I Did That Edit For The Lols To Troll A Friend Of Mine And Now I Can’t Unsee How Similar Their Faces

She's just a little baby

Mabel & Ford: Favorite moments

bonus:

I can't stop thinking about how Stan Pines, a man who was kicked out of his home at a young age by his abusive father, turned his own home into such a safe space for not just the twins, but his employees and the kids friends as well.

First of all, we know Wendy frequently slacks off on her shifts, she has her roof top hideaway but she also reads magazines and flat out refuses to do certain tasks. Like when Stan asked her to put up a sign and she just said she couldn't reach it, or telling Stan "absolutely not" when he asked her and Soos to clean the bathrooms. Not only could Stan fire her, he could take away her magazines or stop her from going on the roof. We see that Stan is more observant than he lets on, you're telling me he didn't notice her dragging a cooler and a lawn chair up there? And she's either bringing her own pop and ice to fill that cooler or she's taking his.

And then there's Soos, who Stan cares about so much he got himself on the no-fly list trying to get his birthday removed from calendars, just because it made him upset. We know Soos cares about the Mystery Shack, he feels comfortable there, and he respects and adores Stan. Soos also volunteered to DJ for free at Stans summer party.

We also frequently see Soos and Wendy hanging out with the twins, so either they're slacking off during working hours or they're coming over after their shifts just to hang out. In an after credits scene, we see Mabel and Dipper turn Soos into a disco ball and they're clearly in the residential part of the shack. So either Soos buggered off during working hours to hang out with the twins or he's off shift just chilling. Either way, Stan is fine with him being in the actual house part of the shack.

Wendy also helps Mabel try and make Stan more 'desirable' to Lazy Susan, which I'll get into later, but she's not working and she also in the house part of the shack. We also see Soos and Wendy watching television with Stan, Mabel, and Dipper during the Summerween episode. They aren't on shift! They're just chilling. Wendy hits Stan in the face with a water balloon while working as a lifeguard. She's comfortable teasing him.

Soos tags along with Stan, Dipper, and Mabel when they break into the golf course after hours. He brings his shirts to cut Ws into. He doesn't have to be there, he just is. Wendy goes hunting with Mabel and her friends for unicorns. Mabel wins a pig at the fair and Stan lets her keep it, the pig needs food, who do you think is footing that bill?

Now let's talk about friends. Mabel often has Candy and Grenda over, we know she has loud sleepover with them. Do you think Mabel would bring her friends over if she wasn't comfortable in the house? Do you think Candy and Grenda would keep coming over if they didn't feel safe? Not to mention, they literally ambush Stan in the bathroom and give him a make over. Which he allows, we see him fight off the undead, punch bald eagles, and catch the twins when they fell from the nose of that monument. The man is strong, he could get three preteen girls off him if he wanted to, he was 100% playing along.

Candy and Grenda also invite themselves along on their road trip. And Stan lets them come!! Mr cheap stake agrees to feed and care for two extra kids who aren't his family.

Dipper sneaks around trying to see his tattoo, he feels safe enough with Stan to push those boundaries. He literally pulled the Memory Gun on Ford during the basement scene, if he wasn't comfortable with Stan, he wouldn't try to get that close to him. He calls Stan when he and Mabel are trapped in a haunted convenience store (he doesn't answer but still, he called him).

Now let's talk about Gideon, because I will stand by the Stan had some fondness for the kid. We know Stan has been annoyed with Gideon for a while, we know Gideon has been gunning for Stan for a while. And Stan just... Keeps letting this happen. He never involves the police, he plays along with Gideons attempts, even when Gideon is laughing uncontrollably, Stan just assured him that "you'll get me one day kid". Even when Gideon climbs in THROUGH THE WINDOW all Stan does is aggressively sweep at his feet. Correct me if I'm wrong, but Stan never gets rough with Gideon.

I'm just, I'm weeping over the knowledge that Stan Pines, who wasn't safe in his own home, made his home a safe place for kids as an adult.

Lots of thoughts recently. Everything feels plastic.

I could go on and on about why all that AI "art" is bad. I could mention theft, lack of creativity, it's impact on the work field and environment, but countless people have already said all that. I wanted to touch on something that to me is the most utterly wrong about all of it.

Art is more than just something pretty to look at or listen to. It's therapeutic. It's a form of communication. A tool for human connection. It's a pure, human need.

Support real artists ☀️

Doodles of the rat man

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Bonus, my favorite:

Mean Girls (2004) // Conclave (2024)

A cute date in the human realm. Hunter was eager to show Willow what he had found.

Hunter's Possession Scenes and the Theme of Enmeshment

The usual warnings: explorations of trauma and abuse ahead.

Enmeshment happens when there is the lack of boundaries and lack of defined roles in a family system, and the party with more power, usually the parents/caregivers, prevents a child from becoming their own person independent of the family (this is called individuation or differentiation). Enmeshment leads to a low level of individuation/differentiation because the kid will suffer negative consequences if they try to do so. Which sucks, because we need to become our own person in order to truly love and be loved.

Belos requires Hunter to follow a strict script

and only operate within the confines of the role of Caleb (more accurately, how Philip wants Caleb to be...so, not the real Caleb, though Belos has told himself that's the true version of his brother).

Amity went through similar with Odalia and has been in the process of breaking out of it too. I notice Luz and Willow also get a bit close to experiencing it with their parents: Camila initially getting Luz to conform, Willow's dads initially not allowing her to be on the Plant Magic track. But I need to make the important distinction where I think Belos and Odalia (with Alador enabling Odalia's behaviour while also being abused by her) really crossed the line, because they don't even allow the kids under their care to express their thoughts. They flat out dismiss whatever isn't fitting into their agendas, whereas I can trust that Camila, Gilbert and Harvey, who wound up remorseful about their actions and changing, at least allow their kids to voice their opinions safely and they are the kind of caregiver that'll at least say e.g. "I understand that you want X, but ______".

In enmeshment, the toxic parental figure does not know (or refuses to know) the boundary line where their own being ends and the being of their kid begins: this can lead to issues such as a parentified kid who has to manage the parents' emotions for them. Very sadly, this can also be why when these kids are well into adulthood, they are still terrified of their parents and regress into the same child-like responses they had as kids in their toxic parents' presence.

In the show, I think the two visual concepts that most strongly convey the concept of enmeshment vs. trying to break away from it, are Hunter seeing Belos in the mirror and Belos taking control of his physical body:

Parental figures who are enmeshed with their child feel that their kid is them, has to be them, with the same desires, feelings, beliefs, perspectives...not a separate person. If not, the parental figure's own sense of security feels threatened. So if the child tries to create needed space or establish that boundary line by putting up resistance in any form, you get a tantrum/begging/manipulation/other toxic response from the parent (example: Hunter mentions wild magic in front of Belos and is physically threatened), which then aggravates the child's anxiety and wears down their mental health.

The parental figure takes up more space than they should have in the dynamic, while the kid is boxed in more and more. Obviously such treatment is hazardous and puts an awful strain on the person in the relationship who has less power.

Which brings us to Belos getting desperate enough to possess Hunter.

A.k.a. peak enmeshment, as Belos did not have any proper grip on his 'nephew' anymore, and turned things up to the max to exert control by literally inhabiting his physical being, giving him no choice but to do his bidding in the most forceful way possible:

Put simply, you aren't you when in the midst of enmeshment. The worse the enmeshment, the more imposing the control of the toxic parent/caregiver. And wow when I first saw this scene unfold before my eyes, I immediately thought of how powerfully this concept was being visually communicated via fiction. So unnerving. The crew and of course Zeno Robinson have been so good at bringing his enmeshment-related behaviour to life onscreen. E.g. the contrast below...Hunter cracking under the terror in the first few days of truly breaking out of enmeshment in the left-side frame below, versus the right-side showing his post-possession (very literally translated as post-enmeshment) grief which was so painful that simmering, volatile anger rose up in him to keep the pain at bay:

This gentle, kind-hearted kid never wanted this. The worst thing about going through that and resisting it by running away from the coven and the Isles, was that it culminated into losing his best friend.

His way out of the loneliness and isolation of enmeshment was finding his tribe and leaning into it for support and healthy closeness. There couldn't be stronger symbolism for the tension in Hunter's whole arc, between isolation (the abuse he suffered) vs. feeling like part of a family (a healthy "tribe") than this:

Wolves. Loving, nurturing pack animals. Who "make great parents". Yet we have the phrase "lone wolf" since wolves do occasionally navigate part of life on their own. Hunter is drawn to wolves because it strikes him right away, he sees himself (more accurately, the deepest desire of where he'd love to be) in the way such creatures usually live.

And the bonds in his pack became mighty. Hunter succeeded at building trust with the Hexsquad, getting nearer and nearer to the core of himself - while Belos didn't have a single trusting relationship with anyone and sunk lower and lower, getting further and further from himself as his self-deception only got worse. Hunter built up what can be referred to as "emotional equity" in his relationships, and he's so inspirational especially in the uncertain, risky early stages of doing this:

It's like repeatedly depositing into a bank account (both sides in a relationship need to do this, in a manner that both can agree on as fair) and building up the amount in said account with positive experiences and investing effort and time into the relationship. Various difficulties and conflicts that come along will take small or big chunks out of that bank balance. More serious incidents will obviously threaten to break the relationship apart and empty the account or send the balance into the negative. The bond between Hunter and his friends was strong enough to withstand the eventual traumatic loss that they all suffered:

In fact, he was already putting up a quiet resistance in Belos's absence (I'm relieved Belos didn't require that he be escorted on every single mission or be surveilled all the time in his own room, which would've granted him no privacy to express such thoughts), shortly after we saw him get unmasked:

Unfortunately, wrenching yourself free from the violating nature of enmeshment comes at a physical and emotional cost. It can no doubt be a long journey, an injurious experience, damaging one's sense of discernment of who to trust. It doesn't magically become bright and easy post-enmeshment because grief, confusion, emptiness etc are still present, just in different forms. Hopefully it is the intensity of all that which is reduced and well-managed.

The hope is that Hunter does not feel any impulse to want to over-isolate and hurt himself with concerning self-deprecating thoughts and engage in concerning behaviour (which could be a parallel to how he wanted to dig his own grave in Eclipse Lake), especially as he is still processing the moral injury of harming Flapjack and threatening the others while possessed.