#at least not what its come to mean to most fandoms lmao

[every-dayiwakeup]

The only irredeemable thing about Billy is that he litters

[python333]

your writing is literally the best in the cod fandom. we need more injured reader angst. it's too good

don't breathe — python333

— — — —

synopsis [reader] gets buried alive after refusing to give intel to enemy soldiers and *slips up and writes reader almost dying again* oops how did that happen haha

relationships platonic!price & gn!reader.

characters cap. john price.

word count 2.7k

warnings suffocation [reader], just generally really depressing thoughts, near death??, 2nd person pov [you/yours/yourself], usage of c/n [code name/call sign].

note aww tysm :(( dont say its the best im gonna get a complex LMAO but i appreciate it!! and yes i agree injured reader angst ftw :3 i present to you: reader gets very injured and theres a lot of angst and its basically just you suffering for a good 3/4 of the fic while the last quarter has the actual comfort!

“Hello?” You try again, your voice cracking and your tone as desperate as it can get, “Please, God, say someone can hear me.” 

You’ve been trapped in a casket for about five minutes now—at least, you woke up five minutes ago. God knows how long you’ve been stuck in the stupid thing, but realistically, it’s probably been much longer than five minutes.

The last thing you remember from before you were buried is being in the interrogation room of some small terrorist group’s facility, one you and the others were led to believe was abandoned weeks ago. 

Unfortunately, whoever gave you the information must’ve either had incredibly outdated information or was setting you all up for failure, because the facility was very much not abandoned and was instead full of enemy soldiers.

You all had already gotten into the building before you knew that, because of course you all had to be in the same spot at the same time��practically sitting ducks for the enemy—and of course you all had to be clueless about the possibly hundreds of people in the facility until it was too late. 

As far as you know, everyone managed to escape. Everyone but you. They didn’t mean to leave you behind, of course they didn’t, they were more focused on just booking it out of the facility. However, because of that, you were now stuck—you assume—several feet underground in a casket that has a limited amount of oxygen that drops every time you take a breath. 

You let out the breath you’re currently holding and suck in another deep breath, holding it as you think. Your strategy of holding your breath until you no longer could mostly worked, but it wouldn’t for long, you knew that soon you’d suffocate in all of the carbon dioxide gathering in the enclosed casket.

You don’t know how long you’d been unconscious in the casket, breathing in oxygen carelessly in your slumber, which made the whole situation worse. You didn’t even know how much time you had left. 

You hate to waste your breath checking your comms, but the enemy soldiers had accidentally left your earpiece in your ear—the small device apparently going undetected under their radar—and you wanted to make the most of it. You move your arm from your side and press onto the PTT button on your earpiece, wincing a little at how cramped the casket was.

“Does anybody copy?” You ask again, staring up at the almost pitch black space above you, “I repeat, does anybody copy?” 

It’s a vain attempt at contacting your team, really. You don’t know if they’re thinking about you, if the signal is going through, if they even have their earpieces on—you know nothing, and that terrifies you because you really don’t want to die right now but there’s literally nothing else you can do besides helplessly talk into your earpiece, not knowing if anyone’s listening. 

Your lungs start to burn and you let out the breath you were holding, taking another deep breath and beginning to hold that one. The air feels… thick. It’s starting to get harder to breathe, and you know you shouldn’t panic but you can’t help the few worried thoughts that come to the forefront of your mind. 

What am I going to do when I run out of oxygen and the only thing left for me to breathe in are my own discarded breaths? What will I do when all there is to do is suffocate? Am I going to try, in one last desperate attempt, to break out of the casket, or am I going to just lay here and die? Will my team try to find me, or will they forget about me? Have they already forgotten about me? 

Before you can listen to any more of those depressing thoughts, a voice comes from your earpiece. 

“H—lo? [c/n]?” It’s hard to tell with the static and the cuts in between the words, but you think it’s Price talking. 

“Price?” You ask immediately, all thoughts of preserving your breath forgotten. “Holy shit, you can hear me?” 

“Je—s— whe—e—” He cuts out for a moment and your stomach drops when all you can hear is static for a moment. 

“You’re— You’re cutting out, Captain, what did you say?” 

“Wher— —re you?” It takes you a moment to realize what he’s saying, your mind working much slower than it usually does, but once you do you shake your head negatively despite him not being there to see you. 

“I don’t— I don’t know,” You respond, taking a deep breath before adding on, “I think I’m underground, I just know I’m in a casket and it’s getting harder to breathe and—” 

“Okay, o—y,” You hear Price’s voice crackle, his voice becoming more distant and sounding almost muffled to you, “Sa— —ur bre—th, I’ll try to g—t some—e to track your— ���tion.” 

With the constant cutting out of his words and the distortion of his tone, you can barely register or process what he’s saying, and that only panics you more but you refuse to let your emotions get the better of you even in the state of disorientation you’re in, so you keep holding your breath. 

A minute later, Price’s voice crackles through your earpiece again. 

“Okay, we’ve got your loc—tion,” Price’s voice sounds… oddly far away, “We can—” 

His voice slowly becomes muffled, and you release the breath you were holding without realizing it, slowly blinking up at the ceiling of the casket. A sort of haze falls over your mind and you can barely even hear Price anymore before you suddenly snap back to reality and hear his now much clearer voice loud in your ear. 

“[c/n]? [c/n], are you still there?” You recognize his tone now, and you’re just a little shocked at the sheer amount of worry in it. 

“Haven’t moved an inch,” You breathe out, before lying, “You cut out for a second for me, sorry.” 

“Don’t be sorry, it’s okay,” Price reassures you, “I said we got your loc—tion and we’re hea—g out th— —w. It’s not t— far away from where —e alre—dy are, we’re ba—ely three clicks away.” 

“… Clicks?” You ask, your eyebrows drawing together in confusion.

“Yes, clicks,” Price replies, sounding concerned, before hesitantly asking, “… You know what those are, right?” 

“I don’t—” You struggle to find words for a moment before you speak again, your own voice starting to sound distant, “I don’t think so?”

“What do y—u mean you don’t thi— —o?” Price asks, his voice sounding freakishly close, “Are you okay?” 

“No, yeah, I’m fine,” You lie through your teeth, not wanting to worry Price further, “I just… how far away are you?” 

“Just ab—t two cli—ks now,” Price says, before pausing and clarifying, “Two kilometers.” 

Two kilometers… how far is that? “And that’s… is that far, or?” 

“No, it’s not too far. It’s just a mi—te away, we didn’t ge— —o far before Laswell got your loc—tion,” Price tells you, “We’ll be there soon, ok—y? We’ll get y— —ut of there.” 

“A minute—” You cough and feel tears pricking at your eyes from how hard it is to take another breath, “A minute?” 

“Yes, a minute— [c/n], are you okay?” Price asks again, before laughing nervously, “You know what a minute is, do— —ou?” 

“...” You struggle to answer the question, thinking long and hard for a few seconds before hesitantly answering, “… Yeah, I do, sorry. It’s sixty seconds.” 

“Why’d it take you so long to answer?” 

“I don’t know, I’m sorry, I—” You take a few shallow breaths, and feel a headache start to build up, “How far away are you guys?” 

“We’re alm—t there,” Price promises you, “The heli’s ab—t to l—nd, and we’ll dig you up, and—” 

Why is it so cold? Price’s voice cuts off and when he stops talking you realize that you’re shivering. You ball your fists up and can’t even feel your nails digging into your palms, your hands having gone numb from the cold, and realizing that makes you discover that your lips feel numb too. 

Your ears start to ring and you feel that uncomfortable pins and needles feeling in your hands, the sensation slowly traveling up your arms, making you both wanting to peel off your own skin and also grateful that you can at least feel something besides the cold.

In the midst of your thinking, you hear muffled thumping coming from above you—whoever buried you couldn’t have buried you anything below six feet. 

“—llo? [c/n]? Are you still there?” 

You bring your hand up, the movement slow and sluggish, and you try to search around the side of your face for your earpiece. You eventually find it and when you do you press against it until you feel the PTT button being pushed. 

“Still here,” You confirm breathlessly, coughing again as you take a few more shallow breaths, “I think I’m running out of— of… what’s the fuckin’ air that you can breath in, it starts with an o…” 

“… Oxygen?”

“Oxygen, yeah,” You slowly blink up at the ceiling of the casket, “There’s— I think— I don’t… I think… I think I’m gonna pass out, Captain.” 

“[c/n], don’t you fucking dare,” Price growls, “You stay awake, I swear to fucking god.” 

“I can’t—” You take a few more shallow breaths, before coughing, the tears escaping your eyes reaching the corners of your mouth. 

You can hear Price briefly talk with someone else, his voice the most serious you’ve ever heard it, before he talks directly to you again, “How much longer do you think you have before you run out of oxygen?” 

It takes you a moment to register the question, but when you do, you answer, “Uh… I don’t— I think… maybe a few more minutes? I can’t tell, it’s just hard to breathe, I can’t…” 

“Okay, okay,” Price softly says, gusts of wind blowing into his mic as he talks, “Give me a second, okay? We’re almost there, kid, we’ll— we’ll be there in just a minute, we just passed over you, I just need you to stay awake.” 

“In a minute,” You repeat to yourself, before taking a deep breath, hoping that you have enough oxygen to make it out of this casket because you really don’t want to die here, not when there’s help just a minute away. 

After what you assume is a minute or two, instead of thumping, you hear something cut into the dirt above you. The sound, however, is heavily muffled, so muffled to the point where you don’t know if you’re hallucinating or not.

Is that a symptom of CO2 poisoning? Hallucinations? You lay still in the casket and can’t help but release the breath you’d only just taken, the ringing in your ears starting up again and growing louder faster than they had before. 

Your entire body is numb, your chest is heavy, and you can feel a sort of fog fall over your mind. You can distantly hear Price yelling through your earpiece, but you can’t find it in yourself to respond, instead simply laying there, your blinking starting to slow down before it eventually stops, leaving your eyes closed. 

— 

For a moment, you think you died and went to heaven, which would be weird, considering all the things you’ve done in your life. Not saying you’d go to hell, just saying God would probably hesitate for a second before letting you in through the pearly gates. 

You blink awake, slowly but surely, and the first thing you realize is that you can feel things again. You tilt your head down to the bump under the white bed sheets laid on top of you, and squeeze your hand into a ball, watching the bump move and feeling your fingers dig into your oddly sore palms.

You let out a sigh of relief and pull your hand out from the sheets, bringing it up to your face and feeling the oxygen mask that’s been placed over your mouth and nose.

“Don’t mess with that,” You hear a voice say to your right. You turn your head and see a very tired Captain Price, dark eyebags hanging under his eyes and arms crossed, his hands having a white knuckle grip on either one of his elbows. 

“…” You don’t say anything, instead you simply stare at him until he sighs and gets up from his seat. You watch silently as he leans over your bed and bends down, before pausing, and then quickly snaking his hands under your back to pull you up just enough for him to properly hug you. 

You reach up with shaky hands and tentatively hug him back, not nearly as tightly—not that you don’t want to, but you physically can’t with how weak your arms are right now—but with just as much sincere affection. You can feel Price’s beard rubbing against your neck and hear his small sniffles as he embraces you tightly. 

Maybe it’s his sniffling, or the way you can finally feel warmth for the first time in what feels like forever, or maybe it’s just the fact that he’s holding you with so much care and affection that it almost makes you burst at the seams, whatever it is, it causes you to tear up as well. 

Those tears quickly become sobs that bubble up in your throat and crawl their way out of it, forcing you to tuck your head into the crook of Price’s neck and muffle your sobs in it, muttering a small ‘sorry’ after each one. 

After each ‘sorry’, Price responds with, “It’s okay, let it out, sweetheart, you’re okay,” and those reassuring words only make you cry more because God, you didn’t even think he’d find you, yet here he is, letting you cry into his neck and is reassuring you after every apology that it’s okay. 

“I’m sorry, I’m sorry—” You mumble a litany of apologies into Price’s neck, your breath stuttering and hitching as you try to hold back your sobs. Price only shushes you and rubs his hand up and down your back in a comforting gesture, bringing his head up to kiss the top of your head. 

He tucks your head under his chin, “Don’t apologize, it’s okay. You didn’t do anything wrong.” 

And fuck, you know it’s just words, but it only makes you cry more. 

Your sobs eventually stop, leaving you hiccuping against Price’s neck, silently crying as he continues to rub your back. 

“I thought you died,” He whispers, his hand stuttering on your back, “I thought you died and I was going to dig up your dead body, when you didn’t answer me.”

You stay silent, letting him continue, “I thought you were dead when we dug you up and needed to feel your heartbeat for myself to confirm that you were still alive.” 

He pauses for a moment before continuing, “I’ve been here ever since they put you in here. I haven’t slept, I’ve just stayed here, waiting for you to wake up so I could tell you that I—”

He chokes up for a moment before taking a deep breath and continuing, “I’m sorry for not even thinking to drag you out of the facility with me when we all ran out. You were— you were right there, and I couldn’t just grab your arm and take you with me, I just had to leave you behind and I—” 

“You watched me while I was asleep?” You ask quietly, your eyebrows drawing together. 

Price pauses and pulls his chin off of your head, and pulls you away from his neck so he can properly give you the most incredulous look he can pull, before saying, “I’m pouring my heart out to you and apologizing for practically leaving you for dead, and that’s what you’re worried about?” 

“Well, I’m not worried, I’m just—” You shrug, not knowing how to explain it. Price sighs and chuckles quietly before tucking your head back under his chin. 

“You’re insufferable,” He mumbles, sniffling a bit. 

“… I forgive you, by the way,” You say after a moment of silence, “I didn’t really blame you in the first place.” 

“You had the right to.” 

“Sure I did.” 

“But you didn’t blame me.”

“Right.” “…” Price stays silent for a moment before pressing another soft kiss to the top of your head and saying quietly, “You should blame me.” 

“Maybe,” You mumble back, “But I won’t.” 

Later, maybe an hour later, if the others see you asleep in Price’s arms while he keeps your head tucked under his chin and rubs your back affectionately—no they don’t.

[whenmemorydies]

You love taking care of people: Fine Dining in the Time of Late Stage Capitalism

CW: this post discusses toxic and abusive workplaces and makes brief mention of institutional child abuse and intergenerational trauma. I might also talk about global systems collapse, for shits and giggles. Also this is another long one. You know the drill. Lets have a cuppa. Also this is my last minute submission to Sydcarmy Week 2024 and the theme of “you love taking care of people”. Enjoy!

I have a confession to make to The Bear fandom:

The food is my least favourite part of this show.

Its not that its not interesting. It definitely is. I'm a home cook and for the most part, I enjoy cooking (when I can do it at my leisure and not like most mothers, while balancing the mental load). I just find all the other aspects of the show much more fascinating.

In fact, I think this show about a bunch of cooks in commercial kitchens is so popular not so much because of its take up of cooking but its unflinching and loving interrogation of grief and trauma, including the kinds that get passed down through families.

The truth is, I've also never been overly excited about the world of "fine dining." I grew up in a large, Tamil family and so our meals were big, shared and not necessarily conducive to the minimalist plating preferred in exclusive, "gourmet" spaces:

Photograph is mine, delicious Jaffna Tamil spread is the handiwork of my great aunt (Kunchi Ammamma or “little maternal grandmother”), arguably the best cook in our sprawling, extended family.

As tumultous as family life could get, I often experienced meals (that, lets be real, were almost always prepared by the women in my family) with my loved ones as a happy experience. I mean we also had our share of blow ups at the kitchen table but what was always consistent was the love and care that went into the food that we were given to eat. It was woven into the rich and complex flavours that made up the curries, varais, and sambals we had on our plates (and that even now, make me salivate just thinking about). It was spread throughout the warm, coconut-y rotis and steaming rice and puttu we ate with our hands and used to mop up all that spicy, flavourful goodness.

And if there's one question I heard more than any other from older family members growing up, it was "ni sappittiya?" ("have you eaten?"). More than "how are you?" and definitely more than "I love you." As with many Global South cultures, for Tamil folks, food is used for nourishment but also as a primary means of conveying deep care. Obviously Tamil people don't have the monopoly on using food to show their affection (or even the monopoly on using food to replace actually saying the words "I love you" lmao). Food has been found to increase interpersonal closeness and can also contribute to emotional regulation. Feeding a child is one of the first means of bonding between parents and children. Food also plays a big role in the course of romantic love: as a basis for first dates and future time spent with a partner, and of course also as an aphrodisiac.

As Cesar Chavez, Mexican-American civil rights activist, labor organiser and co-founder of the National Farm Workers Association (which later became the United Farm Workers union) said,

The people who give you their food, give you their heart.

You love taking care of people

Conveying care and love through food is a theme that comes up repeatedly in The Bear. Recall 1x02 Hands and the phone conversation with Nat and Carmy:

Natalie: Chefs always say a big part of the job is taking care of people, right?

Carmen: Yeah, yeah. No I guess.

Also recall an almost identical bit of dialogue between Carmy and Sydney, under the world's most famous table that had absolutely nothing wrong with it in 2x09 Omelette:

Carmen: You love taking care of people.

Sydney: Yeah I guess.

Here's some further mirroring between Sydney and Carmy about giving people joy through food. Recall again the phone call between Carmy and Nat in 1x02 Hands:

Natalie: When did the breathing problem start?

Carmen: I think maybe sometime in New York. I was throwing up every day before work.

[...] Chef was a piece of shit.

Natalie: Then why'd you stay there?

Carmen: People loved the food. It felt good.

Also recall the conversation between Sydney and Marcus in 1x08 Braciole:

Sydney: I want to cook for people and make them happy, and give them the best bacon on Earth.

Be gentle with each other, so that you can fight stronger together: seasons 1-2 of The Bear

As rough and tumble as The Beef was, the clear throughline in season 1 (when The Beef was in operation) was the importance of the relationships and care between the show's characters. This was also the case in season 2 where the majority of the season was spent in the context of renovations and training prior to the opening of The Bear (in that season's last episode).

In season 1, we had Carmy leading the crew at The Beef by being patient, clearly explaining technique and positively reinforcing his staff's work.

Above left: Carmy walking the BOH crew through making Donna Berzatto's Lemon Chicken Piccata in 1x05 Sheridan. Above right: Carmy encouraging the crew to keep up their current pace in 1x06 Ceres.

We saw him working with Sydney, supportively encouraging the team to go further, to push themselves. We even saw Carmy at ease enough to talk about Mikey and his mother while at work. We had a Carmy showing us how integrated he can be.

Above: Carmy and Tina in 1x05 Sheridan

Heck, we even had a Carmy who wanted to get a compost installed at The Beef for processing food so that it didn't go to waste. Recall this golden bit of dialogue between him and Sweeps in 1x01 System:

Carmen: Eh yo Gary, you set up a compost for me today, Chef?

Sweeps: After I do my thing in the place.

Carmen: That's very clear. Thank you.

We had a Carmy who had time. Recall the below scene in 1x02 Hands before Sydney gives Carmy her draft business plan for The Beef (that she drafted on her own initiative and time to support his family's struggling business. If this man doesn't hurry up and fight for her in s4 istg...):

Sydney: Hey you got time?

Carmen: Always. What's up?

Similarly, we had Carmen in the first episode of season 2 making time to talk to a clearly distraught Richie:

Richie: Yo you ever think about purpose?

Carmen: I love you, but I do not have time for this, alright? *starts to walk up the stairs out of the basement*

Richie: *Nods, looks dejected, sniffs*

Carmen: I have time for this. *comes back down the stairs and sits with Richie*

Most pointedly in season 1 we had the conversation between Sydney and Carmy in 1x03 Brigade which lays the blueprint for their joint vision for the restaurant and which should have acted as a touchstone for both of them in season 3:

Sydney: You know, I think this place could be so different from all the other places we've been at. But in order for that to be true, we need to run things different.

When I said I didn't think that the brigade was a good idea, you didn't listen. And its not that you told me that I had to. [...] But you just didn't really listen and if this is going to work the way that I think we both want it to work [...] I think we should probably try to listen to each other.

Carmen: Yeah. You're right.

Sydney: The reason I'm here and not working somewhere else, or for someone else, is 'cause I think I can stand out here. I can make a difference here. We could share ideas. I could implement things that make this place better. And I don't wanna be wasting my time, working on another line or tweezing herbs on a dish that I don't care about, or running brunch, God forbid.

Carmen: *nods vigorously*

In season 2 while The Beef undergoes its facelift into The Bear, some of the show's most beautiful moments were when characters displayed their faith and trust in one another. Recall 2x01 Beef where Sydney asks Tina to be her sous chef, or 2x02 Pasta where Sydney and Carmy send Tina and Ebra to culinary school (and Tina's unwavering belief in and support for a nervous Ebra once they get there), and 2x03 Sundae and 2x04 Honeydew where we see Carmy and Sydney send Marcus to Copenhagen to stage with Chef Luca and build up his skills as a pâtissier.

So what happened at The Bear?

Season 3 of the show has been the most divisive of the series, with its preceding two seasons being almost unanimously adored by fans and critics alike. There's been a lot of debate on here and elsewhere as to why this is the case. What appears to be a dominant line of reasoning in this regard is the shift in Carmy and his approach to running The Bear as a fine dining institution.

At The Bear, we have Carmy as an Executive Chef who's berating, hostile, and blaming everyone else for his emotional state ("You guys are fucking killing me"). We have a Carmy who has taken "every second counts" to a point so minute that he has given up smoking because of the time away from the kitchen that it will cost him. We have a Carmy who has no patience for his team, almost all of whom have no experience working in fine dining before the opening night of The Bear. We see how out of sync Carmy and Sydney are ("Been off"). We have a Carmy who is reverting to patterns of behaviour that have been modelled for him by two of his abusers: his mother, Donna Berzatto and his previous boss, Chef David Fields, Executive Chef at Empire.

Perhaps second only to Donna and her stand in Claire, Chef David Fields' toxic legacy haunts season 3 of The Bear.

This is nowhere more clear than in the sheer wasting of food and money in season 3 epitomised by Carmy's insistence on changing the The Bear's menu every day (to quote Tina: "Every day, Joffrey Ballet?!") and his repeated throwing out of dishes he deemed "not perfect."

The waste did not go unnoticed by other characters on the show. Recall Natalie telling Carmy off in 3x03 Doors:

Natalie: The menu cost is out of control.

Carmen: Nat, figure it out.

Natalie: Oh. Oh. Figure it out? Wow.

Carmen: Figure it out.

Natalie: Why don't you fucking figure it out?

Carmen: I'm trying to use less shit.

Natalie: Okay, well, whatever you're doing, the R&D [research & development] of that, its fucking us.

Carmen: Well, we're using the best shit.

Natalie: Duh. Duh. Well, duh.

Carmen: Duh? Don't duh. No duh. [lmao this dialogue]

Natalie: Don't buy fucking crazy shit and then use it once, Carm. It's so wasteful. Duh! Duh, duh. Fucking duh, bro.

In episode 3x05 Children, Uncle Jimmy commissions The Computer to come in and run analytics on The Bear in an effort to get its costs under control (LOL at his assessment below, scrawled on the back of the dodgiest looking pie chart I've ever seen):

Computer: This sample is based on the month and a half we've been operating and does not take into account any funds spent previously on build, friends and family budget, other assorted fuckery.

Carmen: I mean, there hasn't been that much fuckery.

Cicero: Oh neph. You specialise in the fucking fuckery, bro.

Uncle Jimmy had plenty to say about Carmy's use of the former's funds (which Jimmy has duly invested in The Bear to support his nephew) including Carmy's decision to spend $11,268.00 on Orwellian butter (aka Dystopian Butter from the Fucking Rare Transylvanian Five-Titted Goat, lmao).

Even Carmy was under no delusions about how wasteful he was being this season. Recall his discussion with Sydney in 3x05 Children:

Sydney: You know what we should be doing?

Carmen: Produce vendor. You don't have to say it.

Sydney: Okay, I didn't say it then. I didn't say anything. Do you want me to say something?

Carmen: That I'm jamming us up 'cause we have a new menu every day and the economics aren't great?

Sydney: Well, I'm an accomplice, so...

Note: the language in this small bit of dialogue struck me as being off. Why does Sydney needs Carmy's permission to say anything? Its like she knows that he knows the constantly changing menu and exorbitant expenses are an issue but doesn't want to say anything until Carmy brings it up first. @yannaryartside has a great break down drawing the analogy between Sydney's "accomplice" confession here with Molly Ringwald's (sorry I dunno what her character's name was) confession about facilitating her partner's substance abuse, during an Al-Anon meeting in 1x03 Brigade.

We have Carmy repeating harmful patterns of behaviour at work that he has picked up from his personal life (for example, from his mother) but also from his professional experience.

The world of fine dining that both Carmy and Sydney came to The Beef from was marked, by their own admission, with "complete and utter psychopaths" who screamed, pushed and yelled at their staff (recall Sydney's disclosure to Carmy at the end of 1x05 Sheridan) or "fucking assholes" (in the case of Chef David Fields), who made their staff "very, probably mentally ill." Sadly, this aspect of The Bear is not fiction. @moodyeucalyptus pointed out in this post that both Carmy and David Fields appear to have elements of their characters based off of real life fine dining wunderkind Chef Charlie Trotter: a Chicago-based chef known to be brilliant but who mistreated his staff so badly that he had two class actions brought against him (one by FOH staff, and another by BOH staff led by James Beard Award winner Beverly Kim).

There are other stories about the grinding nature of the fine dining industry which we'll get into below. We'll also look at a few stories of chefs who are leading a renaissance away from the "toxic, hierarchical shit show" that has historically plagued fine dining and who Joanna Calo and Chris Storer may have front of mind as they take us through Carmy and Sydney's journey together in season 4 (because as tempting as Shapiro's offer is, we know Sydney isn’t leaving Carmy). But first, we need to go further back in time to look at how the fine dining industry itself has created the conditions for a chef like season 3 Carmy to exist in the first place. Lets look at the system, baby (to quote Tina in 1x01).

The Bear's culinary ancestry: Chef David Fields and the Fine Dining Industry

I should say that I did not want to go too far into history with this post. After Carmen, Natalie, and the Berzattos, I was committed to trying to write shorter meta (/snort). But I'd be remiss if I didn't talk about the origins of fine dining, and before that, the rise of Europe as the base of "haute cuisine" (which itself is directly tied to its history of colonialism and...Empire *badumbum* @freedelusionshere has made the point that The Bear writers have given Chef David's restaurant the name Empire purposefully and they're not wrong). All of this informs the current state of fine dining today.

Though France is often credited as the place where restaurants began (in the 1700s), its been established that folks were eating in communal restaurant settings all over the world, including in China about 700-600 years earlier. The origins of western fine dining (the tradition that Carmy and Sydney have trained within) however, are synonymous with French cuisine and the efforts of Georges Escoffier (who Carmy name drops in 1x03 Brigade).

The French Brigade

Escoffier was responsible for developing the French Brigade system of organising kitchen staff which is still used today in many restaurants worldwide, including at The Bear. The French Brigade was based on Escoffier's own military experience in the Franco Prussian War and was set up to identify roles in the kitchen and increase efficiency and consistency so that restaurants could scale their work to serve larger numbers of customers.

The thing with anything based on structures found in the military is that its going to replicate hierarchy (a chain of command is central to the running of military operations). In fact, much of 1x03 Brigade is spent with Sydney resisting what she identifies as the imposition of a "toxic hierarchical shitshow".

Mariya Moore-Russell, the first Black woman in the world to get a Michelin star (who also happens to be from Chicago) talks at length here about the benefits of the French Brigade for systematising commercial kitchens but also how easily it can get corrupted if the wrong people are in the kitchen. She says in those circumstances, the Brigade can quickly perpetuate, racism, sexism, perfectionism and "all of the isms." My fav quote from the video? When Russell talks about the French standardisation of cooking adopted by most kitchens in fine dining industry (at 23:39):

They were like okay, how do we take what Grandma does, what Mama does and make it you know efficient and consistent but also just extremely stressful for everybody involved? (lmao)

Note: Moore-Russell has a series of videos on YouTube about her experiences in fine dining which are very illuminating. She's also such an engaging storyteller. For example, watch "My path through the restaurant industry".

Service à la française to service à la russe

In addition to the French Brigade, another development in the history of western fine dining was the shift in styles of food service from service à la française to service à la russe. Service à la française ('service in the French style') involved serving all the dishes for a meal at once, allowing patrons to serve themselves. Think something akin to buffet style. See below for table layout using service in the French style from 1775:

Source: Wikipedia.

To me, service in the French style looks kind of similar to how my Tamil family lays out our meals (as can be seen in the first picture of this meta, minus the pheasant, moonshine and roasted woodcocks...lol). This style of service also looks a whole lot like "family style" dining which can be described as: "when food is brought to the table on large platters or serving dishes rather than being individually plated. Guests then serve themselves from the dishes which are passed around the table." In fact, service in the French style or family style dining is how many cultures serve and eat their food, both in the home and in restaurant settings (whether they use these terms to describe that layout is another matter).

I also seem to recall a couple of soulmates Jeffreys deciding to open a family-style restaurant in 1x08 Braciole (which @bootlegramdomneess has also pointed out in her post here).

In the 19th century, service in the French style became replaced in European restaurants by service à la russe ('service in the Russian style'). This style of service is what Western fine dining and haute cuisine restaurants utilise to this day. It involves bringing courses to the dining table in sequence, one after the other. Courses are portioned and plated before being brought to the diner by service staff.

In the case of Western fine dining, Escoffier shaped haute cuisine ('high cooking') through the use of his French Brigade system and the implementation of service in the Russian style. Haute cuisine has undergone shifts and changes since the 19th century including with the nouvelle cuisine movement in the 1960s which was marked by a focus on fresh produce, paired-back menus and a focus on invention. Haute cuisine of today has been described as a fusion: employing elements of nouvelle cuisine and more elaborate techniques and processes from Escoffier's system.

To my mind, service à la russe involves a lot more people (definitely more wait staff) to have it deployed effectively. When you have more people, you have more room for error (like all those dropped dishes in season 3). Family style service or service à la française allows people to serve themselves. It encourages sharing. Personally, I prefer the latter. Also can we talk about how small the portion sizes are in haute cuisine? lmao. I get it, its art. You need a gigantic plate for a small piece of hamachi because thats the canvas. Some (read: me, lmao) might also say its big ol' waste to wash a plate that size for food that takes up maybe a 1/5 of its surface area. Can we also talk about the concept of "chargers" (which the Computer rightfully rips into Carm and Sydney for in 3x05 Children) - why do you need a table setting that no one's gonna use? I'm sure there's other aspects to haute cuisine that make no fucking sense but honestly this meta is gigantic enough as it is so I'll stop there lol.

Anyway, notably it is service à la russe and food that would be described as haute cuisine that we see at The Bear. Family style is nowhere to be seen in season 3.

Colonialism, Empire and the rise of Western food cultures

A fact that is often left out of discussions about why the French and other European countries developed such globally renowned food cultures as well as their staggering wealth and status as "first world countries" (particularly in the period between the 1600s to the 19th century) was that at around the same time, these nation states were expanding their own empires by colonising other parts of the world with the express purpose of acquiring ingredients (and other resources) that they did not have access to in Europe. A brief and non-exhaustive list of examples below:

Europe's demand for flavour was so great in the 1600s that the Dutch traded Manhattan to the British in order to secure the Indonesian island of Banda Run which, at the time, was the world's only source of nutmeg. When they first arrived in the Banda Islands, the Dutch killed and enslaved much of the Bandanese population, taking control of the island's local nutmeg plantations. This violence would come to be known locally as The Banda Massacres.

It was the hunt for a direct trade route with India for black pepper that Christopher Columbus used to pitch his voyage to the King and Queen of Spain and which ultimately led him to the Americas. Columbus' arrival precipitated the colonisation of the Americas, which resulted in enslavement, disease and outright genocide, decimating First Nations populations throughout North and South America.

The colonisation of the Americas would also lead to the exporting of various foods that have come to be staples in European cooking. For example, the tomato - the key ingredient in many Italian (and Italian American) dishes - orginated in South and Central America and was brought to Europe via Spanish colonists.

The British set up their infamously brutal East India Company (EIC) to control the Indian subcontinent and the trade of various resources including precious metals, opium, textiles (silks and cotton), spices (such as cinnamon, black pepper, nutmeg, cloves, mace) and other food items (like salt, sugar, coffee and tea). The EIC would later be supplanted by the British Raj in Britain's stranglehold on India and after almost 200 years of imperialism and economic fraud, it has been estimated that the British drained India of nearly $45 trillion. I can't even begin to fathom an amount of money that large but the British could, and that theft powered much of the empire during its height.

The influence of Indian ingredients and cuisine spread throughout the British empire, including back to Britain itself. In fact, through colonisation and empire, Indian influences appear in various global cuisines (including other European cuisines as well as in the Caribbean).

Indeed the British's impact on food globally included its colonisation of Australia and New Zealand. These two colonial outposts essentially became gigantic cattle and sheep runs for the British who facilitated the wholesale theft of land - and in the case of Australia, did so without even bothering to enter into treaties with First Nations people - in order to run livestock that was then exported to feed Britain.

In order to satisfy its sweet tooth, France operated huge sugar plantations on the backs of the labour of enslaved Africans, particularly in Haiti (known at the time as Saint-Domingue). In the late 1700s, Haiti was responsible for exporting 40% of all the sugar consumed in Europe. The human cost of this was high and brutally violent. Eventually in 1803, after many armed revolts, enslaved African-descent people kicked the French out of the country after over a hundred years of heinous exploitation (thereby creating the first Black republic in the world). The French were so economically dependent on the colony for its production of coffee and sugar that when Haiti got its independence, France decided to punish the new republic for the loss of future income on Haitian exports, demanding 150 million francs in gold as compensation. The French sent warships to enforce this cruel debt. All in all, Haiti spent approximately $21 billion paying off France for the freedom that its people had already lost their lives and shed their own blood for. The debt (which involved the fledgling republic taking out exorbitant loans and fundraising amongst its citizens) was not paid off until 1947: 122 years after it was initially enforced. The French even charged Haiti interest.

Were it not for its vicious history of slavery and its century-long extortion of its former colony, I'm pretty sure France wouldn't have had the quantities of a certain key ingredient necessary to develop its worldwide reputation for pastries and desserts. I mean, you try making a crème brûlée, an eclair, a tarte tatin, a sweet galette, a mille-feuille, a madeleine, a crepe...without sugar.

This history deeply informs fine dining today. For centuries, Europe underdeveloped much of the world (borrowing Walter Rodney's turn of phrase) through colonialism and imperialist extraction. It then used those spoils and excess wealth to, among other things, develop its own food cultures and then self-proclaim itself as the cutting edge of the culinary world. To be clear, you can only faff about in a kitchen and create fancy sugar palaces and 10-course meals if you have the means and resources to do so. Haute cuisine is a product of wealth and resources, accumulated over time. Europe's colonial history also dictates which cuisines are recognised via awards like the Michelin star system. Hell, it dictates why you have the French (Michelin is a French tire company) dictating what constitutes "good" food in the first place. If you want to read more about this topic, this essay on Medium provides a good overview of the sad, racist state of affairs over at the Michelin Guide.

Where Europeans colonised and settled, this same lens was applied. This is why you have the undervaluing of Indigenous cuisine and ingredients in Australia, a situation which has only recently begun to shift. The colonisation of Australia actively involved the lying about Aboriginal foodways in Britain's attempt to falsely claim that Aboriginal peoples were nomadic hunter gatherers who did not use their land. Its why the history of how enslaved Africans brought their food cultures with them through the Door of No Return and transformed American cuisine, is not more widely known. Its why so few chefs of colour have been recognised for Michelin stars globally.

Empire and The Bear

Season 3 of The Bear pays clear homage to the impact of European empire on the world of fine dining in a few ways. The most obvious is the fact that Chef David's restaurant is literally called "Empire" lol. Another example and one of the most visually striking to me occurs in 3x01 Tomorrow. First, recall Chef David Fields' outright theft of Carmy's dish (I think we've established that you can't get more empire than the theft of food, yes?). Can we talk about how not only did Fields steal Carmy's dish but also, turned it into the most beige meal we've seen on The Bear to date, bar that single sprig of dill fighting for its life?

Carmy's penultimate plate (the final version being The Best Meal That Sydney Ever Had™):

Chef David Fields' dick measuring exercise version:

Carm was not a fan:

Can we talk about how the original plate featured the colours of the Italian flag (green, white and red) - emblematic of Carmy's cultural heritage and what is certainly one of the single biggest influences in his culinary journey (the dish also features fish, just like the main course in La Vigilia, the Feast of the Seven Fishes) - but after Fields was done with it, that shit was practically three shades of mayonnaise?

Can we talk about how Carmy's version of the dish almost certainly had a varied and dynamic flavour profile while Fields' looks just how I imagine it tasted like: whatever flavour meh is. The dish literally has no acid from what I can see (ingredients: paupiette of hamachi, fennel soubise, potato chip and dill). And I *know* a balanced dish has salt, fat, acid and heat (cos Chef Samin Nusrat told me).

Can we also talk about how Fields hates the most commonly traded of spices? The one that Columbus was looking for when he landed at what is now the Bahamas. The one that was an integral part of the East India Company's business plan rort to fuck India and South East Asia more generally?

Carmen: He hates black pepper for some reason I'll never understand. (from 3x10 Forever)

White folks in Europe were so hungry for spices to liven up their food that they invaded large swathes of the rest of the world to get the stuff. And yet, here we have Chef Fields, disliking Europe's gateway spice: the one that the Romans (Carmy's ancestors) had been trading with the East for centuries prior to Europe’s imperial frenzy, and which now makes up 20% of the world's spice trade.

Is the man so dedicated to meh that he couldn’t even bring himself to embrace pepper? Used to be one of the best chefs in the world, is right Chef Luca.

On top of dubious taste (I'm not a food critic but no one can tell me that hamachi and fennel soubise dish tasted anything other than fucked lmao. idc idc), Chef Fields is also one of the clear antagonists in The Bear. Along with Donna Berzatto, he is one of Carmy's two primary abusers. His impact on Carmy was never as clear on the show as it was in season 3. Lets take a closer look at that impact below:

Culinary ancestry and intergenerational trauma

Both Donna and David are ancestors of a kind to Carmy. Donna is clearly a biological ancestor in that she's Carmy's birth mother. I've argued here that David Fields is a culinary ancestor to Carmy. For ease of reference, I'll include my explanation of what I mean when I say "culinary ancestry", from that earlier meta, here:

Most folks understand ancestry to refer to our family or genetic lineage. When I was in university, I learned about intellectual ancestors or genealogy: where one can trace your intellectual lineage - the thinkers and creators that have shaped your understanding of the world and/or your chosen profession. I think its useful to take this concept and apply it to The Bear to help understand what the show is saying about legacy. I wouldn't limit the concept to "intellectual" ancestry though. It might be more helpful to talk about culinary ancestors in this context because the process of creating food - crafting dishes - isn't solely an intellectual exercise. It engages our intellect yes, but also each of our senses, our memories (recall that chocolate banana from 2x10 The Bear), and the need to nurture and be nurtured. Culinary Ancestors Carmy's culinary ancestors are varied given his work history. We know he's cooked under some of the best chefs in the culinary world of The Bear, including: Daniel Boulud (of Daniel), René Redzepi (of NOMA), Thomas Keller (of The French Laundry), David Field (a sociopathic Joel McHale, of Eleven Madison Park Empire), and Andrea Terry (a sublime Olivia Colman, of Ever). I'd also include here Mikey, Donna and Natalie Berzatto. I'd include cousins Richie Jeremovich and Michelle Berzatto as well. These are the home and line cooks Carm grew up with, watched in his mother's kitchen and at The Beef. He took his lessons - the good and the bad, learnt voluntarily and involuntarily - from all of these people, incorporated them into his working self and transmuted them into his food.

NOTE: In "Ancestors and The Bear" and in other meta I've written, I've incorrectly noted that Chef David Fields was the EC at Eleven Madison Park (instead of Empire). This was due to the fact that up until 3x10 Forever, we are not told the name of the restaurant that Fields and Carmy worked at together. In the draft script for the pilot, the restaurant is identified as EMP (Eleven Madison Park) by Sugar (see p 23 of that script), however this appears to have changed to "Empire" during the course of the show's development.

Through the lens of culinary ancestry, there is a clear connection between Carmy's wasteful R&D and menu choices in season 3 with the "lessons" he received under the tutelage of Chef David at Empire. For example, and as discussed above, the refusal to serve any dish that isn't viewed as "perfect" led to extreme amounts of waste at both The Bear and at Empire.

Additionally, Chef David focused on "subtraction" (recall his writing "SUBTRACT" on green tape and sticking it to the expo of Empire in 3x01 Tomorrow) and never repeating ingredients in the dishes that came out of Empire. Instinctually, these two strategies appear to me to be techniques to create needless scarcity. They're attempts at repression in and of themselves. Carmy adopts these philosophies and tries to implement them at The Bear as well. They manifest in his unilaterally overhauling the original menu at The Bear (without Syd's input) as well as his insistence that the menu change every day.

Minimalistic subtraction of elements was also a characteristic of Escoffier's approach to cooking which would be taken even further with the nouvelle cuisine movement in France. That movement focused on minimalistic dishes with fewer seasonings and sauces. Chef David Fields is clearly rooted in the French school of fine dining in this approach.

Subtraction also shows up in the show in a more dire way: in the cutting off of relationships and the whittling away of self.

I recently come across a promo still for The Bear. It features Carmy as the CDC of Empire, plating a dish. I've seen the image before but I never noticed the writing on the wall next to Carmy before. It reads:

"Its only after we've lost everything we're free to do anything"

This quote also appears in the 1999 David Fincher film, Fight Club (which itself is based on the book by the same name by Chuck Palahniuk):

Left: Carmen Berzatto, CDC at Empire in The Bear; right: Tyler Durden, general nihilistic fuckwit in Fight Club, also preaching the gospel of David [Fields].

This ethos, written on the wall and haunting the kitchen at Empire is emblematic of how Chef David operates. It reads like a fucked Psalm, giving a poetic shimmer to Field's abuse. Chef David tears down his staff, verbally degrading them to the point that he has the gall to whisper "you should be dead" to them. (OK. Can we...for a minute...imagine being a manager and that being your management style? Telling your best performing staff that they should be dead? Excuse me, mon cheri? A literal devil).

Chef David literally strips his staff of their dignity and their connections to the outside world. He makes them lose their sense of self and claims its all to make them better chefs. He tells Carmen in 3x10 Forever:

Chef David: So you got rid of all the bullshit, and you concentrated, and you got focused, and you got great. You got excellent.

The parallels between Carmy's experience at Empire - and even in the Berzatto household - and the critique of performative violent masculinity that Fight Club was trying to get across are worth pointing out. In Fight Club, white men beat each other up to try and assert control over a perceived loss of power. At Empire, Chef Fields consistently berates and degrades Carmy, clearly threatened by his CDC's talent. Similarly we have Richie complaining about having to take orders from "toddler" Carmy, saying "I was a baby too once, Syd. Nobody gave a fuck" in 1x02 (which could have been the origin story of any one of the men who joined Brad Pitt/Edward Norton to carry out "Project Mayhem" lmao. In fact, I wouldn't be surprised if a lot of the dudes on Reddit fawning over Richie circa seasons 1-2 also watch Fight Club as if it was some sort of aspirational manifesto and not the satire that Fincher intended it to be).

Chef Fields is meant to be representative of a toxicity found in the restaurant industry globally. There have been numerous reports of the physical and psychological violence meted out against kitchen staff by those higher up in the brigade.

Additionally the structure of the French Brigade system is such that those at the bottom - stages - are often expected to work for free. While unpaid internships are common in various lines of work, those industries start to run into trouble when large amounts of their products and services depend on unpaid labour. In fact, darling of The Bear, René Redzepi of Noma faced criticism of his restaurant's unpaid internship program. The internship program was rife with stories of ridiculous working conditions. Redzepi finally began paying interns in 2022 but then announced that Noma would shut down regular service at the end of 2024 due to being unable to afford its staff (at one point, unpaid stages made up almost half of Noma's staff).

The fact that entry into the world of fine dining means people need to work for free as a stage automatically eliminates this as an option for folks who cannot afford to volunteer in order to gain work experience. This would disproportionately impact on certain communities, particularly communities of colour whose members may not have access to sufficient wealth that would allow them to work for free. This is clearly illustrated in The Bear where we see that Carmy has the safety nets and access in place that allow him to stage at various fine dining institutions and gain much sought after experience (e.g. his family's ownership of The Beef and his ability to work there, his cousin Michelle's restaurants in NYC and his access to those spaces). Sydney, Tina, Marcus and even Richie have very different entries into the world of restaurants and fine dining.

The issue of sexual abuse and harassment in the restaurant industry is also very subtly broached in The Bear (though it is more heavily implied in the draft script for 1x01), particularly in 1x07 The Review with Richie accusing Sydney of giving a food critic head in order to get a positive review for her risotto (season 1 Richie was genuinely the worst). But the issue is huge, with more sexual harassment claims filed in the US in the restaurant industry than any other field of work.

Even scrubbing floors by hand and cleaning with a toothbrush, while ensuring sparkling kitchens, have also historically been used as a means of punishment, particularly in institutional settings. During Australia's Royal Commission into Institutional Responses to Child Sexual Abuse, there were numerous reports of children in care homes being forced to scrub floors with toothbrushes as a means of physical punishment and control. (CW: the above link discusses accounts of institutional child sexual abuse).

Given the above, its clear to see that the industry - the system - facilitates a whole lot of shit that its workers are subjected to. So when Chef Adam Shapiro catches Sydney as she leaves the train station in 2x04 Violet and asks her how she's doing, her response is telling:

Sydney: It's been a long month [at The Bear].

Chef Adam: Ah. That bad?

Sydney: No, just-- Restaurants.

Chef Adam: Yeah. Right? Why do we do this to ourselves?

Sydney: 'Cause we're crazy.

Chef Adam: Yeah. What was this month's crazy?

Sydney: Um. The kind that's inherited.

Chef Adam: *Nods emphatically* Understood.

This Financial Times article on the dark side of restaurant culture in Copenhagen, sums things up perfectly:

“We always had this joke, an explanation for why things are so horrible: shit falls down,” [Chef Levi] Luna told [the author Imogen West-Knights], with a cold laugh. In the kitchen, the head chef gets mad at the sous-chef, who gets mad at the person below him, a chef-de-partie, who then takes it out on a stagiaire. Then one day, the sous-chef is the head chef, and he has learnt how a head chef behaves: badly. It should give a sense of the strength of feeling I encountered about how damaging this system is that several people independently described it as being like children who are abused going on to commit abuse as adults. This is the dark flipside of the restaurant-as-family metaphor.

Challenging the status quo @ The Bear

By the end of season 3, Carmy appears to recognise that subtraction in his life is not going to bring him happiness. In fact, in 1x08 Braciole, he identified subtraction - specifically, the cutting out of people from his life - as the reason his life got quiet as he grew more isolated. In 3x10 Forever, when he finally confronts Chef David, Carmy laments the psychic and physical impact of Fields' abuse as well as the isolation it engendered. Fields, psychopath that he is, remained unfazed:

Carmen: You gave me ulcers, and panic attacks, and-and nightmares. You--You know that, right? Do you-- Do you understand that?

Chef David: Yeah, I gave you confidence, and leadership, and ability. It fucking worked.

Carmen: My life stopped.

Chef David: That's the point, right?

Additionally, its worth pointing out that despite all the focus on precision, minimalism and (quite frankly) rage being put into the impeccably plated dishes of The Bear, it's the messy, juicy, multi-ingredient filled Italian beef sandwiches that remain the site's best seller. Indeed, in 3x05 Children, Nat tells Carmy that the sandwich window is the only thing at The Bear making any money. So much for subtraction.

We also see Carmy resisting a total acquiescence to Chef David's approach to running a kitchen early on in season 3. His non-negotiables read in the hindsight of the entirety of the series like his attempt at integrating the lessons he’s learned from various kitchens. It’s why the list says “no repeat ingredients” AND “vibrant collaboration”. We know that vibrant collaboration had to come from someone else’s kitchen cos Fields certainly wasn’t collaborating with anyone. That asshole was out there dictating like a fascist.

Additionally, while Carmy has realised the dangers of the fine dining industry by the end of season 3 (and not for the first time - recall in 2x01 The Beef when he called the Michelin star system "a trap"), and while Sydney grapples with her role as an "accomplice" to Carmy's season 3 bullshit, their protégés Tina and Marcus continue to keep the flame of genuine care, collaboration and inspiration alive. This is most clearly seen during the conversation Tina and Marcus have in 3x09 Apologies where they discuss Marcus' mother and his memories of her as well as brainstorm ideas for Tina's cauliflower, brussel sprouts and horseradish dish (please for the love of gad, give us more Tina, Marcus and Ebra next season).

Challenging the status quo in the real world

There are also actual chefs in the real world who appear to be doing something different with their work: embracing their own food cultures that have historically been locked out of the world of fine dining and also trying to run their kitchens in more egalitarian ways.

Above clockwise from top left: Chefs Tim Flores and Genie Kwon of Kasama, Chef Adejoké Bakare of Chishuru, Chef Asma Khan of Darjeeling Express and Chef Mariya Moore-Russell formerly of Kumiko and Kikkō.

The first, most obvious example of this for The Bear fans is Kasama, (shout out to @currymanganese and @thoughtfulchaos773 for introducing me to the above linked, short doco) the Filipino American restaurant founded and run by Chefs Tim Flores and Genie Kwon (who also happen to be married) in Chicago. Kasama is also where Carmy and Syd were meant to have their palate cleansing "reset" in 2x03 Sundae and where Sydney may have also been hit on by fellow Coach K fan, Kasama bae (shout out to @sydcarmyfan for verbalising what I squee-ed about on first watch of this episode lmao).

Both Flores and Kwon come from fine dining backgrounds but appear to challenge some of that industry's basic tenets, including the messianic role of the EC as top of Escoffier's brigade food chain. Flores openly states that his cooking is an ode to his Filipino mother who regularly taste tests his food. In the Nick Cavalier doco linked above, Flores states "if [his mother Lolly Flores] eats [the food] and there's no reference to her dish at all, I'm not doing the right thing." Flores and Kwon also operate Kasama using a hybrid model (that I think would send regimental Escoffier into a tailspin) where they offer fast and casual service featuring Kwon's baked goods during the day and offer a Filipino tasting menu led by Flores for dinner service only. Kasama was awarded a Michelin star in 2023, the first Filipino restaurant in the world to achieve that title. It also took home a James Beard Award that same year.

Note: if you haven't already, have a read of this interview of Tim Flores and Genie Kwon conducted by the Michelin Guide. ISTG Storer and Calo have read this and lifted whole paragraphs for The Bear's script. An excerpt that stood out to me, in particular:

The two first met at Bib Gourmand restaurant GT Fish & Oyster, also in Chicago. "He was leaving as I was starting. So we didn't overlap for very long. But I actually went to eat at the restaurant that he was working at afterwards, and I had one of the best experiences of my life at a tasting menu. And after that we started talking and hanging out, and eventually started dating," recalls Kwon about how she and Flores first met.

Sounds a lot like a couple of Jeffs we know, yes?

Also check out Chef Adejoké Bakare, who in 2024, became only the second Black woman to get a Michelin star in the world (the first being Chicagoan Mariya Moore-Russell who announced in 2020 that she was taking a break from her career for her mental and physical wellbeing and who also...is married to a chef lol). Bakare's restaurant, Chishuru in London, specialises in West African cuisine rooted in Bakare's Yoruba, Igbo and Hausa cultures. Bakare, like Genie Kwon, has a background in biological sciences. She also began her career as a home cook, then ran a fish and chip cart while studying at university in Nigeria. Once she moved to the UK, she ran a supper club and later won the opportunity to run a short term pop up restaurant. During the ceremony where she got her Michelin star, Bakare noted "[i]t did feel rather odd at last night's ceremony that 90% of the room was white middle-aged men. But the passion I see among young women in the industry is such that I'm confident things will change."

Take also Chef Asma Khan, who got her start in the industry as a home cook and then began running supper clubs out of her house in the UK. She then opened up the Darjeeling Express with a group of South Asian women she had met when they were all fairly recent arrivals in the UK, none of whom had formal culinary training. To this day, her kitchen remains fully staffed and run by women.

In this TEDx Talk about her work, Khan says:

"I wanted to cook but I actually wanted to feed people. This gave me the greatest pleasure. I felt at my most powerful when I was able to serve someone something I had cooked. In some ways it was my way of showing affection and love, and being able to give them something that took them home."

Sounds familiar yes? Like a couple of Jeffreys in season 1 of a certain show?

About the systemic sexism in the industry, Khan says:

"But at that time, in England, anywhere in the West, everywhere you looked it was male chefs you saw that was on television [...] in the media. It was always about men who were cooking kitchens. The greatest irony of it all is that [...] in every South Asian home you go to, you will invariably find a woman [cooking] but in every South Asian restaurant you go to, not just in India but in Pakistan, Bangladesh, Sri Lanka, almost everywhere in the world, you will usually find a man cooking in the kitchen. And it was a desire for me that I wanted to cook but there was no road or route in front of me."

Khan elaborates further on the skewed and gendered manner in which elite fine dining operates, in this article:

“There is no public hanging [in her restaurant]. Male chefs have made cooking into a combat sport. I think it’s a reaction to the idea that cooking is feminine: I’m not the dinner lady! I’m not your grandmother! Sorry, but if you’re constantly screaming at staff it means you’ve trained them badly.”

Khan is describing the hyper-competitive nature of fine dining (and her suspicion that in a highly gendered industry that is populated by majority men, that there is a need to perform a hypermasculinity in order to put distance between themselves and the historically feminine-gendered roots of the act of cooking) and how Khan wanted no part of it, for herself, her staff or her patrons. In this Guardian article, Khan points her attention directly at the toxic work cultures of many fine dining institutions:

Khan sees herself as a vital heckler on the sidelines of the industry, rather than part of its elite club of star chefs. She is especially scathing of a macho restaurant culture that has allowed workplace bullying and abuse to become normalised – and of those who enable it.

“My deep concern during the pandemic is seeing very prominent people with considerable wealth remove the entire workforce without a safety net.” A surge of restaurant and pub workers were reported to be sleeping rough in central London in April, a fact Khan can’t shake. “It is so shameful, my heart bleeds for the industry, it is immoral. I don’t want restaurants to be ranked by Michelin stars for the fluff and edible herbs they put on a plate. I want to know how they treat their people, they should be ranked on that. Where there is bullying and racism, where there is sexual harassment, where staff don’t feel safe, people should boycott those restaurants. I don’t want to see them prosper.”

Honestly, after reading some of the horror stories about work place practices in the restaurant industry, I'm with Khan. I'm also with Flores, Kwon, Bakare and Moore-Russell. I reckon Storer and Calo are also with these folks too and that we're going to see a shift in season 4 of The Bear that reflects the larger industrial change in the world of fine dining that chefs like these are heralding.

The death of fine dining

Above: Carmy's phone in 3x05 Children

Like @freedelusionshere says here, I don't think its a suprise that season 3 ended with Ever's funeral. The fine dining of Empire and even Ever is dead. How can it not be given the way its been largely running to date, as discussed above? How can it not be when we are living in a time of severe food insecurity precipitated by runaway consumerism and the twin existential threats of global climate and extinction crises. How can anyone in good conscience justify charging exorbitant amounts of money on a plate that is not going to fill patron's bellies while there are communities worldwide who do not have enough food to feed their children? When some communities, even in so-called "first world" countries like America and Australia cannot access clean drinking water?

Truly, the argument for fine dining posited by Will Guidara in 3x10 Forever made me (and I'm sure many others) actually cringe.

There's nobility in this. [...] We can give them the grace, if only for a few hours, to forget about their most difficult moments. Like, we can make the world a nicer place. All of us in this room. We have this opportunity, perhaps even a responsibility, to create our own little magical worlds in a world that is increasingly in need of a little more magic.

There *is* nobility in nurturing people, in feeding them. But in a time of the multiple and rolling, global existential crises, where particular communities are being targeted not just for marginalisation but whole scale eradication, this is not a time for more "magic"; particularly when those "little magical worlds" are reserved for the select few who can afford them. We don't need more holes to bury our heads in. We need real spaces of care that are accessible, kind (read: not nice, but kind. there is a big difference) and nurturing. And those spaces need to be those things not just for the patrons who visit them but also for the staff who work there.

There is also literally no time for escapism, at least not of the kind that late stage capitalism promotes and as described by Guidara in 3x10. We are living at a time where food systems are said to make up one third of all greenhouse gas emissions, pushing the climate crisis further to the point of no return. What's the point of making magic worlds to escape an actual world on the brink? And while your magic-making contributes to the brink getting closer? Its like putting lipstick on a pig.

Indeed some have posited that it was the British Empire's remaking of the world to feed Britain (which we've looked at briefly above) that has been the single biggest contributor to the current environmental crises facing our planet. The Bear acknowledges the issue as well. Recall 2x04 Violet when Tina visits Jerry at the farmers' market and his explanation for why he has so little produce to sell:

Jerry: There's fewer and fewer moths to grow vegetables now, and 'cause of that, there's fewer and fewer farms. Used to be you could come down here, buy everything you needed for a full menu. All in one spot. Whatever grows together, goes together.

The reason there are fewer months to grow vegetables is because of climate change which has impacted on everything to season length, groundwater and rainfall levels (as the two main sources for global farming irrigation) and increased periods of drought and heatwave.

So whats next for The Bear?

Season 3 put us through the ringer with Carmy replicating toxic practices in his restaurant that are rife in the industry at large. Yes, Carmy also has mental health issues and is a survivor of multiple sources of trauma. We know this. I've talked about this at length here and here. But he's also a guy who's running his own business with folks who are dependent on their place of work for their livelihoods. As such, he, Nat and Uncle Jimmy (as co-owners of The Bear) have responsibilities to their staff.

As EC at The Bear who is directly responsible for managing BOH, Carmy has a choice to make about whether he "blows his trauma through" (shout out to Dr Resmaa Menakem and his book My Grandmother's Hands) the bodies of those closest to him, including the crew at The Bear. Just as parents have to work on themselves so that they don't replicate harmful patterns of behaviour in raising their children, so too do we all in our daily relationships, including where many of us adults spend most of our waking lives: at work.

Like Richie observed, Carmy is not integrated in season 3 but neither is the industry in which he's working. A menu that constantly changes, wasteful food practices, a food production and agricultural industry that contributes to a third of global greenhouse gas emissions leading to increased global warming. These things are absolutely not integrated. In many ways, Carmy's mental state in season 3 - anxious, agitated, exhausted, is a reflection of the times. Given all of the above, Carmy's "I'm so fucking sick of this" in 3x09 Apologies hits me harder in the chest. Yes Carmy, you should be. Now go do something about it.

Having looked at the career trajectories of a few talented, conscientious chefs in the course of writing this meta, I think its pretty clear that the old way of running restaurants a la Chef David Fields is over. As we sit at the precipice of climate disaster, watching multiple genocides unfolding at once, during a time of massive food insecurity, who the hell has time to be suffering in the way Chef David made his employees feel in the course of making food that is meant to nourish people? What fucking cognitive dissonance is required to continue on THAT kind of a path?

Come season 4, I reckon we are going to see a massive shift in the trajectory of The Bear. This will be precipitated by multiple things (like the review Carmy got at the end of 3x10 and whatever the fuck Uncle Jimmy is up to with that box and those golf clubs lol) but most significantly, by a realisation on Carmy's part that his version of Michelin mode IS NOT IT.

I reckon Carmy and Sydney are going to continue to work together but they'll go back to the original plan they made with one another in 1x08 Braciole. They're going to go back to family style. They're going to treat their staff better (after Carmy apologises lol). They're going to shift from wasteful, haute cuisine to sustainable food practices that support producers and the planet more broadly. They're going to leave Chef David Fields' scare tactic of subtraction behind and lean into using more pepper.

Above: Sydney's notebook as she workshops a recipe at home in 1x08 Braciole.

Tagging: @moodyeucalyptus @currymanganese @hwere @freedelusionshere @thoughtfulchaos773 @ambeauty @brokenwinebox @devisrina @espumado @fresaton @kdbleu @vacationship @birdiebats @bootlegramdomneess @mitocamdria @tvfantic87 @angelica4equity @anxietycroissant @turbulenthandholding @yannaryartside @afrofairysblog @ciaomarie

cos you may be interested but as always, I'd love to chat to whoever wants to about this stuff!

[dnfity]

they were so silly in your fic thank you so much :(( question. how do you write such realistic dialogue? your dialogue is seriously some of the best i've seen in this fandom

sorry it took me so long to get to this i wanted to try and give a good answer. i think the biggest thing that helps me is to just try to imagine them say whatever piece of dialogue i just wrote in my head. if it sounds weird, then i change it and i'll keep changing and changing it until it sounds real.

i wrote some general notes below and its long so dont open unless u want an essay on your dash:

george:

i think i find george's the easiest only bc i watch his videos/streams the most. some notes for him is that he says dreams name when talking to him A LOT. if u notice, he'll usually say it after shorter commanding phrases. for example, "it's fine, dream" or "stop, dream" or "i dont know, dream". he'll also use his name at the beginning of phrases whenever hes about to complain about something lmao. let's say george wants to go out or something. instead of straight up saying he wants to go out, he might say something like "dream, im bored. this vicinity that we're in, it's boring" expecting dream to fix the problem for him.

adding onto that, he loves his little vocab words. words like befuddled seem to be favorites for him. i think he just likes the way certain words feel to say if that makes sense. (dream is one of those words). he also tends to speak in shorter phrases sometimes, especially when hes trying to joke around. his way of speaking in general doesnt typically involve long-winded explanations. in fact, in the past, when dream or sapnap dont understand what hes saying, he usually gets annoyed. "how do you not know what i'm talking about? you're an idiot."

dream:

the thing that stands out the most to me with dreams way of speaking is that hes usually very honest with everything he says. if he suddenly gets this surge of appreciation or gratitude towards someone, he'll most likely vocalize it. he also - contrary to george - tends to draw out his sentences. i think he is definitely a saying before speaking kind of person, and that usually involves him cutting sentences off to start new ones, run on sentences, etc. he has that adhd way of speaking lmao. stuttering, saying "like" a lot, feeling like he cant get the sentence out as fast as his mind is going, switching between topics while telling a story.

dream also sees the world through a technicalities a little lmao. what i mean by that is that he tends to want to be very specific when it comes to his actions / the things he observes. for example, he can't just say, "i slept so much last night." it'll go more like, "i slept so much last night. i slept for like, twenty hours. ok, well, maybe not twenty hours but it was like - okay, it was maybe like, sixteen hours." this i think also manifests into terms he used to use a lot such as recency bias (and george kinda does too, but i think he does it mostly when talking to dream, a way of mirroring him during a conversation).

tldr just really pay attention to the way they speak to each other and spin them around in your head.

im sure there are things im missing but i hope that was at least somewhat helpful. i also didnt read over this after typing it so if there are errors im sorry.

[fairydares]

loook i get why the idea of riding the "anti/pro" fandom disk horse makes people gag a little in their mouth and try to opt out entirely, but here's why i went from feeling exactly the same way to taking a firm profiction stance. I've been meaning to make this post for a while.

~10 years ago, I posted a fic for the first time and it got its own harassment campaign. The fic wasn't even sexual, and wasn't going to be (it remains incomplete). It was accurately rated T on fanfiction.net. Anyone in the Fairy Tail fandom will understand this: I literally got harassed for writing a "Lucy leaves the guild" fic💀.

After many nice comments, someone left a pretty nasty one. Hurt, I messaged them back. They acted super attacked that I'd responded (lmao) and after we argued, threatened to "rip my shitty story apart in the comments section" if I responded again. I told them "go ahead lol."

They went ahead.

Now know that it was a relatively small harassment campaign, but at the time, it was devastating. Right around then, I wound up in the hospital. After I got out, I went to excitedly check my fic, and found several reviews saying things I wouldn't repeat to my worst enemy. I was suicide-baited more than once, told "thank fuck you finally abandoned this shitty story, dumb cunt," stuff like that.

There were several accounts involved, and I can't say for sure, but I suspect at least a couple different people were involved, though probably at least half of it was one person.

All the other comments were screeching about how I hadn't updated, mostly. "NO UPDAAATEE WHY DOES THIS ALWAYS HAPPENS TO MEEEE??!!!" was one that stood out after I'd been miserable in a hospital for an extended period of time.

Idk what people think is going on when FT fic authors write this trope, and frankly I don't give a fuck. Because while I was partly writing the story out of some young, cringe feminist rage, I also did genuinely have a real story I was compelled to tell. I was inspired by another, popular fic I loved which used the trope to talk about how trying to shoulder our burdens alone really just hurts both ourselves and everyone who cares about us.

My own story was ultimately going to have similar themes, with more focus on strength, what it means, and in what contexts earning and having it actually matters. In retrospect, no wonder I wound up in hot water, because at the time "Lucy vs. Strength vs. Misogyny" was the FT fandom's Designated Nonsensically Activist Debate™. But that's partly why i wanted to write about it; engaging with the fandom had gotten me thinking about it 🤷‍♂️

Not too long after that, FFNet oh-so-benevolently granted us the ability to delete comments from our own stories (they never took my reports seriously at all, afaik). I deleted all or most of the harassers' comments (may still be a one or two up, and i'm fairly sure there's a couple comments defending my fic from the harassment) without saving screenshots, which I really regret now. I was just so mortified and full of self-loathing about the whole thing that i wanted to forget it completely. Something that had brought me joy at a very lonely, vulnerable period of my life had turned so negative, and i couldn't even tell the people closest to me about it without being made fun of for writing anime fan fiction.

I didn't understand why this happened at the time, but--after a period of trying to forget/bid out of it all with a slight anti lean (a common approach I see people use, and one which I'm not proud of adopting)--I just had to figure out What the Fuck Even Happened There. And I'm telling you, after years of reflecting, wrestling with both sides, and educating myself, that this "status quo of harassment" culture which pervades fandom goes way deeper than you think and comes out of a way darker well than you probably realize. An astonishing amount of this is, quite literally, TERF shit and evangelical shit.

Trying to be in fandom and take a stance of, "Anti/Pro shit? Ew, I'm Not Touching that," is like swimming in a heavily polluted river and being like, "Poison? Cringe. Not me lol."

You might be lucky enough to be in a less-polluted part of the river (AKA a relatively non-toxic fandom, in which case good for you!)...but tbh this rhetoric and peer-signalling will still seep in.

I can't stress enough that pro-fiction, AKA "proship", is the normal, leftist-about-art-and-sex opinion. Pro-ship is against all the horrible things you're against; in fact, pro-ship isn't trivializing real trauma by equating it with fictional trauma, or trying to apply literal evangelical/radfem solutions--which are proven not to prevent or help. Profiction/proship is literally just saying, "Fiction is fiction, reality is reality, and the two don't have a 1:1 relationship. And historically, trying to censor just things we've decided are bad has done nothing but get LGBTQ+ and POCs censored. Therefore, depictions of illegal things shouldn't be censored." That's it. "Proshippers all ship problematic ships," is a brazen lie. Many of them share other fans' disgust for those ships, they just don't believe in censoring fic authors over it.

It is also taking a stand against harassment because--and I hope my own story has helped drive this home--as with all groups who adopt ingroup/outgroup thinking, antis are defined by their tactics, not actual stances on real, serious issues. What happened to me was absolutely a result of anti, "it's okay to 'bully out' anything I just don't like" mindset pervading fandom. In a way, this was the mindset's final form. They didn't even feel the need to cite a reason the trope was "bad" or "wrong"; it annoyed them, and they viewed their own feelings as a valid enough pathway for policing to go right ahead and do so.

In the interest of offering solutions instead of just bitching about problems, I might make a "how to know if you've bought into these types of views"-type post sometime. Also might come back to this and provide some sources/citation.

[fasolabean]

warninggg this is a long one ,,,

(Okay so I started writing this uhhh vent before more posts on the n//fts appeared later so plz keep that in mind hah)

So I haven’t been too active on here for the past month – a bit personal start, but I’ve moved to a different country whooo!!!! (its terrifying) (my brains been involved in fandom stuff as usual but physically I wasn’t lmao).

But I wanted to talk ab the n//ft (censoring bc idk ab bots here) thing bc while some people on here provided some great context and threads, most of the talk has happened on twitter. So like. Since it was first confirmed what the raffle thing was I was veryyyy disappointed, especially bc K has made fun of this very thing on stage previously. And like yea, the nature of what hes doing is different than the n//ft crypt0 scams, since the cost of the paywalled content is set and not fluid and the raffle thing was free to enter, and I know there have been threads about the website not being the worst on twitter (link) (edit: now here on tumblr too). But still man. Both of these could’ve been done on either an independent website or through stuff like youtube members or patreon. Or hell, even just on the merch store? Like buy a promo code that buys you access to the material?

Also like I get that this was probably a contract that would be rly hard if not impossible to terminate. STILL though, I wish we just got an even short thing like “hi sorry I wasn’t aware this is gonna be a one time thing we’re not doing it again”. I don’t mind extra content being paywalled personally, I know some people do, but I just really wish it wasn’t don’t with that technology. And yes, I also now know it’s a safer way to handle shit like that but I just cant see this excuse being used for commercial use? Like maybe I can see why I could be made to use it for like idk an important document, but a raffle ticket? Nah

I also, ugh. Felt weird about mikke in the team since the winter. This whole thing seems to be – at least to a large extent – either done or influenced by him, judging by even the fact that the europass thingy webpage has oy photomikke marked (no im not buying it but i did look around curiosity was stronger). Also the previous thing that had made me go hmmm about käärijä as a brand was the bnb, which now seems to be ran entirely by mikke and his wife. Like stick to your photos man? That being said tho, Jere IS an adult and he IS the face of this brand. If he doesn’t think hes qualified to make business decisions all by himself (which I get, this shit is hard), nothing is stopping him really from getting a professional to help him with those things. And if there IS something stopping him then hey man I think you should go to the press with that lol. From any interviews ive seen or read, you can feel he feels this responsibility to keep his friends and family that initially helped him afloat. But I wish he understood that not letting people who in the end are not professional about business and PR and having them stick to their own thing does not have to mean cutting them off.

But now I just wanna share a thought that to some might seem like me defending him – which, in case you didn’t get I am very much not lmao. The thing is, im really glad the fandom is able to call him out on a shitty thing – like a bad baaad business decision. You can like somebody’s art, hell you can even like the public person they are, while not agreeing with everything what they do. What annoys me though, is that apart of the kä fandom, he is also often talked about (usually negatively) in the wider esc fandom. Over the past week I’ve seen multiple threads on twitter from people that rarely ever mention him about this. That would’ve been like, not that much of a deal (though sometimes it really got… engagement bait-y) but the amount of bodyshaming and shaming of his fans that comes up with every valid criticism is making me wanna pull my hair out.

Especially cause he’s neither the first finnish esc-related artist to do that (Robin and Cyan Kicks are mentioned on the kollekt website) nor is he the first esc artist of his influence to do it either. Last year Loreen and Alessandra have released n//fts last year, and Loreen did a very similar raffle a couple months ago. Now I wanna be very clear: I don’t want this to be like. Cancelling these people, that would be so hypocritical of me. I also don’t want this to be like a fandom war like oh youre mad he did xyz?? Well THIS and THIS person did THAT!!1! I’m just merely annoyed that these people doing essentially the same thing went with no echo at all, but now I’ve seen us (the fandom) be literally called the r slur and the most vile things being said about jere and, for some reason, his appearance???

Idk man. I really try to  make it clear im not trying to excuse his decisions and I think being angry and/or disappointed at him is absolutely understandable. Im just angry that every single time he fucks up, every single time he makes a mistake, my timeline is filled with a wave of people rejoicing in it. I know he’s a controversial figure, he’s been one since day one, but I just wish he’s gotten the same amount of shit his peers do for the same actions? And this happens every time, and each time im like “well ig I can see why hes so bad when it comes to criticism”. Because imagine doing a thing that your peers have done with no/minimal criticism and then the moment you try it out you get people calling your fans slurs and commenting how stupid you are. Like ngl id also think any criticism was hate lmao.

Again I wanna be very VERY clear im very critical ab what he chose to do. I wish he took some responsibility – and hope he maybe does, at some point in the future. This year has been a whole lot of bad business decisions for the käärijä brand in my eyes, and I hope he can actually see where its gone wrong and do something about it, both for his and our sake. I am also happy to see fellow fans who are able to call out their fave. But man I am TIRED of him just getting all the shit (from people who very visibly fans are not)?? And now I have the proof that it is comparably more than other people and not just my bias towards him because wdym there’s been at least 4 esc artists, 2 of which more famous than him, and 2 umk artists doing exactly the same thing with almost no echo??

TLDR (thishasover1kwordsfuckshit); I wish he did better, simply. I kinda cling to some hope that maybe hey finally this time he will see that criticism can be constructive. I think this is still a level of fucking up that you can like, come back from. Pity it’s connected to the eurotour since kinda souring my excitement ab my first concert in a new country a bit :(

[evelynpr]

For the character ask game can I pick toga :)

I'm gonna be very honest in these, and I might disappoint, but here it is-

My first impression - I started watching BNHA around 5 years ago? It's hard for me to remember what exactly was my first impression of Toga, but back then I really didn't care for her much. Honestly, I just found it quite problematic that the only main female villain in BNHA is an overly cute school girl who fits the "cute yandere" trop to a t when the rest of the male villains look a lot more serious and scary.

My impression now - Perfectly honest- I really only started paying attention to her because of Ochako. I was, and still am, a massive Ochako fan, and when I heard that she suddenly had a massive romantic and tragic battle and narrative with Toga after leaving the fandom for 3-4 years, I was immediately deadly curious. - Even with how much I resonate with her story and character, I generally have a big ick for blood as a whole (surprising for a very loud tgck fan I know). Right now, she's my poor desperate little baby who really really needs love and therapy (affectionate). I wish we got to see more of her regular girly side, like caring for the LOV especially Magne and Twice.

Favorite thing about that character - That her entire story is a mentally ill and queer narrative. Like I said earlier, I actually have a big ick for blood and the cutesy yandere trope. But the thing that gets me about Toga is that she is the most openly bisexual/pansexual character in the series, very clearly mentally struggling, and both thrives and suffers because of her choices and circumstances. - She's such a tragic and hopeful character that represents so many weird people like me that I can't help but be attached. She makes me want to embrace my more girly and selfish side, and screams at me that I should live my life how I want to. - I can't leave out Ochako from this part. Holy shit the themes and story about their relationship makes my heart both break and soar so bad it genuinely hurts. Save people by understanding them, helping them, listening to them. Show someone you can be selfish, that they deserve love, that she deserve a chance. It's so much it punches me to a million sobbing pieces.

Least favorite thing - For the 3rd time now...not into blood. I don't like its taste, look, and the mere thought of bleeding genuinely grosses me out. - You probably think "How in the world are you attached to her then?" well its because I understand that Toga's "blood" is also a representation of her violent tendencies and love. I see it much more as a narrative device for her character and themes.

Favorite line/scene - Shocking, but I actually have not read the manga. I can't say what my favorite scene is just yet because I want to truly witness it animated, when the time comes. - If you want an answer well, from the anime so far, it probably is when she gets her quirk awakening in MVA, or when she confesses to Izuku in the final war (mostly because that scene is so damn hilarious, tragic, and important).

Favorite interaction that character has with another - ...I mean obviously it's Ochako lmao? Every interaction is a fight of ideals and love- which suddenly morphs into a way of challenging each other- then growing into understanding and loving each other. That is. Just insane. How the fuck did BNHA's writers come up with this.

A character that I wish that character would interact with more - For the sake of my Tgck Bkdk square, I really wished for her to have interacted with Bakugou at least once. Just see how one person's violence and power was praised, while the other was abandoned and shamed. How they both have a strong squishy-faced freak they're obsessed with, and also obsessed with them, even if they don't feel like they deserve it. - Oh and, definitely more LOV random shenanigans and bonding time. I wish I was able to get more into them ngl, but I never really felt that sadly. Man...

Another character from another fandom that reminds me of that character - UHHH??? I genuinely have no idea. I am drawing at a blank I am so sorry T__T This is the firsts time I have ever been interested in this kind of character??? Really sorry-

A headcanon about that character - This is kind dark so be warned - I got this idea from a fic and now I can't stop thinking about it. Toga always wanted her love to be reciprocated or understood by someone. Anyone. I feel that she was taken advantage of and abused by horrible people in her earlier days of running away...especially since she's a young teenage girl in a cute school uniform. I am so sorry...

A song that reminds of that character - I am working on a Togachako playlist! It's about both of their characters respectively and also their story and relationship, but here's the ones about Toga specifically! - Hayloft II (THIS ANIMATIC), The Red Means I Love You (obviously lol), Butcher Vanity, Hero (Charlie Puth, mostly tgck), Pink Pony Club (Chappell Roan, early Toga)

An unpopular opinion about that character - She's not the possessive type, and she's really very open to people she loves loving other people at the same time, polymarous kind. This is probably a pretty common hc already tho since she says this repeatedly? - Her most common form of love is a very impulsive/sexual/admiration/attracted kind. You could even relate this to hypersexuality (something I struggle with) where the moment you find something you're into on someone, you body and brain genuinely go kinda out of control. I project onto her my own inability to hold and control these kinds of feelings at times, but Toga is quite the manifestation of my fears.

Favorite picture - I love it when a character's mask peels off. Toga genuinely angry, upset, and just not smiling is so fascinating and beautiful to me in a "It's okay my dear, show all of you, stop hiding" (Ochako might disagree with me on this tho, since she loves her smile lmao-)

[utdrmv-confession-box]

Transcript: ‪Honestly I hadn't expected myself to send an ask here, but I felt the need to say this. ‬

1. I highly respect the mod for doing things the way that they are; must be a quite exhausting, dealing with a bunch of confessions every day, and I highly encourage breaks. I'm always entertained whenever I see an ask pop up on my feed, no matter what the subject matter is. It's a nice hub, I guess. Keeps me connected in a way to the opinions of people I haven't shared a word with, yet am part of this community all the same. But I digress- its super cool. Keep it up! <3

2. What im confessing.

I find this fandom to be one of the most impressive I've ever really come across, what with how it interacts between members, and how it somehow both disconnects and connects at the same time to the OG source material. Part of our wild and untamed growth as a fandom is BECAUSE of the game that we come from. Undertale is a game about choices and their consequences, we all know that by now- but what I've seen for the past NINE YEARS is what's come of the impact of that chance, that opportunity to dive into another world and spread it apart like a rotten log to see what gooey and weird curiosities are inside.

And in that regard, I feel we're both the hands spreading it open and the bugs writhing underneath. What we've made, the good and the bad, is an ecosystem all of its own. The game is that metaphorical log. We merely live inside and around it, feasting off of it and spreading it even further.

That, to me, has always been gorgeous. It's a wonder of human imagination, in it's most convoluted and mishmashed form. That, if given the chance to peek and create from SOMETHING, we could do amazing things. Undertale was that chance. At least for me, that is. It certainly hasn't let go of its grip on my mind, that's for sure (send prayers lmao)

That's all. Ha, I'm tired. :'')) wanted to let all that out, in as much of a coherent thought process as i could. Thanks for the opportunity. This fandom just means a lot to me; i always found it to be something of a marvel, in spite of all its many, many flaws...(Sorry about how long this is!!! Btw!!!!!)

[cleromancy]

Something has been bugging me recently. Do you ever notice how people (particularly Jason stans) go on about how Tim victim blame's Jason for his own death, but fail to mention how Alfred and Bruce are guilty of doing the same thing in the past? Why do these two (especially Alfred) get a pass?

LMAO LIKE... EVERYONES DONE IT. BRUCE ALFRED DICK BABS *SELINA* OF ALL PEOPLE ONE TIME... actually id have to double check that one idr exactly what she said about jason it might have just been that hes unhinged (<- also a thing everyones said at some point) but like. everyones freakin done it. or at least *implied* it.

tim is a special case for a reason though--and ill come back to bruce and alfred later--and its not just bc fandom wants a scapegoat to pin All The Victim-Blaming on. on a meta level tim was specifically created to be jasons opposite, and to ~rehabilitate the robin role and make robin palatable again to modern readers. (and to be clear this wasnt bc readers didn't like jason specifically--it was the idea of robin at all, and to a lesser extent just replacing the orig. jason just took on the mantle at a really unfortunate period in comics culture.) so the comparisons to jason are baked in right off the bat. and tim has to be "better". tim had to prove that a robin was necessary so that dc could keep having one, he had to justify it so that the blame didnt fall on bruce for getting a child killed (or yk even just out there fighting crime at all). theres also an element of class dynamics thats. i mean. jason was a homeless street kid and tims this fancy little distinctly upper middle class kid who replaces him, without derailing to get too deep into that the optics already arent fucking great.

but tims creation aside, just as far as how often it comes up... tim also takes the role of robin really seriously, and its everything to him, so he spends a lot of time thinking about it, what it means to wear the uniform & fulfil the role. so hes the one whos most frequently in the position to be thinking about jason, after bruce. so tim winds up being the one pushing the bulk of the bad/angry/impulsive robin narrative retcon dc wanted to push bc... its the most directly relevant to him. bruce doesnt have much narrative need to think about jason "failing" or not being good enough until under the red hood... except to be like "i dont have to worry about tim bc hes not like jason." lmao. and then you have tim who does not want to get killed, like jason did, so he spends time thinking about how to not end up like jason. which is a fundamental misunderstanding of how being a victim of murder works but i think understandable thing for a child replacement of another dead child to latch onto (particularly one as prone to arrogance & god-complex-itude as Our Timmy, lol). and both on a meta level and in-universe this is about shifting the blame off of bruce and onto the victim because tim needs to keep filling the role hes filling without it being bruces fault that jason died in the first place, bc reckoning with batman and child endangerment is not smth the comics had ever really planned on doing in a serious way.

but as for why singling tim out over bruce and alfred-- the kind of ppl who do this already generally think bruce sucks past the point of being interested in ~holding him accountable~ for absolutely anything... like "bruce sucks, everyone knows he sucks, enough said." i think the logic is generally like "if tims not a total shithead like bruce, then why is he doing shithead stuff like bruce does :/" and then pinning it all on tim as opposed to considering like "hey uhhh do you think maybe hearing stories about jason from bruce influences how tim thinks of jason over the years." if that makes sense

as for alfred. people do not want alfred to have any interiority or to ever have been mean or wrong bc then theyd have to actually think about the fact that bruce has a 24/7 domestic servant in his employ, which is just the. tip of the iceberg when you start thinking about alfred as a full character and not a convenient cardboard cutout to prop up whoever the narrative needs him to. also alfreds role in almost every batman narrative is strictly as support, almost no agency within the story to have a meaningful impact, and people generally respond to the character in kind.

finally i think tim mmmmight be the only character at least as of the reboot who ever talked *to jason* outloud style about certain things relating to jasons death... this answer is already getting too long so i dont want to get into depth about titans tower. but tt 2003 #29 is a great example of the comics pitting tim and jason against each other to make Jason look worse by comparison--for all that tim doesn't actually *say* anything victim blaming jason for his death, *and* for all that jason totally kicks tims ass in the fight and its not even close, on a meta level the story is 100% presenting jason as the bad robin, the robin who failed, Unlike Tim Drake, A *Good* Robin. (i accidentally reread the issue ... im going to make a post about it later probably. god i wish this fucking issue had been good)

but yeah i could probably go on and on even further but yeah, i think thats where people are coming from when they single timmy out. tim only exists at all bc of jason n would be fundamentally unrecognizable without having been crafted to be the anti-jason. and on top of that he has repeatedly been used by dc to make jason look worse (or rather jason was used to make tim look better), and a lot of my fellow jason stans understandably resent tim for it. i however am built different, and want them to kiss.

[beanghostprincess]

What are you most controversial/unpopular OP opinions??? Sorry if it was answered before

You want me to get canceled so bad-- If I speak-- But idk, I guess I'll say the controversial opinions I can say publicly without a bunch of people coming at me!

Zo$an is a bit... Overrated? And by overrated I mean extremely/annoyingly overrated. I like the ship and its canon dynamic but I think at least 80% of the fandom portrays them in a very mischaracterized way. Not to say that... The ship is literally everywhere and the shippers always look for every little thing to prove they're canon, even if the "proof" has literally nothing to do with them. It's not that I don't enjoy the ship (although I must admit I prefer other dynamics a lot more) I just can't stand shippers that go to extremes. It's funny because I think Zo$an's dynamic is way more interesting and romantic in canon than it will ever be in the fandom. It's a bit sad, ngl. I liked them a lot at first but it got so tiring and now I am pretty exhausted from seeing it everywhere. The people force it to be more than it is when the canon is already pretty fucking great.

Adding to the Zo$san thing. I think that relationship would only work if Luffy is there somehow but it wouldn't last a day without him in the relationship. Unless there's like, a ton of character development most of these people don't make them go through.

One Piece Film Z is my worst enemy. It's such a boring movie. The only good thing is the soundtrack and maybe the suits but God watching that was torture.

Boa hate is uhhhh weird. I mean, I get why the joke about her being in love with Luffy might be annoying, but I think most of you need to learn to understand that Oda's sense of humor is sometimes a bit too exaggerated (and not funny) and it has basically nothing to do with the actual canon dynamics between characters. Boa likes Luffy because he's one of the first men who has ever treated her right, so of course she confuses that feeling with love. And of course, yeah, it isn't canon. Whatever. Just read between the lines, maybe? And also, stop using words like "pedo" to describe her because using that term so lightly about 1) a fictional character and 2) somebody who's clearly not a pedo is fucked up. Lmao. Do you even know what that word means???

Once again complaining about Pudding hate and saying that it's stupid. I won't overanalyze because I always do it with her, but the only reason people hate her is for misogynistic reasons and because they're babying Sanji. Evil male characters are okay and hot and very traumatized but the second it's a woman she's the most evilest person ever! Because God forbid they make mistakes! Suddenly their character development isn't valid because they hurt their babygirl!

Now that we're talking about my dearest Pudding. Not tagging anybody of course, but I saw this post with so many interactions of people agreeing about Sanji considering violence as a sign of love which??? Doesn't make sense at all?? OP said it was because he couldn't tell the difference between love/abuse because of his family, but that's just... Not accurate. That could only happen if they had manipulated him into thinking abuse is a type of love, but he had healthy love growing up. Even when he was with the Vinsmokes (Sora and Reiju, I love you). And yet OP said Sanji considered Pudding's behavior flirting (wrong) and that's why he let her attack him (nope) and that it was proof of Zo$an. And okay, it's not a hugely popular theory, but a lot of people agreed with it and it bothered me a lot because it's both out of character and also using Pudding (complex female character) once again to try and prove the canon of a ship (that doesn't have anything to do with WCI either???). It just bothers me. People can perceive the story however they want but... Y'know.

OPLA isn't that good. Or good at all? I only like it because I like the cast and it's funny seeing my blorbos irl. But the script is simple and dull and just stupid most of the time. The characters are either simplified, mischaracterized, or forgotten. And tbh most of the shots are very awful and could be a lot better. The directing is also nonexistent. It's 6/10 and 3 of those points are because both the Zolu and the cast.

Apparently this is a very common theory about Nami's origins, but, uh, I don't think we need to know? What else do you need to know about her? People say she's a lost princess or something like that as if we didn't have a lost princess already (Sanji ily). Repeating the same plot would be boring and underwhelming, but also? It'd be extremely useless for the plot and it'd go against everything about Nami's story and the way Luffy reacts to it.

Luffy isn't canon aroace. In fact, the reasoning people use for him being "coded" is the same Oda uses for Zoro too and Zoro is almost never portrayed as the "idiot who doesn't know what sex is" the way Luffy often is. If you're calling Luffy canon aroace for what Oda said about him being focused on adventures, the same goes for Zoro being focused on his dream. They could be coded arospec but there's nothing confirmed and the constant discourse about it is stupid. Attacking others because of their ships just because you don't agree with them and saying it's wrong using our identity to do it is very fucked up. Especially since most of the time people complaining aren't even aroace. The only reason people do it (attacking others saying they can't ship Luffy and that it's "weird" and "wrong") is that they infantilize Luffy/Don't want him getting in between their ships (<- aroace person writing this) (also, it's very ableist since people agree on Luffy also being neurodivergent coded and treating him like a kid bc of that but this isn't about that now).

Somehow this is very common. Some fucking how. I can't believe I have to say this. I'm tired of people blaming Usopp for what happened in Water 7. Or in general hating Usopp. Actually, he's one of the best-written characters in the whole show and he's so underappreciated it's so frustrating.

Sanji's perv jokes are annoying af and we all know that, but people who hate the character and consider him a red flag for that are missing the point completely. The point being "Oda exaggerates jokes to an annoying extent and most of the time they don't even reflect the character". I understand they can make you uncomfortable (same here tbh) but reducing Sanji to only those jokes is a waste of his character. You need to take jokes less seriously.

If I see one of these "red flag OP boys" TikToks adding Law/Ace/Zoro/Sanji next to fucking Doffy I will riot. Also, stop adding Crocodile there. He's a mafioso, there's NO way he won't be a sweetheart to his lover.

Baron Omatsuri's artstyle and animation is amazing and it fits the plot and aesthetic of the movie perfectly and people saying it's ugly will forever bother me.

"Usopp is suddenly hot after timeskip!" He has always been hot what the fuck are you talking about.

People reduce Nami to her "mean"/"sarcastic" personality a lot when she's quite literally one of the most kind-hearted characters of all. That being said, morally speaking she's probably one of the worst. I could explain how that works but I don't want to do it now, the point is-- Let the girl be sweet instead of making her mean all the time. And also, let her be mean and selfish without making it her entire personality. There's something called "balance".

Film Red was kind of bad. Like, the songs are amazing (thanks, Ado) but the ending is awful and the plot is very meh. I'm only here for Uta and Shanks but the rest of the characters are just useless. I do appreciate Sanji's hair in the movie, though.

[ofironandivory]

I'm BACK to yap about the ship of the hour - emerie x viktor🗣️🗣️ (brace yourself, it's a bit of a word vomit)

so uh idk if you know about this AU but it was kinda popular in the arcane fandom at some point (or at least I think it was akahaj)

it's called the lumen au and it's a type of soulmate au.

a lumen is a ball of light usually around the size of a tennis ball, but it can vary I think lol, that is a physical manifestation of their soul mates soul. the colour, texture and any other features of the lumen varies depending on the soulmate.

the lumen has a personality similar to the soulmate, so a ditzy soulmate might have a lumen that wanders around a bit lol. but at the end of the day lumens always follow their respective soulmate, although they're not tethered and can be stolen but thats a whole other story.

the soulmate can also feel anything that happens to their lumen. so tickling, kissing, biting, poking, squeezing etc. the lumen results in the soulmate feeling it no matter where they are. the feeling all depends on the intention of the person touching the lumen, so if they are poking it with the intention of comfort that's what the soulmate will feel and vice versa.

when soulmate meet, their lumens get drawn to each other and kinda.. circle each other and let out a bright light before going back to their respective owners. by that I mean the lumen goes back to whoever they were already with prior, the souls don't just trade owners if that makes sense. lumen a stays with person b and vice versa. I think it is possible to trade lumens so you can have your own lumen in your possession, and maybe even trade it with someone else and decide your own fate :D

okay ramble over, I sent this because I have questions👀✍🏼

1 what do you think you and your f/os lumen would look like 2 what are their thoughts on lumens and 3 how do they treat their lumens based on 2

if you're not a big fan of soulmate au's - or just don't want to respond to this which is fair lmao - consider this a free gush pass🎟️

enjoy the rest of your day!!

@i-put-the-s4p-in-s4pphic

I LOVE SOULMATE AUS, ESPECIALLY WHEN IT COMES TO STUFF LIKE THIS FIFHDJDHDKDH!!!

Let's see... I'll do my real self and some of my S/Is and their respective F/Os!!

I feel like my lumen would be slightly dim around the edges but bright in the middle, with a blue and purple hue. Its texture would be like a stuffed animal, soft and fuzzy. It'd be shy and reserved, but clingy and curious, so it'd mostly reside in my soulmate's pocket or bag! It'd also expand or shrink depending on its mood, the more cheerful or pleased it is, the larger and brighter it'll get and vice versa!

Charlie's lumen is mostly green, with a deep blue center! Its texture resembles a very soft and warm cloth. It behaves extremely shyly most of the time, but when it believes its soulmate isn't looking it'll flicker and bounce excitedly! If it doesn't know where its soulmate is, it'll look around for them frantically, scared to be by itself

Emerie's lumen would be bright teal with a pink center, always bright and never entirely steady. It'd feel smooth and cool to the touch like a pearl! It mirrors its soulmate very well, so if it senses joy it'll bounce around the room in excitement; if it senses sadness it'll dim itself out and stay close to its soulmate, to comfort them in anyway it can

Viktor's lumen is a varying gradient from light blue to bright white, with iridescence "shards" that flicker and change colors around its core. The texture is surprisingly soft and cool to the touch, like letting a cloud slip by your fingers!It's very demure in nature, mostly floating still over its soulmate's shoulder, watching over them intently and curiously. It feels warmer to the touch when caressed with love or desire!

Jinx's lumen flashes between pink, purple and blue constantly. It looks sharp but feels warm and smooth to the touch, almost like holding someone's hand! It behaves sporadically and does as it pleases most of the time. If it feels like its soulmate isn't giving it enough attention, it will shove itself in its soulmate's face and interrupt whatever they're doing

Ocean Princess' lumen is constantly changing between multiple hues of blue! Its texture is like dipping one's hand into cool water! It should be kept on a leash, if at all possible! It is constantly all over the place, darting around in excitement and curiosity over every little thing. It is also incredibly affectionate and often floats up and around its soulmate's face and hands for pets and "kisses"

Simon's lumen has a cozy orange hue, with a very small blue core. It feels warm and nostalgic, like slipping under a comfy blanket during a rainy afternoon! It behaves shyly but if it notices its soulmate feeling upset it'll try to do something silly to make them smile and cheer up!

Eris' lumen is a deep shade of green with a purple center. It feels almost electric, leaving a tingling sensation after coming in contact with someone. It behaves like a floating lamp, unless handled with love and affection repeatedly, then it will always be around its soulmate! It will try to be helpful by dragging or pushing things closer to its soulmate and "blinking" over something they may be looking for or forgetting

Sir Pentious' lumen is golden and extravagant, it feels bumpy and cold like bolted metal. It tries to keep its composure and behave nonchalantly but it releases a proud hiss and smoke once excited or happy! It follows its soulmate around and usually slips under their sleeves or hair, like it's using them as a hat!

[codajaiden]

I don't get the gist of Nightbow (Rainbow Steve x Nightmare) like, how does that work??

(warning I might rant so much y'all would explode, correct me if I'm wrong tho)

"enemies to lovers!" No. Lemme clear this up for you

Nightmare and Rainbow were created to kill each other, hate each other's guts, there is no conversation or part in SS or RQ where they went and be normal people talking to each other and stuff (not that I can think of anyways)

"for fun" I don't care if it's for fun, sure it's funny but like????? How is it y'all's favourite????

I'm someone who likes to go insane just watching plot, WHILE YES, STEVE SAGA WAS JUST A RANDOM STEVE SERIES AND WAS VERY RANDOM WHEN IT COMES TO PLOT, ITS SILLY, ITS RANDOM

But y'all are like "I can fix them", there is nothing to fix???? they are literally people wanting to kill each other and that is their goal.

Oh and let's not forget, I have my eyes on the people who write in Wattpad, don't think I have not seen their "freaky" writing at all.

It's not only Nightbow at least, I see the people here who ship Rainbow and Void together, same thing, but if we're talking SS then there was still no good interaction of them both to be on the level of actually being good friends. Still, Wattpad people are freaky about them too.

This can be implied to Favremyrainbow ig, but to me it's very bland and boring. I admit I did in fact ship them, but as time passed I just stopped because it was so cringe 💀💀

I don't want to be mean and rude when it comes to this but it bugs me every time.

Okay the only thing I can counter this is Alux x Petro.

Petro and Alux are basically Anna and Hanz in Frozen, gaslighting and manipulation exist but dynamic and trust are important. There is communication towards the two that leads into something in the plot.

Nightbow has none of that, they hate each other's guts. People say they can fix them, nah, with Palux you can make them worse (/j) HEJWJEJWJSJA

"Petro and Alux's entire dynamic is mainly built off of manipulation" YES but thats on Petro's side. Most people ship it due to it being tragic on Alux's side because everyone in this fandom likes doomed mlm i guess (I'm one of those people but again the plot reasons goes on for both of their dynamic)

"But he stabbed him" YES. I have not seen a single person who ships them currently its mainly a one sided ship. For alux its built off genuine love and care for Petro, knowing he's the only REAL connection in his life. The people who ship them (from what I've seen) mainly do it for tragedy and narrative purposes. no one is actually here WANTING alux to be stabbed and abused

And for Petro it adds much more conflict to his character if you add like any romance to him. like, loving the person your meant to kill and killing them anyways is a really interesting narrative plot idea. Its also really funny tbh but oh well.

Narratively it adds more to their characters as long as you dont romantize it and treat it like it'd be healthy especially at this point in the story.

This is literally doomed Yaoi (it's funny I wanna say that) and it works so well because of how they were narratively written this way towards each other. This cooked better than some enemy wanting to, excuse my language, have freaky SHIZ going on with the Hero 💀

Okay I'm done with my ranting I'm sorry for the people who like Nightbow but I'm sharing what I'm saying and y'all are gonna respect it and not be problematic. I feel like I should not be on the internet for a good while late and night this is how freaky I get when it's past midnight lmao

[spicybylerpolls]

Interesting points from anon who argued for bottom mike there. Thanks for being so generous with your explanation for your preference! 

I found this interesting: i guess my main reasoning for him being a bratty bottom is just how he acts sometimes through the show, his clear distaste for being told what to do and his snappy comebacks.

To me, this indicates that mike very much would not want to be told what to do in the bedroom, and would thus take control. Distaste… so why would he like being told what to do in the bedroom? 

I mean, maybe, as a kink, as a relief, in the way people who engage in d/s culture enjoy the separation from their reality. But that’s also a highly self aware and advanced sexual expression that requires knowledge and courage. Your average virgin does not immediately engage in bdsm culture or even understand its psychology. Most people barely know what they like in the bedroom, let alone the complex dynamics of bdsm and d/s. 

Which leads me to the realisation of how interesting it is to see such common dom/sub conversations around byler sex in this fandom. it speaks to the fact that fandom is very fantasy- and imagination-based rather than just working with what is canon. It's so intriguing, because I personally came to fandom hoping to discuss the show, almost analytically like we were in media class, and found lots of fantasy play and headcanons and stuff, which I hadn't known were a thing. At first it didnt make sense to me... why would you want to celebrate characters/a show but make it completely into something that no longer resembles that show or those characters??

I understand fandom better now, but even so re: sex, I would say that irl, at least 50% of people dont engage in dom/sub dynamics in their sex life at all, or even anything that would be considered kinky or fetish. In fact, one you've removed the percentage of people who don’t have sex at all, a large portion of sexually active people (especially women) don’t engage in even the simplest kind of vanilla sex where they ask for the bare minimum of what they would enjoy, what they want, know what they want - many dont even enjoy sex or know how to orgasm. This doesnt mean their sex is abusive or toxic or they have a history of trauma, but just that they dont feel comfortable or that it’s their place to ask for pleasure. They just do what they think they should do, 'normal sex' (a common historic phrase here was 'lie back and think of england' lmao... basically what royal queens were told to think as their husbands butchered them in the least enjoyable way possible).

(I also always found the scene with Steve’s mean friends in s1, after he and Nancy have sex, uncomfortable because they were clearly taking the mick out of Nancy when imitating her screams, and it highlighted how performative that sexual experience may well have been for Nancy. I mean, if Steve made her cum during her first time? Damn, he’s good. But chances are he didn’t, and nancy’s storyline was partially about performances and status in s1, so her first time w Steve also being performative is a possibility. It makes the barb storyline even sadder too.)

But back to byler. theyre boys so dynamic will be different to a man and woman, but I think dom/sub conversation comes up so much more in gay sex, and is it because people just can’t see gay men as being equals in the bedroom? Even though people have no issue imaging equal sex with a man and woman, despite a similar dynamic of who is penetrating? But two men? Nope, one must be dom or sub, one must be more powerful, even if you’re a power bottom you’re still a power something. Why can’t it be equal? Why do we ALWAYS have to refer to dom and sub? 

I’m not saying that dynamic wouldnt exist for byler at some point, or that it’s no good, but it doesn’t need to be the only frame of reference. Sure, byler don’t always have to have penetrative sex either, but even if they are, will it ever be possible to talk about topping and bottoming without power dynamics being involved? Equal union, joining of bodies, not an inkling of power in sight. In fact, not even using the term ‘topping’ and ‘bottoming’, which may well have origins in physicality, such as the missionary position, but certainly also hold connotations of power. Who’s on top? Who’s bottom? I don’t love the wording tbh, and I wonder what the history of that is in gay culture. 

"Which leads me to the realization of how interesting it is to see such common dom/sub conversations around byler sex in this fandom. it speaks to the fact that fandom is very fantasy- and imagination-based rather than just working with what is canon. It's so intriguing, because I personally came to fandom hoping to discuss the show, almost analytically like we were in media class, and found lots of fantasy play and headcanons and stuff"

This is so interesting to me - it reminds me of that one anon the regular byler poll blog got recently about their confusion as to why people were speculating about things they can't possibly know the answer to. But yeah, you're right that a significant portion of fandom is imagination/headcanon based, and I agree with the anon on the byler polls account who pointed out that this is largely personality-driven, where some are all about this and others are... very much not.

All your other points are super interesting too! What does everyone else think?

[saltynsassy31]

Honestly, despite this post being mainly about dbh, it's sorta of a general thing

But gosh, what's with the ship wars? I mean, every fandom has this problem (sorta, the only fandom I've rarely, if ever, experienced it was the splatoon fandom cuz even the most unfortunate ships are shipped lmao)

I be scrolling, tryna find like, just general content, and someone be fighting over it

And I feel its gotten worse as of late cuz it's gotten involved with familial stuff

I'm a big found family gal

It's why, when I first played Detroit, Kara's story line was my favourite at the time (as of coming back to the game, it's become Hank and Connor, but I blame my Iron dad phase for that lmao)

But I'm not gonna fight people who see it or interpreted their relationship differently. If it wasn't stated in canon, then it leaves the gate way open to any interpretation because that's the fun part of being in a fandom! Different points of view!

And I especially come from the POV of someone who shipped two characters the fandom viewed more as siblings. By the gods, the hate some people had.

I was never at the tail end of that heat, but my mutuals from a server were, and when I jumped in to defend them

Despite coming out victorious (in a sense lol), I wouldn't say it was worth the effort, waisted my breath on petty fighting and I don't wish to again

But on the other hand

I've also been on the other end where I saw two very popular shipped characters as familiar/just friends. It's weird cuz they were/are more popular to the (technically) canon couple and they very rarely, if ever interact (legit got gaslit by the fandom that they did, until I went to look into it and found a desert of canon interactions).

And it's frustrating.

I really wish people wouldn't fight over these petty things. But it's the Internet, what can ya do? I'll just do what I can to avoid this in-fighting, not my monkeys, not my circus ig.

Still though, sometimes it feels like shipping/seeing them as just family really just, leaves out nuance. I like seeing both ends because it's interesting! You don't have to, of course, but discrediting either ends is so boring. Especially in the case of DBH where there are so many endings (total of 85 people!), so many characters, so many possibilities. Being stuck on one interpretation feels redundant to the game.

Now, am I saying to not enjoy your favourite parts of the game? No! I'm not here to judge you! Create that blog about solely the ship or solely familial content! It's your blog! :D

Feel free to block out content you don't like, curate your space.

Just don't....discredit others for their own interpretation. Be kind, or at least tolerable.

Idk where I'm going with this post anymore. I'm Ms. Yapper and this is my yapping page, thats all I do here at this point XD.

Just be kind and enjoy your stuff! Quit fighting! (But don't confuse that with me saying don't have discourse or debates, those are fun too, talking and defending your POV, that's part of fandoms too, just don't attack one another unnecessarily)

[professorspork]

I hope this doesn’t come across as like a pushy “update pls” I promise that’s not how I mean it. I’m curious at what point you feel like a multi-chapter fic is ready to post? Do you write it in its entirety and then edit chapters in between updates, write and edit it in its entirety, write most of it and continue writing the rest between updates? I’m very curious about your process since you’ve been writing some monster word count fics

I really appreciate you asking!

The short version is that I've learned over time that what works best for me is completing a work in its entirety before I start posting; above all I like posting on a reliable schedule for my audience, and I simply do not write quickly enough (or coherently enough) to do that any other way. There are a lot of reasons for that and I WILL ELABORATE ON THEM AT LENGTH:

I have several multi-chapter WIPs from the Glee days-- when I was in college-- that I never finished because I'm a delicate hothouse flower when it comes to maintaining hyperfocus, and I found a new fandom to be in before I could complete them. Back then especially, I was much less disciplined about writing sequentially: I would write parts of the story wildly out of order, focusing on whatever interested me most at the time. That means my hard drive is a graveyard of unpublished content, which sucks-- not only did I never give my audience the resolutions they were looking for, but I never got to receive feedback on parts of the story I was really proud of. I found that really dispiriting.

Going to grad school for screenwriting really helped me focus on telling a story in order, because there is literally no other way to write a screenplay than one scene at a time; it's far too reliant on momentum and consistency to jump ahead to "the good bits" and come back. I also did several projects-- writing my multi-chap Frozen&Tangled polyamory epic for a friend's birthday; pre-writing all my 2015 Cartinelli Week one shots far in advance so I knew they'd be perfect come posting day-- where I had a deadline I wanted everything Done By, which got me in the habit of writing to completion before posting. It wasn't something I thought I was going to be capable of because I'm like Tinkerbell, Finn, I need applause to live feedback is incredibly motivating to me, but having the ability to go back and change things in chapter 2 if I realized they weren't adequately setting up what I wanted to do in chapter 5, or whatever, proved to be just as powerful a motivator in a different way-- it meant I could tell the stories RIGHT, if I took my time with them. I also learned to get at least one cheerleader I could leak snippets to as I went, so that I still got the dopamine hit of the feedback even though I'm ages away from posting for real.

I also found that, as a reader, I always really appreciated when authors could stick to an update schedule so I could look forward to new chapters like I would episodes of television. It's not a standard I expect from anyone, but it is something that makes me really happy-- and the two ways to do it are to either write fast enough that you're just constantly churning out new content (not an option for me, especially on the occasions when I'm actually employed and can only write on weekends) or to pre-write and then slow release. it gives me a feeling of... mastery, I guess? Like "hey everyone here's a gift I'm giving you," as opposed to writing and updating when I can, which makes me feel like I'm always chasing something (BEING chased by something?) and risking losing my audience/my own fickle concentration if I were to wait too long.

My "ONLY post after everything is done" rule is a new one, because I burned myself on rely on certain certainties, the last D/s epic I wrote (lmao can you tell this topic interests me). I worked on that for a year and was 132k in with no end in sight when I started posting, but I was part of a Kristanna discord at the time, and I wanted to seize the audience I had before it disappeared-- which is always the danger of movie fandoms, which never have as much staying power. I had hoped that because I had such a big buffer I could keep writing ahead of the updates as they came up from behind, but I tapped out at 172k when I finished the end of an arc. That kills me, because I have SO MUCH unreleased content for that story which will never see the light of day, because-- again-- I'd let temptation win and wrote ahead to The Juicy Bits instead of forcing myself to go in order.

So, two things I've learned:

Only ever outlining the juicy bits that come late in the game, instead of lovingly finessing their every word, is a great way to trick motivate myself into continuing to write in order so that I can GET to the juicy bits, full stop; if I don't exorcise them they keep haunting me and that helps me stick it out until the end

By holding stories back until they're complete, I give myself the ability to complete them because I'm able to dig myself out of holes I've written myself into. In the old days, if I got stuck because I realized the real root of my issue had come chapters earlier and that's why it's not working now, I'd just... be stuck at that wall, unable to move forward, and that would be that. The idea of going back and editing a published story for narrative content is mortifying to me and something I personally could never do, so-- this way I'm giving myself more tools and options, so that I can tell the story I want to tell and tell it right.

In terms of my actual process, I tend to work like this: my most productive time is when my ADHD meds are at full power, so in an ideal world I am writing new content from like 10am to 3pm or so, getting as far as I can in New Content. Evenings, when I'm no longer in Hyperfocus Productivity Mode, I'll go back and reread things-- sometimes chapters from much earlier-- both to entertain myself and to make edits and changes. Often, that's just moving words around here and there for cadence and flow; rarely, it's adding whole new moments or thoughts to the chapters. I try to write In Order as much as possible, getting chapters beta'd as they're completed. I'm a nitpicky perfectionist, so keeping a hold on my early chapters until everything is posted means I can change them over and over and over again without anyone knowing but me, which I love-- and those changes are getting made right down to the wire. even when the fic is "complete" and I'm "only posting" I'm still making edits; some of people's absolute favorite parts of Newsbees were added literally the night before, when it was the "get everything into AO3 and do the final pass for typos and formatting" stage. Like, Penny writing sudokus on the fly for Ruby at the hospital? Ruby thinking in Adam Font? Those were 11th hour strokes of genius.

So yeah-- that's a very long-winded way of saying that I've found writing to completion first not only makes me more likely to actually finish my WIPs, but it makes my WIPs BETTER because it gives me far, far more time with them. I know it's not something that works for everyone, but in terms of my own sense of like, duty and responsibility and goal-setting, it keeps me on track without risking Guilt completely paralyzing me-- which is what happens when I post as I go and then get interrupted.

THANK YOU FOR COMING TO MY RAMBLE.

[stevie-petey]

i hear joe doesn't care much about that crap (and just wants to do his job lol) and i like celebs who don't be vocal about what they vote for or pro this or that it keeps drama out their fandom for most part i have sources lol who want to remain discreet cause of their jobs but... (joe is good ladies) millie reposted a few stuff a while ago about pro p and so does the girl who plays vickie so not all support he who must not be named.

meeeeh i do think there comes a responsibility as a public figure (whether u like it or not) to at the very least say hey im pro palestine / vote blue / im anti genocide ya feel ?? current poliyical issues aside, unfortunately a large amount of people are swayed by celebrities. theyve been used for propaganda for DECADES. its always worked. its a bit silly to think celebs have no place in politics ,,,, they always have. i mean look at marilyn monroe man. she was a huge cultural icon and also was so so so vocal politics wise and it worked.

silence is silence regardless of how hot a celeb is and its okay to admit that lmao