#because i know i don't have the full perspective either

[dogsplayingpoker]

Ok weird it wasn't letting me reblog this properly. Anways hiiiii

I did read it (over a year ago when i reblogged this) and that isn't what I said, or my criticism of his point and, overall, the neo-liberal ancient-contemporary comparative perspective that Devereaux is routinely writing these articles in. It would be silly to be fully Pro-Rome, sure, but I'm not really accusing him of that persay. I do still think his general perspective is a silly and factually inaccurate one and disagree with it, so I therefor disagree with the arguments he makes starting from this perspective. In particular, I think that no matter how much he claims to actively be against it, Devereaux and the many historians that follow his same playbook end up: 1. romanticizing (I previously said "admiring," which may have been where we got mixed up) Rome by claiming it was a ghastly horrific slave state (true) while also being unable to help from looking to "the good parts" with a kind of breathless nostalgia, and here, overtly for guidance. This is of course a pretty common issue for classicists, unfortunately, including professors of mine that I've generally really respected. Usually the "good parts" = freedom of religion in occupied territories, civil rights afforded to slaves (+the way that pre-Race slavery functioned differently in general), and exactly what Devereaux says in the title of the article, i.e. their "Notion of authority" being likened, often, to a gentle but firm father figure who knows whats best for his children. It is absolutely hilarious to me how often historians, even ones that claim to have left-wing values, can believe in the noble pater familias rule of the romans with a smile and a tear in their eye. Does anyone else here remember 'the white man's burden'? Did anyone see that weird tucker carlson speech where he talks about daddy coming to spank the disobedient little girl that (assumably?) was supposed to be the Biden government? Anyways. Writers try to isolate only that there was religious self determination (in occupied territories of an expansionist empire), that they Ruled the horrible violent imperial war machine Fairly, and then don't even hide the fumble when they get to the slavery part, proudly saying YEAH, they were ENSLAVED, sure, and that's BAD, BUT........ This all ties into issue two, or the underlying issue:

2. Devereaux is a liberal American historian that is either unable to appreciate the full context of the country he lives in OR is actively obfuscating it AND/OR accepts it and thinks its just peachy outside of a few stubborn issues like police brutality and the like which he thinks can be handled in a vacuum by throwing enough good old fashioned liberal values at them. He fails to view issues from a systemic lens and therefor thinks anything he doesn't like is a weird flaw coming from some outside source. In that article (and I can't find this specific article again on Foreign Policy to pull examples from, I'm sorry) he was trying to 'learn from rome' for the sake of America. Even if he's saying Rome was a heavily flawed society, he is saying our empire can still learn a good thing from their empire. I disagree with that. I disagree with the empires staying empires in the first place, or that empires are things worth saving, or that they're even possible to save. My argument is also that we should actually definitely not look to Ancient Rome for advice on law enforcement, or indeed any of our policies point blank period. I personally think this kind of Rome-USA compare and contrast exercise is always fnny because the writer also never seems to reckon with how much we already, fundamentally, ARE Rome-- in all the worst ways, and in the ways he's claiming we can 'learn' from them. We already have. We've been romanticizing and following in their footsteps very intentionally the whole time, just as others were inspired to follow in ours in a horrific timeline of gore and human atrocities. Devereaux, per his website, is really into classical liberalism, liberal democracies, private property, free-market capitalism, and John Locke. (https://acoup.blog/2024/07/05/collections-the-philosophy-of-liberty-on-liberalism/). We simply have really different perspectives on politics that also inform how we view and would choose to write about things as historians.

I think this quote from that blog post on liberalism is especially funny in context: "And of course Cicero himself never fully absorbs the implications of his philosophy: a wealthy Roman slave-holder, it never occurs to Cicero that perhaps he daily violates the natural law by keeping people in bondage." Devereaux himself never fully absorbs the implications of his philosophy: a white well-to-do professor in an elite seat within American Academia, it never occurs to Devereaux that perhaps he daily violates the individual freedoms of liberalism by rationalizing and hiding away the dark parts of a fundamentally unjust empire relying on the slave labor of prisoners, the indentured servitude of sweatshop workers worldwide, the slaughter and subjugation of millions of in the global south and the underclasses within the empire itself, and the theft and hoarding of the world's resources. But okay. Cicero bad, John Locke good. Got it. My argument would of course be that they are both bad, both equally ignoring the reality of the society they lived in and their places within it. Devereaux is starting his argument from an already catastrophically flawed point of view that forces him to look past things like 'context' whenever it becomes inconvenient. He has to say in the post multiple times that like yeah, sure, Locke's view of who counted as a "person" worthy of having things like "rights" was, um...narrower than ours today, but he was still correct because I like him (and it's totally different from how other people cited, like Cicero, were incorrect hypocrites). Ignore the slavery and colonialism, same old same old, it is still correct and not at all laughable to claim that the United States was a nation formed on a defining principle of inalienable freedoms for every single person. He mentions that those things were obviously bad but doesn't see them as truly conflicting, more as growing pains. He even says the founding father's misogyny and racism (towards the enslaved specifically: indigenous people, and therefore the ACTUAL founding principles of the US colonial empire, go completely unmentioned) "[...] represented betrayals of the principles that otherwise document: the crime was common, the hypocrisy was special." American exceptionalism who? Obviously if he was saying we should instate a more 1:1 ancient roman government that would also be ridiculous. But my point is that he's asking the wrong questions about the society we have and what's wrong with it in the first place. He is often wrong about Rome and near-universally wrong about America.

Despite Sparta’s reputation for superior fighting, Spartan armies were as likely to lose battles as to win them, especially against peer opponents such as other Greek city-states. Sparta defeated Athens in the Peloponnesian War—but only by accepting Persian money to do it, reopening the door to Persian influence in the Aegean, which Greek victories at Plataea and Salamis nearly a century early had closed. Famous Spartan victories at Plataea and Mantinea were matched by consequential defeats at Pylos, Arginusae, and ultimately Leuctra. That last defeat at Leuctra, delivered by Thebes a mere 33 years after Sparta’s triumph over Athens, broke the back of Spartan power permanently, reducing Sparta to the status of a second-class power from which it never recovered. Sparta was one of the largest Greek city-states in the classical period, yet it struggled to achieve meaningful political objectives; the result of Spartan arms abroad was mostly failure. Sparta was particularly poor at logistics; while Athens could maintain armies across the Eastern Mediterranean, Sparta repeatedly struggled to keep an army in the field even within Greece. Indeed, Sparta spent the entirety of the initial phase of the Peloponnesian War, the Archidamian War (431-421 B.C.), failing to solve the basic logistical problem of operating long term in Attica, less than 150 miles overland from Sparta and just a few days on foot from the nearest friendly major port and market, Corinth. The Spartans were at best tactically and strategically uncreative. Tactically, Sparta employed the phalanx, a close-order shield and spear formation. But while elements of the hoplite phalanx are often presented in popular culture as uniquely Spartan, the formation and its equipment were common among the Greeks from at least the early fifth century, if not earlier. And beyond the phalanx, the Spartans were not innovators, slow to experiment with new tactics, combined arms, and naval operations. Instead, Spartan leaders consistently tried to solve their military problems with pitched hoplite battles. Spartan efforts to compel friendship by hoplite battle were particularly unsuccessful, as with the failed Spartan efforts to compel Corinth to rejoin the Spartan-led Peloponnesian League by force during the Corinthian War. Sparta’s military mediocrity seems inexplicable given the city-state’s popular reputation as a highly militarized society, but modern scholarship has shown that this, too, is mostly a mirage. The agoge, Sparta’s rearing system for citizen boys, frequently represented in popular culture as akin to an intense military bootcamp, in fact included no arms training or military drills and was primarily designed to instill obedience and conformity rather than skill at arms or tactics. In order to instill that obedience, the older boys were encouraged to police the younger boys with violence, with the result that even in adulthood Spartan citizens were liable to settle disputes with their fists, a tendency that predictably made them poor diplomats. But while Sparta’s military performance was merely mediocre, no better or worse than its Greek neighbors, Spartan politics makes it an exceptionally bad example for citizens or soldiers in a modern free society. Modern scholars continue to debate the degree to which ancient Sparta exercised a unique tyranny of the state over the lives of individual Spartan citizens. However, the Spartan citizenry represented only a tiny minority of people in Sparta, likely never more than 15 percent, including women of citizen status (who could not vote or hold office). Instead, the vast majority of people in Sparta, between 65 and 85 percent, were enslaved helots. (The remainder of the population was confined to Sparta’s bewildering array of noncitizen underclasses.) The figure is staggering, far higher than any other ancient Mediterranean state or, for instance, the antebellum American South, rightly termed a slave society with a third of its people enslaved.

[rolandkaros]

i've been ruminating a lot on it because i think i'm bad at putting my thoughts into words but i need y'all to understand that while there are absolutely a lot of Not Good Things about the finals being held in saudi arabia for three years...the way people seem to treat is as morally black and white is shortsighted and unhelpful.

realistically the players traveling there will be protected. it may be uncomfortable, it's certainly not ideal, but they will travel there for a few weeks, play their tennis, then leave. there are a lot of women, a lot of queer people who actually live in saudi arabia who cannot just leave, who are actually subjected to laws and social climates...and to me it just seems very disrespectful to that actual lived experience, for everybody to sort of turn their noses up and get on their high horses. of course, if the players wish to opt out, that is their choice, but that is their choice to make. that's their judgement. not ours.

and then, what about a tournament like miami? florida is literally experiencing one of the worst active regressions that i've seen in the us (granted i'm young). things like critical race theory and lgbtq+ ed are being removed from curriculums, rights for trans youth, trans healthcare, etc. are going backwards. abortion rights? gun violence? and yes i know that the laws and climate in saudi arabia are different gravy, i understand that, but my point is, no one would ever DREAM of arguing against hosting a tournament in miami despite all of these issues. and we can extend this to a lot of other tournaments! i mean, all the outrage about fifa hosting a world cup in qatar, but we don't have any of these sentiments about doha? i've seen other people bring up that the finals were hosted in singapore when gay marriage was still illegal there. we've already talked about italy's fascist prime minister. and i could go on and on and on about the war crimes of countries like the us or the uk - is the us not participating actively in genocide right now? where is the standard? if you argue against hosting the finals in saudi arabia for the reason of human rights, to me it seems you have to uphold that standard for the location you do land on. and i can guarantee, you will not find a single country in the world with clean hands.

i want to be clear i am not arguing that hosting the finals in saudi arabia is a good thing, especially for three years, especially because it's definitely going there because of money, and not for any of the "good" reasons i think some people want us to believe about "improving the region" (which is very weirdly white savior-esque anyway). i don't really have an official "conclusion" to this discussion.

what i am arguing is that i think a lot of the protests against saudi arabiahosting the finals are more an example of implicit anti-arab bias and islamophobia, rather than genuine discussion. key word implicit: i don't think most people are purposefully trying to be anti-arab/islamophobic. or at least, i'd like to believe nobody is. but i also think, particularly in the west, there is already so much of this xenophobic sentiment ingrained. and this is why i think it's really really REALLY important to check ourselves when we talk about it instead of just jumping straight to the human rights conversation without a second thought.

i'll say it plainly: i don't think the finals should be held in saudi arabia. but for me, it has more to do with sportswashing, with the dangers of the way money is thrown around in sports, and because i think it's more evidence that the wta doesn't care about player welfare but rather about making a profit (what else is new). human rights are absolutely a concern of mine, but how is it fair to hold saudi arabia to a standard that we don't seem to care about for literally anybody else?

literally look at the us's ugly ugly history, past and present, and tell me why we deserve to host a tennis tournament.

[frankenfossil]

for the space related asks, ⭐️ & 🛰?

whee!! thank you!

⭐️ Star - Do you have a favourite character? If so, why are they your favourite?

Oh no a very hard question actually... Probably the answer is evidently Emily and Dee since I spend more time thinking and writing about them than any of my other characters. POSSIBLY if I had to choose out of the two of them I'd pick Dee because I am kind of a sucker for a sad sack loser with emotional problems and I deeply enjoy thinking up situations to make him happy and/or traumatised. I also enjoy overthinking his powers and what kinds of things I have to tweak about physics for him to exist with the functions I've given him. (Such as recently I've thought of new objections to the plausibility of time travel but I think I've also thought of a way to resolve them storywise which I personally think is very funny, but if I learn more about physics before it comes up it might change.)

I love Zoe a lot but she is much harder to write and to draw for some reason? I feel like she is clear in my head but never comes out right somehow. It's weird.

I have other characters from other stories that I love too... another favourite who is unrelated to this story is a guardian angel whose first guardee died prior to the story beginning; clearly the angel fucked up a bit with that but gets a second chance, but then is pretty lousy with the second person too!! Trying to push them to fill the shoes of the first person.

Recently I found out that the person who inspired my first 'canon nonbinary' character (I didn't know that was a thing at the time tho) has since come out as for real nonbinary, which obviously makes a lot of sense lol. It was mostly about this one very cool jacket they owned. But that character was a strong fave for a long time... the story was terrible and really problematic lolol but ah well. Probably all the good parts of that character have gone into Dee and Zoe anyway.

I LOVE THEM ALL ;_;

🛰 Satellite - Do you have a character who is very dependent on another character? Is it healthy or unhealthy?

WELL. Again... Emily and Dee are each other's most emotionally intimate relatinship... Dee again is more dependant on Emily than vice versa, and less healthy about it, although I would say it's overall good for them both (but I would say the healthy/unhealthy balance varies over time and may be affected by external factors...).

Zoe is still on the periphery a bit but.............. well there are/will be some dynamics of questionable health there. She doesn't have particularly healthy attachments and is still not exactly over her previous friendship dynamic of being the second best friend of two besties who were shitty to her, and is still kind of stuck in the mode of 'trying to be exactly what the other person wants so they will like me'. Which Emily is not really aware of because she doesn't ever do that. Although the kinds of things Zoe plays up to try to be friends with her probably aren't as bad as what she has done to get OTHER people to like her, and she's relatively confident that Emily isn't going to use any of the stuff she knows against her.

Again, in terms of OTHER characters I have a couple where they are both disabled in various ways but one has more problems with mobility and communication than the other, and also had to be rescued from a kind of slavery by the other, which naturally gives the rescuer some pause for thought about the power dynamic there and whether she's ~taking advantage~ by falling in love with her at the same time (I mean by the time she even gets aware enough of her feelings lolol, gotta sort of pine without realising first!!)... but I'm trying to write that one as pretty healthy tbh, they're just trying to support each other through a difficult world yknow. And anyway the one who used to be a slave deliberately tried to square that debt immediately so it wouldn't be hanging over them both and is now mostly consumed with a quest for revenge lol. But also love.

I am going to.... stop rambling for now lol!!

[gibbearish]

ok i finished the first chapter and am gonna take a break now but im v excited to keep reading im really liking the way the author looks at things so far

[buddhistmusings]

One element of this phenomenon that bothers me so much is that these people don't pause to reflect at all.

It doesn't occur to them that they don't understand what is and is not Zionism.

Like full honesty, a while ago, I thought I opposed Zionism because I had been given a false definition of the concept (basically, something similar to Kahanism). Part of what made me realize that I don't oppose Zionism in general is when I learned about the statistics of how many Jews support Zionism.

I realized that if Zionism is what I had been told, it makes no sense that so many Jews would support it. If I wanted to maintain my position on what Zionism is and is not, I'd have to concede that the vast majority of Jewish people believe in abhorrent things. But I was aware that this wasn't the case, and if I were to accept it as the truth, that would be antisemitic.

So I took a step back and saw what Jews had to say about the concept, and realized that basically, academia has an awful antisemitic bias, that helped proliferate a false understanding of Zionism which frames the issue in such a way as to isolate and justify oppression against Jewish people. I read about the history of antisemitism and learned about how this false understanding is so deeply rooted in Soviet ideology and was the justification for anti-Jewish pogroms.

It's so sickening because I know this bias isn't implicit either. I know it required conspiracy to proliferate this false definition. I know it required academic dishonesty, collaboration with other academics, and consistent and cognizant antisemitic aims.

Basically, blanket antizionism comes in two forms, I think. Strawman antizionism, which is based on a false definition of the concept of Zionism, in which the adherent may or may not be aware that they were given a false definition. And just plain violent and intentionally antisemitic antizionism, in which the adherent understands what Zionism is, and just wants to see Jewish people suffer.

I still wouldn't say that I *am* a Zionist, mostly because I don't think it's my place as a non-Jewish person to tell a Jewish person what their relationship with the Land of Israel should be like, as an individual or as a group. I can look at the ideologies under the broader Zionist umbrella that I think are awful. I can also see ideologies that promote the thriving of all people, regardless of religion or ethnicity, and I can see ideas that I think are probably necessary in order to promote the welfare of Jewish people.

I am comfortable saying this to my fellow non-Jews : if you are promoting antizionism, if you have a problem with Jewish people identifying with or supporting Zionism, you are being antisemitic. You might be behaving in an antisemitic way unintentionally, but you are being antisemitic. This is a big part of why listening to marginalized perspectives is so important - because you might have been given false information.

Jewish existence in Israel is necessary for the welfare of the Jewish people. This has been proven in the countless antisemitic genocides since the Holocaust, where Israel provided the victims a place to go. You can and should oppose many actions taken by the Israeli government, as you might with many other governments, but to frame them as an exceptional evil in the same way as Nazi Germany, is antisemitic. You can oppose Netanyahu himself. You can and should oppose violence, and you can do all this while also supporting Jewish life in the Land of Israel.

I just saw a post talking about supporting Jews, then OP reblogged it with "ZIONISTS NOT WELCOME!"

...Who is going to tell them? I mean, they'll probably deny it like all of the antizionists do, but:

Ethnic Jews are indigenous to the land of Israel. There is loads of evidence to support this. By being antizionist, you are saying that indigenous people who reclaimed their land shouldn't be allowed to do so. But you only say this about Jews. You are antisemitic.

And if you truly believe that Jews originated in Europe (despite all of the archeological evidence of them being in Judea (Israel) no less then 3,000 years ago), then you are a fucking idiot.

[intheholler]

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

[miraculouslbcnreactions]

Wait, I was reading your posts and came across something I've found confusing. How is Adrien asking Ladybug wth she is doing in Volpina a bad thing? From Adrien's perspective, Ladybug's a celebrity tracking down a middle schooler with zero clout and humiliating her for lying about meeting her before. That's, uh yeah? Imagine if that happened irl lmao. Millions of teenage girls would perish at 1D's hands. My middle school would be a horror story. And it's made clear multiple times in the episode that her motivation is jealousy. It's one of the few episodes where the lesson Marinette gets makes sense I think, because she was genuinely spiteful in shitting on this random girl in front of her crush. That's significantly different than Ladybug just asking for a retraction from the Ladyblog. It's also one of the few times when Adrien's celebrity background actually affects how he acts, and it makes sense that Marinette doesn't make the connection between superhero=celebrity=not allowed to scream at middleschoolers in public. If half the kids in her school didn't lie about meeting Ladybug before, my suspension of disbelief is gone.

I've seen this argument before and it makes no sense to me, especially in the context of the lie that Lila actually told and the way the Lila confrontation actually goes down. A lot of people who have this take seem to think that Lila's lie was, "Ladybug saved me," and that Ladybug made a big public confrontation which is not what canon actually gave us. The confrontation was done in a mostly private setting and, while we never see Lila's full Ladyblog interview, this is how Ladybug sums up the interview in Volpina:

Ladybug:(sarcastically) Well hey Lila! How's it going? Long time no see. I saw your interview on the Ladyblog, awesome job. Oh sure! I remember our instant connection when I saved your life and we've been really good friends ever since! Practically BFF's! Uh actually, when did I save your life again, Lila? I don't recall. Oh yes! Of course, now I remember. Never! And we're not friends either! Miss Show-Off here was trying to impress you and everyone around her.

Lila didn't just lie about meeting Ladybug, she lied about having an ongoing, close relationship with Ladybug, two very different things. And Ladybug isn't just a celebrity, she's a superhero who is fighting an active terrorist. If I had to rewrite this confrontation, I'd keep it pretty much the same and just change the "Miss Show-Off" line to something like:

Miss Show-Off here was trying to impress you and everyone around her, putting herself and all of you at major risk! You know that Hawkmoth would do anything to get these, right? (gestures at her earrings) Did you even stop to think about what he'd do if he learned the identity of my supposed best friend? Of course not. You were too busy trying to look cool to stop and think things through like an actual superhero! We keep our identities and relationships secret for a reason!

Is this the kindest, most gentle way to confront someone like Lila? No, but it's very in character for Marinette to be filled with righteous fury when she sees someone using her name for their own personal gain. I really can't blame her for getting incredibly angry at this total stranger presenting herself as a Ladybug authority and using that authority to manipulate Marinette's friends. As I've said before, take away the crush complication and Marinette's actions still make total sense to me.

I'm not a huge proponent of virtue ethics. That's the idea that you need proper motivation for an act to be morally justified. If you do the right thing for the wrong reason, then the act is bad no matter how good the results and vice versa. If you view the world that way, then sure, you could possibly argue that Marinette's actions were wrong just like you can also argue that Gabriel's actions were totally fine, but I don't view the world that way. Switch Marinette's motivation from jealousy and a little righteous fury to pure righteous fury and almost nothing changes. She'd still need to confront Lila, the words would just be a little different.

It's not like this confrontation stops Lila, either. Chameleon gives us this:

Lila: (in flashback) Not only did Ladybug save my life, we've become very close friends. Marinette: She lies with every breath. Nino: Wait. You eavesdropped on Lila and Adrien? That's not cool. Alya: A good reporter always verifies her sources. Can you prove she doesn't actually know Ladybug?

Quick mini rant before I give the next Chameleon quote: this isn't how verifying your sources works, Alya! You should be verifying that Lila does know Ladybug, not the other way around! Right now, Marinette and Lila have equal authority on the topic as far as you know and there is no evidence to support either claim, so you should be looking for proof that Lila isn't lying! Proof isn't a first come, first serve problem even though a lot of people fall into that trap. This is especially true since Lila goes on to make claims like this:

Lila: Of course Ladybug saved my life. She never misses an opportunity to rescue her best friends. Max: Didn't your tinnitus give you vertigo when you went up the Eiffel Tower? Lila: Oh no. Ladybug knows me so well that she brought me an earplug to stick in my right ear.

So Lila keeps right on lying about her relationship with Ladybug, presenting them as close friends, making it even harder for me to get on the "Marinette was in the wrong for privately confronting Lila" train. If anything, Marinette was too tame! She needed to go full scorched earth and have Alya post a public retraction that included a message about the dangers of claiming to be personal friends with someone you don't actually know.

If the show went that route and had Ladybug give an equally furious smack-down and Alya posted it without a second thought, THEN I'd probably be on team "Marinette needed to tone herself down because she went too far" because that isn't a heat-of-the-moment reaction. It's something Marinette would have time to think through. But Volpina didn't go there. Instead, we just get Marinette reacting live to someone using her name to flirt with her crush. Remember, this is the setup to Marinette transforming and jumping in to stop Lila:

Lila: Not only did Ladybug save my life, we've become very close friends because we have something very special in common- it's what I wanted to tell you about. I'm the descendant of a vixen superheroine myself, Volpina. Adrien: Volpina? Marinette: Volpina? Adrien: Wait a minute! I think I read about her in my book. Lila:(stopping him from grabbing the book) Of course she's in your book. She's one of the most important superheroes. More powerful and more celebrated than Ladybug. Between you and me Ladybug doesn't even make the top ten. My grandma gave me this necklace. [Marinette runs off to transform] Adrien: (holding Lila's necklace) Are you telling me this is a Miraculous?! (Ladybug lands in front of them)

This wasn't a planned confrontation. It was Marinette reacting live to some pretty massive lies. If Ladybug had been swinging by and just overhead this, then the scene once again wouldn't change much. That's why blaming Marinette for confronting Lila in the "wrong way" feels so victim blame-y to me. "How dare Ladybug not be perfectly poised at all times and react with grace when someone lies about being her close friend and teammate!" is not a take I'm ever going to agree with. And if you want to use the middle schooler defense? Then it applies to Marinette, too. She and Lila are the same age. Why the different standards just because Marinette has fame that she never asked for or sought out?

I've never been much of a fan of holding celebrities to an "always on" standard where their every interaction needs to be done with poise and grace even if the interaction happens out in the wild and not at a planned even where the celebrity can be mentally prepared for dealing with fans. That's extra true for accidental celebrities like Ladybug. Marinette didn't take up the earrings for fame and they certainly haven't brought her fortune, plus she has no PR training. Expecting her to be a PR master who knows how to handle her accidental fame is, once again, a little too victim blame-y for my tastes. Ladybug is here to save the world, not sign autographs. You can hold her to politician standards when you start paying her for risking her life on the daily.

There's a version of Lila where I would have a different take. A version where the lie really is minor and Marinette really did "overreact", but even there my lesson wouldn't be "Marinette was totally in the wrong" because I genuinely think that sends the wrong message to kids and kids are the show's target audience. Think about what you're actually saying here, "Because Marinette is famous, she needs to accept that people will lie about her and just ignore them even if people believe the lie."

While that isn't exactly a wrong take, it's still really messed up. It's not okay for people to use Marinette's name like that just because she's famous. The reason she needs to learn to let it go is because that's what's best for her mental health, not because her fame makes her lesser than others when it comes to things like personal privacy. The lies are not magically okay just because she's well known.

Remember, Marinette is a fictional character, but the kids watching this show are very real and they're way more likely to be Lilas than Marinettes. And the kids that do relate to Marinette in this episode? They'll be kids who have dealt with the rumor mill spreading lies about them or their friends without the celebrity complication. The show should not be telling either set of kids that Marinette is the one in the wrong here. That is the wrong moral and why I hate this episode so much. I might feel differently if the intended audience was teens and if this plot was allowed to be more complex, but none of that is true. The show is aimed at kids ages 5 to 12 and every episode is supposed to teach its own moral with Volpina's moral being "Marinette was explicitly and totally in the wrong here."

This is the age of internet personalities where there are more easily-accessible celebrities than ever and where many of them do not have the wealth needed to protect themselves from fans nor the PR training to know how to handle extreme fans if there even is PR training for that! That means that it's honestly really important for kids to learn to view these individuals as people who it's wrong to lie about and who deserve the same respect as non-famous people. Treating celebrities as public commodities is how we get things like the Kit Connor scandal where an 18-year-old actor felt forced to publicly come out because the internet wouldn't shut up about his sexuality. Oh, and since you brought up one direction, I'll also note that the band members have publicly stated that online shipping discourse has negatively impacted their relationships. So, yeah, I'm never going to agree that kids should be told that it's okay to lie about celebrities or treat them as fictional characters to play with and that the celebrities are the ones who are wrong if they get upset about that behavior. That shit is toxic.

If we go the "minor" lie route, then my version of this episode would be a very sad one where Marinette learns that people are going to ignore her boundaries and lie about her and there's nothing she can do about it. A lesson in mental health training that will hopefully help kids who are dealing with bullies, but that does not present Marinette as totally in the wrong. It just teaches her when to pick a fight and when to let it go, which is a very important skill to learn even outside of lies about your own person. There will be many times when you hear people say something that you vehemently disagree with and it's important to learn when to pick a fight and when to just let it go, knowing that no good will come from speaking up even if you're 100% in the right. It's a very sad, but also very necessary skill.

I think Adrien has a place in that story. A place where he still tells Ladybug to let it go, but it should NOT have been played the way it was in canon where he acted like Ladybug was totally out of line. He needed to be way more compassionate and understanding of her very justified anger. I've written Adrien giving advice on this topic before and it's always presented as, "people are going to be assholes and you have to learn to ignore them for your own well being," not as, "you are wrong to be upset about strangers telling lies about you. You agreed to deal with this when you decided to be a hero" because what kind of asinine lesson is that?

You could also keep Adrien's canon reaction and have the lesson be him learning that it's okay to have boundaries. That his fame doesn't negate his bodily autonomy and right to be treated with dignity. That people chasing him down, invading his personal space, and otherwise preventing him from living a normal life is wrong. I love it when fanfics take this approach to Adrien's part in the Lila conflict. It's very cathartic to see his friends supporting him and protecting him from Lila.

I really have tried to see Volpina from the "Marinette was totally in the wrong" perspective because I've come across it several times, but I just can't wrap my head around it. If you've got a counter argument, then feel free to try to change my mind because I've given you my full thoughts here, but know that I'm probably not budging on this one. You'd have to make some pretty dramatic changes to canon for me to feel like this take has a point. I think the only way that I'd be on Lila's side is if it was very clear that no one believed Lila and Marinette still had the same reaction that we see in canon as that does feel like going too far. But everyone believed Lila so that's not a solid argument and I'm just never going to agree that people have to be cool with others lying about them just because they're famous. I honestly despise celebrity culture so much and hate that people are basically forced to deal with that bullshit if they want to be successful in certain artistic fields.

[dirichletttt]

I really liked Oppenheimer. I know it's not for everyone, but as someone who is interested in STEM and STEM history, especially pertaining to physics, this movie pushed all of the right buttons for me. I think it did a good job at showing just how flawed and utterly human many of these mythologized historical figures were in real life, and how the Manhattan Project was riddled with internal and external political factors from even before its conception.

I also appreciated just how utterly fucking powerful and eldritch they made the bomb. Obviously a significant portion of the movie is dedicated to the creation of the bomb, but it's often sort of a looming figure in the background. It's the increasing number of marbles in the jar, it's the steady theoretical and experimental progress, it's the dropping of dates for those who know the historical timeline of events. And when it's finally revealed, it's Fucking Terrifying. You pretty much never see the full mushroom cloud in frame; it's always a small portion of it or the flash of light shining on our characters. And the sinking feeling you get when the screen is lit up and you just know, you're anticipating that deafening blast from the shockwave because sound travels slower than light. And you feel guilty in a way because you have the privilege of knowing what's coming, while in your mind you know the victims of such devices had no idea before they were either vaporized on the spot or severly traumatized. It conveys so well the perspective of the scientists on the project, that you've challenged god and, although maybe not surpassing it, made something equally as terrifying.

Character-wise, I don't really have much to say. I do like that the latter third of the movie slowed down a lot to focus on the accusations made against Oppenheimer, which helped to flesh out a range of characters who were sort of just set pieces to Oppenheimer himself before the interviews. And despite my previous statement about breaking down the idolization of historical figures, I was indeed excited like a Marvel fan whenever one of my physics blorbos showed up on screen. "Holy shit it's Niels Bohr!!" "omg Lorentz my scrunkly wunkly!!!" "ITS BONGO GUY OMG BONGO GUY I KNOW HIM" like yeah a lot of them turned out to be Not Great People in their personal lives but I can acknowledge that while also geeking out at their recognition in mainstream media.

All in all, very good movie. I intend to watch it with my mom when I get the chance.

[mnnuni]

Domestic

Sam Winchester x Reader

Summary: Dean's perspective of Sam and Reader's relationship; Sam and Reader are two cutie patooties Words: 1450 Warnings: none, very fluffy Author's note: I actually don't know if I love this or I hate it

A solid faithful relationship into the hunters' field was almost rare: if they were married they were either consummed for loss or full of affairs and if they had boyfriends or girlfriends they will fight for the distance or the different visions of life. And then there was the rarity, the true love cases, the one in which they would share their life of hunters as easily as a piece of bread.

Dean Winchester never really believed in those rareness, never really believed in love in general... that was untill he really saw Sam and (Y/N) together.

Their love started slowly, it was one of that things that people would say "we already knew" when they eventually announced their relationship.

Dean was convinced that Sam's heart decided from the very beginning of their story that he would beat out of his ribcage only for her in his entire life; Dean saw it in the way Sam didn't just pass (Y/N) the milk and sugar for her coffee for her second cup of that day on their first case together, but he put them in her mug while she read out loud some articles for Dean. Sam didn't put much thougth in that action, but when she realized (Y/N) blushed because he remebred the exact order and amount of products she used after only one time.

But Dean also knew that he approved of their relationship when it was him that proposed to Sam to pick the impala and take (Y/N) somewhere special, just because she deserved all the effort his brother could put in a date and even more. Sam wasn't so surprised about that because he also saw how Dean had grown fond of (Y/N), to the point she was the only girl ever that didn't receive the "hurt my brother and I will end you" speech but it was the other way around.

When (Y/N) confined in Dean one night he really wasn't expecting what she was telling him, after more than an year of being officially with Sam.

"I know he loves me" that was her premise, and Dean could have screamed "WE ALL KNOW" but he let her keep going "but sometimes i whish things were easier" at this the Whinchester quirked an eyebrow and Y/N started rumbling then "I'm not saying it isn't easy with Sam, I just want to say that ... there's never a period of peace in our kind of lifes and we all accepted this when we decided to be hunters, but sometimes I find myself of dreaming one night together without running from something or cleaning up eachother scars... I need normality"

Dean knew that this was also Sam's dream, his little brother wanted this since Stanford, but he also knew that both of them needed to hunt because that was what gave them the hope to make the world a better place and the adrenaline that every man and every woman would need to go throu life.

After this conversation with (Y/N), Dean almost ran to Sam to order him to organize something special for his lady; he wasn't surprised to find him already writing a list of things he wanted to do with her, "I know I didn't give her the right amount of attention these past weeks, shoul I go for a picnic or romantic restaurant?". Dean tried not to smile at his answer, even if he really admired how Sam could know how his girlfriend felt withouth even say anithing and his commitment to their relationship; "The picnic is cute, but not for this time of the year. No reastaurant. She needs something calm, be domestic dude"

He left him like this to think of something, he was sure his brother would have find the right thing.

--------------------------------------------------------------------------

The next day Sam was adjusting one of the bunker's biggest room, he bought a projector and a too big amount of movies -even if he thought that he could never do too much for (Y/N)-

He asked Dean to help him put her favorite couch in there and order a lot of her favourite snacks.

Dean was really proud of how Sam behaved with (Y/N) and for (Y/N), never saw him so whipped for no-one.

When (Y/N) got out of her shower, she was ready to jump into Sam's bed and sleep for two days if she could; instead she found Dean in the kitchen with a blindfold in his hands, "I promise, you will lovee what you'll see after this" he winked and then put it on her face.

"I swear to God Dean, if you're tricking me..." they were walking a pat she never did in the bunker "oh please you love me too" "if you think so...", Dean stopped her in front of a purple metal door and took the blindfold off "oh i know so" he whispered and then proceeded to walk away from there.

(Y/N) was left to wonder what the hell was going on when Sam opened said door and smiled "Hi", it had the same emotion he carried during their first date, (Y/N) smiled too and got on her tiptoes to give him a light kiss. He grabbed her hand and walked her into the room, she would have cried if she realized sooner everything there was in that room.

"You did all this for me?!"

It was clear in her voice that she was emotional in that moment and Sam hated the fact that she underestimated her value for him, "baby, that's nothing. Perhaps I should have done something sooner when I first started to notice you needed some time alone" "thank you". Sam smiled and gave her a kiss.

When they finally settled onto the couch (Y/N) was analyzing every detail there was in Sam's preparation: he put three blankets on the couch 'cause he knew he was too tall to tall for them both be covered entirely just by one and also added few pillows because (Y/N) loved the fluffy feeling of them while watching a movie; he made a little table with every kind of chips the market sold and four bottles of her favorite soda, on the shelf under it there were two or three packages of cookies too. Sam also organised something like fifteen movies, all divided by genre and number of stars (Y/N) gave them when they first talked about it.

Sam chose the first movie of the night -obviously a musical- and settled next to his girlfriend. She was so fucking happy about all Sam had done for her.

(Y/N) put her head on his chest while Sam's arm was around her shoulders, drawing figures on her arms to make her relax some more.

Dean snuck in after the first two songs of the musical and rested with one shoulder leaned on the doorframe to look at them: they were adorable. At first when they were on their honeymoon phase Dean felt the need to puke every two seconds, but now he loved to look at them from afar and be happy of their happiness

(Y/N) lifted her head to look at Sam: he was so focused on the screen,the lights of the scenes illuminated his face in a way that made his eyes sparkle.

"I love you", she whispered and Sam's face turned instantly. She still blushed when Sam looked at her that way, "and I love you".

Dean didn't see the kiss because he closed the door immediately after his brother said those words, that was another of the things that made Dean root for them: they never said "I love you too", like they had to say it just because or to not be in an embarrassing situation; every time they proclaimed their love for eachother they made sure to let the other know how much they actually loved eachother and how they really believed in what they said with that "I love you".

Sam and (Y/N) watched another movie and a documentary, they finished almost all the chips and sodas. After about the half of the documentary (Y/N) fell asleep snuggled up to Sam, who was massaging her head -he already knew that after one cookie she was about to pass out, so he made sure to get her in the most comfortable position and help with his hands in her hair to allow the sleep to finally set-

Dean never got back in that room, because he knew that they would have fallen asleep eventually. He made himself a burger and drank one too many beers, but it didn't matter because that night Dean too slept so well knowing that his brother and his sister were okay.

[envy-of-the-apple]

Moon Starves Sun

Dark!Gojo Satoru x reader

Part one: Sun Eats Moon

Part two: Earth Kills Moon

Part three: Moon Starves Sun(Full part)

Synopsis: The aftermath of 'Sun Eats Moon' in Satoru's perspective.

(Warnings: implied sex, forced relationships)

When Satoru's close like this, he can hear your heartbeat. 

It's been a while. Ten years. An entire decade. Everything about this is different, yet so familiar. He feels like he's finally reached the shores, feeling the warm sands underneath his feet. Like he's been given his favorite food after being starved for years. Everything melts. Everything except for you. 

He'd like to stay like this forever, listening to your rabbit heartbeat, feeling your soft skin, but for your sake, he pulls himself off you. Lying on a wooden desk probably isn't that comfortable. 

Your eyes are shut. Your breathing is shallow. You're so pretty like this under the moonlight. Your clothes are barely hanging onto your body. He can see every mark he's left on you. Part of him wants to make more, but he'll let you off the hook for now. He's nice like that. 

"Still with me?" 

Your eyes flutter open. You don't respond, but at least you're not crying anymore. He can work with that. 

"C'mon, pretty girl," he says, voice soft, "let's piece you back together." 

The belt left lines on your wrists. He'll kiss them better later. For now, Satoru collects your clothes and heels from the floor, placing them on the desk. He helps you reclasp your bra, runs his fingers on your arms when you finish buttoning your blouse. It's a quiet affair. Every so often, he'd catch your eyes. You don't let yourself linger for long. Satoru finds that a little cute. 

You say nothing when he wraps an arm around your waist, guiding you out of his office. Maybe you're still dazed, still gathering yourself back up, because you don't struggle as much as he predicted. You try to leave his grip when the two of you reach the lobby. He's quick to stop you. 

"Where, do you think you're goin'?" He grips your wrist when you take a step away. 

You look at him, eyes shimmering like water. 

You swallow. "My apartment. I—I need to go back—" 

He clicks his tongue, bringing you back in. 

"We can get your stuff later." He tells you with a grin. "let's just go home, tonight. I'm exhausted." 

You open your mouth. Satoru waits. You say nothing, and he thinks you're starting to get it. 

The moon is a dusky red tonight. Satoru thinks it's an ugly color. 

☾

If Satoru could describe you in one word, it would be: predicatable. 

Normal, boring, a speck in the crowd—none of these are bad things. Just like how much of the universe is nothing, you're an empty void, too. Not everyone can be like him. From the minute he was born, Satoru was destined for greatness—a prodigy, heir to a millionaire conglomerate, the Sun itself. His life isn't written on his forehead for everyone to read. 

You are the exact opposite. Completely unassuming. He practically knows everything about you without even having to ask. 

Like how Satoru can instantly tell you've never been over to a boy's room before. 

You've probably never even been in a relationship before him, either. Even before he managed to corral you into his arms, you were always so annoying about the other things like school and friends. Though, you don't really have much of the latter anymore. His fault, Suguru never fails to remind him. 

He watches as your eyes linger over his shelf: the numerous trophies and awards. You're still standing meekly in the corner, still garbed in your school uniform, clutching your backpack. He has to roll his eyes at how obviously you're trying not to look at him. 

"What're you waitin' for?" He finally asks. You jump, eyes flitting over to find him before you find the floor. He resists the urge to roll his eyes again.

It's not like you two haven't done shit before. You sucked him off twice now, and he's finger fucked you against the bleachers. You should really stop being such a prude. 

"C'mere, pretty girl." 

***full version of pt 3 is on a03 and account restricted. in the process of censoring the fic so it can be posted on tumblr**

[noneorother]

As a film person, this is the most f*cked up thing that happened in all of Good Omens

Forget about the final 15. If there's anything that should convince you that there's something really wack going on in season 2 of Good Omens it should be this cut. I literally gasped when I saw it for the first time. It's SO BAD from a technical perspective. Because you've probably been watching TV and movies your whole life, you might instinctively feel there's something weird happening with this cut, but not be able to put your finger on what it is.

I am here to tell you: they sacrificed continuity of action to *change the main character of the shot in the middle of the scene*. I won't do a full theory course on filmmaking here, but basically, when you want a fluid-feeling sequence of shots, especially when there's quite a lot of movement on screen, you have to conserve the direction and intention of that action to feel like it's all one take, and time is moving forward like we're used to in real life. Here, Crowley, Maggie and Nina all leave the Bookshop together, with Crowley and Maggie flanking Nina, who is centred in the shot. They are moving towards the camera as the camera is walking backwards, but at a slight curve camera-left. Crowley even turns his head and swings his arm left, making us feel like the camera will keep Nina center, and pan left or even cut wider to see more of the left of the street to watch them cross.

Well SURPRISE, idiots!

Forget everything you learned in film school because we're cutting immediately to a second medium length shot of the 3 characters from a slightly more camera-right perspective for no reason whatsoever, in the *opposite* direction of where the action is going, WHILE THAT ACTOR IS SPEAKING A LINE. This is so counterintuitive to the blocking of the scene that Maggie literally gets shoved out of frame while we're supposed to be reading her reaction to Crowley's dialogue. I can't stress enough how weird it is on a fundamental level. When a camera is moving and a character is talking, conserving continuity of action is THE ONE thing you don't sacrifice. It pulls people out of the moment, and makes it extra obvious that multiple takes have been stitched together. Which leads me to think that this is intentional, and sets up what I hinted to at the beginning of this whole "The More You Know" moment : Nina is the main character of the scene we're watching, until, suddenly, Crowley is. If you separated those two moments before and after the cut and watch them as two different scenes, you can see the camera following Nina and keeping her center before, but directly following Crowley and keeping him center *after* the cut. We've switched narrators in this moment. And to top it all off, they're making it pretty obvious that, while Nina is listening and reacting to both Crowley and Maggie, Crowley does not give a rat's ass about the two humans (not either not really in frame, or cut off behind him).

[3liza]

tumblr live should not be this mysterious

the plug-n-play streaming package that Tumblr installed as "Tumblr Live" is a white label product from a company called Livebox (developed by the Meet Group, subsidary of Parshipmeet), who have a homepage riddled with spelling errors and purport to operate the dating apps Meet Me (formerly My Yearbook), Skout, Tagged, and Growlr, all of which appear to be identical except for Growlr, which is specifically for gay men. all of them are just dating apps with a livestreaming feature. i would venture a guess based on the architecture that Livebox is also powering Superlive, which is the only one of these I have any experience with. it's popular with camgirls outside of the USA, especially in countries where full nude camming is illegal.

i don't really understand what livestreaming has to do with dating apps and don't know anyone who uses these platforms for anything. i assume some of it is just sex work, some of it is just ad space, lots of data brokering, and judging by the performance issues the users complain about, possibly crypto mining(???).

looking through the app pages on the Play store shows the same reviews for every single one of them: app crashes constantly, bans are arbitrary, support is no help, the apps drain your phone battery suspiciously quickly, and there are about 20 bots for every real person profile. i dont know what the exact dates are because i cant see site analytics and dont know what the Live development schedule was, but it's interesting that the sudden increase in porn bot activity on tumblr seems to roughly overlap with the Tumblr Live development and implementation, at least from a tumblr user perspective.

i dont know where the strangers in the Tumblr Live bar are streaming from, in terms of what you would consider their "home network". im guessing, but it really looks to me like they are streaming on whatever familiar platform they've got an audience on, and then being split-streamed to Tumblr. i've been meaning to sit in one of the popular streams and check usernames of audiencemembers, because my guess is that most of the audience are not going to have accounts here either. many of the streamers ive checked do not have tumblr accounts. some of them have tumblr accounts, but most of those accounts appear perfunctory: only a few months old, completely impersonal reblogs from the trending tab (you know the type), instagram-type language and general aspirational influencer stuff, which absolutely does not exist on tumblr organically because this site does not have market share for sponsored products OR a userbase with disposable income, it's a waste of time for an instagram model type to post here.

i've tried to talk to these streamers once or twice about this stuff but didn't get anywhere, and it would be rude to press the issue. but that is probably the next step.

[markrosewater]

Has there ever been any thought to combining the Ox and Minotaur creature types? Such as simplifying both to simply "Cow?"

I'm a huge fan of bovines in all forms and it would be nice if all of the Ox in magic worked alongside their more anthropomorphic cousins the Minotaur. As it is now we're lucky to really get cards of *either* type printed. There's resonance to the name Minotaur, no doubt, but it also has its share of baggage. It has Greek connotations and that's probably a big reason Minotaurs are almost strictly in Theros (although some favorites, such as Neheb, are from other planes).

I was happy that Outlaws had more Ox cards, but it also highlights my dissatisfaction: Holy Cow is an *ox* not a cow, despite the name. It feels like a retread of the Hound or Naga debacle all over again. Hound was simplified to Dog and all Snakes, from rattlesnakes to Naga, are simply the type Snake now. This allows snakes and dogs of all walks benefit from a shared unity. Cats had it right, we didn't need Leonin as a separate type.

I just feel like there's unnecessary separation being created by dividing Ox and Minotaur and it has the same resonance failings as all dogs being labeled "hounds" had. If it's important for a particular creature to *be* a minotaur then they can just *have* minotaur in their name, like ~30% of minotaurs already do. There's also the simple fact that Minotaur is a longer average creature type, limiting design space for other types to be included. It's hard to justify why a Minotaur is on a random plane, but much less so if it's simply a "Cow Warrior" for example.

As for why I think "Cow" should just be the combined type name, I simply think it fits. Cow is a resonant name. Almost everyone, East to west, knows *of* cows if only because their milk is such a widely used commodity. We don't call it "Ox's milk" after all. More than that, it's fun! Cow is *funny* in the same way *squirrel* is funny. It's amusing to see "Squirrels you control" in this game full of fighting. In that vein, "Cows you control" is an amusing line that can help break up the seriousness of a setting.

I know this is making a mountain out of a molehill, but magic is a game of different perspectives coming together and creating something new. Cows are my favorite animal and it's simply dissatisfying, to me, that my Holy Cow can't benefit from a Kragma Warcaller. That Angrath, colloquially named "Cow Dad" in the community, would have the creature type "Minotaur." The only downside I can see is that "Cow" *does* specifically refer to females of a bovine species. But that is a distinction few, if any, seriously take into consideration. If one sees a field of cows, they're not saying "I see lots of cows and 3 bulls!" They're going to say "I see cows!"

So to bring the thesis back, has there been any discussion internally to simplifying the Minotaur and Ox creature types under a single banner, such as "Cow?" I would also happily settle for "Cattle" as the new type. I just feel the current Ox vs Minotaur divide has to go, for both flavor and mechanical reasons, and the sooner the better.

I have been on Team Cow (as I was on Team Dog) for many years. I even made Cows in Un-sets. I still believe Minotaur should be its own creature type though.

[hellodropbear]

like she used to (V)

alexia putellas x sister

chapter I, II, III, IV

from alexia's perspective tonight :)

~~~~~~

My younger sister hates me. 

I don't know why, I don't even know when it happened. 

But I know that my younger sister hates me, and I have absolutely no idea what to do about it. 

I have known there was something wrong since she started skipping our dinners on Thursdays, claiming to have Barcelona B training until late. 

I knew they finished up an hour before dinner started. 

Alba says that I spent to much time away from her, that I didn't focus on her enough. 

Mami says that she is growing up and simply becoming less reliant on her older sisters. 

But neither of those explanations seem to make sense, because my younger sister is not the girl that I once knew any more. 

The girl who would sleep in my bed every night, who wiped my tears when I cried and put a smile on my face when all I wanted to do was bury my face into my pillow and scream about how unfair the world was. 

Because she's Elena and she's happy, she always has been.

But Elena does not seem happy anymore. And I don't know when it changed, but I hate myself for not being there to make her smile like she did for me so many times when we were younger. I hate myself for not being there to put a smile back on her face as soon as it fell off. 

She lives with bags under her eyes, her usually olive skin turned pale, her eyes constantly downcast and her eyebrows set in a solemn line. 

She used to tell me everything, but then I blinked and my baby sister's name was on my team sheet and I didn't even know she had been training with the first team. 

Mami said that she was sleeping, that she didn't want to talk about it now. Mapi told me the next day that she found her 45 minutes away from home, sitting in the park by her house. 

I should have been there more, I should have gone to her games. I know that, everyone knows that. But I broke up with Jenni, who had been my rock for as long as I could remember. I broke up with Jenni and she moved to Mexico, leaving me alone for the first time, in an apartment full of memories that would swallow me every time I entered.

I felt alone, every fibre of my being felt alone. I was isolated and my world was crumbling around me. And I didn't know who to turn to, I didn't know where I could find support. 

I didn't know that Elena was sat at home in bed, staring at her phone and waiting for me to call her, to text her. 

I used to call her every night, but slowly, those phone calls died out. Elena would all asleep with her phone in her lap. Until she gave up. Until she switched her phone off as soon as she reached her bedroom in the evenings. 

Back when Papi died, I relied probably a bit too much on my little sister to get me through it. Mami always said it was the wrong thing so I didn't want to make that mistake again. I avoided Elena, not wanting her to realise how weak I really am. She always said she admired me for being strong, powerful. I was her inspiration, her hero. 

I didn't want to ruin that image she had of me by crying on Mami's couch, unable to be alone after something as superficial as a breakup. 

But I think I ruined that image in other ways. 

I stopped going to her games. 

I stopped holding her as she fell asleep in my lap on a Thursday evening, instead watching her move further and further away from me on the sofa, until she wasn't there at all. 

I stopped being there for her, helping her with her homework, picking her up from training, taking her out for ice cream. 

I stopped being her sister, and I don't think I will ever forgive myself. 

I don't think she will ever forgive me either. 

And to make everything worse, I only thought about it properly when Olga brought it up a few weeks ago. 

"Why haven't I met your younger sister yet? There are so many photos of her here, but I have never even spoken to her."

It was then that everything came crashing down, reality hitting me like a truck, driving 100 kilometres an hour along the highway. 

Olga couldn't understand why I was suddenly sobbing into her arms, my words more incoherent than my thoughts. But she held me close and told me one thing. 

"If there is something wrong with your little sister, you need to fix it."

Obviously she was right, she didn't need to tell me that. 

I felt an enormous surge of guilt explode inside of me, and for once Olga's arms didn't do anything to help me. I don't deserve her comfort, I don't deserve to feel good when I have left my baby sister behind. 

Because she is everything to me but I haven't spoken to her in two years. 

I don't know how I let it go this far.

~~~~~~

Mapi's voice is scratchy and quiet over the phone, and I could tell something is wrong. She wouldn't tell me what. 

"Elena is here with me. I texted Eli but she didn't reply but I needed to tell someone that she is safe and asleep in my spare room. We will take her to the game in the morning."

She didn't say much else, other than that she found my sister at the park after she had taken the bus from home. 

But, the look that she gave me at the game the next day told me everything I need to know. 

It wasn't angry, really, she just looked confused and hurt. She looked upset as well and I knew exactly what it was about. Because Elena has always loved Mapi, and Mapi has always treated Elena like a little sister. 

Elena would have told Mapi something, and even though I don't know what it was, I know it would have been bad enough to make Mapi overthink everything, to realise how awful I have been over the past few years. 

I was anxious through the whole game, separated from my best friend by Frido and Jana, trying my best to ignore the looks that Mapi kept sending me. 

The looks that were filled with such emotion that I couldn't handle. Emotions that were hard to read because they were filled with so much meaning. 

I am too much of a coward to face her and my consequences, I realise, so I ignore it for as long as I can. 

But I knew I could not avoid everything when Mami pulled me to the side after the rest of the girls had gone back into the changing rooms, after Alba had gone to the bathroom. 

"What are you doing?" 

She was furious, and for good reason. But I stay silent, still too scared, too guilty about everything I had done. The only thing on my mind was  trying to figure out how I could ever fix this. 

"Alexia Putellas! Answer me! What are you doing?" 

Her face was almost red, but if I looked hard enough I would have been able to see the tears that dried up in her eyes, never given the chance to slip down her face. 

"What do you mean, Mami?" 

She rolled her eyes dramatically and scoffed loudly. 

"Your baby sister is 15 years old and without any help from you, her older sister, was sitting on the bench for your team. The best team in Europe. She is 15, Alexia! This is such a huge achievement and all she wants is a hug from you, for you to tell her you are proud of her, that you love her. But no. Nothing. Nothing at all from the great Alexia Putellas who cares about nothing but her career!" 

Mami's words are a slap in the face, really. Thinking back to them, however, they are the truth. The terrible, painful, horrendous truth. 

Not that I don't care about anything but my career, of course, but about how I haven't done anything to help Elena get to where she is. 

I pause before responding, debating internally how I should respond. 

I could respond with fire, but that would just make Mami even more furious.

So I don't. 

"I know she is, Mami! That is why I am about to go do exactly that. I am so, so proud of her but I can't find the words to tell her just how proud I am."

She looks at me for a moment, as if assessing the validity of my statement. 

"We are going out to dinner tonight, Alexia. You are coming with us and we are celebrating Elena. Not you, Elena."

I nod, telling her that I will go get Elena and meet her and Alba outside. 

Except that doesn't happen, because I see Elena in the changing rooms, but she doesn't seem to want to have anything to do with me. 

I see the 15 year old girl laughing and interacting with my team, holding Aitana close and whispering in her ear. 

But honestly, the whole scene flipped my insides out. I am not focused on Olga as she chats to me, as she notices how distant I am from reality, moving towards Mapi. 

When I do finally speak to my sister, it does not go well. She is cold and I don't know how to get through to her because she is right to not want to talk to me, she is right to stick up for herself. I have messed up and I still have no idea how to fix things. And until I do, she is right to act like this. 

So I didn't end up going to their dinner, instead sitting alone in my apartment and staring blankly at my switched off tv, wondering what on earth I can do to fix this mess. To fix this mess that I single handedly created. 

It meant that Mami came round late, storming into my apartment, smoke practically billowing from her ears.

"You have messed up, Alexia. She is so upset and it is entirely your fault! You are stupid, you are irresponsible and you have been a terrible sister." 

I cowered under her strong gaze but she did not soften. She sat down, placing her head in her hands.

"You are almost 30! You should know better. I have not raised you to be like this, I have not raised you to throw people away without any thought, not caring how it might affect them. She is so confused and so, so upset and it is all because of you. All because you decided a few years ago that you did not have time for her anymore."

"Mami-"

There are tears in my eyes, but Mami can not see them. Mami does not care, she should not care because I did all of this, all by myself. 

"No, Alexia. You will tell me what has happened, why you have done this. You have ripped apart our family, Alexia. Alba is practically mourning the destruction of it and I just can not begin to understand why you have decided Elena doesn't mean anything to you any more."

"I haven't decided that!" My yell took my mother off guard and she recoiled. I continued before she could speak again. 

"I love her! So much and I am proud of her! I don't know what I have done, Mami and I don't know how to fix this." The tears that filled my eyes began to slip down my face. "I have ruined everything."

My voice broke and Mami softened, looking at me in confusion, some sort of inner turmoil and for the first time in my life, I recognised that she had no idea what to do. 

She didn't know what to do as I broke down into sobs, my body practically folding into itself, loud cries wracking through my body. 

"I don't know what is wrong with me." 

~~~~~~

Mami and I spoke for ages that evening. She convinced me that I should take a step back and let Elena come to me. That I should try and talk to Elena soon to tell her that I love her, that I am proud of her. 

But it ended up with another unsuccessful attempt of speaking to Elena. She was in bed and wanted nothing to do with what I wanted to say. I told her everything that Mami told me I should, ignoring the protests of my insides. 

I do not want to take a step back because I am already so far away. I want to be there for my sister like I should be, there for a hug or for some assurance. But that is not what I tell her, because apparently, that is not what would be the best for her. 

All I want is the best for her. 

I want nothing more than to tell her I want to be a part of her life like I used to be, I want things to just go back to normal. But nothing is that easy. I have to face the consequences of all my mistakes. 

Huge, terrible, life altering mistakes.

I tried again the next morning, but she ignored me completely, heading up to her room without a single utterance of a word. I could practically hear her exhale in relief as the piano chair creaked and waited until she had begun her playing to walk upstairs and sit by her door. 

She has improved at it so much, skyrocketing right past the level that Papi used to play at. The notes rang out at such a pace that I could barely keep track of where the song was going, up, down, fast, slow, loud, soft. 

The rhythms flew through the house and I didn't register the warm liquid slipping down my face until it fell with a splat into my lap. 

It is painful to realise how much I have missed; how much I miss her. 

Her playing is mesmerising and I could feel the emotion that radiates from her and her piano. 

It used to be Papi's, but now it is hers.

Because she has grown up into such a talented person and our father would be so proud of her. 

Me, I don't think he would be so proud of. 

And I hate myself because of it. 

The song broke down into soft chords and if I strained my ears I could hear her quiet whimpers. But I can't comfort her any more. 

No matter how much I want to. 

She will not be comforted by me. She doesn't want me there to comfort her. 

So I creep down the stairs and leave. I drive back to my apartment, back to Olga. 

At this point, I am used to the constant stream of water on my face. 

But there is nobody to blame but myself. 

~~~~~~

The next few weeks were equally as painful, despite Olga's efforts to lighten me up. My mood was down when I woke up in the mornings, and only got worse after training, seeing Elena light up when she spoke to my friends but escape every room I entered, cowering when I glanced over at her, leaving conversations as soon as I joined them. 

It's like she is scared of me, intimidated by me. I hate it. 

Mapi was silent in rehab, which is a big change from the constant stream of chatter I am used to. I don't think she knows what to say to me anymore, knowing what I have done. 

I wouldn't know what to say to me either. 

It is Vicky approaches me one day after training. We are all sat in the changing rooms when wanders over and asks for help with her homework. It is maths, and I tell her with a laugh that I will be no help at all, but she persists, opening her book and pointing at the maths equations, confusion written all over her face. 

I help her as much as I can, laughing at the drawings she has scrawled out on her page, explaining the trigonometry to her as she stares at me intensely. It takes a while, but she gets it eventually, finally answering a question correctly. 

"Nice, Vicky! So much better, so quickly!" 

Mapi stands up from across the room, grabbing her bag and storming out of the room, slamming the door behind her. 

From where they are sitting in quiet conversation, my sister and Aitana look up at the door, their eyes scanning the room. Aitana's eyes land on me first and she rolls them dramatically, shaking her head in what looks like disgust. 

"Vicky, I did that yesterday. I can help you." 

Elena's voice is level, but I can see confusion in her eyes at the scene that had just unfolded. 

Vicky sighs in relief, closing her book and walking across the room to Elena. 

"I forgot you were smart!" She beams, plonking herself down on the seat beside my sister and they both dive into the world of mathematics. 

Aitana is standing up by now, her bag over her shoulder. 

"Alexia, can I speak to you outside?" Her voice is steady as she continues. "There is something wrong with my dribbling and I would like some help."

It is a lie and everyone knows it. There is never anything wrong with Aitana's dribbling. 

But I pick up my bag, following the shorter midfielder out the door, immediately faced by Mapi who stands there, anger all over her face. 

"What the hell are you doing?" Her voice is low and her words come out as a whisper, full of venom. Full of anger. 

It is something I am not used to from Mapi and it takes me off guard. My hesitance gives her the chance to continue.

"Helping Vicky Lopez with her maths when you don't have the first clue whether Elena is even at school. Elena, your sister."

"She goes to school." 

My voice is full of confidence, but Mapi is right, I don't even know how she manages to fit it all in. I don't know the first thing about her timetable. 

She rolls her eyes, scoffing. 

"Do you understand just how much damage you have done?"

I nod, inhaling and exhaling deeply. 

"She hates me, I know. I have ruined everything. It is all my fault."

Mapi nods, but it is Aitana who speaks next. 

"She doesn't even hate you, Alexia. It just shows how much she loves you. You have done all this and she still loves you, still would do absolutely anything to get your approval, your attention."

I blink to stop the tears and bite the insides of my mouth to stop it from trembling. 

"She has been begging for you to notice how hard she has been working. How well she is doing. But you do not, you don't see her, it is like you are blind! And then Vicky Lopez gets a maths question right and you give her more praise than you give Elena for being selected in this team, for working hard, for being so, so incredible." 

If Aitana wasn't whispering to keep this conversation from the ears of the people in the room we just left, she would be fully yelling, her face red and her eyes narrow. 

"She is perfect, Alexia, and it is so sad because you just can't see it, you can't see how good she is, how smart, how kind, caring. And it makes me so, so angry because you have changed her so much in the past few years, and not in a good way."

Mapi puts her hand on Aitana's arm, trying to get her to stop. Mapi knows me well, and knows when I am about to break. 

But the usually stoic midfielder has tears in her eyes when she continues, her voice softening and breaking at the same time. 

"She was such a happy little girl, so excited by everything. She loves you so much and she always looked up to you. But now she is insecure, she is lonely, isolated. She is confused and feels like she needs to fight for validation every day. Everyone has pressure on them in this team, especially when they are young, new blood. Coming from La Masia and the B team you should know this, Alexia. You should know about the pressure better than anyone because I do too. But your sister? She has it worse than anyone because she has all that, but she is your sister. Alexia Putellas, two time Ballon d'Or winner. She has to live up to that in some way and is trying to hard to do it without anyone's help. She is only 15, Alexia. 15."

Aitana stops, but I am not sure whether it is because she has nothing more to say or if it is because she is too upset. She is silenced by weak tears, shaking her head as Mapi places a soft arm around her shoulder. 

"She is right, Alexia." Mapi's voice is soft and she looks at me with that same concerned glint in her eye. "And I don't know what is going on with you, but whatever it is, it needs to be fixed. You have made some significant damage and if you don't do something about it, it will all become irreparable."

"I don't know what to do." It is a cry for help, and it is all I can say without letting my tears escape from me once more. 

Because Aitana's words are nothing I don't know, but the fact that she is saying them, that she feels the need to tell me all that, is enough to tell me that it is not clear to anyone that I already know. 

Because I have been a bad sister, I am not denying it. 

And I am guilty, I feel absolutely terrible. 

Mami said to leave her alone, let her come to me, but I don't think that was her best advice any more, because my sister is struggling. 

She is struggling and I am only making it worse. 

But I can't do anything about it. 

When she was little, she would be the person I would go to when I needed to be cheered up. She would make me smile, laugh, feel better about myself and the world around me. Her small arms would wrap around me, her chubby fingers would wipe my tears from my face and she would chatter and giggle into my ears until I was smiling again. 

She was the light in our household when Papi died, but I think that was partially because she didn't understand what was happening. 

We avoided his study like it had the plague, she would go and sit on the piano stall, practicing the songs he had taught her. 

She gave us endless cuddles, basking in our attention, her heart set on making us feel better, on putting a smile back on our faces. 

She made the darkest time of our lives bearable, she helped me get through the hardest times of my life. 

And this... this is how I repay her. 

"Ale... Alexia? Ale." Mapi's hand is on my shoulder and Aitana looks at me curiously. 

"Stop, just... stop." My voice is soft, and Mapi's eyes soften as I slide down the wall behind me. "I just... I don't know what to do."

Mapi sits down beside me, perhaps thinking that maybe she had been too harsh. 

"I had Elena over yesterday." Mapi's voice is quiet. "She said... she said she misses you, Alexia. And that... she said you told her you were going to take a step back. She thinks you already did. She doesn't want that. She just wants you."

"But I have ruined everything, Maria. This is all my fault." A singular tear finds itself on my cheek and Mapi places an arm around me. 

"You're right, you made so many mistakes. But I know you, I know you love her. She means everything to you. And she loves you as well, Ale. I know you two can get through this, but she is struggling to stay afloat with all this pressure and no support. Aitana and I... we need to look out for her because your Mami works all the time and she doesn't want to burden Alba with her problems and ruin her life. We need to be there for her at the moment because the poor girl is crumbling."

I wish she would realise that I am crumbling too. 

Olga is always there to hold me, to calm me down, but as much as she tries, she can't understand what is going on with Elena. She doesn't know Elena, which I know is my fault. 

But Mami is angry with me, so is Alba. For good reason. 

And Mapi is my best friend, but she needs to be there for Elena. 

All I want to do is cry out for help, but I know I can not because I caused it. 

"I am taking Elena out this afternoon." Aitana speaks up from where she has been stood silently. "I will talk to her again, we will work on it. I'm going to go now, but Alexia, if you need to, you can talk to any one of us."

I nod at her, trying to muster a smile onto my face as she walks back into the changing room. 

"Mapi, you are my best friend." 

She nods. 

"You will be honest?"

She nods again. 

"Do you think this is fixable? Do you think I've ruined my chance of ever getting my Lena back?" 

She rests her head on my shoulder. 

"I hope so. I miss seeing the smiles on both of your faces and truthfully, I don't think that Elena will thrive here if she keeps going on like this. She needs support, from you, your Mami and your sister and I don't really think she is getting it."

"But Mami and Alba are there for her!" I find myself getting defensive of my family. 

"I know they are, but she needs more than that at the moment. She has been skipping school because nobody is home to tell her to go to it, she has been skipping meals because nobody is home to eat with her. She doesn't sleep properly, she doesn't eat properly. It is not your mother's fault that she has to work, or Alba's fault that Elena doesn't want to burden her, but she needs more support than she is getting." 

My brain is telling me that Mapi is wrong, that my sister is fine, that my family is fine. But in my heart, I know she is right. And it makes me feel sick. 

Because if it wasn't for me being such a terrible sister, such a terrible person, Elena would not be struggling so much. She would not need Mami or Alba as much as she does, she would be thriving in this environment. 

But she is not. 

The pressure is something I only really felt when I got older, when I had thicker skin. I had a force of people around me to fall back on, to get support from. But Elena has so much pressure building on her at 15, with less experience, with less people to support her. 

And the pressure will keep building and building on top of her, until it is so high that everything falls over, falling down on top of her until she breaks. 

As if reading my mind, Mapi continues after her pause. 

"And if she does crumble under all this pressure, she will need so much support. Aitana and I will be there for her, if nobody else is."

~~~~~~ hope you enjoyed :)

Will probably be back to elena's perspective next chapter, just thought it'd be easier to write this in a different one

part VI

[writers-potion]

this is a little hyper specific lmao but i was wondering if you have any advice on writing a pov character being mysterious? tyyy

Writing A Mysterious POV Character

Thanks for the question!

Here are some characteristics that I think makes a POV character "mysterious"

The reader is not meant to understand everything the POV character says, describes or alludes to.

The POV character actively holds off information from the readers either because (1) it's hard for them to talk about it or (2) they don't think it's important, somehow.

They reconstruct the narrative in the way they perceive it, not following the chronological order of events and often providing piecemeal information that only (if ever) comes together at the end.

The POV character simply has a wholly different perspective that a human reader will have difficulties understanding (i.e. story told from an animal or alien's POV)

I think the best way to portray this is to provide examples, which I think qualify as mysterious narrators. Note that not all mysterious narrators are unreliable narrators, although they could be. Here are the selected narrators and a few extracts for illustration purposes, divided by loosely defined subcategories (there can be overlaps!):

Incomprehensive Jargon & Allusions

Given that you can do this without boring or genuinely pissing off the reader, using lots of jargon, making allusions to things your target audience will probably not know to create atmosphere can be effective.

I recommend having a strong thematic core to justify all that jargon and reference, though.

Richard Papen from <The Secret History> by Donna Tartt

The characters talk and make references to Greek/the Classics. Arguably, it is not "incomprehensible", but the entire book is tirelessly full of them and unless you are a scholar in a related field, very unlikely to know all the Greek/ancient works being referenced all the time.

by M.L.Rio

Interesting style where the characters talk and even think in Shakespeare. They literally quote lines from Shakespeare to talk to each other. Not as difficult to follow as <The Secret History>, given that these are q famous plays (Hamlet, Macbeth, etc.) but it certainly adds well to the mystery at the heart of the book's plot.

---

Witholding Information

Have your narrator subtely refer to a large event in their past (a murder, a traumatic memory, etc) but never telling the reader upfront, making them only make implied guesses.

The only reservation I would have for this option is to not annoy the reader by letting them know the narrator has information, but is somehow not telling them. It would help to have a clear reason for them to not talk about it: e.g. they haven't accepted the past themselves, they're too scared to talk about it, etc.

by Eliza Clark

In here, the narrator has killed someone in the past - a fact that only becomes kind of clear at the end. Even then, the murder is never referenced because this narrator has some serious mental issues, but when you look back with this knowledge at the end of the book, her behavior starts making more sense.

---

Reconstructing the Narrative

Don't go in chronological order. Use time skips, or invent a new system for the narrator to arrange their memories and thus, retell the story. This gives the narrator power over the narrative because they've seen the whole thing play out, but the readers are getting bits and pieces, trying to get the puzzle pieces to fall together.

Other options:

POV character has amnesia

POV character has dementia

Using narrative interruptions that are in a completely different style (can work for 3rd person, look at Olivie Blake's work referenced below)

Olivie Black's <Alone With You in the Ether>

Using screenplay-like interruptions to the narrative that limits the reader's access to the characters' minds. Also creates interesting tone.

Kim Youngha's <Diary of the Murderer>

[I don't have pictures for this because I only have the Korean version....but really worth mentioning]

Here, the narrator has dementia and cannot fully remember the murders he has committed in the past. He is also an unreliable narrator who can only remember things in bits and pieces - thus the typical chronological order is interrupted.

---

"Non-Human" Perspectives

Give yourself a narrator that is not human, or is "dehumanized" in some way (lack of emotion, inability to relate to others, etc.) to view the entire world from a perspective not often experienced by the average human.

Death as a narrator from <The Book Thief> by Marcus Zusak.

Zusak inserts these little "pronouncements" or "interruptions" to the narrative and the calm but transcending tone constantly raises questions.

---

Do note that the overall tone of the novel contributes significantly to how the narrator comes across to the readers. Many of the works above also deal with "reality vs. unreality" as a theme, which is augmented by the use of a mysterious narrator that prompts the reader to challenge

Hope this helps, Happy writing :)

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💎Before you ask, check out my masterpost part 1 and part 2 

[ms-demeanor]

Hello! First, I wanted to say thank you for your post about updating software and such. I really appreciated your perspective as someone with ADHD. The way you described your experiences with software frustration was IDENTICAL to my experience, so your post made a lot of sense to me.

Second, (and I hope my question isn't bothering you lol) would you mind explaining why it's important to update/adopt the new software? Like, why isn't there an option that doesn't involve constantly adopting new things? I understand why they'd need to fix stuff like functional bugs/make it compatible with new tech, but is it really necessary to change the user side of things as well?

Sorry if those are stupid questions or they're A Lot for a tumblr rando to ask, I'd just really like to understand because I think it would make it easier to get myself to adopt new stuff if I understand why it's necessary, and the other folks I know that know about computers don't really seem to understand the experience.

Thank you so much again for sharing your wisdom!!

A huge part of it is changing technologies and changing norms; I brought up Windows 8 in that other post and Win8 is a *great* example of user experience changing to match hardware, just in a situation that was an enormous mismatch with the market.

Win8's much-beloathed tiles came about because Microsoft seemed to be anticipating a massive pivot to tablet PCs in nearly all applications. The welcome screen was designed to be friendly to people who were using handheld touchscreens who could tap through various options, and it was meant to require more scrolling and less use of a keyboard.

But most people who the operating system went out to *didn't* have touchscreen tablets or laptops, they had a desktop computer with a mouse and a keyboard.

When that was released, it was Microsoft attempting to keep up with (or anticipate) market trends - they wanted something that was like "the iPad for Microsoft" so Windows 8 was meant to go with Microsoft Surface tablets.

We spent the first month of Win8's launch making it look like Windows 7 for our customers.

You can see the same thing with the centered taskbar on Windows 11; that's very clearly supposed to mimic the dock on apple computers (only you can't pin it anywhere but the bottom of the screen, which sucks).

Some of the visual changes are just trends and various companies trying to keep up with one another.

With software like Adobe I think it's probably based on customer data. The tool layout and the menu dropdowns are likely based on what people are actually looking for, and change based on what other tools people are using. That's likely true for most programs you use - the menu bar at the top of the screen in Word is populated with the options that people use the most; if a function you used to click on all the time is now buried, there's a possibility that people use it less these days for any number of reasons. (I'm currently being driven mildly insane by Teams moving the "attach file" button under a "more" menu instead of as an icon next to the "send message" button, and what this tells me is either that more users are putting emojis in their messages than attachments, or microsoft WANTS people to put more emojis than messages in their attachments).

But focusing on the operating system, since that's the big one:

The thing about OSs is that you interact with them so frequently that any little change seems massive and you get REALLY frustrated when you have to deal with that, but version-to-version most OSs don't change all that much visually and they also don't get released all that frequently. I've been working with windows machines for twelve years and in that time the only OSs that Microsoft has released were 8, 10, and 11. That's only about one OS every four years, which just is not that many. There was a big visual change in the interface between 7 and 8 (and 8 and 8.1, which is more of a 'panicked backing away' than a full release), but otherwise, realistically, Windows 11 still looks a lot like XP.

The second one is a screenshot of my actual computer. The only change I've made to the display is to pin the taskbar to the left side instead of keeping it centered and to fuck around a bit with the colors in the display customization. I haven't added any plugins or tools to get it to look different.

This is actually a pretty good demonstration of things changing based on user behavior too - XP didn't come with a search field in the task bar or the start menu, but later versions of Windows OSs did, because users had gotten used to searching things more in their phones and browsers, so then they learned to search things on their computers.

There are definitely nefarious reasons that software manufacturers change their interfaces. Microsoft has included ads in home versions of their OS and pushed searches through the Microsoft store since Windows 10, as one example. That's shitty and I think it's worthwhile to find the time to shut that down (and to kill various assistants and background tools and stop a lot of stuff that runs at startup).

But if you didn't have any changes, you wouldn't have any changes. I think it's handy to have a search field in the taskbar. I find "settings" (which is newer than control panel) easier to navigate than "control panel." Some of the stuff that got added over time is *good* from a user perspective - you can see that there's a little stopwatch pinned at the bottom of my screen; that's a tool I use daily that wasn't included in previous versions of the OS. I'm glad it got added, even if I'm kind of bummed that my Windows OS doesn't come with Spider Solitaire anymore.

One thing that's helpful to think about when considering software is that nobody *wants* to make clunky, unusable software. People want their software to run well, with few problems, and they want users to like it so that they don't call corporate and kick up a fuss.

When you see these kinds of changes to the user experience, it often reflects something that *you* may not want, but that is desirable to a *LOT* of other people. The primary example I can think of here is trackpad scrolling direction; at some point it became common for trackpads to scroll in the opposite direction that they used to; now the default direction is the one that feels wrong to me, because I grew up scrolling with a mouse, not a screen. People who grew up scrolling on a screen seem to feel that the new direction is a lot more intuitive, so it's the default. Thankfully, that's a setting that's easy to change, so it's a change that I make every time I come across it, but the change was made for a sensible reason, even if that reason was opaque to me at the time I stumbled across it and continues to irritate me to this day.

I don't know. I don't want to defend Windows all that much here because I fucking hate Microsoft and definitely prefer using Linux when I'm not at work or using programs that I don't have on Linux. But the thing is that you'll see changes with Linux releases as well.

I wouldn't mind finding a tool that made my desktop look 100% like Windows 95, that would be fun. But we'd probably all be really frustrated if there hadn't been any interface improvements changes since MS-DOS (and people have DEFINITELY been complaining about UX changes at least since then).

Like, I talk about this in terms of backward compatibility sometimes. A lot of people are frustrated that their old computers can't run new software well, and that new computers use so many resources. But the flipside of that is that pretty much nobody wants mobile internet to work the way that it did in 2004 or computers to act the way they did in 1984.

Like. People don't think about it much these days but the "windows" of the Windows Operating system represented a massive change to how people interacted with their computers that plenty of people hated and found unintuitive.

(also take some time to think about the little changes that have happened that you've appreciated or maybe didn't even notice. I used to hate the squiggly line under misspelled words but now I see the utility. Predictive text seems like new technology to me but it's really handy for a lot of people. Right clicking is a UX innovation. Sometimes you have to take the centered task bar in exchange for the built-in timer deck; sometimes you have to lose color-coded files in exchange for a right click.)