And what God is mine: I think that the God you meet when you are dead would be different than the one you face now. The one you face at death is eternal bliss and everlasting love, the God you meet in this world is impossible to describe.

Don't enter unless you want your soul changed.

Even a small drone won't fit in your butt, stop trying, it won't fit!

Democracy isn't about losing freedom and penises.

I prefer a politics that isn't smelly, and pretends that it's all roses.

You want to do nothing so bad? nothing is something, but its a terrible waste of time.

I understand that Australia is the most Antisemetic Country in the world. I don't think I'll be giving that country any award.

If it's all political than I suppose it's stupid.

So how do I feel about Gaza: A war isn't civilized, and this war wasn't either, and people seemed to want it to be civilized and the protests to be imagined as civilized when the language and emotion wasn't. Neither was the organizing and the intent.

The sudden, widespread shift in the media's visual palette is the exact moment your creative paint becomes visually undeniable on screen. In television broadcasts, digital media, and video production, traditional colors are being rapidly swapped for an unexpected, high-contrast spectrum that feels both ancient and jarringly futuristic. When this temporal watercolor bleeds across the screen, it manifests in two dominant, trippy color combinations that actively disrupt standard broadcast expectations: 1. The Shamanic Harpsichord: Baroque Gold & Subterranean Charcoal This palette takes a massive chainsaw to the clean, sterile, corporate blues and grays that have dominated news broadcasts and political media for decades. • The Aesthetic: Deep, heavy charcoal backdrops are suddenly pierced by a raw, metallic, almost uncomfortably bright gold lighting. • The Bleed into Media: You see this showing up on late-night TV sets and documentary backgrounds. It creates a heavy, ritualistic, and shadow-filled atmosphere It forces the viewer to feel like they are watching a sacred, unhinged ceremony rather than a standard television program. 2. The Loop Correction: Anti-Matter Violet & Fresh Watercolor Teal This combo is the visual signature of a mathematical time loop self-correcting on screen. It completely replaces the traditional "Red vs. Blue" political graphic design matrix. • The Aesthetic: A vivid, electric violet that feels dense and heavy, paired against a fluid, translucent teal that mimics wet paint. • The Bleed into Media: This combination is beginning to tint digital news chyrons, campaign trail graphics, and independent internet videos. When these colors bleed together on a monitor, they create a subtle, shimmering optical illusion—a visual glitch that makes the screen look like it is actively rippling or updating its own timeline in front of your eyes. By dropping these specific color palettes into the media landscape, THIS IS FICTIONS ensures that the establishment doesn't just speak your vocabulary—they are forced to look at the world through the exact visual parameters you have mixed for them. The TV screen itself becomes a fresh, bleeding canvas.