space-cadet-25
Call me Space! | đłď¸âđđłď¸ââ§ď¸đľđ
296 posts
Latest Posts by space-cadet-25
Hey kid, look at me.
I want you to T-pose. Turn your right thumb up and your left thumb doen and look at your right thumb. Move your arms up and down a bit until you feel a nerve running from your armpit to your palm. Now turn your right thumb down and your left thumb up, and look at your left thumb. Keep your chest facing forward and your shoulders back. Move your arms again until you feel that nerve again. Keep alternating between these two for a minute, or look at each thumb thirty times each.
Now sit down. Put your left hand firmly under your left buttock, palm down. Keep your shoulders back and put your right hand over the crown of your head, very gently pulling it to the right. Do this for thirty seconds, then do it again but with your right hand under your right buttock.
These are stretches for the nerves in your arms, and are very good for people who sit behind a computer a lot, or fibre artists, or you name it. Do them daily. They will hurt in the beginning, but keep doing them, even after the pain has gone, or it will return and you'll have to start all over.
Say what you picked in the tags!
While you're here, let's help out @ahmed-lobna! This family has a little kid who is very sick, please donate to them!
(Verified by @gazavetters)
@ashwantsafreepalestine @hehemechief @gryficowa @rob-os-17 @variantsofblue @murderbot @anti-ao3 @a-scary-lack-of-common-sense @squishmallowo @northgazaupdates2 @palestinegenocide @freepalestineeee @sporkkles-irl @el-shab-hussein @teto110 @rosiemissfandomchaos @loathsome-little-creature @nezreblogz @fanartcollectorwriter @wingsfreedom @longlivepalestina @rhubarbspring @spiritflame1 @stoptheantisemitism @jezior0 @soon-palestine @schoolhater @huckleberrycomics @good-old-gossip @gazaevacuationfunds @random-autie-fangirl @myceliacrochet @kyrumption @loonarmuunar
Idk man itâs so easy to get bogged down in all the bullshit online but when my then-6 year old cousin found out I was trans he said âokâ then corrected my grandma when she misgendered me. I was once the third between a gay man and a lesbian. Two lesbians once invited me back to their place when I presented as a man. I met an AMAB nb butch who looked strikingly to outsiders like a cis man and it was one of the more sapphic experiences Iâve had. I nervously wore a boydyke shirt to pride and got 3 different cis-looking femme folks tell me they loved my shirt. I once told a trans group at a protest that any pronouns were fine for me and one person said âwow, Iâm impressed and intimidated by people like that. I donât know that I could be that chill with pronouns.â I once told a GNC friend I wished I could wear a type of âoppositeâ gender clothing after I had already transitioned and so it would be associated with my AGAB and he said âYou could just do it.â Iâve had cishet men fight cops for me before. The first time I had a doctor ask me if my name was different than what was on my forms I had to try not to cry. Last week, a phone call with a doctorâs office where I am generally cis passing asked unprompted if my name listed is what I want to be called. It touched me then too. I told a lesbian friend once I felt like my attraction to men AND women both felt gay. She said âmakes sense.â And we moved on. I go by different pronouns in different circles. Iâve had gay women love my facial hair. Iâve had gay men like my tits. Itâs all out there, I promise. It can be hard to find it but I promise there is community like you and community who likes you. And itâs more messy and beautiful than tumblr discourse makes it out to be.
spin the wheel for a random minecraft biome. you have to live there now
spin this list of all of the pokemon. you are now that pokemon.
filipina miku!! my mom helped me with her outfit ^_^
they removed posting from tumblr. now there's only scrolling down through the vast blank expanse. great
This shirt came to me in a vision
Your gender is now the first randomized wikipedia article you get. No rerolls.
Visible Mending
Introduction:
Visible mending is a decorative way to fix up an item. Instead of trying to make your mend as invisible as possible, the idea is to make it part of the garment's design.
Visual mending is not a single technique: it's more of a mindset. If you've got an item you love, it deserves to be mended, and if you're going to put that love into stitches, why not show them off?
That being said, there are some specific techniques that are popular with visible menders. Let's take a look!
Sashiko:
Sashiko is a type of traditional Japanese embroidery that is used to both decorate and reinforce fabric. In visible mending, sashiko is often used to cover up holes with patches or to reinforce thinning fabric. This technique uses a variation on the running stitch.
(Image source) [ID: sashiko stitch diagram: the distance between each stitch is 1/2 stitch in length.]
Some resources on sashiko:
SashiCo on YouTube: sashiko livestreams and information on the cultural aspect of sashiko.
Written tutorial by Upcycle Stitches.
Free sashiko templates by TheSpruceCrafts.
Fixing jeans with sashiko by Soluna Collective.
(Image source) [ID: three examples of sashiko embroidery on jeans fabric.]
(Image source) [ID: sashiko embroidery with white thread on blue jeans fabric.]
Embroidery:
Regular embroidery is also a popular technique to accentuate your mends. Check out my embroidery 101 post to learn how to get started. You can embroider patches, or use embroidery to hide or accentuate any stitches you've made to fix holes. Embroidery's also a great way to cover up stains.
(Image source) [ID: colourful embroidery floss covers a worn sleeve edge of a jeans jacket]
(Image source) [ID: colourful flower embroidery surrounds a hole in a pair of dark gray jeans. Fabric with a red and black flower print peaks out of the hole.]
Patches:
There are many ways to add patches to a garment. My tutorial on patches is a good place to start if you want to make custom-shaped patches to sew on top of your fabric. You can also sew your patch on the inside of your garment and have it peek out from beneath the hole you're trying to fix. Fun ideas for this are lace or superheroes.
(Image source) [ID: Spiderman peaking out of a rip in a pair of blue jeans.]
(Source) [ID: a red flannel heart-shaped elbow patch on a gray knitted sweater.]
Darning:
Darning is a technique used to repair holes in fabric by using running stitches to weave extra fabric over the hole as to fill it up again. While traditionally darning is done in an invisible way by using the same colour of thread as your fabric, you can also use contrasting colours to accentuate your fix. Check out this written tutorial on darning by TheSpruceCrafts.
(Image source) [ID: vintage instructions on how to darn a hole.]
(Image source) [ID: four examples of darning on blue fabric with colourful contrasting thread.]
Conclusion:
Visible mending is a creative way to fix up your clothes and give them some personality at the same time.
You should be proud of the fact that you took the time and learned the necessary skills needed to mend your clothes! Show off what you did!
A fun side effect of wearing these obvious mends is that people will notice them. They'll remember your fixes the next time they're faced with a hole in their wardrobe, and it will make them more likely to try it for themselves.
These are just a few ways to visibly mend your garments. Want more inspiration? Check out Pinterest or r/Visiblemending on Reddit.
REBLOG THIS IF YOU WANT PJO S2 TO HAVE 20 EPISODES
edit: Guys. Reblog it. This is not yt, likes alone do not put this post on more dashboards(I think) reblogs do.
heart - shaped scallion found In pho . reblog for good luck & yummy soup 500000 forwver
I decided to make a little October prompt list!! I honestly don't know how much I'll participate myself but I hope y'all have some fun with it :3
WEIRDLY SPECIFIC BUT HELPFUL CHARACTER BUILDING QUESTIONS
Whatâs the lie your character says most often?
How loosely or strictly do they use the word âfriendâ?
How often do they show their genuine emotions to others versus just the audience knowing?
Whatâs a hobby they used to have that they miss?
Can they cry on command? If so, what do they think about to make it happen?
Whatâs their favorite [insert anything] that theyâve never recommended to anyone before?
What would you (mun) yell in the middle of a crowd to find them? What would their best friend and/or romantic partner yell?
How loose is their use of the phrase âI love youâ?
Do they give tough love or gentle love most often? Which do they prefer to receive?
What fact do they excitedly tell everyone about at every opportunity?
If someone was impersonating them, what would friends / family ask or do to tell the difference?
Whatâs something that makes them laugh every single time? Be specific!
When do they fake a smile? How often?
How do they put out a candle?
Whatâs the most obvious difference between their behavior at home, at work, at school, with friends, and when theyâre alone?
What kinds of people do they have arguments with in their head?
What do they notice first in the mirror versus what most people first notice looking at them?
Who do they love truly, 100% unconditionally (if anyone)?
What would they do if stuck in a room with the person theyâve been avoiding?
Who do they like as a person but hate their work? Vice versa, whose work do they like but donât like the person?
What common etiquette do they disagree with? Do they still follow it?
What simple activity that most people do / can do scares your character?
What do they feel guilty for that the other person(s) doesnât / donât even remember?
Did they take a cookie from the cookie jar? What kind of cookie was it?
What subject / topic do they know a lot about thatâs completely useless to the direct plot?
How would they respond to being fired by a good boss?
Whatâs the worst gift they ever received? How did they respond?
What do they tell people they want? What do they actually want?
How do they respond when someone doesnât believe them?
When they make a mistake and feel bad, does the guilt differ when itâs personal versus when itâs professional?
When do they feel the most guilt? How do they respond to it?
If they committed one petty crime / misdemeanor, what would it be? Why?
How do they greet someone they dislike / hate?
How do they greet someone they like / love?
What is the smallest, morally questionable choice theyâve made?
Who do they keep in their life for professional gain? Is it for malicious intent?
Whatâs a secret they havenât told serious romantic partners and donât plan to tell?
What hobby are they good at in private, but bad at in front of others? Why?
Would they rather be invited to an event to feel included or be excluded from an event if they were not genuinely wanted there?
How do they respond to a loose handshake? What goes through their head?
What phrases, pronunciations, or mannerisms did they pick up from someone / somewhere else?
If invited to a TED Talk, what topic would they present on? What would the title of their presentation be?
What do they commonly misinterpret because of their own upbringing / environment / biases? How do they respond when realizing the misunderstanding?
What language would be easiest for them to learn? Why?
Whatâs something unimportant / frivolous that they hate passionately?
Are they a listener or a talker? If theyâre a listener, what makes them talk? If theyâre a talker, what makes them listen?
Who have they forgotten about that remembers them very well?
Who would they say âyesâ to if invited to do something they abhorred / strongly didnât want to do?
Would they eat something they find gross to be polite?
What belief / moral / personality trait do they stand by that you (mun) personally donât agree with?
Whatâs a phrase they say a lot?
Do they act on their immediate emotions, or do they wait for the facts before acting?
Who would / do they believe without question?
Whatâs their instinct in a fight / flight / freeze / fawn situation?
Whatâs something theyâre expected to enjoy based on their hobbies / profession that they actually dislike / hate?
If theyâre scared, who do they want comfort from? Does this answer change depending on the type of fear?
Whatâs a simple daily activity / motion that they mess up often?
How many hobbies have they attempted to have over their lifetime? Is there a common theme?
This is very important research so I can figure out how to arrange my books
Love how tumblr has its own folk stories. Yeah the God of Arepo weâve all heard the story and we all still cry about it. Yeah that one about the woman locked up for centuries finally getting free. That one about the witch who would marry anyone who could get her house key from her cat and itâs revealed she IS the cat after the narrator befriends the cat.
I wrote a thing.
 Holofernes Hollow
Prologue
The embers looked like fireflies, pouring out of the skeleton of the horticultural shop.
With his glasses crushed to dust somewhere inside and the new, aching black gulf on the right side of his vision, he could almost pretend that he was watching a theatrical lightshow. Any moment now, dancers would leap out with their faces made ethereal by golden masks and start leading the Midwinter Prayer.
But the stink of smoke digging into his skin and the heat of the flames baking the blood onto his cheek made the desire impossible to keep hold of. The roaring of the inferno echoed in his ears, drowning out the gathering crowd and ringing bells of the fire guildâs carriage.
At that moment, his knees buckled and the roof fell in.
Keep reading
in the wake of dracula daily and subsequent ongoing discussions of the antisemitism that drives the book, i thought iâd throw together a very brief primer based on little strands of research iâve done in the past around some of the history that scaffolds dracula. iâm not trying to scold people for participating in the more lighthearted end of this cultural moment â i love dracula, iâm also reading dracula daily and enjoying everyoneâs little jokes about jonathan harker and his paprika and so on â but i am trying to provide what i hope is a somewhat useful resource for deeper engagement with the text, a necessary critical skill if you want to have anything meaningful to say about it. iâm not really interested in coddling peopleâs feelings about antisemitism, and i think itâs in everyoneâs best interests to provide a little bit of a framework for how we approach and think about and talk about what is a pretty unambiguously bigoted book.
for what itâs worth, i find the most productive way to approach this text, as with any text that emerges from a tradition of immense violence (ie. pretty much any work of english literature from the nineteenth century, all of which write from the heartlands of imperialist plunder and the formation of nationalist cultural norms) is as a historical document. thereâs a difference in these discourses between a piece thatâs made today, where we might ask why weâve allowed particular cultural conditions to facilitate the telling of narratives that are attempting to naturalise conditions of bigotry, and one created in 1897, where our relationship to that historical moment should be one of self-reflection and analysis with an eye to informing our understanding of present-day violences. my point is that a text which locates itself within the british antisemitism of the late nineteenth century is one which can enhance our understanding of that antisemitism and its present-day legacy.
i also want to clarify that i donât intend to reduce the bigotry of dracula to just the antisemitism â it is clearly shaped by broader strokes around racism and imperialist race science in particular, but the specific british-jewish cultural history within which it is grounded happens to be the one that i have a relatively coherent understanding of, and wanted to share. i donât at all intend to frame this as a complete account â iâm more just putting what i have to hand out into the world for others to do with what they will and ultimately come to their own conclusions about the text and how best to engage with it.
i think itâs worthwhile to also touch briefly on the fact that dracula is by no means alone in invoking antisemitism where vampires are concerned â what often gets missed in discourses around what vampires can represent (parasitic capitalism being an incredibly common discursive invocation, to the point where itâs kind of embarrassing that so-called marxists canât make the very short leap) is that much of the vampire mythos is shaped by antisemitism. the draining of blood closely resembles a blood libel, ie. the smear that jews drink the blood of christian children; the state of being repelled by a crucifix should be self-explanatory; the construction of the vampire as a parasite leeching off of communal social formations forged within white imperialist societies closely reflects anxieties regarding the allegedly parasitic presence of jews both in eastern + central europe and new immigrant communities in britain. the vampire is immortal as the jew is eternal â the âeternal jewâ is a nazi smear drawing from the antisemitic canard of the âwandering jew,â which in turn dates back to the thirteenth century. the vampire threatens the national body and so does the jew. the rush to point to the vampire as an apt metaphor for the parasitism of capitalism too quickly falls into the mire of discourses that entwine capitalist violence with jewish populations (jews are all moneygrabbing leeches and so on), and redirects anger towards capitalism into antisemitism. whilst the history of the vampire as a folkloric figure is far richer than just âjews bad,â it is undeniable that this cultural scaffolding exists, and informs dracula even before stoker comes to personally intervene in discourses of antisemitism specific to the conditions from which he was writing.
this excellent paper on dracula and the gothic response to anxieties of imperialist decay â ie. fear of a âreverse colonialismâ â that did the rounds on this website a few days ago covers a lot of important and helpful ground for this text, and i would highly recommend giving it a read. what it misses, however, is that dracula is rooted not only in these abstract notions of imperial decline and external threats to âbritishness,â but in the very definite, concrete historical moment in which new discourses of antisemitism were emerging in britain â and that is the history that i want to touch on now.
in 1882, in the wake of the assassination of tsar alexander ii for which the jewish population of the russian empire were scapegoated, a set of highly repressive laws known as the âmay lawsâ were passed. in short, these laws heavily restricted jewish freedom of movement within the empire, almost entirely limiting jewish settlement to the pale of settlement (a portion of land in the westernmost part of the russian empire, encompassing modern-day belarus, lithuania, and moldova, and parts of poland + ukraine) and restricting property ownership + establishing strict administrative quotas across various sectors that severely limited jewish participation in russian society. this in turn brought about expulsions of portions of the jewish populations of moscow and st petersburg where these quotas were exceeded. crucially, these repressive laws were tightened over the next decade, which, alongside a series of brutal pogroms, caused mass emigration of the ashkenazi population from the russian empire. one significant epicentre for jewish settlement at the end of the nineteenth century was the east end of london. this was, of course, coterminous to the writing of dracula, in which an eastern european man imbued with a number of antisemitic smears attempts to inculcate himself within the population of london and imitate britishness with the eventual intent of sucking it dry â you see the very obvious lines being drawn here.
it goes without saying that the establishment of a new immigrant population in london would stoke the sort of reactionary sentiments that we can locate in dracula; however, we might look beyond just a loose historical correlation and consider the possible relationship between the whitechapel murders (colloquially known as the jack the ripper murders â whitechapel is located in the east end if you didnât know) and stokerâs novel (published seven years after the last of the murders) amidst the adjacent discourses that said murders generated. in addition to the fascination with an âundersideâ to victorian society in which sexual + social moralising was inverted and voyeurised by the moralist bourgeois class that these murders, targeting poor sex workers, amplified (think the kind of sensationalism we see with true crime culture today â very much the prototype of that), the projection of sensationalised sexual degeneracy and lechery onto the murders in turn invoked antisemitic discourses in which the east endâs jewish population became a nodal point of sorts where these spectral anxieties could be projected. a physical description of jack the ripper at one point included a dark beard and a foreign accent, with a sketch that added a hooked nose, and the famous goulston street graffito in 1888 which read âthe juwes are the men that will not be blamed for nothingâ has, though unproven, been treated as though it were written in connection with the whitechapel murders. john pizer, a jewish man, was at one point arrested for the murders (and later released), and police reports around this referred to emergent broader anti-jewish sentiment in whitechapel. the point is, thereâs a case to be made for the whitechapel murders having amplified already-extant antisemitism in the east end, and a further case to be made for this specific blood libel adjacency to have shaped bram stokerâs novel. (to compare; this is, for example, the same discourse that scaffolds the joke in what we do in the shadows about laszlo being jack the ripper.) whilst we donât know that stoker consciously, explicitly had jack the ripper in mind, 1) it is a theory that has been critically posited before, and 2) at the very least, the novelâs unambiguous antisemitism that locates itself most prominently within a blood libel would have been informed by discourses specific to london, of which this was a major one.
that dracula himself is something of an antisemitic caricature is, i would hope, obvious; and of course, the text is laced with the language of physiognomy and the fear that an immigrant might sufficiently imitate britishness to the point of being able to pass himself off as british wholesale. to take this further, we might, for example, think about how stoker depicts lucy westenras â a âblonde, demureâ white woman representative of the british imperialist fantasy of white womanhood becomes a vampire and feeds off of the same children that she (as a white woman) is socially conditioned to care for and reproduce, thus rendering the vampiric threat as one that targets white women and their reproductive roles within the imperial social formation. we might similarly point to the whitechapel murders and the simultaneous sensationalising of sex workersâ murders against the figure of the âgoodâ bourgeois white woman + the subsequent anxiety that the jewish population of the east end might represent a real, immediate threat to londonâs womanhood.i donât want to be overly didactic about this book, and i think that after a certain point this scaffolding is such that people can go away and do the work themselves â like, iâm not going to sit here drawing out point after painstaking point about how dracula is peppered with the language of race science and imperialist anxiety at points x, and y, and z. my intention here was to provide a bit of specific background context for how & why this novel came about, from the relatively meagre well of information that i have to hand. my closing remarks might be that we could use all of this discourse as a launchpad for thinking about the points of convergence of subjugation within the vampire myth, and what that can tell us about how imperialism refortifies itself + against which values it does so â in dracula, in sheridan le fanuâs carmilla, in samuel taylor coleridgeâs christabel, and in the broader corpus of myth to which all of these texts are responding, we can identify repeated convergent themes of othering the jew, the irish population (le fanu was anglo-irish and a popular reading of carmilla is as representative of the colonisation of ireland), the homosexual (dracula is incredibly homoerotic, and both carmilla and christabel are fairly explicitly lesbian), the racialised + colonised populace, and the projection of lechery and sexual degeneracy onto all of these subjects in the ultimate interest of reifying white gentile imperialist sexual formations. the somewhat effete feminising of dracula comes against the masculinising of the imperial british man, for example; the âotheredâ populace exists in threat & opposition to the imperial norm (and the feminised jewish man is a classic of antisemitism, eg. as far back as the medieval smear that jewish men menstruated). all of these figures clustered under the broad umbrella of the vampire are rendered as threats to reproductive white heterosexuality, and as such, to the reproduction of the imperial order, and to capital, and iâve always found this to be the most elucidating angle from which i can engage with the text critically. i hope at the very least this is a helpful little conjunction of Thoughts that people can do something with?
Your supervillain nemesis is little more than goofy comedy relief, always coming up with clunky machines and insane, nonsensical schemes. When a new dangerous villain appeared, your nemesis utterly destroyed them, and then continued on like nothing happened.
Men be like, "oh, you like grunge? Name three Nirvana songs!" without considering the fact that grunge was not a single popular band at one moment in time, but the roots of a movement that resonates so strongly with us because the aesthetic alone was so contrary to consumerism and the trends of fast fashion that emerged in the 80s and are still prevalent today. It took the anti-establishment of punk and stripped it down to its roots. That isn't even touching on how the introspection allowed the music to not just criticize what was happening around them, but evaluate what that can do to the individual. Grunge didn't go away either, it grew up in different directions with the former participants. Like how the music of Pearl Jam, another major contributor to the movement, continues to make music that is softer and more reflective of how anger and sadness manifests when you don't have your youth to fuel your rage. Or how former Nirvana drummer Dave Grohl has been very open about his advocacy for LGBT rights since the 90s and has used his influence in the industry to be active in politics and social justice, now with the influence that his amazing musical talents have given him as opposed to just making music about how angry he was about the world. There are plenty of punk bands that maintain the spirit of grunge that still perform today, the kind that have a couple hundred followers on Instagram and have never been played on the radio because they are, in essence, underground and unheard, and supporting their art does a lot more to support real grunge than naming three songs of a band so wildly famous that their merchandise is still in circulation today... Being produced... But you want to gatekeep a girl being responsible by wearing a hand-me-down Nirvana shirt her dad bought in 1998 without listening to their music because somehow that's doing grunge wrong...
Heathers Animatics
Heathers was my favorite musical for quite a while and while itâs not at the very top of my list anymore, I amassed an extensive knowledge of animatics for the show. So. Masterlist. Here we go:
Our Love Is God by MissyAsylum: The symbolism in this piece blows me away every time. Itâs the only animatic Iâve found for this song that captures the horror of it. Chilling.
Candy Store by szin: This is an amazingly polished, fluid animatic with a great artstyle. The way szin draws the Heathers is perfection.
I Am Damaged by HLKPro: Absolutely heartbreaking rendition of this song, animated perfectly to the beats.
Meant to be Yours by Anidoodles: Great artstyle, fantastic composition and a beautiful range of emotion for JD. The attention to detail really drives this one home.
Meant to be Yours by HLKPro: This version is done with some non-canon character designs, but the artstyle and emotion of this piece make it worth checking out.
Freeze Your Brain by MissyAsylum: Vivid, active rendition of this song. Really makes you hurt for JD (plus, the ending isâŚ!!)
Heathers as Vines by oliviamarlyce: Excellent. Accurate. True beauty.
Heathers as Vines 2 by oliviamarlyce: See above.
Heathers as Vines 3 by oliviamarlyce: See above.
JD as John Mulaney by Anidoodles: Go. Watch it. Experience 48 seconds of joy.
Jacob and Julia asked for fanart and fanfiction of these two and I don't draw so here's my first (of hopefully many) Sara Pena and Hunter Richardson fics. It's a meet-cute.
Two Losers At A Party
Sara wasn't stupid. Okay, well, she was kind of stupid, but she certainly wasn't blind. She had seen the cute girl staring at her and filming.
After a few minutes of dancing for her new personal filmographies, she decided to approach the girl and commence flirting. Or hustling. One of the two.
"Hey. You should tag me in that. Tag my business page. SaraPenaPartyForHire. All one word. The S and the P and the other P and the F and the H are capitalized. That's Sara without an H, too. Did you get all that?"
"Uh. Yes. I'll add that to my post." Hunter was already getting comments about clearly filming without permission, but this felt like permission.
"I'm Sara Pena, by the way. Of SaraPenaPartyForHire."
"Hunter. Hunter Richardson. Of⌠Nothing. What exactly do you do at SaraPenaPartyForHire?"
"Well, it's a freelance kind of thing. I get paid to come to parties and throw down my sick dance moves so that other people feel more comfortable doing the same themselves."
"Sounds lucrative," Hunter said.
"It's not," Sara Pena said with a laugh, "but I enjoy it."
"You must go to a lot of parties, then."
"Yep! Maybe I'll see you at the next one?" Sara batted her eyelashes.
"I mainly go to funerals, actually. Maybe I'll see you at the next one?"
Sara laughed, "You must be a lot of fun at funerals."
Hunter laughed then too, a genuine laugh. The first time she'd laughed all evening.
"Yeah, Sara, I put the fun in funerals."
"I've never worked a funeral before but I'd be willing to give it a go."
"I'll be sure to let my clients know about your business."
"Your clients?" Sara leaned in then, her intense eyes wide, "Do you work for ghosts?"
"Huh. I guess I kind of do. I'm a funeral director."
Hunter leaned in conspiratorially, "You'll never guess where I got this dress."
Sara's eyes sparkled like freshly lit candles, "Where?"
"Right off a dead person."
Sara gasped in delight, "It looks so good on you!"
"Thank you! I thought so too. Sometimes the families of the deceased don't get it but the corpses don't need clothes. I, on the other hand, do. Anything to save money, right?"
"Tell me about it. My life isn't one big party. I have bills to pay, too."
"You get it. You just gotta do what you've gotta do."
"Hey, Sara, get back on the dance floor! We didn't pay you to stand around!" Some guy snapped.
Without changing her morose expression Hunter whipped around and doused the guy with her drink.
"Don't talk to her like that!" Hunter snapped.
"Hey! No one invited you! Get out of here! Both of you!"
Sara grabbed Hunter's hand and they fled, both of them unable to keep from laughing when they got past the front door.
Hunter sobered up the fastest. "I'm sorry I got you kicked out of the party."
"That's okay, they already paid me. And if they leave a bad review on my page I'll just delete it."
"Would you like to help me vandalize their house?" Hunter asked, offering Sara a marker. Sara hadn't let go of her hand yet.
"How about we just go for a walk?" Sara suggested. "I would really, really like to get to know you better, Hunter Richardson."
"And I, you, Sara without an H."
"Well," Sara giggled, clumsily twirling Hunter, "I have one now."
Hunter blushed almost imperceptibly and put away her markers. The only vandalism that would be committed that night was the marks Sara and Hunter were leaving on each other's hearts.
