#bc this bothered ME to write

[inkskinned]

the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.

three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.

two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.

their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.

one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.

i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.

i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.

and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?

you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.

a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.

someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[dukeofthomas]

Here's my controversial opinion; if you're trying to write Bruce as a non-abusive, good parent, you should also write him respecting his kids' privacy, boundaries, and not stalking&surveying them.

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[milquetoad]

of the many injustices put forth toward the show by fans i think the most overall damaging and telling of a complete lack of critical viewership is the idea that sam riegel builds his characters with nothing more than the bit in mind. like you are only telling on yourself if you think characters like scanlan shorthalt and veth brennato are one-dimensional and depthless

[lord-squiggletits]

One of my favorite parts of phase 2 (and indeed one of the few moments I resonated with IDW Prowl) was when the neutrals were coming back to Cybertron and Prowl said that he refused to let Autobots be pushed aside and overruled after they were the ones who fought for freedom for 4 million years (the exact wording escapes me atm).

And I mean, that resentment still holds true even once the colonists come on bc like. As much as it's true that Cybertron's culture is fucked up, and as funny as it can be to paint Cybertronians as a bunch of weirdos who consider trying to kill someone as a common greeting not important enough to hold a grudge over.... The colonists POV kind of pissed me off a lot of times, as did the narrative tone/implications that Cybertronians are forever warlike and doomed to die by their own hands bc it just strikes me as an extremely judgemental and unsympathetic way to deal with a huge group of people with massive war PTSD and political/social tensions that were rampant even before the war?

Like, imagine living in a society rife with bigotry and discrimination where you get locked into certain occupations and social strata based on how you were born. The political tension is so bad there's a string of assassinations of politicians and leaders. The whole planet erupts into an outright war that leads (even unintentionally) to famine and chemical/biological warfare that destroys your planet. Both sides of the war are so entrenched in their pre-war sides and resentment for each other that this war lasts 4 million years and you don't even have a home planet any more. Then your home planet gets restored and a bunch of sheltered fucks come home and go "ewww why are you so violent?? You're a bunch of freaks just go live in the wilderness so that our home can belong to The Pure People Who Weren't Stupid And Evil Enough To Be Trapped In War" and then a bunch of colonists from places that know nothing about your history go "lol you people are so weird?? 🤣🤣 I don't get why y'all are fighting can't you just like, stop??? Oh okay you people are just fucked up and evil and stupid then" ((their planets are based on colonialism where their Primes wiped out the native populations btw whereas the Autobots and OP in particular fought to save organics. But that never gets brought up as a point in their favor)) as if the damage of a lifetime of war and a society that was broken even before the war can just magically go away now that the war is over.

Prowl fucking sucks but he was basically the only person that pointed out the injustice of that.

And then from then on out most of the characters from other colonies like Caminus and wherever else are going "i fucking hate you and your conflicts" w/ people like literal-nobody Slide and various Camiens getting to just sit there lecturing Optimus about how Cybertronians are too violent for their own good and how their conflicts are stupid, with only brief sympathetic moments where the Cybertronians get to be recognized as their own ppl who deserve sympathy before going right back to being lambasted.

Like I literally struggled to enjoy the story at multiple points because there was only so much I could take of the characters I knew and loved being raked over coals constantly while barely getting to defend themselves or be defended by the narrative so like. It was just fucking depressing and a little infuriating to read exRID/OP

[1tbls]

man, DE fic piss me off a little sometimes asdfgk. i think u guys are greatly overestimating how much police can or are willing to do, and what cases they are incentivized to actually pursue.

when my mom's apartment was broken into a year ago, her next door neighbor literally got one of the guys on camera, and the police basically shrugged and went "sorry! nothing we can do!". when one of the men broke in again a week later, while my sister was home alone, when she could have been attacked, when she saw the guy face to face, again they were like "sorry! nothing we can do!"

which isn't to say i think they should have gone all supercop to solve the case. what the fuck are they gonna do, manhunt the guys across the city based on grainy camera footage? what would my mom and sister even gain from that, what would the community gain from that, having cops hovering around and then maybe throwing two poor guys from the neighborhood into prison? it's just reality that there's only so few resources to solve these things, so many dead ends, and more harm than benefit to the socioeconomic circumstance of the area.

it's just kind of irksome seeing fic casually talk about all the crimes precinct 41 and C-wing are pursuing and solving, when in reality most probably wouldn't even reach their desks before they were waved away as a dead case. or if they did reach their unit, still wouldn't be solved because it's simply too big of a gamble of time and resources. according to pew research center, in the US, about 45% of violent crime cases are solved each year, and only about 18% of property crime. and that's only the solve rate for the reported cases. it is in fact copaganda and simply inaccurate to portray the police as though they make a significant impact on crime, when more than half the time they're going, "sorry! nothing we can do!" 👍

[slyandthefamilybook]

Once there was a boy who was a shepherd. He kept watch over a small flock of sheep in a pasture at the edge of town. He loved his sheep. He had been born to a shepherd from a family of shepherds, and had so grown up amongst his flock. He knew all of the sheep by name and would great them one-by-one each morning. "Hello Dolly," he would say. "Hello Steven and hello Betty."

Now these sheep were undoubtedly useful: the townspeople would eat their meat and weave their wool and gnaw on their bones as they worked the fields. But these sheep were also alive. They had a glittering intelligence in their black eyes, and they would commune every so often to discuss the harvest, and the shepherd boy, and the townspeople. The sheep loved the shepherd boy and they loved the town and the townspeople, and the people loved them back. They were good sheep.

Now one day the shepherd boy overheard one of the townspeople talking about his flock. The man said he thought the sheep were ugly, and that they smelled bad. This upset the shepherd boy, because he loved his sheep, and he thought the people loved his sheep as well. The shepherd boy, being no more than 12 years old at the time, wanted to remind the people of how much his sheep mattered to them. So one night as the moon hid behind the clouds the shepherd boy stood on a stone in his pasture and cried out: "Help! Help! A wolf!"

Out came a crowd of people, blinking the sleep from their eyes and carrying torches and pitchforks and shovels and ladels. They stood in the pasture and looked about, but they could see no wolf. The townspeople became angry and shook their fists at the shepherd boy. "This is a serious matter!" they cried. The shepherd boy had to admit that his ploy was juvenile, but he was still a child, and so the people forgave him. And they continued to love the shepherd boy and his sheep, and the shepherd boy and his sheep loved them back, for the townspeople had proved that night how much they cared.

Five years later, when the shepherd boy was now a teen, he stood amongst his flock in the pasture and he said "good night, Dolly. Good night, Steven and good night, Betty." But as the clouds passed over the moon the shepherd teen saw a shape in the distance, and out of fear for his flock he cried out: "Help! Help! A wolf!"

Again came the great crashing crowd with their knives and their swords and axes and bows. They stood in the pasture and looked about, but they could see no wolf. The townspeople once again became angry, and they shook their fists at the shepherd teen. "This is a serious matter!" they cried. "We love you and we love your sheep, but you must learn to not be so frightened!" With great grumbling the townspeople returned to their homes, and the shepherd teen sensed that something had changed.

Five more years passed, and the shepherd teen was now a shepherd. He still passed through his flock every morning and said, "Good morning, Dolly. Good morning, Steven and good morning, Betty." And the sheep loved the shepherd and he loved them. But in his age he had grown cautious. The shepherd had learned from the townspeople that perhaps the wolves were not so great a threat as he had thought. And so at night when he would see their red eyes prowling at the edges of his pasture, he would stay silent and wait.

One night, as the clouds began to cover the moon, a wolf appeared. The wolf approached Dolly the sheep and snarled, its lips wet. "Away!" cried the shepherd. "Away with you!" But the wolf showed its fangs and said, "I want your sheep." "Why?" cried the boy. "Why must you take my sheep? You have your food in the forest!" But the wolf laughed. "I want your sheep because I am a wolf and they are sheep. That is how it is done." And the wolf parted its terrible jaws and snatched up Dolly the sheep and dragged her into the deep woods. And the shepherd remained silent.

The next night two wolves appeared, their eyes red and their tongues hungry. The wolves approached Steven the sheep who was with his family. "Away with you!" cried the shepherd. "Why do you hate my sheep so?" The wolves cackled and said with the same voice, "we hate your sheep because it is the thing for sheep to be hated. All wolves hate sheep, and they cannot all be wrong. Even the birds and rabbits of the forest will come around." And the wolves each took a leg from Steven the sheep and hauled him into the dark woods. And still the shepherd held his tongue.

The next night as the moon was new the shepherd saw a sea of red eyes at the edge of the forest. The wolves marched toward his sheep, their heads held high. And the shepherd saw that indeed the birds and rabbits of the forest were among them, their eyes bleeding and their teeth sharp. They approached Betty the sheep who cried out in terror. The shepherd stood on a rock in his pasture and called out with a loud voice: "Help! Help! The wolves have come, and all the birds and rabbits of the forest!"

But this time no one came. You see, although the boy had cried wolf before, his fear was now justified. But the townspeople had grown tired of him. Every time the flock was threatened they felt compelled to act, and that compulsion drained them. And they no longer liked the shepherd. He had spent too much time with his sheep, and they had begun to see that same glittering black intelligence in his eyes. Sheep are frightened of everything and cannot be expected to know when they are truly in danger.

What had the shepherd done for them? He kept his sheep mostly to himself these days. Perhaps the shepherd was the one really in control, and he had used his cries of wolf to bend the townspeople to his will. Anyone whose flock was threatened that often must be doing something wrong.

And what was this about the birds and rabbits of the forest? They were peaceful! They could never be convinced to join with those who preyed upon them. Flocks of sheep are old and backwards and they are a drain on the town, the people thought. If the birds and rabbits hate the sheep they must have good reason to do so.

Again the shepherd called out, but the townspeople rolled over in their beds and stuffed their ears with sheep's wool. The shepherd's cries of wolf had made them feel guilty, and so they had found reasons for why they did not have to listen. And besides, the townspeople thought as they pulled their wolf skins over their heads and their eyes glowed red, the sheep really were delicious...

[hickeygender]

of all the star wars movies, which of them do y'all 1) enjoy the most 2) consider the best quality and 3) think you've rewatched the most. add your answers in the reblogs or replies, i'm genuinely curious how much of an overlap there is within everyone's three answers. mine don't overlap at all! they're revenge of the sith, empire strikes back, and the force awakens :^)

[cherrygummybears]

waking up and checking the scarnash tag this morning

[elysianymph]

🔥 anything about sirius because i am being a little hater towards some characterisations too

i've already talked your ears off about this on discord but i'm happy to talk to about it again bc i fucking HATE new sirius black with a burning passion. i hate him as much as i love my sirius black that marauderstok can pry from my cold dead hands bc i'm not letting him go. i don't know when it happened and why but marauders fans are particularly persistent on taking away any interesting traits sirius had and leaving behind a whimpering pathetic twink that cries when someone looks at him the wrong way. sirius has been scrubbed clean of any morally grey traits he might've had (he's not allowed to care for his family (unless it's regulus) or long for them bc they are bad, he's not allowed to have any prejudices even though he was literally raised with pureblood mentality and taught he was superior to everyone else from the day he was born, he's not allowed to be an asshole bc he's not like his family guys!! and when he is an asshole it's always used to victimize the character he's being an asshole to and sirius is painted as the villain with mommy issues that can only be fixed by getting dicked down apparently)

i cannot stress this enough: LET THIS MAN BE A COMPLEX CHARACTER!! and no, giving him mental illnesses that miraculously disappear when he gets together with remus and making him attempt to kill himself post prank because he feels bad is NOT making him complex! you're just weird. you're just romanticizing mental illnesses and i can't believe you don't see anything wrong with it. giving him bipolar to justify his actions is?? not??? representation??? it's offensive to people who actually have to deal with these issues in their day to day lives and yet here you are using something that will impact their life forever as a plot device for your uwu sadboy mlm fanfic.

and that's what new sirius boils down to. he's a plot device, an accessory to everyone else's story that's never given much depth other than "oh his mom used the cruciatus on him and now he's traumatized". no hate to jegulus but hate to specific jegulus fics that turn sirius into an overdramatic caricature of his former self for the sake of drama and angst.

also, some of these wolfstar shippers... wtf are you guys on?? idk when and why (that's a lie i do but i'm not gonna say it) remus became sirius black in a werewolf costume but here we are. oh sirius was cool and effortlessly smart and handsome and girls wanted him? well guess what? snatches all of those character traits and throws them onto remus they're his character traits now. ignore how it doesn't make any sense for the werewolf child who was isolated from the rest of the world to be a smooth talking alpha casanova who plays basketball actually. while we're at it, ignore how unrealistic it is for a boy who was raised in a family that believed they were superior to everyone else based on blood status, who was raised to be the perfect heir and checked off all the traits needed to be one to be insecure?? and unsure of himself?? and stupid??? and a loser??? i don't understand what the point of flipping the wolfstar dynamic was when you're left with a shallow copy of the original but ok. you do you ig.

to summarize, my sirius is cool and effortlessly smart and egotistical and a complete asshole who thinks he's the best thing ever. is it an act to cover up how damaged he thinks he is because of his family? possibly. but i also fully believe sirius thought he was a god amongst men and everyone should be glad to be in his presence. he talked down to other people because he considered himself smarter, he rolled his eyes when students asked stupid questions and made fun of them when they got an answer wrong. he's a teenage boy let him be a dick with no excuses.

(also i find it funny when people write about sirius getting into a fight with james or remus and crying because they said something mean. as if sirius wouldn't throw hands the moment someone started criticizing him. he's toxic and that's what makes him interesting. that's his purpose! characters exist to make stories interesting, to start drama, not to be your moral guide on how to act. stories become so much more fun once you let go of the need to make every character a good person. also liking a character doesn't equal liking them as a person. i love sirius but i would hate his guts irl)

[dukeofthomas]

"Angry robin" "violent robin" "misbehaving robin" shut up and accept my alternative; spunky Robin. Determined and head strong, can out-stubborn the Batman, has a strong moral-backbone and does what he thinks is right regardless of what anybody else says, Robin. Jason who was sassy and quippy and made crude jokes with a smile on his face. Jason who hid in Bruce's cape and whispered gossip to him. Jason who, if Bruce refused him something, could keep bothering endlessly until Bruce caved. And also dramatic Jason. If Bruce tells him no, it becomes a whole theatrical show; a monologue, a narration, embellishments, and falling onto the floor in his grief upon the fact his cruel father has denied him once again.

(Jason who has suffered through abuse and homelessness and poverty and starvation, who is the Fight out of Fight or Flight, who's built up defenses and walls and when pushed and triggered responds with the thing that's always protected him; anger. He's sweet and kind and funny, and when he sees a pimp hitting a prostitute he gets furious and responds with violence.)

[cubbihue]

I cannot draw red pandas, but if I could, I'd scoop you in a big hug. Don't stress out with all the asks! Sending virtual hugs your way 💙💙

OUGGHUGHH VIRTUAL HUGS!!!!! RECIEVEDDD!!!!

[neechees]

I know riffing off of Mt "rushmore" (The Six Grandfathers) is a popular trope but like, if Barbieland knows about colonialism & smallpox killing Natives Americans & that exists in their world, then what does that imply about the parody Mount Rushmore in Barbieland. Was it also carved by White supremacists who stole land from Native people? Barbieland didn't know what the Patriarchy or misogyny was beforehand but they know what racism towards Natives is even though Barbieland is also apparently very diverse? You were cool with bringing up Native genocide via smallpox to prop up white feminism at random & when it wasnt necessary but also Barbie Mount Rushmore is just there unexplained?

[humanmorph]

"This is a message to you, who listens. You must trust me, because we are friends. You just don't know it yet. "

(The Road to PARTIZAN 05 : Ech0 & dusk to midnight)

currently halfway through PARTIZAN (making my way towards palisade extremely slowly. see u guys there in a month or two) & this is to date my favourite intro Austin has done. what an great introduction to an extremely cool character