#are incredibly important to the overall plot

[mushroompollution]

phew okay. I just finished summarizing the first chapter of the arc I'm going to play through this week. I think I'm going to wait to actually have these events happen saturday probablyyyy ? but I kind of want to post this one today and would really really appreciate any feedback at all on whether this idea works for storytelling or not.

[annoyingloudmicrowavecultist]

oh damnit the other post deleted. just watched the nimona movie, it was brilliant, fully recommend to anyone who can watch it. you don’t need to read the comic in order to enjoy it (although of course i do also strongly recommend the comic) and honestly if you haven’t read the comic you’ll have a better experience watching the movie first THEN reading the comic with a few days in between

no spoilers in the tags but they go more in depth on general aspects of the plot so don’t read if you want to go in blind ^^

[himejoshiangels]

Duke Thomas fic rec list

I've scowered every tag relating to him, combed thru the 'duke centric tag' at least 8 times, this is what ive come back with, at least my personal faves

necessary reminders - duke pov, outsider pov, and some social media following duke as he gets used to his day job as a vigilante. flows really well, has a good balance of sad and happy, and gets dukes character rlly well

that which you cannot bear - THIS FIC WILL BREAK YYOU duke is kidnapped and its only down from there!! this is like, one of the first duke fics I read and it's still labeled as such in my mind. its well based, sooo cohesive plot wise, and stays completely in character w all its characters, especially duke, while exploring such an interesting facet of him > his tendency to self-isolate, insistence on being independent, and his stubbornness. sooo much good angst just incredible stuff while also staying hopeful and grounded. ALSO duke is an intelligent badass throughout the fic which is an important detail 2 me

signal, n. a divine act - same author as the last one, absolutely insane concepts are explored and its just so well written srsly it's like poetry. digs into some of dukes ideologies so well. if u like holy imagery??? kind of but not rlly?? ig you'll love this

this whole series is just so fucking incredible but something about my bodies made of crushed little stars I don't fucking know it messed w my brain chemistry, I've recced it b 4 bcs it made me cry but read the whole series, it's all duke centric and just so good. Saki writes bruce and duke in a way that fizzes u up w emotion and focuses on such unique facets of dukes character/dynamics and sleep well my little sunshine is soo cute and fun and soft >when earth finds the stars - bonus presignal duke and jason fic, balances being incredibly fun with a realistic zoom in on duke before we are robin. he's quippy and witty and always at the edge of his rope

not mutually exclusive - tired of bruce being kinda shoved into the role of dukes capital F father when that's not quite what their dynamic is? Then this is the fic for you!! Just good duke and Bruce interactions overall, it's sad and hilarious with just incredible dialogue and peak Bruce and Duke interactions

signals and symptoms - a classic sickfic and like one of my fave bruce bonding fic ever ever EVERRR!! really introspective abt dukes character and just so well done

even exchanges - some of u are gonna hate me for reccing an incomplete fic and esp one that doesn't look like it's gonna be finished anytime soon but even exchanges is so formative to my duke characterizationalong with portraying such a fascinating dynamic w him and his new family. it delves into his messy and angsty experiences pre-becoming the signal and is overall written like several subsequent punches to the stomach. promise ur gonna bitch and moan about this fic as much as I do

scientific method - extremely cute fic, watch Duke bond w the bats and slowly get more comfortable with them over time as they all tru to figure out what the fuck this guys powers are. Really fun dynamic wise, the dialogue is crafty and captures the familiarity between the characters. Really realistic about day to day vigilante life and how genius the bats truly are. really slice of life fluffy shit w some bonus sciencey stuff

turn my voice human torch remind people what I’m fantastic for - truly a classic, Duke invites cass to slam poetry night. short n sweet I LOVE BUMBLEBATS RAHHHHHH

tradition - pure duke n bruce ice cream fluff

meal prep - real sad angst one shot ft. alfred

occupational health and safety violations - duke pov reverse robins but it's way out of order

write about flowers (at a time like this) - duke and dick fic where they meet pre we are robin. yes I just found this one yesterday yes I'm absolutely obsessed. it characterizes him so well and understands his thought process and motives and UGHH just tune in yall

sidequest: the viper pit - WE ARE ROBIN DND JUMANJI

signals of fear and hope - duke centric reverse robins, caters TTOME specifically it's so fire

and now here are fics that arent duke centric but he's in it and in character/well written and now forced into the back of the room aka some of my general faves that feature duke

gotham aviary - the batman fic where he just adopts a bunch of em truly adorable like the cutest thing you'll read

I walk the streets at night (with monsters in my mind) - dragon fic, absolutely goated 10/10

fight, flight - cass centric but duke plays a big role, they mean everything to me

[physalian]

How to Make your Writing Less Stiff 4

Let’s keep this train rollin’! This time less down to line edits and more overall scope of your narrative

Part 3

1. Foreshadowing

Nothing quite like the catharsis of accurately predicting where something’s going to go. It doesn’t have to be a huge plot twist or a character death, it can (and should) be little things that reward your audience for paying attention. Double points if it adds to rewatch/re-readability.

Example: In The Dark Knight, this exchange happens:

Harvey: “You’ve known Rachel all her life.”

Alfred: “Oh, not yet, Sir.”

You won’t think anything of it on your first watch. Alfred is just making a witty joke that throws Harvey off. Watch the movie again, when Rachel dies, and it becomes some incredibly dark foreshadowing. Turns out Alfred has, actually, known Rachel all her life.

2. Chekhov’s Gun

Chekhov’s Gun is a narrative concept where a seemingly inconsequential element introduced at some point in the narrative (a gun) must “fire” by the end of the narrative. Sometimes this element leaves audiences uneasy or anxious, because they know something bad must come of it. Sometimes they think nothing of it until it’s about to fire and you get a one-two punch of the realization that it’s about to hit, and then the impact of the hit. It helps create tension, and tension is incredibly important (if you want a whole post of my take on it, lmk).

It also helps your narrative look more cohesive, where nothing is left on the table. Your set-ups and payoffs leave no threads dangling.

3. Repetition

The Rule of threes can apply on a micro and macro scale. I like doing lists of adjectives in threes, (e.g. My cat is soft, fluffy, and adorable) because the cadence and the flow of three is something we’re familiar with in spoken language. We like three supporting examples for an argument. Any less doesn’t feel strong enough, any more feels like you’re trying too hard. This is not a rule it’s a suggestion.

On a grander scale, you can look at the script of Curse of the Black Pearl for a masterclass in macro rules of three, like three parlays. Doing this helps your narrative look more cohesive and like every detail is thoroughly interwoven and nothing is coincidence. Your audience will get to the third instance and mimic that DiCaprio pointing meme—they will absolutely notice.

4. Motifs

Motifs as well, beyond threes, help. Colors are a huge one. For example every time you mention the color purple, you could attach it to an emotion, or a character, or an important plot beat, like how leitmotifs work for character themes in movies and TV shows.

Obvious examples in film are like lightsaber colors or dressing up the good guys in white and the bad guys in black. I did this whole post about color in fiction.

It’s a lot of other things too. Weather elements and times of day, or specific inconsequential objects popping up over and over again, like birds, or litter, fallen leaves, clothing items. Whenever the narrative mentions them, the author is trying to clue you in on some subtext within that scene.

—

My new novel is here!!! Do you like supernatural fantasy? How about queer vampires? How about acespec characters? Then Eternal Night of the Northern Sky is for you!

[jeffthekillerzblog]

a major plot point or like the entire thing about my au is just the creeps moving on and having their own character arcs throughout the years and finally heal from their past trauma

(rest is me rambling about my au...u don't have to read if u don't wanna its pretty long)

Jeff's arc is big on him finding his brother and coming to terms with what really happened. jeff is so incredibly stubborn and a big (very) egotistical. he finds it hard to open up and after what happened he feels that there's no point opening up anyway bc he's literally a famous asshole serial killer who's messed up SO many people's lives. another big thing about his arc is just owning up to his actions and apologizing to the people he's hurt. for example, nina. he led her on, treated her terribly for no reason, and was overall just an asshole. after they get into an argument he'll eventually apologize bc like he didn't HATE nina, he's was and prob still is in a terrible mindset and copes in such unhealthy ways. IDK OK I'm rambling but my point is he does eventually apologize to nina not because he needs her or like wants to use her again. he apologizes because he genuinely misses her and BOOM they become besties again after jeff properly apologizes and ya. BUT basically jeff's arc is him finally finding liu after all these years and yeah he apologizes to all the people he hurt (or the IMPORTANT ones) like nina, liu, and EVENTUALLY... jane. but that's WAY into the future (besides nina) he's way too full of himself to apologize now.

Nina's arc is her getting over JEFF. her love for Jeff began when she met him. she already admired him, but he turned into a full on crush. he did lead her on, and it hurt her a lot. shed spent tons of nights alone when jeff was supposed to be sleeping next to her, and she just felt so lonely, especially since jeff was so neglectful. She talks to clockwork about it and they help her realize her self worth and comforts her (she's terrible at it). Nina starts hanging out with Nat and toby more often, and it makes her feel SO much better about herself. Eventually she does get fed up of jeffs bs and they get into an argument and nina decides to leave. she kicks him out of her apartment and she doesn't let him come back. (she does....when he apologizes.....) She eventually learns to love herself and realize she doesn't need a stinky man's validation. Theres also a bit of her coming to terms with her own trauma, but I haven't fully fleshed that part out yet.

BEN's arc is probably my favorite. he's lost all his memories of his past life, and now after he accidentally found out he's NOT just a computer AI program, he decides to take it on himself to find out who his family was, how his life was, and how he died. I wont say as much bc I want to keep it a surprise, but in summary it fucks him up LMAO

ok that's it. OBVIOUSLY the rest of the creeps are healing as well BUT I have not fleshed out their stories yet...oops. so its just three for now. Except MUCH more stuff about the trio bc I love them with my all.. if u have any questions feel free to ask :3

[farfromdaylight]

i try not to complain about heavensward. i really do. it's a beloved expansion. people love ishgard. i love ishgard.

however, heavensward FUCKING SUCKS.

listen. so much of heavensward's plot is either badly written or badly paced or both. if you play through it once and don't think about it further, it's a great game. if you even glance back at it, it falls apart like a house of cards.

Actual shit that happens in Heavensward (spoilers):

You fight against the Heavens Ward to prove you're not a heretic. Five minutes later you have to go back to Ul'dah to save Raubahn.

After several levels of exploring Dravania and reaching the Churning Mists, you finally find Nidhogg's lair. You can't get there. You turn around and go back to Ishgard.

While you're fucking about waiting for the manacutters to get done, you go get the sultana back. Literally the entire plot momentum built up from your big road trip across Dravania comes to a dead halt as you go back to Ul'dah.

You slay Nidhogg. You go back to Ishgard. You spend eight quests killing time until the Vault, learn that class warfare is a thing, and fight off one of the Heavens Ward, who BACKFLIPS AWAY FROM YOU.

Immediately after the Vault, you go fight a whale.

The Emperor of Garlemald shows up in the Sea of Clouds just to tell you that you suck.

At the exact moment Y'shtola would be convenient to the plot, she returns.

The archbishop gets to Azys Lla way before you, but helpfully waits until you get there before continuing the plot.

and so on. i'm sure there's more.

here's my problem with heavensward: individually, there are a lot of great plot elements in it. however, they are presented in such a fucking buckwild manner that a lot of them are diminished. let's take the Hilda section for example: it's great to learn about Ishgard's class struggles! Of course this is great worldbuilding! However the actual section where you learn about it feels like (and basically is) filler. You finish the Aery, learn a lot of important Dragon Lore, and come back to Ishgard. You then have to fuck about until you're a high enough level to do the Vault, and in that section you do some of the worst fetchquesting in the game. It is atrocious.

Are there things I like about Heavensward? Absolutely. I fucking love Ishgard. I think the overall worlbuilding is phenomenal. Dragon vs man is a compelling storyline. But my god, the plotting and pacing are SO BAD. You spend an unbelievable amount of 3.0 dealing with the Ul'dah plotlines of post-ARR when you should be fully immersed in Ishgardian politics. It would not have killed you to leave the sultana stuff for HW patch quests, guys.

The best comparison I can make is that it's like if in Shadowbringers, instead of seeing the Meanwhile In Garlemald sections, you instead had to just abandon the First and head back to deal with that shit right before fighting a Lightwarden. It brings the narrative to a dead halt. It just doesn't work.

And like, I get it. It's not easy to write a game like FF14. The fact that later expansions are as well-written as they are is frankly a miracle. This is a huge worldbuild with a ton of plot threads and it's incredible even half of them get wrapped up. But viewed in isloation, Heavensward is one of the most tonally inconsistent parts of the entire story.

[renthony]

Me most of the time: "Obviously Arcane is a fantasy story, based on a video game, with a plot that includes magic and made-up situations. As a mainstream television show, it was never going to be a nuanced narrative of police brutality and the prison-industrial complex. That said, I do really hate that Arcane decided to make their canon queer rep the cop characters, instead of literally anyone else. More queer rep is important, but cops have historically brutalized queer communities, and making cop characters the queer ones is incredibly insensitive at best. Overall, I'd compare Arcane to The Legend of Korra, which I also love despite its infamously wonky political messaging."

Me, whenever I see praise for Vi as a lesbian icon: "Vi is a class-traitor cop who deadnames her sister and sold her out to the government, and Jinx is my precious baby angel who should be allowed to hunt cops for sport. Silco was right, and I wish drugs in the real world turned you into a super-powered behemoth who could rip a man apart with your bare hands. ACAB includes the gay ones. In fact, ACAB applies to the gay ones even more, because they should fucking know better. If one more person tells me I should be excited about gay cops, I swear to fucking god I'm going to start slapping people."

[yingandzhan]

Sects and Clans in MDZS.

I think I wrote something on this a while ago, but just to put it out there again - there are barely any mentions or much of an existence of SECTS in the actual novel. This is a huge mistranslation that is in both the ExR and 7Seas versions of the story.

This is actually an important story point because of the difference between sects and clans.

SECTS are based on personal merit and performance. The strongest lead and are given the important roles in managing the sect. This system is more like a school, where it doesn't matter what background you came from.

CLANS on the other hand, are based on bloodline and lineage. The offspring of the current mainline clan member who leads will take over when the time comes. It does not matter if they are weak or incompetent, whoever is next in line will become clan leader. This system is more like a royal family, where privilege and state are prevalent.

All of the so-called "sects" in MDZS are actually clans and are called as such in the Chinese text. It's the Lan Clan, the Wen Clan and so on. It's a really important part of MXTXs story because it shows us right from the start what WWX was up against. The world he is a part of is extremely classist, they look down upon those who don't have a certain name, status or bloodline.

It also shows us just how hard WWX actually worked to be ranked 3rd in the young masters of his generation! To have been awarded such a place, it meant people actually overlooked his status to award him on his looks and skills alone. It shows us just how hypocritical the cultivation world can be. When everyone bought into the rumours JFM treated WWX like his own (which he didn't, but we see others assumed as such) everyone treated him as a young master or as close to that as they would allow him to be. The minute JFM is dead and they see the way JC treats him, they all begin to disrespect him and turn against him.

The only mention of a sect throughout the whole entire novel is the one XXC and SL planned to form. I guess you could also classify what BSSR has on her secluded mountaintop as a sect, since there is no bloodline dictating a hierarchy. But overall, it is a huge fandom misconception that it is the Lan sect and Jiang sect - they are clans and it's incredibly important to the entire plot.

[hard-core-super-star]

a kiss to every scar [H.Steinfeld]

pairing: servicetop!hailee steinfeld x [inexperienced] bottom!reader

summary: hailee sets out to show you the ropes of acting on a tv show...unfortunately, your very obvious crush on her distracts her enough to stop being so professional.

warnings: smut -> no minors allowed [this is technically porn with plot but the plot isn't important; fingering [R receiving]; praise + petnames; needy hailee [yes, this deserves a warning]; technically public sex but not really [aka sex in hailee's trailer but she forgets to lock the door]; hailee being overly protective but also very horny; R is technically younger than hailee but the age gap isn't that important, the height gap is though :) [sorry to my tall peeps]]

wordcount: 2.4k

a/n: this request comes to you straight from our beloved 🧞‍♀️ anon! i tried to balance the fluff and the smut but well...you already know i always end up getting carried away. i TRIED, though. i'm going to make an announcement soon regarding writing hailee so stay tuned for that because it's going to be important. anywho, hope you enjoy <3

* * * * * * *

You’re no stranger to surreal experiences. 

It seems like your entire life ever since being cast in your first TV role has been a series of unbelievable experiences after the other. Most of said experiences have been due to the overall excitement that comes with learning lines, going to outfit fittings, and talking through scenes with amazing directors and producers. 

However, the biggest, most surreal, of all the amazing things you’ve done has been meeting, working, and getting to know Hailee Steinfeld herself. The reasons for that are endless since you’re not only a genuine fan of her but you also have a not-so-small crush on her.

A crush that has thankfully managed to pass by undetected considering your overall awe at the work you get to do every day. It’s managed to be so undetected that you haven’t noticed how mutual the admiration that flows between the two of you actually is.

You’re not totally oblivious so you have picked up on some of the looks she sends your way and on the way she’s so adamant about helping you maneuver through the many obstacles that come with being on set all day. None of that seems like anything more than her being nice since you’re so new to a life that she’s lived for so long so you’ve never questioned it.

Plus, you like the feeling of her hand on your waist way more than you’re willing to admit to anyone. (Especially her)

Which is how you ended up getting talked into staying on set to watch Hailee finish her last scene of the day. It’s not something completely uncommon since you love watching her and the director in action but the brunette promised to buy you dinner afterward, something that’s never happened before. 

Your heart and mind have already made up more than enough excuses to overshadow the very clear intentions behind Hailee’s invitation but nothing can take away the pure joy you feel from being near her. 

A joy that draws in the actress like nothing else.

“What’d you think?” Hailee asks as she approaches you, her face lit up by a smile you know all too well.

“You’re incredible,” you reply the same way you always do and successfully draw a little chuckle out of her. “Seriously, I don’t know how you do it.”

“Practice…and way too much free time.”

She reaches a hand out to you, an unspoken question lingering in the air between you. You waste no time in taking her hand and letting her guide you toward her trailer so she can change back into her normal clothes. 

The walk is spent in the comfortable silence that always seems to follow the two of you and you pretend not to notice the way she keeps looking over at you with every few steps. You know exactly why her eyes keep shifting over to you but you can’t find it in yourself to be embarrassed about it. 

Despite how used to being on set you might be by now, you still admire each and every detail as if it was the first day again. Part of it comes from how unbelievable it all still is and another part of it comes from how cool everything is. There’s always so much to take in and it’s become a habit of yours to be present and grateful for every moment.

A habit that, unbeknownst to you, Hailee finds really adorable.

The list of things she likes about you is quite long but at the top of the list are your wide-eyed looks of wonder and the smile on your face nothing seems to wipe away.

It’s no secret that the brunette has taken a liking to you, especially in her attempts to make sure nothing snuffs out the bright beams of sunlight you carry inside of yourself. She knows exactly what that’s like and she’d sooner lose her role as Kate Bishop than let you fall into any dark spirals.

“So…” She speaks up, gently pulling you closer to her side. “Did anything exciting happen besides watching me?”

Your cheeks flush at her words which makes her grin. “Sort of. Florence and I talked about walking around New York tomorrow since it’s just going to be you and Jeremy filming scenes.”

“Oh, yeah? Where are you thinking of going?” She leads you into her trailer while you launch into the specifics of all the places you want to visit and the things you want to see.

The brunette watches you intently, although her attention slips from the words you say to the genuine excitement your body language conveys. You’re too busy talking to notice the way she’s eying you or the way she keeps licking her lips.

You finish your explanation only to be met with complete silence and Hailee’s tall frame leaning comfortably against the door to her trailer. 

“Lee? Were you even listening?”

The tiniest of pouts tugs at your lips and the actress is quick to make her way over to you, completely forgetting about the unlocked door and her promise of taking you to dinner. “I’m sorry, baby, you’re just too cute, I got distracted.”

The “apology” makes your heart skip a couple of beats and you’re sure she notices your flustered state. “I guess that’s fine. I should probably go anyway so you can change.”

You look away from her and attempt to walk away but she stops you with a gentle hand on your shoulder. The contact makes you stiffen, not because it’s unwelcome but because it sends an overwhelming amount of feelings through your entire body. “You okay, y/n? I didn’t make you uncomfortable, did I?”

Your eyes remain locked on the ground below you as you shake your head. The lack of a verbal response only serves to worry the brunette further and her free hand quickly tilts your chin up until her warm eyes meet yours. 

She doesn’t say anything but the question on her face is obvious.

“I’m not uncomfortable,” you force yourself to answer. “I just…I think I like it too much.”

The concern in her eyes shifts to something else, something bordering on passion, but you’re far too embarrassed to question it. “Hey, it’s okay. You don’t have to be nervous. I like you too.”

The words don’t fully register in your brain at first. Sure, you’ve lived through a lot of unbelievable moments but this is something right out of those dreams you can never tell a single soul about. 

“You…you what?”

Hailee chuckles, taking the smallest of steps forward so your bodies are practically touching. “I like you too, baby. I hate to break it to you but you’re not as subtle as you think.”

“Neither are you,” you blurt out.

She leans in a little and your eyes instantly drop down to her lips. “I know.”

Her whispered words are the only warning you have before she claims your mouth with her own. Whatever shock you feel fades away almost instantly and you can’t stop yourself from wrapping your arms around her and pulling her closer.

You’re so caught up in her kiss that you don’t fully register the way she gently pushes you up against the nearest wall and presses herself as close to you as physically possible. You don’t register anything besides the feeling of her lips and the way your hands tangle in her hair so easily.

Hailee’s not as zoned out as you are, though, and her ears pick up on the muffled sounds trying to escape you. She instantly pulls away from you, staring down at you with blown-out pupils. “Are you okay?”

“Yeah,” you reply breathlessly. “Yeah, I’m fine.”

Your response doesn’t seem to convince her but at least she doesn’t notice the way you’re clenching your thighs together. “We can stop if you want, I’m not looking for a one-night stand or anything.”

The sincerity in her voice is almost too much to handle and the truth slips out of your lips before you can stop it. “I’ve never done anything like this before.”

She blinks a few times and you practically watch as the wheels turn inside her brain. “You’ve never…oh. Oh, wow.”

Her response isn’t bad but it leaves you flustered all the same so you lean forward and hide your face in her shoulder. “Hailee…”

“Hey, hey, look at me, baby.”

A few seconds pass before you follow her instructions and she instantly melts your worries away with a soft kiss. “You don’t have to be embarrassed. It’s cute.”

“It’s cute that I have no idea what I’m doing?” You question.

“Yeah, it just means I’ll have to show you. I mean, um…if you want, of course. There’s no rush.”

All you can do is stare up at her while you think things over. There’s no denying how nervous you are but you trust Hailee more than anyone you’ve ever met before. So, maybe it’s time to take a small leap of faith with her.

“Okay,” you whisper. “I want this. I want you.”

The brunette groans in response and the sound goes straight to the growing heat between your legs. She wastes no time in attaching herself to your neck, kissing and sucking every inch she can find.

The sensation is so pleasurable, it borders on overwhelming and your hands grip her shoulders in search of the stability you lost the day you met her.

“You're so pretty,” she murmurs against your skin. “You don't know how long I’ve wanted you for.”

“Hailee-” You gasp as her hands find their way under your shirt.

“I know, let me make you feel good, sweetheart. Can I?”

The answer is more than obvious but you find yourself nodding desperately anyway. You know deep down everything about what you're doing is desperate and yet you can't find it in yourself to want to stop. Maybe it's unconventional but you don't need anything more than the brunette to make your first time unforgettable.

Hailee detaches herself from you long enough to help you shed your shirt, her eyes swooping down to take in every inch of you. Your knees buckle under her gaze and all she does is grin. “You're fucking perfect, baby.”

The words themselves are enough to make you burn a few degrees hotter but then her hands are removing your bra and you're quickly standing topless in front of her appreciative eyes.

Her fingers soon follow the path her eyes trace and you shudder in ways you can't describe. Her thumbs gently rub against your nipples, your back arching almost instantly as you turn into putty in her hands.

“Does that feel good, darling?” All you can offer is a moan and she chuckles. “Gonna need some words.”

“Yes. Feels so fucking good.”

“There you go,” she murmurs, swooping in to litter kisses along your jawline. “Good girl.”

She pinches your nipples right as the words escape her lips and you're sure you almost pass out from the pleasure. “Oh- please.”

“Begging already?” Despite her question, one of her hands leaves your sensitive nipples to trail down the front of your body. “Do you think you're wet enough for me to touch you yet?”

You hum in response and attempt to keep your hips under control. “So wet for you.”

“Look at you,” she coos while her hand slips under the waistband of both your jeans and your underwear. “You’re already an expert at getting what you want from me.”

“Lee,” you whine. “Don’t tease, babe.”

“I’m sorry, you're just so cute like this.” She rests her forehead against yours, everything about her seemingly cool and collected while you're burning up and panting. “We’ll take it slow, okay? Tell me if it hurts too much.”

Your inexperience leaves you a little clueless…until she starts to slip one finger inside your tight cunt. You gasp almost instantly, your body tensing at the intrusion.

“Relax, baby. I've got you.”

It's hard to fully relax but Hailee does her best to keep you distracted by murmuring soft praises and keeping up her gentle touches to your breasts. The full length of her finger sinks inside and she gives you a moment to breathe and adjust.

“How’re you feeling?” She asks, warm eyes searching your face for signs of unease or pain.

“Full,” you mumble with a smile.

She lets out a sound somewhere between a moan and a whine. “Fuck. That's so hot.”

The brunette leans in to kiss you before you can reply and you happily melt into the contact. You don't realize it’s yet another loving distraction until she starts to slowly pump her finger in and out of you.

You moan against her lips, the sound coming out muffled but no less desperate. Your walls clench almost uncontrollably with every move she makes which only fuels her need to pleasure you.

“You're doing so well for me,” she mumbles. “Taking me so well, aren't you, baby?”

Her words cause an unfamiliar feeling to start to rise from deep within you that only gets stronger once her thumb finds your sensitive clit. Your hips buck into her hand and she ends up burying her face into your neck to stop herself from getting too wild.

She somehow manages to keep her slow pace, fucking you nice and gentle to build up your orgasm and prolong your pleasure. At the end of the day, all she wants is to keep you happy.

“You’re so close, aren't you, sweetheart? I can feel it, the way you can’t stop clenching around me. God, it makes me so wet.”

You don't know what triggers it, maybe it's her words or her thrusts or the tight circles around your clit, but you fall over the edge instantly with a cry so loud, she has to kiss you to drown it out.

It’s impossible to describe how you feel. It's like you're floating and underwater and in the heart of the sun all at the same time. All you know is you've never felt pleasure like this and it's all thanks to Hailee freaking Steinfeld.

Hailee holds you close until your body stops shaking and you slump forward into her. “Hey, welcome back, y/n.”

“Shut up,” you mumble, every muscle in your body feeling absolutely spent yet satisfied.

She doesn't reply. She merely removes her hand from your sensitive center and kisses the side of your head.

“So…are you still up for dinner or…?”

“You're the worst.”

[tiredwishes]

Can you explain carcar to me as a ship? I'd really love to get it, but I don't 😔

oh anon, where do i BEGIN

carcar is a little phenomenon that happens when two magnets, against all odds, repel and attract. they push and pull, they're permanently entangled, always hovering in each other's orbit.

(disclaimer: i'll probably miss out a bunch of moments, but here are the ones that really pulled me into the carcar agenda)

but it starts with the fighting on track, which is terrible but also happens to make for really good tension and plot.

case in point, spa 2023

in order for enemies to become lovers they must unfortunately be enemies first. their radios about each other throughout the 2023 season are so incredibly entertaining

and the 2024 season seemed pretty tame for the first couple of races...... then miami happens and we're all proved wrong

carlos' interview about it

THEN we move on to monaco, where everything finally comes together

there's the umbrella moment, which is so incredibly funny because everyone else around them is in the sun but oscar's got the umbrella and yeah sure, it's kind of sheltering lando too but oscar holds it with his right hand and so it's really for him and carlos :)

then the race starts and it's kind of a disaster with them as 'it was at the first corner that Oscar Piastri and Carlos Sainz went side-by-side and banged wheels.'

but neither of them were taken out of the race and went on to finish 2-3. and the post-race interviews are hilarious because there's charles', who's just won his home race for the first time, and there's oscar and carlos, with their tension and overall hostility

oscar finishes his interview and it looks like he wants to hand the mic over to carlos but carlos already has one and the lack of words makes it all the more entertaining when oscar seemingly goes 'nope? whoop okay.'

and so we're left with this interaction, thinking they're back to their 2023 ways........

when the press conference picture drops. a.k.a the ultimate carcar moment

like what. what happened to hi?? what happened to hello??? we're just tossed this moment between the two of them charles is off commemorating his win and jumping into the ocean BUT the real important stuff is happening back in this damn room.

there's also that moment in one of the conferences when oscar and charles are talking about AdoptionGate (charles offering to adopt oscar on twitter, something i wouldn't believe if not for the fact that i witness it unfold with my own two eyes) and carlos says something that has charles going 'do you want me to adopt you as well? don't be jealous carlos'

and i'm choosing to take that as carlos being jealous because charles has oscar and he doesn't like that because he wants oscar, and so hostile takeovers was written :D

but i digress,

because then we get to the soulmates part of this thesis

when carlos is asked about his recent string of conflicts with with carlos, he said, and i quote, "oscar and i, we seem to have a magnet recently between each other, for some reason that i don't understand but we get on well and everything is ok, but we seem to always find each other on track'

which is crazy because it's literally what we've been saying since their string of collisions in 2023

there's simply no reason for them to keep finding each other on track. 'for some reason i don't understand,' carlos says, and sometimes fate doesn't have a reason, or maybe fate is the reason.

Every magnet has a north pole and a south pole. Placing two unlike poles together causes them to attract. When you try to place two like poles together, they will repel each other.

and so, as mentioned in the beginning: carcar is a little phenomenon that happens when two magnets, against all odds, repel and attract. they push and pull, they're permanently entangled, always hovering in each other's orbit.

and that's what makes them so compelling to me <3

[ploppythespaceship]

Uglies - Movie Thoughts

On a whim, I decided to start re-reading the Uglies series a couple months ago -- so imagine my surprise when I found out it was getting a movie! Said movie is now out, and it was interesting to watch with the book being so fresh in my head.

Overall, it's... eh. It's not a complete train wreck, the way most critics seem to want you to think, but it is fairly bland and uninspired. It's a very watered down version of the book. It also has the misfortune of feeling like yet another a Hunger Games wannabe, despite the original book pre-dating that series by several years.

Spoilers for everything under the cut.

What I Liked

Based on reviews, I seem to be in the minority here, but I thought the cast was pretty good. People seem to hate Joey King as Tally, but I thought she was fine. Brianne Tju is easily the best in the cast, stealing the whole damn movie as Shay. Laverne Cox also gives an excellent performance as Cable, though I do think she should not have been given that role for other reasons (which I'll get into later).

I've also seen complaints that the characters aren't ugly enough. They talk about how ugly they are and point out their specific ugly features, when they don't actually appear that ugly. And I think everyone complaining about that is completely missing the point. The "Uglies" aren't actually ugly -- they're just normal people, who've been conditioned to think their imperfect features are hideous.

I was honestly unsure how the Pretties would be visualized -- in fact, I wondered if the book would just be fundamentally unadaptable because of it -- but they did a fairly good job. I think leaning on CGI and unnatural affectations was the right way to go. All the Pretties have this uncanny quality to them that suits the story perfectly.

The overall production design was solid as well. I like how Uglyville is all gray concrete and muted tones, while New Pretty Town is shimmering golds. Then upon reaching the Smoke, all the colors of nature finally come through. I do think that could have pushed that last one a little bit more, but it still works well.

Apart from that, I don't really have much to shout out. It's competently written, well-performed, well put together. I know it doesn't sound like I have much praise, but it is a competent movie.

What I'm Mixed On

By far the biggest change from the book is Peris becoming a Special. And I'm torn on it. On the one hand, it does make him a bigger part of the story -- he's honestly not much more than an inciting incident in the book. It gives him and Tally a unique arc that's probably the strongest through-line in the story. On the other hand, the Specials as a concept are so under-cooked (more on that later) and the actor is so bland that it still doesn't quite land the way it's supposed to.

What I Didn't Like

The pacing of this movie is by far its worst issue. We are flying through this plot. There is no time for anything to breathe, for characters to develop meaningful connections, for the bigger moments to feel earned. Some things do make sense to condense -- Tally's journey to the Smoke would have been incredibly boring without her internal monologue, so condensing most of that into a montage makes sense. But I do feel we lost too much. That's where a lot of Tally's characterization comes out, where we can see her bravery and ingenuity -- none of that comes across in the movie.

A lot of important beats are rushed. Tally agreeing to help Dr. Cable is over in a flash. It feels like Tally's in the Smoke for all of fifteen minutes. Tally and David barely interact, so their relationship has no real stake. Everyone is kidnapped by Special Circumstances, and then rescued immediately after. I almost think a 5-6 episode mini-series would have worked better -- but that might have introduced the opposite problem, where everything takes too long.

The movie also has frequent montages that don't really work. It seems like they were trying to show the passage of time, but it just makes everything feel even shorter.

The beginning of the movie has an exposition problem, as well. It opens with a montage explaining the entire setting... before leading into several scenes that also explain the setting through dialogue. We get fed the same details about the surgery and the Rusties and the flowers at least three times at the start, and it gets grating.

As already mentioned, Tally is pretty severely underwritten. In the book, she has a distinct personality and a unique presence. In the movie, she's just the main character because she happens to be the main character. Her intelligence and resourcefulness are pretty much gone.

I also think changing her motivation for going to the Smoke did her a disservice. In the book, Tally goes to the Smoke so she can have her surgery, and because she's convinced herself that Shay needs her help. In the movie, Dr. Cable tells her that the Smokies have a weapon, and she will be saving lives by helping to find them. I think giving her a more selfless motivation robs her of her character arc. She always comes across as someone trying to help, who wants to best for other people, rather than someone who had to consciously learn that.

The Specials are barely even a presence. I'm not sure they were even directly called Specials. People who hadn't read the book would never realize that there was an entire separate status of person here. You never see their disturbingly beautiful faces or their terrifying strength. Considering how pivotal the Specials are to the overall story, especially in the later books, it's really odd not to see them properly established here.

Like I said, Laverne Cox gives an excellent performance as Dr. Cable... but I think they should have thought twice before casting a trans woman. It's not necessarily that there's a trans woman in the villainous role, but that there's a trans woman in the villainous role who specifically wants to force people to have surgeries to brainwash them. Like... did the optics of that really not occur to anyone? At all? I think Cox could have played David's mother, instead.

[brittle-doughie]

OH GOD THERE'S TWO OF THEM

hiiii Brittle, its me, Blue Bird Anon! I come bearing gifts of cookie sprites! Crowned Cupcake Cookie (based on Runebrave's lovely design) and her brother of my own creation, Royal Icing Cookie. I had a lot of fun designing and drawing them so I hope you and everyone enjoy as well! (pssst also my art blog is scarabeeart ;3)

I saw an anon guess that Royal Icing was the pure opposite of his sister, and while that wasn't my original concept for him, I thought the contrast between the two would be a very funny idea hjggffg him being a totally normal, genuinely good guy while his sister is. like that.

But the idea I had for him was a classic prince charming, but with the levels cranked to 11. Brave, chivalrous, humble, generous, rides a white horse, he's got it all! All he wants is to sweep Y/N Cookie off their feet like in a romantic fairy tale and ride into the sunset for their perfect happily ever after together <3 May let the prince charming thing go to his head as he has a secret hero complex and will often put Y/N Cookie into danger purely just so he can heroically swoop in and rescue them. And while his sister is more physical with her use of force to chase away those who get too close to Y/N Cookie, Royal Icing is more manipulative and unhanded. Not above willing to plant fake evidence on other suitors and use it as a way to turn Y/N against them and only trust him. "These Cookies are merely trying to marry you only to claim the throne, they want to usurp you, your adviser is scheming and plotting against you" and all the other fairy tale tropes. Will never fess up to sneaking around because his perfect prince image is incredibly important to him. You trust him, right? He's your fiance! Your prince charming, your knight in shining armor. Of course he wouldn't lie to you <3

(hehe sorry for writing so much! I've been thinking about this for too long hjgfhjgf)

First of all.

That’s some damn incredible work you made here. You are getting a follow from me!

Crowned Cupcake now actually looks like canon compared to my more simple style! She’s even pulling a Cherry Blossom with that triangle mouth there!

Royal Icing too! He looks just as amazing, definitely the charismatic type that no cookie would doubt has a dark side to him! Both of them are just wonderfully done and I really appreciate you taking the time out of your day to do this!

I did think about Icing being exactly like his sister rather than being a kind soul, with him taking the more psychological approach rather then the brute forcing Crowned would do. He’s willing to play any card in his hand to turn it in his favor, even if it meant falsely accusing other cookies if it meant getting them of the picture.

You would trust him more at first. After all, he hadn’t done anything wrong to warrant any kind of suspicion on him! These liars can’t prove anything against your Prince, so you’ll take his side more often then not.

Overall, this is spectacular and I greatly appreciate the work that was done here!

[briarandhissecretgarden]

A Minecraft Movie Trailer Dive

Alright!! I have a hard time talking about things in a more real? manner like this but I feel like it's important to be honest and share thoughts.

So the Minecraft movie trailer is a trailer that exists and it's incredibly upsetting to say the least. i had always had hopes of it being entirely animated and be a sort fo film version of Minecraft: Story Mode but it's clearly not that at all. It's a shame too, it's incredibly disappointing to know it's live action as I am a HUGE advocate for animated movies and blockbusters and such. I think Minecraft is a game that is so fantastical and developed and normalized within it's own plane of existence that trying to translate it as anything other than an animated movie fundamentally goes against what the game is supposed to be.

Minecraft is creativity incarnate. It is a canvas for you to do quite literally anything with. And i think turning it into a pathetic cash grab live action movie is about as hard away as you can get from it's core values. You lazily slap real people to into the game to mock and laugh at and disrupt the flow of it's own universe. Treating this game as if it is nothing but a child' plaything despite the fact that people of any age can play it and find joy and excitement. I think the jokes and the overall childish view of the game is disgusting I think it belittles it, I think Minecraft as a whole, encourages all ages and helps develop personal understanding of the world around us and our own ideals. Maybe we'd like to build a large house, go on, here are hundreds of blocks to choose from! Loads of colors, be free!!! Perhaps you'd like to calm down and play with friends or even challenge yourselves, go on with multiplayer! There's servers and achievements!!! There's plenty of things to do. And I think one of the most important things is that, none of this is wrong or weird. None of this is an incorrect way of playing, nothing you do is bad. This isn't supposed to be humbling this isn't supposed to be stressful or something to laugh at. Your desires and plans are valid.

Perhaps as an autistic individual myself, I find that so comforting. I understand it's just a movie, but it's a movie that fundamentally gets everything wrong about this lovely game. I don't understand how these trailers and jokes and plot points are treated as if it's okay to be bad if it's for children. It's saddening.

Either way, moving onto a different subject that I have much more knowledge about and care too much of, the Piglins.

This trailer shows off that Piglins are meant to be the main antagonists, as well as the The Seer having a role in the plot. I have many problems with this, and I will be discussing this through the lens of my own experiences, especially as it comes to my race. (I am latino for those who don't know)

First things first, no, the Piglins aren't evil by any means. I know a lot of media has a very black and white view of them but honestly, take a moment to think about this.

Piglins are minding their business, having fun, living their lives, when a bunch of explorers come barging into their home, exploiting them for their willingness to barter, stealing their valuables right from their houses, and on top of that, being killed and hurt because they dare fight back and attempt to protect one another.

To me, it's incredibly disheartening to see Piglins being portrayed as some kind of aggressors, savages and barbaric monsters all because they want to protect their way of life. I don't understand how emotionless people seem to act toward them. They aren't even physically accurate to the game models. They wear clothes, they use tools, they talk amongst themselves. It's very disgusting to see how this group that is CLEARLY INTELLIGENT BTW (they make music, tools, clothes, armor, buildings, homes and have a complex social system) being drawn and shown in less clothes, more violent tendencies, a more destroyed home and life, even showing violence among themselves to portray them as anything other than the interesting and complex species they are.

I'm just tired of the racist undertones that most Piglin plots seem to have. I find it insulting to them, i find it concerning regarding the language used. 'barbaric' 'crude' 'savage'

Just makes me angry.

[ineffable-endearments]

The Crow Road by Iain Banks

I finished The Crow Road and had a little time to think about it. I'll put my thoughts under a Keep Reading in case anyone is trying to avoid spoilers.

As I speculated before, I think it's likely that The Crow Road is more related to Good Omens in philosophy than in plot. I mean, it's not that the plots necessarily have nothing in common, and we could be very surprised in the end of course, but now that I've read the whole book, its philosophical commonalities with GO are both apparent and kind of inspiring. Also, if I were a writer, I'd be more interested in dropping hints about what themes are important than telegraphing my whole plot ahead of time.

So here, I will describe the book and point out themes that I believe may reappear in Good Omens 3.

This is a long post. If you read it, make a cup of [beverage of choice].

Update on 4/20/2024: I made a second post: The Crow Road and Good Omens: Further-Out Thoughts

Below are mentions of suicide, death/murder, and sexual acts.

The Crow Road centers around a character named Prentice McHoan, a university student in Scotland who starts to sort out his complicated relationship with his complicated family as he explores the mystery of his uncle Rory's disappearance. Although the book is mostly from Prentice's perspective, the narration jumps around in time with the McHoan family. There are quite a lot of important characters to keep track of; the bare-bones summary I put below doesn't even include some of the important ones. I wanted to make the summary even shorter and simpler than this, but the truth is that this book is not short or simple, and if I made the summary any simpler, it might be downright misleading.

There are at least three major cultural aspects of The Crow Road that I am inexperienced with: the overall culture in the 1950s-1980s (I was born in 1988, so of course wasn't here for the relevant decades), the international experience of the Gulf War (again, born in 1988), and the history and culture of Scotland itself (I'm USAmerican with only reading as a source). As a result, I'm sure there are important dimensions to the book that I've missed. If someone has a different perspective taking some of these things into account, I'd love to know about it.

Also, keep in mind, there is a great deal of descriptive writing in this book. There are a lot of pages about the geography of Scotland, and about Prentice as a kid, and about Prentice's father and uncles hanging out together in their youth, and about various family incidents, and about Prentice spending time with his brothers and friends. At first, these passages seem to just make things more confusing, and in my head, I accused them of being "filler." But they definitely serve a purpose. They're a way of showing and not telling the characters' attitudes and relationships to each other. More importantly, because we get to actually live these experiences with the characters, they are what give all the plot points below their deeper emotional impacts. In other words, the everyday experiences give the plot its deeper meaning. They resonate with one of the core themes in the novel: that our experiences in life, rather than any supposed existence after death, are what matters.

The Crow Road's story is like this:

Prentice is rather directionless in life, and he seems to have trouble investing any energy in his own future as he moons over his unrequited feelings for an idealized young woman named Verity. Soon, Verity ends up in a romance with Prentice's brother, Lewis, and Prentice feels that Lewis "stole" her from him. Prentice has also become estranged from his father, Kenneth, over spirituality. Prentice believes there has to be something more after death because he feels it would be incredibly unfair if people didn't get anything other than this one life; Kenneth is not only a passionate atheist, but is offended by the notion of an afterlife.

Prentice's uncle Hamish, Kenneth's brother, has always been religious, although his religion involves a number of bizarre and offbeat ideas of his own, with inspiration from more traditional Christian notions. Prentice is not really sure about this ideology, but he's willing to talk to Hamish about it and even participates during Hamish's prayers, whereas Kenneth is openly scornful of Hamish's beliefs. Hamish interprets this as Prentice being on "his side."

Prentice has a few opportunities to go back and talk to his father, and is begged to do so by his mom, Mary, with whom his relationship is still good. Mary doesn't want either of the men to give up their inner ideas about the universe; she just wants them to agree to disagree and move on as a family. Prentice says he will visit, but he just keeps putting it off and off and off.

Prentice acquires a folder containing some of his missing uncle Rory's notes in the process of hooking up with Rory's former girlfriend, Janice Rae, who seems to have taken a shine to Prentice because he reminds her of Rory. Using the contents of the folder, Prentice wants to piece together the great literary work that Rory left unfinished, which Rory titled Crow Road; however, it becomes apparent that Rory didn't turn his concepts into anything substantial and only had a bunch of disconnected notes and ideas. He hadn't even decided whether Crow Road would be a novel, a play, or something else. The few bits of Rory's poetry for Crow Road read are bleak and depressing.

Prentice also spends a lot of time with a young woman named Ash. They've been good friends since childhood and seem to have a somewhat flirtatious dynamic now, but they aren't in a romantic relationship; mostly, they drink and hang out together. Ash tells Prentice bluntly to get his life back on track when she finds out he's failing at school, avoiding his family, and engaging in shoplifting. She is a voice of reason, and when Prentice insists to her that he's just a failure, she reminds him that actually, he's just a kid.

Prentice's efforts to figure out Rory's story or location stagnate, and he continues to fail at school and avoid his father. He then receives word that Kenneth was killed while debating faith with Hamish. In fact, Kenneth dies after a fall from a church lightning rod, which he was climbing in an act of defiance against Hamish's philosophy when it was struck by lightning; Hamish is convinced that Kenneth had incurred God's wrath. Ash is there for support when Prentice finds out about the death.

With Ash's help, Prentice returns to his hometown again to help manage Kenneth's affairs. Prentice speaks with a very shaken Hamish, who is handling Kenneth's death with extreme drama and making it all about his own feelings. Hamish tells Prentice that Kenneth was jealous that Prentice shared more in common with Hamish's faith than with Kenneth's lack of faith. However, this isn't really true, and as he contemplates his father's death, Prentice begins to internalize one of the last things Hamish reported that Kenneth had argued: "All the gods are false. Faith itself is idolatry."

As the chapters go on, Prentice is compelled by some of the meaningful items related to Rory that he discovers in his father's belongings. He gains a renewed sense of purpose trying to solve the mystery of where Rory went and what happened to him. Among the interesting items are an ancient computer disk of Rory's that Prentice can't access with any equipment he can find; Ash uses her connections in the US and Canada to find a computer expert who can finally open the files on it. This takes quite a while, since the disk has to be mailed and Ash's connection is investigating the disk only in his free time.

Prentice also discovers that his feelings for Verity have changed. He no longer feels angry with Lewis for "stealing her." At first, Prentice's narration describes this as his feelings "cooling" as a result of the trauma of losing his father, but interestingly, this soon means Prentice gets to know Verity as a sister-in-law without getting caught up in jealous romantic feelings. Verity gets along well with the family, and Prentice is actually happy to discover that she and Lewis have a baby on the way. Prentice's relationship with Lewis improves greatly as well, partly because he is no longer jealous and partly because he realizes he does not want to lose Lewis, too.

Ash's connection who was looking at Rory's computer disk comes through and sends the printed contents of the files to Prentice. The files reveal to him that Rory likely knew Prentice's uncle, Fergus, murdered his wife by unbuckling her seat belt and crashing their car. Rory had written out a fictional version of events and considered using it in Crow Road. I'm not clear on exactly how certain Rory was about Fergus's crime, or whether Rory would have intentionally reported Ferg, or whether Rory even had enough proof to publicly accuse Ferg of murder, but people would likely have connected the dots in Rory's work and become suspicious of Ferg. For this reason, Prentice believes Ferg murdered Rory as well.

Prentice confronts Ferg. He doesn't get a confession and leaves Ferg's home with no concrete proof of anything; Ferg denies it all. But Prentice is soon physically assaulted in the night, and it seems Ferg was almost certainly the culprit, because he hadn't been home that same night, and he had injuries (probably from being fought off) the next day. A day or two later, Ferg's body is found unconscious in the cockpit of a plane, which crashes into the ocean. It's uncertain whether this was a suicide, but Prentice suspects it was. Rory's body is then soon recovered from the bottom of a waterway near Prentice's home, where Ferg had sunk it years ago.

As the mysteries are solved, Prentice realizes his feelings for Ash are romantic love. However, it's too late, he thinks, because Ash is about to take a job in Canada, where she may or may not stay. Prentice also hesitates to approach her because he's embarrassed about his previous behavior, venting all his angst about Verity and his father. He isn't sure she would even want to be in a relationship with him after that. But the very night before Ash leaves, she kisses Prentice on the cheek, which leads to a deeper kiss. They finally connect, have sex, and confess their mutual feelings. Ash still goes to her job in Canada, but says she'll come back when Prentice is done with his studies that summer.

The relationship's future is somewhat uncertain because something could come up while Ash is in Canada, but Prentice is hopeful. The book ends with Prentice getting ready to graduate with his grades on track as a history scholar, fully renouncing his belief in an afterlife while he acknowledges the inherent importance of our experiences in our lives now, and enjoying his time with Lewis and Verity and his other family members.

What's the point of all these hundreds of pages?

Well, look at all of the above; there's definitely more than one point. But the main point I took away is that we get this one life, with our loved ones in this world here and now, and this is where we make our meanings. There is no other meaning, but that doesn't mean there's no meaning at all. It means the meaning is here.

It's not death that gives life its meaning. It's the things we do while alive that give life its deeper meaning.

The Crow Road is described (on Wikipedia) as a Bildungsroman, a story focusing on the moral and philosophical growth and change of its main character as they transition from childhood to adulthood ("coming-of-age novel" is a similar term that is interchangeable, but more vague and not necessarily focused on morality/philosophy). And, indeed, all of the plots ultimately tie into Prentice's changed philosophy.

After his argument with Kenneth, Prentice feels childish and humiliated, and as a result, he refuses to go back home, which leads to a spiral of shame and depression. Kenneth dies and Prentice realizes it's too late to repair the relationship, which also leads him to realize it's what we do in life that matters, and that therefore, his father's argument was correct after all.

At the end of the novel, Prentice outright describes his new philosophy. However, I can't recall one specific passage where Prentice describes the process of how he changed his mind (if anyone else can remember something I missed, do let me know). There is, however, a moment when his narration indicates that Hamish seems less disturbed by his own part in the incident that led to Kenneth's death and more disturbed by the notion that his beliefs might actually be true: there might actually be an angry, vengeful God. In other words, Hamish's philosophy is selfish at its core.

My interpretation is that when his father died, Prentice realized three things: how utterly self-serving Hamish's devout faith is, how Kenneth's untimely death proves the importance of working things out now rather than in an imaginary afterlife, and how much profound meaning Kenneth had left behind despite having no faith at all. After these realizations, a determined belief in an afterlife no longer makes our lives here more profound like Prentice once thought it did.

Also, it's worth noting that this incident changes Prentice's idea of partnership, too. He loses interest in this distant, idealized woman he's been after. In love as in the rest of life, Prentice lets go of his ideals, and in doing so, he makes room for true meaning, both in a sincere familial, platonic connection with Verity and a sincere intimate, romantic connection with Ash.

But what about the sex scene?!

Yes, indeed, at the tail end of the story, Prentice and Ash have sex and admit they want to be in a relationship together. Prentice's narration describes them sleeping together and having intercourse not just once, but many times, including some slow and relaxed couplings during which they flex the muscles in their private parts to spell out "I.L.Y." and "I.L.Y.T." to each other in Morse code. This is relevant because earlier, they had been surprised and delighted to discover that they both knew Morse code; it isn't a detail that came from nowhere.

I didn't get the impression that this scene was trying to be especially titillating to the reader. It was mostly just a list of stuff the characters did together. I felt the point was that they were still anxious about being emotionally honest, a little desperate to convey their feelings without having to speak them out loud, and awkward in a way that made it obvious that their primary concern was the feelings, not the sexual performance. They cared about each other, but they weren't trying to be impressive or put on a show; contrast this with previous scenes where Prentice would act like a clown in front of Ash to diffuse his own anxiety. I've always thought that being able to have awkward sex and still enjoy it is a good sign.

Okay, so what does this all have to do with Good Omens?

Here's where I have to get especially interpretive. I'm doing my best, but of course, not everyone reading this will have the same perspective on Good Omens, the Final Fifteen especially. I believe similar themes are going to resonate between The Crow Road and Good Omens regardless of our particular interpretations of the characters' behavior and motivations, but I suppose it could hit differently for some people.

The TL;DR: I see similar themes between The Crow Road and Good Omens in:

The importance of mortal life on Earth

Meaning (or purpose) as something that we create as we live, not something that is handed to us by a supreme being

Sincere connection and love/passion (for people, causes, arts, life's work, etc) as a type of meaning/purpose

Relationships as reflections of philosophy

The dual nature of humanity

Life on Earth as the important part of existence is a core theme in Good Omens, and has been since the very beginning. We all already know Adam chose to preserve the world as it already is because he figured this out, and we all already know Aziraphale and Crowley have been shaped for the better by their experiences on Earth. But Good Omens isn't done with this theme by a long shot. I think this is the most important thematic commonality Good Omens will have with The Crow Road. Closely related is the notion that we create our meanings as we live, rather than having them handed to us. Isn't this, in a way, what Aziraphale struggles with in A Companion to Owls? He's been given this meaning, this identity, that doesn't fit him. But does he have anything else to be? Not yet.

Partnerships as a parallel to the characters' philosophical development also resonates as a commonality that The Crow Road may have with Good Omens. Prentice's obsession with Verity goes away when he starts to embrace the importance of life on Earth and makes room for his sincere relationship with Ash. Note their names: "Verity" is truth, an ideal Prentice's father instills in him; "Ashley" means "dweller in the ash tree meadow" in Anglo-Saxon, according to Wikipedia, and "ash" is one of the things people return to after death. Prentice literally trades his high ideals for life on Earth. We see in Aziraphale a similar tug-o'-war between Heaven's distant ideals and Crowley's Earthly pleasures, so I can see a similar process potentially playing out for him.

I don't particularly recall a ton of thematic exploration of free will in The Crow Road. However, there is a glimmer of something there: Prentice feels excessively controlled by Kenneth's desire to pass down his beliefs, and part of the reason Prentice is so resistant to change is simply his frustration with feeling censored and not being taken seriously. As the reader, I do get the feeling that while Prentice is immature, Kenneth made major mistakes in handling their conflict, too. And Kenneth's mistakes come from trying to dictate Prentice's thoughts. There is likely some crossover with Good Omens in the sense that I'm pretty sure both stories are going to take the position that people need to be allowed to make mistakes, and to do things that one perceives as mistakes, without getting written off as "stupid" or "bad" or otherwise "unworthy."

Suffice it to say that the human characters in Good Omens will also certainly play into these themes, but it's hard to write about them when we don't know much about them except that one of them is almost certainly the reincarnation of Jesus. This also makes me suspect perhaps the human cast will be 100% entirely all-new, or mostly new, symbolic of how Aziraphale and Crowley have immersed themselves in the ever-evolving, ever-changing world of life on Earth. Alternatively, if we encounter human characters again from Season 1 or 2, perhaps the ways they've grown and changed will be highlighted. For example, even in real-world time, Adam and Warlock have already, as of the time I'm writing this, gone through at least one entire life stage (from 11 in 2019 to 16 in 2024). They'll be legal adults in a couple of years, and if there's a significant time skip, they could be much older. If characters from Season 1 do reappear and themes from The Crow Road are prominent, I would expect either some key scenes highlighting contrasts and changes from their younger selves or for stagnation and growth to be a central part of their plot.

The more I write, the more I just interpret everything in circles. Hopefully this post has at least given you a decent idea of what The Crow Road is like and how it may relate to Good Omens.

I'll end this post with a quotation that feels relevant:

Telling us straight or through his stories, my father taught us that there was, generally, a fire at the core of things, and that change was the only constant, and that we – like everybody else – were both the most important people in the universe, and utterly without significance, depending, and that individuals mattered before their institutions, and that people were people, much the same everywhere, and when they appeared to do things that were stupid or evil, often you hadn’t been told the whole story, but that sometimes people did behave badly, usually because some idea had taken hold of them and given them an excuse to regard other people as expendable (or bad), and that was part of who we were too, as a species, and it wasn’t always possible to know that you were right and they were wrong, but the important thing was to keep trying to find out, and always to face the truth. Because truth mattered. Iain Banks, The Crow Road

[nozunhinged]

I finally managed to put my overall thoughts about Playboyy into words and hoooooo boy do I have a lot to say.

I watched the mdl ratings go down, the blatant hate towards the plot, the actors, the scenes, the sex. There was nothing that wasn't torn apart about this series and yet I wasn't phased for a second and I kept wondering why because usually get very passionate about defending the things I love.

And then I realized that this series is the cinematic embodiment of a very lonely path that I've been walking for decades and I am already very, very used to the shame around it.

Sex is not just my special interest, I also had the privilege to grow up with excellent sex education (thanks parents) and on top of that I never struggled with my (pan)sexual identity. Sex plays a significant role in my life. But I learned VERY quickly that I should keep this to myself if I don't want to be ostracized or bullied.

"You're autistic AND you like sex? You like porn? What the fuck is wrong with you??? That's impossible."

And all the comments I read about playboyy are exactly the same just in different fonts. Ew sex. Ew kink. Ew porn. Ew sex work. Sex can't have storytelling, plot, it's just for shock value. We all read it.

And sadly it's a very accurate representation of the role sex plays in our society. Which - ironically - playboyy exactly is about.

Playboyy is a visual collection of all the experiences of lives and people in which sex plays a significant role - even the lack thereof (looking at you zouey and all you lovely aces).

It's a collection of very important social commentary, with all the characters, sets, plots and visuals as a medium. Because this way, the points they make come across even stronger and draw out all the emotions they want us to feel - which is in the rarest cases, pure arousal. Because this is, in fact, storytelling. Even if many don't want to hear it.

Telling stories about sex is so stigmatized and shunned, it only has the tiniest place to exist freely. Just like sex itself. Every sex worker, sex educator, sex therapist, everyone who has a profession that deals with sex will tell you about it. The shame. The misunderstanding. Look at the state of sex work and porn in the world. It tells you everything you need to know.

And it's happening in the middle of the "modern" western society - Yes I'm talking about you, UK and I can't not plug this here:

*btw I am not a sex worker I'm just very passionate about letting people not just live their lives but giving them a CHOICE to do what they want or don't want to do

I existed in this tiny place for decades now and I got really comfortable in my tiny lil corner, but to see a show like this go "mainstream" talking about all the topics that tickle all the knowledge I collected over the years feels so amazing. And I can tell you, all you lil smartass purists, everyone involved in this show doesn't care an inch what you think, just like me. We're used to it, believe me.

I could go on for ages about how carefully all these topics of the show are treated but what I actually want to say is that I find it incredibly ironic that a show that depicts the struggles and stigmas about sex, exactly draws out the reactions and treatments it criticises.

If you don't want to join in on the fun, that's totally fine. I get that it's not for everyone (just like sex, he). But treating it as a piece of trash just because it's a thing you personally find icky is exactly the reason the issues Playboyy talks about exist in the first place. Hence you can thank your stuck-up ass yourself that debauched individuals like me get a gem like this to enjoy.

And the fact that it didn't just find a crew, but also the funding and the mainstream distribution proves that I'm not alone in this.

It's not my lonely little corner anymore and I'm absolutely thriving on that. Cry about it.

[arliedraws]

What are your thoughts on Sirius and Lily’s friendship?

While many in the fandom focus more on her friendship with Remus, but aside from one quote from the movie, there's not much evidence to support that.

Lily's friendships are mostly unexplored, primarily for Doylist reasons, making her relationship with Snape a plot twist in the story. However, based on little we know about her character, she could have been an close friend to Sirius, not just the wife of his best friend. Lily was loving, intelligent, confident, and empathetic—qualities that would allow her to relate to people with tough personalities.. (some Snape fans argue that she was a bad friend to him, but it’s important to remember that it was not her, who at 15 already wanted and later willingly chose to join a terrorist organization).

I think Sirius was naturally drawn to people he viewed as equals, which could explain why he could become closer to Lily than to Remus or Peter over time.

And her letter to him was the last treasure Sirius has of Lily and James :(

Ummmmmm. I took an hour of my life and wrote this. It’s like three pages of thought. But hey! I think I figured out how I see Lily . So thanks!

TL;DR: Sirius resented Lily until he didn’t, and then they were very close until she died.

If you want to read my full take, it’s under the cut.

First of all, to answer your question, I’d like to look at Lily overall.

I find Lily challenging as a character. There are so many ways to interpret her. She’s described as funny, smart, kind, brave, and beautiful. She’s also popular. And cheeky. Unlike James, there isn’t an unflattering side of her shown to Harry. This is why I’m not much of a Jily person—I wish I had what Jily people have regarding Lily. It’s so much easier to interpret a character based on their flaws than their strengths, their failings and how they deal with them than their successes.

I say this because we have to make guesses to her flaws. She made excuses for Snape for years when he was clearly being a prejudiced asshole behind her back. Who knows what he was actually saying about her? But he was her best friend, and she was loyal to him. Then, when his prejudice becomes public, that’s when she declares it the final straw.

My interpretation is that Lily wants to fit in. Unlike most people at school, she came in with a best friend. How cool! But it prevented her from getting close with anyone else. Maybe she has other friends, but I doubt they were very close (Snape would probably make sure of that). Lily is incredibly loyal—and if Snape says someone is bad news, I think she’d trust him.

Anyway, Snape rejecting her publicly was the last straw. She knew it was coming, but she loved him and she has to believe that people are flawed and deserve a second chance. And a third and a fourth and so on. Until she’s faced with arrogant toerag James Potter defending her in front of the whole school. Even this guy she can’t stand is appalled at Snape’s behavior.

Snape is embarrassing. He just is. He’s desperate, and he thinks groveling and kissing her feet will make up for being chummy and racist with his Death Eater wannabe buddies.

What does this have to do with Sirius?

Well, all this time, she’s spent years with these four boys who are clearly sneaking around after hours, will defend each other to the death, and won’t for a moment put up with anyone bullying their friends. Even pathetic little Peter is worth defending. Remus Lupin might even be a werewolf. But they don’t care—he belongs to them. Even when they’re alone, Lily sees that they aren’t two-faced, they aren’t pretending to care about each other.

It would have been very easy for Sirius to talk shit behind James’s back to stay in the good graces of his family/Slytherins. But he doesn’t. He doesn’t even talk to his brother.

I think Lily watches this over the years and wishes Snape were like Sirius. She wishes that just one time, Snape would defend her. When she finally tells Snape it’s over, I think she was desperately lonely in the aftermath. She’s popular, yes, but all the girls in her year have been friends for almost six years, and how could there be room for her? Lily is also incredibly proud. I don’t think she’d be asking to be friends with girls who tried to be her friend for ages but gave up every time she cheerfully told them, “Thanks for inviting me to hang out in Hogsmeade this weekend, but Sev and I are going to [fill in activity]!”

Anyway, Lily’s pride also keeps her from admitting to James she likes him. Maybe she doesn’t even have a crush or feelings romantically, but she’s incredibly aware of James. I think she’s jealous of his bond with his friends. Lily has an undercurrent of anxiety that she’ll be rejected—she’s a social chameleon. She can charm professors, she’s wicked smart, she’s pretty, and she’s funny and clever as hell. So here’s this guy, James Potter, who seems to be no one other than himself. He doesn’t have to pretend. An asshole, an arrogant prat, but undeniably honest.

James declares publicly that he likes her. This is…uhh…the opposite of Snape. Obviously. But Lily’s pride and embarrassment of the whole situation bruises her. I’m sure she also didn’t want people to think that she was dating Snape—would people think she was dating James to get back at Snape? Would they think she was desperate to be with a pureblood like James?

Meanwhile, Sirius is watching Lily Evans. Her friendship with Severus Snape has just exploded, and he watches her watching James. Sirius, who demonstrates canonically that he is very good at reading people, can see through Lily’s pleasant façade and unflappable exterior. Maybe she has friends, but he can see that she isn’t close with them. She’s a loner. She’s like him.

Here’s where I think Sirius and Lily match up—they’re both fearful of rejection, they’re extremely proud, and they’re exceptionally careful about how they allow others to see them. I think Sirius is more easily offended than Lily, but she’s also better at hiding when she’s hurt. To regain power, Sirius will punish you while Lily will regain her power by pretending it didn’t matter and your opinion doesn’t matter.

As soon as Lily is sans Snape, she becomes a threat to Sirius. He knows it’s only a matter of time before she gets over her pride and gets close to James, so he’s very wary of her. Soon she’ll figure out that James makes you feel like the cleverest person in the room. She’ll figure out that James will defend you until he’s dead. James loves his people too hard, and Sirius does not want to share him.

Well, once Lily and James become head boy and girl, keeping them apart is impossible. Sirius isn’t outwardly cold to her because James isn’t stupid, and he’d quickly know what Sirius was doing, but he’s not exactly welcoming either.

Lily and James become friends in seventh year. This is the first time James has had a friend outside of their group—and there are things he talks to her about that he doesn’t discuss with the others, not even Sirius. And Lily opens up. She even finds herself slipping out of her constant performance, and for the first time in her life, she can say whatever she wants. James loves when she’s silly. Not funny—everyone loves a funny—but silly. And he’s silly with her. And all of the pretending is gone, and Lily can be exactly herself and honest and not try to mold herself into what James wants her to be.

This is not good news for Sirius who has always been the one that James relies on for emotional support. And Sirius resents Lily a little. For the rest of their time at school, he’s fairly certain she’s just pretending.

Then school ends, and Dumbledore recruits them to the Order of the Phoenix. James and Lily are firmly together, and she just “gets” James. At least, that’s what James says. Very naturally, she knows what James is thinking and she respects him, and Sirius is secretly infuriated that she reads people as well as he does. It becomes clearer and clearer that Lily really does love James.

I think Sirius wants James to be happy—if James isn’t going to choose Sirius, then at least Lily makes him happy. And he forces himself to smile, cheers for them, champions their relationship. Except that Lily sees right through him, and she knows that if she doesn’t get Sirius on her side, one well-placed comment about her might influence James.

But also, she loves James and doesn’t want Sirius to fuck it up. There are a few ways they could become friends, but one way I’ve imagined is that Lily invites Sirius out for a drink. A good actor and loyal friend to James, he engages her in the sort of conversation he knows will interest her—they have shared interests, and she’s intelligent and creative like him. As long as they stay away from talking about James, he’s pleasant. Then, once they’re a few drinks in, Lily tells him that she doesn’t blame him for hating her. This stuns Sirius who thought he was being so clever. He insists she’s making things up, but Lily tells him that she feels the same way about Sirius—that she’s scared he’s going to take James away.

This is the sort of vulnerability Sirius needs to see from her. He needs to know that Lily hasn’t won—that she’s just as afraid of Sirius as he is of her, that she hasn’t tried to steal James from him. She just loves James for exactly the same reasons Sirius loves him. Lily promises that she will never keep Sirius away from James.

As time goes on, there are things that Lily can confess to Sirius that she can’t tell anyone else—and, eventually, Sirius starts to confide in her too. But it’s different than talking to James for both of them; they’re so incredibly similar that they understand each other on a level that James just doesn’t get.

I think you’re right—I think post-Hogwarts, Sirius was closer to Lily than he was to Remus or Peter. The friendship was hard-won, but canon supports a tight Sirius&Lily bond with that letter he kept.

In the end, I really do think he lost both of his best friends when James and Lily were killed—one was his soul mate and the other was his best friend.