#I just don't actually think you need to write an essay telling people how to feel about a character's actions. the fic does that.

[runawaymarbles]

When you love a fic but are deeply irritated by the author's notes. We all contain multitudes.

[butchdomesticwhore]

why is it so hard to recognize that all this info about bills and such is something you can acquire via googling and making phone calls to people who work in these departments and--yes!--asking them questions on what your best next step is? how does making this about systemic oppression help you or anyone else complete practical, adult tasks? when you point at a paper bill from a medical institution and declare it fundamentally classist, does the bill magically crumple into the dust, the issue dealt with and over because you aptly named the systemic issue at play? no!

do you get angry at mechanics when they tell you they have an idea regarding how your car could be fixed, also? how does that help you? what have you learned from deciding to be angry as opposed to using the information dealt to you? perhaps you should not be told by cashiers either about when the sales happen or how items are put on clearance lest their Insider Knowledge tell you something you don't know and--gasp--come from a place of privilege.

the point of my info and OP's is practical use. "if you have this problem, [x] might solve it." privilege or no, how the info is acquired doesn't matter as much as whether or not it's accurate and helps people. and despite your daftness, i very much hope any of this info helps YOU. or if not you, then someone you know. or someone completely random, i don't give a damn.

Ok so my kid had an ear infection, right? As kids often do.

The doctor scraped out a bit of earwax to have a better look inside.

I was sent a bill for $200 PER EAR for this 5 second procedure which I did not give permission for them to do.

That was key- they did not ASK me if they could do this "procedure". And, as I OWN a medical practice (it's me. The medical practice is me, sitting in my house on video calls) I knew to call them when this bill came in to be like "You did not obtain informed consent for this procedure, and it was not en emergency procedure. You had full ability to gain my consent and didn't. I'm not paying."

And the massive hospital who owned the bill said "yuh-huh you do have to pay."

And I said "I own a practice. I know these laws. I do not owe you money for this."

And they conducted an "internal review" and SURPRISE! Decided I totally owed them money and they had never done anything wrong ever.

And so I called my state's Attorney General office, and explained the situation because, as I mentioned, I know the law. The AG got in touch within a couple days to say they were taking the case and would send the massive hospital conglomerate a knock it off, guys letter.

Lo and Behold, today I have a letter where said hospital graciously has agreed to forfeit the payment.

"How not to get screwed over by companies" should be part of civics class.

Know your rights and know who to call when they're infringed on. This whole process cost me $0 and honestly less effort than I would have expected.

May this knowledge find its way to someone else who can use it.

[archaeren]

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

[badscienceman]

I saw someone ask what "I hope this hurts" means beyond the obvious, and I started to respond only for it to turn into an essay... Because I don't feel like dumping something so long in some unsuspecting person's notifs, I'm just going to post it here instead.

I started writing this after playing the game, but ended up watching a playthrough because I couldn't remember exactly where "I hope this hurts" was repeated. I think I caught the only few times it was mentioned, but I wouldn't be surprised if I missed something, so feel free to correct me on that or anything else I might have gotten wrong.

Spoilers for the full game and CWs for everything you would expect from discussing Mouthwashing apply.

Edited 10/16/2024 for clarity and some minor issues with formatting. I added sections in hopes of making it more readable, as well as a few more screenshots that I hope will support my points better. *Indicates where I made potentially significant additions to my original analysis.

Part One: Jimmy

Jimmy is someone who has a delicate ego. This means that he's very concerned with how he's perceived by those around him. We see this in how he responds to Curly and the news of the company's closure, which he takes it as a personal attack in spite of it very clearly having nothing to do with him on a personal level.

For people like Jimmy, a threat to one's image (whether it's a matter of their perception of themselves or, maybe worse, the perception others have of them) brings intense emotional pain. Even though it's clear that Curly meant no personal offense, and likely saw more good in Jimmy than was actually there, Jimmy sees this as a great threat to his own image, and thus identity.

To be clear, it's not just that Jimmy thinks Curly is looking down on him. It's also that Jimmy needs his role in the company to maintain his image, and he needs to eventually become captain. This is his ultimate goal because the respect and control that someone like Curly has, in Jimmy's mind, is tied to the title he possesses. And Jimmy wants that. He wants respect, he wants to be listened to, he wants power over others. (This is also why Swansea's final speech is so important, in relation to the belief that if one just reaches this next goal, they might feel a little more human, a little more in control, a little more fulfilled, but as Swansea shows us, that's just not the case. And it's true for Jimmy, too. Jimmy isn't magically fulfilled by obtaining the title of captain.)

But in the beginning, Jimmy has yet to realize that just getting the role of captain won't magically make him a man who is respected, or even a man who is truly in control. He sees no opportunities for himself on earth. The only option is to stay in this company and become a little lord of his own ship... and suddenly that's ripped out from under him. He will never reach the goal he's been chasing for all of this time.

Anya telling him about her pregnancy is the final push he needs to go over the edge.

Part Two: Captain

Returning to the initial reveal that the company is shutting down for a second, I think it's important to keep in mind a few things:

1. The importance of the title of captain in Jimmy's mind.

2. How this extends to his perception of Curly, him being the current captain.

3. Jimmy's self-centeredness preventing him from understanding the feelings and perceptions of those around him.

When Curly says what he does, Jimmy immediately jumps to the conclusion that Curly sees himself as above everyone else (and most importantly, as above Jimmy), to the point of considering them "dirt." I don't think Jimmy is just projecting his greatest fear (being seen as lesser) onto Curly. I think he's projecting his own perceptions.

He's placed all of this importance on the title of captain, and thus Curly. The captain is above Jimmy. Jimmy is beneath him, is lesser. And we know how Jimmy treats those he sees as lesser (first Anya, and then the rest of the crew once he's captain, *manipulating Daisuke into putting his life at risk because Daisuke, who is just an intern after all, just isn't important to Jimmy being an example).

I think this is a fair reading because Jimmy does something similar with Swansea when he insists that Swansea is keeping the last cryostasis pod for himself. I understand some might say that this is just Jimmy's attempt to manipulate Daisuke and Jimmy doesn't actually believe it, which is a fair interpretation, but I sincerely think he believes what he's saying in this instance. And I think that because Jimmy sees selfishness as common sense. It's what he would do were he in Swansea's position, and what makes him giving the pod to Curly significant.

Part Three: Anya

So, Jimmy is already hurt and panicking. He sees his chance at power and thus fulfillment slipping away. And then Anya tells him that she's pregnant.

Anya, who he has shown time and time again that he thinks little of.

Anya, who he clearly sees as beneath him.

Any mention of the pregnancy, no matter how gently it was worded, would immediately feel like a threat to him on multiple levels. And not only that, but a threat from someone lesser than him. His image, his status, his control, his power—it's already slipping from his fingertips. *It's happening right then, in that moment. It's not just a potential future where he's held accountable in a real way (maybe if Anya involved authorities, or if Jimmy was legally responsible for supporting a child once they returned to earth). It's happening now, because his image is crumbling.

For this reason, I believe I hope this hurts to be directed at anyone and everyone that he sees as "threatening" him.

Anya and Curly have made him hurt. He wants to make them hurt.

He doesn't care about Daisuke and Swansea. If anything, he's so caught up in himself and this contorted vision of reality, I wouldn't be shocked if he convinced himself in the moment that they, too, were looking down on him for some reason. (See again, "I know what everyone is thinking. The way they look at me." Obviously this is said in the midst of his spiral, after the crash, but I wouldn't doubt the paranoia was there before that moment.)

He wants to make them hurt as they've hurt him. He may also want to make himself hurt in order to vent out his emotional pain. If not, death may simply be the easiest way to escape pain and the threat the future holds in his mind.

*Part Four: Without the Guilt

In addition to all of this, I think crashing the ship (making them hurt) is his vision of what Curly has done or is doing to him. This is how he "leave(s) the dirt behind."

To understand this, I'm going to include the birthday conversation and the conversation between Jimmy and Curly about crashing the ship.

Jimmy: ... So I guess you got what you wanted. Without the guilt. Curly: Jim... If I had known... Jimmy: I can go back to my, how'd you put it? "Struggle of a life?" Jimmy: Anya never got into medical school because she's... well, let's be real. Jimmy: And how many employment years Swansea got left in him? Jimmy: Daisuke will be fine, mommy and daddy have him covered. So there's that at least. Jimmy: But you. Headed for bigger and better, right? Curly: I'm just... I'm just working on my life being a place I don't have to fucking escape! That's what I was trying to tell you, nothing mor- Jimmy: We're the ones you're trying to escape! Leave the dirt behind now that your boots are clean! Curly: That's not what I meant. Jimmy: It is what you meant. Jimmy: You just couldn't frame it to yourself in a way that kept you as the hero. Jimmy: Abandon the crew but remain the model captain.

To me, this is one of the most important and revealing sections of the game. Jimmy is not only projecting onto Curly, he's telling us exactly what he's going to go on to do (or attempt to do) when he becomes captain.

In addition to this, we see his manipulation on full display as he twists Curly's words and won't allow him even a moment to truly speak beyond a few lines he manages to get in between Jimmy's ranting.

That's not to mention we see the beginning of yet another pattern in Jimmy's behavior: getting a person to admit their weakness, then using it against them and/or using it to hurt them (he does this with Daisuke, for example, when he hears Daisuke's fears/desire for approval and proceeds to use it to get Daisuke in the vent). Here, Curly speaks about feeling trapped. Jimmy will soon trap him in a crashed ship just as much as he traps him in his own body, which Jimmy will proceed to drug. But I'll return to that.

Curly: Jim. I can fix this. Jimmy: What do you think will happen when we get back? Hm? Curly: We can figure all of this out. You and me. Take care of it. Kills ninety nine percent. Jimmy: All I ever hear is how great of a leader you are. God, it's so annoying. Jimmy: But, now... What do you think will happen now when we get back? Curly: We'll fix this together. Jimmy: Everything you and I worked for in our lives. Accomplishments, changes. Jimmy: None of it will matter. Curly: You've gotten through difficult situations before. This time won't be any different. Work through it, one day at a time. Jimmy: It's not just me, is it? Jimmy: You were supposed to be the one who had everything under control. You said so yourself. Jimmy: The ship, this crew, everything that happened here... Jimmy: This was your responsibility, Captain. Jimmy: That is what you'll be hearing the rest of your life. Take responsibility. Jimmy: Or this can all be remembered as a tragedy. Jimmy: Despite what must have been the best efforts of its acclaimed captain. Jimmy: The Tulpar crew was never found. Jimmy: No one survived to tell the tale. Take responsibility. Jimmy: You're standing at the top. Jimmy: Feet in cement. Jimmy: I get it now. Right? Curly: ... Curly: ... Right.

This is an important moment, because aside from the scene in which Jimmy is approaching Curly while he's on fire, it's the only other time that I can recall the game separating from their perspectives to allow us to see them both, standing together.

We see a flash of Take care of it. Kills ninety nine percent. Jimmy begins to pull away. Another flash. He continues to draw back. Another. He turns towards the cockpit.

Jimmy sees through Curly. He sees Curly's worst where Curly sees only Jimmy's best, and he's more that willing to use that against Curly.

He sees a man who is not going to do what's hard. He sees a man who is going to try to "fix it" only in the most superficial sense. A man who confuses the appearance of cohesion and peace with the reality of it. Someone who sees the rocking of the boat as a manifestation of taking action against a wrong rather than the wrong itself.

In the end, it seems they're both ruled by appearances. And Jimmy will soon rip appearances in every sense from Curly's fingertips. He will make him hurt. He will get his revenge. He'll turn Curly into the villain, taking away his title, his respect, and his very face.

For daring to look down on him, Jimmy will turn Curly into dust.

But I think these words—I hope it hurts—come back to haunt him.

Part Five: The Eye as a Mirror

Like I said, I went back to try to find each time the phrase is used. There's the beginning, of course, but then there's the pregnancy sequence, for lack of a better name.

When the Polle monstrosity emerges from the giant uterus (?), we see these words:

In this sequence, we see a lot of different images and concepts connected: Anya's pregnancy and thus her sexual assault by Jimmy are tied to Polle and the company. The emergence of the Polle monster from the giant uterus (and the idea of the removal of the pregnancy) is tied to the mouthwash, as it's an act of "cleansing." This is all then tied to the phrase I hope this hurts.

Unless I missed something, these are the only two moments when the phrase is used: When Jimmy crashes the ship, and when he's experiencing this hallucination.

All clean! Really gets rid of that bad taste in your mouth, huh? Through wreckage! Through silence! Wash it away! All day fire fresh!

"Clean" is important immediately. "Leave the dirt behind you now that your boots are clean," Jimmy says. Because in this accusation is Jimmy's actual intentions himself. He wants to rise above others and clean himself from their filth. Now, he wants to clean himself of his sins.

I think "Really gets rid of that bad taste in your mouth" is mocking him. A direct challenge to the thought that he could ever truly be "cleaned," at least in the ways he's so desperately trying to go about it. *Not to mention how this connects to the mouthwash, as it might get that 99%, but there's always going to be 1% left.

"Through wreckage" obviously refers to the wrecking of the ship, but also of their lives. All by Jimmy. Though I wouldn't doubt in his mind it connects to the wreckage of consequences (ie. Anya's pregnancy resulting from Jimmy's actions).

"Through silence" I feel connects back to Jimmy's attempts to keep everything quiet, both literally and figuratively.

"Wash it away" also has a mocking edge, as if stressing the foolishness of Jimmy's attempts to treat these very serious events as if it's all just "dirt" he can wipe off.

Finally, we see "All day fire fresh!" This line stresses the connection to the mouthwash, of course. It also calls to mind the concept of cleansing by fire. Important considering Curly.

And after each, I hope it hurts. Jimmy's statement of pure, childish rage. His desperate desire to make others hurt as he hurts. To lash out, to get revenge. To have control until the very end.

This is also why Polle haunts him. Because he, as a man desperate for control, will always be under the thumb of the company even with that title of captain. That hurts him. And maybe the closest thing to ever recognizing the evil he's done to Anya is envisioning it as similar to the company's control, but even that feels like a mockery because he's so horrifically incapable of seeing her as a human being that she's been reduced to her womb. That's what he's really afraid of, in the end, and the fear feels like something else is in control. It makes the organ feel giant, larger than him, capable of hurting him.

When I was watching the playthrough, I thought that there was going to be four or five "I hope it hurts." I thought it would represent each person Jimmy hurts, or all of them, because he hurts himself too. When the sixth came, I thought so much for that theory. But then, I thought about it and there's the fetus. That makes six.

So, I hope this hurts means "I want to hurt you the way I've been hurt. The way you've hurt me." It's Jimmy saying that if his life has been wrecked, he'll wreck yours. It's Jimmy saying he'll shut you up. It's Jimmy saying he'll burn everything down if it means he can maintain control, or even just the illusion of it.

Part Six: Pain

But I think there's another side to this. Like some of the other lines I said feel are mocking him, I think I hope this hurts turns against Jimmy, especially here. And more than that, pain (and by extension, pain medication) plays a massive role in the game, after all. So I hope this hurts feels as if it haunts every moment where it's involved.

Jimmy says this the first time he gives Curly his pills. Pain is how we know we're still living.

The pills are clearly connected to death from the start. If "pain is how we know we're still living" then pain is connected to life and freedom from it is connected to death. That's saying nothing of Anya's use of the pills to kill herself. I think this connects back to the crash, as well. If life is pain, death is an escape from it.

I think it's also significant that the act of swallowing the pain pills is in and of itself painful.

The pills that are meant to take the pain away become a method of torturing Curly. It's a way to make him hurt, and to exert control over him. Even something that should take away his suffering is just an extension of it.

At one point, Jimmy says "Once these are out, we'll have nothing to keep him quiet." In this sense, the pain pills are meant to suppress, not to heal (Through silence!). They're supposed to shut Curly up and keep him from expressing his anguish in the only way he has left (the noises that disturb Jimmy's sleep).

Others have compared this, or Curly's state, to how Anya has been forced to bottle up her own suffering. Jimmy is keeping them both quiet, or at least attempting to. The ultimate form of keeping them quiet would be to, of course, kill them all.

The pills can also be seen as an attempt to hide or conceal the hurt that has been caused rather than to actually heal. In this way, they're like the mouthwash: something that's not really helping, just covering up an issue (and thus making it worse). And the mouthwash represents Jimmy's attempts to "fix" things. He doesn't actually want to make things right, because that would mean taking accountability. He wants to protect his own ego by "fixing" things in a mimicry of Curly "fixing" things in which he wants to create a sense of "rightness" without actually adressing what (or who) has been wronged. Jimmy can't stand to look at himself, because he would see that he really is constructed of his worst moments, or at least, that's what I suspect he would see.

Conclusion

Considering all of this, I hope this hurts can then become a mantra about living in spite of everything. I hope this hurts means "I hope I'm alive in the end. I hope we're all alive in the end." It could mean "I hope I'm allowed to hurt, because I am hurt, and the harm that's been done to me must be seen rather than suppressed and hidden." It could mean "You can't keep me quiet. You can't ignore or hide what you've done to me."

Maybe most of all, I think it means I hope you reap what you sow. When it's turned back on Jimmy, when it's almost mocking or haunting him, it becomes in part about his emotional weakness. About his inability to look at himself and his reality without experiencing the pain of humiliation. I don't think he ever experiences half of the pain he's inflicted on those around him. Still, he has to deal with the fact that his attempt to hurt others instead of facing himself has caused him more pain rather than taken it away as he'd hoped.

And I think that's why he suddenly decides to make Curly a "hero" instead of a "villain." There's a tipping point where he's pushed into a corner. The pain is too much. He hasn't confronted his own actions in any real way, but he's done enough that he can't stand to save himself anymore. It hurts too badly to live with what he's done. It sends him into another stage of fantasy/delusion. The only thing left to do is what he intended to from the start: kill himself to escape and damn Curly to a slow death. Because to go on living in spite of the pain would be the right thing to do, in a sense. To live in the hell of his own creation. To face what he's done. But instead, he'll entrust those heroics to Curly.

This feels barely coherent in the end, so I might come back in a few days and say wow what the fuck was I talking about? But hopefully there's something here that captures some truth. Again, please feel free to correct me if I'm misremembering anything or if I missed something.

[trans-axolotl]

content note: this post talks about eugenics, incarceration and institutionalization, and violent ableism

tangent from that post because i didn't want to start writing an essay on someone else's post and this is about a conversation i had irl this month, not intended as a reply to that post. but i actually feel very complicated about the idea of whether or not we should be pushing for more "accessibility" in jails and prisons and psych wards and institutions. i put that word in quotes because i don't think there is ever a way that being incarcerated is actually accessible to our bodies and minds; it is a disabling experience on so many levels. i'm not going to list out all the reasons why on this post; i've made so many posts talking explicitly about the harms of institutionalization before and i don't want to do that again right now. Talila Lewis has given several interviews about ableism, incarceration, and disability that are really worth reading and go more in depth into what that violence looks like. Liat Ben Moshe has also given another interview about disability and incarceration that goes over many of the same topics. given that these places are intense sites of violence towards disabled people, it feels difficult for me to claim that they could ever truly be accessible in any meaningful sense of the word.

what's also true right now is that institutions and prisons are incredibly inaccessible for physically disabled people in particular. i've been arrested with a wheelchair, i've been institutionalized with a feeding tube on top of that as well, i've been held on medical floors for psych treatment before, and i know very well exactly how bad it is. i've watched myself and so many other physically disabled people almost die in these places because of sheer neglect. i have physically disabled neighbors who were killed in these places. it is so dangerous for physically disabled people who are locked up in these places, yet at the same time, often psych wards are so inaccessible that physically disabled people just can't even be admitted because wards refuse to take people with mobility aids, medical devices, specific types of medication or care needs, if you have some kinds of terminal illness, and on and on and on.

what's also true is that when these places are so inaccessible that many physically disabled people are excluded and unable to even access them in the first place, it doesn't mean that we then somehow access other types of care instead. it just means that we're also discarded and left to die. this also is a really similar dynamic for a ton of other marginalized groups that get excluded from psych care--many of my comrades who are people of color have also experienced this same type of denial of care. initially i think that can seem like a confusing contradiction--how is it that psych wards are locking up some people up against their will but refusing to take in other people? but when you start thinking about the underlying logic at the core of these systems, it makes sense.

psych wards operate under this idea that madness must be cured by any means possible, up to and including eradication. institutions are a way of disappearing madness from the world--hiding us away so that we don't disturb a sane society, and not letting us free again until we either die in there or are able to appear like we've sufficiently eradicated madness from our mind. preventing physically disabled people from accessing inpatient treatment is operating under the same assumptions--except that this particularly violent convergence of ableism is happy to just let us die, both because it eradicates madness from the world and because they view our lives as unworthy of living in the first place. eugenics is still alive and well in the united states and it's still fucking killing us; both inside institutions and outside of them.

i would never tell someone that they're privileged for getting institutionalized--i think that would be a cruel thing to say to someone who has just survived a lot of violent ableism. and at the same time, our current systems of mental health care are set up in a way where not being able to access inpatient care can be a deadly logistical nightmare. there are some partial hospitalization programs that have such a long waiting list that you can only really get in if you just got an urgent referral because you're getting discharged from inpatient care--how the fuck are physically disabled people supposed to access those programs? if you need meal support for your eating disorder 6 times a day and the only places that offer that are residential treatment in a house with stairs, what the fuck are you supposed to do? if noncarceral outpatient forms of treatment like therapy, support groups, PHP programs, peer support funding, etc etc etc are often prioritizing people who have recently been discharged from inpatient care, how are you supposed to access any type of mental health care at all? (to be clear i know that not all forms of outpatient care operate in this way, but a lot of state run/low cost programs that accept Medicaid/Medicare operate in that way, and i've seen it cause enough barriers that i know this is a very real problem.)

so when i think about what it would take to actually ensure that physically disabled people can access mental healthcare, there's a lot that comes up for me. on one hand, so much of my work is about tearing down institutions and ensuring that no one is forced into these places to face that type of violence. on the other hand, so many physically disabled people need care right now, and we have to figure out some way of making that happen given the current systems we have in place. i will never be okay with just discarding physically disabled people as collateral damage, and any world that we're building needs to be one that embraces disability from the beginning.

i keep thinking about the concept of non-reformist reforms that gets talked about a lot in the prison abolition movement. the idea behind non-reformist reforms is that usually, reforms work to reinforce the status quo. they're usually talked about in liberal language of "improvement" and "human rights", but when it comes down to it, they're still giving more power to harmful institutions and reinforcing state power. an example of a reformist reform is building a new jail that is bigger and has "nicer" services. or when the cops in my city tried to get funding for more wheelchair accessible cop vans. these are reformist reforms because when it comes down to it, it's still giving more money and legitimacy to the prison system and increasing the capacity to keep people locked up--even when people talk about it using language about welfare for prisoners, that's not actually what's happening. having more wheelchair accessible cop vans would be dangerous for the disabled people in my city--it's helped us out a LOT that it's so difficult for the cops to arrest multiple wheelchair users at once.

non-reformist reforms are the opposite of that--they're reforms that work to dismantle systems, redistribute power, and set the stage for more even more dramatic transformations. They're sort of an answer to the question of "what do we do right now if we can't go out and burn down all the prisons overnight?" Examples of a nonreformist reform are defunding prisons, getting rid of paid administrative leave for cops, shutting down old prisons and not building new ones, etc. they're steps we can take right now that don't fully abolish prisons, but still work to dismantle them, rather than making it easier for the system to keep going.

so, when we apply this to the psych system, what are some nonreformist reforms that could help make sure that all disabled people are having their needs met right now? Some ideas I'm having include fixing the problem of PHP/outpatient care requiring referrals from inpatient, increasing the amount of Medicaid/Medicare funding for outpatient mental health care, building physically accessible peer respites that allow caregivers to stay with you if needed, increasing SSI/SSDI to an actually liveable rate, creating more disability specific mental health resources, support groups, care webs, and a million other things we'd probably need to actually get our needs met. non-reformist reforms for people in psych wards right now might look like ensuring everyone has 24/7 access to phones and internet, ensuring that disabled people have access to mobility aids in these spaces, making sure that there's accessible nutrition for people with dietary restrictions and/or feeding tubes, and more.

when i see people saying that we need to ensure that psych wards or prisons are made accessible it makes me feel nervous. i worry that the changes required to do that wouldn't actually provide care to disabled people, i worry it would just make it easier for increasing numbers of disabled people to get locked up and harmed all while people claimed it was a success story of "inclusion." i worry that it would just continue to cement carceral treatment as the only option for existing as a disabled person, and that it would make it harder for us to live in our communities, with the services and adaptations we need. when i think about abolition, i'm always thinking about what can we do right now, what do disabled people who are incarcerated and institutionalized need right now, what can we do right now to ensure that everyone is surviving and getting their needs met. i'm not willing to ignore or discard my incarcerated disabled comrades in the moment because of my dreams for an abolitionist future, i'm always going to support our organizing in these places as we try to survive them.

overall i guess what i'm saying is that i think making inpatient psych care accessible would require dismantling and fundamentally destroying the whole system. I can't imagine a way of doing that within the current system that wouldn't just continue to harm disabled people. and that as a psych abolitionist i think that means we have a responsibility to each other right now to fight for that, to understand that physically disabled people not being able to access mental health care is an incredibly urgent need. I refuse to treat my MadDisabled comrades as disposable: our lives are valuable and worth fighting for.

i'm also going to link to the HEARD organization on this post. They're one of the few abolitionist organizations that does direct advocacy and support for deaf and disabled people in prisons. if you or one of your disabled community members ever gets incarcerated in jail/prison, they have a lot of resources. donate to support their work if you can.

[multifandomimagin3s]

They have a crush on you (HC's) - Team 141 + König

Requested by Anon

Simon "Ghost" Riley

*Honestly I could write an essay on this complicated man, he's such an interesting character - but I've summed up some HC's below*

This guy is so hard to read, but at the same time he's not.

At first glance, he's a hardened man who keeps his cards close to his chest and never lets his guard down around anyone. And that's true.

Given everything he's been through in life, that amount of trauma is bound to have a long-term effect on every aspect of his life - not to mention the fact that he's probably learned to repress all of that shit for most of his life.

So I reckon that even if he did have romantic feelings towards you, it would take him a long, long time for him to even process what he's feeling - he's not stupid by any manner of means, more so he doesn't know what to do with this newfound information.

He would probably try and be mean to you - not that he was ever truly sweet on you in the first place, he couldn't let people know he had a soft spot; a weakness.

If you were part of 141, he would probably try to completely ignore you - unless he physically had to speak to you, like if you were on a mission together ((ngl I think Price probably would put the pieces together and would try to push you both together by sending you off on the same mission - fulfilling his Dad Captainly duties)).

You'd probably have known Ghost for a while before he starts to open up to you - it's superficial stuff, like maybe when his birthday is or his favourite food, little details that didn't really give any crucial information away, but you knew better than to pry as it would probably just make him shut himself away more.

He'd probably be protective of you - like if the team were out at a pub after a mission gone well, and there was a creepy guy bothering you, he would loom over you to scare the guy shitless with piercing, cold eyes.

We all know that as soon as Soap figures out that Ghost has a crush, he's going to absolutely want to take the piss out of him for it...he just needs to pick his words carefully, since he chooses life :))

It's hard to tell when or if he would actually confess his feelings to you - I can see it happening in one of two ways:

1 - You almost died on a mission, and he deeply regretted not telling you before when he thought you weren't going to make it back to base in time; he visited you every day while you were in hospital, and ended up bluntly just coming right out with how he felt because he needed you to know.

2 - Soap tells you before he can. With this scenario, I don't see Ghost blowing up in a fit of rage - it would be the silent death stare with the promise of an arse-kicking in the training room, maybe even making the Sergeant clean the bathrooms with a toothbrush for a few months for good measure. Ghost probably wouldn't even deny it, and would wait for you to come to him... and whatever happens next is a mystery ;))

Johnny "Soap" MacTavish

*Ahh my fellow Scot - just to preface, Scottish slang and dialects vary across the country and I'm not 100% sure where Soap is originally from, so I'm just going to improvise and use local slang from where I'm from ~*

My guy wears his heart on his sleeve - he's naturally very flirty with you from the get-go, so it wasn't hard to figure out that he fancied you.

"Hello, Darlin', if yer wantin' a tour of the base, don't be feert* to gie me a shout ;D" [feert = afraid] [gie me a shout = ask me; gie = give].

With his flirty nature, it was difficult to discern if he was actually being serious about liking you, or if he was just flirty with everyone.

He'd probably realise that he was going about things completely wrong, and would make normal, friendly conversation to get to know you - he just wants to prove that he's a good guy and not a raging hornball :(

The longer time goes on, he starts to tell you more about his life outside of the SAS - he comes from a big family, he's the youngest sibling, his favourite colour, etc.

I can absolutely see his chest puff up a bit with pride when you compliment his skills - he disposes bombs and risks his life all the time, its his job and he doesn't expect praise other than a curt "good work" from his superiors; but from you, the tips of his ears are turning red, and a smile is practically splitting his face ~

Definitely doesn't use the excuse of training to get some time alone with you - not in a creepy way, he just likes spending one-on-one time with you.

If he really trusts you, he asks you to help trim his hair - he did do his mohawk mostly by himself but trying to do the back of his head on his own was an actual nightmare.

Likes watching the look of concentration on your face as you make sure that his hair is even - winks at you when you catch him staring~

(Y/N): There we go - a job well-done, if I do say so myself.

Johnny: *just admiring your smiling face, smitten*

Would probably ask you out then and there, a hopeful glint in his eyes.

Certified Best Boy™.

Captain John Price

This guy doesn't fuck around - he's older, mature, and knows what he feels, and straight up tells you.

He'd call you into his office for a "chat" - queue you absolutely shitting yourself, being called for a chat with your superior in any circumstance automatically has you going through everything you've ever done prior to this moment to see what he could be mad about...

If you were a Private or any rank beneath him, he probably might hesitate to tell you a bit; HR really wouldn't like it but then again they wouldn't need to know... ;))

If you were a medic, nurse, doctor or civilian, he wouldn't hesitate to tell you.

The Team wouldn't know he even had a crush on you - even if you were on base, as a soldier or medic, they wouldn't have a clue.

The only time they grew suspicious was after they had all been to the pub and after a few too many drinks, one of the new recruits started talking about you and how he thought you were fit; Price's eye twitched slightly, eyeing the recruit with a poker face but with a slightly flash of anger in his eyes, cigar between his teeth.

"Bit inappropriate to speak of a comrade like that, Private, don't you think?" The Private sheepishly let out an apology.

Gaz and Soap gave each other a knowing side-eye; Soap looked to Ghost, who stared back blankly - he'd figured out that the Captain liked you ages ago, he was just waiting on everyone else catching up.

Kyle "Gaz" Garrick

I see him as another guy who wears his heart on his sleeve, so to speak.

I think he's the silent type though - while Johnny will flirt with you openly, regardless of where he is or who he's around, I think Kyle would be more discrete about it.

At first, it would be the little things like making you your favourite tea when he's making his own cup - sometimes he'll just make you your own, delivering it to you with a little smile.

He even offers to spar with you during training - he wouldn't go easy on you but he would be missing the usual fire that he has when training with other members of the team, he doesn't want to hurt you :((

As he gets more comfortable with you, and you with him, he absolutely loves to wind you up.

I think he'd be a genuinely funny guy, so be prepared to laugh until your sides hurt.

He'd probably express his feelings for you in a cheesy but still down-right cute way; probably shows up at your door with flowers and asks you out on a date.

((Proud Dad™ Price is just around the corner))

König

Another certified Best Boy™.

Honestly, he probably didn't speak to you at all for the longest time - not because he was intentionally trying to be rude but because if he feels like he has nothing good to say, then he just won't speak at all.

His social anxiety probably fluctuates day-to-day; one day he feels alright, can make small talk with others on base and do whatever he needs to do. But then the next day, he won't leave his room unless he has to, and when he does he's just this hulking mass of poorly concealed anxiety.

I think his anxiety would probably accidentally be projected outwards and would make him appear more intimidating, especially when all people can see are his eyes underneath his hood. Poor baby :(

He definitely knew that he had a crush on you - he's anxious in social settings, crowds, and he knows what that feels like - but with you? He gets full-on butterflies and he's scared to speak in case he says something embarrassing.

You'd most likely have to make conversation first, keeping it casual as to not scare him off - ironic, since the man is over 6ft and is built like a brick shithouse.

It would take time but he'd slowly open up bit by bit.

The first time you saw him out in the field - completely different ballgame entirely.

Who is this guy and what has he done with Konig??

He probably confesses his feelings on the way back from a mission, still high on adrenaline and confidence.

Oh he absolutely full-on panics when the adrenaline wears off and the penny finally drops...but he meant what he said. He really likes you, Maus.

[fursasaida]

Hi! Just wanted to ask. How can I give my students assignments that are chat-gpt proof? Or that they won't just copy the answer without at least doing some editing?

Hi! So, I don't think anything is ChatGPT-proof. You fundamentally cannot stop people from using it to take a shortcut. You can't even stop them from copying the answer without editing it. However, I think you can work with this reality. So, you can do three things:

Don't be a cop about it.

If you make your objective "stop the children from using the thing to cheat," you are focusing on the wrong thing. You will be constantly scrutinizing every submission with suspicion, you will be accusing people of cheating--and some of them will not have cheated, and they will remember this forever--and you will be aiming at enforcement (which is trying to hold back the sea) instead of on inviting and supporting learning whenever and wherever possible. (I'll come back to this under item 2.)

Regarding why enforcement is holding back the sea: It is fundamentally rational for them to do this. We, who "love learning" (i.e. are good at what our academic system sees as learning, for various reasons have built our lives around that, happen to enjoy these activities), see everything they might cheat themselves of by doing it, because we know what we got out of doing this type of work. Many students, however--especially at the kind of school I teach at--are there to get the piece of paper that might, if they're lucky, allow them access to a relatively livable and stable income. The things that are wrong with this fact are structural and nothing to do with students' failings as people, or (tfuh) laziness, or whatever. We cannot make this not true (we can certainly try to push against it in certain ways, but that only goes so far). More pragmatically, chatgpt and similar are going to keep getting better, and detecting them is going to get harder, and your relationships with your students will be further and further damaged as you are forced to hound them more, suspect them more, falsely accuse more people, while also looking like an idiot because plenty of them will get away with it. A productive classroom requires trust. The trust goes both ways. Being a cop about this will destroy it in both directions.

So the first thing you have to do is really, truly accept that some of them are going to use it and you are not always going to know when they do. And when I say accept this, I mean you actually need to be ok with it. I find it helps to remember that the fact that a bot can produce writing to a standard that makes teachers worry means we have been teaching people to be shitty writers. I don't know that so much is lost if we devalue the 5-paragraph SAT essay and its brethren.

So the reason my policy is to say it's ok to use chatgpt or similar as long as you tell me so and give me some thinking about what you got from using it is that a) I am dropping the charade that we don't all know what's going on and thereby making it (pedagogical term) chill; b) I am modeling/suggesting that if you use it, it's a good idea to be critical about what it tells you (which I desperately want everyone to know in general, not just my students in a classroom); c) I am providing an invitation to learn from using chatgpt, rather than avoid learning by using it. Plenty of them won't take me up on that. That's fine (see item 3 below).

So ok, we have at least established the goal of coming at it from acceptance. Then what do you do at that point?

Think about what is unique to your class and your students and build assignments around that.

Assignments, of course, don't have to be simply "what did Author mean by Term" or "list the significant thingies." A prof I used to TA under gave students the option of interviewing a family member or friend about their experiences with public housing in the week we taught public housing. Someone I know who teaches a college biology class has an illustration-based assignment to draw in the artsier students who are in her class against their will. I used to have an extra-credit question that asked them to pick anything in the city that they thought might be some kind of clue about the past in that place, do some research about it, and tell me what they found out and how. (And that's how I learned how Canal St. got its name! Learning something you didn't know from a student's work is one of the greatest feelings there is.) One prompt I intend to use in this class will be something to the effect of, "Do you own anything--a t-shirt, a mug, a phone case--that has the outline of your city, state, or country on it? Why? How did you get it, and what does having this item with this symbol on it mean to you? Whether you personally have one or not, why do you think so many people own items like this?" (This is for political geography week, if anyone's wondering.)

These are all things that target students' personal interests and capabilities, the environments they live in, and their relationships within their communities. Chatgpt can fake that stuff, but not very well. My advisor intends to use prompts that refer directly to things he said in class or conversations that were had in class, rather than to a given reading, in hopes that that will also make it harder for chatgpt to fake well because it won't have the context. The more your class is designed around the specific institution you teach at and student body you serve, the easier that is to do. (Obviously, how possible that is is going to vary based on what you're teaching. When I taught Urban Studies using the city we all lived in as the example all through the semester, it was so easy to make everything very tailored to the students I had in that class that semester. That's not the same--or it doesn't work the same way--if you're teaching Shakespeare. But I know someone who performs monologues from the plays in class and has his students direct him and give him notes as a way of drawing them into the speech and its niceties of meaning. Chatgpt is never going to know what stage directions were given in that room. There are possibilities.) This is all, I guess, a long way of saying that you'll have a better time constructing assignments chatgpt will be bad at if you view your class as a particular situation, occurring only once (these people, this year), which is a situation that has the purpose of encouraging thought--rather than as an information-transfer mechanism. Of course information transfer happens, but that is not what I and my students are doing together here.

Now, they absolutely can plug this type of prompt into chatgpt. I've tried it myself. I asked it to give me a personal essay about the political geography prompt and a critical personal essay about the same thing. (I recommend doing this with your own prospective assignments! See what they'd get and whether it's something you'd grade highly. If it is, then change either the goal of the assignment or at least the prompt.) Both of them were decent if you are grading the miserable 5-paragraph essay. Both of them were garbage if you are looking for evidence of a person turning their attention for the first time to something they have taken for granted all their lives. Chatgpt has neither personality nor experiences, so it makes incredibly vague, general statements in the first person that are dull as dishwater and simply do not engage with what the prompt is really asking for. I already graded on "tell me what you think of this/how this relates to your life" in addition to "did you understand the reading," because what I care about is whether they're thinking. So students absolutely can and will plug that prompt into chatgpt and simply c/p the output. They just won't get high marks for it.

If they're fine with not getting high marks, then okay. For a lot of them this is an elective they're taking essentially at random to get that piece of paper; I'm not gonna knock the hustle, and (see item 1) I couldn't stop them if I wanted to. What I can do is try to make class time engaging, build relationships with them that make them feel good about telling me their thoughts, and present them with a variety of assignments that create opportunities for different strengths, points of interest, and ways into the material, in hopes of hooking as many different people in as many different ways as I can.

This brings me back to what I said about inviting learning. Because I have never yet in my life taught a course that was for people majoring in the subject, I long ago accepted that I cannot get everyone to engage with every concept, subject, or idea (or even most of them). All I can do is invite them to get interested in the thing at hand in every class, in every assignment, in every choice of reading, in every question I ask them. How frequently each person accepts these invitations (and which ones) is going to vary hugely. But I also accept that people often need to be invited more than once, and even if they don't want to go through the door I'm holding open for them right now, the fact that they were invited this time might make it more likely for them to go through it the next time it comes up, or the time after that. I'll never know what will come of all of these invitations, and that's great, actually. I don't want to make them care about everything I care about, or know everything I know. All I want is to offer them new ways to be curious.

Therefore: if they use chatgpt to refuse an invitation this week, fine. That would probably have happened anyway in a lot of cases even without chatgpt. But, just as before, I can snag some of those people's attention on one part of this module in class tomorrow. Some of them I'll get next time with a different type of assignment. Some of them I'll hook for a moment with a joke. I don't take the times that doesn't happen as failures. But the times that it does are all wins that are not diminished by the times it doesn't.

Actually try to think of ways to use chatgpt to promote learning.

I DREAM of the day I'm teaching something where it makes sense to have students edit an AI-written text. Editing is an incredible way to get better at writing. I could generate one in class and we could do it all together. I could give them a prompt, ask them to feed it into chatgpt, and ask them to turn in both what they got and some notes on how they think it could be better. I could give them a pretty traditional "In Text, Author says Thing. What did Author mean by that?" prompt, have them get an answer from chatgpt, and then ask them to fact-check it. Etc. All of these get them thinking about written communication and, incidentally, demonstrate the tool's limitations.

I'm sure there are and will be tons of much more creative ideas for how to incorporate chatgpt rather than fight it. (Once upon a time, the idea of letting students use calculators in math class was also scandalous to many teachers.) I have some geography-specific ideas for how to use image generation as well. When it comes specifically to teaching, I think it's a waste of time for us to be handwringing instead of applying ourselves to this question. I am well aware of the political and ethical problems with chatgpt, and that's something to discuss with, probably, more advanced students in a seminar setting. But we won't (per item 1) get very far simply insisting that Thing Bad and Thing Stupid. So how do we use it to invite learning? That's the question I'm interested in.

Finally, because tangential to your question: I think there's nothing wrong with bringing back more in-class writing and even oral exams (along with take-home assignments that appeal to strengths and interests other than expository writing as mentioned above). These assessments play to different strengths than written take-homes. For some students, that means they'll be harder or scarier; by the same token, for other students they'll be easier and more confidence-building. (Plus, "being able to think on your feet" is also a very good ~real-world skill~ to teach.) In the spirit of trying to offer as many ways in as possible, I think that kind of diversification in assignments is a perfectly good idea.

[olderthannetfic]

So, you mentioned low standards of research in podcasts. I don't listen to podcasts or watch a lot of videos about fandom analysis, but I have seen error corrections happening in the wild for what I have listened to, so I can only imagine how annoying it is when you know your shit.

Do you have any resources that come to mind as things everyone who likes fandom should be comfortable with, or specific essays on uniquely important fandoms (such as Sherlock Holmes or Star Trek) that everyone should read? Obviously the OTW resources are up there; what else?

Aside from resources, do you think there are any skills that are especially vital for getting to the bottom of fandom trends? Interview skills are probably pretty high up there.

Any pitfalls you see a lot of young fans falling into?

(I do a lot of fandom history research. It is the thing that gives me joy in fandom; other people like shipping or AUs, I like my little mini-anthropology sandbox and watching how ideas spread. I'm not necessarily good at it, but it's fun!)

--

Well... it's the usual things.

For example, a lot of fans claim to love fandom stats, but the ones that get passed around come from like three people. The people doing those stats, including me, don't usually have a statistics background, which doesn't automatically make them bad, but it really seems like people are just trusting anything with a pie chart.

We've recently seen people discover that those year-end AO3 ship stats have a seriously weird methodology. They don't show the thing their fans are actually trying to find out. People were pissed. But most of the time, they don't even bother asking what the methodology is or trying to do anything themselves.

There's far too much sitting back and waiting for some BNF to spoon feed one publicly-available information.

--

The big failings aren't usually the math itself but, of course, not knowing what question to ask, so it pertains to history research, not just stats.

You'll see a lot of stuff on shipping that looks at AO3 because AO3 shipping numbers are easy to pull... But AO3 shipping numbers don't just happen to be easy to pull: that is both an effect and a cause that is directly related to AO3's content. Someone interested in meta shouldn't be asking "What do AO3's numbers show?" as their first question. They should be asking "Why is this metadata available or not available and what does that mean on a sociological level?"

--

Thing two is the eternal I Have Apparently Never Heard of Anime problem. A fuckton of people theorizing about fandom trends seem to know fucking nothing about whole massive sectors of fandom or treat them as afterthoughts. This is okay if you're writing a history of Media Fandom. It is criminally stupid if you're trying to talk about what makes a piece of media have fic when another doesn't, what kinds of websites make fandoms take off, etc. Those kinds of broad questions need a broad understanding of what's out there.

It's not anime-specific, and I'm not asking for a high degree of knowledge.

I have routinely had people tell me that best friend ships and mystery/crime as a genre aren't popular, and that's why AO3 has this or that pattern... Meanwhile, buddy cops are the bedrock of oldschool slash fandom and make up basically all of the longest-running Western m/m fandoms that aren't Star Trek. CSI slop tends to have legions of future canon het shippers, and they make plenty of fanworks. It's just that some of this is more visible on FFN or older places, not AO3.

I'm always seeing things like someone speculating about how this and that anime fandom thing or bit of mid-00s FFN community drama led to this other thing on AO3, not realizing that AO3 came out of LJ Western fandom slash culture. To them, FFN is so central that it must be the main reference point, not the bajillion and one archives AO3 founders ran or Usenet or mailing lists or LJ.

I once saw someone asking on twitter about where a prominent Ranma fic might have been posted in the mid-90s. People claiming "My professor is an authority!" came out of the woodwork in droves to blither about K/S zines and then LJ. Not only was this entirely wrong, but the right answer was blindingly obvious if you knew enough to interpret the google results. I can only assume that the person tweeting had never heard of Usenet and didn't recognize the acronym for the big anime fanfic group that literally everything like this was first posted to.

I'm talking people insisting that fandom only goes for white characters when it's very obvious that fandom goes for majority leads who are not othered. All the bawwing in the world about "People assume anime characters are white" won't get rid of The Untamed or Kpop thirsters or whatever.

I'm talking sweeping pronouncements about gender and fanfic writers where the person hasn't even heard of FIMFiction or SpaceBattles or Dark Lord Potter cheesefests.

I've been in fandom for a long time, but I wasn't in all these parts, and I wasn't around for 80s zines. You don't need deep knowledge until you pick a research topic. But it's shocking how little shallow, broad knowledge a lot of people have when they're writing their Theory Of All Of Fandom History.

--

People are stupid as shit about survivorship bias, and fandom history is no exception. They're also dumb in the opposite direction, assuming that the thing they like now has always existed in this exact form.

For example, someone got mad at Fanlore for supposedly not documenting the history of f/f zines. Others have searched and searched for the zines of their old show they got into last year and are bewildered to not find any. The reality is that Fanlore editors are attempting to document every Media Fandom zine and have combed through old adzines looking for any mention of anything. Because of the methods of distribution—because it was expensive—small fandoms often had no zines at all.

Femslash fandom doesn't seem to have gotten enough critical mass to do much until Xena. The internet has really democratized things, but even the early internet was still somewhat in that old mindset where only certain popular things have a fandom. I think Yuletide itself, which started in 2003, really helped spread the idea of rare-but-existing fandoms being a thing. FFN and perhaps some other multifandom archives like Media Miner played a huge role.

Nowadays, we think of fic as just how you respond to media, any media, even if there are only two fics for that one car commercial, but that isn't how people saw things in every era—or at least it's not how fandom infrastructure worked. A lot of the time, the big hosting spots were single-fandom archives, often with restrictive content rules. Finding somewhere to post a m/m/f OT3 fic used to be hard. Never mind early zines when photocopiers didn't even exist yet and you had to sell out your print run of 500 to make a go of it.

All good research starts with a lot of preliminary investigation to figure out what you're even trying to look for.

Actually bothering to look for fans talking about their own history or casually chatting with your interview subjects before the formal interview will put a person miles ahead of many of the cringeworthy fandom ~papers~ I've seen.

The biggest mistake people make is going "Okay, these numbers aren't perfect, but some numbers are better than no numbers".

Bullshit.

As soon as there's a pie chart of the false numbers, everyone's brain turns off and they never look at the chart subtitle, never mind the research notes.

Bad numbers are often worse than no numbers.

Look at the logic behind the methodology first. Look at the social context. Basic understanding of human nature and familiarizing oneself with the shape and hangout locations of a community will get you most of the way there before you sit down for a specific interview or try to collect any specific numbers.

--

None of this is a fandom thing. Research is research. It's just that most people think "research" means watching a tiktok that the algorithm likes and were never taught how to evaluate a source for reliability.

Evaluating sources is a skill. I had explicit lessons on it in school. Lots of people don't, and that sucks.

Honestly, watching the more thoughtful debunking content on non-fandom topics, like Miniminuteman's stuff on pseudo-archaeology or Dan Olson's... everything, is a good window into critical thinking, and that's most of what's missing from bad fandom history.

--

But more than any of that, more is more. Not the crap stats, but the narrower, more personal accounts, the interviews. The more fans who investigate their little corner that isn't the same old AO3 site-wide "Why is there so much m/m?" ship stats or the same canned "Everything comes from K/S" history, the better.

What I object to is not amateur efforts but efforts that pull from the same small pool of data or that just reblog a tiny handful of supposed authorities.

--

If people are going to read just one thing... hmm... go try to look up a history of rec.arts.anime.creative, not because I think it's the most important fandom history out there but because it's at the nexus of things a lot of current fandom history work miss.

[ma1dita]

omggg hope you had a great birthday!! do u mind writing a remus x reader who realize there’s smth more than friends between them, thank youuu

🐥🐥🐥🐥🐥

remus lupin x reader

a/n: gn!reader truly idk how this escaped me. me writing for my long lost husband in the year of our lord 2024?? this was so fun it felt like reuniting with an ex anyways fluff incoming

wc: don't... look at me... 1.3k

“So?”

“So what, Prongs?” Remus huffs, flipping through a textbook. Merlin knows why he even tries to study in the common room with the boys when all they do is badger him about nonsense.

“So are you and your little friend, well…more than friends? You two are attached at the hip, so where’d the little one run off to?” James teases, whacking his best mate with a throw pillow, “Get tired of you moaning and groaning about prefect duties?”

Well, that’s…you’re definitely not nonsense.

Remus blinks, brushing his hair away from his face and glaring at James before elbowing him straight in the gut. Tosser he is, acting like he knows anything about you or relationships in general when he’s been pining after Lily for years now.

You two are just friends.

Sirius lets out a loud laugh from his place at Remus’ feet. He’s leaning against the arm of the sofa, looking up at the sandy-haired boy with a cock-eyed grin, “If they were more than friends, Moony’s moaning and groaning would be appreciated and reciprocated, don’t you think?”

Peter snickers from the loveseat across the table. It doesn’t help with Remus’ mood, so he buries his head deeper into the boring History of Magic text, grumbling, “Don’t be crass. Just friends, is all. Don’t look too hard into it or you’ll melt what’s left of your brains.”

The three instigators look at each other, before looking back at their best friend. Just friends, he says. Sure, Remus’s the nicest guy around—a prefect even; the one that people count on to be the most morally sound out of all of them, the guy that people borrow notes from, politely laughs at jokes and makes people feel included in conversations. Sure, friends—they can believe that! Everyone wants to be Moony’s friend. But it’s the way they’ve seen him treat you that stands out.

Remus usually lags behind them now, breaking apart their formation in the halls (and yes, Sirius likes to be at the front of the diamond), pushing Peter up so he can wait for you after class. Also, anyone that could distract him from taking notes in Arithmancy is surely a force to be reckoned with (and a threat to Peter’s grades). He’s even gone as far as sidling up next to you during Potions and breaking their age-old rotation of picking partners since their first year (which left James with a botched Aging Potion, and Lily laughing at him as he limped out of class with graying hair and a hunchback).

So things were different nowadays, but one thing is for sure: Remus Lupin’s favorite game is being in denial.

“Maybe your friend knows about your furry little problem, Moons. Surely you really don’t think you’re gonna get any studying done with us?” James chuckles, before pushing his glasses up to clearly see the blush blossoming on Remus’s cheeks. Though it might also be anger, he couldn’t really tell—they’ve never seen him like this, ever; so blatantly obvious with how he feels about you even though he’d never admit it. It was quite refreshing to remember that Remus is still a normal teenage boy.

“You’re right, Prongs,” he huffs.

“I am?”

“I don’t know why I even bothered to try and study with you lot if all of you are too focused on me instead of studying!” Remus is shoving his books into his knapsack as the boys continue to rib at him to get him to stay. This essay isn’t going to write itself.

“Just playing, Moons!”

“Yeah mate, if you need an actual study date we know that’s not us, just hang around!”

Remus sighs as he’s looking at his friends' shit-eating grins as they go around him showing each other the map and pointing at something.

“What now?”

There’s a knock at the portrait, and the Fat Lady’s shrill voice could be heard from where they were sitting. Peter jumps up, sticking his face over the enchanted parchment as he giggles a bit like a schoolgirl, “It’s for you. Your friend’s outside.” They all cheer and laugh at Remus shaking his head, slinging his knapsack over his shoulder walking quickly away from them.

When he sees you chatting with the Fat Lady, it’s almost as if he’s in a stupor, studying every inch of your face until your eyes finally meet his and you grin and wave at him.

Just friends, he reminds himself.

“Hey Rem! Was gonna ask if you wanted to go to the library together?”

Your voice is a treat in itself, he thinks—the lilt and manner of it so sweet and rich it almost reminds him of his favorite chocolate.

Good thing he has a sweet tooth.

Walking down the hallway together your hand bumps into his several times in passing, fingers ghosting against each other as if they were dancing, too close and then too far. Friends can hold hands right? Remus’s heart flutters as he thinks of the possibility like solving an Arithmancy problem. He supposes the boys and him don’t necessarily hold hands, but he imagines holding yours would be way nicer.

Is he sweating?

His palms are sweaty, forget it, and you’re just friends! You’re telling him about your day like you both haven’t seen each other in years, but he even sat by you at lunch earlier, much to the rest of the Marauders’ surprise. Though Remus supposes you could even make Divination sound interesting—maybe even make him look in the stupid tea leaves to see if you’re in his future, furry little problem and all. He realizes he’s been staring a second too long, bumping into you lightly as you stop in front of the library.

“Haha, you okay? You’re quiet today, Rem. Something on your mind?”

A lot about you, apparently, thanks to his meddling friends.

Remus scratches the nape of his neck as he grimaces, cheeks reddening again and instead of a response, he opens the door for you and puts his finger to his mouth as if to say “Shhhh….” before Madam Pince starts a fit at either of you. That, or him actually having to say how he feels.

How he feels… Well…shit.

You make a beeline for an open table near the corner, tugging at his wrist like it’s not making his heart beat out of his chest and Remus tries to compose himself, but then you look at him with your pretty fluttering eyelashes and he knows he’s utterly fucked. Pulling out your chair for you, you squeeze his arm in thanks and scooch your chair closer to his.

“Rem?”

“Hmm?” he responds, a strangled noise crawling up his throat as he coughs slightly, his arm landing on the back of your chair before he panics then realizes he’d look like an arse for pulling away.

Not that he wants to.

“How did you know?”

His heart genuinely stops. There’s no way you’ve caught on that quickly—especially not with him just realizing how he feels about you, his friend that he wants to be more and there is nothing casual about what he wants to d—

“How’d you know I was at the common room? You walked out just as I was about to walk in, I thought it was kinda funny,” you giggle, brushing your hair behind your ear and he takes a deep breath.

You’re just friends. But he definitely wants to be more.

“The boys told me it was you,” Remus says, chewing on his lip, “Apparently they had a feeling.”

And now, so does he.

What’s worse is that Remus hates admitting when they’re right (which is rare enough in itself, he’ll never hear the end of it from their inflated egos).

What’s worst of all is that for the first time in his Hogwarts career, Remus Lupin ends up submitting an essay late.

[copperbadge]

hi, i had a medium to big question. in your post about the adhd self-help book you mentioned people with adhd being conditioned to be nonconfrontational, but i've never once in my entire life connected the two? can you break down the connection for me so that i can once again (this week, even) have my understanding of my own condition blown wide open?

So, you are not the only person to ask about this, but that's on me for being unclear -- I wasn't trying to assert that kids with ADHD are automatically conditioned to be nonconfrontational, I was more trying to be like "Hey not everyone needs lessons in medical self-advocacy but a lot of nonconfrontational people do." And I think there is a higher population of people with neurodivergence who are deeply confrontation-averse, but I don't have like, numbers for that, it's just an assumption based on other knowledge.

It gets complicated; ADHD is a disease based heavily in acting impulsively against your best interests. But yeah I do think people with ADHD are often conditioned to avoid confrontation because of two main factors: rejection-sensitive dysphoria and executive dysfunction.

RSD, which I hate perhaps more than any other symptom or behavior associated with ADHD, automatically kicks our nervous system into high gear in social situations and encodes embarrassing moments in our memory with high-def clarity. Because RSD naturally causes a level of anxiety around socialization, it tends to make us nonconfrontational simply because a) we don't want to be yelled at, b) we don't want to embarrass ourselves by getting emotional about something that may not warrant it, and c) by the time we realize what's happening our body is already on high alert which means we are likely to go into fight-flight-freeze mode.

Me, I freeze, usually, but none of those three options are great for fast thinking during an argument. I used to lose arguments a lot simply because I couldn't think or react as fast as the neurotypical person I was fighting with, so I simply stopped having fights. Notably, I did not have this problem when fighting with my brother, who is also neurodivergent and has many of the same freeze reactions I do.

If people disagree with me, even when I know I'm right I also know I probably won't be able to vocalize it properly, so I back down. Usually it's trivial so it doesn't matter, and I've gotten strategic about how and when I argue about things that do matter; it's also a lot easier to do with strangers or professionals (like doctors) where I don't have to worry about long-term social repercussions. But yeah, our own nervous system tells us "hey maybe don't pick this fight" about every single fight and if we do pick that fight, it treats our opponent as a dangerous predator.

Executive dysfunction's interaction with nonconfrontation is something I have less problem with because while I do have poor executive function, I've spent a lot of time and energy training myself to cover the Important Stuff. I have mild ADHD so I'm capable of this; I'm not trying to say everyone with ADHD is, because lord knows it's exhausting for me and I've been doing it for roughly thirty years. But essentially, I cover where it counts: if someone needs me to do something I do it, I meet deadlines, I pay bills.

So with that disclaimer in place, a very common issue especially for children with undiagnosed ADHD is that they'll be told or asked to do something and simply be unable to begin or complete it, then when they're asked why they didn't do it they can't explain. Even if they try to explain that they simply couldn't, like they were incapable of doing it for reasons they don't understand, that usually doesn't hold water with a lot of parents and teachers.

"I couldn't bring myself to write this essay," is actually something I told myself a few times in college, but it's not something I'd bother trying to tell someone else, because if you think you're neurotypical that sounds very insane. So I'd lie and say I forgot, or I'd take the fail, or I'd simply drop out of the class. Crucially I would not fight with the authority figure who was questioning me about it, because I knew I wouldn't be able to explain myself, and I'd just end up getting in more trouble for longer.

Our culture is structured for neurotypicals, and it's not even structured for all neurotypicals. Behavior that deviates from Approved Neurotypical even when you think you are Approved Neurotypical is highly punishable. So if your options are passivity, even when passivity leads to pain, or confrontation, most people who aren't Approved Neurotypical will opt for passivity once they've had a taste of where confrontation leads. I know I do.

And the thing is, there's nothing actually wrong with that. It's a strategy calculated to minimize pain. Even when I'm firing on all cylinders on a fresh dose of Adderall, I still generally let fights go unless there will be actual real consequences, because it's just not worth it. But knowing we have ADHD and knowing we fall into this pattern, I think it is good to be aware that sometimes letting a fight go is really going to fuck you, and at that point even being bad at it is better than not engaging.

I'm pretty good at calculating those, but it's a lifelong process, knowing which hills to die on when you assume you will automatically die if you ever get above sea level.

[crooked-wasteland]

An SA Survivor's Reading of Stolitz

I don't believe that creators should be confined to telling one type of story. The beauty of fiction is to explore worlds, emotions and scenarios that are by definition unreal. It gives a safe space to interact with extremes that we would never necessarily wish to experience in our real lives with the ultimate safeword of no longer engaging with the material.

That being said, as creators, there is an ethical awareness that must be maintained in order to tell stories of things like trauma and abuse. Being alone in a cabin in the woods with a killer, that scenario is not a pervasive subculture in our society. Whereas cases of child abuse, sexual and domestic abuse are not only real, but common. And the complexities of psychological damage that perseveres long after the traumatic events are necessary aspects to telling these stories.

If you are not consciously aware and attentive to the lasting impact these events have, you run up against the horrific possibility of retraumatizing an individual unprepared for the callous invalidation of their experience.

No one should ever be shamed for engaging with media that depicts trauma they themselves may have experienced. For many, engaging in the fiction of it is a way of processing and validating their experience. Frankly saying, if you wish to write about trauma at all, you should be writing for that audience in specific. Otherwise you are simply exploiting the horrors that real people live through and struggle with every day for some cheap drama at the risk of triggering someone whose story you are inadvertently telling.

And much like most therapy speak, the term Triggered has become appropriated and misused to the point of losing all meaning in the lexicon. According to the University of North Carolina, "A trigger is a stimulus that elicits a reaction. In the context of mental illness, "trigger" is often used to mean something that brings on or worsens symptoms. This often happens to people with a history of trauma or who are recovering from mental illness, self-harm, addiction, and/or eating disorders."

The university breaks down the types of triggers as well and gives examples as to what those subcategories mean. I highly recommend that even if you are not the sort to follow up on references, I do recommend going over the article. It offers coping suggestions as well for those who are at risk of becoming triggered and helps refocus the sense of control back to the individual.

With that said, this is where I came across the inspiration for this essay. I completely removed all information for this user because the last thing someone needs when expressing how the misappropriation of abuse triggers them is how it is their fault for being triggered. These are the original tweets this response was in reference to.

As such, I feel the empathetic need to write this essay as a sympathetic reading to this person and others who have experienced SA who find that Stolitz resonates in an undesirable and even harmful way. I think this person deserves to feel seen.

To make the argument that the relationship between Stolas and Blitz isn't fundamentally abusive requires an author-intent reading of the series. It necessitates massive leaps to fill in gaping plot holes that never clarify the story Medrano is intending to tell. This is plainly just a reading of the series as is with all the context that has been physically, actually, shown in the series and that alone.

Throughout the series, Blitz is depicted as emotionally volatile and unpredictable with low self-esteem and crippling loneliness. He is constantly hounding his employees through sexual harassment from a sense of envy over their loving relationship, and infantalizes his twenty-two year old adopted daughter through an abusive dynamic where she ranges from rude to outrightly cruel while he consistently sacrifices any personal boundaries and self-respect.

The relationship between Loona and Blitz in specific feels like a masochistic self-hatred on Blitz's part where he allows himself to be used and abused by a parasitic family member to feel wanted, showing a pure desperation to be desired by someone in any way. Loona is verbally and physically abusive to her adopted father, using terms of endearment like "Dad" as a tactic to control Blitz's behavior, rewarding him when he does something for her benefit and taking it away when she deems him embarrassing or unwanted.

Blitz's tie to Stolas in the main story comes when he is called in a vulnerable time. Hiding from Martha who is hunting him down, he explicitly tells Stolas that now is not a good time to call. Stolas, who has a visual of Blitz's situation, ignores all of it. He is unconcerned about the danger Blitz is in, instead viewing Blitz solely as a sexual object as he offers the trade of the book for sex.

Stolas is more knowledgeable of Blitz's situation than even Blitz is aware of. He not only is told that the current moment is not a good time, and Blitz's tense tone portrays a sense of anxiety, but he can physically see Blitz. It exists entirely within reason that he chose this specific moment to call while he knew Blitz was in a difficult position, using the tension to leverage a quick response that would get Stolas his way without needing to intimidate Blitz himself. Using the threat of a third party to pressure compliance from Blitz.

Come Loo Loo Land, the interactions between Blitz and Stolas are simply outright hostile. Blitz actively does not want to have a sexual encounter with Stolas and is even so untrusting of the Goetia that he is repeatedly asserting the boundary that he is not at all interested in sex, which Stolas explicitly mocks by being openly sexually suggestive to him. Everything Stolas has to say to Blitz is steeped in objectified sexuality as Blitz asserts his person, dehumanizing him to the point that Blitz is first and foremost an object of gratification. Even to the point of neglecting and humiliating his daughter, Stolas uses the excuse of spending time with her as a means of leering on Blitz.

In this episode we see Blitz has a history of being overlooked and unappreciated. His act in Loo Loo Land went nowhere and we see the first hints of his failed performance career. Over the course of the series, this hint towards a crippling lack of self esteem masked by an extroverted exterior is reinforced.

In Harvest Moon, Blitz is genuinely flustered when given recognition by Striker. He is quick to devalue his relationship with Stolas because there genuinely isn't a relationship at this point.

After having gone missing for two episodes, Stolas returns, being slightly less sexual and slightly more affectionate. It is a sudden recharacterization, but it is only for this scene. The rest of the episode once again shows how Stolas values Blitz physically in a sexualized manner and claims Blitz through the use of a pet name he repeatedly requests not to be called. In the opening scene, Blitz vocalizes that he "doesn't mind" their arrangement for the book, which could be taken at face value in regards to the first season. He does have the option to reject the agreement at any time and return the book in the context of this episode. It's why, despite still being an abuse of power dynamics overall, the relationship itself doesn't tip over into abuse. Blitz has the same amount of autonomy as Stolas at this time, before the context of season two, he has just as much power to end the agreement.

With the addition of The Circus, this retroactively is a situation of placating one's abuser. Blitz assuring Stolas that he doesn't mind the sex would be a way of asserting Stolas' complete control over the relationship and that Blitz isn't necessarily threatening the status quo by his question.

They don't actually know anything about each other, they aren't friends and don't spend time together outside of their forced meetings. Blitz doesn't know anything about Stolas and questioning the need Stolas has for his book could very well be read as a means of interrogating the agreement as a whole and figuring out why this was the arrangement.

(The argument that Blitz had any opportunity to negotiate things comes from an audience bias. It is probably the dumbest thing I have ever seen put into writing. Blitz doesn't know that he has any leverage in the relationship at all. He doesn't actually know Stolas has any feelings for him. That's kind of the whole point of the hot and cold romance slant that Medrano is trying to replicate.)

This is because the book is not the reason the relationship exists.

Blitz does not instigate sexual conduct, Stolas does by leading Blitz into a private room and locking them both inside with the impression Blitz would have sex with him. Blitz has no choice in the location or the isolation. He was caught trying to illegally break into the home for the explicit purpose of stealing the book. He was caught and is effectively at Stolas' mercy in every sense of the word. Not only is he still alive due to Stolas' whimsy, but if he tries to escape now after being shown this grace he could risk having the guards hunt him down and the second time will most likely not be so kind.

He literally does not know Stolas. They met for a day as a playdate and Blitz spent the whole time manipulating Stolas into facilitating his own robbery. There is no trust between them, there isn't even a relationship. While the doe-eyed pink vignette animated around Blitz shows that Stolas has an attraction to him, Blitz is entirely in the dark about this. Stolas' behavior is merely unpredictable and precarious from his position and limited knowledge.

(And even when placed in the context of their single day together, Blitz is still objectified by Stolas immediately, and Blitz is repulsed and forced to interact, just like when they are adults.)

(Just another side note, the argument that because someone decides to do something must mean they are not afraid is just asinine. Generally speaking, most people who commit crimes are in a state of fight or flight, it is more akin to gambling your actual life. Its a rewards and risks assessment, not a case of being sociopathically unafraid.)

It isn't until Stolas dramatically announces his desire for sex that Blitz realizes he has something that can be used to distract the Prince while he steals the book. And that's the issue with the argument that Blitz is the one willingly escalating the situation: it's not sincere. Throughout the entire sequence, Blitz isn't once sincerely interested in Stolas. He leans into the pretense to gain control of the situation, of which, might I remind you, he has had zero control over up to this point. Not only is he not interested in Stolas, but this is a bid for control from the position of helplessness. This way he is not relying on Stolas' unpredictable behavior, he is reclaiming power in the dynamic by playing into Stolas' desire.

("But Stolas says nevermind and Blitz keeps going!!"

Yeah, because he needs to maintain control of the situation. This is what power dynamics actually look like; there is a two-way push and pull. The only way he has any power is through the lens of sexuality. He needs to keep Stolas interested in him to keep his position. But throughout the scene, he is explicitly depicted as being put off by Stolas. In fact the entire reason he ties Stolas up is because he was becoming too into the act. He is shown to not be sensually performing bondage, he is trying to remove a problem.

And side-side note, I know I said I wouldn't lean into Medrano's intention or explicit dictation on how she demands her show be interpreted, but she was the one who said that The Circus and Loo Loo Land are connected in the timeline and Blitz's hostility in Loo Loo Land reads far more like a man who feels used and taken advantage of. So even the argument that Blitz was an enthusiastic participant is disproven by Medrano's own metacommentary and character interactions.)

And ultimately, it all boils down to that last moment scene. Between willingly having sex with Stolas when he is tied up or the book, Blitz makes for the door to leave. He doesn’t willingly engage in sex with Stolas. Either you can read the scene as a form of pity sex, which in the context of Medrano’s timeline and Loo Loo Land, shows Blitz was not enamored with the encounter or you have to read this as being manipulatively pressured into it. There is no way to argue Blitz has any leverage in the situation and no grounds to argue that it was mutually enjoyed.

That doesn’t even start to cover the fact that all the way to Ozzie’s, Blitz is repulsed by Stolas. When calling, he openly shows that this is something he would rather not be doing. He doesn’t have feelings for Stolas and despite just using the man who is using him, just having to deal with Stolas is distressing for him.

This is not an equal or fair relationship dynamic. It is not a mutual relationship. This is a relationship of self-preservation and coercion. And the fact is, it could have worked with very small changes to The Circus. Having the dynamic be actually mutual would have been a great start, but just properly addressing the actual dynamic and having Stolas take ownership of what he's done, and validating the fact that coercion is sexual abuse. Because out of all the sweeping changes, retcons and inconsistencies, the one aspect that has persevered throughout the show is just how trapped Blitz feels.

In Truth Seekers, Blitz’s hallucination is contradictory in its attempt to be visceral, and that is not inherently a problem. Trying to be abstract, it is normal for people to experience contradictory emotions over something. It makes sense in that way, but it needs reinforcement in the expanded narrative to tell it's story. As such I am just going to give my reading on the sequence based on my narrative and state it as fact.

The clown costume shows that Blitz sees himself as a joke, feeding into his low self-worth that no matter what he does, he is always the clown being laughed at. The murky wasteland is a reflection of his life. Devoid of anything bright or good, it is populated by dead trees and the ground is a quicksand like sludge, showing how he devours the good and extinguishes it in his own life. He kills his own happiness. Moxxie exists as a critical voice Blitz hears, telling him how stupid and awful he is to everyone around him. Blitz rejects his own self-criticism, reaffirming his self destructive victim mentality that appears when faced with the consequences of his own actions.

It's when the characters of Fizzarolli, Verosika and Striker appear that Blitz gives his regrets, insecurities and resentments voice, poorly impersonating the voices of those who saw the real him. Striker mocking Blitz’s need for companionship, how he lies to himself constantly and presents himself as independent and assured when really he sees himself as needy and pathetic.

Fizzarolli adds to it, pointing out Blitz’s failures to make it on his own, however this portion of the series should probably be considered non-canon as the newest episodes established that Fizzarolli and Blitz have not had any contact with each other since the accident. The more important line Fizzarolli says “You're going to die alone”, have been written out of the show. There would have been no time or place for Fizz to have ever spoken this to Blitz.

Then there is Verosika, who brings up Blitz’s self destructive tendencies, showing Blitz’s own abusive behaviors towards characters like Moxxie. It also suggests an explanation to why Blitz tolerates Loona, because her constant rejection of him contradicts his reactionary need to push others away, as well as feeds his self-flagillation.

It is when he endeavors to flee the reflections of the worst parts of himself that he runs into Stolas. Perched atop a pristine staircase of gold, being fanned by two silhouettes of Blitz. This shows the power imbalance in every way. Blitz doesn't even walk up the stairs, but crawls. Himself just a faceless accessory to Stolas’ desires, but everything he has intrinsically tied to the power Stolas' exerts over him. This is shown explicitly by the chains around his hands and neck, Stolas' reeling him in as he bears a grimace of reluctance. It is the most explicit representation of being trapped between two bad decisions. Either he is just the joke, the failure, the asshole, the stupid piece of shit, or he is the pet, the object, the toy. Stolas mentioning Blitz being "afraid to love" is less a suggestion that Blitz has any feelings for Stolas, but instead his psyche convincing himself that the relationship is not so exploitive. That he is not being dehumanized and abused, but on some messed up level he is being wanted and desired, which is better than the wastes below.

Maybe one could say that Blitz is being elevated out of his situation for how the feathers removed the costume and sludge, essentially wiping him clean of his worst self, providing a sense of safety. But he only has this opportunity because of Stolas, and it isn't free as shown by the feathers also becoming the chains binding him. Because at the end of the day, Stolas isn't the prize at the end of the climb to self actualization, the stairs belonged to him in the first place. To escape the horror-filled wasteland below, Blitz has to play by the rules of the owner of the stairs.

And ultimately, that isn't a story that is off-limits.

The Stolas apologist argument is why the depiction of this dynamic is triggering and harmful, not the fact that it exists in the media. Just owning the scenario and having Stolas acknowledge that he has sexually abused Blitz would have gone a long way. Instead, Medrano and the fandom have insistently represented this victim-blaming interpretation where Blitz is responsible for his own abuse. And that will never be okay. This goes all the way back to my "Not All Victims are Survivors" post. Blitz is the victim in this and his bad behaviour and own abusive actions directly correspond to the fact that he is a victim with a victim mindset. He actively lives in the middle of his abuse and has formed maladaptive strategies through manipulation, harassment, verbal abuse, and self harm. These do not remove his victim status. There is no such thing as a "Perfect Victim". And he should not have to be any sort of way in order to have that experience validated. And the issue that is at the heart of this show is that the narrative and the fanbase require a victim to be framed as delicate and hapless to circumstance with a soft and gentle personality to be a victim. To come out of abuse aggressive and harsh with sharp edges is framed as being less valid. But this outcome is normal and it's a difficult battle to work on oneself to feel safe again. It's absolutely a story worth telling.

But you first have to be interested in telling a story.

[adyophene]

lucifer x husk is something i never knew i needed and as a multishipper im screaming

literally. king of hell x some alcoholic furry guy

i love them i need to know how they wouldve met, fallen for each other and started dating. and how much thatd piss alastor off

Ooh I am so happy other people are enjoying this pair as much as I am! I've gotten a few asks about my headcanons for them, and I am happy to blab on and on. Fair warning. This is gunna be a long and rambling essay.

I'm gunna put it all under a readmore, just cause I want to insert the art I've done of them so far, since I've been half-heartedly trying to tell a visual story through the doodles.

Okay. On we go!

How they met;

We did see them technically meet in the show, where they shared their singular canon piece of dialogue, which was just Husk saying 'hey'. And then in the finale where we see a literal split second moment of Lucifer holding Husk's arm.

(also seeing the sweet looks huskerdust is giving each other here just makes me feel so delulu for writing this all, but crackships are silly by definition, so lets get back to the lucihusk) For me, what I imagined, is after the Hotel is finished its rebuilding, that is when Husk and Lucifer finally actually meet in a proper manner. I think Lucifer would be trying to make a good impression on all Charlie's friends at this point, endeared to all of them from their actions during the finale. Unfortunately, I think he is also the King of Bad First Impressions.

[Note. I think at this point Lucifer wouldn't even remember Husk's name quite yet. I think he would call him 'Keekee' ( by accident) or 'Dusk' (confidently incorrect) or just be like "Hey!.... Uh... You?" until Charlie or Vaggie finally corrected him. ]

Husk, on the other hand, I feel like maybe wouldn't gel with Lucifer right away. Wouldn't hate him, but also maybe not be enamored with him right away. Same as Lucifer, maybe he would have sweetened on him a bit through the hotel's rebuilding, but I think they'd start out at very neutral feelings. Maybe a vague sense of 'He's okay, but I don't know if we will really get along.'

Despite this, Lucifer is persistent, and he's going to be everyone's (except maybe Al, unless they start getting along by s2) buddy. He'd start hanging around the bar and participate in the redemption exercises.

Now, we know Lucifer struggles with depression, and I think he would be trying real hard to mask anything going on during this time. They defeated Adam! They rebuilt the Hotel! He believes in Charlie's dream, and he's more involved with her life and other people than he has been for years.

His only issue being Husk sees right through it, both because Husk is perceptive, but also because even the King of Hell can't help but have a lonely night or two at the bar where he ends up venting about his divorce and subsequent lingering loneliness.

[snapcube ref aside, )I really do think Husk would start to feel more positively toward Lucifer after Luci would drop the act somewhat. That they could bond over feeling both at their lowest of lows, while also being to admit that things seem to be getting better!

This would be about the point that I imagine Lucifer developing more romantic feelings! Husk would be a bit less prickly, and Luci would just absolutely eat up any and all positive interactions they'd have. I like to picture a lot of little shows of care at the this point, like Husk memorizing what Lucifer likes and even making up 'fun' drinks just to try and cheer the guy up. And Lucifer would fun a fun game in trying to get the grumpy cat to smile, and just, lighting up himself any time he was successful.

And that culminating into the two of them making each other laugh, with Alastor being an easy butt of the jokes, and a good way for Husk, himself, to finally get a chance to vent. I think Lucifer would be one of the only 'safe' options for Husk to do that with, in just so far as Al can't really threaten Lucifer, and Lucifer already sees Al as a bit of a manipulative bastard.

Falling for each other; At this point, Lucifer would start being a bit more caring toward Husk, though with that wonderful, oblivious flair of his. I don't think Lucifer himself would realize he'd have a crush up until he'd start feeling protective or jealous over Husk, and it would really throw him for a loop at first.

Because fake dating is one of my all-time favorite tropes, I have always had a idea for a fanfic (or comic) that I haven't gotten around to yet, based around Lilith coming back, and Lucifer panickily asking Husk to pretend to be his boyfriend, so he can appear well adjusted/completely over her. Of course the whole thing would backfire, as Lilith would see through it (as Lucifer wouldn't be as good of an actor as he'd think), and that Husk would end up kind of feeling hurt by the whole thing.

Husk, who'd go along with the plot with an eyeroll, would find himself seizing up through the whole fake date/encounter. Would find weird, sudden emotions bubbling up and absolutely hating it.

I don't think that man would think about the class difference between him and Lucifer up until someone would say something about it, maybe Lucifer himself trying to rationalize the (at this time still fake) relationship to Lilith. Now, Husk feels uneasy about the whole thing and ends up drinking heavily the whole night so he doesn't have to think about feelings. (Blitz and Stolas who? Ahaha. fuck.) Meanwhile, while the date would be fake, I think Lucifer would really rather like having Husk on his arm and feeling like he'd have a love-life again, while also not really getting why Husk's mood would be getting worse throughout the night. I think they'd still end up on good terms, but both of them would have their feelings in a jumble, and Husk would not like it. (he thinks he's lost the ability to love, after all)

I think somewhere at this point, as they are starting to develop feelings for one another, is when Lucifer finally starts really realizing how tied to Alastor Husk is, and he starts to make it everyone's problem. I do think Al and Lucifer would stay snarky at each other this whole time, but that it'd only get worse, as Al would poke back since he'd find Lu's over reactions funny.

I also think Al would be maybe the last person to realize anything romantic would be brewing between Lucifer and Husk, and he'd just think it'd be a purely platonic thing.

Beyond just bitching about Alastor, Lucifer would really be ramping up his attention towards Husk too. Fully in that 'puppylove/crush' stage, and trying his darndest to make Husk feel good and special. Husk would be resistant to it all, thinking it would just be Lucifer rebounding hard, and not wanting to get wrapped up in Morningstar family drama when he could happily (miserably) keep his head down and just keep drinking the days away.

But then Lucifer would find out about Husk's love of stage magic, and his history as a performer, and it'd be all over for the catman. It would become Luci's new pet project to rope Husk into some joyful self-expression, and after a song and dance number's worth of convincing, Husk would start to come around. I have to post all these images now cause- I drew them with the intention of mimicking a musical number! Husk starting off as a bit resistant before jumping in whole heartedly, and Lucifer overexcitedly dragging him along throughout the music number, hyping him up and just all around being smitten.

And this is where Husk would start really falling. Getting swept up in indulging his favorite, least destructive hobby, and having someone who absolutely loves it to bond with. Especially when it would be over. When they would just settle down and talk, and laugh, and bond over what they love about performing. The spectacle, the audience, the love of the craft. Its about the comradery!!!

@belladonazeppole wrote a wonderful series of fanfics based off these pictures, as well as the songs from 'The Greatest Showman' that really fit the ship! I would be remiss to not mention them here, because Bella and their fics are just wonderful!

How they started dating;

Now. Don't think just cause they both caught feelings for each other, that they'd immediately admit to it. No. I think both of them would drag their heels. I don't think Husk would admit to them at all, without some outside force effecting it. I think he'd stubbornly try to ignore the crush or drink it away, rather than let his heart become vulnerable to anymore damage.

Meanwhile, Lucifer would be struggling between his feelings for Husk and Lilith. (In the actual canon, I do think they might try to rekindle things, depending on what kind of person Lilith turns out to be, but I digress.) Part of him would be so swept up in a giddy kind of excitement, while the other would be set firmly in the camp of 'this is a bad idea, this won't work out, just look at what happened to your last relationship'. It wouldn't stop him from being outwardly more and more affectionate, but it would be weighing on him.

I do think Lucifer would end up being the one who would be thinking; "What am I doing. He'd never like me back." While Husk would be just sitting there (echoing what was said in the ask- sorry I went all wild and wrote this much about the ship dear god)- "I'm just some fucking furry alcoholic, what the fuck would the king of hell see in me??? Am I delusional? What the fuck is going on??" And I feel like this stage would go on for MONTHS and drive everyone else nuts. It would be clear to everyone (except Alastor, who again, would be just this meme

Though that wouldn't stop him from getting a little pissy about it) And then it would all come to a head during something benign, like a board game night. There would be flirting, there would be jealousy, there would be arguing, and then finally, loudly and with a lot of feeling, Lucifer would shout his way through asking Husk out on a date. A real Date. A capital 'D' date out on the town, dressed to the nines and a real good time. The board would be knocked over in the fray, game pieces raining down upon them while Husk would just stare blank faced, trying to process what just happened. An awkward half-minute would pass before he'd finally, trying to play it cool, shrug out a 'sure'.

How much it'd piss Alastor off;

In the aftermath, a radio static would just lowly grate everyone's ears as Alastor would be slowly coming to terms on how just annoying it would be to have his friend (/Unhealthy co-dependent pet friend possession??) romantically involved (ew) with the King of Hell (double ew)??? Then, either it would be something light hearted like 'he keeps trying to break them up but failing cause he hates interacting with romance' or a darker route where 'he keeps trying to manipulate them into breaking up by preying on all their worst insecurities in the relationship'.

And that, my friend, is all I have in mind so far for this delusional crackship au! There is more I could flesh out, of course, like Angel's role as a friend or potential third in the relationship, or what I imagine as Husk becoming like a stepdad to Charlie, but I've typed enough for the whole month. Hope any of that was coherent! I did not bother to edit or proof read it. Just pure stream of consciousness.

[justwinginglife]

Study Buddies ft. Soshiro Hoshina

This is short lil piece dedicated to all my Hoshina simps who are still in school, you've got this! @totallybakedcake -hope this helps with your studies

"You know, dearest, somehow I don't think that just writing your name on the top of the page counts as doing your homework." Soshiro muses as he watches you type and delete and type and delete and type and delete the first paragraph of your final assignment over and over again.

"You know, dearest," you emphasize his little pet name for you, "Somehow I don't think you're being as helpful as you could be."

He laughs. "Oh is that right, love? I'll try to be more useful to you." He walks over to you and starts massaging your shoulders as you work. "That better?"

You roll your eyes and continue typing, but can't help smiling at the feeling of his warm hands easing all the stress out of your body. Soshiro Hoshina is good medicine and he knows it.

He hums softly as he braids your hair, he knows you think better when your hair is out of your face. You start to relax and it seems like maybe you will actually finish this paper before the end of the world comes. Your fingers pick up the pace as the ideas finally start to flow into you, and he slowly backs away because he doesn't want to interrupt the sudden motivation that's sparked inside you. He kisses the top of your head softly as if to say "I believe in you" and then leaves you to your work.

Time passes, and though you're immersed in your work for hours, you notice he still makes the effort to bring you coffee, refilling it when needed, he puts on your favorite playlist in the background because it gets you feeling good, and he even massages your feet (from under the desk, he doesn't want to trouble you by making you move, he just wants to be of some help to you).

It's almost as though he's doing this assignment with you, the way he always seems to know which textbook you need and brings it by when you want something to cite. And when your pen breaks, he goes to replace it, and when he finds out he can't replace it because you left your pack of pens at school, he runs out to buy you some.

You think to yourself when all this is done, the school life, the hustle and bustle of working hard, you're gonna marry this man. And when he comes back from the store, smiling like an idiot because he decided to also buy you dessert as a treat for when you're finished, you know he must want to marry you too.

As you finish up the final paragraph of your final essay of your final year in school, you start to think about how far you've come in life and how proud you are of yourself.

"I'm proud of you too, love." He says out loud.

You blink, can he read thoughts?? He pokes your cheek, grinning widely. "I just know the look on your face when you know you've done a good job. And you have baby, I can tell."

Your heart feels full and your cheeks feel warm, with his support you know you can do anything. You save the assignment and hit the send button, sending all your hopes and dreams with it.

The time you've been waiting for has finally come- you're done.

You did it.

------------------------------------------------------------------------------

"Now where's that cake you brought in with you?"

[cobragardens]

Holy Kittens, Y'all: My Favorite Good Omens Moment Has Gotten EVEN MORE ROMANTIC

Okay so I wrote this post about my favorite moment in Good Omens, and the stuff people are pointing out in the reblogs and comments is blowing my freaking mind, and I HAVE to show you how beautifully this all fits together, like I am flailing at my desk about this.

@vidavalor points out this gif from @soft-ange-aziraphale [Source]:

Here it is in sequence (gifs 1-4 from Fuck Yeah Good Omens):

I can't stop laughing over Aziraphale's smile, which shows, as @quoththemaiden says, that he's "utterly delighted with himself" and knows perfectly well that he's minxing Crowley; and this tiny extension of the moment convinces me even more that Crowley is desperately fighting a smile himself here.

Actually there's a lot in @quoththemaiden's comment that's insightful and well-put:

Totes agree with all of this.

And then. AND THEN!

I knew Crowley was trying to communicate something with this Shakespeare line, but I didn't know what until @paperbunny and @musingsofmaisie put it out there: Crowley is complimenting Aziraphale here, telling him he's enjoying being in Aziraphale's company, telling him his humor worked.

Remember how I keep banging on about how much equivocation Crowley does? This is more equivocation. In 1601, Richard Burbage was 34 years old, so age hasn't had the chance to wither his infinite variety yet. The stupidity of demons and the ignorance of angels regarding the human aging process prevent surveillance from noticing the poor applicability of this line to Burbage, but since the first half of the line fits Aziraphale (who does not age at all) more than Burbage (who is merely not yet old) it stands a chance of indicating to Aziraphale that Crowley is speaking about him. And the underlying true meaning of this equivocal statement would be A DIRECT RESPONSE TO MY FAVORITE MOMENT: Even though I have known you so long, you still surprise and delight me.

(Crowley's Antony & Cleopatra line also accomplishes something else important: it gets William Shakespeare to go away so they can speak privately, because Shakespeare doesn't want them to see him writing it down.)

A Dip Into Speculation

I don't think the evidence for it is binding enough to say for sure, because the evidence is really just that it fits together so nicely and lines up so well with A&C's coded romantic messages in 1793; the (pretty overt, actually, I mean damn) romance in 1827; the size and nature of the fight in 1867; the yeah, really overt romance in 1941; and in 1967; and yes okay now that I'm thinking about it the whole series, but I have this View about how the rest of the 1601 scene goes.

And in fact there is Word of Gods that could be interpreted as evidence against this little pet headcanon I have, though it doesn't necessarily have to be:

Here's my assertion: Aziraphale volunteers to go to Edinburgh for Crowley. Crowley cheats the coin toss to accept Aziraphale's offer and to keep up appearances as a demon. Rather than making a deal with (or asking a favor of) an angel, he's 'cheating' him (without the angel's knowledge, but with his consent), which "moves the dials" of evil a bit and would also make Aziraphale appear less at fault if this instance of the Arrangement is ever discovered by Heaven.

This can coexist with Gaiman's statement, above, that it doesn't even occur to Aziraphale that Crowley cheats the toss. THEE ongoing leitmotif of Aziraphale's view of Crowley is that he thinks of Crowley as much more genuinely evil and much less in need of ways to create cover as evil than Crowley actually is.

(Which is interesting, given that he also clearly thinks that Crowley is not as evil as he pretends to be, that he is and wants to do good, and that he deserves to be an angel again. [There is a whoooole nother essay slowly curdling in the churn in my head about how Aziraphale is obliged to practice doublethink and how that stunts his personal development because that's what happens when people aren't free.])

Here's what I mean when I say Aziraphale volunteers.

Does Aziraphale ask in this tone because he is actually feeling suspicious and curt, or because he has to sound suspicious and curt? He could be perfectly willing to do Crowley a favor and would still need to sound the way he does. It's difficult for me to believe this guy--

--or this guy--

--are really all that bothered by the idea that Crowley might want something from him.

Crowley's response sounds like a(n unconvincing) protest of innocence. Maybe it is. But he doesn't disagree with the premise on which Aziraphale based his question, which means Aziraphale now has confirmation: Crowley called the meeting because he wants to ask Aziraphale to do him a favor.

Close your eyes and listen to Sheen's delivery of this line. The way he says it is so soft it's got no judgy angelic sting to it at all. Is this really a prissy answer to Crowley's semi-rhetorical question? Or is Aziraphale using the cover of a prissy answer to ask Crowley, Is what you want related to the no-good you're up to, i.e., demon work?

Either way, Crowley answers:

Is Crowley making a demonic jibe at Aziraphale in return to "You're up to no good," or is he telling Aziraphale, Yes, what I want from you is related to my work, and to your work, esp. what you've got on right now?

Aziraphale volunteers some information about his schedule and what it is he's got on right now.

--he says, and the velvety way Crowley says "Ohhh," tells us--and could tell Aziraphale--that Crowley already knows this. In this coded communication I'm suggesting, Crowley's tone on "Oh" confirms to Aziraphale that the thing he wants help with does indeed have to do with Aziraphale's trip to Edinburgh.

So Aziraphale gives Crowley his travel details: Yeah, I have a couple of blessings and a minor miracle to perform. It's going to suck; I have to ride a horse.

Crowley's like, yeah, riding horses does suck. You have my sympathies. (Phrasing it as an insult to God: "Major design flaw if you ask me.") And then he says, I have to go to Edinburgh too this week. Tempt a clan leader into stealing some cattle.

And here's where I think Aziraphale volunteers to do Crowley's Edinburgh job for him:

If, as I propose, Aziraphale understands already at this point that Crowley is asking him to take Crowley's Edinburgh temptation, then this response tells Crowley he's willing to do so.

And then they have a little bit of kayfabe theater and a little bit of miscommunication between themselves. Crowley suggests Aziraphale take Crowley's Edinburgh job. Aziraphale protests "You cannot actually be suggesting what I infer you're implying," even though, as Crowley immediately points, out, they've now done this dozens of times.

Now, obviously Aziraphale is pretending innocence here with "You cannot actually be suggesting," etc. But he's not pretending innocence to Crowley. He can't be: Crowley knows about the dozens of other times just like Aziraphale does. So the protest of innocence is for surveillance; it's the spirit, not the letter, of the protest itself that's genuine: I am reluctant about this.

And Crowley misses it.

He reads the surface layer of the equivocation, the Heavenly pearl-clutching; and the surface layer is where he argues. "We've done it before," he points out. "Dozens of times now. The Arrangement--"

But Aziraphale, visibly frightened and looking around, cuts him off. "Don't say that." Getting caught in an Arrangement would be much, much worse than getting caught in a one-off deal.

Why is this suddenly a problem? says Crowley. You know we've been getting away with this; you know they don't check up.

It's not pearl-clutching at all; Aziraphale is worried for Crowley's safety.

When Crowley says--

--is his tone half wheedling and half impatient because that's how he feels, or because it must sound like that? Is it soft only out of courtesy to the other people in the Globe?

There's no difference to the outcome of this scene or the story as a whole whether this romantic interpretation of the Edinburgh bickering is correct, because we've already got a solid base of evidence that the characters have romantic feelings for each other and show each other affection and care in this scene. In my opinion this interpretation fits the tone of the rest of the Globe scene better than only the face-value interpretation. What Gaiman and Mackinnon say about Crowley cheating the coin toss and Aziraphale not being aware of it can still easily apply.

While these three statements together aren't enough evidence to convict, so to speak, if my initial argument about the interpretation of "Buck up!" and Crowley's reaction is correct--and the cool stuff other people have found and pointed out suggests it is AND explains Crowley's Antony & Cleopatra line--this reading of the Edinburgh bickering is, if not ironclad, at least valid.

And holy shit, people, that makes this scene romantic af from beginning to end. I could not have asked for a better little gift from my fellow humans. 🤯I have such a better understanding of the entire 1601 scene because people from anywhere with an Internet connection sat down and spent their time sharing their ideas, and it just makes the lit-nerd lobe of my brain so happy. I love you all, you romantics and nerds and perverts.

[fatuismooches]

I'M BITING MY HANDS I NEED MORE ZANDIK AT THE ACADEMY.

I love the little zandik at the academy, I love webttore, I love the grown-up dottore with gray hair and a little wrinkles. Ohh I can't😣😣

I NEED THEM ALL.

Cooked up some more Akademiya Dottore hcs for you anon...

Whenever he wore the Akademiya's hat with his uniform, you'd always steal it and he'd get mad, but eventually he gave up and let you hog it. It's probably a little big on you and as revenge, he'd make fun of you for looking dumb. Same with his clothes, for some reason you'd wear his Akademiya uniform to sleep sometimes? Zandik doesn't understand but every time he tries to pull it off of you, he's been unsuccessful, so he'll just let you be a strange little human since it seems to be working for your productivity... Centuries later he's learned to deal with a few shirts going missing and then you returning them after a while because they 'lost his scent.' (He wears the same outfit anyway, no big deal).

Thanks to you, there were quite a few times the professors actually listened to him. Other peers pretty much never vouch or stand up for him so it does make them think a bit when a student such as yourself does do it so vehemently. Zandik says you don't need to waste your time on it since he doesn't really care what they think, but he did manage to get a few more research opportunities thanks to you. In the beginning, he was pretty much clueless on how to express some sort of gratitude since he couldn't force out the words 'thank you' for the life of him. It was very funny for you to watch.

Group projects become so much better once the two of you get comfortable with each other. Both of you have been victims of doing all the work. You were quite excited to work with someone like him because you know of his intelligence and how he gets down to business. Meanwhile, Zandik was quite skeptical and annoyed to work with you in the beginning because he thought you were just another person who would end up leeching off him again.

However, he was surprisingly yet pleasantly proven wrong. He's especially impressed with your writing in the reports/essays, but he's never going to admit that. At least not now. The synergy between you two and your minds is something he doesn't know how to deal with at first, having dealt with so many of the opposite situations, but it's one of the biggest things that Zandik grows to be appreciative of.

When the semester is over, all students need to leave/clear the dorms until the next semester begins. Most return to wherever home is, but of course that's not something Zandik has, so most times he manages to rent out a place for a while. When you met him in the beginning he would just disappear to Archons knows where and then come back as if nothing happened next semester.

It takes a long time for him to tell you. When he does, he claims that he regrets it due to how often you show up to bother him, but in reality, he finds himself lonely without your company. As even more years go by, eventually he "invites" you to live with him. ("Invites" as in he never directly says it. Just drops subtle hints so you would ask him first instead). You're just happy to be able to cook for him more often (and 24/7 cuddles!!) (Just me trying to push my domestic Zandik and Reader agenda).

Just frequently being with each other but not needing to interact with the other. Both of you just do your own things in the peace of knowing the other's there.

Doesn't like when you ask others for help when he's literally right there. Please ask your genius scholar bf first. It doesn't matter what the problem is. Just ask him otherwise he'll get huffy and glare at you. No, you're not wasting his time by doing so. Rather, you're wasting both his and your time when you decide to go to other people first!

Coming home from expeditions. For some reason despite how tired you are, you want to feed stray kitties. It becomes a sort of tradition for you two.

This one was said a while ago, but I'll bring it back again (x, x, x) but you needing to wipe Zandik's hands because he keeps breaking pens and splattering ink everywhere. Whenever you see he gets a little too excited, you swipe the pen and start writing light-speed so he doesn't try to steal it from you for being 'too slow.'

[aristaspark]

Do you believe Brooklynn has feelings for Darius?

Hellooo, I really don't think she does! (who's surprised honestly?) No but fr I need to stop writing essays on this topic 😂 Thank god i'm an insomniac.

I know people are convinced she loves him back because she didn't *actually* reject him and instead said "I'm not really ready for..." but if you look closely at the sequence, the way they animated her body language and facial expressions is much more telling than her words (at least to me), and it led to me agreeing with Darius' recollection of this moment (she tried to be nice about it but it was clear she didn't feel the same).

Like, I don't see how anyone can see that and think she's in love 😭 THAT'S the face of love according to this fandom???? She looks horrified at the mere possibility that Darius could feel anything other than friendship towards her.

Also important to note that she started saying "I just don't think..." before changing her choice of words, and to me it's a clear sign she was about to reject him more directly, but couldn't do it, so instead she went for an answer that would spare his feelings.

And when you add the shot of her putting distance btw them by moving her feet away from him as if she suddenly felt uncomfortable with their proximity... Why would you physically recoil as the person you *supposedly* love confesses to you?

To me if the writers had wanted to indicate that deep down she wanted to be with Darius, but couldn't in this moment because it was too soon (as she said)/for Kenji's sake, they would have had her say the same thing, but have her body instinctively move closer to him as a physical manifestation of her "true feelings" (...which it is, but it moved away, you do the math).

Also the fact that right after that she still asks him to meet with her for her investigation. I don't know, I think that if she felt anything towards him she would have been as embarrassed/uncomfortable as him, but here she brushed it off as if it was nothing. She had no problem with the idea that she would see him later that day, as if to her there was nothing more to be said/this "incident"/chapter was closed.

I already talked about the look during the plane scene so I'm not going to do it again.

From a story standpoint, it would be really questionnable writing if she suddenly fell in love with someone a week after her partner of 6 years dumped her.

And I absolutely cannot see them throw the "she was in love with Darius while dating Kenji" excuse at us, like, that's straight up character assassination. I know they made Brook morally grey but you can't come back from that 😂. Also, it would go against what they showed in the two first seasons because she looked really in love with Kenji (how devastated she looked when he broke up, how happy they were on the video on her phone, how physically affectionate she was with him in episode 3, the picture of them in her secret apartment...).

And this.

I didn't think my biggest evidence for Kenlynn would be some scribbles on a notebook, but oh well 😂

Like, one simply cannot explain this away. This was her attempt at telling them she was alive, and she only wrote to Kenji, not Darius. And it's not like she had to censore herself or to, idk, force herself to write to Kenji to keep up the appearances because those are only, as I said, scribbles on a paper, her raw feelings and thoughts, something she was never going to send anyway.

Like, if they want to make dinostar canon, why post that? Why not take this opportunity to add content/substance to the ship they *supposedly* want to make endgame? Having that letter addressed to Kenji only serves the purpose of showing us that Kenji's the one on her mind, because otherwise that was unnecessary. They could have had her write to the whole camp fam, but instead they decided to show us that she wanted to tell Kenji she was alive above everyone else, including Darius, the one who confessed to her right before her "death" and who Brooklynn most likely knew felt incredibly guilty for not showing up/for her death (Ronnie probably told her).

If she was in love with Darius she would have adressed the "letter" to him, I can't see any argument against that. Or maybe it's more that if she wasn't in love with Kenji anymore, she wouldn't have written to him, but to all of them.

Honestly, the most I can see them giving Dinostar as far as Brooklynn's feelings for Darius go is to have her admit that she used to have a little crush on him when they were on Nublar but that it completely disappeared once she started getting coser to Kenji. I have nothing to back up this theory, but I don't know, I thought that much wouldn't be too far fetched.

(oh, and I almost forgot but this goes without saying... pretty sure her getting attacked, alone at night, mauled by a dino and loosing her arm partly because he set her up would have killed any potential blooming feeling in her).