#and obviously it's not about what I think

[frownyalfred]

Obviously a public Batman identity reveal is huge and will have a massive impact on Gotham, but I like to think about the short list of Bruce Wayne’s employees who would go absolutely fucking bonkers when they find out that their employer was literally Batman. 

This list includes but is not limited to:

bodyguards/personal security (what do you MEAN we were protecting you and you knew jiu jitsu the whole time?)

any medical personnel who treated him or his family in the last ten years (missed some pretty obvious signs, in hindsight)

the guy who taught Bruce Wayne how to send Board materials at WE because he “didn’t know how” (he organizes the literal Justice League)

drivers/pilots/etc who found out that not only can Bruce Wayne actually drive shift after all, he’s also able to fly spaceships??

[ohnoitstbskyen]

asking sincerely. do you see a romance between jayce and viktor? do you think they ended up being something romantic at the end?

With apologies I am going to only half talk about the thing you are asking me, since I have something else on my mind and you happened to hit the button that makes me vomit it into words.

Coming at this from an aromantic perspective, I obviously don't experience the state of absurd obsessive delusion that you bizarre romantic freaks fetishize so feverishly*, but I am often annoyed by the idea that friendship and romance are either opposites or mutually exclusive. From my perspective, the boundary between the two is at best thin, and more realistically not actually a boundary at all except by cultural construction.

*i am taking an excessively hostile, crass tone for my own amusement i do not mean this seriously please be normal at me, weird allo freaks

I won't get into my full feelings about the end of Arcane, but it seems perfectly plain to me that the script, the imagery and the animation presents Jayce and Viktor as two halves of a whole, not opposing forces but alike to yin and yang: opposites which each contain the other. And at the climax of the show, the greatest peril to life and peace in the narrative is resolved by these two men literally joining their bodies and souls together, and going into eternity holding one another for comfort and strength. They are quite literally soulmates, quite literally the most important people in one another's lives.

I don't think that that kind of intimate emotional connection between men must necessarily be either romantic or sexual - I am aromantic, and plenty of ace people exist, and there is nothing in our natures excluding us from intense connections of love with other people of any gender.

I also think it is willfully ignorant (and genuinely homophobic) to act as though these deep connections are mutually exclusive with sex and romance. As though if Viktor and Jayce fucked nasty and made out sloppy style, suddenly their intimacy is less pure or valid, or tainted somehow.

"If these two men who are emotionally close to one another also fuck or get romantically involved, then friendship is dead, murdered on the floor by a dick-shaped knife; vile sexuality corrupts and debases the true, pure and virtuous love of ✨friendship✨" <- This shit is homophobic at a baseline, queerphobic in general, and frankly as an aromantic man I find it pretty fucking insulting as well.

What, are my friendships with other men just inherently more pure and divine, more meaningful and true than a gay man's can ever be, because I will never suffer the vile temptation of adding romance to my affection? Is that how I should think of myself? And is an aroace man more pure than me still, the only source of TRUE male friendship that a man can ever experience, free from the pustulant corruption of sexuality and romantic desire?

You get this pathetic defensiveness (especially from men, but other genders aren't immune) wherein sex and sexuality and romance between men is perceived as a threat to men's right and ability to experience deep connection to each other. But the emotional castration of men comes not from people imagining sex and romance as a component of our relationships - it comes from people who insist that our emotional lives must be ruled by strict binaries. Sex and romance, OR ELSE friendship. Deep romantic connection OR ELSE deep platonic connection. Pick one and do not dare to imagine both, nor act as though the boundary between them is something that we built by cultural fiat, and which can be dismantled just the same.

And yes, yes, yes, I know there are cultural forces literally illuminati-style conspiring to systemically erase the entire existence of explicitly romantic, sexual male love from media, and I know that homophobic puritanism is on the rise and there are material concerns and a real necessity for explicit representation in fiction, yes I know. Everything is more complicated than a tumblr post can cover, I am not trying to Solve Rainbow Capitalism™ over here, I am trying to express frustration as an aromantic man that this stupid fucking binary keeps getting culturally reinforced by both my enemies and my well-meaning allies, when I think the binary is what's fucking killing us in the first place.

So anyway. My position is that Viktor and Jayce can be entirely aromantic no-homo friends, and they can fuck nasty in the throes of mutual need and obsession, and I refuse to entertain the idea that there is an irresolvable contradiction between those things. Each of those can contain the other, or become the other given time and circumstance.

What the imagery, storytelling and script of Arcane makes clear is that Viktor and Jayce love each other more than life itself. To say that that love must be shoved into the box of either "platonic" or "romantic" is to miss out on almost everything that is beautiful about love. It can be both and neither! It can be a secret third, ninth or fifteenth thing that they haven't invented a tag for on Ao3 yet.

They are giving each other whatever the spiritual mind-ghost equivalent of sloppy backshots are on the ethereal plain forever, they are the most romantic lovers in the cosmos, and they are also the most chaste and platonic life-partner friends you have ever seen, effortlessly intimate and unashamedly tender. They are men who love one another, in every way that love matters.

You can pick whichever interpretation brings you joy, and resonates with what your heart needs, the text of the show is eminently and explicity open to it, and anyone who says otherwise either failed to pay attention, or refused to pay attention on purpose.

[vanillarosekiss]

Eternally thinking about how Husband!Simon Riley would always keep you, his loving wife, nicely fed and fucked…

Pairing: Husband!Simon Riley x afab!reader

A/N: can you tell i need a bf? this is not proof read btw!

Warnings: heavy smut with no plot, highly descriptive sexual actions, mentions of cnc at the end, unprotected sex (wrap it before you tap it people!) language, Husband!Simon Riley x afab!reader.

Simon took great care in keeping his wife happy. As a military man who���d been subject to changing his old ways, he had taken pride in the fact that his missus was always looked after, fed well, and fucked regularly as needed.

It’s sort of like taking care of a plant, he would think. A delicate house plant, capable of looking after itself at times, but needed some external factors to keep it growing properly. That’s what Simon was, your external factor. He would always make sure you’d had something to eat, allowing you to cook for him occasionally but also taking the same duty for you.

And he was a great cook, underrated really, many didn’t know how good his culinary skills were. Of course, you did.

He would get back from a day of work, exhausted and fed up, but wouldn’t allow himself to sleep until his missus had been eaten out properly and had a sufficient orgasm. After all, you were the one who cared and loved him so much, so you should surely get a reward, pretty girl?

He wouldn’t leave you hanging either, best belive it. He came home one day, finding you trying to work yourself up to orgasm. Silly girl, don���t you know that it’s Simon’s job? He would pull your hand away from your already soaking pussy, immediately delving down on it with his mouth, hot and ready to work for a reward. Your hands would grip onto his short blonde hair, moaning his name as he devoured your mound, his nose occasionally catching your clit and creating the friction you so longed for. He would continue these ministrations for a while, his thumb coming to help work you by rubbing small clockwise circles on your delicate nub, building up the pressure over time. As you writhed around, already overstimulated after coming on his mouth once, he wouldn’t stop, knowing you could take more.

“Come on, lovie, i know you can take it” he would coax you into orgasming again and again until you were all fucked out. He would usually put his needs aside, unless he had a particularly stressful day. In this case, he’d apologise for riling you all up but doesn’t he deserve a treat once in a while for looking after you so well?

“That’s it baby, take it all like the good wife you are” he would groan as he stuffed your pussy with his hard cock, precum leaking from the soft pink tip that was now almost hitting your cervix. He would undoubtedly finish in you, apologising profusely for the mess. He would obviously clean you up, the gentleman he is, only after fucking his cock back into you gently once or twice. What? He didn’t want his seed going to waste.

i must be ovulating because i cannot stop THINKING about him recently.

[perpetuallyfive]

God, I'm so happy with what they did with Maddie Nolen.

I'm sure there will be plenty of people mad because obviously there was a weird backlash over a character who has sex with one half a ship, so I'm sure some people worry this will lead those people to feel justified in their initial response.

But ignoring people who can't emotionally regulate for a second, because those childish impulses aren't worth dictating the fun things a narrative can do: Maddie is SO INTERESTING as a character and she fills in a lot of the questions people seemed to have about the rest of the season.

Consider for a moment that it wasn't Caitlyn who convinced Vi to be an Enforcer. It was Maddie.

I know that some people took this line to be about Zaunites, a sort of obvious connection to the very racist idea of "one of the good ones," but since Maddie is talking about Marcus and his betrayal of the Enforcers just before this, I'm pretty sure her framing here is something else. The point she's making is specifically targeted at Vi's own beliefs and weaknesses, her desire to protect. That seems clear to me now with all we know about Maddie's capacity for manipulation.

She's not saying, "You're good, for a poor."

She's saying, "Wow, I agree with you, the Enforcers are really bad; it's so upsetting. I think you might be the only one who can change it, but only if you join us." This is what convinces Vi to do something she never thought she would.

Well, this and the fact that Caitlyn believes in her so much which, again, is information she gets fed to her directly from Maddie. It even seems like Maddie seeks her out just to say this, which on first viewing felt oddly convenient. Wow, Vi just happens to meet this naive girl who just happens to say exactly what she needs to hear to do something so out of character.

Except obviously none of it was coincidence. Everyone already knew how much Vi meant to Caitlyn and getting Caitlyn under control would require either controlling Vi or removing her from the equation. This was a push in that direction.

Then there's her more obvious role as the spy in Caitlyn's bed, there to reassure her that the Noxians are only trying to keep all of them safe. Then when Caitlyn expresses larger doubts, she's immediately ready to lay out an alternative. You could just give up, Maddie seems to whisper gently in her ear. Just reestablish things as they were before.

But she knows Caitlyn isn't going to go for that. She's not going to go back to the council as it was, because it's only going to remind her of the empty place her mother left behind. Maddie knows that Caitlyn isn't going to take this offer, which is precisely why she suggests it. She frames quitting as the only clear alternative to going along with everything Ambessa wants because she knows that Caitlyn will refuse, which leads her right back into alignment with Ambessa. She makes continued obedience into an active choice that Caitlyn affirms she's making.

Even Maddie's comments that suggest direct opposition to Ambessa — "you're our leader... I follow you" — are designed to frame herself and her true leader in direct opposition, just as Ambessa's own warning about entanglements is there to further that point. They both make a point of reminding Caitlyn that they are her true ally, isolating her further from anyone who isn't the devil and (other) devil on her shoulders.

This way Maddie and Ambessa can both tug at Caitlyn, pulling in what feels to her like opposite directions, all so that she lands precisely where they wanted her all along but with the illusion of active agency.

And look, I'm not saying my read on her is gospel, because I think they intentionally gave us enough room to really speculate and wonder about her, someone who could have been just a background nothing character but ends up being such a huge part of the second season. That's so interesting!

I especially love that she comes across as really naive and innocent, just some poor little thing swept up in the fervor, when in reality she's a true believer who has been manipulating things to go her way from the start.

[catboybiologist]

Yay I'm going to get all Political and angry again.

So pretty much every trans American is probably aware of the Sarah McBride situation at this point, but here's the bullet point summary if needed for anyone else:

Sarah McBride gets elected to the House as the first transgender member of Congress in US history.

Republicans predictably flip their shit. They pass internal rules of conduct that prohibit trans people from using bathrooms of their gender and stating that bathroom use is defined by AGAB. It obviously singles out McBride, but I believe there are trans staffers that are also affected.

McBride issues a statement that she will abide by these rules, and pretty much only use the bathroom directly associated with her physical office. She issues a statement saying she "wasn't elected for bathrooms" and will instead fight in issues that matter, with a milquetoast criticism of Republicans for wasting time on this.

Many trans Americans are predictably scared and disappointed by this, especially because this internal house rule is being used as a blueprint for more extensive laws, including a likely ban on trans people in gendered bathrooms in all federal land and buildings (including, notably for me, national parks. Which breaks my heart, but that's a different rant.)

There's been a lot of disappointment and criticism of McBride over this. The general leftist reaction has been criticism. There's lots of people that have expressed disappointment or rage, including Erin Reed, and also more "personality" type people like Vaush and Jessie Gender.

Now.

I'm disappointed too.

But. And please keep reading before chewing me out for being an apologist.

I think we can all understand that McBride is in an impossible situation. If she fights this too hard, then it vindicates the Republican rhetoric that Dems are crazy trans obsessed leftists. But there's a fear that this will only lead to more infringements of rights for trans people. McBride is completely stuck, and is a junior, freshly elected member of Congress who is trying to figure out how to make her voice the most effective.

I am so, so fucking tired of rights being ceded one by one. So I'm disappointed. But yeah, I understand McBride's statement.

But there's just one tiny. Eeny weeny. Minor. Itty Bitty question having over all of this. Just one little concern.

Where.

The fuck.

Are the rest of the Democrats?!?!?!?

There is a PAINFULLY fucking easy solution to all of this. McBride needs backing, solidarity, and other people to speak for her. If she's worried about her voice being effective, and being branded as the crazy trans representative, then step the fucking up, you spineless liberal slimebags.

AOC is the only one that I know of that has expressed any real opposition or anger. Her statements are getting aaallll the airtime.

But the real story is McBride's sentiment being echoed amongst the entire party. This is absolutely some kind of official platform. The fucking grumbling, milquetoast finger waving and "well I don't like this, but there's nothing to be done! Anyways"

Of fucking course minorites are abandoning the left. The message they're sending is "we'll abandon you with the most pathetic of excuses. We don't give a shit." Trimming groups out of their support one by one.

McBride is doing the impossible calculus of trying to be the most effective on the house floor. It's an insane task for a trans woman. And yeah, she got it wrong this time. But where the fuck is the anger for her cis colleagues? Why the fuck aren't people angry and terrified for everyone that let this shit happen?

As much as people love the narrative of the line wolf resistor, resistance takes coordination, effort, and solidarity. Without that, what would McBride raising opposition even be? One representative against the hundreds of others.

And yeah, of course I didn't expect any better from the Democratic party. But you should be disappointed and mad at your representative, not just McBride.

[peace-hunter]

Hi! I love your Ghost Primes with Optimus AU! It’s so good.

I have a question though, do the Decepticons know that Optimus can see the 13 prime ghosts or do they just get increasingly confused each time they fight?

Thank you for the lovely artwork!!

oh they Know something funky is going on for sure lmao

a little more serious answer: they can tell something is going on with optimus and they desperately want to pretend it's not. they don't want to know how he's aware of things he shouldn't be, how he knows stuff that should have long been forgotten, how he seems to be more familiar with them than he should be. how sometimes he speaks and it's like the dead are talking through him. how sometimes he will answer to empty air and somehow they can just tell what he's responding to. who he is talking to.

they Know. and they really, really want to pretend they don't.

they already carry the guilt of failing them once. the idea of doing it once more is unbearable and they'd rather deceive themselves than face it. they'd rather their friends stay dead and gone rather than think of them seeing what they've become.

haunted au

[sidsinning]

Surprising thing about Dandadan is Okarun randomly pulls different girls throughout the manga, but all of their feelings for him are not very deep (you could argue Aira, but I think her feelings were kinda insta-love which is then used as mostly a gag- kinda unsrs to watch)

-Aira is already obsessed with him the next time they meet

-Vamola is obsessed with him after a random kiss (then ends up being explained it was for plot and not real romantic feelings)

-Rin- what foundation, and her whole vampire attraction moment was literally a joke 😭🖐

But Momo's relationship with Jiji then later Unji are taken much more seriously with strong foundations for why they have feelings/might be growing feelings for her, while also feeling realistic and subtle

Like I'm sorry but this was cute and we have never gotten a such a significantly intimate moment like this from Okarun with any of Momo's love rivals 🖐

Zuma got a whole arc with her to himself like??? Insane you can tell when Yukinobu locks in for the love rival plots LOL

In exchange for Momo's outward very obvious bursts of hilarious jealousy we get more complex love rivals for Okarun to battle lmao, least that's how I see it

(By "more complex" I mean in regards to them as love rivals, all the characters are equally complex as just characters)

Okarun got game but Momo got GAME GAME like they sense her baddie wife energy

Momo is a total catch like she's literally MVP for almost all the fights in Dandadan, and the only times she isn't is when she literally isn't present- so I don't blame them 😌💅✨️✨️✨️

And ofc in the end all these people's feelings for our MCs are only there to develop their romance, bc they obviously only want each other

Sidenote ppl who are like "wow a pretty girl has to be paired with a nerdy loser guy again"

Bitch listen

First of all he has his ultra baddie form

Second of all he is devoted to the nth degree to Momo and only Momo, all his thoughts are consumed by her, and everything he does is for her happiness and safety

Like the way he got so fucking mad a dude was degrading her right in front of him??? The way Okarun was used to being pushed around and bullied for most of his school life but he threw hands with a rando immediately with no hesitation for her sake??? She wasn't even in the room to hear it??? A MAN

No Okarun slander shall be tolerated here ✋️

[neon-sunsets]

okay. let’s talk about jayce’s monologue, since people are calling him ableist.

for context, not that it matters: I have a significant mobility disability and a progressive chronic illness which, even when managed, can kill me. I’m not in exactly the same boat as viktor since my disease isn’t terminal, but I’ve had very similar experiences to him. this shapes my perception of him and of this storyline.

this is the monologue:

You’ve always wanted to cure what you thought were weaknesses. Your leg. Your disease. But you were never broken, Viktor. There’s beauty in imperfections. They made you what you are. An inseparable piece of everything I admired about you.

first, it should be noted that “what you thought were weaknesses” is not the same thing as “things that are good.” jayce is not saying that viktor’s disease is or was a good thing. what he is saying is that he admired (loved) everything that viktor was, which included the things viktor thought made him a burden or a problem. remember also that jayce almost doomed the world because he couldn’t let viktor die; he would never imply that viktor dying was a good thing.

the next question, then, is whether viktor sees himself as a burden or not. I think it’s implied that he does — it’s certainly not unrealistic to think that viktor might have come to view himself, or at least his disease, as a burden and a flaw. disabled people often view ourselves that way either because of internalized ableism or because society constantly tells us that we’re burdens and that our bodies are abnormal and wrong. viktor displays behaviors that indicate internalized ableism, including hiding the fact that he’s coughing up blood from jayce the first few times it happens and generally refusing to be in the public eye in a way that is self-effacing and not just him being private. yes, he says in act 1 of season 1 that he believes in himself, but he does also call himself a cripple in a dismissive way in that same scene; also, he doesn’t have the disease at that point. arguably the entire scene where he runs despite clearly being in pain is an example of his internalized ableism, but that’s another post.

more evidence for viktor’s perception of himself being negative is that he clearly has a sense that he doesn’t deserve to be loved (specifically by jayce, but maybe also in general). we see this when he asks jayce why he’s still persisting in saving him. we see this with his generally self-effacing behavior. we see this with the fact that in all of season 1, the only person he allows to touch him is jayce, and that the only person he actively touches in the entire show is jayce. viktor is reserved and not good with his emotions, which is a huge part of his arc this season. all of these behaviors point to him having a negative self-perception.

I think it’s important to really consider how jayce perceives viktor and how viktor perceives himself. I don’t think this season handled everything perfectly, but I think they handled this very well. viktor has been written with a fullness and complexity that most disabled characters don’t ever get. him being morally grey doesn’t mean he’s “problematic” or “bad representation.” obviously I’m only one disabled person, but I really love jayce and viktor and I think their story is beautifully written.

[mrsshabana]

𝐆𝐢𝐯𝐢𝐧𝐠 𝐌𝐫. 𝐂𝐫𝐚𝐰𝐥𝐢𝐧𝐠 𝐚 𝐛𝐚𝐭𝐡 :･ﾟ✧

꒦꒷‧₊ Content Mr. Crawling x gender!neutral!reader, MDNI, nudity, fluff, suggestive but no smut ꒦꒷‧₊ Note 1.5k words. Mr. Crawling is so cute, I just had to write a fic where we take care of him. He deserves it (╥ ‸ ╥)

He followed you like a lost puppy.

The entity that clung to you like his life depended on it, refusing to return to the world in which he came from. His intentions aren't clear, but he isn't causing any harm so you had no issue with him sticking around.

Mr. Crawling was what you called him. He spoke a strange language you couldn't understand at first, but after spending so much time with him you picked it up after a while.

When you get home from work he's always so excited to see you, chirping excitedly and grinning widely at the sight of his favorite human.

As soon as you arrive he sticks to you like glue, watching you as you do mundane tasks or relax around the house.

Tonight you were making spaghetti, and Mr. Crawling seemed extra intrigued by you cooking the dish.

He peers up at the stovetop, watching as you heat up the tomato sauce. His curiosity gets the best of him as he tries to get a better view, he bumps into you. Causing the red sauce to topple over and spill all over him.

"Mr.Crawling!" you shout, "I'm so sorry!"

He just smiles and licks the sauce off of his face. Seemingly not affected by the hot temperature or the fact that it has splattered all over his clothes.

"You ok?" you ask in his language.

"Me surprise! Saturate clothes, hair, body!" he says between giggles.

You're glad he finds it funny and he's not upset. You don't know what you'd do if you ever saw Mr. Crawling cry.

But he's right, he's completely covered in sauce and his clothes will need to be washed right away.

You kneel down to his level and wipe away the excess sauce with a paper towel, "Me take care of you."

"Me grateful," he smiles wide, leaning into your touch as you clean him off.

You know this won't be enough though, he needs a bath. But you feel slightly awkward giving him one. Not that you mind caring for him, but as far as you know there isn't a word for bath or clean in his language so you don't know how to ask him if he's okay with it. And the thought of seeing Mr. Crawling naked... well you've never really considered it before. But thinking about it makes your cheeks redden and your body heat up.

First things first, after cleaning the chunks of tomato you take his hand and lead him into the bathroom before you try explaining to him.

"Um... Mr. Crawling," you mumble, "Me change you clothes. Water container. You give clothes?" You try to explain it to the best of your ability as you hold out your hand.

"Saturate clothes, water correct! Me give," he nods and takes off his clothes.

There's no embarrassment or shyness evident as he removes his clothes. Mr. Crawling is either just too innocent, or he's just so comfortable around you that he knows he has nothing to be shy or embarrassed about.

You try not to look at his body as you take his clothes. Hurried walking to the laundry room and shoving them into the machine at a rushed pace.

You know he's waiting patiently for you to return and give him his bath but you have to try to calm down first! Your creepy cute ghostly roommate is naked in your bathroom right now and you're freaking out!

Mr. Crawling may act like a pet, but this isn't like giving your dog a bath or something! Maybe it feels so strange because your relationship with Mr. Crawling isn't well-defined.

He's obviously obsessed with you and adores you in every way, but is it romantic? You aren't sure...

However, you do feel confident that Mr. Crawling wouldn't say no to being in a romantic relationship with you if you asked. Judging by how he constantly craves your affection, touch, and attention - he'd probably love it.

And you'd be lying to yourself if you ignored the feelings you had for him. Sure he's not human, but he's so sweet and genuinely cares about you.

Before you met him sometimes you felt like if you disappeared no one would care. You felt insignificant in the grand scheme of things. On lonely nights you'd question why you're even here at all. Is there even a point?

But Mr. Crawling changed all of that.

When you leave, you know Mr. Crawling is always waiting in front of the door for you to return. No matter how long it took, even if it was 100 years, he would still wait for you.

He makes you feel important for the first time in your life. Like if something happened to you he wouldn't rest until he was able to have you again - even if he spent eternity searching for you. He wouldn't stop looking for his favorite human. That's how much you mean to him.

And if that's not the definition of love then you don't know what is. Because it's obvious that Mr. Crawling loves you, and honestly you love him too.

"Mr. Crawling..." you whisper as you walk into the bathroom again.

He turns and makes that high-pitched sound he makes when he's happy.

"Water container, correct," you say, patting his head as you start the faucet.

"Me go into?" he tilts his head to the side, not sure what to do. The gesture is cute and makes you smile.

You nod, "You go into container."

Even though he's never had a bath before, he trusts you and gets into the tub. Watching in awe as his long hair floats to the surface, creating long black streaks within the water.

You can't help but blush as you look at his body. Never had you expected him to be so toned under his loose-fitting clothes. Especially his chest and arms. But it makes sense, he crawls around all day so his upper body strength has to be good, right?

Now that you're seeing him like this, you can't help but notice how long his legs are too. You've never actually seen him stand so it never occurred to you how tall he could be. Judging by how he fits into the tub, he must be taller than any person you've ever met before.

Imagine if he stood up like this...

Your thoughts drift and you get distracted, accidentally pouring loads of bubble bath into the tub instead of just a tad to keep him occupied.

"Fun! Fun!" He shouts excitedly as the tub fills with foaming bubbles, completely covering his body and overflowing from the tub.

"Shit!" you say under your breath, cursing yourself for letting those perverted thoughts sneak into your head. You can't stay mad though as you watch him giggle and play with the bubbles. Why does he have to be so freaking cute?

As he has the time of his life, you dig through the bubbles to clean him. Starting with his body and finishing with his hair. Taking over an hour to wash his hair alone.

As you clean his hair he experiments with these fluffy white things he's never seen before. Curiously eating them, sculpting them with his hands, and even putting them on you. He takes a clump of bubbles and forms them into cat ears on the top of your head.

"You cute!" he shouts excitedly.

You smile and do the same for him, "You cute!"

"We cute together!!" he smiles, having the funnest time with you.

Finally, once he's been all cleaned you help him dry off as he sits on your bathroom floor, watching curiously as the bubbles get sucked down the drain.

His clothes aren't quite done yet so in the meantime you let him wear an old pair of pajamas. They're pink Hello Kitty pajamas to be exact. Sure you had a plain black set that would do as well, but you just couldn't resist putting him in this. He looks so adorable as he crawls into the bed with you, laying on your lap as you brush his hair.

"Water container fun..." he mumbles on the edge of falling asleep, "Again again."

"Fun again," you smile, promising to give him another bath someday.

"Thank you," he nuzzles into you, "Me like you. Like you much..."

"Me like you much," you kiss the top of his head, "Me take care of you, you rest."

He doesn't want to sleep, he wants to stay up with you all night taking baths and playing with bubbles. But being in your embrace as you take care of him is just too much to resist. He hopes you'll do this again soon, or maybe you'll let him give you a bath and brush your hair next time.

He quickly drifts off to sleep, thinking about all of the fun things he wants to do with you. Meanwhile, you sit there and brush his long hair for another hour. Though you don't mind. Sitting here with him, brushing his hair as he sleeps on your lap, it doesn't get any better than this.

[soundwavefucker69]

I don't share this often, but I am a trans man named Minty.

awhile after I got my legal name change, I asked my mom what she would have named me if I was a boy. she said Sebastian, and I groaned and complained that I should have asked before I got the name change, because I really DID like Sebastian now that it was occurring to me as a possible name and had ALWAYS liked Sebastian, even before my MCU days as a teenager. I had even considered it as an option but worried I'd end up looking like a weird fandom kid that had never let go of the MCU. if I had known that was the name my mother had picked for me, I would have had justification to choose it.

she asked me why I picked Minty then. i kinda paused in surprise because I thought it was obvious. and I was like. well. I wanted a name i felt like I could associate with childhood me.

after the first house we lived in was foreclosed on by the bank, we had to rent while my parents fixed their credit and swore never to get a fixer upper again. so we picked a nice house in our small town with only two real neighbors of note: an old lady, whose kids had forgotten about her, that lived way down the alley, around the point it turned from paved to dirt, the only house down there, who had a pomegranate tree in her ill-tended front yard, and a nice old lady next door that for some inexplicable reason had a miniature horse and a beautifully tended flower garden she had foolishly once planted mint in. she also had a very, very old fashioned rotary telephone. I mean the kind hardwired into the wall, of metal, with a speaker with a smooth wooden handle that sat neatly on top. not one of the plastic ones. the ones you see in old movies.

we loved these old ladies very much. the pomegranate lady was too old to keep up on her yard, so my brother and I would go with our dad to help weed whack and scrape up the dead leaves. we didn't offer too much, she was a proud sort, and couldn't pay us, but just enough to help out a little. and the mint in her flower garden lady loved it when we came by to say hi to her horse whose name I forget and loved to teach us how to garden.

she would send us home with mint. obviously. because when you have a mint infestation, well. it's pointless, but you gotta try anyway. and my mom would take that mint and make sun tea, just on the edge of not sweet enough, bc she was a bit of a crunchy mom, but not enough to reprimand me for sneaking a bit of sugar into my cup after to mix it up. (the sugar never dissolved right, especially after it was chilled, and i would always make a racket trying to get it to do so)

I told her I picked Minty because it ties me to my childhood. I didn't want to just cast it away. I wasn't Minty yet, but I also wouldn't be Minty without those days.

mom hasn't fully come around to me being trans. but she was quiet for a long, long time before she kind of whispered. I think I like Minty better than Sebastian. you should keep it.

my mom has always beat herself up over our childhood. she lacked a lot of stability in her upbringing and thought church was the way to go with my brother and I. unfortunately, she picked the wrong church. it was intensely traumatizing for us. we've had a lot of tough conversations about it. but I was able to tell her that day, you know Mom, I know you think you didn't do enough, but just know I'm not trans because you put me in a place where womanhood was miserable and I'm running from it. I don't remember much of the church, even though it consumed my life. what I do remember is my mother, the woman I may have complicated feelings towards, but have always admired and was always my standard for womanhood, being criticized by the other women for allowing me to read this book or that book and not bending or breaking under their rebukes for twenty years. I remember finding out as a twenty year old that I was the only "girl" in church that got the HPV vaccine, because you wanted to protect me, and not rely on chastity alone, like some sort of egotistical maniac who believed I'd always be your daughter, not a living breathing person that would make choices you didn't approve of as an adult, that shouldn't have to suffer for no reason from those choices. I remember you reading to my brother and I well into our teen years, using your acting talents that didn't blossom into the career you wanted to bring the characters in Peter and the Starcatchers to life. I remember listening to Lord of the Rings on cassette tape in the mini van, even though they said it was demonic when they found out. I remember the mom that let me be a tomboy. I remember the mom that would put on the Wind and the Willows on cassette from the library on rainy summer days and we'd listen to it and eat meatballs and spaghetti in the kitchen.

I told her, you're not a failure as a mother, and I didn't hate womanhood because of your example. it just didn't fit me. you made mistakes because you're human. I never thought of you as less than because you're a woman, and I didn't want to escape the cage you're thinking i wanted to escape.

my mom cried. I think that was the first time i made her cry and didn't feel bad about it.

anyways. not a soft memory, but it feels soft to me.

Tell me a soft memory

[v1x3n]

SNAP! ── ripped apart.

♯ PAIRINGS - john price x falsely accused reader x 141

♯ SYNOPSIS - tortured for information by your family and the person you loved, john price. you were harmed for something you hadn't even done, you were framed as the traitor and soon they would find out.

♯ TAGS - fluff, angst - panic attack, trauma, flinching.

─ previous chapter // masterlist // next chapter ─

There's a sudden knock on the door to your room, your body dry and freshly washed, the minty smell from the soap bar fills your nostrils whilst you slump on the hospital bed. Curled in a way that was uncomfortable but it wasn't hurting any wounds so that would have to do.

The knock is followed by the door opening wide, revealing a man who you recognise, a man named Logan. The cheery fellow bounces into the room, suddenly the dingy lights seem brighter. "how's my favourite girl?" the man smiles while trotting inside, then closing the door behind him. "The nurse told me t' not bother ya sooo here I am!" he announces, smirking when you peer up at him. Your permanent frown slightly moves upwards when you see the goofy yet devious grin on his face.

Without a reply he sits down on the wooden chair placed by your bed, "you're looking better! my wounds are barely healing!" you wonder what had happened to him for a moment but then you remember that one of the first times he snook into your room, he rambled on for almost an hour. Telling you that he had been shot whilst on a mission, twice in the stomach. Luckily he survived. He smiles as he stretches out his hand, groaning, "I'm glad you're okay," he says, his voice filled with emotion.

A sigh falls from his lips when you sit up, "saw some big beefy guy leave your room before," john, he's obviously talking about john. "Looked real pissed off." Logan mumbles under his breath when he looks to the side. Fucking twat, he was pissed off? He doesn't deserve to be pissed off. "Ya know him?" He looks towards you for an answer. But you two both knew you weren't going to verbally say anything. You nodded hesitantly.

"Ya friends?" the man questions, this time it wasn't so hesitant. "No." You firmly said. Logan thought this was the first time you had spoken to him, it clearly must've been a trigger or something, "he is NOT my friend." Reaffirming your statement, pure rage boils through you at even thinking about being his friend. He lost that fucking privilege. "huh."

There's a silence that lingers in the air. The wet droplets from your freshly washed hair drips down, sending shivers down through your body. "Well, at least you have people visiting. My family is too busy t' visit. Or they just divnt wanna." he mutters the last part, "id kill for anyone t' visit."

"You know you get a lot of people lining outa your door? I can barely get through mine cause these bulky men will always be there." What? You questioned internally. "Ya friends with them?" you probably knew who he was talking about, it was probably the other knobheads that harmed you. None of them had really spoken to you since you arrived, john would sit down on the chair that Logan was currently sitting on sometimes, you two wouldnt talk though. Youd rather kill yourself than utter a single word to him.

"none of them are my friends, " gruffly talking again. Your throat kinda hurt so the sounds came out raspier than you had wanted them to. "hmm! Anywho! You wanna play some cards with me? I knowww.... Snap?" Then he puts on a dumb little smile.

After rolling your eyes at him, you nod. Magically he pulls out a card deck. Placing them on the blanket covering you. Once splitting the deck into two and passes you a half. Logan puts a card down gently on the blanket, not wanting to put it down too hard and hurt you. He didn't quite know what had happened to you but by the looks of it it was bad. You had nurses in all the time, your body was wrapped in bandages and by the looks of it, you only had 8 fingers.

"6 of clubs!" he announces. You place down a random card, 4 of hearts.

After a few rounds, you had won. For him having a deck of cards and wanting to play snap, he wasn't that good at it. A small smirk rises on your face, looking down at your massive stack whilst he had no cards left. "Well, well done." He grumbles with a mocking pout.

Once nodding you give him half your cards and he whacks them across the bed. Scattering the cards around, you gasp. Laughing, he observes the stunned look on your face before you shuffle the cards and half them. Dividing them into two halves, again making sure you both have a half each.

The word snap was yelled out from Logan's lips as he finally got ahead of you and slammed his callosed hand downwards onto the 2 of diamonds. When you flinch, he felt the weight of his face drop. "fuck, I'm sorry-" the look on your face could only be described as panicked, scared and fearful.

Suddenly a loud ringing blinds your ears. Your breathing grows. You take sharp and quick breaths when he looks towards you. You don't know why you panicked so much over something so stupid but then again - you do. "oh god I'm sorry!"

Logan's heart sank as he watched you struggle to catch your breath. He quickly slid closer, his voice gentle, "Hey- fuck- it's okay. I'm right here." He hesitated, unsure whether to reach out physically, but instead whispered, "Just breathe with me, nice and slow," trying to guide you back to calmness. But unfortunately that didn't help. You flinch back once more and shuffle under the blanket. The sounds of the room grew louder, the beeping of the machines sound over Logan's - trying to be - comforting voice. Your breath caught up once more. Your breathing is loud and fast. "it's okay-"

He gets cut off when a nurse comes into the room. She quickly rushes to you and all you see is almost a blur when your eyes prick with water. Distant yelling and you see the obscured bodies rush into the room, the nurse beside you and mumbling nonsense as the blob you think is Logan leaves. 

[pastel-peach-writes]

Hii, I LOVE UR FICS!! 🫶🫶🫶 so i was wondering what would caitvi do when their S/O was on their period 🤔🤔 (idk if this is PG-13 😭)

Love, anon

Hi! Yes, this is perfectly PG-13. Thanks for requesting!

Shark Week | CaitVi x Reader

╰┈➤ PLOT: Headcanons of CaitVi with a S/O on their period!

╰┈➤ WARNINGS: No Y/n, Not Proofread, No Spoilers(S2)

⍣ ೋ Enjoy!⍣ ೋ

– Caitlyn and Vi are understanding when their partner is on their period. The pair gets them too so they know how excruciating periods can be emotionally and physically.

– If you're the person who gets cramps really badly to the point where it makes you nauseated or cry, they're always there to provide for you.

– They give you medicine, home remedies, heating pads, and tons of cuddles if you want them. One of them always has a hand on your abdomen when you cuddle. They think it's comforting to have their hand there and honestly, the touch from them and the warmth from their hand is so you never told them to pull away.

– (Unless you were in so much pain that you didn't want to be touched).

– Vi and Caitlyn get you whatever snack you need when you're on your period.

– Let's say you're a huge fan of chocolate, on and off your period, so the girls get you a small basket of all the chocolate they could find or your favorite just because they know it soothes you.

– Maybe you like spicy food instead on your period. Caitlyn finds that a bit strange since spicy foods typically make cramps worse... but they get you spicy food anyway.

– If you're the type of person who gets really emotional on their period, Vi and Caitlyn understand and try not to rock the boat too much or lend an understanding ear.

– Maybe a commercial with a puppy in it made you burst into tears or maybe the kitchen cabinet didn't close the right way so you exploded into a rage and cussed the cabinet out. Either way, they don't judge and always try to talk you down from your rage or ease you when you're crying.

– Of course, the two of them look at each other in a mix of fear and concern when you get ridiculously angry over inanimate objects, but they keep their comments to themselves. (Or at least wait till you aren't in the room to talk about it).

– When you three are out and about or working and your period comes unexpectedly, somehow, they're always prepared.

– Caitlyn never leaves the house without some period products on her. One time a cute girl needed a pad the day Caitlyn didn't have one in her bag and she's regretted it ever since. So in addition to pads, she keeps tampons and liners in her bag too.

– If you're the one to use a cup, she'll only have a brand-new one still packaged in her bag but only when you guys aren't home for days at a time. Otherwise, you gotta deal with the pads and tampons.

– If you're out and you bleed through, Vi is the first to see (if you don't spot it first) and will guide you to a different room to change. The girl will literally give you the pants off her legs to help you out. She doesn't care.

– Obviously, she can't walk around in public with no pants on, no matter how much you and Caitlyn loved her legs, so you would decide on using her jacket as a coverup instead.

– Around shopping centers or stores, they won't hesitate to buy you a new pair of underwear, pants, and more period products when you bleed through.

– If you're at their workplace, they already have a few extra pair of clothes because sometimes, they bleed through too

– And if you're at home, they'll just tell you kindly if you didn't spot it first.

– If your period stained the sheets, hey it happens sometimes, they'll clean the sheets without a problem.

– Honestly, CaitVi are really understanding about periods and won't ever judge. (Unless you're being a little mean to the sink faucet because it's not getting hot quick enough).

– Another thing they like to do with you is cuddle up with your favorite snacks and what whatever movies you want to see. If you have no movies in mind, then you three would find movies that sound interesting.

– You always fall asleep first if the pain isn't too much to bear. You couldn't help it.

– You were warm, fed, well cared for, and cuddled in the comfort of your bed surrounded by your girlfriends who would do anything to make sure you're happy.

WC: 716

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[jehan-d-art]

Now I'm thinking about Beyond Evil because this is giving me the devastating idea of Dongsik calling for his parents or for his sister, momentarily forgetting most of them are gone. I'm not sure what it would take for Joowon to call for his mother, even so I think it's possible he would do it. However, I am sure if things are looking rough/if he got really hurt or scared he would call for Dongsik by calling him hyung.

Then there’s The Devil Judge characters: I am certain Yohan would call for Isaac, either by name or by referring to him as hyung. I'm sure much in the same way, Gaon would call for his parents. Though, I think he could also call for Soohyun by using a nickname he hasn’t used since they were kids. Would he call for Yohan? Yes, he obviously would. He would call him by his full name, by just Yohan or hyung, depending on what is happening. I'm trying not to think about who Elijah would be calling for because I am sure it would be either Yohan or her parents.

im a fucking sucker for the “character gets so badly injured that they can’t think clearly and start calling for help in a distressingly vulnerable way.” characters who start using nicknames for their friends they haven’t used since they were kids. characters who start begging for their brother they haven’t seen in years to be there. characters who would usually use their parents’ names or call them mother/father/etc crying out mama when they go down. u understand.

[korralone]

Caitlyn and Vi are truly one of my favorite sapphic romance stories I’ve ever had to the privilege to watch on screen. I’m constantly 🤪 when I think about the amount of story time that was dedicated to them, and the type of story that was told, as that’s not usually what we get with gay romances.

I keep seeing a lot of people dissatisfied/angry/etc with how their story went and it kinda bums me out so I just wanted to use this post to get my thoughts and feelings out (obviously everyone has their own valid opinions and won’t agree with me)

Cait and Vi not being uwu “healthy” 24/7 and their inherent messiness is WHY I find them so compelling. From the moment they met there were already huge factors against them, both indirectly of their control (class struggle, power imbalance) and directly (personality clashes, communication styles). But they somehow grew to love each other anyway.

Caitlyn not saying “I’m sorry” out loud at any point to Vi by the end of the show, I honestly loved it. Because Caitlyn instead apologized with her actions, and Caitlyn’s actions always seem to speak louder than her words. Her letting go of the vengeance that consumed her for so long for Vi’s sake (which ultimately led to her allowing Vi to break Jinx out) was more meaningful to me than if they had some long blow out argument (and Vi recognizing this immediately and jumping Caitlyn’s bones then and there was just *chefs kiss* to me)

They’ll never be perfect. They’ll always have to work at their relationship. It won’t be pretty, sometimes even unfair. They’ll fight and clash and not always agree, but there’s always this persistent feeling of LOVE anyway, and they’ve decided they’ll put in the work to make their relationship last despite it all. And I think it’s beautiful.

[felassan]

David Gaider on Fenris, under a cut for length:

"Fenris. Now, DA2 is a story all on its own but I'm not going to go there other than to sum it up as "we had just over a year and a half to make this". It's why I only wrote one follower, Fenris, and although it'll make his fans mad: I probably shouldn't have. Let me explain. The way we'd approach making the followers is brainstorming a list of concepts covering first the array of gameplay classes (and sub-classes) and then making sure they each have some skin in the game when it came to the story's conflicts - ideally having characters on both sides of the major ones. Why? You can't make a player care about the world, but you can make them care about characters who care about the world. It's the easiest way to provide hooks into a conflict, outside of it knocking on the player's door. Heck, it's probably better than that. Players will burn the world for approval. After that, we'd decide things like romances/sexuality. Then the writers would pick who they'd write. I always let my writers pick first. I figured they do their best work when it's something they're inspired to write... and they got so few chances at ownership, I wanted to give it whenever I could It's why I (reluctantly) let Patrick wrest Cole from my grasp in DAI, a character I'd created in Asunder. It's also why I let Jennifer take Anders in DA2, who I'd started in Awakening. In this instance, it meant I was left with the angry elven warrior character who nobody else appeared to want."

"It should have been my first clue that something was up. The second was how the artists had zero clue what to do with him. The art concepts were all over the place - from mages to crows to... well, even weirder. No matter how hard I tried to explain the idea, the artists simply didn't seem to get it Does this mean he was a bad character? Not exactly. Just an idea that probably deserved some re-examining. You can tell when an idea has a certain spark, and part of that is being easy to communicate. Sadly, there wasn't time for any re-examining even if it'd occurred to me. And it didn't, not yet. If it had, if I had time, maybe I'd have re-booted him as a templar. Someone pro-templar rather than anti-mage, who could give a personal hook into Meredith and give the templars some badly-needed humanity. But this falls into the shoulda-woulda-coulda category. I had a follower to write. Quickly. I struggled, at first. It was hard to get away from "Fenris hates everything, all the time". It felt very one-note, and I didn't know where to take him. My third clue, I guess. I also wasn't sure if I was the right person to write a former slave. I did know that couldn't be the center of his story. I did know trauma, however. How it can eat you up. How the hate and resentment is like drinking poison and hoping the other person dies. How it can infect your relationships. Fenris's trauma isn't my trauma, obviously, but here I dipped into a more personal part of myself than I'd ever done before."

"It gave me the center of his story I was missing, but wow was it uncomfortable. In a good way, maybe. I likely wouldn't have, if I hadn't been so desperate. In a way, I think DA2 had some of our best writing *because* of the timeline. It was raw, with little time to sand down the interesting parts. I wouldn't have done the "Fenris doesn't talk to you for three years" thing if I'd known we were going to cut all the reactivity initially planned for the time jumps. When that call was made, I campaigned to cut the jumps to a year, but there was no time for the revisions it'd need. So, um. Awkward. I used to get asked where the name came from, and I... don't remember? Obviously it's derived from Fenrir, but I don't recall why we picked that. Someone pointed at Fenris the Feared from Joe Abercrombie's books... and I did read them, so maybe the name lodged in my head? Wouldn't be the first time. Casting Fenris turned out to be easy. He was the first time I requested a specific VA and got him. (The other times were Merrill and then Solas, my two "I want these specific Welsh actors, please".) Why? OK, if you must know, I'd played a bit of Final Fantasy XII. I heard Balthier. "Yes, that." 😅 And Gideon Emery was a delight, as it turned out. Consummate professional, and that lovely gravel in his voice... good god. Bite the knuckles. There was a struggle to find the voice at the outset where I did my best not to say "just pls do Balthier" but he found Fenris on his own and it was amazing. Overall, Fenris turned out better than he had any right to, considering the rocky start. He had a lot of soul, a vulnerability forged by pain that struck a chord with a lot of players, and I'm glad. Do I regret anything? Probably having him live in a corpse-filled mansion that would never update. That's a hindsight thing, though, as again the cut to reactivity over the time jumps came late. Outside of that, maybe letting the player give him back to Danarius? Poor shock value and a waste of resources because almost nobody took the option. Good evil options are ones that are tempting to take. And the lyrium tattoos. Interesting concept, but they're probably why you'll never see Fenris in a future DA. He requires a custom body, and the tattoos make that expensive. It's why I put Fenris in my 4th DA novel - the cancelled one. Don't fret, though. He died in it, so this way he lives on. 😉"

[source thread]

User: "Wait wait how does he die in [the cancelled novel]??" David Gaider: "Gloriously, after taking up a cause he didn't believe in at first but then made his own, one that allowed him to rediscover what it meant to be elven." [source] David Gaider: "I’m not sorry about the novel cancellation. I’m the one who cancelled it. I am kinda sad we couldn’t make it work, though. Considering it was after I left the DA team, it would have been my final DA hurrah." [source] David Gaider: "From my perspective, it was kind of "well if you're never going to use him again, let me at least give him a proper send off" and the story required a glorious death... but I get that's not the story his biggest fans would want (which is Hawke + Fenris 4ever), so it's just as well." [source]

User: "You all did some incredible work with such a tight deadline" David Gaider: "I'm of the opinion that even if we'd had only another six months to bake, DA2 would be remembered as a classic and not either a flawed gem or underbaked sequel, depending on who you ask." [source]