#also whats the point of saying that last part the way that you said it like....

[bug-swarm]

"Unlawful pornography” is deliberately left open — meaning, it can and will be used to apply to literature/printed media.

.... no. It is not.

You very conveniently did not include this page where it is explicitly defined and only includes visual depictions or images.

If you actually are a lawyer, you should be well aware that the definitions of the terms used in a law are usually grouped together either near the beginning or the end of the law/bill/set of related laws/etc. You ought to have checked the definition section before posting about this.

Additionally, the parts of that bill that are not underlined, are already the law in Oklahoma. The underlined parts are the changes this bill is proposing. So, the part about adults playing minors? Already the law and this bill does not edit that. Also the vast majority of the part you called "the amendments" are already the law unchanged.

And lastly, you will notice that every part of this law has a provision that excludes works that have serious literary, artistic, educational, political, or scientific purposes of value. If you aren't aware of the federal obscenity law, you might mot have come across this phrase before. But I have and it's been litigated multiple times in federal courts and comes directly from a supreme court decision, Miller v. California, along with the other 2 parts of the Miller test. You might want to brush up on your supreme court precedent cases and federal obscenity laws if you aren't familiar with this clause. But in practice, basically any written fiction novel will always pass the bar of having serious literary and artistic value (outside of possibly the most extreme examples you could possibly think of. Its unclear. There isn't a ton of court precedent for this type of thing, and most of the ones that are about something fictional predate the Miller test)

And yeah, its a dangerous bill. Im with you there. Banning pornography and calling it obscenity is incredibly dangerous censorship. But it in no way can be applied to written depictions like ACOTAR.

Edit: you blocked me and then replied with arguments so i guess you don't want your argument corrected.

The law very clearly is not limited to CSAM.

Im aware. Its a porn ban dressed up to pretend its about CSAM. I literally said that even in my first reply

Including but not limited to” does include written media. Point to where “visual” depictions is limited strictly to photographs? Screens?

Well for 1, if it included written works, a fuck ton of books and fanfiction would be considered child pornography in oklahoma right now under the current law and since they do not, that is not true. and 2: the author's guild explicitly calls out the fact that it doesn't apply to the written parts of a work. Are you saying you are a better lawyer than theirs? Or any of the other lawyers that have weighed in on this in the last day?

That language, when broken down, requires assessment not only of national standards but also community standards — so what happens when a local community decides trans representation is “obscene?” They get to restrict it. And, language added into subsection (E) makes that clear. Oklahoma’s standards will be used to determine what is and is not obscene.

Correct. That is already the current law as written. That has been the law for decades. That does not apply to the internet at large. And has so far, not been used that way anywhere in the US. At worst, oklahoma would get banned from using more of the internet than they already are. Which i repeat, the absolute worst case scenario here (barring overturning supreme court precedents) is that oklahoma gets banned from parts of the internet and might not be able to read some romance books, provided that there is a sudden unprecedented extreme shift in interpretation of the term visual depictions

As for the rest about it being an attempt to trigger the supreme court to overturn the court precedents, yeah Im aware. But your post does not say that at all. Not even a little bit. Your post says that the bill "would make writing/publishing/owning an explicit romance book a felony." It tries to use proship rhetoric to fearmonger about this bill (that you even admit has next to no chance of passing and would be met with immediate being sued over on first amendment grounds!). There is nothing "made clear" to say that you were trying to talk about overturning supreme court precedent possibilities. It definitely was not "meant to draw the connections between the law as is and the amendments written in a high level, generalized format". You're backtracking because you got called out

And yeah, i was condescending, because a lawyer should know to read the definition of terms. I thought you didn't bother to read them. Instead you just did not apply any kind of current understanding of the law because you imagined that you were arguing about a case where supreme court precedent was thrown out, which you were not, and didn't bother to make note of that anywhere. You also seemed to think that I was saying that the bill was about CSAM, which I wasn't and had explicitly stated so already.

For all those who complain about explicit “smutty” books or smut in fic in general:

Just be aware that a bill has been introduced in Oklahoma’s state senate (SB 593) that would make writing/publishing/owning an explicit romance book a felony.

So, when you come on here to espouse your “anti pro-ship” nonsense, or moan about how hard it is to find fics/art/books that aren’t “smutty” — know that this is the effect. You are being used as mouthpieces to help feed and perpetuate censorship. There is no room for censorship in fiction because it will never stop at what you deem morally “right”. It is about control and the restriction of speech. Your discomfort with sex in media does not make it wrong, and it certainly doesn’t mean you get to advocate for its restriction.

Do not be pawns in the far-right’s game. Do not call yourselves allys of any kind if you are willingly feeding into a pillar of far right extremism. It will not stop where you think it “should.”

[felixcloud6288]

Dungeon Meshi Chapter 75

First time Marcille saw the Touden's place, she went "Damn, bitch. You live like this?"

Also, this is the first time as far as I can recall where Marcille used her ribbons to tie the end of her braids.

Otta, Fleki, and Pattadol have never seen a demon it seems.

Mithrun's eye changed color briefly but went back to black when he started attacking.

What rules?

Is Mithrun going to get court-martialed if he kills an adventurer who is not a dungeon lord?

Love seeing Mithrun fight. Love seeing his unconventional use of teleportation magic.

Mithrun's Tall-man form was very muscular, and this fight shows how strong he actually is. Each time he pulls that cape out of the lion, he has to be able to pull whatever part of the lion is also weighing the cape down.

Oh. So Kabru wasn't able to talk last chapter. And y'know what, I can tell exactly what happened. In chapter 73, Cithis said "Silence" to him right before she hypnotized Laios and the others. She wasn't telling Kabru to back down, she was giving him a command he had to follow. Cithis may also have been responsible for Kabru's cuffs as well.

What do they expect him to do? He's handcuffed and doesn't have a weapon.

So much of this could have been avoided if the elves weren't such stuck-up supremacists. And I'm not just talking about how the Canaries immediately escalated to trying to murder Marcille.

They were hostile to the Touden party from the start and only became polite when Pattadol thought she was talking to a full-elf. The moment one of them brought up Marcille's half-elf heritage, they all started talking down at her as well.

One thing I'll point out as a token defense for the Canaries is they only became physically aggressive with Marcille when she tried to flee. And after putting up with them, Marcille may have decided she might as well become the dungeon lord since her wish would knock them down a peg.

But still, the Canaries treat everyone as ignorant children who should do as they say because they said so and don't think they should have to give a reason for why others should listen to them.

Now onto the other part about how their supremacist attitude got in the way. Recall that Kabru wanted to be a Canary but couldn't join because he's not an elf. That brief moment where he was able to give orders to the others shows he's able to keep a cool head in a dangerous situation; he'd be a competent leader. But also, he would not have let the situation ever escalate to the point that it got to.

Kui redrew several images from earlier chapters during Marcille's flashback montage. It really shows how well her artstyle had improved over the series.

Marcille's takeaway from reflecting on their journey is that this entire adventure has sucked, it's been a miserable and painful experience, and she'd be better off if she'd given up on any number of occasions.

And it was all worthwhile. What's a little more pain and suffering if it means she'll be able to spend as much time as possible with the people she loves.

She's going to live 1,000 years? Oh that makes everything even worse.

Looks like the lion is restoring everything about the dungeon as if it were new. At the very least, all the mirrors are repaired.

I think the sequence of events was Marcille was thinking she wants to restrain the Canaries and the lion basically went "I know how to do that!" and he summoned giant spiders to restrain them.

And once Marcille saw the lion's approach, it began to adjust its methods to better suit Marcille's desire even if Marcille's approach is even more terrifying than how it was going to do things.

And one of the first things the lion did after becoming Marcille's servant is act against her wishes behind her back. Marcille said she didn't want to kill anyone, but the lion's methods definitely did something to Fleki and one spider was about to kill Otta as well.

And then the lion literally covered Marcille's eyes so she wouldn't see it kill Mithrun.

The lion is not a genie forced to grant peoples' wishes. It grants wishes to feed off desires and it will defy its master's wishes if it feels like doing so.

This would probably drive anyone insane.

Of note, Thistle set up a post to spy on Senshi's encampment, but he doesn't appear to have anything spying on the orcs.

The walking mushrooms have little hearts on them.

Oh look. Mithrun's alive.

back

[charliedawn]

The New Patient Part 4

You knocked softly on Dr. House's office door before pushing it open. His sharp gaze met you immediately, and despite his usual cold demeanor, you could see the flicker of concern in his eyes as he took in your appearance. You had spent the whole night watching over Eddie and holding him. You looked disheveled and you had bags under your eyes that would make a dead man flinch.

“You look like you’ve had a rough night,” he said, his voice dripping with sarcasm but a hint of genuine curiosity. He leaned back in his chair, folding his arms across his chest expectantly. “What happened ?”

You sighed deeply and stepped inside, closing the door behind you. “Bo Sinclair happened,” you muttered, making your way to the chair in front of his desk. “Eddie got provoked. I had to step in before things got out of hand.”

House’s expression tightened as you explained, his eyes narrowing. “And how bad is it ?”

You shrugged.

“Bo’s hurt, but not seriously,” you reported quickly, wanting to downplay the situation so Eddie wouldn’t be in big trouble. “Eddie almost lost control, but I stopped him before—”

“You stopped him,” House interrupted, leaning forward, his interest piqued. “What exactly does that mean ? And where is Munson now ?”

You hesitated. “I...I had to talk him down. He was close to completely losing it. Ghostface—the persona inside him—it almost took over. I couldn’t just let him hurt Bo.”

House sighed. “And do you think there was a genuine desire to cause harm in Eddie’s action ? Could it have ended in another murder ? Or was he simply protecting himself ? Because if he did want to kill that redneck, I’d have to intervene and inform the board—even though I hate that bunch of judgmental narcissistic congress of dead-brain assholes.”

You knew what that meant and you were scared they were going to put Eddie in solitary confinement. The last thing he needed was to be separated from others…But you also had to think about the humans under your charge—patients or staff members. Eddie had attacked Bo and even though Bo was a slasher and couldn’t be killed easily—that didn’t mean you could just let it slide.

“I don’t know,” you admitted, feeling a knot tighten in your throat. “He’s not himself. I can see it—he’s fighting something. I just don’t know if he’s winning.”

There was a long pause before House spoke again, his voice lower, more serious. “You’re in over your head, Y/N. And so is he. You can’t keep protecting him from himself.”

You sighed. “He is a just kid.”

He exhaled slowly then stood up and walked over to the window. His back was turned, but you could sense the weight of his thoughts. Finally, he spoke again, quieter this time. “I don’t think you realize how dangerous this is—how dangerous HE is. Eddie can’t keep this up forever. You’re not a therapist, and you’re certainly not equipped to handle whatever’s inside him.”

You felt the sting of his words, but you didn’t let it show. “Maybe I’m not, but I care about him. And I’ll keep trying.”

There was silence between you two for a long moment before House finally turned around, his face unreadable. “Fine. But don’t say I didn’t warn you. One more incident like this one and it will be out of our hands.”

You took a deep breath, determined to stay calm. “I understand.”

House didn’t say anything more, but you knew he disapproved. You turned around to leave when you suddenly stopped to ask.

“How do you do it ? How do you manage to stay so perfectly detached all the time ?”

He was momentarily surprised by the question before he smiled humourlessly and shrugged.

“Simple. Because I feel…nothing. The patients are the patients. I didn’t become a doctor to make friends, L/N. I became a doctor to help myself, and to prove how superior I am to all other so-called doctors who cannot differentiate a common cold from the flu. I became a doctor in this mad house because I thought it was gonna be fun—also because I got fired from my last job but that’s beside the point.”

You blinked twice in astonishment at his explanation before smiling.

“I see…”

You then turned around, but House wasn’t done.

“And you ? Why do you care about them do much, huh ?”

You stopped before telling him honestly.

“I became a nurse to help people, but to help them you must understand them. And I understand them perfectly.”

House chuckled and shook his head in disbelief.

“Right. Maybe I should lock you up with them then, huh ?”

You chuckled, but replied only half-jokingly:

“…Maybe you should.”

You then wordlessly left the room before he could reply and Dr House sighed before sitting down at his desk. Yup. Crazy for sure…

He smiled.

…

Dinner time arrived, and the hospital's dining hall was as chaotic as ever. You had hoped for everyone to get along and maybe try talking to each other. But Eddie seemed hesitant to sit at the table, his eyes flickering nervously from Bo to Vincent, both of whom were glaring at him with unsettling intensity.

You walked over to Eddie, offering a reassuring smile. “Come on, you can sit with me,” you said gently, guiding him to a seat beside you.

Eddie looked down at his plate, his unease written all over his face, but he reluctantly took a seat, trying to ignore the hostile stares from both Bo and Vincent. You noticed how tense the atmosphere was and the way the twins seemed ready to pounce on the poor boy and turn him into their next work of art. Bo's eyes were narrow, his jaw clenched, while Vincent’s expression was unreadable, but his body language screamed hostility. It felt as if the air around them was thick with unspoken threats.

You gave Bo a pointed look, your tone sharp as you spoke—leaving no room for discussion, “Bo, Vincent. I won’t tolerate this. Sit down and eat like adults.”

Bo grunted but didn’t back down, his eyes staying locked on Eddie. "That guy almost cracked my skull in half, you know that right ?" he growled under his breath, though loud enough for Eddie to hear.

Vincent’s gaze flickered briefly toward Bo, then returned to Eddie, his posture rigid. It was clear he wasn’t exactly pleased with the situation either. Eddie shifted uncomfortably, picking at his food without really eating it, his fingers tapping anxiously on the edge of his plate.

You turned to face Bo and Vincent again, frustration bubbling up. “He’s trying to change, okay ? He’s new here. Cut him some slack.”

Bo leaned back in his chair, crossing his arms. "New or not, the brat has serious anger issues."

Pennywise and Freddy sniggered before Freddy quipped.

"Jeez. You the one talking about anger issues, bucko ? It’s the fuckin’ pot calling the kettle black."

Bo scoffed.

“Shut up, ya bastards. Nobody asked y’all !”

Vincent didn’t speak, but his eyes narrowed further, a low growl rumbling in his throat. You could feel the tension building, and your patience was beginning to wear thin.

"Eddie, if you want to leave the table, you can," you said, your voice calm but firm, trying to diffuse the situation without causing more chaos. "I’ll understand."

Eddie hesitated, his eyes flickering toward the exit, but then he shook his head. "No...I don’t want to be the one to walk away." He glanced around at the men glaring at him and his eyes settled on Bo. “I won’t apologise to him though.”

Bo huffed. “Ya lil’ shit better apologise to me right now or I’ll—!"

Jason and Brahms unexpectedly sat down on either side of you and Eddie, their presence as intimidating as ever. Their large frames seemed to make the table feel even smaller. Eddie, already tense, looked up at them in surprise, his eyes flickering nervously between the two of them. Jason didn't speak, his face as unreadable as always, but the heavy weight of his presence was enough to make the others think twice before causing any more trouble. Brahms, on the other hand, offered Eddie a soft, almost unnoticeable smile, though it was quickly hidden behind his mask. The slight gesture seemed to have a calming effect on Eddie, though he still couldn't quite shake the tension in the air.

You gave both Jason and Brahms a small, appreciative smile. “Thank you,” you said quietly, trying to steady your nerves. Their silent support spoke volumes, and it was clear they were here to make sure nothing else escalated.

Bo, who had been eyeing Eddie like a predator waiting for the perfect moment, now found himself at a loss for words. It wasn’t just you standing up for Eddie anymore—now, it felt like the entire table was standing with him, even if they didn’t say it out loud.

Vincent’s glare didn’t waver, but even he seemed to recognize that it was a pointless battle to keep staring down Eddie. Jason’s cold, unwavering presence could turn even the most belligerent into a more passive version of themselves.

Eddie let out a slow breath, his shoulders relaxing slightly as he looked at Brahms, who nodded at him in a silent acknowledgment. The unspoken understanding was there—Eddie wasn’t alone, not anymore.

"Okay, maybe this isn't so bad," Eddie muttered under his breath, looking between the three men. He hesitated but then allowed himself a small, cautious smile. "I think I’m gonna survive dinner after all."

You couldn’t help but smile back at him, relief washing over you. “See ? Told you it would be fine.”

Bo, though still grumbling under his breath, finally turned to his food, accepting his defeat reluctantly. He wasn’t thrilled, but the sight of Jason and Brahms—two of the most formidable of the slashers—sitting at the table with Eddie seemed to have quelled any further tension for the moment. Dinner carried on with a quiet unease, but it was the most peace you’d seen all evening. Eddie, once tense and unsure, slowly started eating, his posture less defensive than before. With Brahms and Jason watching over him, he seemed to feel a little safer…

That evening:

You sat with Eddie in the quiet hospital common room, the dim lighting casting long shadows across the walls. He had been fidgeting with his rings all evening, unusually restless, his knee bouncing under the table. You could tell something was on his mind—something heavy.

So, you asked.

“How did you become Ghostface ?”

Eddie froze for a moment, his fingers tightening around one of his rings. He exhaled sharply and gave you a small, humourless laugh. “Wow…that’s a hell of a story. You sure you want to hear it ?”

You nodded and waited patiently as he ran a hand through his hair before leaning forward, resting his elbows on his knees. He seemed to think about it…how could he put it without you thinking he was crazier than he was ? He sighed in defeat and closed his eyes before asking.

“Okay. You ever heard of the Upside Down ?”

Your brow furrowed at the strange name and you shook your head negatively. “No.”

Eddie let out a long breath. “Okay…so, imagine another version of our world—only twisted, rotten, like some nightmare version of reality. It’s dark, filled with monsters—real monsters.” He glanced at you, making sure you were following before continuing. Your heart clenched at the way his voice cracked.

“I played my guitar,” he continued, a distant look in his eyes. “Metallica. ‘Master of Puppets.’ Best piece of music in the world. Thought it was badass at the time. Kept those things we call demobats off my friends so they could get away.” His lips curled into something that wasn’t quite a smile. “But those things—they got me. Tore me up. Thought I was gonna die right there.”

He stopped and his eyes were glassy—as if he was about to burst into tears. You squeezed his arm, silently urging him to go on. It showed how much he was suffering—no matter if what he was saying had truly happened or not. You offered him comfort and an attentive ear as he rubbed a hand over his face—terrible and painful memories coming back to him…

“But then…something happened.” His voice dropped lower. “Something saved me. Pulled me back. I don’t know what it was. It wasn’t one of those bats or any creature we had faced so far. It felt…different. Wrong. So damn wrong.” His hands were shaking now and you grabbed one of his hands and squeezed it.

“When I woke up, I was back in Hawkins. Alive. No one could believe it. But that thing—it came with me. And it started talking to me. Whispering. Threatening.” His breathing was uneven, his eyes distant, like he was trapped in the memory. “Told me I had to kill. Or else it would go after the people I love. My uncle. Dustin. Max. Mike. El. My band—Corroded Coffin. Everyone.”

A shiver ran down your spine as you realised how hard it must have been for Eddie.

Eddie swallowed hard. “I didn’t want to. I swear I didn’t want to. But I couldn’t let it hurt them. So…I did what it wanted. I picked a mask, made it look like some stupid slasher flick. Thought maybe—maybe if I was careful, no one would catch on. Maybe I could find a way to stop it.” He let out a bitter laugh. “Didn’t work out too well, huh ?”

You stared at him, your heart pounding. This wasn’t just some twisted desire for violence—he had been forced into it. Manipulated. Haunted.

“Eddie…” you whispered, searching for the right words. “That’s not your fault.”

He scoffed, shaking his head. “Tell that to the people I killed.”

Your chest ached at the pain in his voice.

“I don’t know what that thing was,” he admitted, voice barely above a whisper. “But it’s still out there. And I don’t think it’s done with me yet.”

You squeezed his hand, holding it tight. “Then we’ll figure it out,” you said firmly. “Together.”

Eddie looked at you, his wide brown eyes filled with something fragile, he was so scared. That thing —whatever it was—terrified Eddie…and to be honest ? You felt as if for the first time you were up against far bigger than you had bargained for…Maybe Doctor House was right. Maybe you were up against bigger than yourself…

The next day:

Eddie sat on his bed, twirling a guitar pick between his fingers, his knee bouncing restlessly. He hated these checkups. The whole “How do you feel today ?” thing always felt like a trap. If he said he was fine, they’d assume he was lying. If he said he wasn’t, they’d poke and prod at him like some kind of specimen.

The knock at the door made him groan.

“Yeah, yeah, come in,” he muttered.

Dr. House stepped inside, leaning against the doorway with his usual unimpressed look. “I see you’re still alive. Guess that means no one’s pissed you off too badly today.”

Eddie snorted, rolling his eyes. “Gee, Doc, it’s always so heartwarming when you check in on me.”

House limped further into the room, his cane tapping against the floor. He eyed Eddie like he was scanning him for weaknesses. “I heard you had a moment with Bo Sinclair. Real bro moment.”

Eddie tensed, his grip on the guitar pick tightening. “Yeah, well…he was asking for it.”

“Most people are,” House said dryly, sinking into the chair across from him. “But that doesn’t mean you get to turn their faces into modern art installations.”

Eddie scoffed. “Oh, come on. He was being a dick.”

House raised an eyebrow. “That’s kind of his default setting. If everyone who dealt with him acted like you did, this place would be on fire.”

Eddie smirked. “Sounds like a party.”

House sighed, running a hand down his face. “Look, I’m not here to lecture you—well, maybe a little. But mostly, I want to know what’s going on inside that head of yours. The outburst, the attack…was that you, or was that it ?”

Eddie’s smirk faded. He looked away, his fingers tapping anxiously against his knee. “I don’t know,” he admitted. “It’s getting harder to tell.”

House watched him for a long moment, then leaned forward. “You told Y/N that this thing—whatever hitched a ride back with you—wants you to kill. That it makes you kill.”

Eddie swallowed. “Yeah.”

House’s gaze sharpened. “Has it talked to you recently ?”

Eddie hesitated. “Not since I got here,” he finally muttered. “But that doesn’t mean it’s gone.”

House nodded slowly. “And do you want to kill ?”

Eddie’s head snapped up. “No !” He shook his head, his voice firm. “I don’t. But sometimes, it feels like…like my hands move before I can stop them. Like it’s in my blood or something.”

House exhaled. “Then we have a problem.”

Eddie clenched his jaw. “No shit.”

House tapped his cane against the floor. “Here’s the deal, Munson. I’m not gonna pretend I have all the answers. But I do know this—whatever is messing with your head, it’s not unbeatable. You fought it before, and you can fight it again.”

Eddie let out a bitter laugh. “And if I can’t ?”

House stared at him, his expression unreadable. Then, with a shrug, he said, “Then I guess we’ll all have a very interesting next few months.”

Eddie blinked. “Jesus, man.”

House smirked. “Just trying to keep things exciting.” He stood, gripping his cane. “You’re not beyond saving, Munson. But you’ve gotta want to be saved. So…do you ?”

Eddie looked at him, his throat tight. The voice in his head was quiet. For now.

“…Yeah,” he whispered. “I do.”

House nodded. “Good.” Then, turning toward the door, he added, “Try not to attack anyone else this week. It’s bad for your report card.”

Eddie snorted. “I’ll do my best.”

But as House left, Eddie sat there, staring at his hands. Because even though he wanted to be saved, a small, nagging voice in the back of his mind still whispered:

What if it’s already too late ?

…

The halls of St. Louis were silent that night, save for the occasional hum of the fluorescent lights. Most of the patients were asleep—or at least pretending to be. But Eddie wasn’t in his bed. He moved through the corridors like a shadow, his steps unnaturally smooth, his breath slow and steady. He wasn’t awake. Not fully. But something else was.

The door to Joker and Five’s shared room creaked open.

Inside, Five slept soundly, his small form curled beneath the blankets. Arthur sat on his bed, flipping through an old magazine, occasionally glancing at his roommate with mild curiosity. The boy was a mystery to him—far too sharp for his age, far too aware of everything around him but sometimes he really sounded and looked like a child. But overall, the boy was indubitably crazy. Arthur liked that about him.

But as the door swung open, Arthur’s eyes flicked up. Eddie stood there, his face blank, the dim light casting shadows over his features.

Arthur’s brow furrowed. He had seen Eddie before, loud and cocky, full of life despite the darkness clinging to him. This wasn’t that Eddie. This Eddie was wrong.

Then Arthur saw the knife.

Eddie was holding a knife in his hand.

Eddie moved forward, knife glinting. His breath was still steady. His expression was still void. His hands, however, were precise.

Arthur’s eyes darted to Five. The kid hadn’t stirred. He could have stayed quiet. Could have let the scene unfold. But despite his madness, Arthur had never been one to enjoy senseless killing. And besides, he liked the kid.

“My boy. It is time to wake up.”

Five’s eyes snapped open.

It took only a second.

One second for Five’s sharp mind to register the warning in Arthur’s voice. One second for his gaze to lock onto Eddie’s looming figure, the knife gripped tightly in his hand.

And then—pop.

Five vanished.

Eddie’s knife sliced through nothing.

Arthur let out a slow chuckle, swinging his legs off the bed. “Whoops. Missed.”

Eddie’s head turned toward him, but his eyes were unfocused, as if he wasn’t truly seeing him. Arthur tilted his head, studying him.

“Huh,” he mused, tapping his chin. “Sleepwalking, are we ? Or is it something else ?”

Eddie didn’t answer. He just stood there, the knife still poised, his breath slow and measured.

Arthur grinned. “Y’know, you might actually be crazier than me.”

Eddie twitched and was about to attack Arthur next when Five suddenly reappeared and took the clown by the collar. They both vanished and Eddie’s knife came down to lodge itself in Arthur’s pillow.

Five and Arthur appeared outside the room and before Eddie could get out—they both slammed the door of their room and locked it from the outside. Five then huffed as he looked at Arthur. “I’m going to kill him. I can’t even get a good night’s sleep without some psycho killer trying to get me in my sleep.”

Arthur snorted. “Oh, sure. Try that, and I’ll be the one laughing while watching you face a slasher on your own. Really smart idea.”

Five narrowed his eyes. “He tried to kill me.”

Arthur shrugged. “And you’re still standing, aren’t you ?”

Five huffed. “I’m telling Y/N.”

Arthur smirked. “Go ahead, my boy. Should be fun.”

And with that, Five vanished again—off to report the incident. Arthur leaned back, shaking his head. Things were about to get very, very fun around here.

…

You sat at your desk, fingers pressed against your temples, trying to think through the situation. Five had told you everything—how Eddie had nearly stabbed him and Arthur at night and how he had locked the young man up in their room. Eddie hadn’t meant to do it. You were sure of that. But that didn’t make it any less dangerous.

Your thoughts were a mess. You couldn’t just leave this alone. What if it happened again ? What if next time, no one was there to stop him ?

Suddenly, a shadow loomed over your desk. You looked up.

Michael.

Notebook in hand, he flipped to a page and held it out to you.

"He sleepwalks. Like I used to."

You blinked, looking up at him. His dark eyes were steady, unwavering. You knew Michael’s history—how he had suffered from relentless nightmares, how his mind had pulled him into violent sleepwalking episodes before he was locked away. You knew firsthand since you had spent night chasing after him when he had those kinds of episodes. He knew exactly what Eddie was going through…

Michael turned the page.

"I don't sleep. Let me watch him."

Your breath caught in your throat. Michael wanted to be Eddie’s roommate ?

He was right—Michael didn’t sleep per say. If Eddie had another episode, Michael would stop him. No hesitation, no risk of failure.

You swallowed and looked back up at the giant. “Michael…are you sure ?”

He nodded once.

You hesitated. Then, finally, you sighed. “Alright. But if anything happens, you let me know immediately.”

Michael didn’t need to answer. You knew he would. He turned and left without another word, already heading toward Eddie’s room.

And just like that, Eddie Munson had a new roommate.

That night:

The night was silent, save for the faint creaks of the hospital settling. Michael sat in the chair beside his bed, watching Eddie. He hadn't moved in hours—not even a twitch. But Michael knew better than to let his guard down.

Then, it happened.

Eddie shifted. His breaths became uneven, his fingers twitching against the sheets. A low murmur escaped his lips, something unintelligible, something not his own.

Michael didn’t move. He waited.

Eddie sat up abruptly, the moonlight casting sharp shadows over his face. His eyes weren’t his own—glazed over, distant, but filled with an eerie intent. He swung his legs over the bed, feet silent against the cold floor.

Michael still didn’t move.

Eddie reached under his pillow and pulled out a piece of glass—something he must have hidden earlier. He gripped it tightly and crept toward Michael, his movements stiff, unnatural.

He raised the blade.

Michael caught his wrist before the sharp object could even get close. A sharp inhale, a pause in the air—like the thing inside Eddie had not expected that. Michael tightened his grip, his strength overwhelming, but he didn’t hurt him. He leaned in, his voice a low, steady whisper as he rasped an order.

"Enough."

Eddie’s body jerked, his entire form seizing as though something inside him had just been shaken. A shudder ran through his frame, and then—

His legs gave out.

Michael caught him effortlessly, the piece of glass slipping from Eddie’s fingers as he collapsed against the giant’s chest. His breath came in sharp gasps, like he had just surfaced from drowning.

For a moment, Michael held him there. Silent. Still. Then, with careful ease, he lifted Eddie back into bed, pulling the blanket over him.

Michael picked up the piece of glass and tossed it across the room.

He sat back down.

And he waited.

He would wait all night if he needed to. That boy wasn’t leaving this room. Not while Michael was watching over him.

[tchtokyo]

Gaz angst bc I feel like it (part 1???)

Kyle realized that he was the background character, the one that everyone forgot until he offered his services. It's even more crushing knowing that he was in a relationship with the others 3 members of the 141.

He realized that after a new sergeant became a permanent stay. He was everything Kyle was but better. He matched energy with Soap, handled Ghost with care and Price saw him as an equal. Those were Kyle's jobs, but when someone better comes along, he gave up. He started to hide, spend time by himself, wishing that one of them would come and ask him if everything was okay. But when Kyle wasn't offering himself to them, he was forgotten.

The true breaking point was when Alex called for their weekly talk and Kyle just broke down.

"I can't do this anymore." Between sobs, hiccups and lack of breathing, Kyle was able to say what happened, how he felt. Alex understood, tried to calm him down through the phone and suggested a solution.

"Come here, I will tell Farah, she will request you temporarily."

Alex was furious but also not surprised, because he knew Kyle was going to have a hard time fitting with 3 men that already each other on different levels. Kyle was a new addition, Kyle was a regular soldier that happened to be good what he did, Kyle didn't have anything besides his skills to standout and bond with this men, men that were excellent at what they did, men that knew intimate parts of each other from the very beginning, men that bond over past happenings. Kyle didn't had those, his only set back his fragile mind and his even fragile heart. Alex warned Kyle that he was entering a new world that did not connected with him, but Kyle accepted the challenge. And this was the result, a Kyle, someone who did his best to hide his fragile mind and heart, broken by love, because he still loved them, Kyle said he cannot not love them, he just needed to find himself.

"Farah requested you for her forces." Price said, handing him a paper for him to sign that he conceded to go "says the time is indefinite, she will send u back when she deems fit."

Maybe Kyle should had waited a minute, pretending to ponder or to ask time to think, but no, he grabbed the pen, said nothing and sign.

"Are u sure? U gonna be apart from us"

"I'm sure." Again Kyle should had seen less eager, but he couldn't.

"O-okay"

"Can i go? I have to pack" Kyle asked, again, hurriedly, really not caring anymore, now knowing that he was going to be with the two people that always put him back together.

Price blinked once and twice, stunned confused and hurt, but he stuttered out a yes and watched the sergeant leave "we will miss you." He said lastly, as Kyle was at the door.

The last words he received from his sergeant, the person he loved, hurt him in ways he couldn't think of.

"I don't think so Captain." And Kyle left. Closing the door in that soft way he always does.

Price stood up, ready to follow Kyle and ask what did he meant? What they done to evoke something like that? What can he do to fix it? But then his phone rang, and he was about to ignore it when he saw Farahs name light up.

"Yes?"

"Did Kyle sign the paper?"

"Yeah, I'm gonna send it later, I just-"

"You had your chance John, send the papers now please."

"What do you-"

"Let him come here, send the papers now, Captain."

[mrs-stans]

‘The Apprentice’ Oscar Nominees Sebastian Stan & Jeremy Strong On Why It’s “More Of A Horror Movie” With “Monstrous Egos”

By Antonia Blyth

To say that Sebastian Stan and Jeremy Strong, stars of The Apprentice, have been riding a rollercoaster together would be something of an understatement. From sleepless nights contemplating embodying a young Donald Trump and his mentor Roy Cohn, to a Cannes Film Festival premiere filled with high hopes, a cease and desist from Trump himself, deafening silence from U.S. distributors, a reprieve from Briarcliff Entertainment, a highly combustible release on the eve of the U.S. Presidential election, and now an Oscar nomination each, they might well be suffering from whiplash.

Here, they met with Deadline to discuss how they’ve navigated the ride of the past few months, where they feel the film lives in the public consciousness, and what it means to them to receive Oscar nominations in the current political climate, for playing the President and his early collaborator Cohn.

SEBASTIAN STAN: I like the haircut.

JEREMY STRONG: Thanks.

DEADLINE: A buzzcut suits you. What’s the story there?

STRONG: My hair was not my own for a long time. And when I wrapped this last film, I buzzed it off… within minutes.

DEADLINE: This was your Jon Landau role in Deliver Me from Nowhere, the Springsteen biopic?

STRONG: Yeah.

DEADLINE: What a time this has been for you both. And here you are with Oscar nominations, after all the ups and downs The Apprentice has been through.

STRONG: Thank you so much. I actually haven’t seen Sebastian since it happened. We spoke, we texted.

STAN: It’s surreal. Yeah, it’s very strange.

DEADLINE: These are heavy, intense roles to represent, and this film has been triggering for a lot of people. Sebastian, I remember we did a Q&A at a screening, and I felt this palpable reaction from the audience, they had so much to say about it. How has it felt to you both being together and talking about this film in this time?

STAN: I think we’ve just taken it a day at a time, it feels like. This thing about you saying the audience was having this visceral reaction and so on, I’ve been thinking a lot about that. That felt like a good sign, because I think the narrative, as we’ve gone down this path, has been the preservation of art and the creative language that we all share and how that transcends politics and leads towards experience and something on a much more visceral level. And I think when it comes to these characters in this story, people have so many feelings, some that have been suppressed, some that haven’t been explored. And I think now, even after these nominations, I feel in a way there’s been something liberating that I’ve felt, I don’t know about you Jeremy, I felt on a very minuscule level of people just feeling that they can start to explore and talk about these things in a different way, or there’s permission to do so. And I think that was always a goal of this film, in my point of view.

When I watched the inauguration, I just thought of [Roy Cohn] hovering over the Capitol Rotunda. – JEREMY STRONG

STRONG: I always hear myself talking about wanting to make work that touches the third rail. And I’ve been part of a lot of films that are based in either current events or historical events, but none of them have had quite the sort of intersectional power and voltage that this one has. And I think that’s been uncomfortable for a lot of people.

I was at a dinner recently, and someone said that comfort is going to be the death of us; wanting to be comfortable. And I think that there’s really a virtue in film certainly that is willing to make people slightly uncomfortable. I understand why people have had reservations about engaging with these characters on a humanistic level, but I also think, and I’ve said this before, but it bears repeating, this great William Saroyan thing, that, “Despise evil and ungodliness, but not men of ungodliness and evil. These, understand.” And part of why we’ve gotten into the place they were in, the mess they were in, is a refusal on both sides, I think, to understand each other. So I love that. I see this film not as a political polemic, but as a character study. So I love that we’re getting to do this with you together, Sebastian. And I think we always saw this as a character study, and in a sense, as a relationship, as a love story in the way that Midnight Cowboy is a love story.

DEADLINE: I love that comparison to Midnight Cowboy. I haven’t heard that before, but that really resonates.

STRONG: Donald Trump as the Joe Buck to my Ratso “Roy” Rizzo.

DEADLINE: I think we’ve seen a kind of permission to be mean and cruel in our society, and there seems to be this shadow of Roy Cohn in our world now. And I know, Jeremy, you’ve spoken about this before, about how the long arm of Roy Cohn is still in our lives.

STRONG: Yeah. When I watched the inauguration, I just thought of him hovering over the Capitol Rotunda. And when I saw Trump’s response to Bishop Budde, I just thought, “Well, that’s right out of Roy’s playbook.” Attack, destroy. Roy said, “Hate is a powerful weapon.” He used it as a weapon and as a cudgel. He is encoded in everything that we are seeing unfold today and in these last weeks and months.

But the political column aside, I think for both of us, I grew up watching movies like Mississippi Burning, Midnight Express, The Killing Fields, these movies that spoke to the world had enormous volcanic power. And then watching these performances like Ben Kingsley in Gandhi, or Phil Hoffman in Capote, or Daniel [Day-Lewis] in Lincoln. And I feel like this sort of transformational work is the work that Sebastian and I have both aspired to do. So to have been able to do it with this film and to have this moment of recognition from the community is just unspeakably meaningful.

DEADLINE: Of course, Academy voters don’t represent the U.S. as a whole, but these nominations might mean that more people see this film. It’s back in theaters again right now too.

STAN: Yeah. I think this focus on character is really very important. That’s why I think the movie is vital. And rightfully as you said, where are the examples of men out there right now that are promoting generosity or empathy or compassion, these attributes that we need for survival as human beings, as opposed to these caricature versions of men that operate on a victim-blame mentality that justifies you being an animal: “Go out there, and do whatever you want.” And I think the only way you can understand that is when you go back and connect the dots to what makes somebody become that way.

I think the uncomfortableness of the movie is that it makes the question for evil isn’t necessarily just born, it can also be created. And the truth is somewhere in the middle, and nobody is really spared from that.

The movie, in the context of recent events, has become more and more of a horror movie to me. – JEREMY STRONG

STRONG: I do think that the movie in the context of recent events has become more and more of a horror movie to me. And it’s like Roy Cohn said, and I think I said in the film, he said, “This is a nation of men, not laws.” And we’re really testing out that thesis right now in America. It is being proven out by Trump. He’s the ultimate Machiavellian in the sense that Machiavelli said that, “The ends justify the means.” So in the film, we see Roy Cohn willing to do anything in the name of democracy, which is a kind of Orwellian usage of the word “democracy” in the way that we hear the Orwellian use of the words “freedom” and “democracy” and “justice,” these sort of inverted meanings. It’s really amazing to look at the germinal seeds of that ideology in the relationship between these two men in the time that the film covers.

DEADLINE: One thing that this film shows us is our need to look at the things inside ourselves that aren’t necessarily good or delightful. We all need to look in the mirror. In the film, Roy Cohn and Donald Trump are shown as people that didn’t want to be themselves. And that’s where we run into trouble. This is a study in that. If you aren’t your authentic self…

STAN: Well, yeah, because it’s about lying to yourself. And I think there is a suppression on both of these men’s parts. Deep, deep suppression. And as a result, these monstrous egos that came about in order to deal with that suppression, whether it’s pain, rage, shame, all these things. And as a result, the lie gets born, and it’s about how far are you willing to go with preserving the lie. And that’s what’s interesting to me, even in terms of his or the sort of recent childish response from White House about the movie and the nominations, is it’s all as long as it pertains to a certain narrative. It’s interesting to see, even among his supporters, just how easy it is to reshape history or reshape certain events that have happened, whether it’s looking at January 6th … It’s really mind-boggling, but it’s so easy, and it’s happened obviously in history. And I think that’s another reason why we have to hold some accountability for the things that are not entirely true and how slippery of a slope it is to buy into that, because everybody else is doing it.

STRONG: I love what you said about to thine own self not be true. And the sort of terrible fruits that that could bear. Not that it’s even an intentional thing. I think they’re both escaping a kind of bottomless void and original trauma.

I did an Ibsen play last year, and reading about Ibsen, in some of the biographies, Ibsen was obsessed with this idea — the Norwegian term translates into the word “life-lie” — the idea that you can live in a kind of delusion. And there’s something about Roy with the stuffed frogs and the Mickey Mouse thing on his door that says “Roy.” He’s a fantasist in a way. Like Peter Pan is a fantasist. And part of that fantasy involves a level of denial of reality. And it’s that self-denial and a denial of what is empirical reality that allows these characters and these men to make reality whatever they want it to be, and make it in their own image. But it’s very, very dangerous when truth becomes malleable the way that Roy Cohn espoused. And I think we’re seeing that happen. Everything’s just turning into spaghetti.

DEADLINE: Each of you did this forensic-level dive into these characters. I’m looking at you, Jeremy, with your hair buzzed after playing Jon Landau, and I’m curious about how both of you managed to preserve yourselves after such a deep dive into these characters of Trump and Cohn. How do you emerge?

STRONG: I actually have no desire to preserve myself. I think, for better or worse, my real desire is to lose myself entirely in it and disappear into it. So depending on the material, you go into these lives for a little while and submerge yourself. And I guess I find that to be the joy of it, to get utterly lost in exploring a psyche and a persona that is not your own until the point that it takes over and sort of possesses you. And at the same time, it’s a game. But it’s like you commit utterly to the game. And I love that Roy also was a pretty gleeful guy. He’s dark. You look at him, and you see something monstrous and you see the heart of darkness. But from inside of him, he actually had a tremendous elan and life force. He loved being Roy Cohn with his Rolls Royce and lunch at Le Cirque. He loved it. So it wasn’t as heavy as one might think.

These shadows that live within us, that we think we can just plaster onto somebody else and be guilt-free … The uncomfortableness of the movie is that it makes the question for evil isn’t necessarily just born, it can also be created. And the truth is somewhere in the middle, and nobody is really spared from that. – SEBASTIAN STAN

DEADLINE: I would find that so threatening to my mental health. Because at some point, you just have to hope that your inner real self rises up out of this other persona.

STRONG: This is a whole other conversation, but I think the idea of a fixed self is illusory. So I think we all have, especially as children, a plasticity of self. I am not sure if there is some core self. We certainly cling to that, but I think it’s interesting to explore the malleability of self.

DEADLINE: Sebastian, what do you think about this idea of such immersion that you let go fully? And how have you managed that?

STAN: I mean, I find it to be very freeing at the end of the day. I almost wish that I could be as courageous within my own life. There are things in life that I’m scared of almost more than what the work demands. I don’t know what that says about me.

I agree with Jeremy that I do feel like we have a spectrum of things that exist within us, and I guess he and I, when I think of actors, you’re like these investigators of all the colors of the human spectrum. I had to remove all judgment I had of this person, and I had to isolate myself to some degree from my friends and my loved ones in my family, because they all had such strong opinions about Trump and what I was doing. The only way I could build a confidence and courage to show up there with him on the day would be to be obsessively going over this and allowing for something to happen on my own without interacting with anyone, because I needed that self-protection. Your brain can judge so quickly and stifle every instinct you have.

What’s really maybe uncomfortable, and scary, is these people exist in all of us to some extent. There was a Trump in me and there was a Roy in Jeremy. And they can come out. And I think not everybody has the luxury of being able to parent that evolution to some extent, but we do. And I think the takeaway is that you want to show that we’re not all spared from these things that are darker, or these shadows that live within us, that we think we can just plaster onto somebody else and be guilt-free.

STRONG: I think part of the job, and maybe it’s for most things, but certainly for this, Shakespeare says, “This thing of darkness, I acknowledge mine.”

DEADLINE: Tell me about when you first met?

STAN: We met at Le Club. There was a place in New York City called The Nines, which Jeremy suggested we meet at. And in retrospect now, it was very similar to our first meeting [in the film in character]. So I thought that was pretty telling, I suppose. And then the next time, we were in another world.

STRONG: We sort of really met after we were done, and Sebastian came to see my play and we met in my dressing room. But I did take him to The Nines. I made him drink [like Cohn in the film].

You’re in this sort of liminal zone before you start something. I remember thinking, I’m not inside of this thing yet. I have to be in a month from now. I don’t know how that will happen, but I have enough faith at this point that it will happen. We were in this in-between where we were meeting each other. And I think it was important to just connect and say hello.

We didn’t really talk much while we were doing this, but I’ve never had a better experience with another actor in my life. The latitude and freedom and trust that we had, the risks we took together, everything was tandem unicycling on a tightrope over an abyss. I couldn’t have done this without Sebastian. But yeah, that moment I remember very clearly where we were sitting and a feeling of trepidation and of like, “Oh, f*ck. What have we gotten ourselves into here?”

DEADLINE: How do you feel hearing that, Sebastian?

STAN: Genuinely, I feel blessed to been able to have had Jeremy. I mean, I was always a great admirer of his work. When I saw him in everything that he has done, I always felt there was such presence and commitment and energy and force. So yeah, like he said, I was excited, but also trepidatious.

And then obviously, my feeling that Jeremy elevated the work at all costs in every single scene. The element of surprise, that’s what you want out of your partner more than anything. You’re going in there with everything you’ve thought about, but in the end, you want your partner to set you free. And that’s what I feel he does with anybody he works with. Because I think it’s the unpredictability that he comes with from being alive in the moment. And I think that creates something new in me, and then maybe that leads to something new in him. So you always want to have that.

The fact that we were so free with real people, playing real people is really unheard of. It just doesn’t work like that. I mean, at least in my experience with having played real people. I never have —

STRONG: I think we were only able to be free as a result of a tremendous amount of preparation and saturation. And I think if I have a philosophy of acting at all, it’s this thing that he says in Hamlet that “use can almost change the stamp of nature.” That if you apply yourself enough and work hard enough and absorb enough and internalize enough, you can change the stamp of your nature. You can become an authority on Donald Trump and Roy Cohn enough to improvise them and be free within that structure.

DEADLINE: I hope that the roles you’ve had after this have been a kind of palette cleanser? I know that Jon Landau was a beautiful mentor to Springsteen, in contrast to Cohn.

STRONG: Yeah. He lifted me out of the gulch.

STAN: I think finally in March, I’m going to go off to this new thing. But it’s weird to some extent, you go, I guess March 2nd [Oscars], we move on. And we never really do. But it’s hard not to feel like, with this movie in particular, like this has been our child. It’s really like you’re sending them off to college.

STRONG: It’s like Rosemary’s Baby.

STAN: It’s nostalgic. It’s liberating. It’s freeing and yet weird. So it’s a lot of things. But I think that’s when you care. At least I’ve learned going forward, I want to be doing things I care about to that degree.

[heavenshardware]

Hi. I have so many thoughts on this that i cannot even hide in the tags. there was a rant i originally posted here a couple weeks ago but i quickly deleted it because i noticed i was part of a serious minority of people who hated the s4 ending But since there are more of us than previously thought im just gonna bullet point it out: (disclaimer it’s been a Hot minute since i’ve relistened to s4 im just writing what comes to mind)

- my main complaint that really all of my other complaints fall under is just that it was incredibly anticlimactic. i feel that they really did just set the stakes too high with how the latter half of s4 was written and there was no sensible way to knock all of the points they set up down? it just felt MESSY. don’t even get me started on how useless i think the addition of riemann is

- most deaths to me felt like cop-out after cop-out. though i will say that young’s death felt like a good decision and i did enjoy it, keplers death was. hm. Hhhhhmmmmmm. His death felt so anticlimactic to me which was incredibly disappointing for a character who’s very foundation is his hubris of egoism. yeah i suppose the end of his arc could be the destruction of his hedonism but the main reason WHY i didn’t like it was because it almost felt like they were trying to convince me that kepler changed last minute. he didn’t! though round, his character is pretty static to me. something about 18 ulterior motives. did he care about humanity? yes! did he care about his team? Sure. but his feelings on goddard overall didn’t really. he’s always felt the same like he had his personhood stolen from him, but was it ever really there? he’s an artist! he’s got a flair for the dramatic and that’s that. and his death felt purely like it was because no one knew how to tie up his arc. and cutters death was just fuckin LAME. i remember listening to it and just going “what? that’s it?” sure mcguffins harpoon but ughhhh IM CALLING COP OUT

- hera and pryce frustrated me. so. fucking. bad. the way hera’s ptsd was treated in the end oh i CANT. compared to memoria and am i alone now it was AWFUL AWFUL. the very climax in her character was dedicated to her acknowledging that her ptsd was incurable as it literally is just a festering tumor in her code and the only thing she can do is learn to live with it. and then. only for them to throw that out the window and go “what if pryce was manipulated too? surely that would add nuance” And then just. Forgot to add said nuance in. keeping pryce around [hera] was definitely a choice imo. i don’t like how immediately forgiving everyone was. and also i hate the amnesiac/“it was all a dream” trope. so much.

- …speaking of the amnesiac trope. eiffels memory loss greatly frustrates me every time i think about it and i can’t really elaborate on why outside of It Just Doesn’t Make Sense. the reasons i see for Why it could have happened is 1. to show the super meta ness of wolf and how it challenges what makes you, you and for what you are without all of your traumas. 2. because wouldn’t it be funny if he worked so hard to get what he wanted but couldn’t even reap what he sowed? but i just. the way they immediately have him just go Man Old me was a Jerk right Minkowski! I dunno. it just ticked me off

I feel like for kepler and eiffel especially i would have enjoyed the finale a lot more if they had faced a couple more detrimental consequences of their actions. I don’t know how i would’ve done it myself but that’s what i think.

TLDR: too messy and anticlimactic for my taste

You know i always kind of assumed i was in the minority of this but as i talk more about wolf 359 here and there i see more people expressing problems with the end of season 4 so i want to ask. Im tapping at the bars of my enclosure. What Did you guys think of the latter half of season 4? And the finale? Can i hear some thoughts on that?

[cryptvokeeper]

I dare not speak it in the tag because I value my energy but no one has the correct opinions about nosferatu 2024 except for me

[emometalhead]

.

[cuteniarose]

Me: *creates an OC*

Me: *heavily implies OC will meet a bad fate*

OC: *meets bad fate*

Me:

(Alternatively, I may have started it, but @katkastrofa enabled me and now I’m losing my mind)

[selfinflictedgunshotwound]

my various mental issues make liking people so hard because i already put people on a pedestal to begin with if i genuinely like them so i am automatically laying myself at their feet like a dog but then i wrestle with the ego death of seeing that they're just a human being who is capable of being wrong and stupid and annoying me and it kind of makes me sick to my stomach not because i expect people to be perfect but because i know if i had like 5 minutes to sit down and talk to this person i would feel more secure in knowing where they stand on any given thing. but you aren't granted that when you just like some random guy who will never know you because you can't take the feeling of someone who could actually know you. or whatever.

[youremyonlyhope]

why won't my brain shut up why won't my brain shut up why won't my brain shut up why won't my brain shut up

[mariemariemaria]

The new channel 4 documentary on the miners strike is fantastic. It covers different points of view, from the striking miners, to working miners, to the women in striking communities, to the police. It also shows how the Battle of Orgreave on 18th June 1984 was planned and initiated by the police, and how the media (BBC and ITV) covered this up and showed only the police's side, while positioning them as being the victims of miners' violence (which was very minimal to non existent in reality), who simply retaliated because the "restrained...traditional British policing way" (I have to laugh) didn't work.

I also didn't know until watching this that Gareth Peirce, who represented the Guildford Four and the Birmingham Six, also defended mineworkers who were victims of police brutality at Orgreave. What a woman!

[seilon]

pro: ran into a coworker at a bar last night who I don’t really talk to usually (he works upstairs, I work downstairs) and we talked and im pretty sure we were highkey flirting and he bought me a drink and the bar merch shirt i was interested in and thanks to the power of alcohol i guess i asked for his number and he gladly gave it to me and. yeah

con: i have the second worst hangover i have ever had and have been fighting for my fucking life just to eat saltines

[phagodyke]

ykw actually I am angry + disappointed w them. I've been pushing how I feel aside and trying to make it my own fault so it's all contained but I think theyve just been mean. and they really should know me better ik I try to pretend I don't expect more from them so I feel less hurt when they do things that upset me but we've been friends for years by this point. like come on.

[portokali]

Hey um I noticed that you rebloged a post from a radfem, shesays, are you aware of that?

I'm not trying to say this in a threatening way, because at first glance what the op says seems fine, just maybe take a minute to step back and look into who you're reblogging from

ohh you're right, i hadn't realized! i marked her red in shinigami eyes asldhf

also the url is shesay everyone!

[jadepresentingnipples]

Apparently the way to make me write about my OCs is to get me distracted while writing explanations for my choices on a survey in the tags.