#I know I've been mostly saying ''this one isn't really doing it for me''

[magpies-gold]

I have both eyes and they're both technically functional but I still relate to a lot of this because I also have monocular vision. In my case, the problem is with my brain, actually. It can only process images from one eye at a time because of a defect when I was born that required surgical intervention. Even after the fix, my brain just never learned that I still had two eyes, so it has no capacity to combine the image data like normal people do. As a result, I have no depth perception and I have a dominant eye that I use 90% of the time.

I also have visual snow that's especially noticeable when I close my eyes and at night in the dark, but as there isn't a lot of research on visual snow, I'm not sure if that's related or coincidental. In case people want to know a bit more about life as a person with monocular vision in a two-eyeballs kind of situation: I have a weird trick that I can do that seems to astound folks with binocular vision: I can consciously switch eyes. It's like flexing a muscle and I can decide to use the left one or the right in the same way that I can choose to wave my left or right hand. Trying to use both at the same time just doesn't work, though. If I really try, there's just this pressure feeling in my head, like I'm trying to imagine a colour that doesn't exist, but I can't make the two work together at all. This is likely just a me thing but my non-dominant eye is much worse than my dominant eye, and its been getting worse over the course of my life. It's still useful, but extremely near-sighted, so much so that it alone is legally blind and makes my optometrist and all their staff wince. But I can read very, very tiny close-up writing with it, so it comes in handy when I'm doing things like reading. My dominant eye is a little near sighted but not much. It's pretty stable. Also probably just a me thing: I have one lazy eye, but it relates to the monocular vision. It's my dominant one. If I use the non-dominant eye, you can actually tell when I've switched to it because my dominant eye "switches off" and rolls a little bit up and out. It was worse when I was a kid (my mom saying "Meghan, are you looking at me?" was a common thing) but it still happens nowadays. My non-dominant eye isn't lazy, so when I'm looking around normally with my dominant eye you can't tell that there's anything different about me than your average Joe. It's a mostly invisible disability for me (and I still feel strange calling it a disability because it's just how I've always seen, and yet here I am making a list of complexities regarding my vision, so....) A final possibly-just-me thing is that I hold my pencil like a space alien and always have. The reasoning I've given since I was a kid was because of which eye I use, I wouldn't be able to see what the end of my pencil was doing if I were holding it "correctly", so I draw and write like this:

(Video here, if you want to see the rest of that: https://www.tumblr.com/magpies-gold/699322866172346368?source=share) Can confirm from the above that head-tilt is a thing when one has monocular vision, even with two eyes. Because of the head tilt, I also get people startling me on my non-dominant side a lot, possibly because with my "blind" side tilted back and away from what I'm looking at, they think I'll see them sooner since that eye is closer to looking behind me. Therefore they don't think they're sneaking up on me. That is, right up until they appear, as if by magic, in my field of vision and I go AAAA!

Depth perception problems that I personally encounter: I don't drive so I don't have a lot to add there except that trying to learn scared me too much to proceed. I was not comfortable with how much slower my reaction time was on my left side or how I couldn't accurately judge where exactly objects in front of me were, so I gave it up in my teenage years in favour of a good pair of sneakers and a transit pass. But I will loudly say that going down stairs sucks. I am very opinionated on how much I love and appreciate when stairs have the bright yellow stripe at the edge, or some other marker to aim for. If stairs are all one uniform colour I am hesitant as hell putting my feet down because I can't tell how far a drop it is. I'm slow on descents on unfamiliar stairs and I desperately need the railing to hold on to. Going up stairs isn't bad because I have other visual cues to help me, and I'm much faster there. I also don't do well on really uneven terrain, like the rocky shores we have on beaches here. Watching my fiancé go hopping and skipping over rocks like a mountain goat gives me light wistful despair because I know if I tried that I would miscalculate almost immediately and break all my bones. My tactic is to get low and go slow if I have to cross anything where distances get tricky to guesstimate. I become a crab. I also have friends who know to slow down and will also let me hold their hand (bless). I do have peripheral vision ghosts on the non-dominant side even with two eyes. The most common thing I see is ghost cats. I'll see my cat jump up on a counter in my peripheral vision only to turn and find nothing there. Sometimes my brain will also suggest there might be a person walking in my peripheral vision. It's just overcompensating for what it has to fill in the blanks on. I can't catch things that are thrown at me except by sheer luck. Sports like baseball and badminton were brutal in high school and I got into many a verbal confrontation with my teacher while trying to explain that I had a very good reason to be afraid of the projectile coming for my face. I told him more than once to go close one eye and try it for himself and see what it's like. No peeking! I can't peek. Similarly, I can't fly a drone. I learned that very quickly when I accidentally flew Tim's full tilt into a wall. Oops. >> Drone was okay. I, on the other hand, was absolutely boggled by how I just could not tell where it was in space until boom, I'd crashed it. And that's because another thing is that I was personally born the way that I am, so I'm fully acclimated to it. I know nothing else, and I don't notice all the micro calculations that I do to translate my 2D view into 3D space so that I can move around in it. At least, I don't until I have a situation where the object I'm working with suddenly has no context, like a drone in mid-air, and then I suddenly notice my limitations. 3D movies largely don't work for me. They're basically just regular 2D movies involving stupid glasses. -shrug- Finally, video games with a lot of icons around the edges of the screen are a nightmare for me because I can't see all of my monitor at once. Again: slow as balls reaction time because I have to re-calibrate and turn my head a lot. The concept of a wide-screen monitors makes me go "Jesus, why?"

writing advice for characters with a missing eye: dear God does losing an eyes function fuck up your neck. Ever since mine crapped out I've been slowly and unconsciously shifting towards holding my head at an angle to put the good eye closer to the center. and human necks. are not meant to accommodate that sorta thing.

[viennacherries]

okay hi sorry i need to talk about the lucanis romance for a moment and why i think it's absolutely perfect. spoilers below the cut ofc

so obviously there are a limited number of romance scenes. i really do believe in the case of lucanis' romance this lends itself to telling his story.

we learn through party banter with him and emmerich that his relationship with rook is his first. and that's not suprising really, he's an assassin. he faces death constantly and aside from the fact that he could die at any moment, being in a relationship gives his enemies a weak spot to exploit. love and the weakness required to accept and give it is a risk he cannot afford in his line of work.

then you add on the fact that he's been in the ossuary for a year. he was definitely sure he was never getting out of there. and then he does but he's possessed.

so here's rook. and they're flirting with him and being all enticing and he thinks they're great. but he doesn't deserve love and he certainly can't risk it. he's an abomination, he'll put them in danger. and what happens afterwards? when he goes back to taking contracts? it only takes pissing off the wrong person once for rook to be in danger. so he mostly just talks around it. tried not to think about it or aknowledge it.

and then spite breaks through for the second time. and there's rook. again. and they're soft and understanding and kind and they remind him that under everything else, all of the trauma and the fear, he's human. they make him feel so safe and he starts to let his walls down.

we can't know for sure why he pulls away in that moment, but i think it's because he reminds himself how dangerous it is for him and for rook. he wants them terribly but it's such an awful no good idea so he drags himself away.

but he still cares for them. he makes them dessert and he keeps them safe and eventually he has to admit to himself that they're not just friends anymore.

and then rook is taken into the fade by solas.

he never tells rook, you only find this out in a bellara romance, but rook is in the fade for weeks.

all that time, lucanis is there and he's just full of regret. because holy shit he's fallen in love with them and now they're gone and he should've just told them. he should've held them like he wanted. because now he can't and he never will again.

and then they're back.

and he comes into their room and his words are so simple.

"i never thought id see you again. i thought id lost you"

and obviously the rest of his dialogue can vary in this scene but all of it is SO weighted if you consider the fact that he really did think they were dead.

"i do. i know how to feel."

"it's one of the things i love about you"

"i'm not going anywhere."

he is in LOVE with them and he's tired of fighting it. he's tired of pretending he isn't. he's tired of denying himself of what he wants because he's scared. because ultimately he did lose them, despite how careful he'd been, and it hurt just the same.

"i know how to feel." because he DOES now.

so in the last battle, before you fight elgernan, he tells you again just how much he loves you. how he'll do anything he needs to to be back in your arms when it's over. because those weeks without you were torture and he never wants to do that again. he wasted all that time terrified to hurt you but you got hurt anyway. why keep pretending? why keep denying himself the person he wants more than anything in the world? he goes from 0-100 because this is so much more real now. there's so much to lose.

"i've assumed you knew my heart because it beats for you. it's been beating... when i wanted you. when i was afraid to want you... tell me this ends with me asleep in your arms and i will kill any god you ask."

this one sentence conveys EVERYTHING. all of his longing throughout the game. how long he has loved rook. he didn't say it because he was afraid. but he's not afraid anymore.

so much of lucanis' romance is about subtext. it's about the things he doesn't say rather than the things he does.

i think it's absolutely beautiful.

[arabela25]

Cha Cha Cha, Käärijä - Uuden Musiikin Kilpailu | Finland, Eurovision Song Contest 2023

[the-way-astray]

alright everybody can we please stop tagging me/talking about me in the notes of pro keefe/sokeefe posts. i know strieefe has made it so that it's really funny to talk about how much i love him and how much i'm in denial when i say negative things about him under those posts (and that's all in good fun and not the problem), but we have to think about the fact that the ops are just trying to make a positive post and probably don't want a keefe hater in their notes /srs

[pennielane]

in my brief absence from here i’ve managed to fall in love with a man 11 years older than me

[izzy-b-hands]

My doctor messaging me at 12:30 in the morning to tell me she wants to do a telehealth visit abt the side effects I'm having with my new Lamotrigine dose (including worse insomnia than my usual insomnia, as u may have guessed lmao) is. something.

[noxtivagus]

woah i. wrote a lot.

[saja-star]

I've had a hard time articulating to people just how fundamental spinning used to be in people's lives, and how eerie it is that it's vanished so entirely. It occurred to me today that it's a bit like if in the future all food was made by machine, and people forgot what farming and cooking were. Not just that they forgot how to do it; they had never heard of it.

When they use phrases like "spinning yarns" for telling stories or "heckling a performer" without understanding where they come from, I imagine a scene in the future where someone uses the phrase "stir the pot" to mean "cause a disagreement" and I say, did you know a pot used to be a container for heating food, and stirring was a way of combining different components of food together? "Wow, you're full of weird facts! How do you even know that?"

When I say I spin and people say "What, like you do exercise bikes? Is that a kind of dancing? What's drafting? What's a hackle?" it's like if I started talking about my cooking hobby and my friend asked "What's salt? Also, what's cooking?" Well, you see, there are a lot of stages to food preparation, starting with planting crops, and cooking is one of the later stages. Salt is a chemical used in cooking which mostly alters the flavor of the food but can also be used for other things, like drawing out moisture...

"Wow, that sounds so complicated. You must have done a lot of research. You're so good at cooking!" I'm really not. In the past, children started learning about cooking as early as age five ("Isn't that child labor?"), and many people cooked every day their whole lives ("Man, people worked so hard back then."). And that's just an average person, not to mention people called "chefs" who did it professionally. I go to the historic preservation center to use their stove once or twice a week, and I started learning a couple years ago. So what I know is less sophisticated than what some children could do back in the day.

"Can you make me a snickers bar?" No, that would be pretty hard. I just make sandwiches mostly. Sometimes I do scrambled eggs. "Oh, I would've thought a snickers bar would be way more basic than eggs. They seem so simple!"

Haven't you ever wondered where food comes from? I ask them. When you were a kid, did you ever pick apart the different colored bits in your food and wonder what it was made of? "No, I never really thought about it." Did you know rice balls are called that because they're made from part of a plant called rice? "Oh haha, that's so weird. I thought 'rice' was just an adjective for anything that was soft and white."

People always ask me why I took up spinning. Isn't it weird that there are things we take so much for granted that we don't even notice when they're gone? Isn't it strange that something which has been part of humanity all across the planet since the Neanderthals is being forgotten in our generation? Isn't it funny that when knowledge dies, it leaves behind a ghost, just like a person? Don't you want to commune with it?

[oh-katsuki]

it's been a really long time since i wrote porn for porn's sake. here u go. it's alpha nanami :)) i don't have a title for it oops

cw: alpha!nanami, omega!reader, a/b/o, breeding, knotting, heat and rut cycles, dubcon on both sides, fingering, cohabitation, taboo, protective nanami, i feel like there is a slight primal kink in here, light dacryphilia,

wc: 3.1k

nanami didn't mean to take in a stray, but that's sort of how it happened. you're staying with him until a particularly careless friend helps to find a suitable living arrangement for you. nanami really isn't sure how it became his problem, but he'd feel awful if he'd told satoru no and left you without somewhere to go, no matter how against living with an omega he is.

frankly, nanami doesn't support the idea of alphas and omegas living together. he thinks it's a bit perverse. there's far too much at risk and the situation can become dangerous if it's the wrong pairing. sure, sometimes it works out. the better of his kind (of which he considers himself to be) give the necessary space and resist the temptation, but the others... take it too far. it'd be easier for you to live with a beta, and nanami wonders why satoru didn't first go to one of them. maybe your pheromones are weak and satoru isn't worried. that's probably why he hadn't noticed them when satoru first brought you by to ask if it'd be okay.

he knows that second gender is a spectrum. some alphas and omegas hardly emit any pheromones at all, even during heat and rut cycles. nanami thinks he likely falls into this category, seeing as he's never been particularly tempted by an omega and very few have ever been all too tempted by him, but it's a gamble. it's—frankly—unethical to ask this of him and though nanami knows that he should have said no, something in his good nature compelled him to say yes.

you've weak pheromones too, he thinks. he, of course, can feel them to a degree, but seeing as you mostly keep to yourself, it's hardly a problem in the first few weeks. frankly, the most tempting thing about you is that you're beautiful. you seem to have an almost standoffish air about you, proud and dignified, with a preference towards a more solitary and observant lifestyle. most of the day, the two of you hardly even see each other, going about your lives entirely separately only to settle into the same house for bed at night.

you don't say much when you're home. in fact, nanami would wonder if you could speak at all if it weren't for the conversations he hears you having on your phone and the little laughs or eyerolls you give in response to his comments. there's understanding there, but it's silent and you hardly ever dignify nanami's words or invitations with a response. maybe you're airing on the side of caution. he wouldn't blame you if you are. so, for the next two weeks the two of you coexist without so much as a hello between you both, silently sharing a space. you stay out of the way and nanami pretends that he isn't slightly unsettled by your constant proximity and the creeping feeling that you don't really like him all too much.

"they're a little difficult," says gojo over the phone. "kinda standoffish and really smart."

"so i've noticed," nanami responds. "i can't say i blame them though. you've put us in a weird spot."

"oh, nanamin, i know you well enough to know that you wouldn't lay a hand on them even if they begged," satoru laughs. "and they really might."

nanami grimaces at satoru's statement.

"i still don't understand why it had to be me," nanami says flatly. "you could have called ijichi. it'd probably be safer."

"how noble," satoru snickers, "but i trust you. hang in there a few more weeks. we've been working on securing an apartment for them and once we do, they'll be out of your hair. you're an angel for letting them stay." he sing-songs into the receiver. nanami holds it away from his ear.

"sure," he says. "it's not really much trouble... it's just.."

"that they're an omega. i get it. stay strong or whatever lol," satoru laughs. "unless of course, you really like them."

nanami huffs and hangs up the phone. satoru's got a good head on his shoulders, but he knew where that conversation was going. satoru was likely to say something about your heat cycle and nanami, being an optimist in cases like these, hopes silently that it won't come for another two weeks. he knows he could ask, but he worries about coming across as something of a creep. nanami is a little orthodox in the sense that he believes alphas and omegas should be separate for this reason exactly. suppressants exist but they don't always work and though nanami has sense about him, he's always had an insecurity about the kind of monster his second gender could make him. it sets him at ease a little that your pheromones appear as weak as they are.

you round the corner into the living room, standing just on the far end of the room. you're wearing pajamas, but you seem to feel no need to cover yourself or hide any perceived indecency. nanami glances at you, making a point to avoid looking at the shape of your body. it's inviting and you look at him for a moment with a small smile before raising one single eyebrow and letting out a low huff of air. nanami decides that you'd heard his conversation and he watches you shake your head as you move to the kitchen to peruse what he has. your hips, swaying slightly with each step, draw his attention to the curve of your ass and he feels ashamed for even having looked.

you're beautiful, that's certain. even the way you move is beautiful. nanami has eyes enough to see that. something stirs inside of you when he speaks, wordless recognition, maybe amusement or irritation, and vice versa. regardless, it's beautiful and nanami finds that the longer you're here the more he has to swallow it down.

you seem to get a little uncomfortable if nanami has people over, even for a moment. not that you've ever said anything about it, but you appear set on edge when he does so in the following weeks, it leads him to not bring anyone over at all. he can't bear the idea of making you uncomfortable. for as little as you've spoken to him since you've been here, nanami finds that he's grown rather fond of you. if things continue this way, he should hate it when you leave. admittedly though, he's looking forward to it a little. nanami feels that you're... a temptation. one he can't really seem to overcome.

one evening, you sit down in the living room with him. it draws his attention to look at you.

"i'm not mean, you know," you say flatly.

nanami is astounded to hear the cadence of your voice so clearly and without prompt. he can only offer a nod in return.

"i'm just picky," you continue, shifting in your seat as if you're made uncomfortable by the way you're sitting. "i have to be, being the way i am and all."

"i understand. i'm not offended," nanami says. "but some people would probably call that rude."

you smile at him, coy and delicate. "would you?"

"maybe," he offers. "if the circumstances were different."

nanami clears his throat, furrowing his eyebrows at your body language. something's off and he wonders if maybe your cycle has begun. he shifts on the couch and turns his full attention to you.

you move over to him and sit just adjacent to his leg. something in him stirs, primal and unrecognizable. you've never been this close and he only now notices that you smell nice, like something light and fresh.

nanami feels his chest stir. "this is the most you've ever said to me, i think."

"sorry," you say.

"don't be," he responds.

this conversation is awkward. it's loaded. it's like a conversation between two people who can't exchange more than a few words without experiencing intense sexual tension. he clears his throat.

"i need your help," you mumble, shifting closer. he knows what you're implying.

"i can't help you," nanami responds through gritted teeth.

"please," you say, standing slowly. you linger in front of him for a moment before reaching out and slowly straddling his legs. nanami flinches as you settle on him, pausing for a moment to breathe. "touch me."

you place your head against his shoulder, fingers grabbing his shirt as if you're agitated. the skin of your cheek is warm against his collarbone and he can feel your hair against his jaw. you twitch lightly when you touch him. carefully, he places a large hand on your head. your whole body flinches, unbelievable warmth soaking into his skin.

you feel like you have a fever and the next time you raise your head, your eyes have gone glassy, face darker. your lips are wet and lightly parted and a layer of sweat covers your forehead.

"not like that," you say, something needy creeping into your voice.

nanami, against his better judgement, rests his hands on your waist. you shudder under his touch and he slowly strokes the exposed skin of your sides with his fingers. trailing the pads of them against raised goosebumps on your skin. between your legs, he can feel heat. he knows you're wet and he knows what you want. nanami isn't sure he can give it to you, he's unsure that he should. it's not illegal, but he feels that it's wrong. something about it is fundamentally wrong and the situation goes against all of his morals. his mind still wanders.

you rest your forehead against his chest, and he feels your pheromones as they hit his nose and soak in through his skin. his body responds, tensing. your breath picks up, little heaves and pants, and you squirm down against him almost involuntarily. nanami feels himself grow hard. it surprises him and shames him. he feels heat rise to his cheeks at the realization that he's pressing up against the inside of your leg, something that makes you stir and settle directly over him. every exhale from you is a borderline whine and the syrupy smell of you grows more intense by the moment. nanami still runs his fingers along your sides, venturing over your tummy and back occasionally.

"just a little bit," you command, rubbing your cheek against him and then placing your mouth on the side of his neck and biting. "i'm sorry. just a little bit."

nanami winces and you drag your hips over him. his hands fly to yours, gripping hard enough as you make you whine.

"i can't," he grits out, speaking directly against the way his cock throbs against your core. he can feel it's dampness, a humidity that soaks through his pants.

"it hurts," you mutter and nanami feels an unpleasant stirring in his stomach. he hates the thought of you being uncomfortable.

"maybe we can find help-" you twitch over him, making him wince, "for you."

you shake your head, "you."

nanami exhales and tips his head back, his fingers still on your waist. he weighs the outcomes of this in his mind. he could push you off and fix you a blanket and a safe space, give you some tools to help yourself and then plug his ears and pretend he doesn't want to do it himself. he imagines the buzzing sound, the way you'd whimper from the other room over, still unfulfilled despite the aid. he thinks about your fingers between your legs, unsatisfying and only serving to worsen the itch. it makes him strangely jealous, nauseous almost, that you should be so uncomfortable in his presence.

you exhales against him and it's a near defeated sound. nanami's fingers buzz with adrenaline, his cock swelling and throbbing every time you so much as shift over him. there's a lack of control in this situation and his fingers move to comfort you almost against his will.

something natural and easy takes over as he slides a big hand down to the front of you and cups your cunt. it feels almost like an out of body experience, but both yours and nanami's humanity drips away slowly to make room for these primal actions. you shudder and nanami's chest swells with relief as he sees your expression. there's a need within him to care for you. it's protective, the same way he'd feel if you were in physical danger.

nanami moves his four fingers over you slowly, his breathing hitching as you push your body against him. he can feel your dampness soaking through your thin shorts and it isn't long before your relief gives way to more need.

"just this once, nanami," you breath against his neck. "please."

nanami's head is filled with something syrupy. probably you. it's probably a chemical reaction caused by you and he knows that any pheromones you're releasing are probably being released in equal amounts by him. they take up space in the room, crowding him so that all he can focus on is you, is the need between your legs that calls to him like song.

"okay," he gives in, pulling your panties to the side and dipping his fingers into you.

you shudder and let out a short cry, thighs trembling. he knows he won't be able to satisfy you like this, but he wants to try. nanami knows though that there is no such thing as nipping it in the bud with these sorts of things and as he begins to move his fingers inside of you with a beckoning motion, he feels himself slip farther away.

you're so wet, dripping down his fingers. your pussy clenches around them, begging for a knot, sucking the two digits up into you and then threatening to push them out. nanami has been with omegas before, but he's never felt himself slip away like this. his humanity leaves him in favor of something animal.

nanami shushes you quietly as he pulls his fingers from your body. you whine and squirm against him, pressing down and grinding against the bulge in his pants. he sucks in a sharp breath and quickly discard your bottoms, leaving you bare and exposed in his lap.

your cunt is sticky and shining, glistening with your wetness. he can smell it, the way you're probably fertile, and the perverse thought crosses his mind that maybe you deliberately avoided your suppressants so that he could do this to you. how out of character for him to think that.

for someone so proper, he makes quick work of pressing the head of his cock against your entrance. you push your body forward to try to take him in and nanami very quickly slides into you. you're tight and with the way your cunt makes him feel, he knows that the stretch must hurt you, but he can't seem to stop. he's so focused on quelling the ache within you, buried deep in that spot where his knot will inevitably catch.

you are barely capable of forming words now, dumb and deaf with your heat. any words of comfort nanami offers to you seem to go in one ear and out the other, but he offers them anyway. they're automatic and they come without his even needing to think about them. things about taking care of you, about knotting you the way you're begging him to, about making sure you're never alone when you have to do this. if he were in a better state of mind, he'd be mortified.

instead, he fucks his hips up into you, holding you by the waist against his throbbing cock. then, when that isn't enough, he lays you on your back on the couch and presses your knees to your chest so that he can go deeper. he needs to get deep enough to where his knot will catch, to be able to stay there to ensure it catches properly. he feels the way air leaves you with every fuck of his hips.

you raise your hand to touch his face, eyes glassed over and watering as gentle tears slip down your cheeks. a silent encouragement that pulls him from his thoughts back to you. nanami turns his head instinctively and kisses the palm of your hand. then, he takes your thumb into his mouth and bites down on the fleshly part at the base of it. he could draw blood if he wanted, but he doesn't. instead he takes your hand as it falls from his lips and kisses you plainly again on the palm before pinning it above your head.

"i'll take care of you," he grunts out and you nod deliriously.

nanami makes quick work of knotting you. he bullies his cock as far in as it will go, swelling and swelling until he sticks. you squirm as he does, gasps growing higher in pitch until you're silenced by the pressure deep in your abdomen. you cum around him, he thinks, pussy fluttering as it throbs around his knot. then, you exhale as the heat recedes into the background with this momentary relief.

nanami winces as he holds himself up over you, slowly returning to his head as the swell of pheromones recedes and leaves only the feeling of the space he takes up in your cunt.

you search his face for something, benevolence maybe, and nanami places a wide palm to your cheek.

"i'm sorry," he breathes as words find him again. "i didn't intend to-"

you shake your head, returning to yourself as well. "don't be, i wanted to."

nanami isn't really sure what to say and you wince under him as he settles his weight a little further, throbbing lightly at the mention.

"hold me," you ask and nanami obliges. he settles fully over you before lifting you so that you're straddling his lap again. you wince and nanami soothes you by gently stroking your face. it's automatic again, the urge to comfort you is well beyond his control.

something in you triggers something in him and it is two full days before either of you are lucid and well enough to separate. satoru calls him multiple times, but nanami ignores him, too preoccupied with his unexpected rut and keeping you comfortable. at present, he's well past the initial guilt and frankly, entirely hellbent on deciding that you should stay. so much for his practicality, nature won out in the end.

nanami doesn't really think he'll ever hear the end of this, especially not from satoru who, when he inevitably gets a hold of them, will tease so relentlessly that it might shock nanami and you back into your senses. he decides to hide out here with you for a little longer, filling the room with the scent of you both until it crowds out everything else. he likes the way you feel nestled up beside him, messy and breathing deeply as you sleep.

a tag for my friends @antizenin and @kentocidal bc they asked!!!

[ms-demeanor]

Okay THANK YOU for saying “your body craves what it needs” is bs because that felt like bs this whole time.

Like you don’t need more sugar if you crave sweets that is NOT what that means. Sugar is a food that people crave because it tastes good/sugar I think is an addictive food??

Idk it just felt like people making excuses when they’re supposed to be trying to eat a little healthier (healthier, not low cal, not low fat or keto or whatever. Diets are bs but craving sweets does not mean sugar is healthy thing for your body rn)

People crave sugar because it tastes good, which is not a bad thing, and there is an evolutionary reason that sugar and fat taste good to us. Carbs are your body's favorite thing because it is SUPER easy for your body to break them down into useful molecules.

I'm not a fan of the idea that any foods are addictive and I'm skeptical of models that suggest "refined food addiction" is a thing with a measurable, real-world impact; there's a lot of debate in that area of nutrition science and to me it kind of seems like the tools people use to track food addiction aren't really examining the addictiveness of specific foods, but are decent screening tools for people who have compulsive behaviors around food (for instance, one group of people who the Yale Food Addiction Scale has repeatedly been demonstrated to be REALLY good at identifying is people with anorexia).

But your body needs sugar all the time, whether that's in the form of complex carbohydrates that get broken down into simple sugars by your body, or simple sugars that you stir into your tea that then gets sent to your cells as energy. If your diet doesn't have enough sugar in it, your body has a processes to turn non-sugars into sugar so that it can use the sugar (gluconeogenesis!). Sugar is unambiguously good for you in the way that fat is unambiguously good for you. You need sugar to survive and it's not a bad thing if you want to have a cookie or a soda or some candy, and again - your craving probably isn't telling you that you're deficient in a specific micro or macronutrient, but I still think that you should listen to your craving.

Like, I don't know how much you know about psychotherapy but the attitude that a lot of diet-focused discussion takes toward cravings reminds me of cognitive behavioral therapy. "When you crave chocolate, no you don't! Don't think about the chocolate, you actually probably need starch or sugar or something, let's redirect that into having a banana, or some frozen berries, or some spinach. Point away from the unhealthy craving and into the healthy replacement, or, better yet, ignore the craving. Mind over matter. You choose how you act."

(I actually think "X craving means that I want Y food so I shall replace it with Z, which is similar" "craving salt means that I am dehydrated and need electrolytes so instead of potato chips I'll have some soup" is how this goes most of the time. I think this is a diet culture thing, not a food positivity thing.)

And you know what I think that's a garbage way to look at both food and emotions.

When I'm craving ice cream it's not because I've been mostly vegetarian for a week and am low on dietary cholesterol (AN IMPORTANT NUTRIENT. Don't be scared of consuming some cholesterol), I'm craving ice cream because sugar and fat taste good. So instead of trying to pretend that I'm getting "what I need" from a piece of salmon the size of a deck of cards with no salt and some lemon squeezed on top, I'm going to scoop out a moderate portion of ice cream and eat it while focusing on how much I enjoy it. And I'm going to do that instead of sitting down with a pint and a spoon while I'm stressed at work and eating something that tastes good to distract from the fact that work is stressful. (And sometimes it's fine to sit down with a pint and a spoon but I will say that's generally best not to do while you're in the middle of something stressful)

And if you want to relate that back to therapy I see this as more of the DBT approach. I've accepted that I want ice cream so I'm going to eat it in an intentional way and enjoy it instead of eating so much that I don't want dinner, or that it makes me feel sick, or that I eat it without noticing it because I'm using it as a distraction instead of a snack.

I'm not trying to shut down the negative emotion or shun the "bad" food, I'm accepting that I have that emotion and I'm working this neutral food into my day so that I'll feel good tomorrow and won't get heartburn overnight.

So I see that you're trying to be kind of anti diet culture here, but I don't think people need excuses to eat sugar, and I actually think that making excuses to eat it is significantly less healthy than just eating the sugar (which, again, is unambiguously healthy to eat as part of a varied, filling, nutritious diet). It seems like you may have internalized some ideas about sugar that are not great even if you are trying to separate from diet culture.

Nobody is ever going to eat a diet so healthy and nutritionally complete that they don't want candy or cake or cookies sometimes. Food is not only fuel, it is entertainment and culture and comfort and distraction and celebration and a million other things, but it is not bad. I don't think there's a single universally bad food out there, or any food that never belongs as part of someone's diet (unless it's something you're allergic to - I don't care if you're craving peanuts, do not eat peanuts if you have a peanut allergy).

So it's okay to make sugar, you don't need to make excuses. It's okay to eat sugar if you're craving sugar, even if that's not what your body "needs". But also sometimes a craving is your body saying "I'm hungry and this sounds good, please feed me" even if you're not a finely-tuned spectrometer that's craving blueberries pie because you actually need antioxidants from the blueberries (you're not a finely tuned spectrometer, you don't need the antioxidants from the blueberries, it's perfectly fine to just eat a slice of pie).

[haedalkoo]

The car conversation and grammar: "When I was busy, you were free but you never called me."

After rewatching the episodes a few times (I just couldn't get enough of them) and reading the opinions floating around, I wanted to add my two cents to the car conversation discourse. This post is mostly about language and interpretations. Keep in mind I'm not 100% fluent in Korean, but I understand the language to a significant degree.

Let's get started!

It's time to put on my Korean-is-an-awfully-ambiguous-language cap. Buckle up.

The conversation starts with Jimin saying they haven't gone somewhere in a long time. I would say it's not that they haven't hung out, but that they haven't traveled together or gone out like that. This is just my interpretation, though. JK tells him, "we were supposed to get a drink" (as in, meet up and go for a drink 만나서 (meet and) 술 한잔 하자 (go get a drink)). Then, Jimin says "원래 그런 거 아니겠니" which loosely translates to "isn't that how it's supposed to be originally?" as in, that's what happens, you talk about doing this or that together and it never ends up happening. Like the travel show, if JM hadn't flown to JK. Like the times he tells Tae to meet up but never happens. Life gets in the way.

But this is the interesting part. Jimin's reply to me comes off a little defensive (in a joking manner), as if saying, "don't blame me for not meeting up (it's not like I didn't want to, I couldn't)." but JK keeps pushing him. He says:

"형 바쁠 땐 / 내가 겁나 한가한데 / 안 찾고. 나 바쁠 땐 / 형 한가한데 / 안 찾고."

This sentence is a grammatical nightmare. He isn't using any particles, which help indicate who's the subject or object of the sentence. So you can only guess based in context. I've marked Jimin (hyung) in orange, JK refering to himself ("me") in purple, and "didn't come looking for" in pink. 찾다 (jatda) means to search for, look for.

Many K-armys have been pointing the same thing out, and I agree. The repetition of 안 찾고, to me, feels like he's making the same point in different situations.

When you were busy, I was so freaking (겁나) free

When I was busy, you were free

And in neither of these cases you came looking for me.

That's why Jimin jumps in immediately to defend himself in a whiny tone.

아니지 찾았지! That's not true, I did go looking for you! (The ending 지 indicates a reiteration, something both the speaker and recipient know as true.)

He took that personally LOL. But this makes so much sense in retrospective, think of all of those 2023 lives were JK was asking JM to come over, to do a live together, and JM's response was always "I'm busy" "Hyung needs to go" "You/I have a schedule." Jungkook was lonely without him. Jimin probably felt bad and did as much as he could to see him ("I did reach out!") - to the point he flew fourteen hours to spend quality time with JK. HOWEVER, this is just an interpretation. The lack of clear pronouns and particles makes this really hard to translate, which is why the show translator interpreted it as "when you were busy and I was free, I didn't call you." Both interpretations are valid, but giving their reactions and context, I feel like this one makes the most sense to me.

If we go with my interpretation, after that, I feel like Jimin tries to ease the conversation/justify himself by saying how him and Tae don't meet up either even if they videocall often. As if saying "I'm not pushing you aside, I'm really not meeting up with anyone else either". This makes Jungkook laugh, but he still wonders lightly "I don't think we would be seeing each other (either) if it weren't for this (trip/shoot)." I want to reiterate how lighthearted this comment is, he's simply wondering (but still teasing a little.)

But again, Jimin feels the need to defend himself "yah, that's why I (hyung) came here!" (again, he uses a grammar that highlights the information being said is something the two of them know, something obvious.) To me this felt very whiny/cute, like, "stop saying I didn't make time to see you! I'm literally right here!!" and I think JK gets the hint that if he keeps pushing JM might get upset, so he smoothes things over by repeating over and over again, "that's right, you came, you came."

It's a response to the previous "you weren't looking for me." You did come looking for me. You found me. We're okay now.

Finally.

[patricia-taxxon]

Sorry people are being hostile in the notes of your recent AI post! Your points are really interesting and I hadn't thought about it like that (referencing the "..."it's theft" isn't a good argument when much of the greatest art to ever be made is also largely theft" part)

I agree with what you're saying about theft/ creative use of someone else's stuff (or even un-creative use of someone else's stuff, looking at John Williams fully ripping off Holst in the imperial march)

But something about generative AI still rubs me the wrong way though (re: taking people's work), and your comparison has made me question more specifically what it is that I'm uncomfortable with. I think it's the lack of intentionality behind the theft? Coming at this as a composer, if someone stole like, a melody I wrote, I would be happy that they had thoughts & ideas about the thing I made & interested to see what they did with it. I think the thing about generative AI that I don't like (on a personal level) is the lack of intentionality, like, both not knowing if my work had been fed into the training data + if someone rips me off it wouldn't be a choice they made specifically, but just a thing that mysteriously happened.

Idk if I'm making much sense, I'm not really engaged with the online discourse about generative AI because (from the bits and pieces that I've seen) it's a lot of people getting really angry and shouting the same x5 things at each other, rather than like, a discussion.

Anyway sorry for rambling, I appreciate your perspective! hope you have a good day! ♪ヽ(´▽｀)/

Yeah, this is mostly where I'm at as well. Even purely secular people tend to invoke the concept of a "soul" when talking about "AI" art, and I'm pretty sure this is what they mean. Soul as in aggregate experience, perception, taste. People want copying in art to communicate something, they want to consider another human's notions of beauty and ugliness. That's why I describe it as modernist, it extricates taste. It copies accidentally with no bridge to the source, not even an implied one. I compare it to generative art a lot, but even that doesn't really reach the level of randomness and diversity of output as these image synthesis engines do. Morton Feldman's pieces still exist within the formal framework of orchestra, after all.

[cy-cyborg]

The Jaws Effect and what it means for media representation

The Jaws Effect is the name of a phenomenon that described the panic and fear that sprang up around sharks, fuelled by Steven Spielberg's movie, Jaws. While the fear of sharks and other marine predators had always been a thing, Jaws launched the fear of sharks, and Great White Sharks in particular, to new (and mostly unfounded) heights. Most people will never encounter a real-life shark and so their only knowledge about the creatures come from movies and other forms of entertainment. Entertainment that largely portrayed them as mindless, unfeeling killing machines. After Jaws, sharks became a staple in the creature-feature genre of movies, which only perpetuated the idea of sharks as dangerous monsters even further, reigniting and reconfirming the beliefs the public held about them in the process. These ideas about sharks are, of course, not true, but the misconception and fear has had a real, observable impacts on shark populations, shark conservation efforts and even laws and legislations surrounding sharks and shark conservation around the world.

Ok but Cy, this is a blog about disability and disabled representation, what do sharks have to do with anything you talk about? Well, Because The Jaws Effect is just one of many examples that shows how massive of an impact representation in the media can have, for better or for worse, especially when talking about subjects the public generally knows very little about.

This conversation is not unique to disability representation, nearly every person I've seen who's talked about how to write and design characters from any minority brings it up eventually, but the media we consume, the movies we watch, the books we read can all have big impacts on people's perceptions on those topics. When talking about disability specifically, it's an unfortunate reality that not many people know all that much about us, and so, much like sharks, for many, their only real exposure to disabled people is through the media they consume.

If you don't know anyone in a wheelchair, and your only knowledge of life as a wheelchair user comes from books and movies like Me Before You, of course you're going to (spoiler) come away thinking that life in a wheelchair is horrible and death is better than living like that. If you don't know any DID Systems and your only exposure to a condition like that is through movies like Split (and honestly, a number of other horror movies and crime shows) of course you'll think people with DID are unstable monsters who could become violent any moment. If your only exposure to autistic people is Music, then it's not shocking that you might think Autistic people are "trapped in their own minds," completely unaware of the world around them and lacking any kind of agency. As much as I'd like to be able to say these are "just movies" or "just books," and that if we don't like them, we can just not watch them, they all had an impact on the real world and real people's perceptions of the disabilities they depicted, as do the many, many smaller examples of bad representation.

This is why I personally spend so much time focused on the portrayal of disability in the media, why so much of my content is focused on creating resources for creators to represent us better, and why I think writers, artists and other types of creators should care about the representation they include.

Unfortunately, people believing misinformation and stereotypes, while annoying, isn't the worst of the impacts bad rep can have. If a stereotype is prevalent enough, and enough people believe it, it can both put us in harms way and cause us to loose access to things we desperately need and things designed to help us. One really common example of this is when movies and TV shows show a character getting up out of their wheelchair, and use this as proof that the person is faking being disabled. However, in reality, there are many disabilities that might mean someone has to use a wheelchair, even if they can still walk a little bit or stand up. The stereotype of someone standing up from their chair being a fake, especially when it's reinforced over and over again in the media, leads non-disabled people to believe that anyone who stands up from their wheelchair is faking, and results in a lot of real disabled people being harassed and denied things like access to disabled parking, toilets and other accessible spaces. There were even a few cases of people reporting those they see get out of their wheelchairs to Centrelink (The Australian "welfare" department, for those not familiar) as frauds, and while these investigations don't usually go far before someone realises what's happened, it has, on occasion, resulted in people loosing the income they depend on to survive, even temporarily.

But the impact of representation, of course, can go both ways.

I was in high school when the first How To Train Your Dragon movie came out, and at the time, I didn't really like people being able to see that I was a leg amputee because I was sick of kids in particular staring, pointing at me, asking their parents "what's wrong with them?" or asking me directly, "what's wrong with your legs?". I wore long skirts and big, bulky tracksuit pants to keep my legs covered, something that became dangerous in the hot Australian summer, but I didn't care.

But the impact of How to Train Your Dragon came in two ways. The first, was that it was one of the first times I'd seen an amputee (or rather, multiple amputees) who didn't keep their prosthetics covered or hidden, and it gave me the little boost in confidence I needed to do that myself and wear clothing that was more comfortable and functional. And second, the comments from children changed, albeit slightly, but enough that it was noticeable. The questions and comments went from "what's wrong with you?" to "oh cool, your legs are like Hiccup's!" I even had one little girl ask me once if I had a pet night fury. They went from being scared of me and my legs, or at the very least concerned for me, to genuinely curious and impressed. While reactions like that did become less and less common over time, they didn't fully go away either. Even today, I occasionally get young kids asking me why I have legs like hiccup. A friend of mine who was born with one arm shorter than the other and without fingers on that side had a similar experience with the movie Finding Nemo. Her disability was a bit more complex than what I described here, and she always found it hard to explain "what happened" to small children, however, after Finding Nemo came out, she was able to simply tell kids "this is my lucky fin, like what nemo has!" and that was enough to take her from someone "scary" to these kids to someone like their favourite characters.

Of course, it's much easier to see the impact positive representation can have on people's perceptions when we're talking about kids media, but it's not exclusive to it either.

When it comes to a minority like the disabled community who are so thoroughly misunderstood by the wider public, misinformation can and does spread easily. What people see and read in the media they consume plays a big roll in how people perceive the real people attached to the stereotypes. We often hear people say "Fiction imitates life" but the reverse can and often is also true, life can imitate and be influenced by fiction, and those of us creating should be mindful of this, especially when we're talking about a group of vulnerable people.

[Thumbnail ID: An illustration of a Great White Shark swimming near the rocky bottom of the ocean, surrounded by silver fish. In the bottom left corner of the image is "The Jaws Effect and what it means for media representation" in big, white bubble text. /End ID]

[lizardkingeliot]

So it's already been discussed to death by myself and many others that the whole rockstar persona Lestat is going to adopt in season 3 will mostly be to take the heat off Louis. I mean... there are other reasons too. Lestat loves attention and playing music. But as with everything else Lestat in this show, Louis will be his number one motivation.

Anyway. I've been thinking a lot about that and how it has the potential to mirror some of Lestat's past behavior on the show. Namely what he does in 1x03 when he calls out Jelly Roll Morton's playing. On the surface, it looks like he's doing it just to be a brat because he's angry with Louis. But as Louis' narration continues he reveals Lestat actually did it to save Louis the embarrassment of Jelly Roll leaving him high and dry.

What's really interesting about that moment is that Lestat does this in the immediate aftermath of being rejected by Louis. Louis says he doesn't want to kill anymore which means he doesn't want to hunt with Lestat anymore which means he's rejecting his vampirism which means he's rejecting Lestat and the life they promised to build together in the church, on the altar...

And Lestat's immediate reaction is to do something that not only gets him attention and allows him to act out a bit but also allows him to Do Something For Louis. Even though he's just been rejected. Even though he's hurt. Probably even because he's so hurt and because he's been rejected. Louis hurting Lestat, in so many ways, only seems to amplify Lestat's feelings for him?? Makes him love Louis even more? Makes him want to do things for Louis even more than he already did???

This quote from 1x03 is his thesis statement tbh:

Which leads me back to Rockstar Lestat. Sponging up the adoration and getting to be Lelio again but really doing it all for Louis. Even though he's not with Louis and they're Totally Just Friends Right Now Guys. Even though Louis has maybe rejected him??? Or at least he perceives it that way? We'll have to wait and see how they play their dynamic when the season starts to be sure. But even if an outright rejection isn't the case...

The book is going to be a factor. Not just what Louis said about Lestat that's on those pages, but what the Talamasca made Daniel edit out. I think it's a definite possibility Lestat is going to come off much less nuanced than he appeared even in season one tbh. And even if he knows about the edits (or if the edits end up not mattering at all) the very idea of Louis sitting down to do an interview that led to their story being exploited in such a way is going to hurt.

And then for his reaction to be putting on this dramatic rock star spectacle that on the surface looks like a shallow bid for attention when in reality it's going to be... Lestat protecting Louis from the vampires who want to skin him alive. Doing everything for Louis. Even when he's hurt. And maybe even because of that...

[tunemyart]

So I've just watched the finale and I'm feeling... Weird. I think part of it is because this show started with everything I like in a story (cool badass ladies, a queer romance, found family, redemption, etc etc) and ended up being... Not all that (most characters die, the romance is doomed, and I guess the redemption mostly happened but wasn't entirely satisfactory to me). Also, I'm someone who as Trauma (tm) with death so, I guess my brain's first reaction is "fuck that I just want them all happy and safe" and it takes me a while to accept when stories take these paths, however well written they might be.

Still, I thought it all went a bit fast in the last 2 eps, with parts of the show ringing just a little bit more hollow than I would have expected? I'm left feeling like the characters of Alice, Mrs Hart and Jen were treated a bit superficially (Lillia's story felt more complete). I also wished we had seen more of Agatha's past because spending centuries just conning witches then killing them is... a bit boring? (maybe we learn more about her in WandaVision, I haven't seen it). And obviously I wished we had seen more of Agatha and Rio. It's like the show couldn't decide if it was about Agatha or about Billy (partly because, I'm guessing it's setting up a 3rd show about him?), and with this short format we ended losing a bit on Agatha's part.

Anyway, curious of what you think of all that because your analysis are always super interesting, and like I said my own brain might be a bit biased towards resistance with this one. And obviously would love to read your fanfic(s) should you write any!

So, I've started and restarted a reply to this a few times, but I think what my answer boils down to is: we're meant to have multilayered responses to this finale. We're meant to sit with it. It's meant to change our experience of the show we've had to this point.

I think the best metaphor for this is the fact the revelation that Rio is Death. Bear with me, because I know this got spoiled for us way early on and we all knew it and were all just waiting for the revelation to drop - but imagine for a second that we didn't know that Rio, Agatha's ex-girlfriend and spooky fun vaguely-a-psychopath as played by the delightful Aubrey Plaza, is death. Your perception of Rio would have been turned on its head. Your perception of Agatha would have been turned on its head. Your perception of the Witches' Road and what we're even doing here with Death walking alongside us as a tourist would have been turned on its head.

Now, we all had an incredibly fun time even with the knowledge that Rio is death before we should have had it. But I think some of the power for what it meant for the story - and our perception of what was really happening - was muted.

Jen, at the beginning of 1.08, says, "She told us who she was from the very beginning."

Sit with that - because the same is true of this story.

---

It turns out that the Road is a metaphor for death. This isn't fully illustrated for us until Nicky, the author of the Ballad, walks down the road with Death's hand in his, and we go, oh. Oh.

Agatha tells us in the beginning that the Road doesn't exist, a rare instance of her giving anyone unbridled truth. And sure - the Road that our coven walked down doesn't exist. The Road that all the witches Agatha lured to the deaths believed in doesn't exist. It's a fiction. But it's significant that Agatha lured them all to the Road and killed them. They wanted to walk the Road. They died. Not "they died instead" - it's a two-fold statement. They wanted to walk the Road and they died. In a gruesome way, Agatha's been taking witches on the Witches' Road since the 1750s.

I don't think the significance of that is lost on Agatha, either, especially where we pick up at the beginning of 1.08. Lilia's dead, and everybody's reeling.

Perhaps Agatha more than anybody.

---

I also want to quickly take a look at Rio's accusation of Agatha regarding Billy.

"The bodies are really piling up." "Did you doubt me?" "Yeah, I did. I thought there'd be a trick in there somewhere. And there was! You were distracting me from him."

Because this is a revelation about Agatha's actions toward not just Rio, but any audience watching her - i.e., us the viewers. She's been distracting us! Not from who Billy is, we know that of course, but with regard to what the Road itself is. Agatha's known the Road isn't real the entire time. She's been protecting Billy from that knowledge. She's been protecting Billy from Rio. She's been protecting the coven itself from disintegrating. And, the biggest con woman move of them all, she's been distracting us - with less and less success as the show goes on - from the fact that she is not even the slightest bit in control.

---

So I definitely want to circle back to what you said about how the show started out with everything you like in a story, because oof, yeah, I felt that. I felt that hard in the finale. Coming off the impact of the incredible storytelling in 1.07, and the queer jokes and campy Wicked cosplay balancing out the sad, I think many of us spent the next week expecting some kind of emotional resolution that probably involved the remaining coven banding together in some more of that found family we've felt them becoming along the way.

Here's where things starts going wrong, right off the bat: they don't. Instead, they splinter. Not only are you aware of just how few of them are left (Jen, Billy, Agatha), but Jen and Agatha can't handle Lilia's death. Jen's distraught. The close up on Agatha running away out of the trial and back onto the Road, alone, shows her looking hunted and wild in her guilt. Everything that follows has its seeds in that moment of rending that began with Lilia's death.

From the beginning, the point has been that Agatha Harkness is a covenless witch. It's something we've seen her revel in - maybe simply because she has no choice but to own it. But the fact is that here, for the first time in centuries, she had a coven. She didn't intend to have one - she intended to kill them all in her basement and not think twice about them again. But events transpired the way they did. They became her coven. And one by one, they all died on the Road.

Rio, of course, has the words to cut right to the quick: "Your coven is shrinking," she teases Agatha cruelly. Agatha looks wild - because she's right. The worst thing is that she killed Alice - and she didn't mean to. She didn't want to. But she did, and in exactly the same way she'd intended to kill her at the beginning, the same way she's been killing witches for hundreds of years. "Your coven is shrinking," and it's Agatha's fault. It's Agatha's coven. It's Agatha's coven.

Hold on to that, too.

---

One of the things that I've been mulling over most is Agatha's character. She's so much fun in the beginning. We're all fucking charmed by her. We also don't have the full context of just how much of a serial killer she is.

So for me, at least, watching 1.08 and not only not getting found family, but getting an Agatha so far away from a "redemption" story that she only just barely is willing to not sacrifice Billy for herself, was kind of a rude awakening. Agatha's a lot more of a villain that I was prepared for. Surprise!

Agatha's so far away from "redemption", in fact, that she's only just barely starting to feel empathy for other witches. She's just starting to be affected by people who aren't #1. And that's a trauma response. And it's so, so, so deeply rooted in her that she's only just starting to be able to conceive of the idea of people who care for her. Of the possibility of being able to live in community. She's not ready for a redemption arc. There was no way that the kind of redemption arc she'd need could fit into nine episodes, because so much of it would for her be predicated on a mental shift that Agatha just hasn't arrived at yet. She's still so angry. She's still so traumatized. She's done almost none of the work. And even at the end, even with the final gesture of sacrificing herself for Billy, that's not a final act of redemption, oh Agatha's now a good person/forgiven/insert word frame of choice.

What this show did in terms of redemption for Agatha was set her up to be in a place where she might want it - where she might want to do and be better for Billy, and someday, for Nicky.

And it's significant that that point comes for Agatha in dying… and after death.

---

This show is about death. The Road is about death. Death is a character on the show.

Like, okay, you're saying. Fine. But what about my gay fun times? What about my queer romance, my found family?

And please know that I'm there with you.

I'm not hugely in touch with what the larger fandom is saying and how they're reacting because I have my little echo chamber here on tumblr and a few friends who have actual social media, but even here I get the sense that we're all kind of :/ for fairly similar reasons. What happened to the show I fell in love with?

And for me, the last few days, I think it's been important to realize that the fact that the show I fell in love with didn't suddenly become a different show. It didn't pull a bait and switch. No twists were in bad faith. Everything has been right here in the text of the show from the very beginning.

And I think it's important to see the story that Jac Schaeffer et al. were actually telling vs. our expectations of what they were telling, or worse, what we wanted them to tell. For just one example, I was convinced we were going to see Alice again - maybe Lorna Wu, too. I wasn't expecting it to be for the sole purpose of recognizing that not only is she dead, but to give Alice herself the space to say that it wasn't fair, that she wasn't ready, that she'd just broken her family's curse, that now she can really do something with her life! Because, ugh, yeah! It's not fair, for all those reasons! But that's also death. Likewise, Sharon's just dead, and worse, her death was pretty much meaningless. Lilia rediscovered herself again, and she chose her death to save everyone else - extremely meaningful. But at the end - she's just dead. We don't see her again. She's gone. She, like the others, walked the Road and away with Death.

I loved these covenless witches. I loved them finding themselves together. I loved them bonding around the campfire and discovering community. I miss them all, so so much. But they told us from the beginning how haunted by death all of them were: Alice and her mom, Lilia and her coven in Sicily, Billy and William Kaplan, Agatha and her son and her ex-lover. And of course, Death herself. Forget haunting these individuals - she came to actually join the temporary coven. Like, fuck. They told us what this show was about.

---

This show is about death, but it's more complicated than that: we'll take our cue from Rio again, who, in being Death, is also the original Green Witch. In short, this show is about Green Craft, "growth and decay in constant flow."

So yes - almost every single witch in the coven dies. Yes, it's permanent. No, the queer romance isn't resolved happily. No, Agatha doesn't have a redemption, satisfying or otherwise. And no, none of it follows what we've come to expect from found family story trajectories.

But the focus shouldn't be solely on the decay. There's a whole cycle of growth coming up after it, even now, and it's being made possible by the death and decay that we just witnessed. And most importantly, it's confirmed that this isn't the end of the story - just the end of "Agatha All Along."

---

I'll finish by actually answering your question - I've been sitting with the finale for a few days, because I also felt weird about it. And I think that's the right word: "Weird." Very spooky season-esque, first of all, but also not tipping all the way right into "bad".

The first thing to acknowledge is that no story is perfect - they were limited by nine episodes by what they had the space to show, and finales are really hard to get just right. The second is that you're allowed to not like any or all of it, especially when something happens that asks you to change your entire understanding of the story thus far, i.e. the Road isn't real, or when you have a particular trauma around death and it turns out that that's what the whole show is about in ways we hadn't fully realized. The third is that it's worth sitting with stories sometimes and seeing how they marinate and develop in your brain and your soul over time. All of these things can and should coexist.

This isn't my first go-round with a series finale that initially made me ???, so I was fortunate in that I felt like I had a cheat sheet. I've still got some marinating to do to see how this continues to change for me. But it's helped me to realize that my ??? reaction is what the story wanted me to have - that the characters are reeling right along with me. Not just Alice in shock about her death, but also Billy at the implications of his creation of the Road regarding his responsiblity for what happened on it. We're meant to feel this way… and then we're meant to reconsider the journey we've been on, the Road we've walked with all of them and the death we've died alongside them, and see it anew for what it really is.

[luveline]

idk if you would write for this I checked your guidelines and wasn’t sure but I would LOVE a pregnancy scare with Aaron (May be reader is younger than him?)! And she’s just panicked bc he’s older and already has a kid and etc and the test can be pos or neg totally up to you!

thank you for requesting! 1.3k, fem (possibly) pregnant!reader

cw reader's and hotch's attitude towards pregnancy is mostly positive

Your period is twelve days late. 

That is not a small amount of time. 

You don't notice it at first, and when you do you figure it's a few extra days without an irksome pain, a balm to soothe the ache of your absent boyfriend and a hard job, but when Aaron comes home from a case and you still haven't started your period, the panic begins to set in. 

You have a hard time keeping things from him for obvious reasons. His being a human lie detector felt fascinating when you first met, but now it's making things worse. You would've liked some time to yourself for denial, only he can always tell when something is wrong, though it's clear to you he's not sure exactly what it is. He'll realise eventually, you know. 

"Let's go to the store," he suggests, his hand flirting with the back of your neck. "You always feel better after a sweet treat." 

You've been to the store today, unbeknownst to him, for some emotional support chocolates and a small box you'd rather not think about. You'd hoped that he might get called away to give you time to open it, but without him you're not sure you have the strength. 

You hadn't expected to feel this way. You want desperately to tell him, but you're just so, so scared. 

"I don't feel like going anywhere." 

He hums as his hand moves to your shoulder, squeezing a loving path down to your hand. Jack bangs a toy down in his bedroom across the way, and the washing machine spinning from the utility closet sounds louder than it ever has before, like a rocket about to erupt. You don't know what it is that gets you, but suddenly you're overwhelmed, a confession stuck in the back of your throat as Aaron meets your panicked gaze. 

"What's wrong?" he asks. "Here, honey, sit down." 

He guides you to a kitchen chair. 

"What's wrong?" he asks again, bending at the waist. 

Your head rushes with white noise for a second. You wet your chapped lips with the tip of your tongue; you've missed your period, but it isn't that alone that scares you. Perhaps in an instance of a psychosomatic symptom, you feel weird, other. Something has changed. And you're starting to feel sick. 

"Aaron, I don't know what to do," you say. 

His eyes widen with an expression you don't often see. "Has something happened?" 

It's so, so hard to say. "I think I've messed up." 

"Not in any way I can't fix." 

"Maybe I have," you say miserably, panic hot behind your eyes. 

He shakes his head. "You haven't. I swear you haven't. Please, tell me what's wrong before I have a heart attack." 

You can't say it while he's looking at you, and when you do it's hardly audible. "I think I'm pregnant," you breathe. 

Aaron pauses. You can't even raise your head, anxiety its own heartbeat and nausea rising fast. You let out a gasp you'd held in and try to calm down, even while every little part of you worries about what he's going to say. 

You don't know if you want to be pregnant, or have a baby, but you know it would probably break your heart just a touch if Aaron didn't want to have one with you. You're not sure why. And Jack is a beautiful kid but he's growing up. Aaron isn't young. 

"How sure are you?" he asks, tone completely measured. 

"I… I feel it," you say. "I know that's stupid… 'N my period is really late, nearly two weeks now." 

"You feel it?" 

"I feel sick." Your elbows on your thighs and the backs of your hands pressed to your eyes, you curl in on yourself. "I'm so scared." 

"You're scared?" Hands on your forearms. Aaron gets down on his knees in front of your chair and rubs fondness into your skin, his voice a soothing, familiar comfort as he says, "Sweetheart, you have nothing to be scared of. Don't be scared. I'm right here." 

Tears like a shock, relief and horror mixed into one. "I'm so stupid, I haven't even taken the test yet, I don't know why I'm acting this way." 

"We all react differently to foreign situations than how we might imagine. What's important now is that you take a breath, because otherwise you'll panic." 

While you're afraid of what he's thinking, you trust him implicitly. "Okay." 

"Okay," he says, pulling your hands away from your face. "Just breathe, honey." 

He's more patient than you knew another person could be. He wipes your straggling tears with his hand without a word, his breath coming in even inhales and exhales for you to follow. The small spike of panic swiftly melds to plain old tears. You're embarrassed. You're unhappy. You and Aaron certainly weren't trying for this occasion. 

"What are you scared of?" he asks eventually. 

"Of you. Of what you're thinking, and– and what if I– I mean, what if I'm pregnant?" you ask, as though pregnant is a new word. When you said it at first, you'd meant, what if we end up having a baby together? But now you're more inclined to think about the process itself. What if you're physically pregnant? 

"Well, you have absolutely no reason to be scared of me. I love you." Aaron puts his hand just under your ear, his thumb to your cheek. "Whatever happens. Nothing else matters to me besides you." 

"Because you want a baby," you say unhappily. 

"Who says I don't?" He smiles at you softly. "I think we should've had this conversation a long time ago, but the long and short of it is that I love you. I love you and I'll do what you need me to." 

"I figured you'd be done having babies," you say, still hesitant. 

"Evidently not." He laughs, and you laugh back and he acts like you've hung the moon. "If you're scared of being pregnant, maybe you should take the test before you wind yourself up, hm?" 

"I guess I'm acting pretty silly, huh?" you ask, sniffling and wiping your eyes, the two of you caught in breathy laughter again. 

"Hormonal, maybe," he says. "Don't be scared. I don't want you to be scared." 

"What do you want?" you ask. 

"I just want you to stop crying. It's not right…" He strokes your damp cheek. "If I'm honest? If you take that test, and you aren't pregnant, or if you don't want to have a baby," —his face is calm, a small smile playing on his lips— "then I don't want you to, either." 

"But if I am?" you ask. 

"Then I will be so, so happy, because it's you." 

A missed period isn't necessarily indicative of pregnancy, and you could be freshly pregnant or four whole weeks and the test could still come out negative. Maybe your weird feeling is indigestion. Whatever happens, you really believe that the man in front of you is here for whatever answer you find. 

"I love you."

"I love you, too," he says, bone deep sincerity turned to something lighter, fondly teasing as he lifts himself up and hugs you close. "You know that." 

You let him hold you for a little while, calming down, looking at the positives and all your options. "You think Jack would be happy?" 

"He'd love a brother or sister… eventually." 

You wipe your tears and runny nose in his shirt and he does you the generosity of pretending not to notice. If you are going to have anyone's baby, you'd want it to be his.