures of Superman over the Orson Scott Card controversy. (You can read some of the butthurt* in the comments there and also in the BoingBoing post about it.

Now, Sprouse's actions, if you read his statement, are not particularly heroic—he's not quitting because OSC is a terrible human being with terrible views; he's quitting because of the "controversy" surrounding OSC's hiring. Hell, even if he quit over OSC's terrible views, it's hardly praiseworthy to not want to work for an actual bigot who plans to overthrow the government if gays get too many human rights. That's kind of called "baseline human decency." But in the white, male, straight-dominated world of mainstream comics, I'll take what I can get, and Sprouse has done right by deed, if not by word, making him far better of a person than the bigwigs at DC.

But to hear the nerds tell it, Sprouse, and the folks calling for a boycott of OSC's Superman run and/or the new Ender's Game movie are one step away from throwing all of the conservatives in gulags and forcing their political opponents to choose between death and mandatory butt sex. I keep seeing neckbeards screeching about freedom of speech, and how OSC's has somehow been denied.

Nerdy liberals are not helping much by pointing out that the problem is not that OSC has reprehensible beliefs, but that he sits on the board for the National Organization for Marriage and every penny you give him ends up benefiting an organization that has, as its sole raison d'être, the denial of civil liberties to gay people. I think this is because no one's read his recent books. One of my friends, who is approximately as nerdy as I am, didn't even know about his politics. I've read—well, parts of his recent books; to be honest, they're pretty unreadable—and the dude has an agenda that he can't keep out of his writing and that should be kept well away from Superman's spandex-clad buttocks, trust me. (He can't write a riff off Hamlet without working in ass-fucking.) So the issue is not just economic; it also has to do with OSC as a person and an artist. You shouldn't give him your money because he's awful.

The most hilarious bit is when the neckbeards compare the boycott campaign to McCarthyism (because OSC probably would argue that communists and fellow travellers ought to be shot in the face), suggesting that we, the nerd community, have an obligation to buy his media so that he can earn a living in the style to which he has become accustomed. Freedom, apparently, means an compulsory copy of Ender's Game and its sequels in every household. (Hey neckbeards who take this line: I'm a geek too! You are hereby obligated to help me maintain my paid LJ account; otherwise you're censoring me.)

Which—no. In a capitalist system, you are not guaranteed the right to earn a living in the profession of your choosing, even if you wrote a book a gazillion years ago that people liked a a lot. If you think this is unfair, let's talk! But unless you're proposing something revolutionary, OSC has no inherent right to not have his career destroyed over his repellent worldview.

Nor is he being "censored." OSC has every right to peddle his hateful shit on a soapbox, literally or metaphorically, without the government stepping in to jail him on charges of Aggravated Asshaberdashery. He's got a right to put his poisonous ideas down on paper without every copy of said paper getting burned or pulped. He even has the right to try and sell his raving bollocks to any publisher who will have him—but said publishers are just as free to say, "No, we do not believe your raving bollocks will sell," and we, as media consumers, are also free to say, "No, we will not buy your raving bollocks because we don't want our money going to NOM, and also because your writing sucks now." This is not censorship.

Let's briefly touch on the other argument I'm seeing a lot of, which is that an artist is separate from his political beliefs. As previously mentioned, OSC is not—both financially and in his inability to keep attacks on queers and leftists** out of his books. But let's just say he was not on the board of NOM and he was only writing books about little boys being unaware that they were committing genocide. I would still argue that his political beliefs are relevant. Look, I like all kinds of problematic art—my two favourite musical genres being opera and neo-folk—but the distinction between a geek-as-active-participant-in-media and a passive consumer at least ought to be, to some degree, critical engagement with said art. I can love Wagner, or T.S. Eliot, or Frank Miller†, or James Bond movies, or Chronicles of Narnia, despite the anti-Semitism, or Islamophobia, or misogyny, or blatant support for British imperialism inherent in the authors and/or work while still criticizing the politics they represent. If you feel a need to mindlessly defend an artist because you like their work, you are officially too dumb to play in geekdom.

Finally, to address the last defence I'm seeing, which is that anything he wrote is actually good. I'm going to piss a bunch of people off and say that, unless you're a bullied adolescent, Ender's Game is actually a bit crap, and if you're over the age of 16, you ought to see OSC for the naked emperor that he is. He's kind of a crap writer. Even if he was the greatest guy, I still wouldn't buy his books or comics because they're not that good. That's not a boycott or anything—it's just taste. If Ender's Game came out now you'd probably roll your eyes. Admit it.

I actually kind of feel sorry for OSC as a person, because I think his bigotry goes beyond simple bigotry well into the realm of mental illness. But that doesn't mean that anyone ought to indulge his delusions. He's got issues, but unfortunately those issues resonate with many theoretically sane, fascist-minded people hell-bent on oppressing anyone who's not like them, and he's got money and more of a platform to be heard than most spluttering lunatics do. For this reason, you should actually torrent Ender's Game rather than pay money to see it, if you feel the need to torture yourself by watching it, and you should totally boycott his run on Superman if it goes ahead. There are enough bigots in the world without you funding their bigotry.

* Probably a bad choice of words.

** See Empire. Or don't. It's awful; I got about 50 pages in before deciding it was too bad to even parody.

† Well, before he went to actual shit.
sabotabby: raccoon anarchy symbol (TARDIS by mimisoliel)
So I finally watched the last episode of Fringe and found it, like the rest of the season, underwhelming despite hitting all the right emotional notes.

I've said this before in a bunch of places, but I just didn't care for the dystopia story, as it wasn't very dystopian. It could have been cool. In general, I've liked the weird one-off episodes, and I've liked the Observer episodes, and I like dystopias. But they did it wrong. Here's how:

Fringe, in previous seasons, involved people operating from a position of relative safety and power. Yes, they frequently got into trouble and sometimes died (though rarely for very long), but they still had jobs, houses, and authority. It's an interesting concept to take that away and make them fugitives, except that the writers didn't go far enough with it. For the most part, everyone still had cool tech, places to live, clean clothes, makeup, and a seemingly inexhaustible supply of identical vans that could be abandoned at a whim. Hell, they were even able to operate out of the same lab as in previous seasons, albeit a little less conveniently. The fact that they were all alive and together was also far too convenient; if they were going to go the plucky-freedom-fighters-versus-totalitarian-state route, it would have made much more sense to split up the group. The resolution was obviously going to involve a reset button the second they killed off Etta, so why not kill a major character every few episodes to ratchet up the tension?

The dystopia also failed on a worldbuilding level. For all of the Observers' advanced technology, efficiency, and ruthlessness, they did a worse job of intelligence and surveillance than Stalin managed in the 1930s. There's only so much you can attribute to our heroes being clever and lucky before the bad guys start to look like Keystone Cops. As much as I love Nina and Broyles and thought that the season suffered because neither were in it very much, about two seconds of research would have told the Observers that neither of them were to be trusted. They should have killed both of them after tearing their minds apart for information. And then blown up the lab, ambered or not, just to be safe. These are not people known for taking undue risk.

Also, Loyalists WTF? There are actual real historical examples of why individuals in a population might collaborate with occupiers, but apparently the writers decided to ignore that and go with...because they're mean and think facial tattoos are cool? I don't know. We only really got to meet one Loyalist, and his motive was slippery at best. You need some pretty strong incentive to cooperate with people who, for all intents and purposes, are aliens and are intent on making your world uninhabitable. There could have been a really interesting critique of security culture and why people might sacrifice freedom for stability, but they missed the boat.

The other bit I missed: Olivia's superpowers. I had no idea how much I missed them until they weren't there anymore (and then showed up in the finale) but I did. For one thing, they were cool. The Cortexiphan backstory is cool, from its sketchy medical ethics to its all-monochrome wardrobe, but mostly I liked that here is this character with weird powers that manifested in subtle ways. We didn't see her suddenly kicking ass in a way disproportionate to her build, or channelling bad CGI. Instead, we saw her turning lights on and off on a decidedly analog device and appearing, soaking wet, in a souvenir shop in a parallel dimension. It was unusually believable in a genre show with the budget to do cool special effects. But for some reason, when Olivia was depowered, they also decided to not have her be the main character in the show anymore, and so she mostly spent this season looking really tired.

There were a few good bits here and there: I perked up when they finally gave us a Walter-on-acid episode, because to me the heart of the show is actually Walter being hilarious on mind-altering drugs. And the finale hit the right emotional notes. Obviously Walter had to be the one to sacrifice himself, because thematically there's no other alternative, and obviously there had to be a happy ending for the main core of characters, because the show is not actually that dark. I was greatly pleased to see Red!Verse again, and Lincoln and Fauxlivia. (But of course I was reminded that the Red!Verse has been my favourite thing about the show since it was introduced, and part of the reason why I haven't much liked this season was the lack of Red!Verse characters.) Human!September sucked a lot but he got to say "reverse the polarity" and made me laugh.

Basically just left me with a bunch of questions:

- Why did the Observers leave September alive and make him human? Wasn't his problem, from their point of view, that he was too human? It would make more sense just to kill him, and then he wouldn't end up having bad hair and conspiring to wipe them out of existence.

- As I mentioned, why leave Nina and Broyles alive and in positions of power with access to sensitive information? If you're going to stage a coup d'etat, those are exactly the first people you eliminate.

- Should they not also shoot people putting up the Etta posters as a warning to others? (I swear I'm not really that bloodthirsty; it's just, you know, the kind of thing that's routine when you're setting up your totalitarian dystopia.)

- Why did the Resistance have cell phones, and why didn't the Observers tap them?

- And why could Nina and Broyles keep their conversations with the Fringe team secret from the Observers by just stepping outside when they were making phone calls?

- With all of that surveillance apparatus, why didn't they ever recognize and track any of the vans?

- The second Etta was revealed as a member of the Resistance, why not put her apartment under surveillance? Actually, as a member of Fringe Division, shouldn't her apartment already be under surveillance?

- Why do the Observers have nightclubs?

- If the Observers no longer exist, why is Peter still there at the end? Either September never interrupts Walternate's research, the cure works, and Walter has no reason to break the universes, or for whatever reason he does anyway and then Peter drowns in the lake because September isn't there to save him. Either way, no Etta.

- What's the point of rescuing Broyles if time is just going to be reset anyway? It increases the chance for failure and misses an opportunity for reversible angst.

- When did Walter mail the tulip? Does the U.S. postal service deliver to the past now?

- If Michael is a direct result of Observer evolution and experimentation, and the Observers no longer exist as a result of him showing up in the future, then how does he show up in the future?

- The Observer plan makes no sense either. If they invade the present and do things to the environment that shorten the human lifespan and force present-day humans to live in misery and oppression, then how do humans advance to the stage of technology where they can create Observers?

- Wasn't it better when they were just weird and inscrutable and ate lots of hot sauce? I think so.

- Sick of the reset button. They've used it too many times. The only cool reset was the one where Peter stopped existing (I mean, I like Peter, but it made sense).

- Sick of the power of love being the solution to things. I suppose in this case it was the power of SCIENCE! but it was still love-motivated SCIENCE!

So that was longer than I intended it to be. Shorter review: The season 4 ending was great and they should have stuck with that.
sabotabby: raccoon anarchy symbol (socialism with a human face)
China Miéville, Cory Doctorow, and Peter Watts in the same room debating whether or not people are essentially scum.

cut for pictures )
sabotabby: raccoon anarchy symbol (vir)

I know, can you contain yourself? I can’t. I am going to spew gifs all over this post and I expect you to as well. It’s been a very long ride and I’m so happy that y’all stuck with me through it and made hilarious comments and sat on your hands so that I could make ridiculous predictions.

Here we go!

goodnight sweet show )
sabotabby: raccoon anarchy symbol (vir)
The penultimate B5 post! I can hardly contain my excitement.

these episodes were mostly great )
sabotabby: raccoon anarchy symbol (vir)
It’s the final stretch, kids! Less than half a season to go (are you really going to make me watch the movies?).

in which I have good things to say about the show again! )
sabotabby: raccoon anarchy symbol (vir)
Delayed due to IRL having a life and the second season of Game of Thrones. Which is fantastic. Especially the breathtaking penultimate episode that broke the internet last week. Anyway, if you want to geek out about GoT with me, I'm now caught up and currently reading the second book.

But back to B5. A favour, folks? Could we keep the spoilers down a bit? I am almost done but there is still the odd good part and I’d like to be surprised. I am guilty of soliciting spoilers with my wild predictions and begging to know if the show ever gets better, but you must all be strong and sit on your hands for just a bit longer.

Here’s a needlessly gory guide as to what is and is not a spoiler:

Not a spoiler
“Byron sucks! Fortunately, you don’t have to endure him for much longer. You’re going to love how this storyline ends.”

A spoiler
“Bester captures Byron in the next episode and transports him back to PsyCorps headquarters, where he proceeds to dissect him alive, starting with his tongue so that he can’t annoy [ profile] sabotabby with his godawful dialogue. I particularly love the bit where his eyeballs go squishity-squoosh! I wonder how they got that sound effect.”


not everything is entirely SFW, depending on how prudish your workplace is )
sabotabby: raccoon anarchy symbol (vir)
This post goes out to the wonderful [ profile] kore_on_lj. All the hugs, bb. I hope some of this makes you smile.

In which I review the worst episode yet! And two others that aren't as bad )
sabotabby: raccoon anarchy symbol (vir)
Under the cut: Horrendous working class stereotypes, altogether too much space hippie, probably too many Star Trek references, and a poll about how Byron should die.

my thoughts on B5, let me show you them )


sabotabby: raccoon anarchy symbol (Default)

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