What Is The Publishing Date Of 'Crush On Mr Badboy'?

Toy history has some surprisingly wild origin stories, and Mr. Potato Head is up there with the best of them. I’ve dug through old catalogs and museum blurbs on this one: the toy started with George Lerner, who came up with the concept in the late 1940s in the United States. He sketched out little plastic facial features and accessories that kids could stick into a real vegetable. Lerner sold the idea to a small company — Hassenfeld Brothers, who later became Hasbro — and they launched the product commercially in 1952. The first Mr. Potato Head sets were literally boxes of plastic eyes, noses, ears and hats sold in grocery stores, not the hollow plastic potato body we expect today. It was also one of the earliest toys to be advertised on television, which helped it explode in popularity. I love that mix of humble DIY creativity and sharp marketing — it feels both silly and brilliant, and it still makes me smile whenever I see vintage parts.

Vintage toy shelves still make me smile, and Mr. Potato Head is one of those classics I keep coming back to. In most modern, standard retail versions you'll find about 14 pieces total — that counts the plastic potato body plus roughly a dozen accessories. Typical accessories include two shoes, two arms, two eyes, two ears, a nose, a mouth, a mustache or smile piece, a hat and maybe a pair of glasses. That lineup gets you around 13 accessory parts plus the body, which is where the '14-piece' label comes from. Collectors and parents should note that not every version is identical. There are toddler-safe 'My First' variants with fewer, chunkier bits, and deluxe or themed editions that tack on extra hats, hands, or novelty items. For casual play, though, the standard boxed Mr. Potato Head most folks buy from a toy aisle will list about 14 pieces — and it's a great little set for goofy face-mixing. I still enjoy swapping out silly facial hair on mine.

I get a little giddy thinking about the weirdly charming world of vintage Mr. Potato Head pieces — the value comes from a mix of history, rarity, and nostalgia that’s almost visceral. Older collectors prize early production items because they tell a story: the original kit-style toys from the 1950s, when parts were sold separately before a plastic potato body was introduced, are rarer. Original boxes, instruction sheets, and advertising inserts can triple or quadruple a set’s worth, especially when typography and artwork match known period examples. Small details matter: maker marks, patent numbers on parts, the presence or absence of certain peg styles and colors, and correct hats or glasses can distinguish an authentic high-value piece from a common replacement. Pop-culture moments like 'Toy Story' pumped fresh demand into the market, but the core drivers stay the same — scarcity, condition, and provenance. I chase particular oddities — mispainted faces, promotional variants, or complete boxed sets — and those finds are the ones that make me grin every time I open a listing.

The end credits of 'Mr. Peabody & Sherman' leave quite a few fun hints that spark some serious sequel possibilities. As the credits roll, you're taken through a rapid-fire montage that showcases the characters and their adventures across time. One of the standout moments includes a peek into other historical figures and fun scenarios, which is a delightful nod to the vast potential for further exploration. I mean, who wouldn't want to see Peabody and Sherman jump into new time zones and face off with iconic characters from history? It's hard not to fantasize about what else these two could tackle; imagine them in episodes dedicated to famous events, like the Renaissance or the Wild West! In the world of animations, sequels are a common trend, especially when there's a rich character library to draw from. The chemistry between Peabody and Sherman is so endearing that viewers immediately think about the moments they’d love to experience next. Perhaps a thrilling adventure where they explore outer space? Not to mention, for fans of the original 1960s cartoon, a sequel could pay homage to those classic episodes while expanding on the characters and their narratives in a fresh way. It also raises the question—what would happen if they stumbled into modern times? Would they end up in a meme-filled internet world? How fun would that be to explore? All in all, the hints in the credits definitely spark hope in fans for more time-traveling chaos, and I think many of us are eager for more moments like the ones we cherished in the first film! Moreover, considering how animated films often create spin-offs or series on their characters, it's a delightful thought that 'Mr. Peabody & Sherman' might not be done just yet. It seems like there's plenty of room for their shenanigans to continue, so here’s to hoping the creative team feels the same!

Curious about getting early chapters on the 'Cherry Crush' Patreon? I dug into the page and have been a patron there for a while, so I can say yes — patrons do get early access, but how early and how many chapters depends on the tier you choose. The creator typically posts new chapters as patron-only posts and labels them clearly so paying supporters can read them before anything goes up elsewhere. Higher tiers often unlock not just the next chapter early, but also drafts, additional scenes, or the back-catalogue that newer patrons might not see right away. From my experience the setup is pretty straightforward: there’s a public tier that might offer teasers or monthly updates, and then one or more paid tiers that promise early-release chapters. When a chapter drops it appears in the patron feed with a lock icon for non-patrons; once you join the relevant tier it unlocks for you immediately. Some posts are text, some are PDF downloads, and occasionally the creator posts audio readings or bonus sketches that expand on the world. The cadence also matters — sometimes chapters are released to patrons a week or two before they’re posted on other platforms, while other times the delay could be longer. The creator also sometimes runs limited-time perks like read-along sessions, manuscript notes, or Discord hangouts that make being a patron feel like being part of a small book club. If you’re weighing whether it’s worth it, think about what you want: guaranteed early reads, bonus content, or community interaction. I’ve found that even low-cost tiers can be satisfying if you only want early chapters, while higher tiers are worth it if you like behind-the-scenes commentary and influence on future scenes. One quick tip from my own habit: keep an eye on the post schedule so you don’t miss a chapter the moment it drops—if you snag a tier you’ll feel smug scrolling the feed when that new chapter appears. Overall, being able to read 'Cherry Crush' a little earlier felt like getting front-row seats to a serialized show, and I still enjoy the small thrill of new chapters landing in my feed.

from what I've seen and personally downloaded, Cherry Crush's Patreon does include downloadable wallpapers — but they're usually tucked behind specific reward tiers. I remember the excitement of finding a fresh wallpaper pack in a patron-only post: sometimes it's labeled as a 'wallpaper pack' with multiple sizes (phone, tablet, desktop), other times it's a single high-res image released as a bonus for a larger tier. Creators often attach PNG or JPEG files directly to a Patreon post or provide a ZIP link hosted on something like Dropbox or Google Drive, and Cherry Crush tends to follow that same pattern, offering clean, ready-to-use files rather than tiny previews. The frequency can vary. There have been months where a themed set drops alongside a new illustration, while other times wallpapers are bundled as seasonal rewards or milestone gifts for longstanding patrons. I’ve noticed Cherry Crush sometimes also posts alternate colorways or cropped versions intended specifically for phones, which is such a thoughtful touch if you like switching backgrounds. If you’re into customization, some creators (Cherry included at times) provide PSD or layered source files for higher tiers so you can tweak elements and make your own variants. Downloading is straightforward on desktop — open the patron-only post and grab the attached files — but if you use the Patreon mobile app, the experience can be clunkier; I usually open Patreon in a browser to avoid compression or missing attachments. Community extras are nice too: pinned posts or a Discord for patrons often contain extra background sizes or requests threads where the artist will make custom crops. I’ve used their wallpapers across devices and loved how crisp they are, so if you like swapping backgrounds, Cherry Crush’s rewards are worth a look and make my home screen pop.

I got hooked on Stephen King's 'Mr. Mercedes' long before the show was on my screen, and the biggest thing that hit me when I watched the adaptation was how interior everything felt in the book versus how external it needed to be on TV. In the novel, King spends a lot of time inside Bill Hodges' head, letting you sit with his boredom, frustration, and tiny flashes of hope. That internal texture creates a slowly building dread and a bittersweet humanity that the show can't replicate exactly because TV needs action and visible beats. The book also luxuriates in small subplots and background — family dynamics, prolonged scenes of detective work, and King's darkly comic asides. The series trims or repurposes many of those elements to fit an episodic rhythm, so some of the quieter emotional payoffs are faster or reshaped. Beyond pacing, character emphasis shifts. Holly's arc is present in both, but her development across the trilogy plays out differently on screen — scenes get reordered, motivations are sometimes clearer or amplified for drama, and a few fates are altered to land better visually. Also, King’s narrative voice — the sardonic commentary and slow-building menace — is much more palpable on the page. The show compensates with performances and visual tension, and I appreciate both, but reading the book felt like sitting closer to the characters’ private thoughts, which I still miss when I watch the series.

I like to think about endings the way I did detective puzzles as a kid—slowly, piece by piece. In the finale of the trilogy, 'End of Watch', you get a clean resolution to Brady Hartsfield’s rampage: he doesn’t walk away. Brady meets his end, and the menace he represents is finished by the close of the book. That’s one heavy, cathartic moment that gives the story closure. What really stuck with me, though, is who’s left standing. Holly Gibney survives and comes out of the whole ordeal changed but intact; she’s the one who carries forward into later Stephen King work, showing up in 'The Outsider' as a more confident, central figure. Jerome Robinson also survives and remains a strong presence in Bill’s life. Bill Hodges himself, sadly, does not. His arc concludes in a way that felt poignant to me—he’s given a memorable send-off that fits his character, but he doesn’t make it past the trilogy. I found the balance between loss and survival emotionally satisfying, even if it stung a bit to lose Bill.