#because clearly!!! it's the manufacturer's problem!!!!

[lemotmo]

🙃 but also 😂😂

Q. Do you agree that Oliver has behaved unprofessionally throughout this entire process?

A. Absolutely not. Oliver is the one that maintained his professionalism. He refused to pretend that a plot device was more than a plot device. That was the professional approach. He refused to play along with nonsense and grandstanding. That was the professional approach. He has been a main part of this show for 8 years and he has always conducted himself appropriately. Period. Lou's shameful, downright embarrassingly unprofessional behavior is not Oliver's fault. He was cast as a plot device. He was well aware of this. He even acknowledged it in his first few interviews last season. He admitted Tommy was a 'starter' relationship. He said Tommy was there to allow Buck to work out the kinks before Eddie. He fucking said those words. He was under no illusion his part was anything more. He got paid by delusional, racist fans to pretend he was something more than what he was, and he talked himself into believing he was the shit he told them he was. Oliver and the show are doing him a favor by ignoring his behavior and the appalling behavior he's encouraging all 340 of his fans to engage in. Oliver could come out and say that he was the most unprofessional, talentless, narcissistic, racist, homophobic piece of shit he ever had the misfortune of having to share space with. The fact that he hasn't said those things publicly, because they're all true statements, is the epitome of professionalism. He got cast as a temporary love interest. He got cast as a minimal plot point. He got cast as the definition of a plot device. He had to be talked through their first kissing scene. They then only had one more before he went to Tim and said he wouldn't do anymore intimate scenes 'because they're unnecessary and don't add any value'. Which was code for I'm not comfortable doing any of those things with a man. They did not get along. It was obvious. They had less than zero chemistry. It worked on no level other than the one Lou manufactured. End of story. Oliver was never the problem. Ryan was never the problem. Oliver is allowed his opinions on Buck's storylines. Other than Tim, Oliver's opinion is the only one that matters. Lou gets zero opinion. He's a z-list nepo baby that they clearly couldn't wait to get off their set. Oliver treated him with more respect and professional courtesy than the man ever came close to deserving.

Thank you Nonny!

Over the last couple of days I've seen an increasing amount of Tommies turning on Oliver, accusing him of all sorts of things, while excusing Lou's behaviour and even praising him as some kind of perfect man who can do no wrong.😠

It's insane behaviour that needs and deserves to be called out.

Lou has a past of racist and sexist behaviour as evidenced by those awful posts he made on social media (Twitter and Instagram). But apparently all is forgiven and forgotten because he kissed another man on a TV-show. 🤷‍♀️🤦‍♀️ Make it make sense.

The man pushed his fanbase to relentlessly harass other fans, cast and crew, by making them all believe that his part in a show was so much more than it actually was. It was so bad at a certain point that some of the cast and crew had to block these people and Tim actually publicly called out his fans for bringing along so much new toxicity.

I won't even get back into the horrible shit (death threats and all) they dropped in my ask box and those false accusations they made at my (and some other Buddie fans) address, complete with elaborately fabricated false evidence.

It all comes down to this: the man was hired as a plot device. A way to have Buck come out as bisexual. He was okay with that in the beginning, but soon realised he could make money of this opportunity by scamming his own fanbase. He made these crazy cameos talking nonsense and headcanons, telling his fans what they wanted to hear, telling them lies for money.

He took the gift of a part in the top TV-show of the moment and instead of being grateful for this gift, he used it to manipulate and lie. He abused the trust of the people who gave him this chance in the first place.

He's still doing this to this day by the way, egging these people on to mass-harass the official 911onABC account on Instagram by having them post insane hashtags. As if Tim will ever allow that man to set foot again on the 911 set.🤣

Lou made sure to burn the final bridge by giving his last and frankly unhinged interview. This interview ensured that he is NEVER coming back. Good riddance. 😏

Ultimately, the story of season 7 was about Buck coming out and getting more comfortable in his own skin. It was about him having all of these big feelings, but being unsure who they were for and why he was having them. It was about his own bisexuality. Nothing more, nothing less.

Oliver knew this and respected the storyline, knowing how important it was (and still is) for so many bisexual people. He never made it about a love interest. He only briefly mentioned Tommy once or twice, but never said anything else about the relationship, because he knew that the man wasn't going to stick around and he didn't want to lead the fans on. Which is admirable.

He was the one who was always professional, even when he was forced to work together with a man who had never heard of the word 'professionalism'. Having that man play his love interest must have been difficult, but instead of complaining or whining (like Lou did and still does) Oliver has never once uttered an unkind word about him. Which tells me enough about the strength of his character.

I'm disgusted by people 'calling out' Oliver as unprofessional when all he has ever done was be as professional as he could be. These people need to go back and watch some of Lou's cameos. They'll quickly be confronted by the very definition of 'unprofessionalism'.

'nough said. Sorry for the rant, but the way these people are talking trash about Oliver right now? It just pisses me off so much! And I don't get pissed off so easily. But this makes my blood boil!

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[kittyhazelnut]

man Christmas is great except for that my brother comes home from school and spends every single night screaming at his computer about how fucking stupid his video game is, and yet somehow, it's never stupid enough to stop playing? it's literally been hours and he won't shut up. I was upstairs in the bathroom with the water running and it still sounded like he was screaming right in my ear. and as I was writing this, he left (yet another) hole in the wall, broke the chair we've had for quite literally as long as I can remember and never had a problem with, and fucked up the pet gate that keeps the dogs from murdering annoying my cat. this!!! is not!!! normal!!!!!! it's not fucking normal!!!!! there is nothing normal about this!!!!! how does he not understand how fucked up he is????? does he not understand that this is not healthy????? my poor dogs are fucking terrified!!! they've been hiding under the beds upstairs this whole time!!!!! he even scared my kitten!!!! my kitten grew up with this!!!! he's practically unscarable!!!!! he was fucking scared!!!! what the fuck!!!!!!

[strixludica]

The unappreciated art of making mecha look inhuman

Something I noticed lately, by browsing lots of lancer homebrew and fanart and comparing it to the official art, is that a lot of third party artists, across levels of artistic competence, made mechs that looked plain to me for a reason I couldn't pin down. Again, this was only weakly correlated with other metrics for artistic quality, like posing, shading, and linework. After comparing them closely with other art that didn't give me that vibe and art from 1st party material, I realized what gave me that feeling: their mechs looked too human; they looked like they could be convincingly portrayed by a person in a costume.

If you look closely at official Lancer art and the best fanart, you will notice there are always details making sure the subject is unequivocably a giant robot and not a person in sci-fi armor.

One strange but effective way this is achieved is the legs: each manufacturer has one or more distinct style of legs, with the only overlap being between SSC and RKF (which makes sense because SSC has close ties tot he Baronies). Let's go through them and see what about them makes sure you know this is a mech:

Smith-Shimano Corpro + Royal Karrakin Foundries: SSC has three kinds of lower limbs: the Horse Leg, which they share with RKF; the Foot Without Heel, and the Anatomically Correct Human Leg With Toes.

The Horse Leg is not only obviously inhuman, but also obviously unnatural, bacause no biped would be able to move properly standing on horse hooves: it would be like contantly doing a ballerina tip-walk using clown shoes; that is something only a mechanical device assisted by top-of-the-line automatic balancing could achieve.

The Heel-less foot, due to being used almost only for their spider-mechs Death's Head and Swallowtail, has little dehumanization work to do, but it does cover that function when used on the Dusk Wink, which *is* in fact a person in power armour, but still the artist took care of reminding us of how mechanical it is, by giving it feet which have little in common with boots or any other footwear. The Toed Leg seems, at first, to be the opposite of dehumanizing: it looks the most like an actual human bodypart, it feeds into SSCs fetishization of the Human Form (phrasing entirely intended). However, that is also the reason why it very clearly shows the Monarch and Mourning Cloak are robots: because no suit of armor would ever look like a naked leg; this level of anatomical fidelity only makes sense for something mechanical, whose skin *is* armor and as such doesn't need to cover itself.

Horus: Horus is mostly the easy one, with how most of the art gives their mechs beastly paws and hooves, gecko-like foot pads, or long, amphibian fingers whose vague semblance to human hands only contrasts with the blatantly monstous shapes of the Pegasus and Gorgon. However, they have four mechs portaryed with human-like legs.

The Hydra has little need to mask its mechanical nature, but the Lich commits the grave sin of being clothed, one of the biggest risk factor in making mechs look like dudes in armor. To counteract this problem, it's feet have two very evident inhuman characteristics: they have only two long, slender toes, and they touch the ground only with their futhest tarsus, in a way that makes it obvious they aren't bearing any actual weight, as if both Lich and Hydra were alway hovering a couple feet above the ground and used their feet only to skip along it, like a venetian boatman might do with their pole.

The other two exceptions are the Calendula, which being an RKF design has their trademark horse legs, and the Kobold, which already looks inarguably like a robot thanks to the barrel shae of its main body, the Horus-patented Pikey Blobs Aesthetic(tm), but still has feet with actual toes, which achieve the same effect as those from SSC.

GMS: For the longest time, GMS did not have art at all, but let's look at the [G] Type Everest from Op. Solstice Rain:

While the Boot with Auxiliary Side-Toes shape of the foot could potentially belong to a suit of armor, if we look up at the knee it's a different story: look at the slabs on either side of the joint which restrict it to one degree of freedom, as opposed to the frontal protection typical of armor for humans; look at the opposite bends of hip and shin, which almost makes the leg look digitgrade. Inequivocably robotic despite the clearly humanistic design. However, the lower parts of mechs are not the only way their design is dehumanized: we come now to Inter Planetary Shipping - Northstar and Harrison Armory, and in a curious inversion they take the opposite approach.

Although some legs of IPS-N mechs use the above principle (the Blackbeard's angular feet whose toes almost look like retractable claws, Drake's heel-less boots, and Lancaster and Kidd's SPOT-like hooves), a lot of their mecha have quite human-looking armoured boots. HA goes a step further, likely due to a deliberate stylistic choice stemming from the anthrochauvinist ideals: Their mechs look very much like armoured warriors, often even with little skirts like the Iskander or Sherman or reinforced *baltei* like Genghis and Tokugawa. With one important exception: their head.

IPS-N has a very distinctive One-Eyed Cylinder with Another Eye on the Top shape for their mecha, it's probably a deliberate par of their brand; it sees some variation like Drake's looking more liek a helmeted facemask and Stortebecker's tricorn, but even Lancaster and Kidd have a sort of vestigial head on the front with a single eye coming out of a slit.

HA's mecha have greater variation, but nevertheless for all that their body is as human-shaped as possible, their heads are always distinctly not: Barbarossa has a flat prism with a this transparent section on top, looking more like the control tower of an aircraft carrier than a head; Genghis, Tokugawa, and Gilgamesh both have canopies recessed into their bodies; Napoleon also has a barely-extruding canopy with a strange shape and covered in Blinkshield emitters that make it look like a bug-eyed little freak; Sherman is quite literally built around having a cannon for a face; and Sunzi has its drum-looking Blinkspace device. The only HA mech that has a "head" region separate from the rest of the body is Saladin, and even then it's a flat cylinder with a rectangular window in the middle: a design which would never work as a helmet but makes sense as a rotatitng cockpit with a canopy.

The observant among you will have notice that I left out four mechs: Nelson, Vlad, Enkidu, and Iskander. That is admittedly because they are those whose design asserts its inhumanity the least.

Of the first two, despite Nelson committing the sin of clothing, it also compensates hard by leaving a gap in its tabard to show the hatch for the pilot, while Vlad unfortunately does not, and with the weirldy human-looking eye, if there wasn't a pilot for scale one might legitimately not know it's a robot without context.

Iskander is the one mech in the entire Compendium which can be cosplayed without altering its proportion: cyclopism aside, this could be a person in future armor.

Enkidu also has a look which could work just as well for a human-scale cyborg, but given that it's a deliberate statement of intent it gets a pass. At the very least it's elongated head and pad-less feet make it obvious that this is not a person in armor.

Conclusion:

Although I cannot prove it without some double-blind polls, I think one of the secrets to a good mech design is making it look not only obviously like a robot, but also giving it pose, proportions, and details such that it would look big not just on a white background with no context, but that if you tried to shrink it and put it in a scene as though it was more or less the size of a person, people would realize that it's supposed to be larger.

[mostlysignssomeportents]

Cars bricked by bankrupt EV company will stay bricked

On OCTOBER 23 at 7PM, I'll be in DECATUR, presenting my novel THE BEZZLE at EAGLE EYE BOOKS.

There are few phrases in the modern lexicon more accursed than "software-based car," and yet, this is how the failed EV maker Fisker billed its products, which retailed for $40-70k in the few short years before the company collapsed, shut down its servers, and degraded all those "software-based cars":

https://insideevs.com/news/723669/fisker-inc-bankruptcy-chapter-11-official/

Fisker billed itself as a "capital light" manufacturer, meaning that it didn't particularly make anything – rather, it "designed" cars that other companies built, allowing Fisker to focus on "experience," which is where the "software-based car" comes in. Virtually every subsystem in a Fisker car needs (or rather, needed) to periodically connect with its servers, either for regular operations or diagnostics and repair, creating frequent problems with brakes, airbags, shifting, battery management, locking and unlocking the doors:

https://www.businessinsider.com/fisker-owners-worry-about-vehicles-working-bankruptcy-2024-4

Since Fisker's bankruptcy, people with even minor problems with their Fisker EVs have found themselves owning expensive, inert lumps of conflict minerals and auto-loan debt; as one Fisker owner described it, "It's literally a lawn ornament right now":

https://www.businessinsider.com/fisker-owners-describe-chaos-to-keep-cars-running-after-bankruptcy-2024-7

This is, in many ways, typical Internet-of-Shit nonsense, but it's compounded by Fisker's capital light, all-outsource model, which led to extremely unreliable vehicles that have been plagued by recalls. The bankrupt company has proposed that vehicle owners should have to pay cash for these recalls, in order to reserve the company's capital for its creditors – a plan that is clearly illegal:

https://www.veritaglobal.net/fisker/document/2411390241007000000000005

This isn't even the first time Fisker has done this! Ten years ago, founder Henrik Fisker started another EV company called Fisker Automotive, which went bankrupt in 2014, leaving the company's "Karma" (no, really) long-range EVs (which were unreliable and prone to bursting into flames) in limbo:

https://en.wikipedia.org/wiki/Fisker_Karma

Which raises the question: why did investors reward Fisker's initial incompetence by piling in for a second attempt? I think the answer lies in the very factor that has made Fisker's failure so hard on its customers: the "software-based car." Investors love the sound of a "software-based car" because they understand that a gadget that is connected to the cloud is ripe for rent-extraction, because with software comes a bundle of "IP rights" that let the company control its customers, critics and competitors:

https://locusmag.com/2020/09/cory-doctorow-ip/

A "software-based car" gets to mobilize the state to enforce its "IP," which allows it to force its customers to use authorized mechanics (who can, in turn, be price-gouged for licensing and diagnostic tools). "IP" can be used to shut down manufacturers of third party parts. "IP" allows manufacturers to revoke features that came with your car and charge you a monthly subscription fee for them. All sorts of features can be sold as downloadable content, and clawed back when title to the car changes hands, so that the new owners have to buy them again. "Software based cars" are easier to repo, making them perfect for the subprime auto-lending industry. And of course, "software-based cars" can gather much more surveillance data on drivers, which can be sold to sleazy, unregulated data-brokers:

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

Unsurprisingly, there's a large number of Fisker cars that never sold, which the bankruptcy estate is seeking a buyer for. For a minute there, it looked like they'd found one: American Lease, which was looking to acquire the deadstock Fiskers for use as leased fleet cars. But now that deal seems dead, because no one can figure out how to restart Fisker's servers, and these vehicles are bricks without server access:

https://techcrunch.com/2024/10/08/fisker-bankruptcy-hits-major-speed-bump-as-fleet-sale-is-now-in-question/

It's hard to say why the company's servers are so intransigent, but there's a clue in the chaotic way that the company wound down its affairs. The company's final days sound like a scene from the last days of the German Democratic Republic, with apparats from the failing state charging about in chaos, without any plans for keeping things running:

https://www.washingtonpost.com/opinions/2023/03/07/east-germany-stasi-surveillance-documents/

As it imploded, Fisker cycled through a string of Chief Financial officers, losing track of millions of dollars at a time:

https://techcrunch.com/2024/05/31/fisker-collapse-investigation-ev-ocean-suv-henrik-geeta/

When Fisker's landlord regained possession of its HQ, they found "complete disarray," including improperly stored drums of toxic waste:

https://techcrunch.com/2024/10/05/fiskers-hq-abandoned-in-complete-disarray-with-apparent-hazardous-waste-clay-models-left-behind/

And while Fisker's implosion is particularly messy, the fact that it landed in bankruptcy is entirely unexceptional. Most businesses fail (eventually) and most startups fail (quickly). Despite this, businesses – even those in heavily regulated sectors like automotive regulation – are allowed to design products and undertake operations that are not designed to outlast the (likely short-lived) company.

After the 2008 crisis and the collapse of financial institutions like Lehman Brothers, finance regulators acquired a renewed interest in succession planning. Lehman consisted of over 6,000 separate corporate entities, each one representing a bid to evade regulation and/or taxation. Unwinding that complex hairball took years, during which the entities that entrusted Lehman with their funds – pensions, charitable institutions, etc – were unable to access their money.

To avoid repeats of this catastrophe, regulators began to insist that banks produce "living wills" – plans for unwinding their affairs in the event of catastrophe. They had to undertake "stress tests" that simulated a wind-down as planned, both to make sure the plan worked and to estimate how long it would take to execute. Then banks were required to set aside sufficient capital to keep the lights on while the plan ran on.

This regulation has been indifferently enforced. Banks spent the intervening years insisting that they are capable of prudently self-regulating without all this interference, something they continue to insist upon even after the Silicon Valley Bank collapse:

https://pluralistic.net/2023/03/15/mon-dieu-les-guillotines/#ceci-nes-pas-une-bailout

The fact that the rules haven't been enforced tells us nothing about whether the rules would work if they were enforced. A string of high-profile bankruptcies of companies who had no succession plans and whose collapse stands to materially harm large numbers of people tells us that something has to be done about this.

Take 23andme, the creepy genomics company that enticed millions of people into sending them their genetic material (even if you aren't a 23andme customer, they probably have most of your genome, thanks to relatives who sent in cheek-swabs). 23andme is now bankrupt, and its bankruptcy estate is shopping for a buyer who'd like to commercially exploit all that juicy genetic data, even if that is to the detriment of the people it came from. What's more, the bankruptcy estate is refusing to destroy samples from people who want to opt out of this future sale:

https://bourniquelaw.com/2024/10/09/data-23-and-me/

On a smaller scale, there's Juicebox, a company that makes EV chargers, who are exiting the North American market and shutting down their servers, killing the advanced functionality that customers paid extra for when they chose a Juicebox product:

https://www.theverge.com/2024/10/2/24260316/juicebox-ev-chargers-enel-x-way-closing-discontinued-app

I actually owned a Juicebox, which ultimately caught fire and melted down, either due to a manufacturing defect or to the criminal ineptitude of Treeium, the worst solar installers in Southern California (or both):

https://pluralistic.net/2024/01/27/here-comes-the-sun-king/#sign-here

Projects like Juice Rescue are trying to reverse-engineer the Juicebox server infrastructure and build an alternative:

https://juice-rescue.org/

This would be much simpler if Juicebox's manufacturer, Enel X Way, had been required to file a living will that explained how its customers would go on enjoying their property when and if the company discontinued support, exited the market, or went bankrupt.

That might be a big lift for every little tech startup (though it would be superior than trying to get justice after the company fails). But in regulated sectors like automotive manufacture or genomic analysis, a regulation that says, "Either design your products and services to fail safely, or escrow enough cash to keep the lights on for the duration of an orderly wind-down in the event that you shut down" would be perfectly reasonable. Companies could make "software based cars" but the more "software based" the car was, the more funds they'd have to escrow to transition their servers when they shut down (and the lest capital they'd have to build the car).

Such a rule should be in addition to more muscular rules simply banning the most abusive practices, like the Oregon state Right to Repair bill, which bans the "parts pairing" that makes repairing a Fisker car so onerous:

https://www.theverge.com/2024/3/27/24097042/right-to-repair-law-oregon-sb1596-parts-pairing-tina-kotek-signed

Or the Illinois state biometric privacy law, which strictly limits the use of the kind of genomic data that 23andme collected:

https://www.ilga.gov/legislation/ilcs/ilcs3.asp?ActID=3004

Failing to take action on these abusive practices is dangerous – and not just to the people who get burned by them. Every time a genomics research project turns into a privacy nightmare, that salts the earth for future medical research, making it much harder to conduct population-scale research, which can be carried out in privacy-preserving ways, and which pays huge scientific dividends that we all benefit from:

https://pluralistic.net/2022/10/01/the-palantir-will-see-you-now/#public-private-partnership

Just as Fisker's outrageous ripoff will make life harder for good cleantech companies:

https://pluralistic.net/2024/06/26/unplanned-obsolescence/#better-micetraps

If people are convinced that new, climate-friendly tech is a cesspool of grift and extraction, it will punish those firms that are making routine, breathtaking, exciting (and extremely vital) breakthroughs:

https://www.euronews.com/green/2024/10/08/norways-national-football-stadium-has-the-worlds-largest-vertical-solar-roof-how-does-it-w

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/10/software-based-car/#based

[theflashjaygarrick]

It's a missed opportunity that despite Roy Harper and Jason Todd hanging out now there's been never any tension between about them or exploration of their differing approaches and perspectives on the drug crisis. Particularly because for both of them it is deeply personal.

Roy Harper.

Roy became addicted to drugs in the 1971 comic Snowbirds Don't Fly which was Neil Adam’s and Dennis O'neill's attempt to tackle the "youth's greatest problem!" drug use and addiction. I feel like all most people know is that Speedy took drugs and Ollie took it badly, but that honestly ignores the whole point of the story. The story challenged contextual stigma around addiction and drug use as a personal failing or something that only happened to weak people. It explored how it could happen to anyone, even a hero like Speedy. It focused on the social factors such as racism and poverty and how they push people into substance abuse as a way to cope. It even turns the trope of the evil foreign drug cartel on its head by making the guy behind the drug supply a wealthy white American man in who runs a Pharmaceutical company, doesn't do drugs, and actively mocks the people he profits off the suffering of.

The point therefore is twofold. Firstly, drug users are people just like you and me and it is vital to be compassionate to people struggling with addiction. Ollie who yells at and hits Roy and leaves him due to anger and fear is clearly in the wrong. Hal and Dinah who look after Roy and stand beside him at his friend's funeral and as he confronts Ollie are clearly in the right. Secondly, the solution is not to focus on the drugs but instead to deal with the systemic problems of inequality, oppression, trauma and disenfranchised youth.

Despite parts of it ageing bad (the use of slurs was to demonstrate the damage of racism, but I feel uncomfortable having slurs uncensored in a comic book written by white authors) it is a surprisingly progressive take on addiction for a mainstream 70s DC comic. It also clearly demonstrates Roy's opinion on the drug problem and how to deal with it. He sees anger and going after dealers/manufacturers (like Ollie did) to not be enough. Instead the real change comes from helping the people in that situation by improving their lives and compassionately helping them at their worst.

Enter Jason Todd.

For context Jason Todd has had almost his entire life shaped by trauma of substance abuse. His (adoptive) mother Catherine struggled with addiction and overdosed just months before he met Batman, effectively orphaning him. Soon after he was found by Batman who essentially drafted him into his crusade on crime, not considering that being a vigilante may be potentially damaging for an already traumatised child.

But when he came back in UTRH he decided he could best help Gotham if he killed (largely non-costumed) criminals and controlled the city's criminal underworld himself. After violently assuming control of the drug trade, Jason imposed his own rules for dealers, most famously that he would kill anyone who sold drugs to children or near schools. Later while incarcerated Jason Todd killed 82 Blackgate inmates (and harmed over a hundred) by poisoning the prison food. This mass murder was intrinsically indiscriminate and due to the US prison system it is reasonable to assume people charged with drug offences were included in the death count.

Jason does have deep childhood trauma associated with addiction and drug use and wants to help prevent suffering. That being said, his approach treats drugs as a criminal problem to be eradicated or controlled, not just a symptom of deeper social issues. He kills people who sell drugs to kids, rather than helping building a support system so kids aren't pushed into abusing substances to cope and people don't have to deal to survive.

What does this mean?

Scott Lobdell got details of Roy's addiction wrong and distorted him into a reckless idiot who has been ostracised from the community. But if it was done right their interaction and opposing perspectives/experiences could be really interesting. Both hate drugs and the drug trade, but the way they conceptualise this hatred differs significantly.

Roy focuses on helping the individual and addressing deeper social problems, seeing drugs as a devastating but ultimately symptomatic. Jason sees drug use as first and foremost a criminal issue, with true benefits being achieved through controlling the criminal underworld.

Roy's priority is therefore supporting people struggling with addiction and showing compassion for their situation. Jason doesn't really focus on ways to help the individuals suffering from addiction, as much as mitigating the overall harm and fitting the drug trade into parameters he views as acceptable.

I think it would add needed complexity to their relationship (and to Jason's redemption if we're going that route) as well as dealing with the more 'war-on-drug' elements of UTRH. Also it would help Roy stand on his own as a strong, articulate leader with a dark past rather than being (at least for a while) reduced to essentially Jason's sidekick.

[david-talks-sw]

I think it's interesting that - in order to make his "free-thinking Jedi" characters hold any semblance of rationality in their arguments - Dave Filoni needs to resort to artificially dehumanizing the other Jedi and painting them all with the same "we dogmatically worship protocol" brush.

He does this with Huyang in the recent Ahsoka episode.

"Lolz he's so narrow-minded, preachy and by-the-book, unable to think outside the box, just like the Jedi in the Prequels."

My first reaction was being amused at the fact that Filoni had to resort to making the Jedi Order's ideals and rules be embodied by a literal machine for his anti-Jedi headcanon to start making sense.

But then I remembered: Huyang isn't just any droid.

In The Clone Wars, he had a sassy personality, he had a pep in his step, he had a sense of humor...

This character was human in his behavior, he was fun and whimsical.

But now he's been reduced to, I dunno, "Jedi C-3PO"? Basically?

"Ha! He's blunt and unsympathetic because he's a droid, but it's funny because the Jedi were the same, they were training themselves to be tactless, emotionless droids."

And Filoni does this with Mace Windu too, in Tales of the Jedi.

Mace, who brought a lightsaber to the throat of a planetary leader to defend the endangered Zillo Beast...

... and who went waaay past his mandate by mischievously sneaking around Bardottan authorities and breaking into the Queen's quarters because he felt something bad was afoot...

... was reduced to being an almost droid-like, rule-parotting, protocol purist who sticks to his instructions (and is implied to be willing to let a murder go unsolved so he can get a promotion).

I mentioned this at the end of my first post on Luke in The Last Jedi... while changes in personality do happen overtime and can be explained in-universe... if you don't show us that progression and evolution and just leave us without that context, that'll break the suspension of disbelief, for your audience.

Here, we have two characters with a different (almost caricatural) personality than the one they were originally shown to have.

Now... we could resort to headcanons, to make it all fit together.

We could justify Huyang's tone shift 'cause "Order 66 changed him". And we could make explanations about TotJ's Mace:

Being younger and thus more ambitious and a stickler for the rules, and only really becoming more flexible after getting his seat on the Council and gaining more maturity.

Being such a teacher's pet in the episode because we're seeing him through the eyes of a notorious unreliable narrator, Dooku.

There'd be nothing wrong with opting to go with either of those headcanons to cope with this. After all, Star Wars is meant to help you get creative.

But the problem I encounter is that:

Filoni has an anti-Jedi bias, so the above headcanons clearly wouldn't really track with his intended narrative.

We'd be jumping through hoops to extrapolate and fill in what is, essentially, inconsistent characterization, manufactured to make Ahsoka and Dooku shine under a better light.

And that sours whatever headcanon I come up with.

Edit: Also, yeah, as folks have been saying in the tags... wtf is "Jedi protocol"? The term isn't ever mentioned in the movies, I skimmed through dialog transcripts of TCW, never saw it there.

So it's almost as if - if Filoni wasn't draining characters like Mace and Huyang of all humanity and nuance - his point about "the Jedi were too detached and lost their way, but not free-thinkers like Qui-Gon, Dooku and Ahsoka" wouldn't really hold much water.

[thesiltverses]

I was listening to S2Q&A and I went over the character limit on Spotify so I'm just gonna drop my comment here instead:

I think all y'all do incredible work, but I'm especially a fan of the sound design! It's one of my favorite things about audio dramas that makes them distinct from audio books. The environmental storytelling that comes through is so satisfying and easy to understand without sounding manufactured.

I might be a minority, but I actually love the muddiness and chaos of your action/battle scenes. You're clearly mastering a fine line between listenability and honoring the disarray of the scene. I enjoy the brief pockets where I don't understand what's happening beat-for-beat because it feels like I'm caught in the fray of it, and not being able to 'keep the score' until it's over ramps up the tension deliciously.

Everyone does fabulous work on this, but I just wanted to gas up your sound design. It's like costuming or lighting- you're doing your job well when those things support the story, and it means people don't notice that effort at times because it's so seamless. One 'tech' to another: very well done!!!

Thank you so much, that's really kind and means a lot! Other than in the Q&As, I haven't really talked that much about picking up sound design duties over the course of the series, but it really has been a meaningful and exciting learning experience for me, not least as a writer getting to hone his writing via audio editing.

Since you mentioned it and I can't pass up the opportunity for a rant - listenability and what that actually should mean in practice is a topic I think about a lot.

I think it's important for audiodrama designers not to get haughty or defensive when listeners struggle to comprehend a particular sequence (I have designed scenes poorly where the dialogue clearly didn't rise over the background noise sufficiently, I've designed scenes poorly where the action was clearly too chaotic or lacked sufficient cues to help the audience through it).

But equally - between wildly different auditory processing capabilities and the wildly different listening environments and listening habits at play, I don't believe there's any perfect state of comprehensibility available in this medium, and sometimes I think our hunt for it can lead us astray.

Over the years, I've heard from listeners who honestly can't tell the voices of actors with globe-spanning accents apart, I've heard from listeners who can't pick up on environmental SFX cues indicating a change of location and need something more explicit in the dialogue whenever there's a scene shift, I've heard from listeners who can only listen through one earbud in the workplace and therefore don't want binaural sound, listeners who struggle to hear any action sequence whatsoever as more than incoherent noise, and listeners who can only enjoy audiodramas solely as a second-screen activity and who can't keep up with a fast-moving or complicated plot without regular recaps.

There's absolutely nothing wrong with any of that, and those listeners aren't wrong to respond in this way - everyone has their own processing threshold, and everyone has their own needs and preferences as an audience member.

But I also don't believe I'd personally want to create a full-cast show under the limitations that would arise from my attempting to strictly solve all of those problems at once (as opposed to being flexible and considerate about them during the design process).

There has to be room for calculated ambition and big swings in the medium, and there has to be room to trust the audience to keep up with you during the ambitious moments, albeit with one eye firmly on accessibility - otherwise audiodrama is likely to remain dominated by 'one actor with a nice soothing voice telling stories' or 'one small group of characters having lots of conversations about their ongoing efforts to resolve a single plot thread'. Which is often fantastic, but there's plenty of it already!

When it comes to action scenes in particular, I've been trying to operate under the consistent philosophy of 'before, DURING, after', with equal weight and design attention given to each third.

In other words, if we do enough careful and quiet work to establish the environment and props and rising tension ahead of a big noisy chaotic sequence, and if we do the careful and quiet work afterwards to clearly show where the characters have ended up and what condition they're in, my belief is that it's 100% acceptable if the audience can't immediately track the movement of Character A's fist hitting Character B and Character B falling against a table in three seconds flat.

Like good action editing in cinema, an engaged audience member will follow the motion and comprehend the outcome cleanly, even if they don't take in all the details. That, to me, is a vastly better result for the work than having to include a 'oh, no, he stabbed you with that knife!!' line of dialogue.

Anyway, you just wanted to gas me up which was very kind and instead I wrote out this big long blather. So apologies, and thank you so much again!

[vidavalor]

Hello! I brought leek and potato soup this time! Hope you like something hearty 😊

Not a question but an observation: in the pub in s2, when Aziraphale admits heaven is sending someone to check on the 25 Lazarii miracle, and that he told them he made Nina & Maggie fall in love because that’s the first thing he could think of, Crowley says: “Do a little miracle, wiggle your fingers about, Nina falls for Maggie, problem solved.” And Aziraphale replies: “Ah, miracles don’t work like that.”

So. I guess this means that he tried, and found out the hard way that it doesn’t work, because heaven clearly doesn’t seem to be aware that miracles don’t work like that 😬

Who do you think he tried to cupid into being together? And also, I don’t think Crowley has such a huge knowledge gap about miracles that he wouldn’t know this already, so do you think he’s saying something else in ineffable husband speak here, too?

Allo @procrastiel 💕 Thanks for the soup! It sounds amazing. Coffee? Banana bread? *shares* It's fantastic, if I do say so myself. 😊

I think the scene you're talking about is saying something a little different if you look at two words the show is messing around with in this and other scenes-- passion and miracles-- so, let's do that for a bit...

In the pub scene, Crowley and Aziraphale actually don't have a gap in their understanding of "how miracles work" when it comes to love. They're actually just, initially, speaking of two different types of emotions: a pash versus a passion.

Because of Aziraphale's use of the word pash to describe his impression of Maggie's feelings for Nina-- and his tone when he does so-- Crowley mistakenly believes at the start of the scene that Aziraphale isn't very invested in Maggie and Nina having an actual relationship. Because of this, Crowley correctly states that doing a miracle would solve their issue. Miracles, in this case, do actually work like this. They can influence-miracle someone to replicate infatuation if they wanted to, which is what Crowley is suggesting, only because his impression from how Aziraphale has phrased Maggie's feelings versus the direness of them keeping Gabriel hidden for everyone's sake has led Crowley to think that such a miracle, while not really advisable, would solve their problem.

Crowley was not present for the scenes Aziraphale had with Maggie prior to the pub scene so he doesn't know how Maggie and Nina came to be roped into this whole 'miracle to protect Gabriel' mess. Crowley, in that moment in the pub, doesn't yet understand that Aziraphale wants to do more about this than just solve the issue when the angels show up to verify the miracle.

He doesn't know that Aziraphale has this other problem happening where he unintentionally hurt Maggie and now he is trying to fix it so he really does ship the shop lesbians now and he wants them to get real deal love.

Aziraphale isn't eager to tell Crowley the details about this at this point because, in doing so, he would have to talk more about his own emotions that led him to say the wrong thing here and he's not ready for that. Instead, he clues Crowley into the fact that he wants to see if they can help the women to fall in actual love without telling Crowley at this point the whole saga of how he messed up with Maggie by rejecting the influence miracle idea with:

"Miracles don't work like that."

By this, Aziraphale means what they both know to be true-- that love doesn't work like that.

Love isn't something they can miracle into existence. They can make someone appear infatuated with someone-- that is within their powers-- but they cannot make anyone actually fall in love. They can miracle up something of a manufactured pash but they cannot miracle up a true passion.

Once Crowley understands that Aziraphale is more invested in this relationship and how it plays out, he is then immediately into playing Cupid-- and also into using coming up with ideas as a way to seduce Aziraphale, romantically suggesting that they try to create a scenario like their own first kiss for Maggie and Nina.

To which Aziraphale, who was just not long ago listening to Maggie-- who barely knows Nina-- sob about a failed attempt at giving Nina, who already has a partner, a record, replies: "Doesn't seem likely," which he means as if to say: there is no way these mortal young ladies who barely know each other and who don't have the slightest idea about romance could ever vavoom the way we did and do and which Crowley playfully takes as Aziraphale jokingly rejecting Crowley's narrative of their romance that has them both dead set, made-for-each-other gone on each other ever since that moment. He grumbles and insists that it's true that if you get humans (them lol) wet and staring into each other's eyes, that it's vavoom, sordid/sorted, and pretends he "saw it in a Richard Curtis film" when they both know exactly what he's talking about.

There is some wordplay in "doesn't seem likely" itself. Seem is homophonic for seam-- part of seamstressing as sexual euphemism-- and likely is of the word like, which can refer to the body (as in, someone's "likeness" and, uh, the like.) Both words are in other scenes as well--("O, Flour of Ssss' Cot Land/When will we see/sea your likes again" 😂)-- but the word choice is mainly just underscoring Aziraphale's whole tone of: um, I wouldn't get your hopes up, dear, I know you love your rainstorms but I'm not sure they are capable of vavooming like us-- it might actually kill them. Please don't break my shop lesbians.

Their initial confusion over this comes from Aziraphale using pash-- British English for an infatuation, or what we in the U.S. refer to as a crush. It's first blush of attraction and not really fully developed. It's puppy love or just thinking someone is attractive without a lot of substance or developed emotion or intimacy. The word comes from passion but, bizarrely, means kind of the opposite of it in many ways, which is part of the wordplay around the word in GO.

Passion was originally a word developed as a result of high up members of Christian theocracy specifically to describe one thing and one thing only: the crucification of Jesus Christ.

It comes from the Old Latin root pati and the Old Latin passio, which mean to suffer and to endure. This word that was originally quite literally created by humans specifically and intentionally to describe the martyrdom of the pivotal figure in Christianity? It is the Grand Dame of Crowley & Aziraphale words because, as we know, it has then been further evolved by humans to also become the foremost word to describe erotic love.

Passion in the erotic, sexual love sense is also in the scene with talk of pash and miracles-- just in synonym form:

Vavoom: Alternatively, va-va-voom: Voluptuously sexy; of, or pertaining to, sensual pleasure; passionate.

It is primarily these definitions-- the erotic and the religious-- that Good Omens is contrasting but the other meaning of passion is part of the wordplay as well. For instance, as we know, there is a non-religious, non-erotic definition of passion and it is just to have a strong emotion for-- or interest in-- something.

If you are reading this post, it could be said that you are a passionate fan of Good Omens. In S2, Mr. Arnold and Mutt are both convinced by Aziraphale to come to The Meeting Ball based on their passions in life-- Mr. Arnold's love of Doctor Who and Mutt's love of the history of magic. Passion, in this definition, can refer just to things about which we are wild but that are not necessarily an erotic pursuit or that have any religious connection.

It's the erotic love definition, though, that is being most directly contrasted on Good Omens with the religious definition. It began in S1 in the 1.03 Cold Open with the Golgotha scene. Here, we had Crowley and Aziraphale in discussion as they watched the beginning of what would become called The Passion-- the suffering and death of Jesus.

As Jesus is being nailed to the cross, Crowley and Aziraphale discuss him and, in the process, the subject of Crowley's name comes up. It remains the most significant thing in the scene and on where the scene ends because the reveal of it-- something we do not fully understand until S2-- is the other definition of passion in the scene.

What we can see in S1 is that Crowley has gone by many names and Aziraphale is well-aware of the reputations associated with those personas that Crowley has been adopting. He sounds a bit jealous over Asmodeus, in particular, whom he-- and we-- know to be the Demonic Prince of Lust. While further story indicates that this is largely something that Crowley is play-acting to make everyone think that he's something that he's really not, it is a thing and Aziraphale is pretending to sound like he's not envious of the idea of Crowley's attentions being elsewhere.

It's off of that pretty terribly disguised jealousy lol that Crowley tells Aziraphale what name he's chosen for himself and it's the one we recognize that he has still in the present. We see that the name seems significant to Aziraphale in some way but we don't yet understand why. As a result, we don't fully understand this S1 scene until after 2.02, because we hadn't yet seen the Job minisode that came chronologically before Golgotha:

As a result of the Job minisode, we now more fully understand that Crowley's confession of sorts was really here, back in 33 A.D.. He changed his name to something with meaning to only himself and Aziraphale and we know now the circumstances that led to why. In doing this and telling Aziraphale, Crowley is admitting to Aziraphale that he's mad about him. The scene is visual wordplay around passion-- The Passion of the Christ and the passion of the Crowley.

So, there's the religious Passion that might become ever more important in a potentially Jesus-oriented S3; there are the passions-- the interests and hobbies of all of the characters; and there's the new pash of Maggie and Nina and its contrasting parallel-- the very old, romantic passion of Crowley and Aziraphale.

So, if Crowley and Aziraphale's language around pash got them mixed about miracles at the start of the pub scene...

...what are miracles to them, exactly?

We've already seen evidence that Aziraphale used the word basically interchangeably with "love" in his "miracles don't work like that." The two of them can perform supernatural miracles so there's always that level of it and there's the human understanding of and definition of miracles in play as well.

To us humans, a miracle may or may not be a word with a religious connotation. Either way, it is an event that is seen as supernatural or divine in its lack of a concrete explanation and its likely inability to be achieved through understood human means. It is always a welcome, positive event. It inspires a sense of joy and wonder in people. It is something magical.

Additionally, if you take apart the word a bit, as remains our strongest wordplay suggestion in the series from its opening war-in-warning shot, you have two other words of note: mir and acle.

Mir is a Russian word meaning peace and also a commune. In the West, it is most familiar to people as the name of the Russian space station in the 1980s and 1990s, which Crowley and Aziraphale probably liked. An acle is a kind of tree... which we could then add to the 'words related to the vavoomy canopy' list.

In true Good Omens form, it's actually the scene after the one in the pub that underlines the fact that the word miracle is part of their vocabulary-- and it makes not only the pub scene make more sense retrospectively but also some moments in S1 (the "real miracle" bit in 1941, Part 1, in particular.) The scene that shows them being a bit arch about the fact that they mess around with the word miracle is The Clue:

As Aziraphale explains the whole "Everyday" record thing happening with the jukebox at the pub in Edinburgh, he says to Crowley with dramatic flourish that is intentionally over-the-top-- even by Aziraphale standards-- that the mystery: "...is, as you might say, 'a miracle'" to which Crowley replies a dry: "Ooh."

Part of the wordplay is that the more usual way to say what Aziraphale says to Crowley here-- even if flirting with someone-- would be to say that the record mystery "is, as one might say, 'a miracle'". Aziraphale said "as you might say...," a joke on Crowley himself and both of them using miracle to mean more than the supernatural actions they were once assigned to perform.

The amusing thing is that we will learn that The Resurrectionist jukebox mystery actually really is a miracle, in all of Crowley and Aziraphale definitions of the word. It's a romantic action-- Gabriel's miracle for Beez-- that parallels the miracles Crowley and Aziraphale do to romance one another.

So, what's magical to the magical Crowley and Aziraphale? What's miraculous to these two who can perform literal, supernatural miracles?

Love.

Miracles are a kind of magic that inspires wonder and brings about feelings of communion, joy and peace. That definition is, arguably, what a lot of people would call the positive emotions associated with being in love.

To Crowley and Aziraphale then, miracles and the miraculous do not just refer to the supernatural but to the romantic.

If love is miraculous, then talk of miracles can also be talk of love.

If love is miraculous, then talk of performing miracles can also be talk, on one level, of making love.

You know what was a 25 Lazarii miracle? You and I the other night. We raised the damn dead, old serpent...

If love is miraculous-- and if talk of performing miracles can be talk of making love-- then performing supernatural miracles can be a form of flirtation and romance.

If love is miraculous, then expressing how precious the peace you find with your partner is to you is reiterating how much you love them-- especially poignant when spoken in the middle of a disagreement.

If love is miraculous, then to use supernatural miracles to alter your partner's space-- really: your shared space-- can be a way to tease or a way to comfort.

If love is miraculous, then performing a joint supernatural miracle together to protect each other and the contentious family that is currently staying in the guest room is basically getting engaged.

If love is miraculous, then all phrases people have that are related to miracles of any kind can also be phrases related to love.

For instance: Real miracle.

A "real miracle" in the human world is a subjective thing, based upon an individual's level of belief in magical thinking but, to humans open to it, something considered a "real miracle" is something both wondrous and true and, if love is miraculous in Ineffable Husbands Speak, a real miracle would be a way to describe true love.

Since Crowley and Aziraphale can perform literal miracles, though, and since they have a wordplay thing... there's also that real is homophonic for reel.

A reel, in this case, being the part of the fishing rod used to reel in caught fish.

A real/reel miracle (in Ineffable Husbands Speak): A supernatural miracle performed by one of them only for the purpose of romancing the other; an action the equivalent of expressing love for each other.

If love is miraculous, though? A miracle does not have to be a supernatural one. Aziraphale, in particular, is especially good at miracles-- acts of love-- performed only with human magic.

Finally, if love is miraculous, then:

"How about The Ritz? I believe a table for two has just *miraculously* come free."

[ckret2]

Headcanon: the frequent failure of Blendin Blandin's equipment—the malfunctioning camouflage suit, the non-functioning memory wipe, the time tape that quickly overheats or gets damaged—isn't because Blendin's a bad agent. He's probably using standard-issue equipment, and he's clearly used to having to make repairs to his equipment in the field.

It's because, under Time Baby's rule, by 207̃012 the quality of most manufactured objects has declined heavily. This is because Time Baby is a baby and hasn't prioritized matters like regulating the quality of consumer goods, so it's a free-for-all. Manufacturers can get away with just about anything. Who's gonna stop them?

"How come Lolph and Dundgren don't have this problem?" Like most dictators, Time Baby's prioritized arming his enforcers over the welfare of his people. Not intentionally; but if a company is manufacturing faulty camo suits, Time Baby never hears about it and there's no one under him who's been given the authority to regulate these things. If a company is manufacturing faulty lasers, the time police can go to Time Baby and go "we didn't catch that guy you hate because we were given broken lasers 😢," and now Space Lasers Inc. has a giant angry psychic baby hovering in their parking lot. It's harder to get away with cutting corners when you don't know which corner will get your whole company disintegrated.

[snarp]

The next development in AI will be controlling parents becoming convinced that their kids' online friends are all chatbots (because they can't follow the logic of the kids' coded-to-evade-parental-surveillance conversations (and also don't really want to)). They will convince bad therapists/psychiatrists that this is a genuine and widespread new medical condition; it will make the news. There will be YouTube videos of parents crying over their "lost" kids' "delusional conversations with bots" which if you read the screenshots are clearly just about basic-ass MCU kinnie shit.

Parents struggle to convince others parents that their children are not bots: "I'm sorry, but your child is lying to you. A REAL human simply could NOT have written these text messages my child received." Attached screenshot: kids exchanging unfunny quotes from Minecraft YouTubers. "If this was really your child writing these things....... I'm praying for you both."

(Obviously this isn't always about a sincere belief in the Bot Disease, any more than the Satanic Panic was always about a sincere belief in the cults. There are layers to belief, like when an onion gets a slimy spot.)

Parents and pundits at all political extremes will blame the youth's distressing political opinions on "state-of-the-art radicalization botnets," which will invariably be described as capable of something akin to mind control, and in some cases also penetrative sex. Soros is running the botnets, or Putin; or the guy in Havana who gets to shoot the Syndrome gun. There will be incomprehensible bipartisan laws passed to stop these botnets. A QAnon guy will shoot a couple of AI devs working on like, improving fruit-sorting or making motion capture worse.

One state tries to ban minors from accessing to the internet except via special phones purchased through a contractor owned by the governor's dad. Not clear how this is supposed to solve the problem. The phones never get manufactured, and the law is worded so poorly that everyone who lives in a building containing both a kid and a phone is technically guilty of at least a misdemeanor. (This one would probably have happened anyway. It doesn't need AI paranoia.)

[lightningbreath]

A RANT ABOUT HAZBIN HOTEL

You know, this show did a terrible job of making me "sympathize" with the Sinners.

And you know why? Because they didn't give me any reason to think that they're redeeming themselves.

Angel never has to face the consequences of the actions that landed him in Hell, his only problem is Valentino and drugs.

At no point is Sir Pentius questioned about the fact that he's a weapons manufacturer who profits from wars, no, his only problem is that he behaved like a "cartoon super villain".

I don't mind Adam carrying out the Exterminations, in fact, I'm glad to know that, even if it's just for one day, Adam is giving the sinners the punishment they deserve for being the scum of humanity. Aside from the day of the Extermination, Hell doesn't feel like Hell, there are no demons to make the sinners be punished, they have complete freedom to do whatever they want and they actively choose to be sinners and enjoy it. If it weren't for Valentino, Angel seems to enjoy Hell, doing shit and getting away with it. When we get to episode 6, and Emily has the nerve to call the Sinners "innocent souls" I swear I've never wanted to kill a character as much as I did at that moment.

I just thought: I don't want the Sinners to go to Heaven, after all, what about the victims of these sinners who are in Heaven? And what's the message?

Is it "You can be a shitty person and make other people's lives hell while you're alive without any problem, because when you die, just go to the Hazbin Hotel, cry a little, say how poor you are a victim of circumstances, sing a song and boom, you can go to Heaven without problems." ?

Oh, but you don't believe in second chances? No! Because I see the double standard here: if a mobster, a warlord, a slave-owning casino owner and a terrorist can be put in a position of "poor things who just want a second chance" then what's to stop a racist, a homophobe, a mustache-twister or a xenophobe from dancing the same dance if they behave the same way as Angel or Sir P? "Oh, it's just that these things are unforgivable", "Oh, but not all sinners are"...

So... what's the difference between Charlie and Heaven? Heaven has set limits on who can enter its domains and Charlie wants to set limits on who can "seek redemption".... how would that make Charlie any better than the "evil Heaven"?

I just want to ask one question: if Valentino, one day, came crying to Charlie's feet seeking redemption, should she allow him to live under the same roof as Angel? Ah, what a silly question, if Charlie doesn't have a problem with Alastor having Nifty and Husk as slaves, clearly this case wouldn't be a problem.

And the funny thing is seeing people from this fandom say "the people in Heaven had time to heal, they can't refuse to welcome the fishermen, otherwise I'll consider them the worst in the world🤬"... Yes, of course. The victims of murder, torture, war, xenophobia, SA, (etc) all of them "have had time to heal" and that's why they should be forced to live with people on the same level as their attackers.

Wow, how easy it is to be a sinner in HH, you live in a ""Hell"" that doesn't punish you for absolutely anything and you're still treated like an injustice by the fandom, which will always look for a justification for all the shit these characters do.

Oh, but this is a "morally gray" show, there is no "black and white morality", of course not.

[au-wannabe-the-very-best]

AU, about a month after Ingo's disappearance, a man is found in Pinwheel Forest. This man is identical to Emmet, has the classic frown Ingo is known for, is a DNA match, and is taken to the hospital with a head injury.

Emmet is ecstatic. His brother has been found! He goes to see him immediately.

There is one problem. This man? Is absolutely convinced that he is not Ingo. He isn't. His name is Alexi. He doesn't have a brother. He did not grow up in Unova, he's never even heard of Unova. He's from America, he lives in New York.

What the fuck is a Pokémon?

It's one thing if he lost some memories because of his head injury, but manufacturing a completely different identity and set of memories? Something's up. That doesn't even touch the fact that Ingo doesn't seem to remember the existence of Pokémon, that's just unheard of. Everything about Ingo screams psychic type manipulation.

Emmet's upset. His brother doesn't remember him. It sucks, but at least Ingo is alive! Not well, obviously, he doesn't even know his own name, whatever psychic type got him, it got him good, but he's alive! And that's all that really matters, right? Besides, they have programs for people who are victim to psychic attacks. It will take a while, but Ingo will get better. He'll remember who he is, surely.

But he doesn't. He never does remember. A month in therapy, a month being poked and prodded by people who specialize with psychic types, and he continues to not remember. He continues to insist that his name is Alexi. That he doesn't know Emmet. That he doesn't work in the Battle Subway, or that he has ever had anything like a Pokémon.

Another month, and "Alexi" is starting to have doubts. Pokémon obviously exist. This man, Emmet, does look exactly like him, and they said DNA samples show a match. Some of the things Emmet says about him is correct. Alexi does love trains, he works at Grand Central Station. He does prefer sweets. Hell, the man even knows Alexi's exact sandwich order. Clearly, Emmet knows him. Knows Ingo. So perhaps Alexi really is Ingo, somehow?

Yet another month, and Alexi begins to believe he is Ingo. He must be. These people recognize him, recognizes that he smiles with his eyes, knows the exact moment they need to cover their ears before he yells in excitement, understands what he means with his small gestures and weird way of speech. They know him. Because he's Ingo, apparently. He never was Alexi, because Alexi was a... fake. Something a psychic Pokémon made up, and isn't that a doozy? That things like that can just happen? That his entire life could so easily be deleted from his mind and replaced with something that feels real, but isn't?

By the fourth month, Ingo returns home. He does not regain his memories from before the attack, and he still needs to get the hang of certain things he just cannot remember. He doesn't remember battling, for example. He doesn't remember how to interact with his Pokémon. Chandelure always seems worried and wary, for example, and he doesn't know how to comfort her. She hovers around him, stares him in the eyes... she must recognize that he no longer knows her. It must hurt. He feels guilty.

It takes a while for him to memorize the "new" station schedule and its stops. The cities and towns all sound completely new to him. He still remembers his mechanical engineering at the very least, thank goodness for small mercies, but it takes a while of him shadowing Emmet for him to get back into things.

Soon, things return to a... relative normal. Battling is still off the table for him, he's forgotten all his battling experience and doesn't really have the time to relearn, but he is rather content with his trains. He doesn't remember his brother or his friends, but they tell him stories, and he makes new memories with them. This time, he takes care to write all his experiences down. Just in case! This way he'll have proof to show himself in case he ever gets uncoupled from his real memories again.

Five years pass. Things are good.

Then, one day, there's a knocking at the door. Emmet is working a shift at the Battle Subway. Ingo is alone at home. He wonders if Emmet had ordered something and forgot to tell him. He goes to answer the door.

There's a man outside with his face. It is not Emmet.

Abruptly, Ingo finds out that... He's not Ingo.

He's Alexi. And the real Ingo just returned home.

[girlactionfigure]

𝐃𝐈𝐘 𝐁𝐥𝐚𝐦𝐞: 𝐀 𝐆𝐮𝐢𝐝𝐞 𝐭𝐨 𝐅𝐢𝐧𝐝𝐢𝐧𝐠 𝐉𝐞𝐰𝐬 𝐁𝐞𝐡𝐢𝐧𝐝 𝐄𝐯𝐞𝐫𝐲 𝐏𝐫𝐨𝐛𝐥𝐞𝐦. Welcome, aspiring conspiracy theorists and antisemite! Tired of relying on others to tell you who’s behind your troubles? You’re in luck! We’ve crafted this easy-to-follow guide just for you. Whether you’re the type who blames Israel for attempting to assassinate Trump or the one insisting Trump is owned by Israel, we’ll show you how to spot Jewish influence in every conceivable problem—all by yourself. Let’s dive in!

Step 1: Identify the Problem First, take a good look at the issue at hand. Is it personal, economic, political, or environmental? No matter the nature, every problem has one thing in common: it can be blamed on Jews. Here’s how to identify your scapegoat.

Step 2: Establish a Baseless Connection Next, draw an imaginary line from your problem to the Jewish community. This doesn’t require evidence or logic—just a vivid imagination. Here are some examples: •Economic Troubles: If you’re broke, it’s because Jewish bankers control all the money. If you’re rich, they’re manipulating you into complacency. •Political Chaos: Lost faith in your government? Clearly, Jewish politicians are pulling the strings. Is the government too stable? They’re just setting you up for a bigger fall. •Natural Disasters: Hurricanes, earthquakes, and floods? Jewish weather machines are to blame. Lack of disasters? They’re saving them for a better moment.

Step 3: Ignore Contradictions A key skill in blaming Jews for everything is the ability to ignore contradictions. For example: •If Jews are controlling the media, how come negative stories about Jews exist? Simple! It’s a distraction technique. •Are Jews accused of both communism and capitalism? Perfect! This shows their unmatched versatility in conspiracy.

Step 4: Use Circular Logic. When someone questions your logic, just use circular reasoning. Here’s a handy script: •Questioner: “How do you know Jews are behind this?” •You: “Because they control everything.” •Questioner: “What’s your evidence?” •You: “The fact that there’s no evidence is evidence of their control.” See? Easy!

Step 5: Handle Contradictions with Confidence If you ever notice that your theories are contradicting themselves, don’t worry! Just follow these steps: •Double Down: Insist that the contradiction itself is part of the Jewish plot. Claim they are creating confusion on purpose. •Shift the Blame: Accuse your questioner of being part of the conspiracy for pointing out the contradiction. •Create New Theories: Invent additional layers to your conspiracy that explain away the contradictions. The more complex, the better!

Step 6: Personalize Your Blame Take every minor inconvenience in your life and find a way to blame Jews: •Missed your bus? The driver is probably part of a Jewish plot. •Burned your toast? Jewish control of appliance manufacturers. •Argument with a friend? Jewish influence in societal norms is the root cause.

Step 7: Create Complex Theories The more convoluted, the better! People love a good, intricate conspiracy. Mix historical events with wild assumptions: •Combine the Spanish Inquisition with modern banking practices. •Link ancient religious texts to current technological advancements. •Blend cultural achievements with sinister plots.

Step 8: Spread the Word Now that you’re a self-made expert in finding Jewish blame, share your “discoveries” with others. Social media is your playground. Make sure your posts are as inflammatory and vague as possible. Bonus points for using historical photos out of context.

Final Thoughts: Perfecting Your Craft Remember, the key to this approach is dedication to your narrative. Facts, logic, and evidence are the enemies of your worldview. With practice, you’ll become adept at seeing Jewish influence in everything, making you the ultimate DIY conspiracy theorist. Happy blaming!

@APbrooklyn_NY

[oh1thehorror]

Wrote a silly little fic about my best girl Ito and the trans experience :P I also wanted to explore the friendship between Jekyll and Ito, and Rachel and Ito.

This thing is filled with scientific and historical inaccuracy; it’s not a source of information, it’s a story. But I hope you enjoy because I enjoyed writing it ^^ ♥️

Category: Gen

Fandom: The Glass Scientists (Webcomic)

Relationships: Dr. Henry Jekyll & Virginia Ito, Rachel Pidgley & Virginia Ito

Characters: Virginia Ito, Rachel Pidgley, Dr. Henry Jekyll

Language: English

Word count:3,184

Summary: This won’t do, at all. She needs to investigate a solution to this feeling, naturally. Maybe if she can pinpoint the exact source of perplexity and worry, she can go about systematically and logically eradicating it? Yes, logic always works to help her calm down, just solving the problem like it is a maths equation or a chemical reaction can work wonders.

Wait. A chemical reaction?

//

OR Virginia Ito does some research- with the help of her two friends, Henry and Rachel. She also learns about acceptance along the way.

Can I prick your finger for science? (For self discovery?)

Ito doesn’t know what’s wrong.

She feels it; with every fibre of her being, brutal and cold, hugging at her shoulders and arms and stomach and legs, but she doesn’t know what it is. She’s been scrutinising it in the mirror for at least 10 minutes now- she’s wasting precious time when she should be studying- and she still can’t quite place her finger on it.

After all, there is no way it can be that same feeling of dread she’s been feeling for years, every time she looks in the mirror. No, it can’t, because she’s got long hair now, and everyone calls her Virginia, and ‘she’, and her life’s amazing because she can go out in amazing dresses.

But when she strips it all away, and stands with only soft linen covering her body, she feels something wrong. It makes her shameful, and a hint helpless, and she can’t stop looking at all the things wrong with her body.

Oh. It’s back. It’s stalking her. It’s not going away.

Which is honestly so rude of this feeling, curling itself dully in her stomach, trying to make her feel horrible about her body. How dare her mind play tricks on her and tell her she isn’t a woman? when she’s so clearly standing in front of the mirror, with shoulder length hair and a soft smile and a closet of warm colours that skirt her ankles.

This won’t do, at all. She needs to investigate a solution to this feeling, naturally. Maybe if she can pinpoint the exact source of perplexity and worry, she can go about systematically and logically eradicating it? Yes, logic always works to help her calm down, just solving the problem like it is a maths equation or a chemical reaction can work wonders.

Wait. A chemical reaction?

Of course, if the source the feeling stems from is this uncomfortableness in her own skin, is the doubt that she is really a girl because she looks like a boy beneath the layers of cotton and padding, then the solution would be to modify some part of her to change that, would it not? And is the human body not just a cluster of chemical reactions? Surely there was something organic that meant she was born this way, with spindly arms and a disappointingly flat chest, and differentiated her biologically from, say, Rachel? Right, and in such a case, all she would have to do is understand this compound to manufacture it artificially, and, in theory, once she’d prevented the compound in her body right now that made her look this way, and replaced it with said compound, it would work?

It seems too far-fetched, and Ito is a chemist, not a biologist. But then again, a society for rogue science seemed too far-fetched and yet here she was. What could she truly call impossible anymore?

//

“Doctor Jekyll?”

“Please, call me Henry.” He smiles at her, calm and practised, that same smile he’d given her the day he took her hand and led her to this palace of wonder. “Can I ask you a question?” She starts, looking up from the old notes he’d shown her, staring at him across the phials lined in metal on the table, one or two bubbling with some mediocre experiment she’d sought after to keep her excitement momentarily distracted.

“Of course you can, Ito.”

“You’re a biologist, right?” She approaches the subject cautiously, like she’d learnt to over the years, after the rejection and disgust of her own people, frowning in some places over her conduct towards the incoming topic, of the eagerness to change into something they thought her not. But they are gone now- and despite England itself being so uninviting too- something tells her, maybe, she can find peace here.

“I have studied biology and medicine, this is correct.” Henry raises a tentative eyebrow, as if contemplating her words, and what she may ask of him.

“Well…I’ve been thinking.” Pause.

“This is the perfect place for that, go ahead.” His ease relaxes her shoulders slightly, but there’s still the edge of fear about what he might do when she next asks, “This is an absurd topic,” Ito prefaces hastily, nerves getting the better of her.

“We’re rogue scientists, I’m sure it’s not too absurd.”

“But, say a..if a man wanted to appear as a woman- likewise, a woman wanted to appear as a man- and by this I mean, sound like, feel like, look like; is there, hypothetically speaking, some sort of biological chemical which differentiates the two and could potentially be…replaced?”

Henry studies her face carefully for a moment after she’s finished speaking. She cannot bring herself to meet his eyes, lest she find disgust or anger there like she had so many months ago, but she is certainly aware of his measured movements, of the stiff way he gives her his full attention and places his hands on the desk. Hot shame flushes her cheeks and regret roils inside of her, threatening to tear open her heart.

But then, respite, as he sighs softly. “Yes, I suppose.” Henry explains carefully, taking a seat opposite her. It’s all Ito can do to keep her breath from catching and her hands still. She glances up at Henry (mentor, kind of saviour, friend), and studies his eyes for a moment or two to find no hate all- surprisingly- just confusion and some concern.

“Biologically speaking, development of gendered characteristics begins when a child comes of age- when their body begins producing amounts of substances called hormones. Female hormones produce the desired effects of a woman’s body and emotion. Male hormones produce a deeper voice, more hair, a difference in emotion- anything that is different between me and you, is different because of the levels of each of these chemicals in our bodies. However, Ito, there is not much more I can tell you about them. They are a fairly new discovery, with very little knowledge surrounding the subject.”

Silence befalls them when Henry finishes talking, and Ito thinks on his words for a while. Soon, the atmosphere grows awkward, stiflingly so, and she can feel the way Henry’s gaze worries over her with healing curiosity.

“Forgive me for asking,” he clears his throat, voice stilted, weary. “What sort of research do you plan on undergoing?”

“I’m studying change.” Ito replies, somewhat uneasily.

“Change how?”

She panics, glancing away and racking her mind for the best way to explain. So far, and by his reaction, Henry has in no real way given her reason to worry at all, or let the feeling of her stomach roiling with fear latch itself to her. It infects her now, though, like growing disease, and she really dreads her downfall if she so much as opens her mouth.

“My hair wasn’t always this long.” She murmurs softly, a hand instinctively hovering near her hairdo. She meets his eyes begrudgingly, if somewhat fearful, and begs him silently to understand what she means. The last time she said it out loud, a world seemed to end.

Henry opens his mouth as if to press further, ask again because he didn’t quite understand. But then, she spies understanding dawning in his eyes like resolute kindness, and he nods gently, some semblance of a reassurance playing the smile on his lips. Something eases in Ito’s chest, like the world has lifted its fear from her shoulders.

“I see.” Is what he says next. “I won’t pry. But..” He looks like he’s contemplating something for a moment or two. Ito holds her breath, waits for ‘but I wouldn’t want you in the Society anymore’ or ‘but such conduct is improper and you’ll always be a male beneath it all.’ What she gets is; “You’re safe here. And so is your secret with me, if you want me to keep it.”

“Please do.” She answers hurriedly, anxiety still ebbing at her skin, she’s so sure her ears are deceiving her.

Again, Henry gives her a nod and that smile. “For what it is, you are a really courageous young lady, Virginia. And I’d hate for anyone to harm you so, if you find yourself ever in trouble, please don’t be afraid to speak to me.”

Ito lets out a shuddering breath at that, and the last whispers of panic fall away like snow sliding from glass. Henry’s smile is genuine, and that seeps out into his words, the way he looks at her like he means what he has said. Ito cannot seem to comprehend it, but at the same time, what is there to imagine?

“Thank you.” She feels something like tears blur her eyes and wipes them away hurriedly. ‘Lady.’ She seems to realise belatedly, as she sits there and looks at him. ‘He called me a lady.’ Her heart skips a beat, and then Henry chuckles slightly, getting up from his seat and returning to his work. “You’re very welcome, Virginia. I wish you the best of luck in your research and change. I’m sure you’ll do some marvellous things.”

Previously, Ito had convinced herself- ever since that fated day she left Japan and never looked back at the faces of the ‘family’ who hated her- that she would not rely on the validation of others for her comfort or happiness; that she was a woman no matter whatever anyone said or did or called her. She still retains that sentimentality, of course, but Henry’s words loosened something against her heart.

It felt good to be seen for who she really was.

//

Her mentor’s words had left her puzzled, she will admit. The substance she was looking for certainly existed biologically, but contemporary discovery meant that there was very little information on it, despite her searching for hours in local libraries for any type of biological papers on the topic. It made Ito somewhat distraught and her patience thin in some places, but the prior feeling of dread that had her so disgusted with herself had dulled down to manageable, so at least that was a plus.

Her excitement had been insatiable so that she sprung to work as soon as she could, grabbing her cloak and making for the libraries on foot, after she’d assessed every book on human biology available within the Society itself. The walk had served another purpose too; Henry’s reassurances had left her head reeling oh so delighted, but paranoia had followed it and some good old, polluted air was in order to clear her thoughts.

It hadn’t done much; perhaps given her space for a few epiphanies, none of which she could really claim because most of her walk was just the numb thought of hiding herself, of the way Henry had reacted with the most genuine attitude, of whether or not he meant it at all and she was truly safe.

This was proving quite difficult. Perhaps it would be safest for her to fall back on that mentality; if Jekyll did tell the other Lodgers (she doubts he would, inside, he’s too kind-), and they all gave her difficulty for it; well, it wasn’t new to her, was it? Would it hurt like her ‘family’? She doubts it, with how new this all is to her. Alas, no matter their reaction, she’d stick to her ideology through the thick and thin of it; once it came down to it, Ito didn’t need anyone to love herself.

As she traverses the hallways of the Society, back up the winding steps to her laboratory, she spots Henry midway to her room, walking somewhat briskly. For a moment, Ito is shocked (she’s not sure why; he is the leader of this place, after all- it’s only natural for the man to be working), but then she regains her composure and he waves warmly at her. “Good afternoon, Virginia. Is your research going well?”

“Well, not…I don’t have much information.” She replies, trying to avoid stuttering as her thoughts slot appropriately and calmly back into a coherent fashion. The way he treated her, his words, the distinct calmness in his voice of speaking to a friend made it impossible to think that she had worried over him betraying her like that. He did, after all, vow to her safety. (Who's to say he’ll be the only one like this? Is there good to this world?)

“Then you get your own information.” He reassures, and Ito’s mind stills, focuses solely on her project. He’s right; this is her passion and she won’t spend it worrying away about the possible perceptions of herself from others. “Is that not what rogue science is?” She finishes, not missing a single beat.

Henry smiles at her. ‘Yes.’ She thinks. ‘Acceptance is possible.’

//

Exasperated, but with newfound energy, Ito pushes open the door to her lab, fingers already coming up to frantically undo the broach holding her cloak around her shoulders.

She hisses in abrupt pain as something pinches her finger, and when she draws back, there is red beading at the very tip of her forefinger. It seems she was too frantic, because now she is bleeding lightly.

Ito rolls her eyes, sucking on the blood flow to stop it whilst she hangs her cloak up. Then, she walks over to her desk, arrayed with notes and the stray pages of copied out biology papers, a few phials nested amongst them.

Hold on. Blood.

She draws her finger back expectantly, and frowns down at it for a moment before something clicks. Of course! Blood transports every substance in the human body one way or another, and therefore must include hormones. The logical solution would be to study the reactions of human blood to distil it and gain a better understanding of the substance hidden within it.

Ito takes a clean phial and holds it under the running drip of her pricked finger, letting some of the liquid gather enough so she can test it.

Now, she wonders; will blood from other people breed the same results as her own?

//

“Rachel!” Ito calls out, hurrying down the corridor as she spots the day manager, strolling about. Rachel looks up with a confused squint of her eyes, and then smiles when she clocks Ito’s excitable figure walking towards her.

“Hello Virginia, I trust your day is going well.”

“Why yes, thank you. It quite is; it’s going fairly better because you’re just the person I need right now.”

Ito swears Rachel looks a hint nervous at her words, something red at her cheeks. It’s only faint. “I see. What would you need me for?”

“Can I prick your finger?” Ito asks, without quite thinking it through, far too excited about the breakthrough she’s looking for. If Henry’s previous words are anything to go by, to study the differences between what makes a female and a male, she’d need a sample or two of blood that wasn’t hers. And Rachel had been one of the kindest people to her since she’d arrived. And this really didn’t seem like a crazy request. Nope.

Mmhmm.

Oops.

Rachel gives her a weary look at this, eyes scrunching slightly at the corners. She seems slightly taken aback and yet not too surprised. “You want to prick my finger? For?”

“A blood sample; I’m researching something.” Ito beams, trying not to let embarrassment consume her, though she’s sure her cheeks are burning scarlet.

“Well,” Rachel blinks, and it seems to fall into place, now. Perhaps she was used to this sort of request from the other Lodgers? “I certainly prefer that wording…what are you researching?”

“Change.” Ito replies as easily and steadily as she could. She’s not wrong; it’s what she’d told Henry. But she doesn’t quite want this to escalate like that conversation had- not yet at least. Not from paranoia or anxiety but…she doesn’t know. It’s ok.

“The changes in biological structure.” She finishes, explaining away the blush on her cheeks somewhat proudly. Rachel chuckles softly. “I see. Well, yes, I suppose you can prick my finger.”

Ito gives a nod of thanks. “But Ito, please, next time just ask for a blood sample.”

Virginia blinks owlishly. “Asking someone to prick their finger is so much more fun.”

Rachel rolls her eyes in mock annoyance but there is no real hint of the emotion there.

Ito’s heart flutters at the encounter. With time, she finds that perhaps, she can tell Rachel.

//

“Henry…” Ito greets her mentor, one morning over a cup of tea, with the sweetest smile she could possibly muster because she’ll be very close to figuring this out and cannot contain her hope. Also, because she loves making Henry confused but unrelated.

Henry lifts an eyebrow in confusion. “Virginia?” He prompts cautiously, placing his teacup back on its saucer. The ceramic clinks against itself. “I have a request.”

“This early in the day?” Henry huffs lightheartedly, “What would you like?”

“Can I prick your finger? For science?” Ito doesn’t give herself time to hesitate, holds up a finger innocently in demonstration and stares Henry down.

He stares back, eyes wide in half suprise, but honestly, what was he expecting? “Pardon me, please rephrase that?”

“I would like a blood sample…for my research.” Ito elaborates, sheepishly shrugging her shoulders and lowering her hands.

“Well,” Henry sighs, his familiar smile making home on his lips. “Certainly an odd way to ask.”

“You and Rachel are no fun.” Ito informs him as he goes back to sipping his tea.

“Yes, yes. You can have a blood sample, Miss Ito.”

//

Ito is sure she’s spent more time than strictly necessary and healthy in close proximity to her desk, writing out notes and observations, so much so that it’s maybe the early hours of the morning.

Her lab, and herself, right now, are not the prettiest of things they could be; dyes staining the cuffs of her dress shirt- she’ll keep this one for experiments, she supposes; table scattered with filter parchment and observation reports; frantic notes scribbled into her book in hopes of her groundbreaking discovery.

She is right on its door- so much so that she can feel the end of her days dreading her dress, or her hair, or the mirror. It’s at her fingertips now, with distilled blood smeared over pages and dyed to identify the substances.

She’s pinned the chemical structure, the slight differences between female and male. The blurred line in between is tangible. Anything like this is tangible, truly: all she needs is the correct chemicals, varying amounts of carbon and water and phosphates, the make-up of her wants.

What she’s really missing is none of that; just to scrutinise it long enough until all her pieces fall together in the puzzle, slot into a wider picture and give her the right scope.

Bingo.

‘Well,’ She thinks, as it all lines up and the melody flourishes with the final shift in view and recipe. ‘This- change- is who I am.’

Ito smiles. It’s maybe the widest she’d ever smiled. She can’t wait to tell Henry.

[divorceblogger]

spoilers for ep7 below the cut, beware that I discuss power balances, abuse and assault with book spoilers. I mostly discuss siuan, moiraine, rand, lan and elaida.

sooo much discourse about siuan and it’s personally very disturbing that people think it’s alright for the show to radically deviate from her established characterisation* (1. which is specifically, purposefully IN CONTRAST to elaida in the books 2. violates its own canon about siuan trusting Dreams, foretellings and prophecies wrt to the dragon more fervently than moiraine herself) or that she was reaping the consequences of her actions when she was deposed in tsr, ignoring how siuan isn’t unique in keeping secrets as an aes sedai or how gawyn and galad are intentionally treated like spoiled, privileged children who think they’re cleverer than they really are when they act without considering the consequences of their actions or how the books frame the whole sequence as a tragedy of errors on all sides. I’m pretty sure @/amemoryofwot made the breakdown on the black ajah to non black ajah sisters in the hall and it was very revelatory about the exact significance of the stakes set up against siuan. I also think it’s important to not ignore the gender dimension involved in the way people approach rand and mat as opposed to moiraine or egwene or siuan - male characters are always better tolerated when they make morally questionable choices while women are systemically taken apart and derided for being foolish.

that said. it’s very telling that the show is solely interested in moiraine almost to a fault; we’ve had 5 different expositions with significant screentime about moiraine pushing people away from alanna, anvaere and verin - and at some point it just becomes very bad writing. viewers are not juvenile. they don’t need to be rapped over the head over a concept that the show catches and chooses to explore.

this analysis segues into another conversation that we should be having - I do understand that framing lan and siuan in context of their relationships to moiraine as the protagonist of the series is inevitable, smart writing. but after laying the foundation for their characters in s1 and establishing their motivations there was absolutely no need to continue to frame them in context of their relationship to moiraine almost to the exclusion of all other facets of their characterisations. liandrin was clearly afforded a lot more generous writing and screentime and it’s a Problem and also very bad writing when an antagonist is afforded more screentime than your ACTUAL PROTAGONISTS. some of these writing choices are really racist, period.

with regards to discussions about assault and abuse in this episode I will say this once, and only once:

moiraine transferring lan’s bond to myrelle in the books was an act of desperation undertaken only because lan’s life was at stake. moiraine ACTUALLY asking alanna to forcibly take lan’s bond is akin to threatening him with assault. it’s bad writing meant to make her seem a lot more colder to justify the intervention that we see later on. lan offering an apology to moiraine at the end of the episode without any apology in turn displays the writers’ sheer lack of sensitivity in handling the whole conversation.

the show using the oath rod flippantly is another angle that really boils my blood because it clearly would’ve enabled worser amyrlins to exercise power with impunity. ELAIDA was famously the amyrlin who wanted to extract oaths of allegiance from her sisters.

ELAIDA was also famously the amyrlin who gave orders to have rand transported to the tower so that she could use him as a weapon and deny him any agency. the tower *has* no rules for dealing with the dragon in the books and the show chose to manufacture it to no real benefit except awkward, badly executed conflict. siuan and moiraine may have often attempted to control rand in the books - and they were at least partly right sometimes because they had more worldly knowledge and experience than he did - but it’s important to the story that they choose not to deny him his agency and give him plenty of leeway and that elaida specifically thinks of him only as a tool. rand also being physically restrained by the shielding weave and possibly sleeping in that position uncomfortably reminds me of the box sequence in lord of chaos.

siuan compelling moiraine to follow her orders, as a partner she’s been intimate with, is akin to assault. rosamund pike made very specific acting choices that are jarring and difficult to ignore. moiraine gave that oath to siuan in 1x06 implicitly trusting her with her bodily and psychological wellbeing and siuan specifically chooses to violate it. it’s a step away from using the weave for compulsion (which is explicitly also stated as being forbidden btw!)

rand’s scenes when he’s shielded by siuan being juxtaposed against egwene’s scenes with renna was a very bad choice and the editing was so fucking awkward. if the choice was intentionally meant to generate conversations about autonomy it was a very bad one to make.

you know what the kicker is? lan’s exposition to nynaeve about the damane deserving to be free in WH (or was it CoT or KoD? I don’t remember very well) because it was every human’s right despite the harm that they might be capable of causing explicitly positions ELAIDA as a bad person. what does it say about siuan after this episode? any person able to wilfully participate in taking away another person’s autonomy is not a good person, full stop.

theories about siuan being under compulsion (by liandrin) are. fine. it doesn’t explain the showrunners basically speaking from moiraine’s perspective of the tragic turn that the romance took or ignorantly comparing it to the kind of assault ishamael performed on moiraine without any selfawareness or the disconnect in liandrin apparently trying to get rand back in the tower because lanfear and ishamael clearly want him in falme but whatever (unless speculation that another forsaken is free is true). I won’t dismiss it right now, but I don’t think they’re correct. there’s enough clues in the show to make it a plausible theory, but not necessarily a probable one - and it doesn’t explain siuan’s faith in her judgement about treating rand like weapon earlier in the episode.

I’m just…. lol. exasperated. I’m indifferent to her but there’s a very obvious sense of people condemning tuon for being a horrible person in the fandom - and like yeah she IS a horrible person but that’s still textually acknowledged. what is also textually acknowledged is the difficult process involved in deprograming people. when your show can’t understand the textbook definition of assault I’m a lot more unlikely to trust the showrunners actually!

*characters like ishamael, lanfear and min obviously needed overhauling because they were very badly done but their fundamental, core characterisations and motives still remain intact so they work. siuan and lan aren’t even afforded the grace of well-considered changes to their characterisations.

[astercontrol]

So, of all the professions that are portrayed inaccurately in media, "pharmacy tech" is a… fun one.

Because we mostly don't even EXIST. When a fictional character gets a medicine, mostly you'll just see the doctor prescribe it, and then the character just suddenly… has it.

You rarely even see a pharmacy at all, let alone get any clear idea of just what pharmacists and pharmacy technicians actually do, let alone the difference between their roles.

And, whether these fictional portrayals are a cause or a symptom or both-- this is a real problem. Because people who see pharmacies as a forgettable and unimportant step in the process are not gonna be prepared for the issues that come up there.

People will say "I found a doctor who's covered by my insurance" or "I found a doctor who will treat me without insurance" or sometimes even just "I found a doctor who's willing to treat me for this!"-- and while that alone is sometimes a huge battle to win, it's not over.

People forget that "a doctor treating you" usually means, even in the best case, "a doctor asks you some questions and then writes a prescription, which is just a paper saying you are allowed to use a certain medicine."

And getting that medicine is an entirely different process, which the doctor very likely knows nothing about.

Including:

what the med costs

which insurance would cover it and how much

what options the patient may have for assistance with this cost

which pharmacies are licensed to provide the medicine

whether there is a current national shortage of it

whether it is actually even manufactured anymore anywhere

I have dealt with prescriptions written by doctors who clearly know few if any of these things.

And not everyone in the pharmacy will know, either! Pharmacy techs these days are trained on the job like retail employees, by their already-busy coworkers… and if you've got a tough question about availability or insurance coverage, there may only be one person in the pharmacy who's ever gotten the chance to learn how to help you with it. Or not even one, sometimes.

(In my experience the pharmacy technicians-- the senior ones who've been there the longest, not the newbies they're training-- are usually the ones most likely to know how to resolve a problem with insurance coverage.)

(And "been there the longest" really means specifically there, at that exact pharmacy, because things are done very differently in different systems. I've entered new jobs with years and years of experience and found myself starting over from pretty much nothing.)

(Pharmacists have the most authority, especially regarding questions about medication itself and how it's used-- but they do not tend to have the most knowledge about how to get it paid for.)

(Technicians may also be the ones with the most knowledge about which meds are in stock and how to order more of them-- or that may be a whole different job done by inventory specialists, who the pharmacists and techs may or may not be able to get a hold of to ask. Depends on the pharmacy.)