Cookie Fonster Recounts Eurovision 1973 Again: The Year Where Fans Fixed the Audio

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Intro Post

< 1972 Review | 1973 Review | 1974 Review >

Introduction

Vicky Leandros’ victory brought Eurovision to Luxembourg for the third of four times. This time, the show took place in the Grand Théâtre de Luxembourg, which has 943 seats in the main theatre and 400 in the studio. That is a tiny audience by modern standards, the kind you might see in a smaller country’s national final. I think this gives the show an intimate feel, compared to those with grandiose arenas such as 1968 in the Royal Albert Hall. This intimate feel is further helped by the orchestra surrounding the performers in a circle, which I think looks just plain awesome. Unfortunately the show has no postcards this year. We only get a picture of each singer taken during a rehearsal with their name on the bottom to introduce each song, and they often have unflattering expressions.

Eurovision 1973 is a year of many firsts. It was the first year to have at least one female conductor (for Sweden and Israel), the first that explicitly let countries sing in any language they wanted, the first where at least one song used a backing track (“Power to All Our Friends” from the UK), and the first year where Israel participated. Austria and Malta from last year skipped this contest, meaning it had a total of 17 participating countries. Because this was Israel’s first time participating and came just a year after the horrific Munich massacre, the contest had extreme security measures in place, especially for the Israeli delegation. According to Swedish conductor Monica Dominique, two men with machine guns guarded both sides of the stage throughout the television broadcast.

The intro to the show is pretty simple: an opening film with little clips of the contestants set to an orchestration of “Après toi”, a glimpse at Vicky and Leo Leandros in the audience, then the presenter Helga Guitton introducing the show in French and English with a pinch of German and a few words in Luxembourgish. I watched the show with German commentary uploaded to YouTube just a few weeks ago, but I made sure to check out the versions of each song with strings created by awuga. The orchestra had major sound issues this year which caused the strings to be mostly inaudible on TV, although when I first watched the year I just thought the orchestra was brassier than usual.

The top three of this year are all quite iconic: Cliff Richard with “Power to All My Friends” at third place, a very famous Spanish song called “Eres tú” at second, and the winner was Luxembourg with “Tu te reconnaîtras”—the second of five times the host country won.

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Cookie Fonster Relistens to Eurovision 1972: Vicky Gets Her Revenge

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Intro Post

< 1971 Review | 1972 Review | 1973 Review >

Sorry this post took so long! I got sidetracked by other projects, that’s all. It’s quite exciting to see Romania and Bulgaria return after multi-year breaks to Eurovision 2026—let’s hope they send honest efforts and not flops. But I’m still very much worried about the elephant in the room that is Israel’s participation. I still firmly believe that country should be banned from 2026. It’s pretty clear that the EBU is trying to procrastinate dealing with this issue as long as possible. We’ll see what happens, I suppose. I don’t see any of the countries that said they would boycott the contest if Israel participates backing down from this position, especially not the Netherlands who are a huge financial contributor, because AVROTROS has been more stubborn than any other broadcaster regarding Eurovision ever since the Joost Klein incident, and for very good reason.

Unfortunately I probably won’t go to Vienna for Eurovision 2026, unless maybe I get a high-paying job very soon and get lucky regarding vacation days. Even then, it would be much wiser to save up money for later trips. I need a new job very badly, but even if I do have one I might need to watch next Eurovision from home.

Introduction

After having won Eurovision 1971, the tiny country of Monaco originally wanted to host the next Eurovision contest, but the country had no concert hall or TV studio big enough to host the show. The second and third place countries, Spain and Germany, both declined to host, so the BBC stepped in and offered to stage the event in either Blackpool or Edinburgh. In the end, Edinburgh had the honor of hosting the event, making this the first Eurovision in Scotland, and the only Eurovision hosted in a part of the UK other than England. The show took place in the Usher Hall, which has a modest 2200 seats. You won’t hear much of a Scottish accent from the presenter, Moira Shearer—her accent is total Received Pronunciation (RP), just as much as our good pal Katie Boyle.

This year had the same 18 participating countries as 1971, and the same 1-5 star voting system as well. The winner was Luxembourg with the iconic song “Après toi”, the UK scored yet another second place, and Germany scored a third place two years in a row although they still had yet to win. In last place came Malta for two years in a row, which led them to skip the next two years.

Last time I watched the contest with German commentary, but this time with British commentary done by Tom Fleming. He begins the show narrating the history of Scotland as though he’s a movie narrator. The orchestra plays an arrangement of “Un banc, un arbre, une rue” in homage to Monaco as the camera pans down to the audience, all dressed in fancy suits but with a little splash of color. Then Moira Shearer enters this year’s glamorous stage and gives the usual efficient British-style introduction to the show in English and French. Sadly the show doesn’t have postcards this year, but it does have cute little photos of each competing artist on the big screen before each song begins.

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Progress on updating my Homestuck posts, continued

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The latest shitstorm of drama involving Andrew Hussie (not gonna go into it here) has made me realize, I still need to fix a bunch of shit in my old Homestuck posts and these articles aren’t going to fix themselves. So I will continue from this earlier post and write a progress log, mostly just for myself.

By the way, Andrew Hussie is a complete and utter asshole. I knew this already, since 2020 if not earlier, but it still shocks me how much of a dick he is to fans. Especially the ones who made it possible to read his comic after the website fucking broke!

Changelog:

  • August 12, 2025: Updated the images for posts 34 to 36. I’m making progress, people.
  • August 13, 2025: Updated posts 37 to 38. I should say the pesterlog in part 37 where Tavros reveals he killed Jade’s grandpa is one of my favorite scenes in Homestuck because it’s peak cringe comedy and Jade handles the whole thing like a champ. Especially the part where Tavros starts fucking hitting on her. Now with all that said, developing feelings for someone you met online after just a day is a real thing that happens. That doesn’t make Tavros’s confession any less embarrassing.
  • August 14, 2025: Updated posts 39 to 40. “The Miracle of a New Beginning” is such a banger post title.
  • August 15, 2025: Updated posts 41 to 43. Karkat imagining Jade’s selfcest is just the most Karkat thing, isn’t it?
  • August 16, 2025: Updated post 44. Fuck, it’s annoying to have to keep fixing the GIFs.
  • August 18, 2025: Updated posts 45 to 46. In part 45 (released a few days before Act 7) you can see me holding out hope for the final update being something it simply wasn’t. Since then, I’ve come around on Act 7. And part 46 is a tipping point for my blog, I feel. My analysis of John and Vriska’s conversation was more intensive and earnest than any till this point. I was quite self aware with the line, “I’ll probably look back on THESE posts and think they could’ve been a lot better, but for now, as far as I’m concerned they are supreme masterpieces that I am totally in love with.”
  • August 20, 2025: Updated posts 47 to 48. Holy shit, this is tedious.
  • August 22, 2025: Updated posts 49 to 50. “Hey, didn’t this comic have something to do with a clown killing people? I really can’t remember with all of John’s gushing about Liv Tyler and how gorgeous she is.” is a banger quote.
  • September 5, 2025: Updated posts 51 to 53. Now I’ve begun with the Doc Scratch intermission, my favorite part of Homestuck! Some long-ass posts where I need to fix the images coming right up.
  • September 7, 2025: Updated posts 54 to 55. These are some of my best Homestuck posts before the two-year hiatus, even though I wrote them when I was 17.
  • September 8, 2025: Updated posts 56 to 58. Doc Scratch’s ancestor exposition (in part 58) is one of my favorite parts of Homestuck to reread, whereas Mindfang’s exposition is one of my least favorite parts to reread.
  • September 9, 2025: Updated post 59, the Cascade post. That was a real pain in the ass, but hey, I got to rewatch Cascade for fun. I didn’t need to screenshot the flash all over again, I just once more used the readmspa.org storyboard.
  • September 15, 2025: Updated posts 60 to 61. Fuck, Act 6 Act 1 is fucking boring and I wrote the most pointless walls of text about it. You know how Caliborn insists Dirk is the only good alpha kid? I’m sort of that way with Roxy now. She’s fucking awesome.

Cookie Fonster Picks Apart Eurovision 1971 Again: A Duet That Slowly Won Me Over

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Intro Post

< 1970 Review | 1971 Review | 1972 Review >

Introduction

There are some Eurovision years I’m passionate about and am looking forward to reviewing again. But before I reach them, I need to get through some of the contest’s dullest years, such as Eurovision 1971. I remember it not being a terrible year, just one with no songs I’m passionate about. This year was the first of seven to be hosted in Ireland; it took place at the Gaitey Theatre and was hosted by Bernadette Ní Ghallchóir. This production was a huge undertaking for RTÉ at the time, but the Irish have always known how to put on a good Eurovision show.

All the countries that skipped 1969 or 1970—Austria, Finland, Norway, Portugal, and Sweden—returned this year, and the island country of Malta made their debut, though they weren’t successful in their first few years. This made for a total of 18 participating countries. The winner was Monaco for the first and only time, then in second place came Spain and Germany in third. The newcomer Malta landed at the bottom both this year and the next year, which discouraged them from further participation for the next two decades.

I’ll paste my description of the voting system from round 1: This contest completely redid the voting system, presumably to appease the countries that were mad about the four-way tie two years ago. This time, every country had a pair of jury members (older and younger than 25 years respectively), who each gave songs 1 to 5 points, and the points were all added up so that every country got no less than 34 points. I think that’s a cumbersome system with the obvious hole that a country could vote others low so that they’d comparatively score higher, but somehow it was in place for three years in a row. Plus, rating anything numerically is dumb because number ratings mean different things to different people. I’m also not a fan of this voting system because it means far fewer juries decide how many points each song gets, but I get why it was done: to make the voting more transparent and assuage the unhappy countries. It was temporary anyway.

The show opens with an opening film of a man riding a horse-drawn carriage through the streets of Ireland and welcoming the guests to the Gaitey Theatre. It’s a tiny venue with a capacity of only 1145 seats, which I suppose was the best Ireland had at the time. Then the presenter introduces the show in Irish, French, and English, and the songs kick off. I love the pattern of the hosts introducing the show in Irish each time the show came to Ireland, and I hope it continues should Ireland win again. When speaking English, Bernadette sounded like she was trying to hide her Irish accent, but it slipped through a fair amount anyway. This year had postcards similar to last year: once more tours of each participating country. This time, the producers didn’t cheat and film four different postcards in Paris.

Last time I said I watched the contest with Austrian commentary, but it seems in retrospect it was a mix of Austrian and German. The YouTube upload I used this time is listed as having entirely German commentary, and I’ll trust that.

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Cookie Fonster Dives Back into Eurovision 1970: The Year with Female Terry Wogan

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Intro Post

< 1969 Review | 1970 Review | 1971 Review >

Introduction

After Lenny Kuhr won Eurovision 1969 in a completely deserved landslide, her home country of the Netherlands hosted Eurovision 1970 in its capital city of Amsterdam… wait, why are there only twelve countries? Were some of them mad about something that happened last Eurovision? Oh right, there were four winners that year due to a tie, and several countries were so pissed about the result that they dropped out of the next contest. Norway, Sweden, and Finland up north all dropped out, Austria had originally planned to return in 1970 but joined the Nordic boycott, and Portugal skipped too but still organized Festival da Canção that year. Clearly the Portuguese just loved that annual festival too much.

Out of the four winners of 1969, one of them had to be chosen to host the show. Spain and the UK, as the hosts of the last two years, were out of the running, so a random draw was held between France and the Netherlands. This meant that the Dutch broadcaster NOS put on the show this year, which conveniently matches my headcanon that Lenny Kuhr is the rightful winner of 1969.

The opening film starts with a series of graphics captions with text welcoming the audience to Eurovision 1970 in Dutch, English, and French. It’s set to some eccentric dissonant music, which I feel is more of what the 1969 interval act should have been, because it’s weird and surreal but still sounds like music, then stops being dissonant as it progresses. We get a view out of a plane, some exploration of canals and cyclists and all that fun Dutch stuff. I have a soft spot for those old touristy opening films, they just make me feel good.

After the opening act concludes, the presenter Willy Dobbe gives an introduction so absurdly short (just saying “welcome to Eurovision 1970 in Amsterdam” in French, English, and Dutch) that it almost feels a little rude, but maybe that’s just my perception. Immediately after her introduction begins, we get the postcard for the first entry. Since this contest had only 12 countries participating, to fill the time we get little opening films called postcards to introduce each singer. Eurovision in the 1970’s and early 80’s would feature postcards on and off, then every year from 1984 onwards used those things in many different formats. I love Eurovision postcards and even once did a blog post ranking them all up to 2024.

I always thought this contest was only archived with Irish commentary, but the Dutch commentary is on YouTube as well. I’m still watching with Irish commentary though, because I remember the RTÉ commentator Valerie McGovern being absolutely hilarious, and because I don’t speak Dutch. She is the “female Terry Wogan” referred to in this post’s title. It’s a shame this is the only year she ever commentated Eurovision, but she was lucky to have commentated when her country won. While 1968 and 1969 are fully available in color, the archived broadcast of this year has a few sections in grayscale. I wonder if the majority of this broadcast being in color would make the grayscale portions easier to colorize?

Oh yeah, this year is the first of seven times Ireland won Eurovision. They won with 32 points, the UK came second with 26, and Germany third with 12 points—all three were women singing cutesy upbeat songs. There was one zero-pointer, Luxembourg with a song I remember nothing about.

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Cookie Fonster Re-Investigates Eurovision 1969: The Year That Almost Killed the Contest

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Intro Post

< 1968 Review | 1969 Review | 1970 Review >

Introduction

Eurovision 1969 (the year of my mom’s birth) was the most controversial year up to this point, even before the show began. It’s not a controversial year to fans today, unlike Rome 1991 which is still hotly debated among modern fans, but at the time it was very much controversial. There are two big reasons for the controversy: first, that it was hosted in Spain which was at the time a dictatorship ruled by Francisco Franco. Second, the voting sequence had four countries tied for first place, and since there was no tiebreaker rule, the producers decided to make all of them the winner. Many countries were not happy with this decision.

When I did round 1 of my Eurovision blog, I said this was the first Eurovision in a city I’ve been to: Madrid, which is a beautiful city and lots of fun to explore. But now, the oldest Eurovision in a city I’ve been to is Copenhagen 1964. The count of Eurovisions hosted in cities I’ve visited was “anywhere from four to eight” last time, but now that number has increased by eight because I went to Gothenburg (1 contest), Malmö (3), and Copenhagen (3) in 2024, and Basel (1) in 2025. Now the number of Eurovisions where I have visited the host city is anywhere from twelve to sixteen. Sixteen is also the number of competing countries this year, because Austria skipped out. Ostensibly they couldn’t find a representative, but most people believed the real reason was as a protest against Francisco Franco.

Now the contest having four winners is ridiculous for two reasons. First because the EBU should have had a tiebreaker rule, or at least thought of one on the spot. Second because there was one song clearly far better than everything else that should have won outright: “De troubadour” from the Netherlands. The other three winners (Spain, the UK, and France) I remember being likable songs, but not half as good as the Netherlands. There were no nul-pointers this year: Norway landed at the bottom with one point.

The show opens with “Te Deum” on the organ set to a metal sculpture onstage by Amadeo Gabino, then a kickass promotional poster by Salvador Dalí set to an orchestral arrangement of “La la la”. Why did Eurovision have to abolish the orchestral reprises of last year’s winner early on? They were so cool and fun! Then the presenter Laurita Valenzuela comes in to do the show mostly in Spanish. Her diction in Spanish is very clear and quite easy to understand, even with my limited level of Spanish, and she’s a rare presenter who’s more comfortable speaking in French than English. After the intro in Spanish, French, and English, she said “guten Abend” so I thought she was going to give a speech in German, but she just said “good evening” in all the remaining languages.

As with last time, I’ll watch this with Spanish commentary, done by longtime commentator José Luis Uribarri. He last commentated for Spain in 2010 and died two years later.

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Cookie Fonster Makes Sense of Eurovision 2025 (Final): My New Favorite Year

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Intro Post

< 2025 Semifinals | 2025 Final | 2026 Semifinals >

Almost two weeks after the grand final, and my review of Eurovision 2025 is finished! Warning: it’s long as hell.

Introduction

My new favorite year, you say? Yes, indeed so. The song lineup of Eurovision 2025 is nothing short of spectacular: out of 37 songs, there are ten that I’ve given a 9/10 or higher, 17 that I’ve scored an eight or higher, and 23 that are at least a seven. Only eight songs this year are below a five (songs I neither like nor dislike). As is usual in Eurovision, most but not all of the right songs qualified, and thankfully the Big Five and host all sent honest efforts, which makes this an exceptionally good grand final. The one problem: the results of the grand final absloutely fucking sucked.

I usually list the top three in the intro of my Eurovision final posts, but this time it’ll make me feel better to list the top five. The fifth place was predictable enough: Italy with yet another male ballad, but it was more likable than their usual ballads for reasons I’ll discuss later. Now in fourth place came the song I wanted to win: “Bara bada bastu” by KAJ, the first Swedish Eurovision entry to actually be sung in Swedish since 1998. Fourth place would normally be a good result, but it’s a cruel joke when you look at the actual top three.

The third place is incomprehensible to me: a joke entry from Estonia with as little musical merit as “Irelande Douze Pointe” or “Flying the Flag (for You)”. Israel sent a sequel to last year’s “Hurricane” and ran another massive ad campaign, which got them a terrifyingly close second place and even a televote win. I will rant about them exploiting Eurovision soon enough. And as for the winner, the juries think that opera vocals automatically make a song good, so they boosted “Wasted Love” of all fucking songs to the top and gave Austria their third victory. That song winning was a nightmare scenario for me already, but the other top three made for a worse nightmare than I could possibly conceive of.

Now the good news is, aside from the top three, almost every entry in the grand final has something to like about it. In fact, there are so goddamn many songs worth swooning over, I’m not prepared and neither are you. And plus, I am absolutely over the moon about my country’s entry: Germany finally sent a song in German for the first time since 2007, and a great one at that! That might end up being the longest review in the post, but we’ll see soon enough.

And now to discuss the opening of the show, which I watched live in the St. Jakob-Park football stadium for a public viewing, seated next to my mom and her friend. My mother only joined me for Eurovision on the day of the final, just so you know. The show begins with a hilarious video skit where the three presenters realize the trophy hasn’t arrived yet and debate over what to do. As the most comedic of the hosts, Hazel offers to make a trophy from her water bottle and aluminum foil, then drops it and says “at least it doesn’t break”. I love this little jab at Nemo breaking the Eurovision trophy last year so much. Then the trophy goes on an epic journey to the Eurovision stage, soon to be delivered by Nemo themself in the hopes it doesn’t get broken. The entire opening film is humorous, yet it amazes me with the production at the same time.

The opening act is your usual abridged rehash of “The Code” (sure, why not). Then comes the flag parade, set to a medley of dancey Swiss hits and some kickass percussionists. Everyone in the parade is carrying just one or two big flags, but they’re all having fun doing it and many of their personalities shine through. The goofy brothers from Iceland, proud and confident Erika from Finland, the classy guitarists from Italy, modest Zoë from Switzerland, it goes on. And finally enter not two, but three hosts: Hazel Brugger and Sandra Studer from the semifinals, now joined by Michelle Hunziker. No Swiss-hosted contest is complete without a quick introduction in all of Switzerland’s languages, so the hosts do that and then present us the second audience in the football stadium.

For this blog post, I watched the grand final with German commentary done by Thorsten Schorn. My German grandma said she found the commentary on the grand final hilarious, so let’s hope she’s right!

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Cookie Fonster Makes Sense of Eurovision 2025 (Semifinals): Calm After the (Shit)storm

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Intro Post

< 2024 Final | 2025 Semifinals | 2025 Final >

I started this post at my German grandma’s house on May 18, wrote parts of it at various airports and on flights, then finished it back at home! I hope you enjoy it, and you better get hyped for my grand final review.

Introduction

The time of year has come and passed, and Eurovision 2025 has just ended! I was originally going to wait a few weeks to write my review, but the contest had so many results that pissed me off, I decided I need to get my thoughts off my chest as soon as possible. Now the reason the results piss me off is because this year had an absolutely stellar lineup of songs, but not a single one of the top three actually deserved to be there. Two of them are songs I actively dislike, and one I find listenable enough but came from that country—you know, the one that gets a disproportionate amount of votes from their ad campaigns—at the expense of far better songs. But I’ll get into more detail in the grand final post.

Eurovision 2025 was the third edition of the contest hosted in Switzerland, after Lugano 1956 (the first contest) and Lausanne 1989. Four Swiss cities bidded to host (yes, technically the past tense is supposed to be “bid”, I don’t care), and those were Basel, Bern, Geneva, and Zurich. On August 30, 2024, the host city was chosen as Basel (first time in the German-speaking part of Switzerland) and the venue as the St. Jakobshalle: an arena with 8000 seats, and a full capacity of 12,400 when you include the standing audience. I was in this exact arena during semifinal 2, and I have quite a lot of stories from the trip to tell in this and the next blog post. But the main focus of these posts is the songs, not the trip. I will soon start making a YouTube video about my trip to Basel, and it’ll probably be 30 minutes to an hour long. For now, just know I had a fabulous time and the trip completely surpassed Malmö 2024 for me.

The semifinals were presented by a duo of women like last year. As the show points out, we yet again have a brown-haired Eurovision veteran and a younger blonde-haired Eurovision newbie. The veteran is Sandra Studer, who competed for Switzerland in 1991 scoring fifth place and provided commentary in Swiss German most years from 1997 to 2006. The newbie is Hazel Brugger, a TV host and comedian known for her dry wit. A third host, Michelle Hunziker, would join them in the final.

This is the third contest in a row with 37 competing countries. It was supposed to be 38 at first, but that number seems to be cursed. Montenegro returned after last competing in 2022 (and before that, 2019), only to get a dead last place. Moldova was originally going to compete too and even organized a national final to be held on February 22, but on January 22, they dropped out of the contest and canceled the selection, because of the heavy criticism of the entries chosen. A real bummer, because they had had perfect attendance since 2005 and would normally bring something fun to Eurovision.

So in terms of drama, how did the contest compare to last year? It went pretty well actually! I didn’t hear of any feuds between delegations or contestants during the show; it seems like they all got along and everyone was on their best behavior, including the Israeli delegation. In addition, I could tell that Israeli fans felt much safer in Basel than they did in Malmö. Not until the results did anything resembling a shitstorm erupt, but that’s a matter for my grand final review. One other difference from last year is a change to the qualifier reveals sequence: for all reveals but the last, the countries are narrowed down to three before we find out who qualified. I’ll discuss my thoughts on this change later in the post.

Since the German entry this year is a song I properly love, and better yet, a song that’s actually sung in German, I’ve decided to watch all three shows with German commentary. ARD hired last year’s German commentator for the show, Thorsten Schorn. I can tell he’s gradually finding his footing as a commentator and developing his own style that’s a little different from Peter Urban, more actively humorous. I have 11 non-qualifiers to get through in this post. Most of the NQ’s are understandable enough, but one was a major fan favorite that had zero reason not to qualify.

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Cookie Fonster Reviews Every MLP Episode Part 83: Not Asking for Trouble + Discordant Harmony

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Introduction / Navigation

< Part 82 | Part 83 | Part 84 >

Season 7, Episodes 11-12

Whew, I finished this post the day before I leave for Eurovision 2025! And after I come home, I’ll be preoccupied making a video about the trip, then a pair of blog posts reviewing the contest. I’ll review the non-qualifiers in the first post and the finalists in the second, as per usual.

Season 7 Episode 11: Not Asking for Trouble

In five words: Yaks are being needlessly stubborn.

Premise: The yaks have returned! Pinkie Pie is sent on a mission to Yakyakistan which gets buried amidst an avalanche, but the yaks refuse to accept external help to solve this mess.

Detailed run-through:

To begin this episode, Pinkie Pie sprints across Ponyville screaming “oh my gosh” over and over, because Prince Rutherford, the leader of the yaks, invited her to an event called Yikslurbertfest (inspired by Oktoberfest?) in Yakyakistan. Rarity asks what in the world Yikslurbertfest is, and Twilight Sparkle apparently knows it’s a sacred yak holiday. I’m a bit surprised Twilight knows it, but also can see why: she probably read it in the pony equivalent of a Wikipedia spiral, which I guess is a regular encyclopedia spiral.

Pinkie Pie claims she subtly hinted to the yaks that she wanted to attend this event, which means she sent a huge amount of letters begging for her to go. Twilight Sparkle officially declares Pinkie Pie the friendship ambassador to the yaks, and then Pinkie sets out for Yakyakistan.

It’s bittersweet to see Gummy now, because he reminds me of my toothless cat who I had to put down in February.
Rest in peace, Mini.

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Small update on fixing old posts

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Today I started fixing the broken images on my Homestuck blog post series (starting from part 1) and uploading from my own computer, because the MSPA web domain keeps being more and more broken. Mostly so I have something to do while bored in the last few days before my upcoming trip. That’s all!

Wait, that’s not all. I’ve decided to add a changelog.

  • May 8, 2025: Updated Homestuck posts 1-14 and 1-2 (rewritten). Shit, I kind of want to resume the rewritten posts, but now’s not the right time.
  • May 9, 2025: Updated rewritten Homestuck posts 3-9 (rewritten). After I finish the rewritten posts, I’ll fix the Problem Sleuth posts. How many goddamn times now have I had go through my entire Homestuck blog post series and fix shit?
  • May 10, 2025: Updated Homestuck posts 10-16 (rewritten), completing the rewritten Homestuck posts, then did the Problem Sleuth posts which were basically a failed experiment. Also, I found out a way to fix an annoying problem with GIFs in my posts, where the last frame appears for only one frame. Compare these two images:
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