#Which I really don't jive with

[theinnermeyoullneverknow]

I fucking hate "wealth management" companies.

[comicbookluv3r]

sometimes I think that maybe I’m not aromantic and I’m just being weird but then I get hit with the worst fucking romance repulsion ever and then I remember oh yeah no theres definitely a reason I identify as aro.

— JD 🦇

[mylonelydreaming]

I love "In Defense Of Disney Princesses" so much

[navree]

ok i got gotten by this week's wayne family adventures, i really got gotten, i cannot lie. it got me.

[iateabunchofsmartiesandnowimdumb]

If rebecca by daphne du maurier has a million haters, then I am one of them. If rebecca by daphne du maurier has ten haters, then I am one of them. If rebecca by daphne du maurier has only one hater then that is me. If rebecca by daphne du maurier has no haters, then that means I am no longer on earth. If the world is against hating rebecca by daphne du maurier, then I am against the world.

[alteredphoenix]

I find it very amusing if not peculiar (if not also ironic and hypocritical of me) that I can go into any fandom that I have next to no knowledge, or have some knowledge of but don’t partake in it, and have no problem with reading Enemies to Friends to Lovers fics of the more popular ships but I’ll still balk at nearly every single pairing in W*W that isn’t the Light/Void one every single time.

[filmnoirsbian]

I think more people would realize they like horror (this goes for all genres, horror is simply the one I have the most experience with) if they stopped thinking they had to like every type of horror. The amount of times I've had someone say they don't like horror, only for me to introduce them to horror comedies or creature features or psychological horror etc and watch them delight in it again and again borders on the absurd. Why are people convinced they must enjoy every inch of such a broad, expansive landscape in order to be able to claim some fondness for it? I don't love every poem I read; still, it would never occur to me that that means I must not really like poetry. There are many horror movies I outright dislike and many more I simply don't jive with. That doesn't take away from the fact that it's my favorite genre. I see this the most regarding horror and romance--always interesting to me, the similar ways in which those genres are treated--and in fact I've been guilty of assuming that because I dislike most of the more popular romances, it must mean I don't like romance as a whole. Which, of course, is unfair to the wide range which romance has, a deep ocean which I have and do occasionally find solace in. Still, I've always struggled to say I like it. Why? Romance as a genre has far more to offer than just Harlequin novels and American comedies from the 2000s. Just as there's more to horror than slashers and anatomical queasiness. Nothing wrong with liking or disliking those things, but pretending they are the be all/end all or even the majority of their respective genres means shutting the door on countless opportunities not just of enjoyment but real, genuine love.

[yourdandelionofthedeathknell]

The Theraprism: Good or bad?

Ya know, i've never been sure how to feel on the Theraprism, as shown in the Book of Bill. This is in large part because we get very little info on it, from any perspective other then BIll's own at least (and he is...Not a reliable narrator). Personally, I see three possible interpretations and I don't know which one is correct. To be clear, I think all of these are fairly valid: 1. Their methods seem insipid, but are actually quite effective. They seem to have been effective in the past (one of Bill's fellow patients is slated for release in the near-future apparently), and the Axolotl (who, while not exactly rich characterization himself, has, generally, been portrayed as wise and benevolent) referred to it as "what [Bill] needs the most", which would be weird if it doesn't have SOME merit. I, myself, honestly prefer this one, because I think it works better with the narrative of the Book of Bill (a book which, generally, does not encourage the reader to sympathize with Bill's plight. Pity, maybe, but the framing is very clearly that he kinda deserves this) and the schadenfreude the reader is encouraged to feel if Bill's hellish afterlife is, largely if not entirely, a self-inflicted one: That it wouldn't be particularly bad if not for his own combo of being unable to accept that he lost, that he shouldn't be allowed to do whatever he wants whenever he wants to anyone he wants, inability to form meaningful bonds with others, and, most of all, his total inability to admit to being wrong. He COULD leave at any time, if he would just actually repent, but...He's Bill, so...He won't. It just works best for me if his hell is largely self-inflicted. 2. They are harmful, possibly deliberately. This does have a fair bit of support textually. Mandatory therapy is already a pretty major ethical grey area at best (a major tenant of modern psychotherapy is that you can't make someone change unless they take the first step), they definitely engage in toxic positivity, and, of course, the "Solitary Wellness Void" is...Solitary confinement, which is a practice most modern medical institutions oppose and consider to be psychological torture. So, fair bit of support for this. 3. This is what I think was probably Alex's intent: They're a bunch of oblivious obnoxiously happy morons (as Bill himself would probably describe them) whose attempts to treat eons-old eldritch horror bad guys with puppet shows and arts and crafts is meant to be amusingly-inept rather then actively malicious, and whose effectiveness (such as it is) is down to having literally eternity to try. Kinda like what Mabel might do to rehabilitate someone. To use an analogy, think Charlie Morningstar from Hazbin, at least in the first couple episodes, where the fact that she's treating adult criminals like misbehaving children is the joke and is meant to indicate incompetence rather than malice. I get that isn't that much different from the proceeding (except in terms of "how seriously are we supposed to take this"), but still. I think all three of these have support, and, to be clear, I go with the first one not because I think it's the most supported (might be the least), but because it jives most with how I think about BIll's narrative IE as a character we're meant to, at best, pity, but not really sympathize with. I think the intent is "Bill is suffering a karmic self-inflicted punishment after all the pain and suffering he's caused", not "Bill is being medically abused and we should feel bad for him". The Book of Bill does invite readers to sympathize with Bill occasionally, but mostly past Bill, not current Bill. All viewpoints are valid, this is just trying to organized some thoughts on the subject. I sincerely hope I haven't said anything harmful here. Uh, cards on the table, I am neurodivergent, but i've never had therapy, forcefully or otherwise (although I did have an irrational fear of the possibility of institutionalization for a bit), so i'm sorta going off vibes here, sorry to say. If I said anything insensitive here, I apologize.

[star--nymph]

I think people forget with Cullen, and characters like Cullen, that indoctrination is a thing. We're lucky to live in an age where we have a surplus of access to resources that allow us to think critically on the structures around us, to the point where we overlook that most people won't and haven't. Cullen was raised in a backwater village where the main educators and leaders were Templars. He was likely taught scripture by Chantry Sisters, he possibly learned to read and write through them. From the day he was born, he was being taught to love and obey the Chantry with out question--and the Chantry teaches that Templars are a force of good.

So I ask you, how the hell was Cullen, at eight or thirteen years old, going to learn about the crimes of Templars? How was he going to unlearn propaganda that was fed him to him every day by people he respected and possibly loved? How was he supposed to be aware that this idolized image of Templars being the saviors of the people and even mages was a lie?

And then he gets shipped off, happily, to be trained a Templar. Again, he's put into this position where he's fed nothing but propaganda. He doesn't get a real taste of the Order being corrupted until he's out in Kinloch and he's not sure what the hell to do because what he's seeing isn't jiving with what he's been taught for nearly two decades. So yeah, he tries to justify it, he tries to have his cake and eat it too by reasoning that mages should be treated like people but also the Order wouldn't lie to him, so they must be right to act like this. The Maker always had a plan, right?

If Cullen had been lucky, maybe he could have realized earlier on that the Order was abusing mages, that he had been tricked, he could have gotten out and unlearned the bigotry that was planted inside him.

But then BAM! the Broken Circle happened and I don't see how no one gets how perfect this is for the Order? They now have a templar that is so traumatized by mages, he will literally do and say anything to justify their abuses because now? Now he's afraid.

And remember, after Origins, Cullen becomes so erratic, he has to be sent off to a Chantry to 'even him out'--where he was more than likely manipulated even further by the Chantry to be this blood thirsty agent for them. When he's shipped to Kirkwall, they could have not delivered to Meredith a better second in command.

So yeah, is it really surprising that he says shit like 'mages aren't people like you and me' when we meet him in Kirkwall? Man is sleep depraved by the looks of him, swallowing all Meredith's frenzied rhetoric on blood mages, he's seeing for himself the damage these mages are doing, he's isolated from his family, he has no actual friends, and he's living with C-PTSD among other issues. Even under the best of conditions, none of what he says or does in DA2 is surprising when you put it all together.

And yet, the man still had enough of that idealistic child left in him to realize see that Meredith was going off the deep end and that he should be protecting the mages. That's text. That's in World of Thedas. The reason why Cullen is able to turn on Meredith in the end is because he was able to see, even clouded by his fear and hatred, that what she was doing was wrong.

And all this isn't to excuse Cullen's wrongs. It's weird how every time someone brings up Cullen's history, it's assumed that it's just a justification for his actions. It's not, it's an an explanation. Cullen was a victim of the Order that became an abuser, a tool, and he is responsible for his actions.

But the thing is, by DAI, Cullen is well aware of his sins and he actively works to better himself by leaving the Order and getting off lyrium (which for most people is a death sentence). People can argue all day about whether or not Cullen's arc in DAI redeems him or was satisfying, or if he did enough to 'prove' that he was sorry or--good god--does he deserve redemption in the first place (which is such a Catholic way of looking at shit by the way; no one 'deserves' redemption; you do it to be better or you fucking don't) but the fact is that Cullen says that he wants to be better, that he sees the Order as--at the very least--flawed.

That, yes, he's still unlearning all the bigotry he held as a younger man and he's ashamed that he was like that to begin with.

You can hate him all you like, and whatever, but Cullen's story--intentionally or not--is about a man born into an oppressive society, raised to uphold its beliefs, used and abused by it, and then awakening to those lies and trying to free himself from those beliefs so he could be a better person.

And sometimes I genuinely wonder if the reason so many people hate Cullen is because they themselves might have dealt with something similar in our own oppressive society where they also had to unlearn harmful bigotry and maybe, just maybe, he hits too close to home.

[noperopesaredope]

I recently watched a video talking about what your favorite Mouthwashing ship says about you (spoilers: most of them are bad), and one thing I explained in the comments that I think is important to explain to certain people (in general with a lot of fandoms, tbh) is that a lot of shippers in the fandom understand that these relationships would not be good and are in fact deeply unhealthy, but perhaps that's the point.

Like, most of the Jambone x Curly shippers I've seen don't like the ship because it's cute or good, but because it's narratively interesting and would be extremely compelling to see. I honestly get it even if I'm not super interested in it. Jildo and Curly already have an extremely interesting and unhealthy relationship dynamic. It is heavily implied that JarJar acts very emotionally abusive towards Curly, belittling and manipulating him frequently and likely damaging his confidence and ability to stand up to people. But he is also obsessed with Curly in a very fascinating way.

Meanwhile, Curly has not only been friends with Jimbo for a long time, but has a fatal flaw of being too loyal and passive for his own good. As many have said, Curly is like a golden retriever in both a good and bad way.

Curly is Jackass' victim and enabler at the same time, which is why he is one of my favorite characters in the game. You both feel bad for him but also understand that he really fucked up and a lot of stuff is his fault. His most endearing traits are also some of his worst traits. Again, the golden retriever comparison is very accurate. He is friendly and loyal and believes the best in everyone (and very cute), but that loyalty and belief in everyone are also his fatal flaws.

He enables Jello because he thinks that there is good in him, and like a dog, he sees no wrong with most people no matter what they do (until it's far too late). I can't remember the fic I saw this in, but one good line I saw once was something along the lines of: "You believe in people and see nothing wrong with them no matter what until they abandon you at the park in the middle of the night." Curly sees no wrong in his friend because that's the type of person he is, and while it can be cute, it's also dangerous.

It can also often be detrimental to himself, as we see Juice be cruel to him as well, yet Curly excuses it as just Jizz being Jizz. He doesn't see anything wrong with the way he is treated, making him become desensitized to Jive's behavior and seeing it as not a big deal.

I think Curly's status as both victim and enabler would be interesting under the context of an abusive romantic relationship. There is an even greater power imbalance present, and Jojo may do a lot worse things as a result and be a lot more controlling and manipulative. He could be more physically and verbally abusive, make more threats, and even be sexually abusive (since he is canonically a rapist already, and hates Curly more than he hates Anya, thus he would probably put more aggressive hate into it). The whole relationship would be horrible and disturbing, but also interesting to see.

I love fics exploring their unhealthy friendship, so seeing it as an unhealthy romantic relationship could be even crazier to see.

~~~~~~

There's also the nuances of Anya x Curly. Most people ship it specifically in the context of AUs where Curly actually stands up for Anya and helps her out. Their dynamic as characters could be really cute, especially if he puts in the work to protect her.

I personally find the potential of post-crash Anya x Curly to be interesting as hell. I generally find their non-romantic dynamic post-crash to be interesting enough on its own, but I also think it could be absolutely crazy if they developed romantic feelings because those feelings would develop from some really unhealthy places for the most part.

I see Anya as someone who still holds some resentment towards Curly, but also sees herself in him and feels he doesn't deserve what happened to him. Maybe at one point seeing him go through something similar to what she went through might feel a little cathartic, but anything after that is too much to her. She is also his primary caretaker and a nurse, so she feels responsible for his wellbeing and wants to take care of him. She also seems to read and talk to him a lot, which probably feels nice because she can have some company while also being safe because Curly is not in a position to be able to hurt her. Anya doesn't exactly develop proper feelings for him per say, but she still uses him as a bit of an emotional crutch of sorts and becomes very attached to him because of it.

Meanwhile, Curly feels deeply guilty for not helping Anya and feels she deserves better. He believes she has no reason to care for him, but chooses to anyway, and thus he is extremely grateful towards her, possibly idolizing her to a certain degree. He slowly develops his own weird feelings, seeing himself as unworthy of her kindness and wanting the best for her, while also being dependent on her, even if it's in a more direct way.

They never get together or even realize that they themselves have feelings for each other since those feelings are #messy, but do form a weird codependent relationship of sorts. I've seen some cool fanart of Anya hugging/holding onto post-crash Curly, and it made me think about the potential this whole dynamic has and how unhealthy it could be, both for Anya and Curly. I believe they would not work out or be healthy (though probably better than Jazzy x Curly), but could be interesting narratively.

~~~~~~

Basically, what I'm trying to explain is that a lot of people don't ship certain Mouthwashing ships because they think it's good or want to romanticize it, but because it is narratively compelling and can explore complex dynamics more.

[violetasteracademic]

Why do you think gwyn would be added as a love interest for azriel if they don’t end up as endgame? Why complicate the love triangle between elain/lucien/azriel?

Hello my lovely anon!

It can sometimes be hard to tell where the anonymous asks in my inbox are coming from. It is never my intention to argue or try to convince any other ships why they are wrong. I tag my work very carefully, ask my beloved rebloggers to do the same, and just want to stay in a cozy bubble. I think all ships are allowed, and the time I spend here breaking down the text and providing analysis is only for fun and comfort. I don't ever want or wish for my posts to end up in the wrong tags. Now that I've gotten that disclaimer out of the way, this is an ask where I can't *totally* tell what perspective it is coming from, but I am assuming it is being asked in good faith and I will answer how I typically do.

Point blank, I do not believe G/wyn was introduced as a love interest. Only Elain was.

I don't really know that I have anything else to add to that conversation, because people either think it was romantic or it wasn't. But I will say that I assume we can all agree on all sides that the bonus chapter is what led to the fervor of the G/wynriel ship as G/wyn quite literally replacing Elain as the romantic interest and not just a fun, enjoyable ship for those who don't jive with Elriel and want to carve out a space for themselves in the fandom. And as someone who has read all of SJM's bonus chapters and not just this one, I'm going to provide side by side comparisons using *only* bonus chapters that I can almost guarantee many people have not read- since most people don't read the bonus chapters. I still get comments on old tiktoks every day asking what the Azriel bonus chapter is and where to find it. And not once have I ever been asked about the myriad of other BC's out there.

Crescent City Spoilers ahead:

House of Sky and Breath has three bonus chapters. There is one in particular that is almost a carbon copy of G/wyn and Azriel's portion in his POV bonus, and it is the Tharion POV chapter with Hypaxia:

^^Both men head to a place where they assumed they would be alone, minds heavy and restless and needing to work off some tension before they could sleep- only to find their space already occupied.

^^They both flounder a bit with social niceties, awkwardness, being polite, the other person clearly wanting to be alone, and yet wind up falling into a conversation anyway.

^^ Both pairs experience surprise at being asked questions no one has ever asked them before. They also reveal information about themselves- and notably- both bonus chapters reveal heavy backstory or indications about unique or hidden powers.

^^ Both men experience some sort of lingering sensation that they could have sworn was happening after saying goodnight.

And last but not least:

Both Tharion and Azriel end on a particularly strong emotional note. Tharion is passing notes through Fitz back and forth with Hypaxia. He notes how he has never had such an instant, honest, and deep connection. He won't let anyone interfere with her birthright, and if she was in danger, he would risk everything he had to protect Hypaxia.

Azriel is secretly regifting a necklace to Gwyn, and feels truly happy at the thought that it might make her happy. He likes and respects her and is glad to think of being able to make her smile. (I of course think there is a reason for this, which I've broken down here but I also don't think it's necessary to minimize their friendship for this post.)

If you look at these two bonus chapters side by side, they are literally a copy and paste. Two people needing to be alone and winding up together, talking about things they have never talked about anyone with, and both men really powerfully feeling the strength and depth of a connection. And if you read Tharion's chapter in full, there are actually way more details of him talking about how beautiful and gorgeous she is, and how he has to stop himself from going down that road. But did this set up Hypaxia and Tharion as romantic love interests?

Nope. Hypaxia is queer as queer can be. Kitty only on her menu. But they develop a very genuine and close friendship. Because the thing is, SJM writes an incredible amount of deep and meaningful friendships between men and women. And they are always a blend of emotion, intimacy, a bit fun and flirty, full of banter, and true trust and connection. So as far as BC's, Azriel and G/wyn and Tharion and Hypaxia are the only comparable ones in her catalogue. And they are pretty damn comparable. It's also important to note that the Tharion and Hypaxia bonus chapter was included in the book where she is very much revealed as 100% queer and not even a little bi, so it's not like SJM was trying to create a red herring or a conversation. That's just how she writes her hetero platonic friendships. Take it up with her, man.

Meanwhile, the things that make it clear that a romantic interest is being introduced occurs in the Elain portion, and can be directly compared to the Nessian bonus chapter. Both men being willing to beg on their knees for a taste. Both men absolutely losing their minds over Elain and Nesta's scents. Both men knowing it was wrong, it was stupid, but being unable to stop themselves anyway. Both men having issues of what their family would think if they found out introduced (only Rhys DID find out and laid down that forbidden romance hard.)

Here's the thing- many people read Elain and Azriel as romantic for over four books and there were people out there like, nah, I don't see it, they are more like brother and sister. And then the bonus chapter confirmed, no, actually, they are wildly down bad and desperate for each other. Wanting to taste and touch and kiss each other- romantic interest confirmation. Fun and banter-y conversation occurring because two people needed to be alone but actually wound up in the same vicinity as someone else and had a deep conversation and talked about things they've never spoken about with anyone before-Platonic friendship. You can disagree. But it doesn't change the fact that right now, a group of fans are interpreting G/wyn and Azriel's interactions as romantic, and preferring it to Elain and Azriel's confirmed romantic interactions.

Sarah did not add G/wyn as a love interest and complicate things. The fandom did. Until Azriel is not sleeping, not thinking clearly, down bad desperate to get on his knees for G/wyn- and until G/wyn leans into his touch and says yes, they are actually currently friends. Could that change in the future? Totally. But Sarah literally has not written it yet.

I don't mind that the G/wyn ship exists. I love her. I have real life G/wynriel friends who are not online like we are. They are good people with good hearts who have different taste in Azriel's potential romance than me. They don't ride at dawn for Elain like I do, nor are they violently misogynistic against her or being toxic and hateful towards other women online. They just liked G/wyn's story and want more of her. That's okay. But it is important to pay attention to what has actually been written vs. what is being assumed by a group of people that openly dislike the only female character remaining with a confirmed book and who has been confirmed as a love interest.

Read Sarah's other bonus chapters! They are fun. Azriel's isn't the only one that has ever existed, but it seems like that sometimes (and I'll admit, it's amazing and I love it so fair). And nothing happened in the bonus chapter that is going to change the course or foreshadow to anything new. Not everyone has access to them, and bonus chapters do not create new plot. They are just an incentive to make money and secure pre-orders.

I think that's everything! You guys are awesome for reading these insanely long posts and vibing with me here. ily.

[dnickels]

I don't think Gibson gets enough credit for how skillfully he extricated himself from the sodomy allegations. Long post to follow ->

The evangelical mindset is "we are constantly under siege from both invisible powers and our fellow man (and even one's own thoughts), every waking moment is nonstop spiritual battle" so Gibson framing himself as too weak to refuse advances (without spiritual backing, naturally) is a brilliant play for Irving's own anxieties while also putting him in the position to be the shepherd rescuing one of his flock. A direct appeal to the Victorian bourgeois savior narrative, expertly played. He's given Irving a script so familiar and one he's so eager to act out he doesn't for a second question its veracity.

And now we depart to the realm of pure speculation (oh boy my favorite) but I always wonder what exactly Gibson told him, and how much it actually corresponds to what we hear Irving scold Hickey for. I wonder if something got lost in translation (Irving heard what he wanted to hear which is not quite the same as what's actually being said). I think Gibson is perfectly capable of shopping Hickey to save his own skin no question, but that scenario doesn't quite jive with how surprised/concerned he is that Hickey and Irving apparently had a chat about the situation. Surely Gibson didn't think he could say "I was coerced" without some kind of follow-up? It could be a feint, he's just acting to try and keep Hickey from holding a grudge (I think Gibson knows with brutal clarity that you do not want to be on Hickey's shitlist) but his reaction reads to me like he's seeing his fib start to spiral out of control. Of course, one of the grand themes in Terror is people not being as smart as they think they are (or, more charitably, that even well-conceived plans often shipwreck on the shoals of human unpredictability) so it could just be an example of a reasonable plan blowing up on contact with an unreasonable person, as individuals are a universe unto themselves and truly unknowable to each other. Or maybe he really didn't think Irving would do anything, because he asked him to keep it quiet? Maybe that's how it usually goes, everyone agrees to keep it quiet-- sobering thought.

Still, it intrigues me to think about Irving as the wildcard in Gibson's plan, not Hickey-- bringing baggage to it that Gibson didn't include in his calculations. I wonder if Gibson heard the lecture, how many of his own words would he recognize? I can see the shape of a communications breakdown, where a tactful "the temptation was overwhelming, I couldn't resist him" becomes "he used overpowering force" or "I didn't come forward because I was afraid" becomes "he threatened me into silence". Not unreasonable assumptions for Irving to make, honestly, I just think its interesting to play with the idea that they are assumptions and not part of Gibson's ass-saving explanation. Just no accounting for what happens in the pressure-cooker of the evangelical brain!

Obviously the darker read here is that Irving can't understand a messy gay situationship despite spending years at sea is because he is homophobic (while desperately refusing/denying/fighting his own desires) or was himself party to coercion, either towards himself or someone else.

I just think its interesting to think of how it might have played out if Gibson and Hickey been surprised by say, Hodgson instead-- who might have given them a stern "I don't want to catch you two not at work again" but otherwise let the matter slide, or Little, who I can see loading them down with donkeywork but refraining from escalating because doing so means talking to Crozier and Oh God, Please No.

I keep coming back to the question of whether or not Gibson was ready/intending to burn Hickey as badly as his lie makes it seem. While I think he's perfectly capable of it, but it seems like such a risky move when his confession (owning what Irving has no real proof of, I'm more familiar with the early 19th century legal situation on land but the standard of proof for sodomy specifically was actually pretty high) could just as easily backfire on him rather than exonerating them both. We only have Gibson's word that he acted for their mutual benefit, and even if he's telling the truth it seems like stepping on a landmine: no one seems to think Hickey would hang on his accusation, so he's going to still be around after a potential flogging and presumably pissed off. Obviously its a bad situation all around but I am so curious about his own risk/reward accounting. For me, I really enjoy imaging him trying to play master manipulator to Jirv who is absolutley not a player and mostly lets Jesus call the shots. Very funny to me to be so ambitious and skillful and willing to play the Great Game but it all comes to nothing due to human folly. Thesis moment.

[menlove]

i saw on some of your posts that you say you aren’t an india truther, out of curiosity what do you think caused john and paul to have a fallout? do you think the resentment was more gradual and happened over 68-69? im sorry if you’ve answered this before but i love hearing about people’s theories of what happened in india and the aftermath.

sorry I totally forgot to answer this but for me.... hm. tossing under a readmore bc it got long oops

I think it was more gradual. like the way they act w each other in the get back sessions & just in general speaks more to something more unspoken happening than some big dramatic break up or rejection, at least to me. esp given how john & yoko lived with paul for a while in the summer of 68 (and talk about the world's worst throuple)

I wouldn't say I don't think Anything happened in india, but imo it seems more like.... I saw someone talking about how up until that point they were all on a lot of drugs & india was them getting off them for a minute & they sort of looked around and went "what the fuck are we doing? do I even know these people?" and that rings the most true to me I think.

some of the bigger reasons I have my doubts abt india being some huge thing where they fucked for the first time and paul rejected john are a) they still got along after that. things were weird but not much weirder than they'd been after brian's death b) paul wrote "i will" in india and I've talked before about how I'm 100% convinced that's about john and to me "will I wait a lonely lifetime, if you want me to I will" doesn't sound like the words of someone about to do any rejecting c) the infamous blowing the mic scene in get back is way too lighthearted and makes paul blush and giggle like they're just referencing fucking as a part of their relationship that happened enough to not be disarming. doesn't seem like john is being bitter or trying to egg him on and paul isn't reacting like someone that got called out for fucking john and then rejecting him. it reads more, to me, like just two lovers slyly joking around about a time they fucked that no one else can know about

which brings me to d) I'm also a "they had a sexual relationship" truther (which would be a whole other essay tbh) and so For Me Personally that just doesn't jive w smth big and dramatic happening in india. I just don't think they ever talked about what the fuck was going on between them, whatever it was, and then the typical band breakdown reasons coincided w a breakdown of their personal relationship as well. like just sort of dying out without much fanfare which can honestly be worse than some big rejection or breakup. and then ofc john goes full in with yoko and paul flounders around trying to settle down with a woman and marry her in such a weirdly frantic way. like that quote where he asks if he was supposed to be a 26 year old queer that never got married....... I would wager, imo, that things breaking down w john & then jane would've lead him to a bit of a Crisis about all that. but he found linda and went all in w her and she wound up pregnant so there you go.

which would lead them to a really weird place by the get back sessions, which I at least feel like is reflected pretty well- this awkward tension, paul's nervous desperation, nostalgia for the old times, lingering sexual tension. but not the attitude like they hated each other yet or had some big breakup or rejection. they're still joking and flirting, it's just awkward. the Big Moment would've been something else after that imo, probably john announcing he wanted a divorce but could've also been something more private that would go a long way to explaining why they were basically not on speaking terms at all by the abbey road sessions

again this is all Purely Speculation. mostly based on my more conflicting view from the fandom at large that they did have a sexual relationship and paul isn't as repressed/clueless as he puts on. so w those Two Beliefs in mind, this is sort of the trajectory that would make the most sense to me!

of course, without those two Core McLennon beliefs of mine I can see why people would point to india as the game changer if they think paul is a repressed bisexual who thinks he's straight while john pined over him. like it would make sense in that scenario if that's where the tension snapped & it was just a mess after that. but I very firmly and adamantly don't believe that so it's just hard for me to see the india theory as anything solid when there's a lot of other explanations for why india was such a shitshow

but all that is just me personally! don't have shit to back it up beyond what I can bring up about the evidence of a sexual relationship and paul being closeted that then lead me to these speculations based on that but yeah lmao

(and fun fact lmao whenever we publish it this is gonna be like half of the story of "i need you" so yall will get to see my fully baked opinion there mixed w just what I think would be fun or angsty dbshsjss)

[curse-of-dming-strahd]

good lord I just finished the Vallaki chapter

I can't make too many solid plans because I have no idea how the party will be feeling by this point, but here are some notes in no particular order about running this for my PG-13 "don't make it too scary" group:

Vibes? Immaculate, love the desperate manic party energy.

"this town fucking sucks" *despondent party blower sound*

I'm giving Barovian religion a big makeover, which will take away from the demons & saints motif but will end up supporting the druids, hags, dark powers, etc.

the only horror note I really need is, "this town sucks, but at least Strahd can't get us here!"

the two hunters in Blue Water Inn are clearly dating, right?

the Baron's two attack dogs are secretly good boys who will not actually hurt anybody, the Baron is just bluffing

Victor is perfect, no notes

Fiona I respect the hustle and you win the award for most creative use of a spell, but h o n e y , n o

I'm not sure what they thought they were doing with Stella but I'm just gonna get in there and do a quick hand jive with her whole story and character thanks

Rictavio, great character, we gotta make him less racist.

Rictavio's sabre-tooth tiger... what if it was a displacer beast? c:

I love Blinsky and if we have a premature PC death, they'll end up in his shop in a puppet body and have to put up with his bullshit to get their real bodies back as a warning. everyone thought he was sooo weird and sad well guess what he's a MASTER OF LIFE AND DEATH NOW. because an early TPK is no fun, and is no fun, is no Blinsky

Vallaki hasn't hit its sad himbo quota yet so I think I'm going to rewrite Izek to just kinda fill that void

I'll only do the subplot where Ireena is his long-lost sister if my players like REALLY latch onto Ireena's whole deal

the vistani camp and the dusk elves are just... it's... it's fine I'll just... *makes a vaguely waving hand gesture* and then it'll be fine

[thephantomcasebook]

I am sooo disappointed in S2 HOTD, and now I understand why you were warning us about S2 writing. I encourage you to watch Ben Shapiro's S2 review of HOTD. Everything he states hits the point as I feel of S2 writing. But I really feel that if Miguel was still on S2 he would basically steer the ship right, as in writing and direction of the story. Sara Hess needs to be fired definitely. But I don't understand why you don't like Miguel, once he gave us a solid S1. If you want audience to understand why Aemond turned evil from S1, then show us when he immediately returned from Storm's End and Alicent and Otto argue the stupidity in Aemond's decision to kill Luke, once Aegon was offering peace terms to Rhae Rhae. Please explain why you hate Miguel.

I hate Spotchnik because he is the sire of all the bullshit of Season 2.

People, fundamentally, don't understand this point. Sara Hess was not on the original writing staff of HOTD. There was no original writing staff for HOTD. There was Ryan Condal and GRRM that wrote all of the scripts for Season 1.

Sarah Hess was brought on by Spotchnik and his wife as a producer to hack up and rewrite Condal and GRRM's original scripts in order to fit with the overall narrative that Spotchnik (and mostly his wife) wanted to tell in the story.

Sara Hess rewrote and reworked elements of Condal and GRRM's scripts during shooting.

Things such as Criston Cole being a thug rather than the most dangerous man in Westros. Turning Alicent and Rhaenyra's rivalry in the original scripts into a closeted lesbian romance.

Example:

A.) In 1x08 there was no rape of a maid by Aegon. Aegon is introduced in the Condal and GRRM script as having to be collected from a brothel and dragged back to the Red Keep where Alicent scolds him for neglecting Helaena and embarrassing her by his frat boy antics in public.

Sara Hess is on record saying that she and Spotchnik did not jive with Aegon just being a whoring, lazy, drunk. And they wanted to make him more villainous in order to show how Alicent is perpetuating "The Patriarchy" by covering up a rape.

B.) There was no fighting pits in 1x09. In the original script by GRRM and Condal. Aegon is abducted from a tavern while drunk by Misaria and is used as leverage by Misaria for more privileges in Otto's service - not to stop the fighting pits.

Sara Hess wrote Aegon to be involved in fighting pits cause it was "Game of Thrones" - which is her excuse for every bad writing decision she made.

All of 1x09 was rewritten and restructured by Sara Hess at the behest of Spotchnik in order to make the Greens bad. From the awful scene between Alicent and Rhaenys, to Aegon's fighting pits, and the Dragon Pit Massacre.

Tom Glynn-Carney told the story about how he had it out with Sara Hess and Spotchnik when they added the rape scene in 1x08 that wasn't there during the table read. He told them them they were kneecapping Aegon and giving him nowhere to go. To this Spotchnik told him to shut up and do his job as he his told to do it.

My point is that Sara Hess was the hatchet woman of Miguel Spotchnik and his wife. She was brought in by them to purposefully fill HOTD with their sanctimonious bullshit political agenda.

Spotchnik was fired, not because of his wife, but because the new heads of HBO after the merger with Discovery and Warner sent back his Season 2 treatment and told him to start again. Spotchnik threw a massive tantrum because the previous heads of HBO gave him free reign to do whatever he wanted with Artistic Freedom. But the new heads of the studio did not agree to those terms. So he quit and cried like bitch on the way out. And HBO did him a solid by not telling anyone how bad his Season 2 treatments really were.

And since I've read them, I can tell you they're some of the most righteous trash you'll ever read.

Everything you hate about Season 2 is a symptom of a disease that Miguel Spotchnik bio-engineered and spread from bringing on Sara Hess to hiring Olivia Cooke and Emma D'Arcy for their identity and political activism rather than talent.

The taint of Spotchnik's and his wife's vision of HOTD remains long after they've been booted. Mostly because they never got rid of Sara Hess who was the main scribe to most of the bullshit in Season 1 that doomed Season 2.

Two heads of the Hydra were chopped off but one still remains to blight the countryside.

[the-wayside]

For all the this that and the other, there is something magical about shows where the actors got to make the shows they wanted to make. I always go into a series with minimal expectations because I'm a guest inside the house and I was invited out of kindness. What makes a show for me is the relationship beats. Does it feel genuine, does it make me emote?

I'll be honest with you, I don't like GMMTV shows because I think they are the equivalent of pastel chalk and taste like it. The only reason I jived with OF was because of the strength of the actor portrayals and connections because they carried the show and the SL was much more in my wheelhouse as a 30-something.

Seeing Yin and War come out and do it on their own, I'm so immensely proud of them and everyone on the journey with them. The industry isn't something I particularly care for as a whole (another story another saga) so I get really happy to see actors bond and progress together (Pavel and Billy getting a 2nd chance to show how amazing they are; KP as a whole) makes me really excited for what they will do in the future.

Was J&J narratively perfect? No. But it was *good*, the kind of good they can build on and bring more diverse shows they want to act, which is the ultimate goal. I want these two to keep going as long as the road is enjoyable and for them to not worry and stress. We can wait for good stories as long as we've got good actors and teams making them.