#I don't know what to do I can't do this human shit

[lastoneout]

Also another more recent one here!

While wider studies are needed, it does feel really insidious that stimulant medication is misunderstood, demonized, and so strictly regulated that most of us have had to go without for days or weeks at a time sometimes multiple times a year or even EVERY MONTH, and in some places it's almost impossible to actually access at all while the truth is that it is quite literally life-saving medical care for those of us who need it.

I've left the stove on three separate times when unmedicated and I was VERY lucky that none of them resulted in carbon monoxide poisoning or me burning my house down. I've also nearly electrocuted myself or walked into traffic, being off my meds legit feels like all my senses are dulled, I'm far clumsier which leads to injury, forget important things like if I've taken my other meds, meds that if I go off of suddenly or take too much of can cause severe health problems. I've heard horror stories of how hard it is to even just drive safely with unmedicated ADHD and most people don't even realize how unsafe it is until they've gone on meds and learned what normal driving is for a neurotypical person. And the list goes on. Hell, being unmedicated can even lead to losing our jobs, housing, or access to food and support systems, and makes it way harder to keep your house clean, all of which also lead to an increased risk of injury, illness, and death. I've missed rent more times than I can count, racked up credit card debt, had my utilities shut off, all because I just can't fucking remember to pay bills on time without my meds, I've missed fucking black mold in my shower, accidentally eaten food out of date, gotten way too drunk without realizing it, it's a nightmare, it really is.

I really just hate thinking about how many people with ADHD have likely died or been seriously injured or suffered due to simple mistakes that they never would have made if they were properly medicated, and it makes me so angry that ADHD treatment is so hard to get almost entirely based on bullshit scaremongering about addiction. In fact being medicated puts ADHDers at LESS of a risk of turning to alcohol and drugs to make our lives manageable, and it's nearly impossible for someone with ADHD to get addicted to a stimulant medication anyway.

(Not that addicts deserve what happens to them, they need help and support as well, everyone deserves human rights and to have their needs met, this just is a completely fabricated problem when it comes to ADHD and it's normalization is legit killing us. My mom has also nearly died due to not being medicated and she to go through like four different licensed psychatrists until she found one who would actually prescribe ritalin for her, the rest all cited risk of addiction as a reason to deny her even though they should fucking know that isn't a legit concern. One even said she just "didn't want to be held responsible" for her patients forming addictions to ADHD meds. I wonder how she'd feel if she was held responsible for all the suffering her desperation to keep her hands clean has almost certainly caused.)

And tbh I'd also rather a million people get high off adderall than have even one person with ADHD miss out on medical care that can save their life because disabled people shouldn't have to suffer to make up for shit we basically can't do. Why should someone else abusing adderall mean I have to risk my life and go without. Make it make sense.

It is actually way better for 100 addicts to get their fix on pain pills than a single person in pain go without. I call this the "Torture is bad" principle. You should be able to get the good stuff forever after a single doctor's visit. If you're worried about addicts fund rehab centers and needle exchanges instead of torturing people.

[redsrooftopprincess]

Pls ignore me if your requests are closed buuuuuuutttt

Headcanons for a reader that can't stop 'mirin(staring full love and joy, especially when they're not looking) with infamously insecure Big Red ?

And if not, know that you're loved and appreciated regardless and I'm glad you and your blog exist

Hello my dear Gornack! Hope the new year is treating you well. Thank you for the ask! 🥰

Mountains and Sunsets and You

Raphael x Reader

No warnings

"You got something to say?"

His sudden attention snaps you back into reality. 

Shit. Fuck.

Caught red handed, you try to keep cool as heat fills your cheeks. 

You were doing it again. He could see you out of the corner of his eye for the last hour. You were sitting on one of the benches, pretending to work, and watching him as he and his brothers worked through their katas. It had almost made him trip twice.

It's always new and exciting at first, but you've already known him for a few months. The novelty should have worn off by now. But it keeps happening. He catches you staring. It's only him, he's paid enough attention to know you don't watch his brothers like this. It's unnerving. Distracting. He'd taken a backhand to the jaw during sparring last week, and even spilled his midnight coffee on April's carpet. Twice.

"No..." you say a little too innocently.

Training had wrapped for the night, and it had been Raphael's turn to put the equipment away, leaving him alone in the dojo with you as you gathered up your paperwork. You stood, turning to leave, when your eyes landed on him. You couldn't help but follow the lines of his side with every stretch, and the way the muscles in his arms shifted under his skin as he almost reverently placed each weapon back on the wall. 

There isn't anything wrong with it, per se. You aren't looking at him with hatred or fear or disgust, if anything you look... fascinated. And not in a "weird mutant science experiment" kind of way. He can't explain it, and he can't explain the warmth that pools in his stomach every time he catches you doing it. And it's frustrating as hell.

"Then why the hell are you looking at me?" He growls, "Why the hell are you always looking at me?" He takes three steps towards you before stopping, instinct identifying pain and confusion as an an opponent, but you don't flinch. You know you're not in any real danger. Never from him. 

His scales catch the multicolored lights in the lair making him shimmer, and as he fidgets your eyes move over the gentle color shift that will only let you see his markings when the light is just right. You've never met anyone like him, seen anything like him, and everything he does is captivating. 

"Because you're beautiful," you say, simply, before you can stop yourself. 

This catches him off-guard, and he hesitates for a moment before he scoffs and looks away, "You're hilarious."

"Am I laughing?" You ask, without so much as a smile.

His eyes meet yours, hurt and suspicion deepset in amber. You can't be serious. When your features don't change, and he realizes there's no oncoming punchline, his eyes soften and fall away. 

Your jaw tightens. You hate it. You hate the way the world has ground imperfection and insecurity into every single scale. He's worth so much more than this broken place, and he's been beaten into believing he's unworthy of less than this. 

"Does that make you uncomfortable?" You ask, gently.

"Does what?"

"The fact that I find you beautiful." 

He hesitates, "... yes."

"Why?"

"Because it's bullshit." He snaps.

"Why?"

He looks at you incredulously.

"Why?" You repeat. 

He scoffs and rolls his eyes.

"Why?" You nearly demand, "Why not you? Why can't you be beautiful?"

"Because I'm not." The words ring out against the cement walls, as solid and true as the foundations of the earth.

He's not. He can't be. He's not human. He's not normal. He's a 6'5" turtle with chronic pain and a bad attitude. Covered in scars, shell cracked and gouged and broken in places, he's all thick hide and hard edges. How could anyone find that "beautiful?"

A few moments pass, and you gently break the silence, "Can I ask you something?"

"I got a choice?" He sighs, his frustration dissolving into exhaustion. He doesn't want or need a pep talk, and he sure as hell doesn't want someone like you trying to make him feel better. But somewhere, in the short time you've known each other, he's begun to trust you. He motions for you to continue.

"Do you think a mountain is beautiful?"

His gaze returns to yours and blinks twice, "... What?"

"Do you think a mountain is beautiful," you repeat. 

"Uh, yeah... I guess..." His brow furrows.

"Do you think..." You think for a moment, "a sunset is beautiful?" 

He sighs heavily, shifting his weight, "Yeah. Why. What's this got to do with anything?"

"Do you think I'm beautiful?" A small smile turns the corner of your mouth. He can't help glancing at it.

He hesitates. He just met you, and he really likes spending time with you. You're quick and kind and a hell of a good listener, he's vented to you about his brothers more than once already. You have a way of talking to him that makes things make sense. And Gods, yes, you're beautiful. Like a sun he can't stop staring at, even as his eyes are burning.

"Yes," he finally admits softly, holding your gaze. 

You try to ignore the way the word ricochets around your ribcage, and push on, tilting your head slightly, and questioning softly, "Would you ever consider me ugly for not looking enough like a mountain or a sunset?" 

"What? No! Why the hell -" he stops when you raise an eyebrow. It dawns on him slowly, and he blinks at you. 

You decide it best to let him turn that over for a while. He watches you wordlessly as you walk past him, bumping his arm gently with yours on your way out of the dojo. "See you later, Red," you say with a smile, before disappearing through the door.

....

Tag list:

@thelaundrybitch @the-cauldron-witch @fyreball66 @ninnosaurus @tmntngl @thegirlwiththeninjaturtletattoos @zagreustomb @ramielll @silverwatergalaxy @gornackeaterofworlds @daedric-sorceress @sophiacloud28 @iridescentflamingo @milykins

[bitletsanddrabbles]

Island of the Procrastinating Brain

I swear, my brain is actively trying to drive me insane.

Back in 2022 it came up with a plot for @alex51324 's "Island of the Gays" where the Duke of Crowborough comes to the Island because, well, by this point the man's less of a human being than he is a walking bundle of neurosis. I got through a couple of scenes before my brain got tired and stalled out, but I still have a good frame work. Every once in awhile, I come back and poke at it and get out a few more sentences. Maybe even a paragraph or two.

Yeah, have I mentioned I'm not a fast writer?

And Phillip does NOT want to deal with his issues and Thomas does NOT want to deal with Phillip, which, okay, FAIR, but that's kinda the point of the whole thing. But in the meantime my brain still wants to write Phillip on the Island, so what's it done?

Come up with a sequel, naturally!

And it really, really wants to write this sequel despite the fact I can't do it properly until I've written the first piece, which neither my brain or my characters seems interested in, because they are all PUNKS, but my brain will NOT stop thinking about this hypothetical sequel which, at this point, will never be written.

So I'm just going to write out the summary for the thing here, in case anyone's curious and wants a laugh, because I can and maybe it'll galvanize the lump of grey cells in my skull to be productive. Maybe. Not holding my breath.

Things you need to know before going into this:

Random.org has decided that Thomas is married to Peter Fitzroy for this one, which is kinda important for Thomas's characterization.

Phillip only kinda counts as human at this point, but he's actively trying to fix that. The results are mixed.

It was inspired by a couple of polls I ran when I was trying to figure out where I was taking the first piece (hey! I have the last scene written!) and the suggestions that Phillip might like working in some sort of architectural field (believe that was from @o-rchidae) and that he wind up married with an older working class bloke who would not take his shit.

Right then. Let's go.

-

Okay, so, this takes place a couple of years after the Walking Disaster of Crowborough arrived. At one point he was tapped to help with building or repairs or some such and he realized he liked it, so he's taken to studying books on building and architecture and has joined up with the local work crew. The problem is, he's basically teaching himself out of books and then applying it to real life, so he keeps getting ideas about "Say, why don't we do this thing THIS way?" and while it'll seem like a reasonable idea, there is, in fact, a very good reason NOT to do it that way, but because a) he's a Duke and b) a bunch of people hate him, on general principle if nothing else, everyone just goes "Oh, okay, sure" and the do it that way and…it fails. And the people who hate him laugh and it's obvious that EVERYONE knew it was a bad idea and he gets frustrated, but he wont' say it, because a) Duke and b) boys don't cry.

And this goes on for awhile.

After a bit, though, a new guy shows up who has lots of experience building things. It was kinda his job before he got here. He is educated in the ways of Building Things and knows what's up. He's also at least ten years Phillip's senior and has limited patience for upper class twits, so when he joins the crew and is informed there's this know-it-all-Duke who's always demanding they do things his way (by which we mean 'making suggestions that everyone just goes along with'), even though it's stupid and wastes time and resources, this guy goes "Pff, not on MY watch!"

And sure enough, the next time Phillip makes one of his suggestions, instead of "Yeah, sure, okay" he gets "We're not doing that." Why? "'Cause it's a stupid idea that won't work." WHY? "Because (insert full explanation of why the thing wouldn't work)." And Phillip stops asking and the rest of the crew cheers and laughs at how the old guy sure showed him and they anticipate an end to the questions.

THIS TOTALLY BACKFIRES.

Instead Phillip, who had actually been kinda slowing down on the suggestions over time, is making ALL of the suggestions, ALL of the times, and arguing every last aspect of the suggestion with Old Timer before giving up. The crew can't put up a fence without an argument. Old Timer starts calling Phillip 'Phil'. Rather than tell him to stop, Phillip just starts calling Old Timer by a similar nickname, which Old Timer ignores, because not giving in to his own trick, oh no. There's talk of starting a police department in case they murder each other.

After this has gone on for awhile there is a Big Dramatic Plot Twist and the Old Timer goes out into the woods for something and…doesn't come back in a timely manner. He stays gone long enough for people to get worried and mount a search. To everyone's shock, Phillip wants to come. He's quite insistent on the point. They finally agree to put him in Thomas's party because he and Thomas "get along now" (read: Thomas has spent enough time with Peter talking him down that he can tolerate Phillip's presence under the right circumstances as long as he doesn't say anything). The parties go out and before long, Thomas and Phillip's party has the good luck to find Old Timer. He's accidentally been injured badly enough he can't walk and crawling through the woods is not easy going. The manner of this accident wasn't a super obvious bad idea, but that could maybe have been avoided with a bit more thought, perhaps, with luck. Most of the party just nods and goes "Yeah, sounds about right, could have happened to anyone."

…Phillip flips straight out and starts screaming at Old Timer for being an idiot who could have got himself killed. And then storms off a ways into the woods, back toward the village, leaving everyone else wondering a) the best way to get the injured man back home and b) what the heck just happened with the prissy little Duke. Thomas gets deputized to go find out what Phillip's problem is. There is protesting involved, but he finally gives in because he'd like to be home by dinner, thank you very much.

Phillip has, by this point, stopped to have a smoke, which both gives Thomas an opportunity to catch up and, thankfully, a scent to find him by. Thomas asks him why on earth he's so upset that Old Timer is hurt since the two of them hate each other and everyone figured Phillip would LOVE it if the other man died…

And that's when he finds out that everyone's had that relationship all backwards. Phillip doesn't hate the Old Timer, oh no! He loves being called 'Phil'. He absolutely adores the fact that when he asks "Why don't we do this?", rather than just go "Yeah, okay" and waste time and resources doing something HE KNOWS WON'T WORK, the Old Timer says 'no' and, over the course of the argument, actually EXPLAINS why not, which means Phillip ACTUALLY LEARNS THINGS. The more he argues, the better he becomes at building things and he doesn't have to try and decipher what some book is telling him or guess what the book might be leaving out and he LOVES IT and if the Old Timer had died, how would he learn things then? When Thomas points out that he'd learn just as much - maybe more - if he just asked the Old Timer to teach him things rather than argue, Phillip low key panics because what if he figures out Phillip WANTS to learn and stops talking to him or refuses because he doesn't like him at all?

By this point Thomas is a) trying to remember if he was ever THIS paranoid, and praying he wasn't and b) wondering what on earth to do with a Duke who is clearly in love with a crusty old working class codger, but hasn't figured it out yet.

He decides to tell Rouse and make it HIS mess to deal with.

Phillip and the Old Timer eventually get married and get a cottage of their own and Phillip about dies happy at the idea of a home that he actually owns instead of something that he's the custodian of for the next generation who will be the custodians for the generation after that and so on.

[40bodiesinmybasement]

Holllyy fucking shit, how much of a loser do you have to be to make a whole entire seperate account so that you can keep arguing with someone who isn't interested in talking to you? Transphobes are fucking creeps is what I'm getting from you.

Fyi, I'm blocking you because it is NOT the duty of some random transgender person to explain why they're oppressed to you, your ignorance and blindness to what is happening is reason enough to not engage with you- you are not approaching with an intend to actually understand with your demand that I explain shit to you, you're full of malice.

If you can't even see transgender people as people, there is no conversation here, you're an asshole.

Since you insist that trans people aren't oppressed, you think that:

1. Marginalized people being forced into prostitution and begging because they are denied jobs isn't discrimination or oppression.

2. People being denied jobs on the basis of their identity isn't discrimination or oppression.

3. Children being sexually abused on the basis of their identity isn't discrimination or oppression.

4. Children being put into conversation therapy so that they can be "cured" of their identity and being abused isn't discrimination or oppression.

[ You don't even believe that transgender people are people, so I doubt you'd give a shit about trans children being abused if it meant they'll be "cured" of their transness. ]

5. People being kicked out of their homes for their identities and being subjected to further violence is not oppression.

6. An entire minority group being left without shelter, jobs, security or even basic fucking dignity isn't oppression.

You're ignorant to these things by choice- and you saying that these things aren't signs of oppression, that the trans community doesn't face oppression in any shape or form, is proof of how fucking detached you are from reality itself.

It's so easy to sit on your ass and be snarky and chatter about how a group of people you haven't met, haven't seen and don't give a shit about aren't oppressed while you're actively ignoring the world around you. But it's not that easy for the people living here, in the real fucking world outside of the internet, to ignore this shit because it's the reality we live in.

People like you ARE the reason why the trans rates of suicides are so high, because you refuse to see us as humans. You laugh at our suffering because it's funny to you that a group you hate is dying, that people you hate purely for their gender are dying. I know you think you're winning when you manage to piss a trans person off on the internet, I know you sit there gloating when you disturb and get blocked by some random person living across the globe who you don't even know.

I'm gonna block this account of yours as well, btw. Keep making new ones, the block button is free.

“Gender ideology claims that being a woman or a man is a feeling in a person’s head rather than a biological reality. Thus, gender activists demand that we define a man or a woman on the basis of each person’s thoughts and feelings, which are intimately connected to sex-role stereotyping.”

[midnight-soulless-system]

Btw if you believe that prisons should be abolished and criminals should be treated with respect, you should also include offending pedophiles, zoophiles, and people who have done hate crimes, people who have torture others, etc.

[possamble]

What are your headcanons about Marcille's mom if you have any? It's interesting that what drew Donato to her was cause she lived the history he studied, or that was said somewhere at least. She must've had an interesting life.

so this was going to be just a normal answer but then I realized I have a Lot of Things To Say. so here goes, a compilation of what we know for a fact from the canon, what I've extrapolated from the visual cues and details, and my theories based on all of that.

Things we know for a fact about Marcille's mother because they were explicitly stated in the manga and supplemental materials:

She was a court mage for a Tall-man kingdom at the southern part of the Northern Continent

Donato, a court historian, fell in love with her because she had lived through the history he was studying, and he courted her for 17 years (age 15 to 32) before getting married

She was a cheerful person who rarely showed extreme emotion and took things as they came

She always cooked a huge meal for Marcille on her birthdays

She remarried a gnome after Donato's death and a short distance away from Marcille's childhood home

Pipi, Marcille's pet bird, was actually older than Marcille and originally belonged to her mother (bird died at 62)

She was extremely heartbroken when Donato died and ultimately ended up instilling a deep fear of mortality in Marcille with her words

the only time she showed extreme emotion in front of her family was when Donato could no longer eat his favourite dish near the end of his life.

She scolded Marcille for being cruel to ants (implying she can have a stern side when needed)

Things that are explicitly shown but mostly through visual cues

She has a very distinctive style of dress always involving a ribbon choker (mirroring Marcille's habit of always wearing a matching choker with any of her outfits that don't cover her neck)

She was almost stereotypically good at housekeeping and traditionally "wifely" things (very frequently depicted wearing an apron or doing some domestic chore when not at work, seems to have been an avid cook).

She knits? (also, note the affectionate smile as she's looking at Donato and Marcille reading a book together in the full panel)

She was as excited for Marcille's milestones as Donato was.

She didn't tell Marcille much about elven food

(there are a couple things that this panel in particular implies:

She lived a good deal of her life (if not being born and raised) in a mainly elven country in the West, implied by her knowing enough of an elven region's cuisine to prefer Tall-man food over it

seems to have a pretty carefree and casual demeanour overall, if this is how she replied to Marcille asking her about it (sounds like she never gave her culinary preferences that much thought to begin with)

slightly related to number 2, it seems like she and Marcille had a fairly casual parent-child dynamic (especially in comparison to the Toudens' memory of their father)

(local elf tastes Italian food once and never goes back))

However, she seems a lot more... serious in most of the other times we see her? Almost like the very stereotypical archetype of a graceful elf.

Subsequent conclusions about her personality:

Usually pretty carefree and cheerful at home, has been a loving and attentive parent throughout Marcille's childhood (while not being so doting that she didn't discipline Marcille).

Slightly more conjectural theories on her personality:

Had a much more graceful and professional personality at work, which would explain the more serious portraits we see of her.

Given that both she and Donato had positions at the royal court, it seems a little odd that she'd go out of her way to do all the housework herself, so maybe she just enjoyed doing it?

Now taping all the evidence together and toeing the line between analysis and fanfiction:

It's clear that she loved Donato very much and was utterly devastated by losing him. But there's one thing that really stuck out to me in what little we see of her:

Doesn't she seem... angry? The way she's gritting her teeth, clutching the tablecloth, and how this is the first and only time we see her eyes opened that wide. In the following panel, you see her being quiet and dejected after her initial outburst. She's still crying very intensely, but her brows are furrowed, and she's not really responding to Donato's affection in her body language.

We're not told the details of how she felt about losing Donato other than that it upset her. But this, to me, implies that she was angry and resented that he was aging, that the end of his life was approaching. An "it's not fair" type of preemptive grief. And if this was the first and last time she cried like this in front of her family, she was either very good at coping in private... or very bad at letting herself feel unpleasant emotions until they become unavoidable and end up overwhelming her.

It's not too remarkable a detail on the surface. It's even reminiscent of what the audience has seen of Marcille. But... when it comes to the big picture, you'd think an elf who voluntarily chose to marry a tall-man and have a half-elf child would have been better prepared for this.

It kind of recontextualizes her cheerfulness to me.

"I'm sure everything's gonna be okay!" (or some variation thereof, depending on what translation you have).

And this is stated to contrast her extreme grief when finally confronting Donato's failing body and eventual death. But I'm wondering if... maybe this optimism was why she was so upset. What if she went into all of it thinking "everything's gonna be okay"? What if she was a little young by elven standards, and just followed her heart thinking that her own resilience would get her through anything?

Of course, only to get completely overwhelmed when she actually loses Donato. She turns into a completely different person. And that's heartbreaking on its own-- but what the audience sees is the effect it had on Marcille. Can you imagine being her, watching your invincible and upbeat mother suddenly lose all the light in her eyes in one go?

I've already made a huge post about how I think Marcille models her "work persona" off her mother, but another thing that stuck with me as I was looking for more details in the manga was this:

copy pasting from the other post i made about it lmao it's like... the second she resigns herself to lifelong pain and terror, there's another portrait of her mother facing her like this. with their heads bowed, in mirrored body language of resignation and despair and sorrow. Except it's posed like Marcille is still looking at her mother but her mother is looking away.

It took me a second to realize, but I think that it's a visual metaphor for the fact that Marcille's mother was the only long-lived role model she had-- and she failed to model healthy grief for her daughter. I don't say this as an accusation or to disparage her as a character, but just as a matter of fact. In her, Marcille was seeing herself older and losing a short-lived spouse or loved one of her own, and all she saw was hopelessness.

But her mother didn't mean to instill hopelessness and terror in her. She wasn't really thinking of how it would truly affect Marcille at all (at least, that's how I'm interpreting her looking down and away from Marcille in the metaphor), she was just sad. And she, in her own way, was trying to protect her daughter and help her prepare for future losses.

What she meant was "loss is inevitable, and you have to learn how to be in pain but live on anyway." What Marcille heard was "loss is inevitable, and you will be scared and hurt for the rest of your life."

Again. Marcille's mother doesn't feature explicitly in the story the way her father does -- but in so many ways, her shadow, her silhouette, her reflection is always hanging over Marcille.

All that to say... headcanon-wise (everything from here on is 100% without evidence lmao), I'd like to think that she matured and realized that she failed Marcille. I imagine her being regretful about it, wanting a chance to fix it but never finding a way to insert herself back into Marcille's life when Marcille is so so so busy becoming the most accomplished mage possible. I imagine her being herself again, now, so many years after her loss and after remarrying -- but with her cheerfulness tempered with a lot more wisdom and the pain of having gone through loss like that. I think the second Marcille actually tells her what happened in the dungeon, she'd want to go running to her daughter again -- if Marcille tells her the full truth instead of just being embarrassed she let things get that far. (oh, the tragedy of her wanting to be more like her mother and an accomplished adult who doesn't need to be babied... being embarrassed to actually tell her mother how much she fucked up...)

There's also the tension of her having remarried -- I know that there's at least a little bit of resentment that Marcille harbours about that, because she's childish like that at heart even if she makes an effort not to externalize it. I think that her mother would be aware of that, potentially adding to her sense of guilt and apprehension at trying to reappear/intrude on Marcille's life. I honestly don't think Marcille has met her stepfather -- or even considers him a stepfather rather than "mama's new husband" and kind of a total stranger. I think she and her mother actively don't talk about it in their correspondence, like an elephant in the room.

but, ultimately, I think her mother is on her side no matter what. Ancient magic? Dark necromancy? Sure, she'll feel guilty and like she was partially responsible for setting Marcille down such a painful path, but she wouldn't care. that's her daughter!! she would've moved back west and been petitioning for her at the court, buying a house right next to the Canaries barracks and visiting her every day that she wasn't on a mission. And if her husband had opinions on Marcille becoming a "dark arts user," he either gets over it or it's divorce with him. Yes, she might have had her optimism completely humbled by losing Donato like that -- but she's still headstrong and self-assured and she doesn't care what people think of her. It's her way or the highway and she's always going to be in Marcille's corner.

(She also needs a name lol. I went with Juno, just to be cute about "Marcille"s closest real life equivalent being Marcella, which is the female version of Marcellus, which in turn is a diminutive of Marcus, which was derived from Mars. Absolutely in love with Marcille potentially being named after Ares/Mars the fucking god of war btw)

[loverboybrightsideghost]

one of my favorite clark headcanons that i have (that is completely unsupported by canon) is that he's transgender by kryptonian standards. martha and jon kent raised him as a boy and as he grew up he never had any reason to doubt it at all, he was like yeah i'm a boy, makes sense. and then he gets to the fortress of solitude for the first time and it turns out how Gender works on krypton was just Different enough that clark doesn't really fit the kryptonian standards of whatever he was supposed to be. bonus points because this makes him feel like even more of an outsider as a kryptonian, even if he's the last one left.

[naamahdarling]

Augh

[marcusrobertobaq]

Public Opinion can be changed again, especially if u free the androids from CyberLife Tower. Why would a "peaceful" movement have such demonstration of power by a Connor invading the most powerful megacorporation in the world HQ, killing guards and "hacking" thousands of androids?

U also can't trust Cristina and her gang, since public opinion is exactly what's between her axe and your head. One bad move and u got this same people that "supported" u (but couldn't fight for your ass) against u again.

In the revolution path we got a way of showing we're a real deal, that we ain't to be fucked with. And the CyberLife Tower section is exactly for that: shift the balance of power and scare the soldiers away - and if I'm honest Cristina won't want to push a war against androids if we got the AP army, simply cuz it's too much for them to handle. More than half of 'em troops is gone after deactivating the android soldiers and the human ones fighting are suffering losses. Not to mention the civilians that could get caught in the middle of fire just cuz Cristina decided putting NG on the streets to hunt androids. The logistics becomes messy and just not worthy, they already got a bunch of problems to solve - they just lost basically 80% of the entire crew for almost everything in the country, US was totally dependent on android labor.

Another issue is the fact this game is lame in representing the revolution ending. We all know there's a heavy pacifist push, even in how Josh dies and the PO doesn't serve of anything in this route (even the way the "violent" route is supposed to be unjustified savageness). In a realistic scenario a positive PO would make people understand why these camps are being attacked, and it's something THEY'RE AWARE that "wake up dark memories".

The only route where Cristina declares war is if u ain't got the AP army. Since we're in low numbers it's easy for her to send troops to hunt androids down again after regroup. But if we got the AP army? It'll force Cristina to sit down and try talking, and PO won't be the only thing holding her axe from hitting the androids.

U need to remember we're dealing with a corrupt government and a megacorporation that manipulates media. They sure hope androids don't fight back and by being peaceful they'll try anything to fuck with your image. I ain't saying demonstration is a bad ending - it's actually what the game wants u to believe it's the best one, even with how they ignore how the CLT infiltration can totally fuck with Markus peaceful approaches -, I'm just saying that is naivety thinking it's all sunshine and flowers. So I prefer the attack on the camps one + AP army, it's more advantageous for the androids imo.

And remember: Markus true peaceful ending doesn't include the AP army, and that's where things can go to shit ... The low numbers and relying on a public that just need the right reason to be against u again. And this time u gonna be fucked by the gov too, fully in the palm of Cristina's hands.

It's just a big joke to me how attacking the camps ain't supposed to show how androids have "emotions" when... look around u, pal. But it certainly shows they ain't human - I guess that's the problem. But it's ironic how getting your pals killed in front of cameras without doing anything is supposed to show "humanity", since the first action humans took was exactly violence. While you're making a demonstration, people are rioting for your death, lunching u and hanging u by the neck around.

In the end is just game's bad design. I know they wanna push a anti-violence rhetoric but it's so stupid how everyone's stupid in this game.

Is a revolution or a peaceful ending better in a post-canon perspective?

I read somewhere that the demonstration is the worst post-canon conclusion after the nuclear one for the androids, but wouldn't the androids theoretically have public opinion on their side? The support of the people after Markus and the androids has in a way demonstrated that they "have" emotions, that they are "human" unlike the revolution of the type, with Connor's army there would be negotiations I think, but would they still be seen in a positive light by the public? I don't know, it's a question more than a statement because I honestly admit that I know nothing about Dbh, so if I seem ignorant you know why.

[girlivealwaysbean]

i think growing up is just life repeatedly sucker punching you and saying bitch you thought things were gonna better lmao no you're so naive and stupid for having hope in 20 years the world will be flaming bag of garbage and no matter how hard you work you'll get eliminated at some point

[especiallyhaytham]

Is it just me or do new-engine video games feel like they're getting worse rather than better. Like yeah the textures and physics and FX themselves are improved, but at the same time why does it feel like I'm playing a game from 2001. Something's wrong here.

[striking-oasis]

Sometimes, when the demons let me, I do art.

[boyswanna-be-her]

The dog I've been sitting for in the haunted house is the most neurotic dog I've dealt with, which is really saying something. She's not bad but she IS completely bonkers. And she's not a rescue! Same owners her whole life. How do people fuck up an animal's brain this hard?

The only thing I've seen even close was a rescue dog adopted during covid lockdown who then didn't understand what other dogs are and had crazy separation anxiety.

[rtfics]

I'm popping in only because a friend told me about this post.

Hi. Professional writer here. Warner Brothers and Tim Burton would never look at unsolicited screenplays. You'd need to have an agent and an extensive CV as a professional writer. Unless you're already a seasoned pro there's no way Burton would look at your script. Besides, for his films Burton creates the ideas and works with the screenwriters; they put words to what he wants to happen. And he adds and removes things during filming. He doesn't just take someone else's script and turn it into a film.

Also, and this is very important: You can't write a script with someone else's characters. You don't own the copyright to any of the Beetlejuice characters. If you try to make money using someone else's characters that's theft and copyright infringement. You can be sued. So the idea of your selling a Beetlejuice script is moot. Can't happen.

Dear god, don't send your script to screenplay contests or any place online that says you can sell screen plays. These are ripoffs. If you seriously want your script to be sold you need an agent.

You can't just send a script to a movie studio or a director and expect it to be read. People try this all the time, which is why pros only look at work sent to them by agents. The agents do the vetting for them. Being a member of the WGA means nothing. Being a member does NOT mean anyone will read your script. You have to be represented by an agent, and one with a good reputation.

And double dear jeezus god, do not go to AI for information. Go to the library and get a book about screenwriting written by a screenwriter. AI is shit.

Becoming a professional screenwriter, or pro writer in any genre, takes hard work and dedication. There's no easy way, no short cut. Websites that promise you such are there to take advantage of your ignorance and steal your ideas and/or your money. If you're not willing to do the necessary work -- which BTW will take years--- then just stick to fanfic writing.

Read I Will Not Read Your F*%!ing Script by screenwriter Josh Olson. I include it below. Believe me, his sentiments are the same for all directors and movie studios. This article is about looking for feedback, but it's the same for those who want to sell a screenplay:

We know you’ve been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson.

I will not read your fucking script.

That’s simple enough, isn’t it? “I will not read your fucking script.” What’s not clear about that? There’s nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I’ll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

You’re a lovely person. Whatever time we’ve spent together has, I’m sure, been pleasurable for both of us. I quite enjoyed that conversation we once had about structure and theme, and why Sergio Leone is the greatest director who ever lived. Yes, we bonded, and yes, I wish you luck in all your endeavors, and it would thrill me no end to hear that you had sold your screenplay, and that it had been made into the best movie since Godfather Part II.

But I will not read your fucking script.

At this point, you should walk away, firm in your conviction that I’m a dick. But if you’re interested in growing as a human being and recognizing that it is, in fact, you who are the dick in this situation, please read on.

Yes. That’s right. I called you a dick. Because you created this situation. You put me in this spot where my only option is to acquiesce to your demands or be the bad guy. That, my friend, is the very definition of a dick move.

I was recently cornered by a young man of my barest acquaintance.

I doubt we’ve exchanged a hundred words. But he’s dating someone I know, and he cornered me in the right place at the right time, and asked me to read a two-page synopsis for a script he’d been working on for the last year. He was submitting the synopsis to some contest or program, and wanted to get a professional opinion.

Now, I normally have a standard response to people who ask me to read their scripts, and it’s the simple truth: I have two piles next to my bed. One is scripts from good friends, and the other is manuscripts and books and scripts my agents have sent to me that I have to read for work. Every time I pick up a friend’s script, I feel guilty that I’m ignoring work. Every time I pick something up from the other pile, I feel guilty that I’m ignoring my friends. If I read yours before any of that, I’d be an awful person.

Most people get that. But sometimes you find yourself in a situation where the guilt factor is really high, or someone plays on a relationship or a perceived obligation, and it’s hard to escape without seeming rude. Then, I tell them I’ll read it, but if I can put it down after ten pages, I will. They always go for that, because nobody ever believes you can put their script down once you start.

But hell, this was a two page synopsis, and there was no time to go into either song or dance, and it was just easier to take it. How long can two pages take?

Weeks, is the answer.

And this is why I will not read your fucking script.

It rarely takes more than a page to recognize that you’re in the presence of someone who can write, but it only takes a sentence to know you’re dealing with someone who can’t.

(By the way, here’s a simple way to find out if you’re a writer. If you disagree with that statement, you’re not a writer. Because, you see, writers are also readers.)

You may want to allow for the fact that this fellow had never written a synopsis before, but that doesn’t excuse the inability to form a decent sentence, or an utter lack of facility with language and structure. The story described was clearly of great importance to him, but he had done nothing to convey its specifics to an impartial reader. What I was handed was, essentially, a barely coherent list of events, some connected, some not so much. Characters wander around aimlessly, do things for no reason, vanish, reappear, get arrested for unnamed crimes, and make wild, life-altering decisions for no reason. Half a paragraph is devoted to describing the smell and texture of a piece of food, but the climactic central event of the film is glossed over in a sentence. The death of the hero is not even mentioned. One sentence describes a scene he’s in, the next describes people showing up at his funeral. I could go on, but I won’t. This is the sort of thing that would earn you a D minus in any Freshman Comp class.

Which brings us to an ugly truth about many aspiring screenwriters: They think that screenwriting doesn’t actually require the ability to write, just the ability to come up with a cool story that would make a cool movie. Screenwriting is widely regarded as the easiest way to break into the movie business, because it doesn’t require any kind of training, skill or equipment. Everybody can write, right? And because they believe that, they don’t regard working screenwriters with any kind of real respect. They will hand you a piece of inept writing without a second thought, because you do not have to be a writer to be a screenwriter.

So. I read the thing. And it hurt, man. It really hurt. I was dying to find something positive to say, and there was nothing. And the truth is, saying something positive about this thing would be the nastiest, meanest and most dishonest thing I could do. Because here’s the thing: not only is it cruel to encourage the hopeless, but you cannot discourage a writer. If someone can talk you out of being a writer, you’re not a writer. If I can talk you out of being a writer, I’ve done you a favor, because now you’ll be free to pursue your real talent, whatever that may be. And, for the record, everybody has one. The lucky ones figure out what that is. The unlucky ones keep on writing shitty screenplays and asking me to read them.

To make matters worse, this guy (and his girlfriend) had begged me to be honest with him. He was frustrated by the responses he’d gotten from friends, because he felt they were going easy on him, and he wanted real criticism. They never do, of course. What they want is a few tough notes to give the illusion of honesty, and then some pats on the head. What they want — always — is encouragement, even when they shouldn’t get any.

Do you have any idea how hard it is to tell someone that they’ve spent a year wasting their time? Do you know how much blood and sweat goes into that criticism? Because you want to tell the truth, but you want to make absolutely certain that it comes across honestly and without cruelty. I did more rewrites on that fucking e-mail than I did on my last three studio projects.

My first draft was ridiculous. I started with specific notes, and after a while, found I’d written three pages on the first two paragraphs. That wasn’t the right approach. So I tossed it, and by the time I was done, I’d come up with something that was relatively brief, to the point, and considerate as hell. The main point I made was that he’d fallen prey to a fallacy that nails a lot of first-timers. He was way more interested in telling his one story than in being a writer. It was like buying all the parts to a car and starting to build it before learning the basics of auto mechanics. You’ll learn a lot along the way, I said, but you’ll never have a car that runs.

(I should mention that while I was composing my response, he pulled the ultimate amateur move, and sent me an e-mail saying, “If you haven’t read it yet, don’t! I have a new draft. Read this!” In other words, “The draft I told you was ready for professional input, wasn’t actually.”)

I advised him that if all he was interested in was this story, he should find a writer and work with him; or, if he really wanted to be a writer, start at the beginning and take some classes, and start studying seriously.

And you know what? I shouldn’t have bothered. Because for all the hair I pulled out, for all the weight and seriousness I gave his request for a real, professional critique, his response was a terse “Thanks for your opinion.” And, the inevitable fallout — a week later a mutual friend asked me, “What’s this dick move I hear you pulled on Whatsisname?”

So now this guy and his girlfriend think I’m an asshole, and the truth of the matter is, the story really ended the moment he handed me the goddamn synopsis. Because if I’d just said “No” then and there, they’d still think I’m an asshole. Only difference is, I wouldn’t have had to spend all that time trying to communicate thoughtfully and honestly with someone who just wanted a pat on the head, and, more importantly, I wouldn’t have had to read that godawful piece of shit.

You are not owed a read from a professional, even if you think you have an in, and even if you think it’s not a huge imposition. It’s not your choice to make. This needs to be clear — when you ask a professional for their take on your material, you’re not just asking them to take an hour or two out of their life, you’re asking them to give you — gratis — the acquired knowledge, insight, and skill of years of work. It is no different than asking your friend the house painter to paint your living room during his off-hours.

There’s a great story about Pablo Picasso. Some guy told Picasso he’d pay him to draw a picture on a napkin. Picasso whipped out a pen and banged out a sketch, handed it to the guy, and said, “One million dollars, please.”

“A million dollars?” the guy exclaimed. “That only took you thirty seconds!”

“Yes,” said Picasso. “But it took me fifty years to learn how to draw that in thirty seconds.”

Like the cad who asks the professional for a free read, the guy simply didn’t have enough respect for the artist to think about what he was asking for. If you think it’s only about the time, then ask one of your non-writer friends to read it. Hell, they might even enjoy your script. They might look upon you with a newfound respect. It could even come to pass that they call up a friend in the movie business and help you sell it, and soon, all your dreams will come true. But me?

I will not read your fucking script.

Josh Olson’s screenplay for the film A History of Violence was nominated for the Academy Award, the BAFTA, the WGA award and the Edgar. He is also the writer and director of the horror/comedy cult movie Infested, which Empire Magazine named one of the 20 Best Straight to Video Movies ever made. Recently, he has written with the legendary Harlan Ellison, and worked on Halo with Peter Jackson and Neill Blomkamp. He adapted Dennis Lehane’s story “Until Gwen,” which he will also be directing. He is currently adapting One Shot, one of the best-selling Jack Reacher books for Paramount.

©2009 Josh Olson. All rights reserved.

So I'm still serious about writing that BJ3 script but I found out about all the requirements needed to join the Screenwriters Guild so its unlikely I'll be able to join. I had thought of joining since Warner Bros does not accept freelance scripts. As I said I'm still serious about getting my script into Tim's/Warner Bros hands. Does anyone know of any screenplay contests or anywhere where you can sell screenplays online? I really want to help all the Beetlebabes dreams come true by making Beetlebabes canon this time.

[here-there-were-dragons]

i have to wonder what super hardcore militant vegans think should be done about obligate carnivore animals, because in all my painfully-rapidly-approaching-30-years i've literally never actually seen anyone give a clear consistent much less halfway feasible answer on that

[camellcat]

I can't stop thinking about trans masc spike. I don't know what fucking worms in my brain are causing this but ever since that article I read about genderqueer spike I can't. I can't watch school hard and not think about it. he comes into frame and I can see the article all over again like an afterimage burned onto the screen. ftm spike. drusilla don't gaf she already knew before he did. do you think angelus uses his correct pronouns