#We're angry and we're allowed to be angry and we NEED to be angry

[kakao-lovey]

ꨄ︎ Single on Valentine's: ideas to inspire some self-love

We all have that person in our class or friend group that is seemingly always in love. It is easy to compare yourself and feel 'Not good enough' for a partner, 'Antisocial' (In this context, Asocial), or that you're 'Going to be alone forever'. I've got news: those people who are constantly in and out of relationships are rarely happy, because they need a romantic partner for validation. They have problems loving themselves, so they need someone else to do it for them. So, whether you're aromantic, newly single or have never even had a proper relationship -- you will NOT spend this Valentine's Day crying. Not on my watch.

-------- ₊˚⊹౨ৎ ₊˚⊹ --------

ꨄ The importance of self-love, and how to attain it

The only person you can spend your whole life with is YOU. The only person who will always be with you is YOU. If you want to actually be happy in life (As opposed to constantly seeking validation from others to be happy), you need to make amends and grow a healthy relationship with yourself. Now, that's all great and good in theory, but you have likely heard this a million times and still don't know how to actually go about it. You can take real-life steps to begin to love yourself, and all you need to start is ask this question: How would I treat the person I love most in this world?

ꨄ︎ Ideas for your best Valentine's Day yet

Firstly, if you're scared to go into public on your own on the 14th, thinking you'll be judged: do it. Have the audacity. Do what everyone else is too embarrassed to do. Think of it as practicing your confidence, taking steps to have a less insecure mindset.

Writing letters to your past, present and future self: tell nine-year-old you that it's going to be alright. Write to them to say that whatever happened is not their fault. Or tell future you that you're proud of them no matter what, because if they're reading it, they're still standing.

Love language of physical touch: yes, there are ways to speak this language with yourself! A lot of us can relate to the experience of rubbing our feet together like crickets when we're comfy. So get yourself your favourite blanket and curl up in bed with some music.

Affirmations: they work. Write some down in a notebook, decorate the page with stickers, or listen to an affirmation audio from YouTube. If you have the confidence, you can even say them out loud.

Getting yourself gifts: your favourite flowers, a snack you really enjoy, a video game, a skincare product, literally anything. Great thing is, you know yourself better than anyone, so your gifts will almost always be well received.

A self-portrait: get creative. Choose your favourite art medium, whether it be oil pastels, watercolour or even photography. It's a good exercise to appreciate the little details of your body, and how it works together to create a living being.

Speaking of your body, take care of it. It may not instantly make you feel better, but lifestyle choices like diet and exercise make a massive impact on your mental health in the long run. So eat those whole foods, drink your water and do some light exercise like yoga or going on a walk.

-------- ₊˚⊹౨ৎ ₊˚⊹ --------

No relationship is perfect, and it doesn't have to be! You're allowed to be angry or frustrated with yourself, but a lot of what I've experienced is just needless hatred, and we need to fix that. That's all! Bye, Lovies!

[dekulakization]

[lord-squiggletits]

The fact that people fanonize Pharma as a functionist so much when Ratchet is right there is so fucking stupid it borders into hilarity honestly. It's like the fanon equivalent of someone next to you saying a slur and everyone else thinking you said it

Ratchet will be like "blah blah forged medic hands are the best blah blah I'm not saying that all the best medics are forged I'm just saying forged hands have a natural superiority over non forged hands blah blah once my hands stop working someone needs to take me out back and shoot me like a crippled dog"

Pharma: "hey fuckface you stole my hands and now my hatred for you is personal because you violated my body"

The fandom: "Holy FUCK Pharma is so racist look at him being obsessed with forged medic hands being the best!!!!"

Me, every other Pharma fan, anyone with reading comprehension:

[baura-bear]

what's pissing me off most about the election is how many people who have similar opinions are absolutely tearing into each other in search of someone to "blame" for the trump win. It doesn't matter what we could've done differently because at the end of the day it's done. blaming each other and turning on each other is only gonna help the white supremacists who want to run this country. so instead we need to focus on creating community so that we have a network of resistance and care built into our lives. tear into trump supporters all you want but if you are anti trump, if you were discontent with both options, if you were/are whatever, focus on people who share the same ideas as you and how you can build each other up and make your community stronger. that is where revolution begins. not yelling about ballots that have already been cast.

[hoziersong]

anyone know some fun activities to do with a 4 year old without leaving the house

[pondscummy]

WILD to have been feeling like I was overreacting about my roommate for days and feeling like oh I'm just not giving them enough credit I'm sure they do care about me even though I'm usually pretty comfortable expressing hurt or need to friends and I don't feel safe doing that w them I'm sure it's exclusively a me problem. and then. scrolling back through this vent blog and it's just a log of various times they've hurt my feelings LMFAO

[skippingseaglass]

people are my religion and this is fucking blasphemy

[lastoneout]

Sorry about the rant I'm just SO sick of this "we have to be on all the time never look away if you aren't upset about politics and traumatizing yourself watching people die on Twitter you're wrong and complicit and evil" like I know things are fucked and we need to stay angry but we can do that while also taking a minute to crack open a cold one with the boys or have gay sex or get tipsy at the line dance, we HAVE to have joy to remember why the fuck we're refusing to give up in the first place. Fight like hell for your loved ones and then also go home with them to smoke weed and drink sweet tea and make biscuits covered in honey and butter please, please don't deprive yourself of joy, you're allowed to be happy BEFORE the work is done. You're allowed to be happy.

[captainjonnitkessler]

The other reason I'm generally annoyed with the "Abolish X" crowd who actually DO mean "abolish X" and not a watered-down version is that ime they very rarely have fully thought out the implications of what they're demanding and then get angry when other people ask about it.

"Family abolition means completely removing legal ties for family units and allowing all children the choice of where they live" okay. So if I see a three-year-old throwing a fit because she doesn't want to leave the park, and I go over and tell her if she comes home with me she can stay as long as she likes and then we'll get McDonald's on the way home, that three-year-old should have the ability to make that decision? The parent or guardian has no legal recourse to stop me from taking her? Cause if the answer's no, that's not abolition, that's reform baby!

"I'm done talking about what we'll do with rapists and murderers after we abolish prisons, it's all anybody ever wants to talk about!" Well yeah man! 98% of people just interpreted your words as "we're going to let murderers roam around killing people at will"! You need to explain very clearly what plans you have that will stop them that aren't incarceration or you're not going to make any headway! And if your answer involves any form of "well of course SOME people can't be allowed total freedom" - that's not abolition, that's reform baby!

I'm not even gonna touch the number of people who think we should abolish the police and replace them with what are essentially roaming squads of vigilantes dispensing "community justice", whatever the fuck that means.

Like these aren't "gotcha" questions, they're legitimate problems you're going to have to contend with. And if you wave away all these questions with "you're just making up ridiculous scenarios" and "we'll think of something to fix that once we destroy the current system", then yeah actually, I DO think you care more about sounding radical than about making any kind of change.

[reasonsforhope]

There's a saying my dad taught me, that I've found is very true in life:

The antidote to anxiety is action.

If you're like me, you're probably anxious right now. And scared. And quite probably angry. About climate change, about the Palestinian genocide, about Donald fucking Trump.

That only makes sense. It hurts to find out that people aren't as good as you thought, or hoped. It hurts to know how much better we could be doing, and then see all the ways in which we aren't doing that. It hurts to know that people are going to die.

This is something I've been grappling with myself since the US election. I had hopes that were higher than this, and I had reasons for those hopes, but in several spheres, those hopes have been disappointed.

That's not a reason to give up, though. It's not a reason to give up on the world, on yourself, on your life, or on hope.

The antidote to anxiety is action.

(Nobody is allowed to interpret this statement as being about/against psych meds btw. Meds are great and help a lot of people. But this isn't about them.)

Fear and anxiety exist for a reason: to warn us when there is a threat. And to motivate us to do something about that threat.

That's why, the more you push anxiety down down down, the worse it tends to get.

Your brain - your self - is telling you that something is wrong, and that you need to do something about it.

So listen. And find something you can do to help. Anything.

It will make you feel better, I promise. Maybe not right away, but it will.

And the more you do to help, the more you'll see the difference it can make. The more you're surrounded by people who are also helping, who also care. The more you'll see more and more ways to help.

Look up organizations near you - especially organizations that help protect the groups that are most vulnerable right now: undocumented people, immigrants, trans people, BIPOC, queer people, Muslims, Jewish people, disabled people, unhoused people.

Find someone who is helping, and find a way to help them.

The more we do to help each other, the more we organize, the more we resist fascism and work to beat climate change and make those fuckers pay for every. last. fucking. inch...

The more we will change. The more people we will protect and save.

We're stronger together. So find something you can do. And do it.

[goqmir]

u ever notice how trans women arent allowed to be openly frustrated or angry about anything without getting an unreal amount of hatred sent at them. and god forbid someone "in good faith" responds to your venting with a half baked "solution" to your problem that if you dont perform for them youre obviously just so helpless and want to struggle-- because obviously to them transgender women love to play the victim (our struggles cant be real if they dont awknowledge them, and if they do awknowledge them theyre obviously not important or they can be fixed easily). cis people are allowed to be angry all the time. theyre allowed to be joyful too. if a trans woman is happy in her identity if she adores herself if shes feminine and loves pink and loves being trans thats "cringe" and "reddit" and obviously not how youre supposed to act. cis people are in love with their identities all the time and hate us when we are. we cant be the opposite either-- if we're sad instead of angry, they say we need to just pick ourselves up and stop bringing down the mood. if we aren't feminine, then they ask "why did you even transition at all?" if you aren't filled with joy every waking moment (which, again, they would hate you for), they say its because you're trans, and they hate you anyway. a lot of cis people (and a lot of trans people) dont want a trans woman to be angry like cis people are allowed to be, sad like they can be, happy, feminine, or masculine, or anything else-- its a catch 22. they hate you no matter what you do but especially if youre visible about it. so fuck em.

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[woso-dreamzzz]

Helper:Christmas

Arsenal Women x Child!Reader

Summary: Christmas with Guppy

"I...I don't understand. What's...What's going on?"

"Just keeping holding it up," Codi whispers to Rosa, who looks like she's about to lower the tinsel that she's holding up.

"I don't get it. What's going on?"

"We're decorating the tree."

"No, I get that. But why are we holding it up in a line?"

On her other side, Leah huffs. "Because Lia's raising a kid who doesn't like mess and gets freaked out by Christmas trees. Ow! Lia!"

Lia's elbow, none too kindly, digs a bit further into Leah's ribs.

"Don't make fun of her!" She snaps, imaginary hackles raised in annoyance at Leah's dismissal before turning to Rosa to explain, much more kindly. "Guppy...She gets a bit overwhelmed about this kind of stuff and these cretins like to go overboard until the tree's a big mess. So, Guppy gets to pick the theme and then we all decorate. Leah's exaggerating."

"I'm just saying! Maybe exposure therapy will be good for her! I love her, Lia, I do. You know that. But you have to admit, this-"

Lia whips her beads at Leah in annoyance.

"Alrigh! Alright! I get it! Sorry!"

Lia's not finished though as she points to practically everyone in line in turn. "None of you are allowed to talk about that kind of stuff while y/n's in the room too, do you understand? She's sensitive and I'm not letting any of you make it worse!"

"I think they get it," Mario intervenes quickly," No one wants to make her feel bad."

Rosa's kind of glad that Mariona did. She's never seen Lia angry before. Annoyed, yes. Overtired, yes. But never angry. Not truly anyway but she's heard how protective Lia gets over you.

You're not really an oddball. You're not overwhelmingly weird either. But something that Rosa's noted is that you're very particular. She's never met a child so particular in her life. You like things done in a certain way.

You get all fidgety and anxious if you're not allowed to do things in the way you want and tend to start things over if it hasn't gone perfectly. You flick the lights on and off twice in whatever room you leave and you always knock on doors twice.

Rosa's seen you on the team bus, getting Lia to buckle and unbuckle your seatbelt twice over just before the bus sets off to whatever away match they need to get to.

You're just...

Different.

It's clear that Lia knows that too and a lot of her energy is put into making sure no one makes you think that you don't fit in.

"Alright!" Kim comes in holding your hand and from what Rosa strains to hear from Mario and Lia's conversation, this is normal too.

Kim helps you pick out the theme.

You both whisper together, Kim clearly going along with your childish wonder and happiness. She crouches down at your side as you look between Rosa and Kyra's tinsel.

Rosa's holding a red one and Kyra's holding a gold one.

Kyra wiggles it enticingly in your face but your features all scrunch up at once as you move away from Kim to take Rosa's hand and then to choose Codi and her matching green tinsel as well.

"Alright," Kim says," And what about baubles?"

"Er..." You look at the rest of the team and all the baubles they hold up to you, suddenly overwhelmed with choices.

You look at Leah's glittery baubles and shake your head.

"Not-Not glitter ones."

Then you catch sight of Lia and Mario, immediately breaking away from Kim to go crashing into them.

"Mummy!" You gasp," You bought the special beads from home!"

Wound around what looks to be an old piece of cardboard, is a long string of silver beads.

"I did," Lia says," Because our tree is too little for them this year. I thought we could use them on the Arsenal tree."

You nod, head bobbing up and down happily before you also take Mario's hand, dragging her into your little group of chosen people without even looking at the bauble in her hands.

"Nah!" Leah complains," This is so unfair! Why can't I be chosen?"

"Because you clearly didn't choose a good bauble this year," Beth teases," Not like me."

"Not Beth's bauble either," You say to Kim.

"Wait...What? Come on, come back!"

Decorating the tree is a team effort because while you may have been the one to make your selection, you're much too small to decorate it all by yourself and Rosa's found herself with you on her shoulders as you strain to put a candy cane onto the tree.

"Careful," Lia warns her," Keep straight or she'll fall."

"Rosa's doing fine," Steph says," And it's not like Guppy is going to start throwing herself around. She's very responsible."

"I am, Mummy!" You say," Very responsible! I helped Mrs Gina find the missing gluestick lid yesterday!"

So, Lia ends up worrying from a distance and insists on being the one to lift you up so you can put the star on the tree before letting you down and leading you from the room without any more preamble.

"What's happening now?" Rosa whispers as it looks like everyone starts sitting down on the floor in a little circle that she has no option but to join.

"Lia's been doing this since Guppy was born," Caitlin explains," We're getting presents now. It was pretty cute the first time, little gifts in baby y/n's hands. It was her handprint the year she was born and then it was like little keychains? She's old enough to give them out by herself now."

The present Rosa gets is kind of soft and squishy and it doesn't rattle or anything when she holds it up to her ear and shakes.

"No opening until Christmas!" You say once everything's been given out and everyone's attention is on you," Because that ruins the surprise! You can only open them on Christmas!"

The little Arsenal teddy bear you got her sits on Rosa's desk for the rest of the season.

[cjlouwho]

“Tommy!” Eddie cheered, lifting his drink toward the sky as he spotted his friend walking toward him. “Whatcha doin' here, Man?”

“Figured I'd stop by and see how you were doing, Bud,” Tommy replied. He gave Eddie a pat on the back as he sat down in the empty seat next to him. “You come here alone?”

“Mhm. Needed ta get out. House's too quiet.”

“How long have you been here?”

“Too long,” the bartender interrupted as he walked by. “Was about to cut him off. I already took his keys.”

Eddie's eyebrows furrowed, looking around the bar counter. “Hey! You took my keys.”

“I got him,” Tommy said, giving the bartender a nod. “I gotta say, at least you're talking better than you're texting. I was worried.”

Eddie's face scrunched up in confusion. “Huh? I never did texted you.”

“Oh, I beg to differ.” Tommy fished his phone out of his jacket pocket and went to his messages. “'Buuuuuuuck, lezz drink, Buddy.' Then five minutes later, 'Bruck, why rn't you at bar? I waiting.' A good two minutes after that you sent me your location with an angry emoji. Then, and this is my personal favorite, 'Loser too busy kissy kissy with Tummy to be a friendship.'”

"Huh. Thought I was textin' Buck.”

“Yeah, I pieced that together.”

“So where's Buck if you're not kissy kissy?” Eddie asked, his final drink sloshing over his fingers as he attempted to bring it to his lips.

Tommy took the drink from Eddie and set it back on the counter. “Evan is watching Jee overnight so Howie and Maddie can have a night away. So, you wanna talk about whatever's bothering you? I mean, I could take a guess, but...”

“Nah. No, no, nope. I wanna,” Eddie pulled at the collar of his shirt. “Lessgo karaoke, Tomboy-”

“We're not calling me that.”

“I wanna sing to the rooftops,” Eddie continued, his words slurring more and more with each sentence. “I wanna. I wanna be, you know, be free, Tommy. I don't have a rea-,” he hiccuped, “reason to get back home.”

“Really? Seems like that's exactly where you need to be right now.”

Eddie's eyes widened, like he'd thought of the best idea in the entire world. “Let's go to Peeping Tom! That's your name!”

“Peeping Tom is a gay bar, Eddie.”

“I don judge.”

“A very kinky, fully nude gay bar,” Tommy clarified.

Eddie squinted, deep in thought. “No karaoke?”

“No karaoke.”

“Well, then were we go? Don't say home!”

“Home.”

“Ugh,” Eddie groaned, allowing Tommy to wrap an arm around his back and help him up. “You're like a no- no fun dad. Wish I'd texted fun dad.”

Tommy gripped onto Eddie tighter as he stumbled while taking a step. He sighed. “Maybe next time.”

*****

When Eddie woke up the next morning it was to a pounding headache and blinding sunlight coming through his window. He was nauseous and his mouth tasted like a mixture of gasoline and mouthwash.

He laid there for a few minutes, trying to figure out what happened that made him feel so unbelievably ill.

After a few failed attempts, he finally rolled out of bed and made his way into the kitchen to fix himself some coffee.

He froze when he walked through the door to see Tommy sitting there, reading the newspaper.

“Good... morning?” Eddie started, confused.

Tommy set the paper down. “Morning. Sleep well?”

“I- I think so, I guess. It's a little blurry.”

Tommy hummed. “Not surprising. Coffee just finished, if you want some. Your couch is not comfortable, by the way.”

“Buck's never complained.”

“Yeah, well, he's easier to please than I am.”

Eddie was too hungover for this. He had so many questions, but for some reason the first one out of his mouth was: “Where'd you put my shoes?”

“In your closet.”

He grabbed himself a cup for some coffee. “My keys?”

“We have to go pick them up at the bar today, along with your car, obviously.”

“You didn't close my curtains last night. Woke up thinking I was being interrogated by Ice T.”

Tommy sighed, leaning back in his seat. “'Thank you so much for getting me home safely, Tommy. Did it hurt your back having to drag me into the house while I belted out Bohemian Rhapsody at the top of my lungs?'” He stood, walking over to Eddie and taking the coffee out of his hand, drinking a big sip. “Thank you for asking, Eddie. I think my back will be okay, but my ears will never recover.”

Eddie rolled his eyes, turning to fix himself another cup. “Thank you for getting me home safely, Tommy. I appreciate it.”

“Mhm. No problem.” Tommy returned to his seat and Eddie joined him at the table. They sat in silence for a couple minutes, taking small sips of their drinks.

Eventually, Tommy set his cup down a little harder than normal, getting Eddie's attention with the clinking sound. “Wanna talk about it?”

“About what? How your coffee tastes like cigarette sludge?”

“I'll take that as a no then.” Tommy checked his watch. “The bar doesn't open until three. Want me to stop by and pick you up then?”

Eddie shook his head. “I can just get an Uber, Man, thanks though.”

“Of course. I'll, uh, let you recover.” Tommy stood and went to leave, checking his pocket for his keys and phone.

As he neared the door, Eddie spoke. “Wait,” he said. Tommy turned back to face him.

“Yeah?”

“Why'd you sleep on my couch?”

“You're my friend,” he answered simply. “You drank a lot. Wanted to make sure you were okay.” He took a step back toward the table. “Are you okay?”

Eddie cradled the mug in his hands, watching the steam rise from the cup. “You don't... How long has it been? Since you talked to your dad?”

Okay, so Tommy wasn't leaving then.

He came to the table and sat down, taking a moment to think about Eddie's question. “About six years, I think.”

“What did he do?” He looked over at Tommy. “To make you stop talking to him, I mean. Unless you don't wanna get into it. In fact, forget it, I shouldn't-”

“Eddie, it's fine,” Tommy assured him. “I don't mind.”

“Okay,” Eddie nodded, sitting up straighter. “So? What happened?”

“It wasn't just one thing,” Tommy explained. “It was a lifetime of things. He's... He's not a good man. I think the catalyst was about a year after I came out. I hadn't been home in awhile, so I decided to drive to his place one weekend. When he answered the door he said, 'What the hell are you doing here?' I told him I was coming to see him and he said, 'What's the damn point in that?' I thought about it for a second and realized that was a good question, so I turned around, got in my car, and left. Never looked back.” Eddie seemed to be contemplating his words, and Tommy could tell where this was going. “It's not the same thing, Eddie,” he said, beating Eddie to it.

“What if he doesn't come back? What I did, Tommy, it wasn't... It was bad.”

“You made a mistake.”

“I cheated on my girlfriend with a doppelganger of his mom, Tommy, and he caught me.”

“Granted, it was a big mistake,” Tommy deadpanned. “But, still a mistake. He'll come around. You gotta give him time.”

“People keep telling me that,” Eddie replied with an eye roll. “That he'll come around. But it's been months of nothing. And it seems like no matter what I do, it's not enough.”

“You're trying.”

Eddie huffed. “I'm not sure getting drunk alone at a bar is trying.”

“I think it shows you care, Eddie. And, yeah, that shouldn't become a habit, but you're allowed to be upset. You're allowed to hurt. You made a mistake, but you're a good dad and Christopher knows that. He will come around.”

“And if he doesn't?” Eddie asked, staring over at Tommy.

“Then you keep trying,” Tommy replied. “You never stop trying. Keep being there, keep sending him letters and getting him on Facetime. Go for a visit. Send him texts. I'm not saying you gotta smother him, but never let him forget that you're there. That's the biggest mistake you could ever make.”

“Yeah,” Eddie took a deep breath. “Yeah, you're right. I just... I gotta keep it up. Let him know I'm here, whenever he's ready.”

“Exactly.”

Eddie looked over at the clock on his stove, 11:32 staring back at him. He had no idea he'd slept so long. “Why don't you call Buck, see if he wants to come over and watch a game? Then you can drive me to my car.”

“Oh, you want me to call Evan? Don't you mean fun dad?” Tommy asked, eying Eddie.

It took him a minute, but the memory came back to him. “I did say that, didn't I?”

“You did,” Tommy confirmed. “Which I'm very offended by, by the way. I'm fun!”

Eddie sighed, his head drooping down. “I know you are.”

“I introduced you to karaoke trivia. I've flown you to Vegas.”

“I remember.”

“I never tried to seriously injure you in the name of love.”

“Which I'm very grateful for.”

“I don't have control issues when I have a clipboard in my hand.”

“Are you just gonna keep listing reasons why you're fun?”

“I once shoved three cupcakes in my mouth at once! Nearly choked to death, but Evan whacked me on the back and everything went down just fine.”

Eddie stood with his mug in hand, pointing toward the living room, “I'm gonna go to the couch. Get more comfortable.”

Tommy followed behind, pulling out his phone to call Buck. “I'll let Evan tell you who bowled a 230 last week. Hint: it was me!”

[gffa]

Probably the biggest problem with The Acolyte is what really bit it in the ass in the finale--its main characters did things because of the plot, not because they were organically built up or made sense. I could mostly overlook it in previous episodes because it felt like there was still more time to reveal the characters' motivations, but now that we're at the end, there's just so little throughline for either of the twins' characterizations. Mae makes the most sense, you get why she was so angry, she always wanted Osha to stay with her, of course she'd drop everything when Osha was alive, but then suddenly she's just completely okay with Qimir erasing her memories of Osha? Of giving up that relationship that drove her the entire time--and Qimir says this was permanent, I doubt Mae had reason to think otherwise--in half a second flat, not just physically separating her from Osha, but erasing her entire relationship with her?? And Osha makes even less sense, we all joke that about how hot Manny Jacinto is and how he ~seduced her to the dark side, but honestly her motivations just seemed utterly gone in the previous episode, she's 100% ready to drop everything she believed in and go with him just because? And up to this point she's barely shown any interest in her connection to Mae, it's all "tell not show" that Osha cared about her, we're told that it was her biggest wound, we're told that she felt that connection, but we don't really see it until suddenly she's running away with Mae because apparently all along she felt that pull towards her? Intellectually, there are reasons given in the show, but I didn't feel any of them, it was more "Osha behaves this way because the plot needs her to behave this way." It's the same reason Sol can't say, "It really looked like your mother was going to kill you when she started Force-dissolving you, so I reacted without realizing what she was doing." because if he's allowed to explain, then the plot falls apart. The plot demands that he half-ass his explanation rather than because that felt natural to Sol's character. Things happen because the characters need to get from point A to point B, so point C can happen, rather than because the characters felt like they would actually do that. And it's worse because these are your main characters, the entire plot of the show is set around them.

[miraculouslbcnreactions]

Wait, I was reading your posts and came across something I've found confusing. How is Adrien asking Ladybug wth she is doing in Volpina a bad thing? From Adrien's perspective, Ladybug's a celebrity tracking down a middle schooler with zero clout and humiliating her for lying about meeting her before. That's, uh yeah? Imagine if that happened irl lmao. Millions of teenage girls would perish at 1D's hands. My middle school would be a horror story. And it's made clear multiple times in the episode that her motivation is jealousy. It's one of the few episodes where the lesson Marinette gets makes sense I think, because she was genuinely spiteful in shitting on this random girl in front of her crush. That's significantly different than Ladybug just asking for a retraction from the Ladyblog. It's also one of the few times when Adrien's celebrity background actually affects how he acts, and it makes sense that Marinette doesn't make the connection between superhero=celebrity=not allowed to scream at middleschoolers in public. If half the kids in her school didn't lie about meeting Ladybug before, my suspension of disbelief is gone.

I've seen this argument before and it makes no sense to me, especially in the context of the lie that Lila actually told and the way the Lila confrontation actually goes down. A lot of people who have this take seem to think that Lila's lie was, "Ladybug saved me," and that Ladybug made a big public confrontation which is not what canon actually gave us. The confrontation was done in a mostly private setting and, while we never see Lila's full Ladyblog interview, this is how Ladybug sums up the interview in Volpina:

Ladybug:(sarcastically) Well hey Lila! How's it going? Long time no see. I saw your interview on the Ladyblog, awesome job. Oh sure! I remember our instant connection when I saved your life and we've been really good friends ever since! Practically BFF's! Uh actually, when did I save your life again, Lila? I don't recall. Oh yes! Of course, now I remember. Never! And we're not friends either! Miss Show-Off here was trying to impress you and everyone around her.

Lila didn't just lie about meeting Ladybug, she lied about having an ongoing, close relationship with Ladybug, two very different things. And Ladybug isn't just a celebrity, she's a superhero who is fighting an active terrorist. If I had to rewrite this confrontation, I'd keep it pretty much the same and just change the "Miss Show-Off" line to something like:

Miss Show-Off here was trying to impress you and everyone around her, putting herself and all of you at major risk! You know that Hawkmoth would do anything to get these, right? (gestures at her earrings) Did you even stop to think about what he'd do if he learned the identity of my supposed best friend? Of course not. You were too busy trying to look cool to stop and think things through like an actual superhero! We keep our identities and relationships secret for a reason!

Is this the kindest, most gentle way to confront someone like Lila? No, but it's very in character for Marinette to be filled with righteous fury when she sees someone using her name for their own personal gain. I really can't blame her for getting incredibly angry at this total stranger presenting herself as a Ladybug authority and using that authority to manipulate Marinette's friends. As I've said before, take away the crush complication and Marinette's actions still make total sense to me.

I'm not a huge proponent of virtue ethics. That's the idea that you need proper motivation for an act to be morally justified. If you do the right thing for the wrong reason, then the act is bad no matter how good the results and vice versa. If you view the world that way, then sure, you could possibly argue that Marinette's actions were wrong just like you can also argue that Gabriel's actions were totally fine, but I don't view the world that way. Switch Marinette's motivation from jealousy and a little righteous fury to pure righteous fury and almost nothing changes. She'd still need to confront Lila, the words would just be a little different.

It's not like this confrontation stops Lila, either. Chameleon gives us this:

Lila: (in flashback) Not only did Ladybug save my life, we've become very close friends. Marinette: She lies with every breath. Nino: Wait. You eavesdropped on Lila and Adrien? That's not cool. Alya: A good reporter always verifies her sources. Can you prove she doesn't actually know Ladybug?

Quick mini rant before I give the next Chameleon quote: this isn't how verifying your sources works, Alya! You should be verifying that Lila does know Ladybug, not the other way around! Right now, Marinette and Lila have equal authority on the topic as far as you know and there is no evidence to support either claim, so you should be looking for proof that Lila isn't lying! Proof isn't a first come, first serve problem even though a lot of people fall into that trap. This is especially true since Lila goes on to make claims like this:

Lila: Of course Ladybug saved my life. She never misses an opportunity to rescue her best friends. Max: Didn't your tinnitus give you vertigo when you went up the Eiffel Tower? Lila: Oh no. Ladybug knows me so well that she brought me an earplug to stick in my right ear.

So Lila keeps right on lying about her relationship with Ladybug, presenting them as close friends, making it even harder for me to get on the "Marinette was in the wrong for privately confronting Lila" train. If anything, Marinette was too tame! She needed to go full scorched earth and have Alya post a public retraction that included a message about the dangers of claiming to be personal friends with someone you don't actually know.

If the show went that route and had Ladybug give an equally furious smack-down and Alya posted it without a second thought, THEN I'd probably be on team "Marinette needed to tone herself down because she went too far" because that isn't a heat-of-the-moment reaction. It's something Marinette would have time to think through. But Volpina didn't go there. Instead, we just get Marinette reacting live to someone using her name to flirt with her crush. Remember, this is the setup to Marinette transforming and jumping in to stop Lila:

Lila: Not only did Ladybug save my life, we've become very close friends because we have something very special in common- it's what I wanted to tell you about. I'm the descendant of a vixen superheroine myself, Volpina. Adrien: Volpina? Marinette: Volpina? Adrien: Wait a minute! I think I read about her in my book. Lila:(stopping him from grabbing the book) Of course she's in your book. She's one of the most important superheroes. More powerful and more celebrated than Ladybug. Between you and me Ladybug doesn't even make the top ten. My grandma gave me this necklace. [Marinette runs off to transform] Adrien: (holding Lila's necklace) Are you telling me this is a Miraculous?! (Ladybug lands in front of them)

This wasn't a planned confrontation. It was Marinette reacting live to some pretty massive lies. If Ladybug had been swinging by and just overhead this, then the scene once again wouldn't change much. That's why blaming Marinette for confronting Lila in the "wrong way" feels so victim blame-y to me. "How dare Ladybug not be perfectly poised at all times and react with grace when someone lies about being her close friend and teammate!" is not a take I'm ever going to agree with. And if you want to use the middle schooler defense? Then it applies to Marinette, too. She and Lila are the same age. Why the different standards just because Marinette has fame that she never asked for or sought out?

I've never been much of a fan of holding celebrities to an "always on" standard where their every interaction needs to be done with poise and grace even if the interaction happens out in the wild and not at a planned even where the celebrity can be mentally prepared for dealing with fans. That's extra true for accidental celebrities like Ladybug. Marinette didn't take up the earrings for fame and they certainly haven't brought her fortune, plus she has no PR training. Expecting her to be a PR master who knows how to handle her accidental fame is, once again, a little too victim blame-y for my tastes. Ladybug is here to save the world, not sign autographs. You can hold her to politician standards when you start paying her for risking her life on the daily.

There's a version of Lila where I would have a different take. A version where the lie really is minor and Marinette really did "overreact", but even there my lesson wouldn't be "Marinette was totally in the wrong" because I genuinely think that sends the wrong message to kids and kids are the show's target audience. Think about what you're actually saying here, "Because Marinette is famous, she needs to accept that people will lie about her and just ignore them even if people believe the lie."

While that isn't exactly a wrong take, it's still really messed up. It's not okay for people to use Marinette's name like that just because she's famous. The reason she needs to learn to let it go is because that's what's best for her mental health, not because her fame makes her lesser than others when it comes to things like personal privacy. The lies are not magically okay just because she's well known.

Remember, Marinette is a fictional character, but the kids watching this show are very real and they're way more likely to be Lilas than Marinettes. And the kids that do relate to Marinette in this episode? They'll be kids who have dealt with the rumor mill spreading lies about them or their friends without the celebrity complication. The show should not be telling either set of kids that Marinette is the one in the wrong here. That is the wrong moral and why I hate this episode so much. I might feel differently if the intended audience was teens and if this plot was allowed to be more complex, but none of that is true. The show is aimed at kids ages 5 to 12 and every episode is supposed to teach its own moral with Volpina's moral being "Marinette was explicitly and totally in the wrong here."

This is the age of internet personalities where there are more easily-accessible celebrities than ever and where many of them do not have the wealth needed to protect themselves from fans nor the PR training to know how to handle extreme fans if there even is PR training for that! That means that it's honestly really important for kids to learn to view these individuals as people who it's wrong to lie about and who deserve the same respect as non-famous people. Treating celebrities as public commodities is how we get things like the Kit Connor scandal where an 18-year-old actor felt forced to publicly come out because the internet wouldn't shut up about his sexuality. Oh, and since you brought up one direction, I'll also note that the band members have publicly stated that online shipping discourse has negatively impacted their relationships. So, yeah, I'm never going to agree that kids should be told that it's okay to lie about celebrities or treat them as fictional characters to play with and that the celebrities are the ones who are wrong if they get upset about that behavior. That shit is toxic.

If we go the "minor" lie route, then my version of this episode would be a very sad one where Marinette learns that people are going to ignore her boundaries and lie about her and there's nothing she can do about it. A lesson in mental health training that will hopefully help kids who are dealing with bullies, but that does not present Marinette as totally in the wrong. It just teaches her when to pick a fight and when to let it go, which is a very important skill to learn even outside of lies about your own person. There will be many times when you hear people say something that you vehemently disagree with and it's important to learn when to pick a fight and when to just let it go, knowing that no good will come from speaking up even if you're 100% in the right. It's a very sad, but also very necessary skill.

I think Adrien has a place in that story. A place where he still tells Ladybug to let it go, but it should NOT have been played the way it was in canon where he acted like Ladybug was totally out of line. He needed to be way more compassionate and understanding of her very justified anger. I've written Adrien giving advice on this topic before and it's always presented as, "people are going to be assholes and you have to learn to ignore them for your own well being," not as, "you are wrong to be upset about strangers telling lies about you. You agreed to deal with this when you decided to be a hero" because what kind of asinine lesson is that?

You could also keep Adrien's canon reaction and have the lesson be him learning that it's okay to have boundaries. That his fame doesn't negate his bodily autonomy and right to be treated with dignity. That people chasing him down, invading his personal space, and otherwise preventing him from living a normal life is wrong. I love it when fanfics take this approach to Adrien's part in the Lila conflict. It's very cathartic to see his friends supporting him and protecting him from Lila.

I really have tried to see Volpina from the "Marinette was totally in the wrong" perspective because I've come across it several times, but I just can't wrap my head around it. If you've got a counter argument, then feel free to try to change my mind because I've given you my full thoughts here, but know that I'm probably not budging on this one. You'd have to make some pretty dramatic changes to canon for me to feel like this take has a point. I think the only way that I'd be on Lila's side is if it was very clear that no one believed Lila and Marinette still had the same reaction that we see in canon as that does feel like going too far. But everyone believed Lila so that's not a solid argument and I'm just never going to agree that people have to be cool with others lying about them just because they're famous. I honestly despise celebrity culture so much and hate that people are basically forced to deal with that bullshit if they want to be successful in certain artistic fields.