#It would fail to recognize the difference in how we are read (and written). I hate that a lot.

[lovinnelily]

Y'all do know you can't make Jason be NOT white without changing his whole character, right?

For other characters, yes, because their physical appearance are not that influential in their story, on how they are viewed by people, on their personality formation — you can have a black/asian/indigenous/arab/brown/latino/etc Nico and yes, the hate he gets will have a undertone of racism but at the same time nothing significant on his story, motivation or personality will need to change. This is also true for other characters: Clarisse risks repeating the "aggressive WoC" stereotype but the character itself doesn't change.

This isn't true for Jason, whose main character trait is how he is perceived by others and how he showcases himself to others based on that perception. (specially with how little effort Riordan put on him besides making him perfect-er Percy who's somehow also weaker and less important than him).

Let's not pretend a black, Arab, indigenous, Asian, Latin man, etc, in the USA would ever be treated with the universal reverence Jason gets from New Roma, you can't have the illusion of perfection and most of all, of invincibility they have about him when you see him suffering racism or xenophobia in the middle of a mission. In theory, nothing in his life has ever gone wrong, that's his image, destined to be king, he is supposed to have no weakness on his peers eyes.

He is not trying to prove people wrong, he is trying to prove them right; he isn't worthy despite their prejudice, on the contrary, he only tried to make himself worthy to fulfill their expectations. He can't be a woman or an immigrant or have a visible disability or any other thing that strays him from a perfect ideal by western society standards, and be that same character.

[loveriotss]

Hello :)

I really enjoy your work, I've read all of it even if I didn't like the character bc your writing style is just so good I want to chop you up and put you into a stew in the best way possible

do you think you could do a bakugo x reader where the reader has a similar personality to him? they would be such a power couple + I'm a fiend for mean readers

also, may I be 🛸anon?

DOUBLE TROUBLE ⸻ katsuki bakugo

INCLUDES — gn! reader, headcannons, drabbles, fluff, crack WARNINGS — swearing

main masterlist — mha masterlist ༊*·˚

BEFORE DATING —

you both always tried to one up the other.

both in studies and combat training, y'all were rivals.

during training exercises, aizawa would have to use his capturing weapons on you two because sometimes your arguments would get out of hand.

[bkg] "HAH! I WON!" [y/n] "YOU CHEATED YOU MOTHERFU-" [aizawa] "that is enough. i will expel both of you if you keep doing this.

you both would get annoyed at times because of how similar you are.

ideas and tastes clashing occasionally and sometimes, even insults.

like an argument would be going on and suddenly you both spew out the same insult 😭😭.

[y/n] "shut the fuck up bakugo no one cares if you don't like this movie, we all are watching it." [bkg] "tch whatever, i don't want to watch a movie with your dumbass in the room anyway." [y/n] "yeah sure bakugo, make excuse. we all know the real reason is because it's past your bedtime." [bkg] "THE FUCK DID YOU JUST SAY TO ME!?" [y/n] "OH I DIDN'T KNOW YOU'RE DEAF TOO!" [kiri] "uh hey guys? y'know this is a movie marathon, you both could pick out one movie each-" [bkg + y/n] "SHUT UP IDIOT" "SHUT UP IDIOT"

and now you two are having another fight because "you copied me!"

despite your bickering, there’s an underlying respect and understanding between you and him.

you recognize each other’s strengths and weaknesses and can see the drive and determination in one another, even if y'all don’t openly acknowledge it.

there will be times when you silently exchange your notebooks where you've written quirk/fight techniques and read through them, sometimes adding small tips on the side.

you might bond over your shared ambitions and goals.

conversations sometimes revolving around your dreams and aspirations, and both of you motivating each other to push harder, even if you guys don’t show it directly.

mixed signals, mixed signals, mixed signals!!!

both of your dumbasses can't tell if the other sees them as a rival or something more.

like yeah you maybe 'hate' his guts but there's no one more understanding than him, no one who'd help you with your combat as much as him, no one who'd motivate you to stride further as much as him.

katsuki would be in denial for a bit, thinking these feelings would pass.

but honestly, he knew he was lying to himself. he admired you a lot as a person and his romantic feelings for you stemmed from there.

after he admitted his feelings to himself, he attempts to give you hints.

but poor boy doesn't know how to show that he cares for you properly and so all of his attempts fail as you take them as his usual brashness.

even people from outside your class start noticing how big of a crush you two have on eachother. always bickering but always together.

eventually you had decided that you'd confess soon. no use in dragging this out right?

but i fear katsuki beat you to it.

the ua dorms were quiet at this hour, save for the whisper of wind rustling through the trees. behind the building, where shadows danced in the moonlight, katsuki bakugo stood with his back against the wall, arms crossed tightly over his chest. you approached cautiously, glancing around to make sure no one else was near. you had a feeling this meeting wasn’t about a routine patrol or a late-night training session. when your eyes met bakugo’s, you saw something different — a rare vulnerability. he cleared his throat, the tension in his shoulders betraying his nervousness. “look, i've never done this and I’m not good at talking about feelings or whatever. i like you, okay? i’m not gonna be all sappy but i wanted you to know.” his eyes darted away, focusing on a distant tree, as if it were the most interesting thing in the world. your heart raced, a smile tugging at your lips. “ah shit, you beat me to it bakugo.” bakugo’s head snapped back to you, eyes wide with surprise. for a moment, the air crackled with an unspoken tension before you both let out a chuckle, the gravity of the confession settling between you. "katsuki." he says, as your eyebrows rose in surprise. "call me katsuki, no more bakugo." you laugh before replying. what an honor. the bakugo katsuki is telling you to call him by his first name. "then you call me y/n. no more dumbass." you reply. "i'll think about it." "HEY!" the night air seemed to have grown warmer, the two of you stayed outside for another hour, simply taking strolls and talking. before you two headed back in, katsuki stopped behind you, causing you to turn around. “so . .” katsuki began, his voice less abrasive now, “we're like . . together right?” you pause, reaching your hand out to him. “we just confessed to each other you idiot. obviously we are.” a small hint of a smile appeared on katsuki's face as he took your hand in his. "i said to call me katsuki." "be quiet."

WHILE DATING —

you and katsuki had decided to not tell anyone about your relationship.

it wasn't a secret or anything, you two just didn't bother to tell anybody.

now this had driven your class mad. they knew something had happened between the two of you but they couldn't point out what.

it wasn't uncommon for you and katsuki to disappear at times. everyone assumed that it was for extra training.

so when you both would be leaving randomly in the afternoons, returning close together with not a sweat droplet in sight, they started suspecting something is going on.

[mina] "these two are killing mee! there is something going on, i'm so sure of it!" [tsu] "you're right mina. i think i even saw them wearing the same bracelet?" [jiro] "no way. i thought it was just a coincidence but now that you pointed it out, they did start wearing it from this week. getting the same bracelet is one thing, but at the same time?" [toru] "oh my god i feel like they're doing this on purpose to annoy us! i asked y/n about it and they just made a face at me and left."

you and katsuki know damn well about what y'all are doing. not oblivious to some of your classmates glancing at you two when you both leave to 'train' (going on a date).

it's absolutely hilarious to both of you when you see your classmates going crazy over your relationship.

when you and katsuki do decide to drop the bomb on them, they actually go ballistic.

the common room was a buzz of energy as class 1-a settled in for their usual friday night tradition: snacks, board games, and a new episode of their favorite show. the table was cluttered with bowls of popcorn, candy, soda cans and laughter filled the air as the group organized the evening’s activities. katsuki and you were sitting on the carpet, backs against the couch as y'all played an intense game of monopoly with mina and kirishima. everyone got really competitive, occasionally shifting their focus towards the show before continuing to play. after a while, you emerged victorious, shoving your victory into kirishima and mina's face as katsuki yawned and stretched beside you. “i’m heading to bed,” he announced, his tone as casual as if he were commenting on the weather. you glanced up from the board, nodding in acknowledgment. “goodnight,” you said. katsuki stood up, gave you a quick kiss on the forehead, and turned to head towards the dorms. his demeanor was so matter-of-fact that it was as if he’d merely forgotten his snacks in the kitchen. the entire common room went silent, eyes widening in shock. the gesture had been so casual, yet it spoke volumes. kirishima broke the silence with an excited shout. “i knew it!” he ran off to sero who reluctantly handed him some yen. wonderful, your classmates had a bet on you two. a wave of murmurs and surprised exclamations rippled through the room. “wait, you guys are together?” denki says, his eyes as big as saucers. you shrugged, a smirk tugging at your lips as you propped yourself up to the couch. “what do you think stupid? did he just kiss my forehead for fun?” denki opened his mouth to retort back but was interrupted by squeals from mina. “OH MY GOD YES!! YOU BOTH ARE OFFICIALLY MY FAVORITE COUPLE!” mina exclaimed, interlocking her fingers with toru excitedly.

word travels fast in ua and by the end of the weekend, everyone and their moms know about you.

it couple, power couple (sometimes even literally because of how strong/powerful you both are), the couple. all these titles were easily taken by you and katsuki.

you both had a private relationship, everyone knew you were dating but never knew anything other than that.

both of you still have your competitive nature when it comes to training, however it has taken on a more balanced role.

while y'all still enjoy challenging each other, there's a greater sense of teamwork. you both support each other's goals and work together to achieve them, blending your rivalry with cooperation.

your arguments become less frequent and more constructive.

you've learned to communicate better and understand each other’s triggers and emotional responses.

instead of heated arguments, your interactions often involve playful and affectionate teasing.

you both have learned to express affection through shared humor and banter, making your interactions more enjoyable.

while y'all might still show a tough exterior in public, you have a more private and tender side to your relationship.

when alone, you both share moments of vulnerability and affection that are hidden from the outside world.

katsuki's protective instincts become more apparent and openly acknowledged.

he knows you're strong enough to handle yourself, but he can't stop himself from always looking out for you and feeling the need to protect you.

overall you both have a sweet and healthy relationship. always being there for each other and correcting the other when necessary.

NOTE — OMG THANK YOUU THATS SO SWEET 😭💕. OFCC YOU CAN BE 🛸 ANON!! hope you liked this! im so sorry this took so long, school has started and i get really busy on the weekdays so i only have time to write on weekendss.

©loveriotss — all rights reserved to me. please don’t try to copy/steal my work. please do not use any of my ideas/translate my work without my permission.

[wiltedprayers]

i know Bastogne is universally recognized as the Best Band of Brothers episode and listen, I get it and also agree in the sense that the story portrayed is the most interesting and overall it's incredibly well written. but I'd just like to point out the excellence that's episode 5, "Crossroads."

(Crossroads is the episode that focuses the most on Dick Winters — ep 1, 2, and later 10 also do but it's not as centralized as it is here — We follow Dick through an anachronistic series of events, and the episode ends with E company moving towards Bastogne. It's directed by Tom Hanks.)

I love this episode because of all the different creative choices it has and how it stands out visually and sonically in comparison to all the other eps. so in technical aspects, it's my favorite of the bunch. this distinction is exemplary in the sequences that go from Dick writing his report quietly in his office to him leading the attack on the SS companies. It's very interesting to me how loud and obnoxious the typing gets for both Dick and the audience after a while; in the battlefield, there's nothing to pull Dick out of his concentration, always the focused leader. he has a mission to do, and he intends to carry it out as smoothly as possible (as seen in this episode). in the office, though, he's distracted, losing track of time, almost physically feeling the noises of the typewriter as if it was the sound of a gun going off inside his ears.

the back and forth between time periods is amazing. the sound design in this episode is my personal favorite (in a show with explosions and rifles, you wouldn't think a clacking typewriter and a man out of breath would be the reason for this). the combined sounds of Dick writing with the gunshots going off, the change in paragraphs with the tearing of the tape? Dick and the company running towards the enemy (clearly screaming) with nothing but the sounds of their breaths and footsteps making noise? just excellent sound design.

also, the cinematography. I could talk for hours about how good this episode's photography and lighting are. there's this particular moment I love after Alley is shown to be hit and bleeding on the barn table, where we immediately cut to Dick writing about this in his report. it's all about the stark contrast between the lived experience of seeing one of your men badly wounded and then simply writing and reading about it.

the night shots as well. it's very easy to fail in making a night scene both properly lit but also indicative of the time (some shows make it look dark as shit basically), but Band of Brothers does it well: in the first pic, you only have the moonlight as illumination, which is not much, but it helps to get you into Dick's perspective of having to go through this mission in the depths of night with such a limited field of vision.

there's several night scenes in this episode, most notably the battle on the Crossroads, but also Operation Pegasus, the night Moose is shot, Dick in Paris, and then Easy company going into Bastogne.

finally, the color grading. band of brothers is a strange show that's always changing in its color grading — maybe the different directors had no prior discussion before filming the episodes, as it happened with the writers' room, but I doubt this — nevertheless, Crossroads' color grading stands out, specially in the long-awaited scene of E company charging against the SS companies.

the high contrast of the dark shadows with the desaturated greens (and later reds) make for quite a sight, especially if you compare it to the warmer tones of the present scenes of Dick writing. the show wants you to know how different these moments are for Dick, who under fire is collected and focused but is ultimately crumbling under the bureaucratic pressure.

also I freaking love all the shots and framing of the typewriter. nothing to say other than they're cool as hell.

and this isn't even covering the emotional and character-driven aspects of the story! (that's a post for another day, maybe). for me Crossroads is a masterpiece of an episode in what it means to use camera, lighting, and sound to make your story as immersing as possible; it connects beautifully all technical aspects of filmmaking and, in my opinion, delivers one of the show's best episodes (that's accompanied with a great script.)

[angel-shaw]

OK! TMA child AU! Cuz some people showed interest!!

Ok so the basic idea is that a bunch of the TMA crew are kids under Elias and Gertrudes care.

In order of adoption we have

-Michael Shelly. Gertrude adopted him at a very young age and he has no memory of his birth parents or how exactly Gertrude found him

-Gerry, Gerry is an slightly older teen who still technically lives with his mom but he spends most of his time at the manor (the manor is basically just a big house idk). Gertrude knew Mary but lowkey hated that bitch so she stole her kid.

-Jon. Again Gertrude knew Jon’s grandma so when she couldn’t, or didn’t want to, take care of Jon she took him in. He still visits her.

-Martin, Gertrude was very close to Martins mom so she already knew Martin, when his mom got hospitalized she agreed to look after him. He vists as oftan as he can, even some of the other kids do.(his moms not a total bitch in this btw…yet)

-Sasha, she lived on the streets and tried to mug Elias. She did fail but only cuz Elias is who he is. He thought she was adorable and was tired of the other kids he needed to care for so he brought her home and legally adopted her.

-Tim + Michal(distortion). Tim and Michal were found together. They both were found by Gerry after excapeing their situation. At first they were very hesitant but recognized Sasha from her time on the street so they agreed to stay there. They are very close to each other and don’t trust easily (well Tim doesn’t, Michal has no sense of danger)

-Jane, Martin found her under a bridge wejile playing with bugs one day, she looked cold so he brought her back to the house. Gertrude helped clean her up, she had extremely matted hair and a lot of bugs attached to her. She wouldn’t let go of Martin until hours later.

-Melony, idk when she showed up or how or what her family situation is, she is here tho and I love her.

-Georgie is friends with Jon but doesn’t live with them, she has parents and house. She does come over often tho because Elias is rich.

-Basira also doesn’t live there, but no one except Daisy knows where she lives. She’s really only over if Daisy is.

-Daisys dad is a cop who works by the manor, she goes with him to work and wonders as she likes. She ends up at the house a lot because there’s always something interesting going on.

Then there’s Michael Crew who’s dateing Gerry. (I saw a tictok and I love them together now, leave me alone)

-Not Sasha is also here btw, the kids say her name in a very heavy American accent and that’s how they differ the names between Sasha and her, I will just say it’s not Sasha cuz idk how to show it’s different 💀. I don’t have a very solid idea for how she got picked up but I think she would be trying to impersonate Sasha in someway, maybe online or something and somehow just ended up moving in

Elias is dateing/married to Peter. He’s around sometimes

There is everyone who is included this far!

I do have a separate house that is run by The Angler fish (in a human form obviously) and he cares for kids as well, like the med students, Nicola, N!Sasha (kinda), Jane(eventually she walks between the two places to just hang out so he cares for her when she’s with them), and one suprise kid! :D (Guess who!)

I haven’t actually written anything but I have a lot of story and head canons:) but I don’t wanna make this to long so if y’all like this I’ll post more!!

Tag list for those who responded to my original post so y’all can see this!!! :D

@frontflip-somersault-express @jubjubbird @thehistoryone @aboxisonmyhead @nonbinarytoast @moonvalley94 @pigeons-with-jello @riddle-on-the-milk-carton

I hope I got y’all’s tags right!!! Please leave comments and suggestions!!! I love reading and hearing input!!! Plus if you wanna ask questions about the AU that will help give me something the jump off on!

[my-mt-heart]

Thoughts on TBOC 203

For transparency, my thoughts are based on a one-time pirated watch. There was no way I was going to give AMC my money for this...

Melissa McBride shines again. I like seeing her play all the different shades of Carol. She shapes her into whoever she needs to be in order to get other characters to empathize with her. She becomes Daryl's protective sibling for Codron's sake, since he lost his brother (though Zabel failed to explain how she knew that), Daryl's hopeful spouse for the guy searching for his husband (though we have to draw that conclusion for ourselves because hearing Carol call Daryl her husband out loud would be giving us too much apparently), and Daryl's enemy for Genet, who wants revenge against him (though Carol's and Genet's dynamic would've been more interesting if it wasn't written by a misogynist). My point is, if anyone chooses to watch this episode, Melissa is a valid reason to do so. It is absolutely ridiculous that she doesn't have an inclusive title or equal billing when she's the only reason I decided to torture myself.

Daryl's arc could've been interesting if his "parallel" journey was actually paralleling Carol's in the sense that he was also playing a role. I could sit here and make the argument that his story time in the cell was just that, but the male EPs have already made it crystal clear what we're supposed to take from his and Isabelle's/Laurent's dynamic, so I'm not going to give them the benefit of the doubt. I'm just going to reiterate what I said last week, which is that I don't recognize this character anymore. The Daryl I know is loyal, but when I take into account everything that's been said offscreen and when I'm forced to remember that we're fresh off an unearned, unnecessary kiss with a nun, I'm faced with a Daryl who cheats on his entire family back home. That's what it reads like and it sours Carol's arc for me as well.

Special shoutout to Laïka Blanc-Francard for her performance despite Zabel making her entire arc utterly pointless by killing her off

NYCC is next week, before 204 officially airs I believe, so keep in mind that it's possible the conversation will focus heavily on Daryl's nunmance. Maybe not if they don't want to draw a lot of attention to Clemence's absence, but regardless, they will try to leverage our trust in Melissa to get us to accept everyone else's shitty decisions, so remember that what she doesn't say is just as important as what she does say.

[morgensternauroras]

The Alec and Lucifer Theory

Alright, this has been on my mind since TLBotW (further referred to as 'White' because I am lazy), but I think Cassie's recent event convinced me. Especially after she said the thing about going back to TMI themes (more on that in the end)

So let's talk about The Svefnthorn and Alec.

In White, he stabs himself with The Svefnthron and LIVES. Which should not be possible considering the Wiki says it contains a lot of demonic power and only a warlock could survive being stabbed with it. (Link leads to the wiki page as reference) We are never actually given an explanation to how/why he manages to survive this stabbing, it is implied it has something to do with the allience rune, but we are never given the impression thay the allience rune could act in any way that would save Alec's life in this situation. If the allience rune is what saved him, we don't know how/why, and if that were the case, how come Alec was so shocked that he surprised? I don't know, the allience rune explanation doesn't sit right with me. Alec himself mentions he doesn't understand how it worked.

And then we need to talk about Sammael's reaction, he is described as confused and then he just... fucks off. Sure, it might just be a natural reaction of someone who just basically got defeated, but we'll talk about what I think it might mean SOON.

Essentially, Sammael after the thorn fails to kill Alec just leaves, no smart comebacks, no significant reaction, he just poofs. And realistically, he could have killed them all out of spite, I mean he was mad about Lilith, that was at least half the point of his story in White.

The next time we see Sammael is during the White epilogue when he calls a meeting of the Princes of Hell! All of them except Lucifer. And we're basically told this meeting is being held without Lucifer on purpose, especially after this exchange.

“Too long have we gone it alone. If we are ever to truly achieve our larger goals, we must recognize that we are more alike than we are different. We must put aside our old grievances, forget them, and work together.”

Asmodeus looked astonished. “You mean—”

“Yes,” said Sammael. “I want to talk about Lucifer.”

So we have a mention of putting aside old grievances and then a mention of banding together and having to talk about Lucifer, this happens right after Alec mysteriously survives the stabbing with the thorn.

Now, we know the thorn was tied to Sammael, and we don't know much about Lucifer, but we know he is more powerful than all the Princes. So I will ask, what if Lucifer is the reason TMI crew (especially Alec) survived White?

Think about it, it would explain why Sammael reacted the way he did to Alec's survival, why he chose now is the time to band the Princes together, presumably, against Lucifer.

And then another thing happened- well, actually, 3 things happened. For 1, Cassie said that Lucifer might surprise us. (Kill me I cannot actually find a source for this, if anyone knows where/when this was said let me know, I'll add it to the post) 2nd thing was, Cassie's tumblr post about going back to TMI motifs, (we'll get back to this, I'll share the ss of the post lower in the post. 3rd thing being the recent claim that TEC3 aka The Black Volume can't come out yet because it spoils TWP.

On a slight tangent, I don't actually know where the idea that TEC3 won't come out until TWP is over, Cassie has previously said TEC3 would come out between books 2 and 3 of TWP.

ANYWAY, back to this Lucifer thing. Cassie recently said we'll go back to TMI themes.

And I think she mentioned Paradise Lost for a very specific reason.

I recently read Paradise Lost, and there's an interesting discussion and interpretation surrounding that book. The way Satan (or Lucifer) is written in Paradise Lost makes him a protagonist, but for many he is also an anti-hero written in a sympathetic way, if not a straight up hero. While his goal is ultimately evil, he isn't written as pure evil as Lucifer often is. He also is a liberator in Milton's poem, he believes that what he is doing is ultimately good for humanity. (I am not gonna waste your time referencing academic sources and interpretation, but I do think you should look it up if any of this sounds interesting)

I think Lucifer will not be the villain we believe he is. He may be a villain, but with different plans and motivations than the rest of the Princes. I wonder if Alec will be part of that plan and if Lucifer needs some of our Shadowhunters alive, and if he might be the reason Alec survived the stabbing.

TEC was always focused on the Princes of Hell plot while TWP is actively looking like it will be dealing with the Cohort, Clave in Exile and the plots set up in TDA. It makes sense to me that the Lucifer plot would play out in TEC.

This is what I have so far. I am open to people adding stuff, I doubt I'm the first to have this idea.

[cto10121]

Twilight Clown Takes—Part 10

Featuring “Twilight is badly written,” “Meyer did not intend to write X thing she definitely wrote,” “The series is über Mormon,” and other chestnuts. Fortunately, I do love nuts of all kinds, so om nom nom

The writing was so gibberish it was a bestselling phenomenon on par with Harry Potter.

The only thing bad about the writing in Twilight is that Meyer got a very bad editor. There are stray typos and errors in my original copies. Sadly, book editing has gotten worse since then, and I have found many modern books with similar errors.

Bella is not like other girls, all right. So much so that she constantly claims she is. Like here:

“Well, look at me,” I said, unnecessarily, because he was looking at me. “I’m completely ordinary.”

IF the dialogue in the books is like the movie dialogue…IF

“This main character is such a main character!!1!1” 😡 “Also big words make my wee lil brain hurt!!1!1”

Bella is literally so expressive around Edward and the Cullens, to the point where Alics mentions sourly she had “forgotten how exuberant” she was. Emmett and Jasper have a bet over how many people Bella could kill in her first year just on her temper alone. And re: Edward, Bella has no problem arguing and pleading and crying and ranting to him.

Also, Jacob is a different, much more immature character than Bella, so of course his POV would be different.

“Deeply desperate for sexuality” 🤣🤣🤣🤣🤣🤣🤣And these clowns claim Meyer is a bad writer. Don’t go throwing stones with your glass house, hon.

Anyhoo, Edward is the one who pushes for marriage, not Bella. Rosalie and Emmett get married every decade or so, but that’s only because Rosalie loves weddings—as in, being the center of attention. Do Alice and Jasper even have a wedding ceremony??? I don’t even think they got married in the traditional sense even once. No doubt they did, but they aren’t portrayed as a conventional married couple at all.

Other vampires that are not the Cullens do not marry at all—they are mated, which is an actually a greater and more permanent commitment than marriage in the Twilight world.

Also. The Twilight series, fearing sexuality? The Denali sisters literally went vegetarian because they loved fucking human men too much. And they are considered not only good vampires, but the Cullens’ extended family. And Renesmee nor Claire are child brides.

Twilight isn’t explicit about sex purely because Meyer realized her first book would be targeted to a YA crowd. But it is a romance through and through.

Ho boy, where to begin?

“Edward is supposed to be creepy, he is a vampire after all—” Would you like a cookie for this very obvious reading, Clown OP? That is some elementary school-level reading comprehension there.

“Failed to write an arc where the character recognize the problems, learn, and then overcome them—” Edward literally went from “She is my prey” to “I have her blood on my lips, and I am laughing at a joke she just made” in the first book alone. In New Moon, Edward made the disastrous decision to leave Bella, ramifications of which he was still dealing with in Eclipse (and he explicitly said it was the worst mistake he ever made). In Eclipse, Edward finally learns to trust Bella, fight for her love, and even decides to give her what she wants (i.e., sex) because he felt that he had been fucking it up the whole time. By Breaking Dawn, we have an Edward who finally accepts himself for who he is and learns to be happy in his vampire life.

As for Bella, she went from an introverted parentified teen so neglected she felt she had to cook and clean for her parents in order to feel less of a burden…to the powerful member of a coven who loves and supports her, saving the lives of said coven and mate from the Volturi. By the end Bella finally learns that what she wants is important and to fight for it. She learns to accept gifts and attention. She even finally describes herself as beautiful…as a human. That’s so big! That is an arc.

It is glaringly obvious, that I must question whether Clown OP has read the series or not. Most clowns do not, of course.

“The story never digs deep enough into him being a real danger to Bella—” Bitch, that’s all of the story. It’s literally 80% of Edward’s personality right there! He is too bad for Bella, it would be better if he weren’t in Bella’s life, it’s literally never-ending. A whole chunk of Bella’s motivation for becoming a vampire is because his world is too dangerous for her as a human. The whole plot of each book is Bella being hunted by a vampire, who are consistently the villains and described as monsters.

“Trying to turn Stephenie into the new J.K. Rowling—” When I picked up Twilight in ‘06 it was labeled as “Romantic Suspense.” The whole series was explicitly marketed as a paranormal teen romance, which was and is a subgenre of fantasy, with the whole Team Edward and Team Jacob thing riding strong. Twilight never tried to be something it wasn’t, and Meyer has never tried to make it out to seem like some epic fantasy. On the contrary, it was the anti fans that preferred the lore to the actual romance.

Nowadays the series is shelved under YA Fantasy, but that was after the series was completed. Breaking Dawn was perhaps the deciding factor.

Sure, Meyer was not aware of something she absolutely 100% wrote.

Bella’s parentification was canon before Midnight Sun was a twinkle in Meyer’s eye. And sure enough, when that landed, Bella’s neglect became downright glaring. But go on espousing sexist biases about female writers “not intending” certain things, Clown OP. It’s not like that isn’t a page taken from the Suppressing Women Writers handbook. When you know, you know.

Sigh. *schedules Movie Bella vs. Book Bella post*

[meltorights]

How do you read Adam and Eve story as not gender complementary crap?

by recognizing it as a story written with a very different gender construction than we have today.... in much of the ancient world, "man" and "woman" werent distinct, self-identifiable, complete complementary ways of being. there was one way of being: to be a man. a woman was simply something that failed to be a man. this was aristotle's view.

in the first creation account, the mention of "male and female" is in the context of fertility. one of the modes of signification woman-ness is used with in the bible is that of childbearer. this is not the only thing it means in that tradition, it is not a definition, but it is a symbol.

god "created humans in his image, in his own likeness he created them, male and female he created them..." he then gives them the blessing to "be fruitful and multiply and fill the earth."

the focus of this whole creation story is god as the source of earth's fecundity, of life--seed-bearing plants and trees, animals that crawl on the earth, and humans--everything that procreates in imitation of god who creates. god takes on the role of all the gods of the ancient mythologies--he is not simply an orderer, he is a childbearer, he is fecund. and so "male and female" (procreator and childbearer) are equally in his image, in his likeness. this is why gender essentialists and complentarians love this image--it fits easily into their narrative.

but it's not hard to look elsewhere in the bible for other modes of signification (or in later theological tradition--jesus, the Word, proceeds ex utero patris--from the Womb of the father--a father, a masculine image, can represent childbearing too). we just need to look to the second creation story.

the essentialist complentarian wants to say man and woman are made for each other because they are different and ontologically so. but that is not what we find in this story. when God makes Eve from Adam's side and he wakes up, he says "here at last is bone of my bone and flesh of my flesh..." it is her likeness to him that makes them partners, not her difference.

the difference is the way they are made distinct from each other, made intelligible despite their fundamental likeness. this is a common instinct in ancient myth--the symposium recounts a Greek version where likewise the yearning for another is symbolic of some primal oneness we want to restore.

indeed, that adam, "man", is only gendered after the creation of eve fits well with contemporary views of gender (like those presented by judith butler) that see it as a mode of intelligibility. we create genders, not to represent some ontological difference, but to express ourselves as part of a community--without these signifiers, we could lose identity, become caught up in oneness.

this reading of genesis, where adam and eve becoming gendered people only after meeting each other represents the fact that gender is not something ontological, intrinsic in being human, but rather a way to distinguish between people who would be unintelligibly alike has the same relation to the original story as the complementarian or essentialist interpretation--it's reading in a modern hermeneutic that's alien to the text itself. as i said in the last ask, the text asks for this in a way.

but fundamentally, what can we take from god's making of man and woman in the two genesis creation myths? that both are ways of being that imitate god, that they have multiple symbolic meanings, that they are ways of interpreting the world that afford multiple dimensions. genesis is not saying that, but it demonstrates it. and that can, i think, help some people (it has helped me) navigate how they connect to the complicated and thorny ways we build our identities, including but certainly not limited to gender.

and then id just encourage you reading of the stories, or rereading, if you're familiar with them... theyre short, they speak for themselves, i think they're fairly enjoyable. not as a religious exercise (which i do!), just as an encounter with great human literature from a distant past that still speaks despite the many changes in modes of thought that stand between it and us.

the second (but older) creation story, with the creation of humans from dirt and the expulsion from the garden, is genesis 2:4-3:25. the first (and more formulaic and abstract) is genesis 1-2:3. i think theyre best approached as separate short stories before being explored in the context of each other.

[torashisama]

WoT about: "The writers keep giving time to plots that aren't bad, but do nothing to actually serve the story".

Disclaimer : As always, it's long.

Alll of these comments are from a discussion I had with a book reader in the comments of a post on S3E01 being written by S1E06 and S2E07 writer: Justine Juel Gillmer. Basically, the original poster was celebrating more Siuan (however it might be) and/or a possible Siuanraine reunion in S3.

Book Reader 1:

In a story about the potential end of all things, I can't honestly say that I care about Suianraine. Side romance plots are fine, but they're not what WoT is really about. I hope they give a little ship time to those who are craving it, but they really need to work on the Nerf Reborn. He's way weaker in the show than he is in the books. We need a Rocky montage to put the Dragon back on track.

Book reader 2 :

One of my biggest issues with this show. The writers keep giving time to plots that aren't *bad*, but do nothing to actually serve the story.

Moiraines family scenes? Well written and acted, but that's 30-40 minutes that we could have had in Falme, or building up the Horn, or generally building the legend of the dragon.

Book reader 1 :

Yep. The show wastes precious time on things which aren't central to the plot.

Torashi :

That mostly has to do with the fact that the show is not about Rand but about Moiraine and specifically about Moiraine's Quest which is something that most book readers seems to have overlooked and that's the most important and fundamental change from the books yet it's overlooked when it comes to understanding how and why everything plays out the way it does.

If we had to choose a character and declare them the main one for the show, it would be Moiraine. That's the main difference that explains most of the complaints bookcloaks and book readers may have with the show.

The books are about Rand. Here, it's about "Moiraine's Quest", and it gives the show more room to explore the characters deemed as side characters and one of the most interesting group of people in this universe in my opinion: Aes Sedai's and their warders.

Both are telling the same story but not from the same POV, and that changes a bunch of things and it includes what gets showed or not.

Book reader 1 :

I certainly didn't overlook that the show is focused on Mo. That is the biggest problem, as you say (pre post edit: I did not say that the the Mo focus was a problem, never had actually) . Book Mo isn't anywhere near a main character after TEOTW, so it's a very questionable decision to promote her to a main, outside of real world "politics". Pike is the most recognized actress **and** she's a producer.

While I get that non-readers don't mind it, I and millions of other readers waited 39 years for the books to be turned into a show.

We weren't waiting on Siuan and Moiraine.

Torashi:

I'm not saying that you're overlooking this but that those who did read the books tends to do so and fail to realise( pre post edit: or recognise really) that the things they're complaining about usually makes sense as Rand is not the main character anymore.

The pov's are mostly Moiraine's, and while it's different from the books, it doesn't mean that it's not good. The story is just told differently, and a lot of you guys fail to realise that while it's not what you hoped for, you at least get to experience the same story told another way and in the same world you grew up loving but on screen.

I understand that it's disappointing as it's probably not what you guys imagined and expected the show would be if you ever got to see it, but Rand, as the main character, probably wouldn't have worked as needed exactly because it's been so long since the books.

The classic hero trope is not as appealing as it used to be for TV, and switching the focus and putting it onto the Gandalfs of the WoT world probably was better so it ended up as the Moiraine's Quest show and not as the Randland show. It's also probably because it's usually better if most actors in a fantasy show are unknown so that their reputation and previous roles do not taint the ones they'll have in the show.

( pre post edit : in case some people don't get why I'm comparing them, it's to emphasise that all of these fantasy shows have 1 or 2 of their main cast and characters as the biggest stars so that they don't have to rely only on the existing fandom but can also count on their main celebrity to bring a wider audience (advertising aside) which allows for the rest of the cast to be lesser known or straight-up debuting and/or unknown actors)

For ex, Matt Smith and Paddy Considine probably are the most recognisable actors of HOTD (HBO) and they're brothers in the show and have a close relationship ( in case you didn't see it, Matt is Daemon and Paddy is King Viserys)

WoT (Prime) has Rosamund Pike and Sophie Okonedo as their biggest star, and they have a close relationship.

(Fun fact : Sophie wasn't even supposed to be in the show and probably wouldn't have accepted if she was offered the part but Rosamund specifically wanted her to play her love interest and Sophie had to be written to personally by Ros so that she would accept the role ( anyone who knows or follows Sophie's work knows that her playing Siuan was as probable as a WoT + GoT crossover episode) )

The Witcher( Netflix) they really just needed Henry Cavill as he actually is a mainstream celebrity and was at the prime of his career when he took the role.

Good Omens (Prime) : David Tennant and Micheal Sheen, they lead and are close. ( they really could have been fine with David here. Actually, he probably has one of the most dedicated fan base I've seen because of his performance as the doctor ) ( they also have benedict cumberbatch but I'm sticking to mains biggest star + they're closest relationships )

Carnival Row (Prime and original so a lil different): Cara delevigne and Orlando Bloom, biggest stars + close relationship.

Good Omens is focused on the gandalfs ( Crowley & Aziraphale) again btw and it's one of amazon most successful adaptations.

The Witcher is also focused on the Gandalfs of their world: Geralt & Yennefer (by extension)

WoT switched it to be the same : Moiraine & Siuan (by extension).

What i'm saying is that basically most of the complaints are related to missing things from the books, the cast diversity, things people wish they could have seen or wishing Josha's (pre post edit :Rand) or Daniel's (pre post edit : Lan) characters where depicted as in the books or it's blaming the show (pre post edit: or really mainly and mostly Rafe and sometimes the rest of the writers) for spending time on things that actually makes sense when you recenter yourself in what the show is actually doing which is telling the story from Moiraine's POVs.

Siuan is important so she gets time, Lan is important so he gets time (pre post edit : mainly referencing the Aes sedai + Warder focused episodes of S1, from Ep4/5 to Ep6).

Liandrin is a problem and has a grudge against Mo that leads her to be a threat not only because she's a red and black ajah but also because of an ulterior reason so she gets time and is developed, Moiraine is pushing everyone away even the only 2 people she could allow herself to be close to during her mission because of her depression and allow herself no other choice but to go to Cairhien alone which happens to be her hometown so we get a family reunion and see how much her quest for Rand impacted her and her family too and how unusual it is even for an Aes sedai( Alanna's scenes with her family).

The main problem isn't that the story is being told through Moiraine's POV but that they only get 8 episodes of approximately 1 hour each to tell a story that required 14 books to finish, they clearly need more or longer episodes per season to include more of what they initially intended to put in each season. ( pre post edit : in case you didn't know Lan was supposed to start training the boys from s1. you can check here )

For reference, GOT had 10 episodes for each season until S7 for 8 season out of 10 initially planned, each episode falling anywhere between 1h and 1h22 max, and it's only 5 books out on 7 planned.

There, we have 8 episodes falling anywhere between 54 minutes to 1h10 min max each, planned to have 8 seasons for 14 books.

(Pre post edit : so far, and yes i went to check the longest ep so far was 1h10 min and it's s2 finale in case you were wondering)

Original poster reaction :

OMG!!! I wish I could give you gold for this comment. I am getting tired of when I post something about the show, instead of people focusing on the show, they wanna bring the "but but but the books did this and that and it is nowhere to be found on the show", like I don't care, let's focus on what's happening in the show and can we only talk about that? You should make another main post pointing this out and that for the sake of productive conversations, this sub should stop complaining about what isn't on the show from the books and more on what we actually get, if it works or not let's stick to that!

Torashi :

I understand, but I totally get their reaction, too. It's been so long for them that it's probably hard to accept anything else than what they expected or wished they had.

(pre post edit :

While i do understand the frustration, i do not understand why you think it makes it fine to ruin (or tarnish) the experience of genuine show only fans by complaining and shitting on the show for missing things or not doing it the way you wanted it to be instead of going:

"That's cool i wish they had room for this or that, in the books there's this or that and whatever, you should check the books."

"The story is so much more richer even though the focus is not on the guide in the books. It could be interesting for you to see it from another PoV too"

You'd actually make show-only fans want to read the books. You guys have been tainted by so much display of lack of respect and gratitude towards those making and/or enjoying the show that I think that you're actually deterring show only fans from the books by dividing the fandom as much as S8 divided GOT fans and by making people afraid to read them before the show ends because of how ugly your reactions are and have been. (You guys are literally associated to Whitecloacks).)

Torashi:

What's infuriating me, though, is that most of the books things they wish they saw when that's what they're complaining about are things that had to be cut because they were details and did not impact the rest of the story as much and instead of complaining about the show having an insane amount of episodes, episode's length and planned seasons for 14 books each individually as big as an encyclopedia they blame Rafe who actually loved the books and is a fan too, that's literally why the books got approved to be on screen. Rafe he's a book fan that got lucky the same way Brandon Sanderson was a book fan that got lucky back then. He probably wish he could put more things in there too.

Instead of complaining about the real problem, they should be battling against, its straight up hate (from bookcloaks) and endless complaints about things that does not matter as its really just "yes but in the books" for choices that does makes sense when they stop being Rand centric while watching a show that isn't about the hero's journey but about the Quest itself.

(Pre post edit thoughts:

Robert made a mistake by calling his books: The Wheel of Time ,to then make most of the pov's and most of the story revolve around a single character. He should have called it "The dragon Reborn" or something along those lines, because most of book readers' new complaints I've seen so far, really are just about it not being ridiculously focused on Rand's story or like the books when they know that this is not a "Randland" show but specifically one that corrects this major flaw from the books by using the only character close enough, interesting enough and refreshing enough to tell this story trought a different lense that allows more freedom to explore other "z-list"/ side characters who actually plays a role in all of this, it's actually painfull to see so many book readers fail to realise that Moiraine really is just the best character to tell this story as she actually knows what's going on behind the scene whereas Rand is just clueless.)

E.g: Rand apparently being powerless (or rather not as powerful as they wished he would be already).

Even though he was alone and in hiding for the last 6 months and only ever channelled because he lacked control and only got to Logain once, because he stayed close but still ignored him for as long as he could. Until he left with Selene to then be found by Mo, he still kills Ishy, Turak and his guards, takes the shield off Egwene (pre post edit: who's struggling btw) and looks like he doesn't even break a sweat.

Yet, all some book readers allow themselves to see is him being "powerless" because he didn't get a flashy 1vs1 against the bad guy even though it wouldn't makes sense with his current development (that was impacted by what ? Cuts because of time/budget constraints ) and Egwene literally is the strongest and most experienced of them all right now because of the Sanchean (pre post edit : the bright side of being a damane lol ) and is one of the most developed character of s2 from EF5 because of what needs to happen with Siuan at some point in S3 and where her (really theirs) story might be going.

(more on this topic here)

This ends here, feel free to share your opinion on this.

[ladyluscinia]

Ok, it's been hours, I've done a bunch of things, and I'm looping back to the Izzy Hands topic of the day because it turns out I do have something to say. So.

For anyone with a robust blocklist - short version: the "Izzy hates Stede for being a girly gay" vs "Izzy hates Stede for rich fuck crimes" is back. I will not be addressing this directly, because that's not what I care about today (and my stance is obvious lol). Instead, I want to elaborate on this short post since this particular debate is actually a really phenomenal example of what I'm trying to get at.

Because how do you insult a rich man?

I'm talking about a super straightforward, "I'm somehow in an elevator with Musk and I have one floor to say something mean to him" kind of insult? Or, to frame this correctly, how would you convey in a story someone insulting a rich man, so your audience can recognize quickly that A has a problem with B? Based on viral posts about Musk himself, some popular options are small dick, bastard, stupid, pig, rat, crybaby, toddler, unlikable, fragile ego, loser, etc. etc.

But like... What are those insults about?

See, insults are not neutral language (shocker). They're weighted with what our society sees as "bad", and rarely touch on what our society sees as "good". There's a million ways to call someone ugly (vs attractive), or weak and womanly (vs manly and respectable), or fat (vs strong and healthy), or unlikeable (vs socially accepted), or stupid and lazy (vs productive member of society)... I can go on for a while.

Being rich is one of those "good" things, so we straight up do not really have insults to say "you are bad for being rich and successful" (though we have plenty for "poor".). "Billionaire" might deserve to be a dirty word, but it's not. That's not how language works 🤷‍♀️ The closest is maybe "greedy" but that tends to quickly overlap with fat / lazy or comparing them to animals (i.e. subhuman). Or using wealth to imply a different failing - if he has to buy his friends it's because he's not charismatic, and that's the insult. Maybe in recent years bigotry has gone out of style enough that it can be a somewhat effective target, but even that's still context specific.

Insults are - at their core - about holding up some valued aspect of society and saying "you aren't doing this right". And a lot of those aspects are discriminatory on their face.

Pointing to a character insulting another character and saying you've found implicit internalized bigotry is some "fork spotted in kitchen" shit, especially about emasculating language. Men have spent all of human history coming up with ways to say they are better at being men than their rivals. From an audience perspective, the mere presence of a bias-informed insult (or a bunch of them) is realistically not going to convince everyone this character has an explicit bias being written into them, because they've gotten used to that going nowhere as a character trait.

Often, the asshole character is just being written as an asshole.

And to be clear, writers deal with this linguistic struggle. Sometimes they make up nonsense insults to try and create a culture that doesn't have our biases. They can use more direct examples and obvious slurs to denote the intended bigots, and conversely use more softened or otherwise defanged insults for the generic dicks. Insults like "bastard" are common as their moralizing is archaic. The insulted party & allies' reactions can cue you into how serious an insult is. And yeah, no shit it's all pretty subjective and individuals will disagree on reads, but it's still worth considering because while "being mean" is usually a character flaw, it's approached entirely differently than "being bigoted". Both of which are again different from "this work is reflecting the creators' bigotry." It's the same reason we need to be able to tell the difference between "justified killing" and "unjustified murder" in a story - it matters a lot in the storytelling.

Plus, fans who don't think about this are more likely to apply it by deciding the characters they like are lovable bastards 🥰 and the ones they don't like are undeniably bigots ��� and this is obviously, objectively true because don't you know "ponce" is a homophobic slur for men who aren't masculine enough?!? Clearly this is not about him being British upper class!

[onsomekindofstartrek]

It’s weird. English/Anglophone exceptionalism in popular culture seems to have come 180 degrees around from colonial chauvinism (English is uniquely good/civilized) to the opposite (English is uniquely bad/hard/awkward/“barbaric.”)

And it’s like… bizarre to me because English is just… some language.

Like, sure, there’s a long history of colonial conquest making it one of the most common second languages in the world. That’s not unique. French and Spanish have both done that. And yes, owing to the long period and wide range of countries in which it’s been spoken, and the prestige which English has been given in print, it does have one of the largest documented lexicons of any language, to the extent that it’s often claimed that it’s “the biggest language.” But I genuinely think that’s just situational.

And like, sure, it’s a little notable that it has lexical influences from both Norse and Medieval French, owing to different conquests of the Isles, and from Latin, owing largely to the Catholic Church. But it’s not unique for a language to pick up words from conqueror’s languages, and in fact this happened more recently to Modern Norse, as well as like… most of the common languages in the colonized parts of the world.

Or we can discuss some popular American misconceptions about English spelling and grammar, most of which are down to the fact that in America, English grammar and phonetic reading are literally no longer taught in most schools.

Like, yeah, it’s a little weird that our spelling has a really poor phonetic correspondence to pronunciation and lots of wildly irregular words in the common vocabulary. But so does Danish! It’s not even unique among the Germanic languages much less among languages in general. Vowels in Arabic vary wildly from region to region and can be more or less strictly correspondent to the written or implied letter. There are languages where you have to memorize the pronunciation of most words because they’re written with one or two characters per word.

And our insistence on using present participles to form the unmarked present tense of verbs (is doing, is going, is walking, etc.) is not unique or even particularly strange or clunky either, it’s just that not many West European languages do it. Spanish can do it but it’s not the unmarked form. German technically can but it’s rare. And those are just the two that I speak. I don’t know about the other common ones.

And Christ, no, English is not unique because of [weird pseudolinguistic hypothesis that I heard someone say once and took as fact.] Why are there like a million of these?

So I really wonder why this narrative of English being so exceptionally weird and bad sticks around.

Like, again, I do have to stress how badly most US citizens under a certain age have been failed by the public school system. They’re taught very little grammar and a lot of them are taught to read in elementary school by a completely fallacious method where they don’t sound out a world letter by letter, but instead try to recognize the whole word at once like an adult fluent reader would, or guess from context if they don’t recognize it. Which is not how you acquire literacy. Your average US citizen under 35 has an impoverished formal education in language. Actually I’d go so far as to say that the average US citizen under 35 has an impoverished education about the humanities in general.

But this alone doesn’t account for the prevalence of weird scurrilous myths about the English language.

Is it… is it an attempt by European-American L1 anglophones to paint themselves as victims of cultural imperialism? Because if so… oh boo hoo, the two most powerful empires in history imposed our native language all over the world. How terrible for us, we surely don’t benefit from that all the time. Oh, it’s such a terrible language? Oh wow, you’re right, you’re the real victim.

But that feels like it’s not entirely true either. I mean there’s definitely some useless liberal self-flagellation involved but I don’t think that’s entirely it either. And I get that there’s some amount of overcorrection for the old English-chauvinist narrative, but that doesn’t feel like enough of an explanation either.

Does anyone have a better explanation?

[gremlin-writes-angst]

Scraps to a Tank

Ive been working on this AU for a while. I'm very excited to finally post the first chapter. I'd love feed back from anyone, about anything. This is one of my favorite things I've come up with/written, and want to know how I can improve.

I am tagging some of my favorite redacted asmr writers/Tumblr pages because I'd love to have some feedback (if comfortable and have the time) but also I just want to share what I have.

This chapter is a little cheesy, so small warning for that.

 1.7 k words

Fandom: Redacted Asmr/Audio

TW/CW: Quinn in other words toxic, controlling, abusive relationship. nothing graphic. This is a Boxing/Fighting Au so there is fighting, i wouldn't consider it graphic, but everyone's different so read with your own discretion.

Let me know if I missed a trigger or spelling mistake.

Please comment and reblog, it lets me know people like my stuff and encourages me to write more!!!!!!

The building was intimidating.

It wasn't tall or fancy like the buildings a couple of blocks down.

It was an average building.

An average gym.

And yet it was still so daunting.

They checked the card for about the sixteenth time.

The sign matched the card.

The dirty, crusty, crumbled-up card.

The card's appearance didn't match its meaning.

This card was their lottery ticket.

“That name doest fit you.”

They turned around, a man, a beast.

He was tall, big, rugged.

The definition of strong.

Standing right in front of them.

“Excuse me?”

“Your fighter name, it doesn't fit you. And honestly neither does this.” 

His hand slowly waved around, gesturing to the alley.

“You're better than an alley fighter.”

They couldn't hold back their laugh, short and dry.

Just like Quinn’s. 

“You must have mistaken me for someone else. I'm the fighter that lost.”

“I know.”

He steps closer.

Yet distanced.

He was still giving them space.

He respected them.

“And everyone and their mothers knows that fight was rigged. Though I could see it.”

Intrigued, they took a step closer.

“See what?”

“The passion. The strength, the techniques, you are a fighter.”

“I’m not.”

“You have the will to be.”

He stretched his hand out, a business card.

“I can teach you.”

“So this guy approached me today.”

All Quinn did was grunt and roll away from them.

“He says he can teach me how to fight.”

Their excitement was palpable.

“I already did.”

The air tensed as he fought to dampen their excitement.

For once, he failed.

“No, like real fighting, I looked up the name on the card. His dad is Gabriel Shaw, like Gabe Shaw!”

They hadn't felt this hopeful for a long time, and they wished Quinn would share their interest, at least a little, at least for once.

“Gabe Shaw, like the 3 time champi-”

“Two time, I recognized the name, he died before the last fight.”

The air tensed more.

Quinn was good at pushing things to their limit.

Even the air.

They hated it.

It was sicking.

They were sick of it.

Sick of Quinn.

“I think I'm going to take him up on it, he doesn't fight anymore, but from what I saw he’s good, just as good as his dad, and his fighters get pretty far. I could be a real fighter, I could learn real techniqu-”

“I already taught you real shit, and we already win.”

He moved fast and with anger.

Out of the bed he charged at them.

“Quin-”

“We already win. You're getting too cocky. Winning isn't about the fight itself, winning comes from the fuckers that bet, the poor drunk suckers we trick with the fights. That's how we win. You are no fighter, you know that. I’ve shown you that.”

He looked into their eyes, he didn't have to threaten them.

Not with details at least.

They knew it all too well.

That look in his eyes.

The tone in his voice.

It was all he had to do. 

And he knew it.

And he loved it.

He smiled, wicked and calm. Like this was normal, they supposed it was.

They didn't want it to be.

Not anymore. 

His hand reached for their forearm.

“Let us get to bed now precio-”

 They moved.

 Just slightly.

Just enough to avoid his touch.

"You don't want to do that, precious."

He was right.

They weren't ready.

They had to be ready.

They will be ready.

"I couldn't take it."

"What?"

The other fighter spoke, they weren't looking at you, their eyes on Quinn.

"Being with him. Dealing with him once a month is too much."

"Yeah. You're the first one to say that."

"Probably because the other fighters want to get in his pants. They just can't resist ‘The Viper’ "

They don't reply.

"Sorry, I thought you knew."

"I do, there's not much I can do."

"I think there is.”

"You don't understand"

"I do."

They look at the chunky heart-shaped ring on their finger.

"You can get out."

Those words drew them in.

Cautiously they expressed their interest.

"He's quite insecure, use it. Take away his control.”

There was a pause.

They looked around again.

Their eyes caught on Quinn.

A decision was being made behind those eyes.

When they made their decision it was clear.

They made eye contact.

Strong eye contact.

And continued.

“You'll have your moment. I promise. Take it or don’t, it’s up to you.”

They turn their back. 

" It's a little strange that you never win these staged fights. I think it's about damn time.”

"I hope everyone's bets are placed because the books are closed for Scraps vs Sweetheart!"

The announcer looks at Quinn, and with a quick nod, he starts again.

"Fighters ready?"

Sweetheart has an intense stare as they nod.

Scraps, on the other hand, doesn't hear the announcer the first time.

"Scraps? This fighter isn't even prepared, it's your fault if you took your chances on this underdog."

They snap back. 

"I'm ready."

And they were.

"Then…..FIGHT!"

The match starts, as planned. 

A couple hits, a swing of the legs and Scraps is knocked to the floor, as planned.

Sweetheart approached, to taunt, as rehearsed.

"Don't take this personally."

That's the only hit they give sweetheart.

Sweetheart's eyes glimmer as they smile.

"I won't. Take your moment."

Scraps grabs their neck, slamming their heads together before flipping them behind. Scraps moves fast as they get up. In the crowd, they see Quinn and his goons moving to the ring. 

"Sorry, thank you."

"Don't be, go."

They climb the makeshift fence and run. A huge smile stains their face as they leave the building, rain washes the sweat off their face. They keep running. Not running away from Quinn but towards freedom,  towards their future.

They took a deep breath before they opened the gym doors.

It’s bigger than they'd expected.

They'd never been in a professional gym like this. 

There were multiple rings, real rings, not the homemade stuff they were used to.

There's no reception desk like a public gym, but luckily David Shaw was the first person they spotted.

He was in a ring with someone.

They walk towards the ring, they can feel the other fighters watching them.

They get to the ring David is in.

Neither he nor the other fight realizes it.

"David?"

The two whip their head to you.

"Get out."

He was calm but still seemed angry.

"I'm Scraps, from the-"

"I know who you are. Now get out!"

They climb out of the ring, and begin their walk to the door, feeling defeated and quite offended they, whisper to themselves.

"Well fuck you mister big shot ."

"I'm not a big shot."

David says from behind. 

Scraps freezes up.

"When I said get out I meant the rink."

They stay still.

"Will you turn around?"

David didn't hold back his frustration.

Scraps feels it'd be best to turn around.

"Sorry."

"You shouldn't enter a ring without permission, not here."

"Sorry, I've never been somewhere this professional."

"You don't mean that."

"What?"

"Those sorries. That is not how you feel."

"I am sorry. And how exactly would you know how I feel? You just met me."

David's eyebrows raise as his eyes keep a dull annoyed look.

“To quote you ‘Well fuck you mister big shot’, that's how you feel, Don't act differently,  it pisses me off. I hate suck-ups."

Scraps believes him.

"Well, I'm not sorry, only because you don't have to be an ass, you said you recognize me, then you should of figured I wouldn't know these rules."

"I was an ass so I could protect you, get used to it."

Scraps smiles.

David rolled his eyes.

"It’s been about a year."

"Does the offer still stand?"

"Yes."

"Then what's the problem?"

"Nothing."

Silence rests between them.

Scraps isn't patient enough to let it continue. 

"So can I start today?"

"We can't just take you in at the last moment, the trainers have others to train.”

"I don't." 

A curly-haired blonde yells across the room, near a punching bag, and starts rushing toward the two.

"I'll do it." 

David takes a breath so deep it is visible from his chest. Before he let out a sigh.

"No."

"Oh come on David, I'm a great trainer."

"Asher, I know that, but I said no. You are not the right fit. "

"Ohhh you want to train them."

Asher starts walking towards Scraps.

"Lucky bastard."

He whispers, without maliciousness.

"So what do we call you?"

"Well, I've gone by Scraps for a while."

"Scraps? Really?"

He looks them up and down.

"That won't work"

"He's right, I'm not calling you that."

David seconded Asher.

"Well, I don't really have any other ideas."

"Tank!"

Another voice echoes throughout the gym. 

Scraps wasn't expecting to recognize anyone other than David, but rushing towards the group was the boxer who gave them the nudge they needed.

Behind said fighter was a guy, seemingly trying to stop the other from coming over. He was failing.

"That would be Sweetheart,  they're our newest addition."

Asher kindly tried to keep Scraps updated through all the chaos.

"They know who I am Ash, at least I hope they do, with the concussion they gave me. You've got one thick skull."

Slightly overwhelmed by all the attention,  Scraps freezes and doesn't answer.

"But listen, Tank, it's perfect,  there like a machine. They gave me a concussion for God's sake, and then, after slamming our heads together,  which had to have hurt them too, they flipped me. That mother fucker acted like I weighed nothing. They're a fucking tank."

"How many times have I told you to watch your language."

David made a sound comparable to a growl.

Sweetheart rolled their eyes, then looked over to Scraps, to engage them.

"He's not a fan of my filthy mouth."

"I sure am."

"Milo"

David sounded like he wanted to strangle Milo.

Yet, to Scraps surprise no one was scared.

The group just laughed it off.

It was strange to Scraps.

"Ohhh my god!"

Asher shot his hands out to get everyone's attention.

"If you go by Scraps now, and we change it to Tank it's like, like you're being rebuilt, becoming stronger. Which is fucking sick."

David shakes his head at the profanity. Before turning to Scraps.

"It's up to you, it's your name. You don't have to choose now. "

"I like it. I mean, I love it."

That's all they said, they wanted to say more but didn't want to overshare about their life after five minutes of meeting these people.

"I am a tank. So I'll be Tank."

If you'd rather not be tagged let me know and I'll respect your wishes.

@dominimoonbeam @romirola @ejunkiet

[jamestaylorswift]

I have complicated thoughts about atw10. I go back and forth on it - sometimes I hate it, sometimes I love it. but I think I always end up at those extremes because I can’t help but compare them.

first you have the og atw. perfect, no notes, whether or not you agree it’s her magnum opus it does deserve every bit of hype it gets because it’s a great fucking song. (the magnum opus conversation is intertwined with the lore about the song - that taylor wrote it all in a vent sesh with her band; that it wasn’t a single but became a fan favorite because it’s a great fucking song; that there’s A Scarf™️; that taylor recognized all this history and played it up; that by rerecording her music taylor gets the opportunity to carefully prune, as one would a bonsai tree, narratives and how her eras are remembered and how this is the one she’s cemented in history; that now the focus on a song’s lore has intentionally and unintentionally become integral to its endurance and popularity….) the original song has extreme dynamic peaks and valleys despite its nearly unwavering four chord progression. it has lines about autumn leaves and repeat phone calls so insightful that you marvel at how anyone could have been so talented as to string those precise words together. but its emotional punch is twofold: the details are just clear enough to make you recall one of your own experiences and just hazy enough to prevent the writer’s experience replacing yours. the whole thesis is about remembering all too well, forever. you can’t get rid of it. because you remember it. you remember it all. the song is a tour de force and taylor’s skillful manipulation of emotional/musical tension in this song is something that will be appreciated and studied for years to come.

then on the other hand you have atw10, which not only sounds and reads differently but could even be considered antithetical, or at least a foil, to the original song. the zeniths and nadirs are less pronounced and she expands the story with new verses largely interpreted to be about a toxic relationship with an age gap. the musical arrangement is more modern and features an expanded palette of instruments: tension and release comes from subtle harmonic differences, staccato background vocals, or a wild violin. the new verses - were they really part of the original song? or do they clearly betray the perspective of someone who’s 10 years older? the short film - it hammers home this exact expanded story and was admittedly written as a retrospective, with the insight that being 10 years removed from a toxic relationship provides. the ultimate effect is that atw10 is not about remembering it all because you can’t get rid of it. it’s about taylor remembering it all, even though she can finally get rid of it. the “it” is clearly her own experience (though this is not to say the atw10 story is not a relatable story or that it’s not a valuable story to tell or hear.) “I was there, I was there….” the memories and the pain all trail away with time. but, these memories are very clearly not yours, the listener’s. atw10 may be an expansion of the original all too well story, but this expansion does not simply intensify the same emotions from the original song—it explores a rather different emotional profile. musically and lyrically, and whether intentional or not, atw10 argues that the pain of remembering is dulled and even remedied with time.

and thus the ways that atw10 excels and fails are quite different than the ways the og atw does. whether one is “good” or “bad” depends what we value in a song, and more generally, why we enjoy the songs that we do and the extent to which we value an artist’s interpretation of their own experiences. have we been in toxic relationships and can relate to the specific story of atw10? are there traumas we can’t heal no matter how hard we try? are we moved by brash drums and isolated guitars or playful violins atop chords that chug on and on? does taylor swift’s word supplement or supplant our own connections with her songs?

I know that I personally would find atw10 less confusing if I stopped comparing it to its shorter relative. but the various lengths and mediums in which the all too well story is told make it seem destined that we’ll all be comparing the versions until the end of time. and yet just as there are shades of red for every possible intense emotion - burning, cherry, so scarlet, maroon - so are there reasons to love all too well. just as it will endure in the popular zeitgeist as one of taylor’s best, most famous, most impactful, most beloved songs, so too must all too well live on in every listener because of (and only because of) each and every one of us loving it for unique reasons.

[galaxythreads]

Why not just write a fic of the path u wish they took after thr dark world instead of making a video to tell the world why u personally dislike a movie? Why waste talent?

Anon, I want you to read the next words with as much compassion and gentleness as you can muster from text, because I do believe you're asking this genuinely, but do you have any idea how much time it takes to write a fic? I spend hours on a single chapter. I mean that. Usually, it's about ten, then I have to edit it. That takes another five hours. That's fifteen hours-ish per chapter. I usually average about 10-15 chapters per fic.

I have to plan it. I have to think about it. I have to figure out why the story is going the way it's going. I have to replan it. I replan most of my fics 3-4 times. that takes hours. Then there's usually the demon chapter per fic which takes 1-4 rewrites, which tacks on more time. I spend probably 3-4 weeks of time straight on a multi-chapter fic, which this would be.

Every time I start a fic, I have to be ready to devote that length of time or it gets abandoned or updated once or twice every year because I just don't have the energy.

This is completely disregarding the fact my mental health problems, which often cause set backs and delays as I try to cope with that. Fic writing is fun, but it's exhausting.

And this is just one part of it.

Another is that, anon, I genuinely just don't want to. Ragnarok has been out for almost six years. I've written multiple IW/Endgame rerwites (or at least IW-adjacent things, Porcelain, Drawing Keys With Water, Withering Away, We're A Mess Now, Huh? Empty, We Drown Together, the last half of Append) and almost nothing for Ragnarok except for Discolored. I have Avengers 1-adjacent things.

If rewriting Ragnarok was something I had any interest in doing, I would have by now.

And honestly, I don't know what I would put there instead. I don't hate the concept of Ragnarok. I own the movie on DVD, and have since like 2018? I don't hate it. It's actually really, really hard for me to loathe something entirely. Usually I'm like "I didn't like this part", but "this part was good!" All stories have nuance.

That's why there are a lot of people who like Ragnarok and the Loki series who follow me despite the fact I post anti stuff for both of them. Because I recognize there are good things about xyz and I'm not afraid to talk about that. So this is not going to be a video about everything wrong with Ragnarok.

I can get where you'd get that idea. My 3 part essay about the Loki series was extremely brutal and rarely brought up any positive, and I'm not happy about that. Honestly, I wish I'd taken a different approach with the essay and I probably will make another one about the series. But please have some compassion for me. I've had a YouTube channel for less than six weeks. I have no idea what I'm doing. I'm still getting my feet underneath myself and I'm human so it's not going to be perfect.

I can understand why you'd feel really confused about why I'm bothering to make a video essay when, to you, it seems like it would be easier for me to just write a fic and shut up about it. Because fanfiction is often very quiet and private. YouTube is much more public. I get the impression you're a little frustrated with me, if not a little embarrassed that I want to explain why I didn't like the movie publicly, which is fine.

I love Justice League 2017 and it's often regarded to be a horrible movie. I have a Shrek 3 myself. I have a lot of them. It's impossible to love only perfect movies because there are no perfect movies.

Recognizing where stories failed is not passing moral judgment on them. Realizing why other stories work does not mean they're superior in some way. How To Train Your Dragon is a masterpiece, and I mean that genuinely* But WHY. WHY did it work when something like Netflix's Seabeast was less beloved, but had no less heart? The WHY is what I want to address in my video essays and I haven't quite figured out the formula just yet on how I want to go about that. Because, again, it's been like six weeks.

(*and for the record, HTTYD still has a lot of people who don't like it, but that's more so because it's not their type of movie, not because they think that it was written wrong. And YES HTTYD has its' faults because every story has its faults)

There are a lot of unhappy MCU fans who didn't like Ragnarok. WHY? why didn't they like it? Are they not allowed to discuss it just because there are people who liked it? No. You like Shrek 3, but that doesn't mean there can't be discussion about why Shrek 3 isn't a good story. Ragnarok fans and those who don't like it can coexist and it's okay that not everyone likes something. Sometimes a movie isn't for everyone, and that's definitely a factor, but for THIS MANY fans to have not liked Ragnarok, that means that Ragnarok did do something major wrong.

And it's not just og Loki fans who don't like it. It's og Thor fans, too. A lot was done right with Ragnarok, but just enough was done wrong that it bothered a lot of people and I think it's okay to explore what it was. Declaring Thor Ragnarok a masterpiece with no fault is ignoring a lot of people and I don't think that's fair. I'm going to talk about what Ragnarok did wrong because I find it interesting and I think it does deserve to be poked at. What I hope my essay will do is a) provide a little more compassion for people who didn't like Ragnarok and b) offer insight as to what Ragnarok could have done better.

[dear--charlie]

Dear Charlie,

It's been 3 years since I've written to you. Every time I write, I feel like I'm a different person. Life feels like a complete mess but I'm also okay ish? I stress about work, money, family, relationships, the usual things. But it feels manageable. Hard as fuck, but manageable. I'm trying to be a better person. My parents really fucked me up, and now I can see how that has made me a not-great-person at times. Christ, I have a sharp tongue. And I wield it carelessly, and it hurts people I love. But I am trying. I don't want to be like them so I have to work at it. It's harder than I thought it would be. So often I don't even realize that what I'm doing is not only harmful/unhealthy, let alone recognize that I sound just like my mother/acting like my father. It's so hard trying to have a good relationship with them. I love them, I recognize that they're flawed people who have traumas of their own, and I have endless empathy for them. But I'm still so fucking mad at them. Its like there is this anger at the core of my being that I'll never shake. I'm so fucking fucked up and how they treated me was so wrong and they were so irresponsible all of the time. When I was a year old, they took me on a trip to New Orleans w my mom's parents. There's an adorable picture of me riding on my dad's shoulders from this trip, I've heard funny stories from it all my life. Then I find out that when they went on that trip, they were nearly 6 months behind on their mortgage payments. And that kinda encapsulates the irresponsibility and the instability it caused. They couldn't afford that house, but they bought it anyways. I don't know how many times we had our water or electricity shut off because they couldn't pay the bills. Showering by the light of a fucking oil lamp. I was a kid, but I knew something was wrong and this shouldn't be happening. We lost that house in the 2011 housing crisis. There are thousands of other examples but yeah :) all that bullshit, and then immediately afterwards the turmoil of 2011-2015 started.

Anyways, Charlie, I'm working to be better. Need to find a new therapist but I started reading this book about how emotionally immature parents can fuck their kids up. Christ, Charlie, every page is like a punch in the face. An over developed sense of empathy?? Emotionally dissatisfying romantic partners?? Extreme anger that turns inward, causing thoughts of SH???? It's like reading a book about myself and while I hate feeling known, it's really helping.

As a life update: love where I work and my coworkers, but things are...complicated w management and I'm struggling so I'm considering leaving which kinda blows. My little brother has been living somewhat close to me for the last two years but he'll be moving away soon :( I wish I'd taken more opportunities to go see him while he was within a days driving distance. I miss him a lot. He's one of my best friends. I don't think there's been more than a week (at the most) since the day he was born that we haven't interacted in some way. So yeah, kicking myself for not visiting him way more. The relationship is much stronger, but there are still things we have to work through. Unfortunately he has been on the receiving end of my sharp tongue to say the least, which has given me the much needed kick in the ass to get serious about being better. Leo is good, he got some teeth taken out in January but he adjusted very quickly and it was a quick healing process. Words cannot describe how thankful I am for this cat. He is a momentous comfort in hard times, he never fails to bring a smile to my face and peace to my heart. He's laying on the bed with me right now, and when I'm done writing I am going to scratch his belly.

Life is weird, Charlie. There's a Nauhtl proverb that says the earth is slippery. It's hard to be a good person, life is full of shit that will trip you up. You have to work hard at remaining upright. It hasn't been an easy road getting here. I didn't want to live past 17. I'm nearly 27 now. It's been hard and a lot of things still hurt, but it gets better. I would have missed out on so many incredible moments had I ended at 17. I'm glad that I'm still here.

Thank you for being here for so long, Charlie. You'll always hold a special place in my heart ❤️

Love,

J

[theboardwalkbody]

Scripts Thoughts:

1. Roman told Tabitha about the failed launch and how people may have died. Their conversation was never written but in the scripts after he makes the joke about having thumbs and not killing anyone he tells Tabitha no one died. So she knew. I want to know how that original conversation went. Since Roman doesn't like to be vulnerable. Did he joke about it? Was he vulnerable for a second? Did she comfort him? Did he let her comfort him or did he pull away when/if she did? Because maybe he was vulnerable for a split second when he confessed about it but if she tried to comfort him I can see him pulling back like 'no this is too much now'.

2. According to Script World, Roman and Tabitha had only been on 4 dates prior to the wedding. This makes Roman's "let's get married" proposal even more outlandish. And (either way) it reads as "I fall too hard too fast and I'm terrified of being abandoned and if we're married then I can't loose you". Which we do get the idea that that's exactly what he thinks with Tabitha's "do you think this is how you get people to stay?" (Also at first she thought he asked 'for a tax scam' because it was so ludicrous, and that he was using her as arm candy until he was like 'no I actually like you'. This ties into this:

3. In the script Roman's best man speech is very very different. The statement regarding borderline personality disorder was Kieran's change. Which is very interesting considering, from the little I know, he liked to add things to Roman's characterization (such as the disordered eating). Now, add these things: Roman loving fast and asking everyone he falls for to marry him inappropriately fast, his fear of abandonment by those he loves, him rejecting people when they do something that upsets him (ok so, so far this only happened once* with Grace watching the movie he hates which caused him to lash out and break up with her on the spot but I read that very much as splitting), and the fact that he said "I feel nothing at all, it's called borderline personality disorder" during the speech. *In the script Tabitha basically tells him the launch doesn't seem like a big deal or at least she doesn't think so which hurts him and he does "get sharp" in the way he replies to her. This makes her start packing her bag to leave which causes Roman to apologize and recognize he was being sharp and admit it, because he doesn't want her to leave him. So possibly a bit of a split plus lashing out.

Now at first I originally thought, "but BPD makes you feel too much, like the emotions are go big or go home" and completely forgot about the "or go home" side being an actual thing. It actually took me having my therapy appointment this week (in which we discussed my BPD) where we talked about how there are points where I feel empty/numb/shut off. My therapist then explained that that's a Thing with BPD and can come about when feeling overwhelmed emotionally or in response to something overly stressful.

That made me think: Roman was at a wedding. They tend to be emotional especially when it's family. He had very recently asked Grace to marry him which did not go the way he planned. He watched the rocket he worked so hard to expedite so that it could be a perfect just for Shiv explode. He was stressed and anxious beyond belief over the fact that if the explosion killed anyone he would be facing imprisonment. I 100% believe all this emotional overload fully caused him to shut down his emotions at that point. So I fully believe he was feeling nothing and I believe his flippant remark regarding BPD.

I doubt Roman has ever been to therapy and professionally diagnosed but I wonder if he, perhaps, has googled things for himself. Like if he was ever like "why am I like this" but absolutely refuses to be open and vulnerable about it with another human being so he turned to self diagnosis.

So yeah. I am absolutely leaning in to the BPD not being a joke. He's got the fear of abandonment, he's got the feelings of emptyness in tough moments, he seems to have splitting tendencies (again, I know one or two moments doesn't solidify it but I will be keeping an eye out). He does seem to have some explosive moments (again, that scene with Grace at Thanksgiving and the one with Tabitha in the script). *also note, sometimes with BPD the explosions aren't outward but can be inward so rather than lashing out at others you lash out inwardly which is where I sit so I can absolutely see Roman mentally lashing out at himself, too.

Maybe I'm projecting some of this but I think it's very very very interesting too see these traits and then learn that the BPD statement was added by Kieran.

4. There's a part in the script where Roman tells Tabitha that he wishes he was good at something. That he wishes he had ONE thing that he was EXCELLENT at so that he could basically do that one thing perfectly. Which I think is a vulnerable moment for him to admit that.

(sorry long post and sorry for any word/spelling errors I'm on Mobile)