#2022 writing evaluation

[mostlysignssomeportents]

Return to office and dying on the job

Denise Prudhomme's bosses at Wells Fargo insisted that the in-person camaraderie of their offices warranted a mandatory return-to-office policy, but when she died at her desk in her Tempe, AZ office, no one noticed for four days.

That was in August. Now, Wells Fargo United has published a statement on her death, one that vibrates with anger at the callously selective surveillance that Wells Fargo inflicts on its workforce:

https://www.reddit.com/r/WellsFargoUnited/comments/1fnp9fa/please_print_and_take_to_your_managersite_leader/

The union points out that Wells Fargo workers are subjected to continuous, fine-grained on-the-job surveillance from a variety of bossware tools that count their keystrokes and create tables of the distancess their mice cross each day:

https://pluralistic.net/2021/02/24/gwb-rumsfeld-monsters/#bossware

Wells Fargo's message to its workforce is, "You can't be trusted," a policy that Wells Fargo doubled down on with its Return to Office mandate. Return to Office is often pitched as a chance to improve teamwork, communication, and human connection with your co-workers, and there's no arguing with the idea that spending some time in person with people can help improve working relationships (I attended a week-long, all-hands, staff retreat for EFF earlier this month and it was fantastic, primarily due to its in-person nature).

But our bosses don't want us back in the office because they enjoy our company, nor because they're so excited about having hired such a swell bunch of folks and can't wait to see how we all get along together. As John Quiggin writes, the biggest reason to force us back to the office is to get a bunch of us to quit:

https://www.theguardian.com/commentisfree/2024/sep/26/in-their-plaintive-call-for-a-return-to-the-office-ceos-reveal-how-little-they-are-needed

As one of Musk's toadies put it in a private message before the Twitter takeover, "Sharpen your blades boys. 2 day a week Office requirement = 20% voluntary departures":

https://techcrunch.com/2022/09/29/elon-musk-texts-discovery-twitter/

The other reason to spy on us is because they don't trust us. Remember all the panic about "quiet quitting" and "no one wants to work"? Bosses' hypothesis was that eking out a bare minimum living on from a couple of small-dollar covid stimulus checks was preferable to working for them for a full paycheck.

Every accusation is a a confession. When your boss tells you that he thinks that you can't be trusted to do a good job without total, constant surveillance, he's really saying, "I only bother to do my CEO job when I'm afraid of getting fired':

https://pluralistic.net/2024/04/19/make-them-afraid/#fear-is-their-mind-killer

As Wells Fargo United notes, Wells Fargo employees like Denise Prudhomme are spied on from the moment they set foot in the building until the moment they clock out (and sometimes the spying continues when you're off the clock):

Wells Fargo monitors our every move and keystroke using remote, electronic technologies—purportedly to evaluate our productivity—and will fire us if we are caught not making enough keystrokes on our computers.

The Arizona Republic coverage notes further that Prudhomme had to log her comings and goings from the Wells Fargo offices with a badge, so Wells Fargo could see that Prudhomme had entered the premises four days before, but hadn't left:

https://www.azcentral.com/story/news/local/tempe-breaking/2024/09/23/wells-fargo-employees-union-responds-death-tempe-woman/75352015007/

Wells Fargo has mandated in-person working, even when that means crossing a state line to be closer to the office. They've created "hub cities" where workers are supposed to turn up. This may sound convivial, but Prudhomme was the only member of her team working out of the Tempe hub, so she was being asked to leave her home, travel long distances, and spend her days in a distant corner of the building where no one ventured for periods of (at least) four days at a time.

Bosses are so convinced that they themselves would goof off if they could that they fixate on forcing employees to spend their days in the office, no matter what the cost. Back in March 2020, Charter CEO Tom Rutledge – then the highest-paid CEO in America – instituted a policy that every back office staffer had to work in person at his call centers. This was the most deadly phase of the pandemic, there was no PPE to speak of, we didn't understand transmission very well, and vaccines didn't exist yet. Charter is a telecommunications company and it was booming as workers across America upgraded their broadband so they could work from home, and the CEO's response was to ban remote work. His customer service centers were superspreading charnel houses:

https://pluralistic.net/2020/03/18/diy-tp/#sociopathy

That Wells Fargo would leave a dead employee at her desk for four days is par for the course for the third-largest commercial bank in America. This is Wells Fargo, remember, the company that forced its low-level bank staff to open two million fake accounts in order to steal from their customers and defraud their shareholders, then fired and blackballed staff who complained:

https://www.npr.org/sections/thetwo-way/2016/09/26/495454165/ex-wells-fargo-employees-sue-allege-they-were-punished-for-not-breaking-law

The executive who ran that swindle got a $125 million bonus:

https://www.nakedcapitalism.com/2016/09/wells-fargo-ceos-teflon-don-act-backfires-at-senate-hearing-i-take-full-responsibility-means-anything-but.html

And the CEO got $200 million:

https://money.cnn.com/2016/09/21/investing/wells-fargo-fired-workers-retaliation-fake-accounts/index.html

It's not like Wells Fargo treats its workers badly but does well by everyone else. Remember, those fake accounts existed as part of a fraud on the company's investors. The company went on to steal $76m from its customers on currency conversions. They also foreclosed on customers who were up to date on their mortgages, seizing and selling off all their possessions. They argued that when bosses pressured tellers into forging customers on fraudulent account-opening paperwork, that those customers had lost their right to sue, since the fraudulent paperwork had a binding arbitration clause. When they finally agreed to pay restitution to their victims, they made the payments opt-in, ensuring that most of the millions of people they stole from would never get their money back.

They stole millions with fraudulent "home warranties." They stole millions from small businesses with fake credit-card fees. They defrauded 800,000 customers through an insurance scam, and stole 25,000 customers' cars with illegal repos. They led the pre-2008 pack on mis-selling deceptive mortgages that blew up and triggered the foreclosure epidemic. They loaned vast sums to Trump, who slashed their taxes, and then they fired 26.000 workers and did a $40.6B stock buyback. They stole 525 homes from mortgage borrowers and blamed it on a "computer glitch":

https://pluralistic.net/2021/09/29/jubilance/#too-big-to-jail

Given all this, two things are obvious: first, if anyone is going to be monitored for crimes, fraud and scams, it should be Wells Fargo, not its workers. Second, Wells Fargo's surveillance system exists solely to terrorize workers, not to help them. As Wells Fargo United writes:

We demand improved safety precautions that are not punitive or cause further stress for employees. The solution is not more monitoring, but ensuring that we are all connected to a supportive work environment instead of warehoused away in a back office.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/27/sharpen-your-blades-boys/#disciplinary-technology

[literaryvein-reblogs]

Hi! Hope you're doing well 🌟

Do you have any advice on how to write ten year olds? Like, not physically but emotionally. One of my main characters is ten years old and I wanna make sure I get it right, sometimes I feel like I'm giving him the emotional maturity of the characters that surround him that are in their 20s and 30s but idk ://

Writing Notes: Emotional Development

Emotional Development

Also called affective development.

A gradual increase in the capacity to experience, express, and interpret the full range of emotions and in the ability to cope with them appropriately.

Cortical control, imitation of others, hormonal influences, home atmosphere, and conditioning play major roles in emotional development.

It is nearly impossible to imagine emotional development as separate from changes in cognitive development that occur in the first two decades of life.

As memory and thinking become more complex and abstract, emotional development changes as well.

Similarly, markers of emotional development are intimately linked to a child’s social experiences.

The following examples are major markers of change in emotional development as they occur within a social context.

Emotional competence (7 to 10 years). Emotion expressions are used to manage relationship dynamics, such as smiling at a new friend (Saarni & Camras, 2022).

Emotion regulation (infancy through adulthood). Emotion regulation strategies are processes used to monitor, evaluate, and modify our emotional reactions in order to achieve a goal. Strategies become more sophisticated from extrinsically based regulation in infancy to more intrinsically based regulation from preschool-age through adulthood (Eisenberg et al., 2010; Thompson & Goodvin, 2007).

8 to 9 years: Cognitive emotion regulation strategies emerge, and children begin to use thoughts and feelings about themselves and others to control their emotions (Garnefski et al., 2007).

The ability to regulate our emotions is one of the most important skills for learning, social relationships, and mental health. 

Adolescence - The period of human development that starts with puberty (10–12 years of age) and ends with physiological maturity (approximately 19 years of age), although the exact age span varies across individuals.

During this period, major changes occur at varying rates in physical characteristics, sexual characteristics, and sexual interest, resulting in significant effects on body image, self-concept, and self-esteem.

Major cognitive and social developments take place as well: Most young people acquire enhanced abilities to think abstractly, evaluate reality hypothetically, reconsider prior experiences from altered points of view, assess data from multiple dimensions, reflect inwardly, create complex models of understanding, and project complicated future scenarios.

Adolescents also increase their peer focus and involvement in peer-related activities, place greater emphasis on social acceptance, and seek more independence and autonomy from parents.

How Emotions Develop in Adolescence

Once self-conscious emotions such as guilt, embarrassment, and shame emerge in middle childhood, very few new emotions develop. Adolescents’ cognitive skills to reason about abstract concepts improve their ability to manage and reason about their own emotions and improve emotional competence in relationships (Rosenblum & Lewis, 2006).

Research on adolescent emotional development shows how emotions change during this time of rapid physical development.

Emotion Expression. Emotion expression in adolescence differs from that in childhood and adulthood. Adolescents report experiencing greater extremes of emotion and more negative mood states than adults. Adolescent emotional experiences are reported to include less happiness than during childhood (Rosenblum & Lewis, 2006).

Emotional Dissemblance. Emotional dissemblance is the ability to separate one’s emotional expressions from one’s internal feelings. Children learn how to control the emotions they display in order to avoid negative outcomes. During adolescence, teens begin to display expressions according to the norms of adult interaction (Rosenblum & Lewis, 2006); for example, the ability to outwardly display a facial expression of congratulations to a competitor immediately after a tough loss, while feeling intense emotion internally.

Emotional Competence. A successful transition to adulthood is associated with increased emotional competence across several skills during adolescence; for example, learning to regulate intense emotions, knowing how to attend to emotions without becoming overwhelmed by them, and learning how to manage interpersonal relationships in the midst of intense emotions (Rosenblum & Lewis, 2006).

Emotional Maturity - A high and appropriate level of emotional control and expression.

Prerequisites for Developing Emotional Maturity

Emotional maturity is a skill that can be nurtured and developed through psychoeducation, therapy, and coaching (Kaur et al., 2015).

Possessing or developing the following characteristics provides the foundation for developing emotional maturity:

Personal Reflection & Self-Awareness. Self-awareness and a willingness to reflect on one’s emotions and behaviors are crucial for the growth and development of emotional maturity (Herwig et al., 2010).

Openness to Feedback. Personal growth and emotional maturity are dependent on our willingness to accept and learn from constructive criticism (McEnrue et al., 2009).

Commitment to Growth. Personal growth is hard work and requires a dedication to ongoing personal development and emotional learning (Bauer & McAdams, 2004).

Empathy. The ability to identify, interpret, and share the feelings of others is integral to emotional maturity (McNaughton, 2016).

Resilience. All personal growth requires the capacity to recover quickly from difficulties and adapt to change (Still, 2023).

Sources: 1 2 3 ⚜ More: Notes & References ⚜ Writing Resources PDFs

There are some children who exhibit the same (or almost similar) level of emotional maturity of adults surrounding them, depending on the circumstances. Consider these notes and incorporate which ones are most suitable for your own story. Hope you're doing well yourself, and that this helps with your writing! :)

[nicks-den]

Bokura no Sonzai wo Kike (2022)

Continuation to Minna Bakayarou Da which I posted a few weeks ago. I finished most of the lines a while back, but I've been stuck on some lines since this movie is even harder to hear than the prequel short.

Synopsis: Set a year later, Sousuke and Satoru, both 19 years old, are now rounin (high school graduates who didn't get into university and are waiting for another shot). They're both attending a prep school for university until someone from their past emerges and causes conflict and unraveling of the past.

This film won several awards in Japan on independent film festivals, so I hope you enjoy watching. By the way, I gave this the title "Hear Our Presence" because it fits very well with the theme.

Download raw and subs here:

Mega | Google drive

Steam here.

After watching, you might want to read some explanation about Japanese university admission system below the cut that I forgot to do for the prequel short.

Since the two leads are both rounin now, it's implied that Satoru failed the general examination - this is the examination that most students want to take to get into university, and Sousuke failed to get in with the recommendation of his high school (if he even attempted to go through with it).

The different types of entrance examination to get into university are quite complicated in Japan and highly depend on whether the university is private or public and on the university/school itself. There were also several changes that happened in 2021 that changed up the terms, but I'll briefly explain some different types using the older terms. These are by no means official translations (I'm not aware if any official translations even exist for something like this).

There are three main ways students get admitted into university - general entrance examination based on test scores (一般入試 - ippan nyuushi), recommendation-based examination with its two main types depending on circumstances (推薦入試 - suisen nyuushi), and a comprehensive (all-encompassing) selection (総合型選抜 - sougou gata senbatsu, formerly known as AO nyuushi / AO入試) which focuses on evaluation in different ways, but I don't want to go into details for that one because it can be quite complex.

Now let's get into the two types of recommendations. In Japanese, it's designated school recommendation (指定校推薦 - shiteikou suisen) and open/public recommendation (公募推薦 - koubo suisen). The designated school recommendation is usually done by private universities and only students from select high schools can apply for it, so the competition is smaller. They are restricted, but have a high acceptance rate, while the open recommendation is less restricted and open to all who meet the conditions, but the competition can be high and students need to promote themselves, with a focus on not just the grades. In any case, the student still needs to go through the process to get accepted despite the recommendation from the principal, so the interview itself determines whether the applicant gets accepted or not. It's often accompanied by an essay as well.

In this movie, Sousuke can no longer be recommended by his senior high school since he graduated, so he's doing self-recommendation (in Japanese: 自己推薦 - jiko suisen). So what's the difference? Not much, it just means he doesn't need the recommendation from his high school. This admission focuses a lot on the individuality of the applicant, not just their grades like the general examination would. The benefit would be less competition as with general examination, and having extracurricular activities would be a bonus. Usually, you'd write a self-recommendation document, an essay on a certain topic and do the interview for this type of admission/examination.

[ladyluscinia]

What Exactly Did David Jenkins Say?

Look, I'm still staunchly of the opinion that Word of God statements and creator interviews are overvalued in fandom, especially when they get pulled out mostly as gotchas without then continuing to analyze whether or not the show canon is successful at getting across that same message. Death of the Author is good, actually, and we should remember that. But they are worth looking at in the context of evaluating intent vs execution, and for future speculation - just, like, please with less of the whole mile high pedestal idolizing and backlash cycles.

But if overvalued "Word of God" is annoying, then overvalued "supposed creator statements that have gone through three rounds of telephone and any given blogger has only heard about a quarter of them, which they'll use confidently anyway" is worse. So, since I'd already looked up interviews for various reasons...

Here is a fairly comprehensive list of interviews David Jenkins has given and statements he's made during them, presented without commentary (save curating which statements get highlighted). All provided with links. I definitely missed some, so if you have any that you want to add, please do - though if you could trim off any commentary and save it for tags / your own post with a link that would be cool.

Also, again, just because he said it doesn't make it incontrovertible canon that only a blind person wouldn't understand. Some of these even arguably contradict each other. The creator's intent doesn't always translate to what the show is doing, nor do you even have to think it was a good idea.

(Listed in chronological order from oldest to newest - post contains spoilers below the cut)

Pre-S1

Gizmodo - Feb 22, 2022 - with Cheryl Eddy (io9) - Link

Why this story - Really, it was the enigma of Stede that drew him in. "I think actual pirate stuff is fine, but it's not necessarily my cup of tea. And I think Taika [Waititi] felt similarly. But hearing about this guy and reading about him and seeing that, you know, he left his family, then he met Blackbeard, they hit it off, and we don't know any of the details in between. So filling those blanks in, and having a very human story, and then being able to do it with the pirate genre, that was like, 'Oh, this would be cool.'"

Post 1x01 - 1x03

Polygon - March 5, 2022 - with Tasha Robinson - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

About Stede running off to sea - "Stede thought he could outrun his baggage, and you can't outrun your baggage."

About S1 - "I don't think there was enough improv on set! We had an insane schedule, with a huge amount of plot. We were budgeted and designed as a one-hour show, but with a half-hour production schedule, which means we really had to chase these episodes to get them shot. And then there are certain emotional beats that we really needed. So trying to find places to find the fun was hard."

Mashable - Mar 5, 2022 - with Belen Edwards - Link

About the show concept - "It was Jenkins' wife who first told him about Stede's adventures; she thought it would make a good TV show."

On casting Rhys Darby - "Stede did a terrible thing to his family. If you cast it wrong, he's a very hard character to get behind," Jenkins said. "Very quickly, the only person I thought of for this was Rhys [Darby]. He has this childlike quality that's endearing."

About the story - "Seeing them discover a need for each other that neither anticipated and charting how that relationship goes is the meat of the story." + "If you're on this ship, you're running from something, and you're running to something that you can't be on land"

Mentions of matelotage - "In fact, one of Jenkins's favorite pirate facts that he learned while working on Our Flag Means Death was the term matelotage, which was a civil union between same-sex pirates. "The more you look at it," he explained, "the more you write to the fact that this is a queer-positive world.""

Discussing piracy careers - "Something else that astounded Jenkins about pirates was "just how fast it all moved — their lives were quite short," he said. "Your career [in piracy] wasn't very long.""

Post 1x09 - 1x10

Decider - Mar 24, 2022 - with Kayla Cobb - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

Pitch for the show - "That was in the pitch," series creator David Jenkins told Decider. "That was the reason, to make them fall in love with each other."

About the romance - "The main thing to me was to side-step coming out," Jenkins continued. "I just want a romance. I want a Titanic romance between these two people. We don't have to do the coming out story and then the non-binary story for Jim [Vico Ortiz]."

About S2 and the show - "The show is the relationship," Jenkins said. "So, we end in a place where there is this breakup. What happens after a breakup between these two people who, one’s realized he's in love and the other one is hurt in a way that he's never been hurt before? What does that do to each of them in an action, pirate world with them trying to find each other again? So again, I really love those rom-com beats."

Collider - Mar 24, 2022 - with Carly Lane - Link

On making it a romcom - "It's the only reason to make the show. If you didn't do that, it would just be weird. I mean, you're using the rom-com beats. You're using these like they're together. And it's funny because so we're so habituated to be like bromance, bromance, bromance, and it's such a simple move to put them together."

Discusses focusing on romance - "I guess I really... I get kind of bored. How much pirate can you do? They're going to rob stuff. They're going to steal ships. There's only so many pirate stories you can do. So if you're going to do a workplace story, I mean, you're essentially having this... You'd have this same amount of relationships in Grey's Anatomy in the ER. So it's standard. It's the most standard. We're making a soap opera on a pirate ship, and to use those soap opera beats... I like it, and I like the flavor in a comedy when you have something that's played genuinely up against very ridiculous things."

Discusses history and kissing scene

Discusses importance of going home to Mary - "Yeah, that was the problem for me in the story. I knew that I wanted to have the end where he goes home, because you need to give Mary her day in court. I just wanted to know from Mary's perspective what happened and then to see that, yeah, they're friends."

Is Lucius dead? - "You got to wait."

EW.com - Mar 25, 2022 - with Devan Coggan - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

Pitch for the show - "To me, [Stede and Blackbeard's relationship] is the reason to make the show," Jenkins explains. "When Taika and I were first talking about it, he was like, 'Oh yeah, that's the show.' I first started reading about Stede and how he befriended Blackbeard and we don't know why. Very quickly, it was like, 'Oh, it's a romance.'"

Polygon - Mar 25, 2022 - with Tasha Robinson - Link

Discusses 3-season intent - "I think three seasons is good. I think we could do it in three."

Discusses acts within S1 - "To me, when you see him get stabbed, and the blood runs through his fingers, it’s like 'Oh, no, the clown got stabbed! And not comedy-stabbed, he got stabbed stabbed!' That to me is cool. And then having Blackbeard find him as the end of what would be the first act of our story felt good to me."

Discusses kiss scene filming and the national moment around gay rights

What to focus on a rewatch - "I think Con O'Neill does such a great job. He's such a complex character, and it's such a tortured relationship. And that's a love story too, between him and Blackbeard. It's a very dysfunctional story, but it's fun to watch. Watch that maybe, on a rewatch, looking where their relationship ultimately goes."

TV Insider - Mar 25, 2022 - with Meaghan Darwish - Link

Discusses show pitch - "When I was pitching [the show] to people, I'd be like, 'Okay, so it's about Stede and Blackbeard, and then they hit it off and then they fall in love.' And then people are like, 'Okay, cool,' Jenkins shares. "And then they really fall in love, and become intimately involved."

Discusses historical inspiration

Discusses S2 direction - "But when [Stede] goes to find [Blackbeard], he's gone and his crew's been abandoned. And so watching them try to negotiate that, that's a good rom-com beat," he adds.

The Verge - Apr 15, 2022 - with Charles Pulliam-Moore - Link

Discusses being surprised by queerbaiting legacy - "...part of me knew that, yes, Stede and Ed's romance was going to be real. But one part of me felt like, 'We're going to do this story, and they're going to kiss, and maybe that's not even going to be that big a deal. Maybe it'll just be a blip.'"

Discusses writing romance - "I'd never written a romance before this one, but I think with Ed and Stede, the question's always 'what's the need for each other?'"

Discusses falling in love and Stede's accidental seduction - "It made sense to have that love be almost like a teenage version of falling in love — one with all these intense and conflicting feelings. They're middle-aged, but Stede's young. Ed's young. Emotionally, they're like 16, and they've both got a lot to learn."

Discusses Con O'Neill as Izzy - "He plays an exhausted quality that's really lovely because this character could just be generically evil, and the way Con plays, it is like, he's credible. I believe that he can do some damage if he wanted to. My favorite thing I've seen about the show is somebody saying that Con's playing the only human with a bunch of Muppets. It does feel like that a bit where he's like Charles Grodin in The Great Muppet Caper."

On Izzy being in love with Blackbeard - "I think Izzy's deeply in love with Blackbeard, and it's a very dysfunctional kind of love, and he's like the jilted spouse who's losing his man to fucking Stede Bonnet, and he can't believe this is happening."

Discusses masculinity and piracy as an escape from that

Discusses diversity and trauma based stories - "And the consensus in that very diverse room was that we wanted to show that isn't just wallowing in trauma. We don't have to do a coming out scene or focusing on the trauma of it — not to say that those stories aren’t valid."

Gizmodo - Jun 20, 2022 - with Linda Codega (io9) - Link

Musing on fandom response to the show - "I'm wondering if the fact that because the queerness of this show isn't gaslighting the audience, and isn't a function of wanting to do something, but not being able to produce the results because of network standards. I think we just happened to be in this lucky spot where the show is actually queer… and I do think that people are responding to that."

Comparing fanfiction to writing - "And Con O'Neill's audition was one of those things I would go back to. I would watch that and be like… Oh, right, that's the show. And in a way, you're writing fanfiction for a certain actor and character because you want them to do something, and you're like–" at this point, it must be said, Jenkins let out a maniacal little giggle. He’s just as thrilled to show off Con O'Neill's ability to seem both deeply exhausted and menacing as the rest of the fandom. "And you [as the writer] you're like… And then Izzy does this now."

EW.com - Dec 13, 2022 - with Devan Coggan - Link

Discusses The Chain sequence - "I had initially wanted that end sequence to be like the FBI raid in a mob movie, where the feds come in, and they've got boxes of stuff, and everyone's running, and someone makes a dash for it," Jenkins explains. "So, it's like a mob movie or FBI raid story, and then it's also a story of Stede's lover coming back."

Pre-S2

Collider - Oct 2, 2023 - with Carly Lane - Link

Discusses fan reaction to S1 - "I thought that they'd kiss, and people would be like, 'Oh, cool, cool!' I kind of thought people would know a little bit more [about] where we were going, but then in hindsight, no, people have been hurt and burned on so many other shows and then made to feel silly."

Discusses starting S2 dark - "One of these characters is very, very damaged and has never made himself vulnerable in this way before, and I don't think [he] would react very well to having his heart broken in this way. I don't think it would be cute, and I don't think it would be funny. I think it would be scary as hell to watch a very damaged guy that we've established in Ed, who killed his dad and thinks he's not capable of being loved, deal with rejection and see that Stede really hurt him."

Discusses adding more female characters

Discusses S2 needle drops including "This Woman's Work"

Discusses 3-season arc

Post 2x01 - 2x03

Mashable - Oct 5, 2023 - with Belen Edwards - Link

Discusses fandom response to S1

About the canon gay relationship - "To watch the explosion of enthusiasm around [the kiss] was disorienting, almost," Jenkins said. "I thought people would react to it, but I didn't think the reaction would be that big. And then it was moving, because I didn't realize that this audience felt so unserved in general, as far as storylines go."

Insider - Oct 5, 2023 - with Ayomikun Adekaiyero - Link

Tease on leaning into the Stede / Ed / Izzy love triangle - "I think Izzy, in a certain way, got the worst deal in the first season," the showrunner tells Insider. "He gets jilted and then he still is in spurned spouse territory at the beginning of the second season."

Discusses Izzy's arc - "What is that relationship about? And I think by the end of the season it kind of becomes a little unexpected of who they are to each other and what they mean to each other," he teases

Discusses addition of Zheng - "He likens Zheng's way of pirating to a successful tech startup, compared with the garage sale vibe Stede had going on the Revenge."

Discusses introducing Hornigold - "I thought Hornigold was the most obvious because he was the person who made Blackbeard what he is. And Blackbeard has a father complex, so it's natural that he's going to bring his former captain back," the show creator said. "It's a struggle with him because he and dad figures don't historically do well."

Discusses importance of the mermaid scene

Inverse - Oct 5, 2023 - with Hoai-Tran Bui - Link

Reveals he didn't commit to the romance until shooting 1x06 - "Jenkins always intended his pirate comedy to end with a romance, but he'd envisioned it as an unrequited love. "It was going to be about Stede learning what love is, and Ed making himself vulnerable and getting burned," Jenkins says of his original pitch. But Darby and Waititi's choices in the scene, which they played without diffusing the tenderness with a joke, made him wonder if they could take the show in a new direction."

Discusses mermaid Stede idea from S1 - "We talked about Stede as a mermaid very early on in the writers' room," Jenkins says. "At some point, yeah, I want to see Rhys Darby as a merman." + "They wanted us to come up with a Season 2 pitch during Season 1. And that was one of the ideas we hit on, and I can't quite remember how we got there, but it was us asking, what is a pirate world? Are there mermaids? Is there magic in this show? With pirate stuff, I don’t know that I want there to be magic, but there was a way where it was something really beautiful about a mer-person, and I like the idea that their coming together would have a mythic size to it."

Discusses historical divergence

Discusses matelotage and pirates as weird outsiders

TV Guide - Oct 5, 2023 - with Allison Piccuro - Link

About the shipping culture - "It's the meat of the show, so it's great to have people bought into the central romance. If it were a bromance that we were trying to make look like a romance, that would suck."

Discusses playlists he makes

Discusses opening dream sequence - "I just like that it started with something badass. Stede, Blackbeard, and Izzy are on an arc together. Whether they're in stories together or not, their ultimate arc is together. I think, by the end of this season, the last episode, that first scene will be gratifying. I won't say why, but their fates are tied together."

Discusses Kraken arc - "But I think the thing that's good about this show is that it can go to really sweet comedy land, but I want there to be, like, if someone loses a body part, for instance, they lose a body part. To do justice to the fact that this guy is a killer and a monster, and dealing with heartache that he doesn't know how to deal with, I think you really need to go there."

Discusses Izzy in S2 - "I mean, he's jilted. He had a partnership with Blackbeard, and he knows he can't live up to this person that Blackbeard fell in love with... Who is that guy? What are his hobbies? What does it look like when he's not totally subsumed with his boss's love affair with somebody, and heartbroken?"

On S2 reunion - "The second season is them being a little bit more mature... It's the thing where you're in your 20s or 30s and you're like, "Well, should we move in together?" They have to make up some time because neither of them have been in a functional relationship before."

About genre of pirate stories - "...is a show about multiple relationships. That's what I want to see when I see this show. I don't want to see a bunch of pirate things that I've seen in other things, I'll just go watch another thing if I want to see that. That's not really my thing. I like the genre, but it's a very hard genre to budge. I want to see relationships in a pirate world."

Discusses the A Star is Born aspect of seeking fame / retiring

Mashable - Oct 7, 2023 - with Belen Edwards - Link

About the mermaid scene - "You need something expressive for when they come back together," Jenkins said. "Their reunion moment has to feel big and mythical. This is not a world where mermaids actually exist, but their love for each other has that size that you can get [a mermaid] in there somewhere."

About Kate Bush - "I love Kate Bush, and I love that song, and I know Taika loves that song," Jenkins explained of the choice. "So I wanted to find a place for that song somewhere in the second season."

Polygon - Oct 9, 2023 - with Tasha Robinson & more - Link

Compares S2 and "Golden Age of Piracy" stuff to Westerns, lists 5 he was thinking of - "Every Western that’s good is that story," Jenkins says. "'This way of life we made is coming to an end. It can't last. It's a blip in time. We created this thing because we need it to exist. We're outlaws, and we need a culture that suits us, but it's running out of time.'"

Gizmodo - Oct 9, 2023 - with Linda Codega (io9) - Link

Short tease on leaning into the love triangle

About Stede, Edward, and Izzy - "I think the three of them are on an arc together that's pretty inseparable," Jenkins said in an interview with io9. "And to watch Izzy try to process what's happened [in season one]… to watch him kind of grow and figure out what's his own story, if he can separate himself from this kind of toxic relationship, is interesting to me and I think gives him a lot of room for growth."

Post 2x04 - 2x05

IndieWire - Oct 12, 2023 - with Sarah Shachat - Link

Discusses directing and show creation

"The limitations of the show also naturally push it back towards moments with the ensemble and plot problems that it would frankly be irresponsible to tackle if you had a giant budget and a fully working ship-of-the-line to sail and then blow to bits. "That's the fun of the show to us, I think. If you open this up and you're like, unlimited budget, that would be terrible because I think you can get seduced," Jenkins said. "[It could be like,] 'Oh man, it's all leading up to a climatic battle on the sea.' And those things are great. But that’s not this show.""

"The nice thing about that, though, is you get to be the lo-fi show that’s like, 'Hey, we’re making The Muppets.'"

PopSugar - Oct 12, 2023 - with Victoria Edel - Link

About S2 Stede - "I like the idea that he learns and grows and he doesn't just stay a bumbling captain. He might be ridiculous, but he is getting better at it."

Discusses genre challenges - "How do you have a show that's a romance show but it's also a workplace show and they're criminals?"

Discusses Edward's redemption - "But Blackbeard still has to come back and apologize and be part of the community again, and give his little press conference. It was fun for us to look at that in the context of piracy, where they all do terrible things to each other. But even by their standards, what Blackbeard did was a bit much."

Discusses Izzy in S2 - "When Izzy shoots Blackbeard and they all mutiny on him, that's Izzy breaking up with Blackbeard. And they're both having their own journey in the wake of it, and Izzy's having his own redemption arc. He's trying to figure out, "Who am I if I'm not Blackbeard's first mate? Who am I outside of this relationship?"" + "If Stede's Spongebob, he's Squidward. I don't know what that makes Blackbeard. But there's a real pathos to Squidward."

Discusses trauma-based narratives - "As a diverse room in terms of sexuality, socio-economic background, and race, we thought, "Wouldn't it be nice to have a non-trauma-based story for these characters who don't get that historically?""

Variety - Oct 13, 2023 - with Hunter Ingram - Link

Discusses three act structure and making Stede work for a relationship - "The way I like to look at a season is in threes. The end of the first act is when they find each other, and this is the beginning of the second act. They've found each other, but they are pissed. Stede thought it was going to be [Kate Bush's] “This Woman's Work,” but, in reality, it is this headbutt –– literally."

Discusses the central romance - "It was always part of the pitch... that is the reason to make the show. The pirate genre is fun, but I wasn’t dying to make a pirate show. Taika wasn’t dying to make a pirate show. But the thing that was interesting to me was that Stede finds love, and he finds it with Blackbeard."

Discusses 2x04 plot - "This episode is based on a very, very thumbnail sketch of "Who's Afraid of Virginia Woolf?." Anne and Mary are Martha and George, and they are Elizabeth Taylor and Richard Burton."

Discusses adding historical pirates

Discusses Buttons exit - "I just love the idea of him turning into a bird: I love the idea of Buttons somehow being the one character that is able to figure that out."

Discusses Izzy and the crew's trauma plot - "We liked the idea that there is something about trauma and getting past that trauma, even on a pirate ship. They have been through two very different ways of living and they have to get used to each other again. But it's also a family that was separated, and becoming one family again is painful."

Discusses bringing characters back - "We could bring Calico Jack back, who, if you remember, was hit by a cannonball last season. Anyone who is that fun to play with and wants to keep playing, you always find a way to bring them back."

Polygon - Oct 14, 2023 - with Tasha Robinson - Link

Discusses 3-season arc and how keeping them apart with some plot device was never in the cards - "at the end of the first season, they're 14-year-olds, emotionally. In this season, it's more like they’re in their late 20s."

Discussing New Zealand production and ensemble cast writing - "It's pretty organic, because as we're going through and tracking everybody's journey for the season, we're watching the thing that holds us together — what stage of Stede and Blackbeard's relationship are we in? Because the overarching arc is, are these guys going to learn how to settle into a relationship?"

"The second season is more overtly about romance, and more a relationship story."

Energizing aspect of fan reaction

S3 is about "love is work"

Gizmodo - Oct 16, 2023 - with Linda Codega (io9) - Link

About the story - "I want to see them become a functional couple or fail to become a functional couple," Jenkins said. "Those are the most interesting parts of the show."

Discusses fandom engagement - "...ultimately the writers are also "the fans in the room." He goes on to say that, "We're fans of the world. We're writing fanfic about our own characters, our own worlds… It's paid fanfic, but it's fanfic." He gives another example: "If you're writing a season of Succession, you're writing fanfic Succession. You're just getting paid to do it. We, as writers–" it's clear that he's not just talking about the writers in the writers room, "become fans of the world and we all have things we want to see these characters do. What we do is not that different."

Discusses the A Star is Born aspect of seeking fame / retiring

Discusses Zheng Yi Sao

Villains of the series - There are a lot of new villains this season, but, Jenkins says, ultimately, "the antagonist on this show is normalcy… These pirates have a way of life that they're not finding in normal life. They've found a way to live and support each other and be there for each other. And that's always threatened by these larger, tyrannical forces that want to shut them down."

Post 2x06 - 2x07

Mashable - Oct 19, 2023 - with Belen Edwards - Link

Discussing drag performance in 2x06

"It is nice to see with Izzy's arc, where he finally breaks through whatever he's been doing to himself. He lets himself have that moment, which I just love. It resonates for Izzy, and I think it resonates for Con. Just personally, it made me feel good to see how it turned out."

Consequence - Oct 19, 2023 - with Liz Shannon Miller - Link

Discusses intent for romance - "...telling a love story in a serialized medium like television has its perils, largely because it's tough to know how much you can draw out any unresolved tension. "I think we take it episode by episode and we try to not piss people off in taking too long and doing double beats and triple beats," Jenkins says. "You can only do Will They or Won’t They for so long. Then you have to deepen it.""

Discusses pirate setting - "The emphasis on relationships also fits into the show's high-seas setting, which Jenkins finds similar to post-apocalyptic narratives. "It is a little bit like you're doing Mad Max, except there's relationships," he says. "Stuff's shitty, so you gotta try to find some joy. Of course, people are going to have a need for each other in these extreme circumstances, and I like the idea of these characters finding some level of a healthy relationship in these extreme circumstances.""

Discusses Jim x Archie

Discusses 3-season arc

Polygon - Oct 21, 2023 - with Tasha Robinson - Link

Discussing gender and power dynamics in Jackie x Swede / Zheng x Oluwande / Blackbeard x Stede + A Star is Born aspect

Jim not being jealous of Oluwande - "I think that relationship was always seen in the room as a friend relationship that got romantic."

About adding a villain - "I think a lot of the internal forces in Our Flag are the villains." + "I think this is a story about the age of piracy coming to an end. This way of life is coming to an end. And every Western that's good is that story: This way of life we made is coming to an end, and it can't last. […] I think every story about outlaws is about trying to preserve a way of life against normative forces that are kind of fascistic."

Historical accuracy - "The balance of the show is 90% ignoring history, and then 10%, bring it in, whenever we're like, Ah, gotta move the story forward! Remember, the English are out there, and they're really bad!"

Post 2x08

AV Club - Oct 26, 2023 - with Saloni Gajjar - Link

Killing Izzy was always the plan - "We wanted to show the depth of that character. Izzy is one of my favorites. He's like middle management who is in a sort of love triangle [in season one]."

Discusses how they really wanted the happy ending for S2 - "I think with season one's end, it was a gamble to leave it the way it was. Everybody stomached through it. Now if it turned out they didn't want us to make more, I just didn't want to have another story where the same-sex love story ends in tragedy, unrequited love, or if one or both of them are being punished."

Discusses S2 progressing the 3-season romance - "They’re a couple who is like in their late twenties right now as opposed to being teens at the end of season one." + "It was an interesting tension of, which one gives up their dream? A lot of times in relationships questions can come up, like who is going to give up on their dream to take care of the kids? Obviously, no one wants to, but someone ends up giving up more than they want to at some point. What's wonderful about a mature romance, and what I'd want to see more of in season three, is Ed and Stede making these tough decisions." + progressing past the getting together point

Discusses parallels, Republic of Pirates, and Zheng Yi Sao

Short bit about fan response

Collider - Oct 26, 2023 - with Carly Lane - Link

Discusses Ed leaving fishing - "I like that he had a little prima donna moment where he thought he could go and be a simple man, and then it's revealed that he really isn't a simple man; he's a complicated, fussy, moody guy. No, he's not gonna be able to catch fish for a living. For him to be told that, "At your heart, you're a pirate. You have to go back and do it," he doesn't want that to be true, but it was true."

Discusses Izzy's speech to Ricky - "I wanted to give Izzy a proper eulogy for himself. He gives a eulogy for himself, but it felt true writing it."

Discusses Izzy's death scene - "In a way, it's very much for Ed, that speech. The "we were Blackbeard" is claiming that he is also Blackbeard, that Blackbeard is not just Ed’s creation, and I like that for him, too, because he's worked so hard for that — and then just to say, "You can give it up." There can never be a Blackbeard again as far as Izzy's concerned because he's dying, and they did that together."

Discusses Republic of Pirates / music parallels from premier to finale

Discusses finale wedding - "We knew we wanted a matelotage in the season, which is the real term they had for marrying crew members. And yeah, they've always been in relief to Stede and Ed, and they're a little bit ahead of Stede and Ed in how much they can talk about things. So to have a bunch of family things in the season, like a funeral and a wedding, and have the parents kind of watch the kids sail away, felt right, and all of those things seem to work well together and build on each other."

Discusses retirement ending - "That will-they-or-won't-they is interesting to a point, but the real meat of it is always like, "Can they make the relationship, and can they do better than Anne and Mary?""

"Frenchie's in charge of the Revenge" + teases Stede struggling to give it up

EW.com - Oct 26, 2023 - with Devan Coggan - Link

Discusses Izzy's death and telling Con - "It feels like the logical end of Izzy's arc. It's heartbreaking to me because he's my favorite." + "I told him in the middle of shooting because I didn't want him to find out at the table read, obviously. I also didn't want it to leak. He was lovely about it."

Discusses Izzy's final arc - "You know, I didn't expect him to become kind of a father figure to Ed. I think we hit on that while we were breaking the [final] episode. He's in such a weird position: He's like a jilted lover, and then he's a middle manager who has to work for a terrible boss. He gets thrown away, and then he comes back. He really develops, and he becomes a part of this family. I think the biggest surprise was the extent that he was a mentor to Ed. They were both Blackbeard. They both made Blackbeard happen."

Discusses the happy ending intent - "With this season starting so dark, I kind of wanted to reward them for the work that they've done and the character growth that they've had. I wanted to leave them in a place where they're really going to try and make this work. I don't think it's going to be easy for them, necessarily. They're both still immature."

Discusses the wedding - "We knew we wanted a matelotage in the second season, and pretty quickly we landed on Lucius and Black Pete. It seems like they were ready for that. We made up a ceremony and everything, where they call each other mateys, and it was just fun to make our own version of a pirate wedding ceremony."

Discusses potential S3 and Frenchie's Revenge - "But it felt like a good place to end the second season. It felt like a contrast to the first season. If it turns out we don't make any more, I'm comfortable with that being a resting place."

Variety - Oct 26, 2023 - with Hunter Ingram - Link

S3 endpoint - "I love things in threes," he says. "That first act, second act, third act structure is so satisfying when it is done well, and you don't overstay your welcome. I think this world of the show is a big world, and if the third season is successful, we could go on in a different way. But I think for the story of Stede and Ed, that is a three-season story."

Discusses the draw of a "Golden Age" and it's ending

Talks about father figure Izzy and wanting a real sense of loss - "There is a nice parallel to have Ed treat him so badly at the beginning of the season and then come all the way around to where Izzy is this sort of father figure he doesn’t want to lose — because Ed usually kills his father figures."

Gizmodo - Oct 26, 2023 - with Linda Codega (io9) - Link

Teasing future Izzy - "Jenkins looked slightly sad himself, saying that "Ghosts exist in this world." I told him not to make promises he couldn't keep."

"Jenkins said that he doesn't see Izzy as a pure antagonist in season one because on some level… Izzy was right in his hesitations about Stede."

Discussing Con O'Neill & Rhys Darby acting

Jenkins confirms the season was always 8 episodes due to budget cuts

About S2 finale vs S3 - "The first season ends on such a downer, so it made sense to end the second season in a kinder spot." + "I think there's plenty of story left for season three, but I think that it was important to end this as if it was the end of the show, and on upbeat note and avoid the kind of "kill your gays" trope. I don't want to see Stede and Ed punished for giving it a go. I want to see them really say, 'yeah, we’re going to we're going to try to have a relationship'."

Teases S3 revenge against Ricky and going to the Americas

Vanity Fair - Oct 26, 2023 - with Sarah Catherall - Link

About the ending - "It's bittersweet. There's death and there's the rebirth of Stede and Blackbeard's relationship; there's a funeral, there's a wedding, and the idea that this family is going to keep fighting even as they lose members. And then it's about belonging to something." + "A lot of times, with this narrative of characters, same-sex relationships end on a dour, downbeat note, where one of them dies and it's unrequited or it's unrealized; something horrible happens and they're punished in a way. So it was important to leave it open and a lot more show to go, but also leave it in a place where it's happy."

Discusses Izzy as a mentor / father figure - "We felt like Izzy's story had reached its conclusion, where we put him through enough. And then there was the realization that he is kind of a mentor to Blackbeard and that he is kind of a father figure to Blackbeard." + "And it's also a pirate show, so he's got to die."

Discusses filming challenges - "It's a big show; it's basically a one-hour show that we're doing on a half-hour budget."

Discusses adding Zheng Yi Sao

Is the show a queer romance? - "For this show, it's important to me just to write a really bold-bodied romantic show that happens to be between two characters of the same sex. I think that the story beats don't matter, because if you've been in love and you've been hurt and you met someone you love—hopefully we all know what those feelings are."

Blackbeard's arc in S2 - "...the second season is about Blackbeard's midlife crisis. And then when they both have their midlife crises, they can open a B&B together." + "I don't think Stede and Blackbeard are ready to be married. They're emotionally saying: 'Let's give this a go.'"

Discusses historical piracy as "counterculture" that's been straightwashed and whitewashed

Did he feel responsibility to the fan community? - "As opposed to responsibility, it feels more like relief—that people feel seen and they feel good about it and they liked what we did. And so it feels like, Okay, somebody's out there and wants the show. The makeup of the writers room looks a lot like the makeup of the fan base. So as long as we're true to our stories in the writers room, I think we just feel excited that there's somebody waiting on the other end to enjoy it."

Paste Magazine - Oct 26, 2023 - with Tara Bennett - Link

Discusses whether fandom expectations felt weighty - "I think particularly for this season, that "bury your gays" thing… I didn't want to end on a downbeat for Ed and Stede. We did that in the first season. I like that there's a lot of different flavors. It's even a little melancholy because the Republic of Pirates got blown up. But there's still more good things."

Discusses production and plotting - "I wanted to start at the Republic of Pirates this season and end at the Republic of Pirates. And I knew I wanted the Republic of Pirates to be destroyed, ultimately. Within that, we are making a one-hour show on a half hour budget, on a half hour schedule."

Discusses planning the ending - "In terms of ending this season, it all felt right just in talking through it when we were in the room. It felt pretty intuitive. When you get to the third act of the story, things kind of settle in. There's gonna be a funeral. We always knew we wanted a wedding at the end of the second season. And I knew that I wanted Stede and Ed to start an inn together. So once you have those beats, it's kind of locked in."

Discusses Izzy's arc - "It's kind of a strange arc in that I knew we were going to put him through all these things, and I knew he would ultimately die. But I think him becoming a father figure to Ed in the last episode didn't really dawn on us until we were breaking the last episode. Asking what would this man say to Ed at the end because they've been together through everything? He went from a troubled and downtrodden employee to a jilted lover to a discarded employee, to someone that is just trying to find his footing again—no pun intended—to actually becoming this guy's parental figure on some level. And he's one person who kind of raised Ed right, because Blackbeard usually kills his parental figures. So, it felt right and it felt like that's how the mentor dies. The mentor in a story usually dies in the second act and then our hero has to go on and try to do it without them. It felt like the right journey for Izzy and a gratifying one for Con."

On leaving open for S3 - "I don't think it was a very hard thing to do. I think it was more that I felt a responsibility to leave Ed and Stede in a good place, at least for now. It's not gonna go well. They're not going to run a business well. Ed's too much of a talker. Stede can't focus. It's gonna be challenging."

Vulture - Oct 28, 2023 - with Sophie Brookover - Link

Discussing Izzy as a "father figure" and his S2 send-off being a priority

Meaning of piracy - "...what our pirates stand for is a life of belonging to something larger than they are in the face of a crushing, slightly fascist normalcy."

Re: Con O'Neill & Izzy's death - "I had to tell him about halfway through the season"

Third season about the work of a relationship between still damaged main characters

Discusses middles as about change and transitions, and wanting characters to change instead of reset, have them experience permanent consequences

About the final scene - "...Ed and Stede as the parents kind of watching the kids take the ship. Frenchie's the captain now..."

Objective of the crew - "...have had terrible things happen to them at the hands of colonial forces, so they want some payback. Party, plunder, and payback — the three P's."

Metro Weekly - Nov 1, 2023 - with Randy Shulman - Link

Discusses historical premise of S1 and easing into the romance

Discusses S2 genre - "In the second season, it was great because we know it's a romance and we can lead with that. It's a workplace show essentially. I wanted it to be more in the vein of early episodes of Grey's Anatomy or something where there are all these relationships on those shows. That's what you’re following — relationships and friendships that are taking place in a hospital, procedural. That's Grey's Anatomy. This is less procedural for the pirate stuff — and you need the pirate stuff."

Discusses not being into pirates - "But I'm like you. I'm not a big pirate person. In general, it's a big creaky genre that's hard to budge" + "Pirates of the Caribbean, those movies are great. That's not necessarily what I hunger to see, but in that genre, it's great. You're not going to beat that, especially on something that's lower budget. We've seen a lot of this stuff, so it's fun to take it then and don't do any of that stuff."

Discusses adapting historical piracy - "You don't want to see them punch down. You don't want to see them do terrible things to people who don't deserve it, which is not what they really did. So, in the show's world, I think piracy is like a stand-in for something. I think it's a stand-in for being an iconoclast and an outsider and queer in some ways and just different." + "Yeah, I mean, the British are there to be Stormtroopers, or Nazis in an Indiana Jones movie. I mean, they're in there to die essentially."

Discusses diversity staffing

Discusses performative masculinity

Discusses Izzy's death, happy endings, and openness to S3

[ageless-aislynn]

Title: “15 Minutes” (9/?) Author:  @ageless-aislynn​ Characters/fandom: Master Chief John-117/Reader, Halo the series Summary: You're in peril but don't be afraid, help is near. Series: How to date a Spartan (without even trying) Rating:  T (PG13) Length: 2,568 (this chapter, 22,261 total so far) Spoilers: Set in the Silver Timeline of Halo the series, not the games or novels. Though we began with the events of Halo 1x06, there will be no more show spoilers. We are still firmly seated in the AU Warthog, merrily driving out to places where there’s only a passing nod to canon. 😉 Trigger warning: claustrophobia Disclaimer: Definitely not mine but I do enjoy borrowing them just for a bit! 😉 A/N:  Text is both here in this post or available at AO3, however you like to read. Halo season 2 has finally arrived! However, this fic continues to zip along in the AU Party Warthog, so, while we began with season 1 way back when (and you’ll see a few more things from s1 along the way 😉), we’ll not be venturing into s2 territory at all. Unless s2 is going to take some verrrrry interesting twists, lol! Chapter 10 is in progress by hand but I hope to have it ready soon. 🤞😣🤞 The tags have been updated for hurt/comfort starting with this chapter. If you read, I hope you enjoy! ⭐💖⭐

Taglist: @pinheadbanger​ @mysardencut​ @laurenstacy610​ @sporadicbelievernightmare​ @ultrablackwidower​ @bxmxtx​ @jellotherelol

If you would like to be tagged in my John/Reader fics, just let me know! I also write John/Kai, John/Cortana and Kai/male Reader, so I’m glad to tag you for whatever you’d like. If you would like to be removed from the taglist, also feel free to let me know, no harm, no foul. 😉 💖

Halo fic masterlist ⭐

Chapter 1 - Chapter 2 - Chapter 3 - Chapter 4 - Chapter 5 - Chapter 6 - Chapter 7 - Chapter 8

Trigger warning again: claustrophobia If you need to avoid the actual scene, skip the entire first section but there will be a lot of mentions of it again through the rest of the chapter, just so you're aware. I don't want to cause any distress to anyone so if you'd like a recap of what happens in this chapter, feel free to contact me here and I'm happy to oblige so you can stay in-the-know without reading something that could trigger a bad reaction. Stay safe, my friends! 🤗

You tried to gasp in a breath but there was a weight pinning you down. Smoke burned your lungs and your eyes. Your left arm couldn't move but you were able to bring your right hand up to wipe your face, trying to clear your vision. The only light in the rubble came from a shower of sparks a few feet away, emitting from a panel half-ripped from the wall. There was very little to orientate yourself by.

"Hello?" you tried to call but you couldn't take a deep enough breath to yell. The muffled ring in your ears told you that at least one of your eardrums had ruptured.

Evaluate, you thought in the tone you used when triaging patients, shoving down a wave of panic. You tried to squeeze out from under whatever was pressed across your back. No good, too much weight.

There wasn't a tremendous amount of pain but you worried at the numbness from your waist down, behind whatever was restraining you.

Evaluate.

You tested moving your legs, your feet, your toes. It felt strange but yes, you had movement.

Spinal cord potentially compromised but not severed, you diagnosed as clinically as possible.

Something overhead gave an alarming groan.

Alert help. Report your position.

"Hello? I'm by the crane operator booth. Can anyone hear me?"

You couldn't get the volume you wanted and you automatically tried to inhale deeper. You couldn't and had to fight another wave of panic. The animal part of your brain wanted to claw the twisted metal of the deck, trying to squirm free, but when you twitched, something above you groaned again.

You had no way to know how perilous the collapsed structure was. A wrong move could bring it all down.

A fresh wave of smoke irritated your nose and you coughed weakly. From far away, you heard the muffled sound of a woman saying your rank and last name.

"Here," you choked out. "I'm here."

A blue light shimmered a few feet away, the lower half of a blue-tinted woman, her upper body phased through the rubble. Then she shrank until she fit the space, adjusting like a camera lens. A hologram.

She repeated your rank and last name. "We have your location," she said, your damaged hearing distorting her voice. "Sit tight, a rescue crew is on their way."

You tried to respond but the smoke triggered more coughing, so you nodded.

"I'll stay with you for as long as the holo-emiter holds," she said, gesturing towards the ruined wall panel that continued to spark.

"Thank you," you managed to say. "Casualties?"

She glanced up and away as if receiving new information. "Reports coming in of injuries but no fatalities. Your alert gave enough time for almost everyone to get clear."

"Good." You made yourself slow your breathing down, taking shallow breaths since you couldn't take deeper ones. For a moment, your head swam and it felt like the floor tipped. Your fingers scratched for a hold on the crumpled metal.

The sound of your rank and name cut through the terror. "You're all right," the woman assured you. "You're not falling. Try to stay still. Silver Team will be back on site in a few more minutes. John will be here soon."

It gave you something to focus on other than bring trapped. The way she knew that the mention of John would comfort you, that she didn't call him Master Chief like most people did, even the mannerism of how she'd looked away, like someone was speaking in her ear...

"Your name wouldn't be Ms. Classified, would it?" you asked haltingly and tried to smile.

"That's... not inaccurate," she said and maybe it was your blurry vision but you could've sworn she gave you a fond smile, like she knew you. "I'm not supposed to tell my name."

You tried to say it was all right but couldn't draw enough breath.

"Ah, screw it," she said. "What are they going to do, fire me? My name is Cortana."

You must've blacked out because the next thing you knew, she was kneeling next to you, her small holographic hand resting atop your outstretched arm as she repeated your rank and name.

If you could get a breath, you needed a good, solid breath. Your chest instinctively fought to expand but couldn't beneath the pressure bearing down on your back. Something above you slid and the pressure abruptly worsened. You clawed, you fought, you struggled to breathe. To live.

"John, get here now! The support beam is failing!"

"Not his fault," you tried to say. "Tell him. Not his--"

Metal screamed and everything went dark.

You woke, grasping at nothing. You still couldn't get a deep breath but this time you were on your back and it felt like someone had laced a corset brutally tight around you.

"Easy there. You're all right," said a deep voice.

Your vision swam and then Spartan Vannak-134 appeared out from the dim lighting. You were still clawing at the air, trying to sit up, and he caught your hand a little awkwardly in his much larger ones.

"Where?" you gasped.

"You're back on Reach, in medical."

Once he said it, details emerged like a black and white picture filling in with color: the beeps of the monitors, the distinctive antiseptic smell. Your hearing was still deadened but not as much as before, meaning they had already begun healing therapies on your eardrums.

Anything you might've wanted to say dissolved like sugar on your tongue before the words could be spoken. Your head seemed too full. I'm drugged, you thought and that was the last thing you knew for a while.

Voices drew you from the murky depths and you tried to open your eyes but couldn't.

"Hold her hand," Vannak said in a quiet rumble. "She likes that."

A new hand gently folded around yours and your fingers instinctively gripped hold.

You woke, feeling the phantom press of metal bearing down on you, forcing the air from your lungs. You tried to sit up, your limbs flailed, uncoordinated and leaden. A second hand closed around yours and a feminine voice began to softly sing, a lullaby in a language you didn't recognize.

The room was blurry but you caught a glimpse of red hair -- Spartan Riz-028. You went under once more, dreaming of music that soothed your fears.

Later, there was a new voice to lure you up from the sticky darkness.

"Poor little thing. She looks so small."

"She'll heal. Hold her hand, it helps."

At some point, you jolted awake to find your hand cradled carefully within Kai's.

"Hey," she said, sitting up straighter in the chair next to the bed. "You need anything?"

Your head felt less stuffed with cotton than before but now that cotton seemed to have been transferred to your mouth. "Water?" you croaked.

She jumped up and returned shortly, carrying a cup with a straw in it. You intended to sit up but a searing pain in your ribs immediately convinced you that was a bad idea and you let her help you by holding the straw to your lips.

"Slowly," she advised.

Once you'd taken a couple of sips, you mumbled your thanks then promptly passed out.

You thought you'd closed your eyes for a brief moment but when they fluttered open, it wasn't Kai sitting in the chair, holding your hand.

As soon as John knew you were awake, he was on his feet, carefully brushing the fingertips of his free hand along the curve of your cheek.

You mouthed his name.

"Rest," he said. "I'm here. You're safe."

For the first time in what seemed like forever, you truly felt as if you were. Your mind let go.

"And how's our favorite mech, the Hero of the Pit?"

"That's not a very heroic name," you confessed, smiling as Maria and then Jamie entered medical.

You were sitting on the side of the bed in generic gray scrubs, waiting for Dr. Savannah to give you final instructions before your release. It had been two days since the explosion. Your hearing had, thankfully, returned to normal. The rest of you... not so much but you were on the mend.

They both gave you careful hugs.

"You look a lot less like you were squashed by a building," Jamie said sincerely and Maria punched his arm. "Hey, that was a compliment!"

"Don't make me laugh," you begged, holding your left side. They'd fused your broken ribs back together but the tissue damage would take longer to resolve. Still, aches, pains, limited motion and all, you knew you were very lucky.

"I hope they're giving you a nice vacation, at least," Maria went on.

"I should be ready for light duty in a week."

"Technically, I said we'd evaluate you for light duty in a week," Dr. Savannah corrected as she entered. "Afraid your friends will have to catch up with you later."

They said their goodbyes and, as they left, you started to stand. The doctor quickly said, "No, you don't. I don't want you walking on that leg."

"It's not broken," you argued.

"Not anymore," she countered. "Stay put. I got you a ride."

"I don't need to be wheeled back to the barracks." You tried to keep your tone confident but the truth was even that little bit of exertion had left you feeling twinges all along your left leg. Your left shoulder throbbed with each heartbeat.

"Well, good thing you're wrong on both counts," she said, winking. "And here he is now."

John came through the door, dressed in his undersuit as if either about to head to the Brokkr stations to have his Mjolnir mounted up or returning from having it removed. You didn't even realize you'd moved to rise again until Dr. Savannah put a practiced hand on your good shoulder to keep you down.

"I'll be sending PT to you twice a day, starting tomorrow," she said. "They'll help you to get your strength and mobility back. Around that, rest. Catch up on your reading, watch some thoroughly trashy movies, and keep your feet up. Not too far up, though. Nothing too strenuous. Make him do all of the work."

That got you to look at her and she waggled her eyebrows.

John cleared his throat slightly, a faint but definite flush creeping up from his collar. "Yes, ma'am."

"All right, see you back in a few days, sooner if anything else develops. You know what to watch for."

It wasn't until she stepped back and John approached that it clicked.

"You're going to carry me?"

"Yes, ma'am," he repeated in a murmur that shivered straight down your spine.

Since your left side had taken the brunt of the damage, he put your right to his chest and cautiously picked you up in a bridal carry. Despite the care, being moved set a thousand things to hurting and your breath hitched as he straightened.

"You okay?"

"Yeah," you said, your tone tighter than you would've liked. You thought, I hope nobody sees me being toted around like this, but, as soon as you left medical, you realized that no one was actually looking at you.

I think if Master Chief offered to drop me and pick up any marine, ODST or officer in this hall, they'd be hopping into his arms before I even hit the floor!

At the first turn he made, you realized the rest of it. "This isn't the way to the barracks."

"Nope," he said and you knew him well enough now to see the hint of a smile in his eyes.

You didn't have to wait for further clues, there was only one place, then, that he could be taking you. "How many strings did you have to pull for this?"

"Not as many as you might think," he demurred. "Your actions saved lives."

And they could've blamed you for failing to make sure a bomb hadn't been sent to the Pit in the first place. The curly tailed Warthog had been your responsibility, after all. You'd been curtly informed of all that when they'd debriefed you the first day you'd had your eyes open for more than 15 minutes.

You doubted they'd told that to John, though.

When you reached his room, he maneuvered so to get his thumb on the panel without jostling you too much. The lights came on as he took you through the doorway and then he paused.

"Kai," he rumbled, shaking his head. "She said studies show people heal better with color. I should've known she'd overdo it. Say the word and I'll have her in here clearing this out."

"It's your room," you said, "but personally, I love it."

The duvet on the bed and the pillows on the couch were now a rainbow of jewel tones. A tapestry with a field of sunflowers dominated the wall at the foot of the bed and you could've sworn there was a dusting of diamond glitter shimmering on every wall, sending tiny holographic rainbows through the air in all directions. But the main thing that caught your attention was overhead.

"She put up stars," you said, brightening.

"Ah, that one was actually me," he confessed. "You seemed to really like those in her room so I thought..."

You stretched up in his arms, inhaling a little sharply at the stab of pain in your left side, and pressed a kiss to his cheek. "I love them, John. Thank you."

A short time later, you found yourself lying on the bed in the darkened room, looking up at those stars. John had profusely apologized for not being able to stay after getting you settled in. He'd turned down the bed so you wouldn't have to, had put your padd close at hand on the nightstand to the right along with a bottle of water and a couple of emergency ration packs in case you got hungry before someone bought you a meal. He'd even procured you a set of unthinkably soft civvies to change into, exactly your size and in your favorite color.

You couldn't imagine that a Spartan had ever taken care of a sick or wounded person before, other than in a battlefield triage situation, so he'd probably found a checklist from somewhere to guide him. His earnestness to make sure he'd done everything right sent warmth flooding through you.

Before he left, he'd paused to kiss the top of your head.

"You know," you said, lifting your chin, "my lips aren't broken."

He hesitated. "The last time I did that, an entire base fell on you."

"Only the warehouse part," you said dismissively, "and there was absolutely no correlation, I promise."

He tried to smile at that but his eyes still showed concern.

"I promise," you repeated more seriously and he exhaled as if about to make a tremendous leap. His kiss was so soft and gentle, it was barely more than a whisper against your mouth.

Once he had left, you'd considered taking Dr. Savannah's advice and watching a holo, reading something on your padd, or doing any number of things to pass the time but ultimately, you'd wanted to appreciate his handiwork.

After all, it wasn't just anybody who could say a Spartan had literally hung the stars for them.

[covid-safer-hotties]

Also preserved in our archive

(This number is likely underinflated by 1. lack of diagnosis 2. lack of education in the population about what long covid is 3. people getting long covid but powering through their symptoms and acting like nothing is wrong [a huge problem in the US even before covid])

By Jim Wappes

A study today demonstrates that last year, about 8% of US adults reported that they ever had long COVID, and those who currently had the condition or currently had activity-limiting long COVID were both under 4%, but a leading US expert on long COVID explains the limitations of such data and why estimates of the prevalence of the condition can vary so widely.

And he notes that, even when considering low estimated long-COVID rates, as in today's study, when the percentages are applied to the population as a whole, the impact is massive.

Long COVID—also known as post-COVID condition (PCC)—is generally defined as having symptoms 3 months or longer after an acute COVID-19 infection.

Only 3.6% currently had long COVID The study, published as a research letter in JAMA Network Open by scientists from the Centers for Disease Control and Prevention (CDC), involved 29,522 US adult respondents to the National Health Interview Survey, a nationally representative household survey.

For the survey, investigators randomly selected one adult from each eligible household to answer more detailed questions about their health. The response rate was 47%. The selected adults were asked whether they had ever had COVID-19, if they had symptoms lasting 3 months or more that they didn't have before COVID-19, if they had symptoms now, and whether these current symptoms limited their ability to carry out daily tasks compared with pre-COVID.

The authors didn't specify what percentage of respondents self-reported COVID-19, but CDC serology data reveal that, by the end of 2023, 87.2% of Americans had infection-induced antibodies to SARS-CoV-2, indicating a previous infection.

The study authors reported that 8.4% of the adults said they ever had long COVID, 3.6% currently had long COVID, and 2.3% currently had activity-limiting long COVID. In 2022, 6.9% said they had ever had long COVID, and 3.4% reported it at the time of the interview. The third question was new in 2023.

They researchers also noted, "Significant differences across all 3 outcomes were observed by sex, sexual orientation, age, race and Hispanic origin, family income, and urbanization." They said the prevalence of all three outcomes decreased with higher family income and was higher in rural residents.

Study limitations The study authors write, "A limitation of this work is that the data were from self-reports and were not confirmed by medical evaluation."

Ziyad Al-Aly, MD, chief of research and development at the VA St. Louis Health Care System and a preeminent expert on long COVID who was not involved in the study, said the low response rate is another limitation of the study. "It is unclear how this low response rate biases the results." He also said that self-diagnosis "may miss a lot of PCC."

"I also note lack of any information on infection," he said in an email. "Because most people abandoned testing, a lot of people get COVID without knowing it; they subsequently develop health problems (that could be PCC) and cannot attribute them to an infection and won't be able to identify them as PCC.

"We entered a phase where PCC is now intermingled with baseline disease, and consequently it has become harder to detect through these kinds of surveys."

Why do reported rates of long COVID vary so widely? The prevalence of long COVID reported in today's study is markedly lower that other recent studies. Al-Aly and colleagues, in a July study in the New England Journal of Medicine, noted a 10.4% long-COVID prevalence a full year after the original infection when solely assessing people infected with the original SARS-CoV-2 strain. Subsequent variants were tied to lower rates of PCC, but the cumulative total would be much higher than 8.4%.

Last month, Massachusetts General Hospital researchers used artificial intelligence to estimate that 23% of the population has had the condition at some point. A second July study determined that 12% of Japanese adults developed long COVID after an Omicron infection alone. An October study found that 25% of previously healthy US Marines showed signs of long COVID following even mild or asymptomatic COVID-19.

A study in September estimated that the prevalence of long COVID in people with disabilities is 41%, compared with 19% in non-disabled participants. And two studies published in August found a 34% prevalence of long COVID in women and an 84% rate 1 year after infection in Italian adults.

Al-Aly explains: "Variation in incidence and prevalence estimates generally stems from variation in study designs (eg, surveys of self-reported Long Covid vs cohort studies, etc), definition of Long Covid (eg, narrow vs broad definition), population being studied, predominant variant, vaccination rates, etc."

He added, "When reviewing the totality of evidence, all the estimates suggest that [long COVID] is a serious problem affecting a sizable number of [the] US population. This is a problem that demands attention—we cannot ignore it."

He also noted that, even when considering the lower percentages in today's study, when you extrapolate them to the entire US population, the numbers are substantial. "Although it may appear to be a small percentage, 2.3% of people 'currently had activity-limiting PCC' is huge when translated into absolute numbers."

Study link: jamanetwork.com/journals/jamanetworkopen/fullarticle/2828033

[nothingelsematterswrites]

logan IS NOT getting replaced at Imola (and not at Monza either), a CONFIRMED breakdown

that's right logan girlies (gn), Logan is SAFE. He's not going anywhere yet.

James was bailed up by Lawrence Barretto yesterday in the press pen, and was asked explicitly if Antonelli would be in the car at Imola. James straight up said that Antonelli will not be in the car at Imola, and that he is considering drivers for 25 and 26.

Here's the video:

James was also asked about it in the press conference, and Autosport did a write up of it which you can find here. Importantly:

“I know nothing about what's going on with the Mercedes tests right now,” said Vowles. “We are looking, as everyone else is, for where we want to be on driver line-up for next year. And we have our own young driver programme. “In the case of Kimi. I can't really adjudicate at the level he's at. In case of him coming into the car this year, I've always said from the beginning, it's a meritocracy. “Logan has to earn his seat and at the moment, he has some tough targets where he has to get much closer to Alex. But there is nothing on the radar at the moment for replacing him.”

That's the key point.

Now, the Autosport article also brought up another point. The FIA say they have received a superlicence request for Antonelli. They did not specify what type.

There are two types of superlicences. The one you hear about most commonly is a race superlicence. That's your standard one, need 40 points, etc.

But there is also a practice superlicence. This is what Logan had in 2022, enabling him to run FP1s for Williams while he tried to earn the points for his full superlicence.

It is actually entirely probable that Mercedes have put in this request for an exemption for a practice superlicence for Antonelli so that they can run him in FP1s.

Some of you may not trust James' word, and that's understandable! So, let's hear it from Toto Wolff himself, who was also asked about the rumours, and responded categorically:

"I don't know where this belief comes from that Mercedes was keen on pushing that forward. Kimi needs to concentrate on his F2 campaign and he knows that. "Everything else is just rumours, which continue to spin around and that are factually incorrect. He's an F2 driver for Prema, that is what he's doing, and this is what we're all concentrating on." Wolff stressed that Mercedes would remain careful not to burn Antonelli by promoting him too early, given his rapid rise through the junior series and his lack of experience. "Just 15 months ago, he was in an F4 car," he said. "We have great belief in Kimi, his abilities and also his future. "But there is a trajectory which we need to follow with diligence, rather than trying to dream about jumping from series to series in a way that is certainly not beneficial for him. "I think a champion is not going to be distracted by any of this. But certainly, at least it distracts me because everybody's asking me: 'What about Kimi and driving in Imola? "This is not going to happen. This is not something that Mercedes wants. These rumours have gotten their own spin. Let's do Formula 2. We as a team have lots of other issues to resolve."

So, to summarise: Toto doesn't want it. James doesn't want it. Neither of them are pushing for it. Logan has goals to meet and James is going to give him time and support to do it.

Now, James does say they're evaluating options for 2025, which I'm sure is not what some of you want to hear, but that's his job as the team boss. The market is busy right now, and if others are interested he is wise to listen. But Logan will be one of those options, if he hits the goals James has set him.

[earhartsplane]

Since we're all talking about plagiarism now, I'd like to share this video which came out last year about a paper accepted at the CVPR 2022:

For the people not in the know, the Computer Vision and Pattern Recognition conference is the biggest conference in computer science. Last year, in 2022, the paper featured in the video got accepted. A few days later, this video was posted. The first author, a PhD student, apologized and the paper was retracted and removed from the proceedings. Hilariously, the first reaction of the co-authors, including a professor at the Seoul National University, was to say that they had nothing to do with it.

My point here is that scientific papers are not rigorously checked for plagiarism, and a background in academia tells you absolutely nothing about whether or not someone will be diligent in avoiding plagiarism. The biggest difference is that there are consequences if you're caught.

I also don't want people to be too harsh on the first author of this paper, or to think the situation is equivalent to the whole Somerton debacle. For starters, you don't get paid for publishing papers, you (or more commonly your university) pay the publishers. But the phrase publish or perish exists for a reason, and everyone in the field wants to get published in the CVPR, because it's supposed to show that you're great at research. Additionally, the number of papers and the prestige of the venues they're published in criteria on which you will be evaluated as a researcher and a university employee.

The way I see it, there are basically two kinds of plagiarism that are shown in the video. The first one concerns sentences that are lifted completely unchanged from other papers. This is bad, and it is plagiarism, but I can see how this would happen. Most instances of this appear in the introduction and on background information, so if you're insecure about your mastery of English and it's not about your contribution anyway, I can understand how you would take the shortcut of copy-pasting and tell yourself that it's just so that the rest of the paper makes sense, and why waste time on phrasing things differently if others have done it already, and it's not like there are a million way to write these equations anyways.

Let me be clear. I don't approve, or condone. It's still erasing the work of the people who took the time and pain to phrase these things. It's still plagiarism. But I understand how you could get to that point.

The second kind of plagiarism is a way bigger deal in my opinion. At 0:37 , we can see that one of the contributions of the paper is also lifted from another paper. Egregiously, the passage includes "To the best of our knowledge, this is the first [...]" , which is a hell of a thing to copy-paste. So this is not only lazily passing other people's words as your own, it's also pretending that you're making a contribution you damn well know other people have already done. I also wasn't able to find a version of the plagiarized article that had been published in a peer-reviewed venue, which might mean that the authors submitted it, got rejected, and published it on arXiv (an website on which authors can put their papers so that they're accessible to the public, but doesn't "count" as a publication because it's not peer-reviewed. You can also put papers that are under review or have been published on there as long as you're careful with the copyrights and double-blind process). And then parts of it were published in the CVPR under someone else's name.

I think there's also a third kind of plagiarism going on here, one that is incredibly common in academia, but that is not shown in the video. That's the FIVE other authors, including a professor, who were apparently happy to add their name to the paper but obviously didn't do anything meaningful since they didn't notice how much plagiarism was going on.

[bazzybelle]

Don't You Look Good In Red

TITLE: Don't You Look Good In Red

RATING: Mature

WORD COUNT: 80K

SUMMARY: 

Hob Gadling is a broken man. He’s been a broken man since the head of an up-and-coming mob family murdered his wife in cold blood and left him for dead. For the last five years, he’s been away from the city, training and planning to bring that man’s empire down piece by piece. Hoping to do whatever it takes to allow his wife to finally rest in peace. But when he meets a shy, sweet, and fascinating man at the local pub, he begins to re-evaluate his thirst for vengeance. Maybe he can go back to who he used to be. Maybe he can allow love back into his life. Maybe he can find a way to be whole again. Or die trying.

Special thank you to my INCREDIBLE artist, @kitsune2022-artish for creating the BEAUTIFUL artwork you see linked below. They have perfectly captured the vibes of the fic within their suspense-filled movie poster creation. It was an honour working with you. Thank you from the bottom of my heart.

Here is the link to their AMAZING ART!!

More notes and thank yous tagged below!

NOTES: After changing my idea right as signups closed and then writing 80k words in like 3 months, I am excited to FINALLY share my fic for @the-centennial-husbands-bigbang.

I am SO proud of this fic. It's been one of my favourite fics to write, and I hope you all enjoy it. For the friends in the Sadman server who were all screaming about "Reacher", you guys do not know how difficult it was for me to keep my mouth shut as you were all begging for more Badass Hob, more Fighter Hob, more Snarky Fucker Hob.

I hope this fic scratches that itch for you.

All the thanks and love for the Mods involved with CHBB! You guys have all worked your butts off to make sure this event ran as smoothly as possible. You were all so supportive and kind and encouraging. Thank you to my assigned Mod, @spockandthings for being so kind and reassuring and willing to lend a helping hand.

Thank you to my amazing Alpha-readers, @ginjones and @purplesauris, as well as my Beta-reader, @garnetcapricorn.

Finally, thank you to my friends over at The Sadman server, for all of your love and support and for welcoming me into the community. Thank you to the Shaxberd Sprint group for fighting against lack of motivation and stress with me. We did it, friends!!

The title of this fic, as well as the titles of the chapters were taken from the lyrics of the song Good in Red by The Midnight. I HIGHLY suggest looking them up on Spotify, because they are amazing!

[mostlysignssomeportents]

Cigna’s nopeinator

I'm touring my new, nationally bestselling novel The Bezzle! Catch me THURSDAY (May 2) in WINNIPEG, then Calgary (May 3), Vancouver (May 4), Tartu, Estonia, and beyond!

Cigna – like all private health insurers – has two contradictory imperatives:

To keep its customers healthy; and

To make as much money for its shareholders as is possible.

Now, there's a hypothetical way to resolve these contradictions, a story much beloved by advocates of America's wasteful, cruel, inefficient private health industry: "If health is a "market," then a health insurer that fails to keep its customers healthy will lose those customers and thus make less for its shareholders." In this thought-experiment, Cigna will "find an equilibrium" between spending money to keep its customers healthy, thus retaining their business, and also "seeking efficiencies" to create a standard of care that's cost-effective.

But health care isn't a market. Most of us get our health-care through our employers, who offer small handful of options that nevertheless manage to be so complex in their particulars that they're impossible to directly compare, and somehow all end up not covering the things we need them for. Oh, and you can only change insurers once or twice per year, and doing so incurs savage switching costs, like losing access to your family doctor and specialists providers.

Cigna – like other health insurers – is "too big to care." It doesn't have to worry about losing your business, so it grows progressively less interested in even pretending to keep you healthy.

The most important way for an insurer to protect its profits at the expense of your health is to deny care that your doctor believes you need. Cigna has transformed itself into a care-denying assembly line.

Dr Debby Day is a Cigna whistleblower. Dr Day was a Cigna medical director, charged with reviewing denied cases, a job she held for 20 years. In 2022, she was forced out by Cigna. Writing for Propublica and The Capitol Forum, Patrick Rucker and David Armstrong tell her story, revealing the true "equilibrium" that Cigna has found:

https://www.propublica.org/article/cigna-medical-director-doctor-patient-preapproval-denials-insurance

Dr Day took her job seriously. Early in her career, she discovered a pattern of claims from doctors for an expensive therapy called intravenous immunoglobulin in cases where this made no medical sense. Dr Day reviewed the scientific literature on IVIG and developed a Cigna-wide policy for its use that saved the company millions of dollars.

This is how it's supposed to work: insurers (whether private or public) should permit all the medically necessary interventions and deny interventions that aren't supported by evidence, and they should determine the difference through internal reviewers who are treated as independent experts.

But as the competitive landscape for US healthcare dwindled – and as Cigna bought out more parts of its supply chain and merged with more of its major rivals – the company became uniquely focused on denying claims, irrespective of their medical merit.

In Dr Day's story, the turning point came when Cinga outsourced pre-approvals to registered nurses in the Philippines. Legally, a nurse can approve a claim, but only an MD can deny a claim. So Dr Day and her colleagues would have to sign off when a nurse deemed a procedure, therapy or drug to be medically unnecessary.

This is a complex determination to make, even under ideal circumstances, but Cigna's Filipino outsource partners were far from ideal. Dr Day found that nurses were "sloppy" – they'd confuse a mother with her newborn baby and deny care on that grounds, or confuse an injured hip with an injured neck and deny permission for an ultrasound. Dr Day reviewed a claim for a test that was denied because STI tests weren't "medically necessary" – but the patient's doctor had applied for a test to diagnose a toenail fungus, not an STI.

Even if the nurses' evaluations had been careful, Dr Day wanted to conduct her own, thorough investigation before overriding another doctor's judgment about the care that doctor's patient warranted. When a nurse recommended denying care "for a cancer patient or a sick baby," Dr Day would research medical guidelines, read studies and review the patient's record before signing off on the recommendation.

This was how the claims denial process is said to work, but it's not how it was supposed to work. Dr Day was markedly slower than her peers, who would "click and close" claims by pasting the nurses' own rationale for denying the claim into the relevant form, acting as a rubber-stamp rather than a skilled reviewer.

Dr Day knew she was slower than her peers. Cigna made sure of that, producing a "productivity dashboard" that scored doctors based on "handle time," which Cigna describes as the average time its doctors spend on different kinds of claims. But Dr Day and other Cigna sources say that this was a maximum, not an average – a way of disciplining doctors.

These were not long times. If a doctor asked Cigna not to discharge their patient from hospital care and a nurse denied that claim, the doctor reviewing that claim was supposed to spend not more than 4.5 minutes on their review. Other timelines were even more aggressive: many denials of prescription drugs were meant to be resolved in fewer than two minutes.

Cigna told Propublica and The Capitol Forum that its productivity scores weren't based on a simple calculation about whether its MD reviewers were hitting these brutal processing time targets, describing the scores as a proprietary mix of factors that reflected a nuanced view of care. But when Propublica and The Capitol Forum created a crude algorithm to generate scores by comparing a doctor's performance relative to the company's targets, they found the results fit very neatly into the actual scores that Cigna assigned to its docs:

The newsrooms’ formula accurately reproduced the scores of 87% of the Cigna doctors listed; the scores of all but one of the rest fell within 1 to 2 percentage points of the number generated by this formula. When asked about this formula, Cigna said it may be inaccurate but didn’t elaborate.

As Dr Day slipped lower on the productivity chart, her bosses pressured her bring her score up (Day recorded her phone calls and saved her emails, and the reporters verified them). Among other things, Dr Day's boss made it clear that her annual bonus and stock options were contingent on her making quota.

Cigna denies all of this. They smeared Dr Day as a "disgruntled former employee" (as though that has any bearing on the truthfulness of her account), and declined to explain the discrepancies between Dr Day's accusations and Cigna's bland denials.

This isn't new for Cigna. Last year, Propublica and Capitol Forum revealed the existence of an algorithmic claims denial system that allowed its doctors to bulk-deny claims in as little as 1.2 seconds:

https://www.propublica.org/article/cigna-pxdx-medical-health-insurance-rejection-claims

Cigna insisted that this was a mischaracterization, saying the system existed to speed up the approval of claims, despite the first-hand accounts of Cigna's own doctors and the doctors whose care recommendations were blocked by the system. One Cigna doctor used this system to "review" and deny 60,000 claims in one month.

Beyond serving as an indictment of the US for-profit health industry, and of Cigna's business practices, this is also a cautionary tale about the idea that critical AI applications can be resolved with "humans in the loop."

AI pitchmen claim that even unreliable AI can be fixed by adding a "human in the loop" that reviews the AI's judgments:

https://pluralistic.net/2024/04/23/maximal-plausibility/#reverse-centaurs

In this world, the AI is an assistant to the human. For example, a radiologist might have an AI double-check their assessments of chest X-rays, and revisit those X-rays where the AI's assessment didn't match their own. This robot-assisted-human configuration is called a "centaur."

In reality, "human in the loop" is almost always a reverse-centaur. If the hospital buys an AI, fires half its radiologists and orders the remainder to review the AI's superhuman assessments of chest X-rays, that's not an AI assisted radiologist, that's a radiologist-assisted AI. Accuracy goes down, but so do costs. That's the bet that AI investors are making.

Many AI applications turn out not to even be "AI" – they're just low-waged workers in an overseas call-center pretending to be an algorithm (some Indian techies joke that AI stands for "absent Indians"). That was the case with Amazon's Grab and Go stores where, supposedly, AI-enabled cameras counted up all the things you put in your shopping basket and automatically billed you for them. In reality, the cameras were connected to Indian call-centers where low-waged workers made those assessments:

https://pluralistic.net/2024/01/29/pay-no-attention/#to-the-little-man-behind-the-curtain

This Potemkin AI represents an intermediate step between outsourcing and AI. Over the past three decades, the growth of cheap telecommunications and logistics systems let corporations outsource customer service to low-waged offshore workers. The corporations used the excuse that these subcontractors were far from the firm and its customers to deny them any agency, giving them rigid scripts and procedures to follow.

This was a very usefully dysfunctional system. As a customer with a complaint, you would call the customer service line, wait for a long time on hold, spend an interminable time working through a proscribed claims-handling process with a rep who was prohibited from diverging from that process. That process nearly always ended with you being told that nothing could be done.

At that point, a large number of customers would have given up on getting a refund, exchange or credit. The money paid out to the few customers who were stubborn or angry enough to karen their way to a supervisor and get something out of the company amounted to pennies, relative to the sums the company reaped by ripping off the rest.

The Amazon Grab and Go workers were humans in robot suits, but these customer service reps were robots in human suits. The software told them what to say, and they said it, and all they were allowed to say was what appeared on their screens. They were reverse centaurs, serving as the human faces of the intransigent robots programmed by monopolists that were too big to care.

AI is the final stage of this progression: robots without the human suits. The AI turns its "human in the loop" into a "moral crumple zone," which Madeleine Clare Elish describes as "a component that bears the brunt of the moral and legal responsibilities when the overall system malfunctions":

https://estsjournal.org/index.php/ests/article/view/260

The Filipino nurses in the Cigna system are an avoidable expense. As Cigna's own dabbling in algorithmic claim-denial shows, they can be jettisoned in favor of a system that uses productivity dashboards and other bossware to push doctors to robosign hundreds or thousands of denials per day, on the pretense that these denials were "reviewed" by a licensed physician.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/04/29/what-part-of-no/#dont-you-understand

[literaryvein-reblogs]

Emotional Development in Childhood

Emotional Development - a gradual increase in the capacity to experience, express, and interpret the full range of emotions and in the ability to cope with them appropriately.

For example, infants begin to smile and frown around 8 weeks of age and to laugh around 3 or 4 months, and older children begin to learn that hitting others is not an acceptable way of dealing with anger.

Expressions of delight, fear, anger, and disgust are evident by 6 months of age, and fear of strangers from 8 months.

Expressions of affection and jealousy are seen between 1 and 2 years of age, and expressions of rage in the form of temper tantrums appear a year or so later.

Cortical control, imitation of others, hormonal influences, home atmosphere, and conditioning play major roles in emotional development.

Also called affective development.

It is nearly impossible to imagine emotional development as separate from changes in cognitive development that occur in the first 2 decades of life.

As memory and thinking become more complex and abstract, emotional development changes as well.

Similarly, markers of emotional development are intimately linked to a child’s social experiences.

EXAMPLES. The following examples are major markers of change in emotional development as they occur within a social context.

Social Smile (2 to 3 months)

While breastfeeding, the infant shares a gaze with mom.

Mom responds with a smile using infant-directed speech.

“You are a hungry little fellow!”

The infant smiles in response (Pagano & Parnes, 2022).

Attachment (6 to 12 months)

Baby is distressed when mom is absent and is comforted with her return (Pagano & Parnes, 2022).

Social Referencing (8 to 10 months)

Baby looks to the caregiver to make a decision or know how to respond emotionally (Walle et al., 2017).

Theory of Mind (3 to 5 years)

Children progress in their understanding of the thoughts and emotions of others.

Progression occurs from understanding that two people (oneself and another) can have different desires and beliefs about the same thing to understanding hidden emotions; a person may look happy on their face and body but feel angry inside (Wellman et al., 2011).

Emotional Competence (7 to 10 years)

Emotion expressions are used to manage relationship dynamics, such as smiling at a new friend (Saarni & Camras, 2022).

Emotion Regulation (infancy through adulthood)

Emotion regulation strategies are processes used to monitor, evaluate, and modify our emotional reactions in order to achieve a goal.

Strategies become more sophisticated from extrinsically based regulation in infancy to more intrinsically based regulation from preschool-age through adulthood (Eisenberg et al., 2010; Thompson & Goodvin, 2007).

4 to 6 months: Infants shift their attention away from stressful stimuli.

1 to 2 years: Young toddlers crawl or walk away from stressful stimuli.

2 to 3 years: Older toddlers begin to show beginnings of self-regulation of emotion.

8 to 9 years: Cognitive emotion regulation strategies emerge, and children begin to use thoughts and feelings about themselves and others to control their emotions (Garnefski et al., 2007).

The ability to regulate our emotions is one of the most important skills for learning, social relationships, and mental health.

Sources: 1 2 ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

[buckets-and-trees]

haunting thoughts on Silent Screams

read it here: SILENT SCREAMS IN WILDEST DREAMS

Fandom: MCU Characters/Pairings: Bucky x Reader, side of Steve Word Count: 8k Content Warnings: dark dark DARK tale, smut, main character death, rough sex, fingering, oral (f receiving), unprotected p in v sex, creampie, talk of wounds, slight dub/con, elements of somnophilia

RECAP: A dark tale with an unhappy ending. Just when you’ve married the man of your dreams, only just closed the chapter of your honeymoon, happily ever after is wrenched away, and you’re met with a nightmare you never could have imagined.

I published this in late November 2022, but I worked on it on and off between other projects for about six weeks from concept to research to writing. I wrote it for @darkficsyouneveraskedfor's Hallo-Cream Extravaganza, which was a cool challenge because there was a collection of numbered images you could choose from, and then when my image was confirmed, there was a prompt to go along with it.

It was also my first time participating in a challenge since getting back into writing fanfic. When I thought I was getting the sun alone, I was thinking vampires, but when I got the phrase along with the image, it halted the vampire idea I thought I would go with, and since I was already going to re-evaluate, it got my mind going even more. At the time I was also redefining a lot of pieces in my life and I had signed up to go solo on this 5-day retreat to a cabin in the woods... I ended up talking about some of the research and concept ideas for this fic on the six-hour drive to and from that cabin with a girl I carpooled with (we talked about so many things as you do with a stranger you just met when you're both going to the same retreat and want to save on gas). But I'll put the rest under a cut so as not to spoil for those who haven't read it.

When I realized it wasn't going to be vampires, I really wanted to then get totally outside of the box of things we see all the time. I decided I wanted to look up Scandinavian folklore as I was also trying to throw off some of the USAmerican culture I'd just been sitting in my whole life and explore some of my ancestral heritage. I figured there had to be a ton of stuff I'd just never learned about or heard of before and of course there was. One of the ideas I have buried for another day is to do kind of a Grimm or Phillip Pullman thing and do an anthology retelling of some of Scandinavian folktales because they were fascinating, and there were elements I was familiar with alongside very new pieces. It was so cool to begin to uncover the stories there...

But I was looking for a story that would also fit my prompt and lend itself to Bucky x Reader application.

I found the Gengångare. The lore is that they're a revenant/walker, and particularly in the Swedish tradition they're a corporeal form of a spirit that comes back after death. The spirit would have been murdered or killed and came back for mixes of revenge or unfinished business. That I could give Bucky - going on a mission, being killed, and having both revenge he could seek (against still living HYDRA folks who tormented and used him) and unfinished business in a promise that he makes to you, his reader newlywed bride, to come back to you.

And so the story begins with what I was hoping to be this blissful newlywed haze - the first morning after your honeymoon. Bucky is leaving for a mission - he'd said they were leaving later than he's actually going to leave because he didn't want you to get up hours before you needed to in order to send him off, but he does wake you up to share some kisses and say goodbye, it gets a little more heated, but there's no time for smut since he has to go, but he promises to pick up where you to left off when he returns, and there we have the tie he makes to come back to you.

I listen to music heavily throughout the day, but I wrote this fic with some very specific music through different sections. And for the opening, I was listening to This Love by Taylor Swift because its very romantically evocative for me, but some of the lyrics I knew could also be ripped into the horrific elements of this story, and so I truly loved it for that even more! - this love is good/this love is bad/this love is alive back from the dead

Then there are some other deep musical cues that when I was writing the rest of the fic, I was literally listening to these songs on repeat - a track from Black Panther: Wakanda Forever, two tracks from Netflix's The Empress series, etc - and so I actually embedded the Spotify players for them at particular parts for the particular songs. That's the only fic where I've so heavily "scored" it.

I put into the narrative that they didn't recover a body from Bucky for what I never specifically defined but figure was an explosion or an accident of some sort where not finding a body would be believable - but it's the Gengångare Bucky escaping. His undead soul seeks some revenge first, then he's pulled back to your door, but I wanted/tried to imply that he moves by these motivations and doesn't really remember much until he encounters something. So he shows up back on your doorstep, and it's as he interacts with you that he remembers more and more pieces of himself that are added back into the primal gengångare motivations.

The sex after he returns is frequently more rough and desperate, but since you're just as desperate for him, you don't question that it's the fact that his nature has changed - no longer human, but a creature that needs to leech the energy of another living thing to survive. He doesn't realize it at first either. But the first night he returns, his body is very cold, and he gets warmer the longer he's with you.

His bruises haven't healed, and you notice that, but he brushes it off. There's an inadvertent pinching on your back that's the beginning of the marks he can't help consuming you. He's truly insatiable, but since you were so consumed with grief and so deeply and desperately in love, you don't question it. When you finally do bring up having Bruce examine him or bringing Steve into things, he doesn't want that and presents good reasons - not wanting to be a body poked and prodded, and not wanting to worry Steve until he has more of his memory cleared up.

There's only a little bit of Alpine in this fic, but Alpine can tell that something is wrong with Bucky and so she is not around when he is at all after he comes back. The sex is exhausting, but it's because it's with this creature form of Bucky taking more and more of your life.

And then the spill of the story/the reveal. And it's all discovered when you're basically doomed by your love. And he literally makes love and fucks you to death, and is still so in love with you while doing it. Very sad. And his goodbye is the same goodbye he said to you in the first scenes of the story.

This was the darkest thing I'd written up to this point, and I really just wanted it to feel gothic and doomed, but twisted up in this all-consuming love. As I knew where the story was headed, I sort of just took deep breaths and steadied myself to dive into letting it have its dark ending. And I loved taking it there even though it was kind of scary for my first time. It was very haunting to write and I really tried to convey that feeling and have it bleed through.

↠ Masterlist | Aspen's Ask Box | Field Guide to the Forest

read more from the Dark Forest Fest

[ageless-aislynn]

Title: “15 Minutes” (8/?) Author:  @ageless-aislynn​ Characters/fandom: Master Chief John-117/Reader, Halo the series Summary: You've got work to do. John worries. Things get a little more intense. Series: How to date a Spartan (without even trying) Rating:  T (PG13) Length: 1,945 (this chapter, 19,693 total so far) Spoilers/warnings: Set in the Silver Timeline of Halo the series, not the games or novels. Though we began with the events of Halo 1x06, there will be no more show spoilers. We are still firmly seated in the AU Warthog, merrily driving out to places where there’s only a passing nod to canon. 😉 Disclaimer: Definitely not mine but I do enjoy borrowing them just for a bit! 😉 A/N:  Text is both here in this post or available at AO3, however you like to read. Halo season 2 has finally arrived! However, this fic continues to zip along in the AU Party Warthog, so, while we began with season 1 way back when (and you'll see a few more things from s1 along the way 😉), we'll not be venturing into s2 territory at all. Unless s2 is going to take some verrrrry interesting twists, lol! Chapter 9 is still in progress by hand but I hope to have it ready soon. 🤞😣🤞The next chapter will also see us entering into some hurt/comfort for a bit but I tend to lean heavier on the comfort, in case you're worried. Or, you know, would be disappointed. 😉 If you read, I hope you enjoy! ⭐💖⭐

Taglist: @pinheadbanger​ @mysardencut​ @laurenstacy610​ @sporadicbelievernightmare​ @ultrablackwidower​ @bxmxtx​ @jellotherelol

If you would like to be tagged in my John/Reader fics, just let me know! I also write John/Kai, John/Cortana and Kai/male Reader, so I’m glad to tag you for whatever you’d like. If you would like to be removed from the taglist, also feel free to let me know, no harm, no foul. 😉 💖

Halo fic masterlist ⭐

Chapter 1 - Chapter 2 - Chapter 3 - Chapter 4 - Chapter 5 - Chapter 6 - Chapter 7

The Troop Transport Warthog hit a particularly rough patch and you held on for all you were worth to keep from being ejected.

"Sarge," Private Taylor yelled. "Where are we?"

"That's need to know and none of you need to know, marine," Sarge shouted back from the passenger seat. "Just keep your head down, do your job, and you'll be home 15 minutes before your mama has breakfast on the table."

You couldn't particularly tell if it were dusk, dawn or high noon, the air was so heavy with the greasy remains of mortar rounds. In the distance, a nondescript cityscape occasionally flared with either continuing pockets of active combat or just the remnants of the devastation that had passed through.

Wherever you were, it felt like you were barreling at top speed through a graveyard of vehicles: Warthogs, Mongeese and even the odd Scorpion, some overturned, blackened and smoldering, others weirdly intact as if their drivers had merely stepped away for a moment.

This was a salvage and recovery mission, tasking your unit with marking vehicles as repairable, recyclable or a total loss to be abandoned.

The next hour or so, that had been your focus, moving from Warthogs and the occasional Mongoose, conducting a quick evaluation, then using your spray gun to mark a green circle on the hood to send back to Reach for repair, a white slash to send it to be stripped for usable parts or a red X to abandon, not worth salvaging.

You marked a Mongoose with a red X, though the gun sputtered and you had to give it a few whacks before it sprayed properly, then you moved on.

Next up was a Warthog that seemed in decent condition from the outside, short of the rear antenna twisted until it resembled a curly tail. But the electronics were fried and the entire undercarriage looked like it had plowed over a series of flaming spikes, all major parts gouged out and burned. There might have been a few nuts and bolts reclaimable but since you'd just recently been writing up requisition for needed parts, you judged that it was more effort than it was worth.

You made the call to abandon it but as you tried to spray the red X across the hood, nothing emerged, even after shaking the sprayer and giving it a few more hits with the heel of your palm. With a slightly frustrated noise -- who was checking to make sure that the sprayers were in working order before they were sent out? -- you headed to get a replacement. Along the way, you caught a private going in the opposite direction.

"Hey, see that 'hog there? Would you red X it for me? Thanks."

"Um, sure," the blond man said and headed where you gestured.

You were still looking for somebody who had a spare sprayer when Sarge drove up in the Troop Transport again.

"Wrap it up, it's about to get hot," he shouted.

You quickly joined the rush back to board the Pelican and scrambled into a seat just as it lifted off. A split-second after you'd clicked the restraint down, the Pelican rolled to one side, shuddering from an impact.

Alarms began blaring, mixed in with the pilot calling out coordinates, and you automatically tried to look forward, as if you'd somehow be able to spot what was shooting at you. All you could really see was the anxious faces of the other marines around you. You spared a couple of breaths to be glad that neither Maria or Jamie had been called in for this.

The Pelican took a second, more glancing blow and the resulting shudder rattled your teeth.

"Covvies?" somebody asked over the engine whine and the private across from you shrugged.

"Who else?" she said. "But that felt like surface-to-air to me. What about you?"

She met your eyes and it was your turn to shrug. "I'm not sure. Never been hit by any sort of missile before."

"Oh well, congratulations on your first missile salvo," she returned with a crooked grin.

The Pelican rolled once more, this time in an evasive maneuver, then thankfully smoothed out and made its escape without further incident.

Your unit was taken to the covert off-world depot known colloquially as The Pit, where everything that had been marked for repair or recycle would be delivered for further sorting. In the center of the large warehouse area was a compactor pit for all of the scrap to be sent into. Several cranes were already busy moving the smaller vehicles like Warthogs and Mongeese into berths to be stripped down while the still operational vehicles were lining up to be loaded onto heavy transport carriers to be returned to base.

You finished stripping your second Warthog for salvageable parts and signaled the nearest lift operator. The clawlike crane clamped onto the 'hog's shell, picking it up and carrying it towards the compactor while you moved on to a Mongoose with a crumpled left rear wheel.

Then, out of the corner of your eye, you spotted a Warthog with a particularly distinctive twisted rear antenna being dropped off into the line to be loaded up and returned to FLEETCOM.

Frowning, you wove your way through the other mechanics, avoiding the occasional flying part, and found a green circle sprayed onto the hood.

Shit, the private must've heard me wrong when I told him to red X it. It seemed like an odd mistake to make but things had been hectic.

You grabbed a sprayer and neutralized the green and sprayed over it with a red X, then went to the nearest crane operator.

"You see that 'hog with the X on it? Drop it in the line for the compactor, please."

"Got it," the woman said and you waited until she'd picked it up and deposited it appropriately before you returned to work.

You were elbows into a Gauss 'hog's engine bay when you heard your rank and name called. Looking up, your heart gave a little skip: John in full helmeted Mjolnir strode your way with thundering steps you could hear even over the rest of the cacophony.

"With me," he said tersely, passing by and disappearing through a doorway at the back of the warehouse.

You had to hustle to catch up and he had already stopped by the time you joined him in the otherwise empty hallway. He turned, removing his helmet with a slight pneumatic hiss.

"Are you okay?" you both said at the same time.

The angle of the hallway meant you were shielded from most of the work floor. He set his helmet down and very carefully took your hands in his gloved ones.

"Insurgents took the field," he said, looking you over from head to toe. "Did you see combat? Intel was unclear."

"No, we got out but the Pelican took a few shots. Somebody said it felt like surface-to-air but I didn't remember Covenant using anything like that. It was insurgents, then?"

He nodded distractedly, glancing away to mutter, "I'll be right there." Then he looked back to you. "I have to go. Your unit's being sent back to Reach but if they divert you into combat..."

He trailed off, clearly realizing there was no way to finish that sentence the way he wanted.

"Tell them, nah, I'd rather not, thanks?" Your mouth twitched and you squeezed his fingers.

He gave a resigned chuckle. "Yeah, try that, please."

"You're the one who'll be much more in the thick of it," you pointed out. "You be careful, okay?"

"Always try," he said, bringing your hands up to press a kiss to the back of both.

Kai leaned around the door, her visor glinting green. "Chief, sorry but we've got to go."

"Copy that." He released you with clear reluctance and picked up his helmet. "Stay safe. I'll see you soon."

He vanished through the doorway and you took a breath, exhaling slowly. John suddenly appeared right in front of you again, leaning down to cup your face in one hand.

You were just about to ask if something was wrong when he kissed you.

For a moment, for forever, the universe shrank to just the two of you, his mouth on yours, a little frantic at first, then slowing, steadying out.

You felt like you were hovering off the ground and then realized you were; he'd picked you up at some point, pressing you gently to his chest plate. Your hand dropped to the 117 etched near his heart and it was gritty with sand and dirt. You were both grimy and sooty but it didn't matter. It couldn't have been more perfect if you were in a flowing ballgown and him in a tux, slowly spinning together on a glittering palace floor.

He set you back onto your feet but you only parted a breath away from each other.

"I... I'll get better with practice," he mumbled.

You smiled at him, feeling wobbly, lightheaded and more grounded than you'd ever been before, all at the same time. "John, if you were any better at that, I'd have to show you how fast I can get a Spartan out of their Mjolnir with my bare hands."

He was near enough to see his pupils dilate and that was incredibly gratifying. "I'll hold you to that," he said, his voice dropping an entire octave, making your toes literally curl inside your boots.

Then he put his helmet back on and left. You took a moment to compose yourself, then exited as well. There was no sign of Silver Team. No doubt, the Pelican waiting for him had taken off the second he'd boarded.

Cutting through the busy deck, you looked for any vehicle marked with a white stripe, still waiting to be stripped. On an impulse, you diverted to the line being dropped one at a time into the compactor. There was no sign of the curly tailed Warthog.

It could've already been compacted, you were thinking when you saw it going by overhead, clutched in a crane claw and heading back towards the line to return to Reach.

You didn't stop to think, you sprinted for the crane's operator booth. "Hey, put that 'hog down!"

The operator looked at you and you realized in a burst that it was the blond man you'd originally told to mark it with the red X back on the battlefield, who'd apparently designated it instead to come back to The Pit.

No, to go back to FLEETCOM.

Recognition went across his face at the same moment and he bolted from the booth. The lift automatically stopped, the Warthog swaying over the crowded deck.

You knew. You just knew.

You ran as fast as you could and slammed the alarm on the wall. "Bomb!" you bellowed over the shrill klaxon. "Bomb! Clear out!"

Jumping into the operator booth and grabbing the controls, you quickly scanned the area as marines scattered everywhere. There was only one place you could think to go.

You swung the arm around, guiding the curly tailed 'hog firmly clasped in its grip towards the compactor pit. It felt like it was taking a year to get there but you couldn't release the controls or the safety would bring it once more to a stop. Once the Warthog was finally in position, you opened the grip.

What if I'm wrong? you thought as it began to fall. I'll feel like such a fool if--

There was a saying that if you were close enough to an explosion, you would never actually hear it.

It was true.

end note:

If you want to, you know, imagine that Sarge's full name is, sayyyyyy, Avery Johnson, well then, who am I to tell you that you're right or wrong? 😇

If you don't know the Troop Transport Warthogs, here's one in action from Halo: Reach. It's on the level "ONI: Sword Base" and is scripted to be destroyed but there's a way to save it and the marines in it and take it with you for a great deal of the rest of the level! I love saving the Troop 'hog, even if it always still looks like it's on fire. Nah, it's fiiiiiine, no worries! 😎👍😂😉

[blubberingjellyfish]

One of the questions I get asked the most about as a anarchist when I critique things (especially regarding voting) is "what do we do instead?" (whether genuinely or snarkily)

Firstly I would like to point out that being an anarchist means looking out for your community while relying on the state and government powers as little as humanly possible because you don't believe in those things. When you realize this it becomes so much easier to imagine what to do. Experience your local community and firgure out what it needs. Aka, touch some grass nerd!!! /s

Secondly I would like to point everyone to the "stop cop city" protests in Atlanta as an example to pull from. Anarchist movements dont often document themselves for safety reasons, but the Stop Cop City movement is different. Here's some writing from Crimethinc to get you started:

“The City in the Forest,” chronicles the first year of the movement.

“The Forest in the City,” chronicles the second year of the movement.

“Beneath the Concrete, the Forest” collects first-person accounts from the occupation of Weelaunee forest through the first half of 2022.

“Balance Sheet,” explores and evaluates the strategies that different currents in the movement have employed.

“Living in an Earthquake” chronicles February through June of 2023, including the fifth week of action, the repression that followed, and the City Hall mobilizations.

3rd thing: follow anarchist content creators because they have answered this question multiple times. Here are a few that I think will be good for people who want to learn about the movement:

(Is it a coincidence that all their names start with with "a"? Idk lol)

But yeah absolutely feel free to (POLITELY) ask any other questions in the reblogs or comments about anarchism. Im definitely not perfect but I'll answer as much as i can. Also quick psa remember not to pressure activists too much to share personal stories as not everything they do may be 100% legal ok bye :3

[covid-safer-hotties]

I loved my teaching career. COVID normalization stole it from me - Published Aug 23, 2024

It might not have been the most favourable, but one of the most memorable comments I ever received on a student evaluation was that I could be “a bit hard to follow, but that was more an example of [my] passion for this subject over anything.” That subject was creative writing. And yes, sometimes, I had difficulty tempering my excitement throughout a teaching career that has now been cut short.

I have – or had – been teaching as a contract or “sessional” creative-writing instructor. Given the competitiveness of the academic job market and my age (I was nearly 40 when I earned the requisite degree, though I had already published four books), I had come to accept that it was unlikely that I would ever have a faculty position. But I could live with that because I still had the rare privilege of making a (barely) livable wage doing something I was very passionate about.

The COVID-19 pandemic took that from me. Actually, that’s not quite right. It was the perceived “end” of the pandemic that really ruined my teaching career.

I am immunocompromised and rely on medication to manage an autoimmune disease. This means vaccine protection from the virus is probably less effective for me than for most people. Also, my particular illness – Crohn’s, an inflammatory bowel disease – has been shown to put me at significantly greater risk than most for long COVID: a potentially chronic condition that can be very debilitating. And despite how it may seem, COVID circulates widely much of the year: We are still in a pandemic.

When universities returned to in-person learning in early 2022, a brief letter from my specialist was all I needed – because of my medical condition – to continue teaching online. But all that changed about a year ago.

Ironically, it is now harder for me to receive accommodation to teach online even though there is less protection in the classroom against COVID. I cannot require masking, which is perhaps our best tool against transmission (particularly respirator-style masks such as N95s), in the classroom. Nor does one-way masking offer as much protection as universal masking. Also, current air filtration in classrooms is generally insufficient. In other words, classrooms are not safe and accessible workplaces for medically vulnerable people. But that’s certainly not how university administrators, and even those who were supposed to represent employees’ interests, perceive things these days.

Last year, trying to discourage me from requesting to teach online, a union rep told me that he “believed in in-person learning.” The most frustrating thing about this comment, and the widely held opinion it represents, is that I too very much miss teaching in person and would, if it were safe to do so. (That said, I believe I am every bit as effective a teacher online.)

On another occasion, a university administrator, after I had submitted my medical documentation, thought “the solution” was for me to co-teach the class so it could include an in-person component and, consequently, less pay for me. After a struggle that went on for months, I taught the class entirely online, but the accommodation agreement I had to sign stated I had “a medical condition that needs limited exposure to as many people as possible.” I nearly refused to put my name to this bizarre description of what is a prevalent disease, but it was too late to apply elsewhere.

It is clear it will only become increasingly difficult for me to teach online as time goes on. The back-and-forth with administrators, department heads and union reps, waiting to find out if I will or won’t be accommodated, and/or what new obstacles will be thrown at me – it has all caused me significant anxiety, which in turn has made it more difficult, ironically, to manage the symptoms of my illness.

I know that the people I have been sparring with are, for the most part, decent folks: They are just ill informed. But I can’t keep trying to do the job of a public-health official to ensure my own health. It’s quite literally making me sick. I’m done. I quit. I have to.

Disability activists have fought long and hard for workplace accessibility to be a right. But the culture has not caught up to understanding the particular accessibility needs of the immunocompromised.

I do not know how to go forward from here. Online courses, especially creative writing, are few and far between. I am looking for online work that utilizes my skills and education and/or that pays more than minimum wage. I have yet to find even an opening for anything like that. For now, I’m grieving: In many ways, it’s a full-time job.

The last time I taught in person was the year I graduated from my MFA program – just months before the pandemic began. After the semester had ended, a student asked if we could have a coffee together so that I could offer further guidance on revising a piece of writing that I had told him was of near-publishable quality. And I only say that to students when it’s true. He also, to my surprise, wanted to share a bit of his own constructive criticism for me – about how I could facilitate workshop discussion a little better. I chuckled at his audacity, though later, upon reflection, took his suggestion. But mostly we focused on his creative work.

As we were getting ready to go our separate ways, he mentioned, in passing, that he had a long drive home: 2½ hours. It has always stayed with me that a student was willing to spend five hours driving for a relatively brief chat over a coffee. Clearly, he thought I was a good teacher, but with more practice and experience, I could become – like a talented, but novice, student writer – an excellent one. Unfortunately, it doesn’t seem like I will get that chance.

[booksandabeer]

I’ve read like almost all the angsty stucky fics (i’ve been doing this for years), so I just want to know if there’s anything new? Thank you so much.

Hello there!

(1) You've read almost ALL the angsty Stucky fics out there? HOW? I've been diligently working on that goal for years and I'm nowhere near close to achieving it (also it's kind of a moving target, so you know...). Do you ever sleep? Eat? 😜 (2) How new is 'new'? Any particular preferences? What level of angst are we talking here? Give me all the information, please, so I can find you the perfect fic!

Anyway, as always, I tried my best. Here we go:

All of these are fics that were either completed in 2022 or are so fresh out of the oven, they are currently being posted.

Prisoner One by ancientreader | E, 134K

Author's summary: Captain Steve Rogers is assigned to evaluate the security arrangements for an unusually dangerous prisoner. Of course, nothing is what it seems.

A truly original AU in which almost everything is the same: Steve is Captain America, Bucky is the Winter Soldier, they were both born in the 1910s & grew up in Brooklyn. Everything is the same, well, except for the fact that they never knew each other before the war. What happens when they both meet for the first time in the 21st Century, where everyone has an agenda and seemingly no one can be trusted? This is one of those fics that, even while your heart is hurting for the characters, makes you squeal with delight because it is so full of smart ideas, little details, and bits of characterization that subvert both canon and fanon interpretations.

You are here by dharmashark | M, 22K

Author's summary: Did he mean to—did Steve know, during that long march back from Azzano, that he slept the whole night with a hand through the open neckline of Bucky’s shirt? Each time Bucky woke, heart racing, he felt that heavy, certain weight against his chest and remembered who he was, and where he was supposed to be.

Bucky wanders between DC and Bucharest trying to understand himself, outrun his ghosts, and hide Steve from both. Steve won’t let him. And certain ghosts won’t let up.

A "classic" post-TWS Recovery/Up All Night to Get Bucky fic--and I mean that in the BEST way possible. Gorgeous writing, intense emotions, and a great understanding of the characters and their dynamic. The first part in particular floored me in a way that I didn't think could still happen to me after reading millions of words of Stucky fanfic. This story looked me in the eye and said "oh, so you think you've seen everything? You think you've become immune? Well, watch me as I tear your heart right out of your chest." To be fair, it then proceeded to slowly, gently put it back in again.

then a small thing happened by BeaArthurPendragon | E, 41K

Author's summary: After a Russian bomb in Ukraine ends combat photographer Bucky Barnes’ career several decades ahead of schedule, he returns to the lake house he hasn’t visited since his parents died to put the pieces back together over the long, lonely winter. He’s got no idea what his life is supposed to look like now that he’s not constantly on the move and facing danger every day, but an unexpected friendship with his elderly neighbor—and then her astronaut son—leads to the kind of connection he never thought he’d get to have.

Bea is one of my top 3 all-time favorite writers for this ship and a self-described "peddler of smut and hard-won joy", and that's exactly it. Like all of her works, this is a smart, mature and empathicly written story about people who've endured horrific things, but who've persisted and kept a tight grip on their own humanity even in the face of unspeakable atrocities. It's also funny, and tender, and hot. An incredibly satisfying read that reminds you to never lose your sense of wonder in the world.

Nothing Said by theemdash | M, 8K

Author's summary: There’s always been another war, another reason for Steve to keep his feelings to himself and keep moving on. For all his wishes to do things differently, he never figured out how. Which is why following Fury to the moon, passing on the shield, and leaving Bucky to discover himself seemed like the right answer. When Steve gets caught in a force field surrounding a crumbling civilization, he starts to realize everything he thought was wrong.

A beautiful, introspective story about Steve's state of mind post-Endgame. So quiet and yet so intense, with a lovely, soft ending. Featuring a Steve who has to figure out himself and how to be brave enough to truly live, and a Bucky who knows him, has always known him, and ultimately helps Steve to save himself and find happiness.

WIPs

better to speak or die by emilywithoutY | M, currently 14K (Chapter 2/13 Ch), updates every Thursday & Sunday

Do you think Jonathan understood what happened that day David first stepped into his father’s court?

All James wants is to play his part well enough that his mother stops looking at him with that twist of regret in her smile.

Summers in C. are as endless and hazy as when they were kids. The only thing to break the sun-soaked monotony is the arrival of the new summer intern. While the rest of the household—and half the village—fawn over Steve Rogers’ movie star looks and understated charm, James finds him aloof and his polite interest near unbearable. But as they collide in vulnerable moments, the sparks of frustration ignite something neither has the power to stop.

Does this sound like a beautiful, passionate, sun-drenched summer romance in Italy, with great 80s period details, exquisite writing, and the bittersweet sting of childhood nostalgia? Why yes it does--and it is all that! Until it pulls out the rug from under you. A spectacularly good No-Powers AU, loosely based on Call Me By Your Name.*

*(full disclosure I beta-read this so I might be biased, but it also means that I can say with full confidence that this insanely good all the way through.)

Still Running by TessaBennet | Part 4 in  What I'm Looking For series | M, currently 16K (Chapter 5/30), updates every Friday

Author's summary: Steve Rogers is, against his wishes and intentions, still alive in the 21st century. There's aliens in New York, there's an intelligence agency in his name, there's more new faces than old ones. And Steve? He's reluctant about it, but he's going to have to try to get by. Finding his footing isn't a job he wants to tackle; but then, when's the last time he got what he wanted?

Do you want to go on a canon-compliant (currently) 290K journey of Suffering, Pining, and Pain? Here you go! This is the 4th part in the author's ongoing and awe-inspiring project of 'Let's Try to Make Sense of the MCU & Ultimately Fix It'. It's full of beautiful character insights, historical details, and original ideas to fill out the parts we didn't get to see on screen. The installments can be read as standalones, but I really recommend that you start from the beginning if you have the time & willingness to cry A WHOLE LOT.

Angst Angst Baby Part 1 - Even More Stucky Fic Recs