#because it's giving me a lot to think about and i want to be able to come back to it

[hoovesandfloorpaws]

"That said, both Styles and his therapist have questioned why he cares quite so much about being likeable. This is one of the things he thought about a lot in his big pandemic reflection. In part, it's a choice, he explained. He recalled moving to London after The X Factor and hearing tales of petulant celebrities screaming because someone got their coffee order wrong and deciding to never be that guy, to never give someone a petty reason to bad-mouth him. But more recently he's come to worry that the drive for approval came from a more complex place, a place of caution, fear, control." "Styles said he often spent interviews terrified about saying the wrong thing until he stopped to question what abhorrent belief or bizarre opinion he was scared he'd accidentally reveal and realized he couldn't think of anything."

"And he thought about the cleanliness clauses in the contracts he used to sign, which would dictate that they would be null and void if he did anything supposedly unsavoury, and about how terrified that used to make him. And about when he signed his solo contract and learned that the ability to make music would not be affected by personal transgressions, he burst into tears, a reaction he still seemed shocked by, retelling it to me now, years later. "I felt free," he explained."

"When Styles began therapy about five years ago [so in 2017], he was reluctant initially, feeling it was a music industry cliché. "I thought it meant that you were broken," he said. "I wanted to be the one who could say I didn't need it." He returned to the home theme that has underpinned our conversation, explaining that therapy has allowed him to "open up rooms in himself" that he didn't know existed, allowed him to feel things more honestly, where before he had tended to"emotionally coast.""

"Recently Styles began to work through issues related to intimacy, dating, love. "For a long time, it felt like the only thing that was mine was my sex life. I felt so ashamed about it, ashamed at the idea of people even knowing that I was having sex, let alone who with," he said."

"You look back, especially now there's all the documentaries, like the Britney documentary, and you watch how people were abused in that way, by that system, especially women. You recall articles from not even five years ago, and you're like, I can't even believe that was written."

He has been thinking a lot recently about autonomy, ownership, privacy. About what he should be able to keep to himself, what he should be able to simply communicate through his music without follow-up questions or prying. Around the time of Fine Line, he faced scrutiny around his sexuality. People became incredulous that he wore dresses, waved Pride flags, and yet hadn't clarified with precision, publicly to a journalist or on social media, the specifics of who he'd slept with, how he defined. This expectation is, to him, bizarre, "outdated." "I've been really open with it with my friends, but that's my personal experience; it's mine," he said.

Despite the acceptance that some things could, should, have been different, he still feels lucky every day, he said, lucky to make music, lucky to do what he loves.

"You can't win music. It's not like Formula One," he said. "I was like, in my lifetime, there will be 10 more people who burst onto the scene in that way, and I'm only going to get further away from being the young thing. So, get comfortable with finding something else that makes you happy. I just found that so liberating."

"I just want to make stuff that is right, that is fun, in terms of the process, that I can be proud of for a long time, that my friends can be proud of, that my family can be proud of, that my kids will be proud of one day," he said.

““In lockdown, I started processing a lot of stuff that happened when I was in the band,” he said. He thought about the way he was encouraged to give so much of himself away, “to get people to engage with you, to like you.” He thought about the fact that no baby photos exist of him that aren’t on the internet (you give a bunch to an X Factor producer doing a piece on your backstory without much thought, and suddenly your childhood is online). He thought about the journalists asking questions, when he was still a teenager, about how many people he’d slept with and how, rather than telling them to go away, he would worry about how he could be coy without them leaving the room annoyed. “Why do I feel like I’m the one who has done something wrong?” he said to me.”

— Harry for Better Homes and Gardens Magazine

[kyri45]

✨ShadowPeach Bio Parents Bio AU Q&A! 21/11✨

Welcome to the Q&A! A space where I can answer related or similar question about the Shadowpeach Bio Parents AU! If you submitted your ask anonimously, then you’ll have to check the whole post if it’s answered here, if it’s not, worry not! Your asks might have been used for a future comic or just in the queue~

Anonimo ha chiesto: Hi! Would Macaque kidnap Wukong again? I read your comic, the last page, where Macaque is the kidnapping expert. And I'm very curious about it. Anyway, I love your comics! You are awesome.

Haha I don't think they really need it unless they want to do a "traditional wedding courtnapping" but it would be pretty odd since they kind of already live togehter.

Anonimo ha chiesto: I know this is definitely a LONG ways away, but, imagine: Wukong and Macaque playing the newlyweds game. What questions? What answers? Who’s asking the questions? Who’s getting the most right?

I wont list all the lesson but I think Macaque would get most of them right just because Wukong never really changed a lot during the years, while Macaque went through different stages of his life, and and he has new hobbies and tastes.

Anonimo ha chiesto: Will mk have a nightmare about LBD? If yes Then we will have some angst with fluffy monkeys family moments!!!

Oh he has. He has many. Most of them he has while he is at pigsy's.

Anonimo ha chiesto: Can you please shows up a flashback backstory on how MK/Wukong discovered/found out/came out as trans?? 🙏🙏🙏 Banana sundae with chocolate sauce, rainbow sprinkles, THREE cherries, and a super-deluxe one-and-only Monkie King™️ collectible spoon???

Anonimo ha chiesto: will we see any past Shadowpeach?? I’m interested to see how you frame their dynamic back 5en.

Hahah maybe in the future, I'll see

Anonimo ha chiesto: Can we get Wukong telling dad jokes? Please, I’m begging i want to see MK laughing and Macaque just being so disappointed with Wukong yet so smitten. I want to see more Monkey family domestic blissss. 🙏🙏🙏🙏

I don't have my dad jokes book here but man give Macaque an award for the patience he has with these two children

@goofybearclown ha chiesto: Hi :3 Just wanted to say I love your shadowpeach and cotl AU!!! I didn't notice you made both at first but when I did I was like "waow :0". Tbh your works are in my top 3 series on Tumblr! @fenikzia ha chiesto: I love your LMK comic so much, I look forward to reading the new additions to it when they come out every other day,and reading your comic just makes my day better. Even if it hasn't updated a particular day, I make sure to go back and reread the newest part.Keep doing what you're doing and make sure to take breaks! @skye-minecraftyt-blog ha chiesto: You! I like you! Your Bio parents Lmk au always makes me extremely happy and I regularly reread it. ((o(^∇^)o)) Just wanted to say it @blazeandsilver ha chiesto: Hello, I just wanted to say your artwork is absolutely stunning, it makes my day whenever I see that you posted something new to the BioParents comic. Please keep up the good work and be sure to take some time for yourself, you’re important too.

AWWWWWW THANK YOU FOR ALL THE LOVE!!

Anonimo ha chiesto: Hihi shadowpeach au question: You mentioned in the latest comic that Mac is more lean and skinny than Wukong. Will we ever see the full extent of that?? ALSO I ADORE YOUR ART OMG ❤️❤️

A fully naked Macaque you say? Maybe.... who knows....

Anonimo ha chiesto: I come to defend Wukong acting like a man looking at a victorian lady ankles, he hasn’t seen his (ex) husband’s fur in centuries. And he probably hasn’t socialize in years either besides MK and the gang. Romantically he is stunned right? I doubt he has even looked at anyone besides Macaque anyways…

Honestly I like to think that Macaque was the only being in all the universe that was eer able to make him flustered

@mochalikesdrawing ha chiesto: So I got a question, will we ever get to see kaiju MK again?

I have a scene post AU I would like to draw. Maybe.

Anonimo ha chiesto: Ignoring all the angst because it is crushing my soul /pos, I'm lowkey convinced that Macaque knows Wukong feels some kind of way about him because he can hear his heartbeat go crazy at certain moments and isn't dumb, but just isn't calling Wukong on it because he's still trying to sort his own feelings first. BUT ONCE HE DOES OH BOY-

Hahah Macaque knows perfectly well Wukong is down for him. In the meantime Wukong is alwasy afraid he's just imagining things bc he's dense af.

Anonimo ha chiesto: Do you think Wukong and macaque would be cuddling and macaque would be watching something scary and Wukong would be trying to not pay attention to it because he hates scary stuff or would it be the other way around?

yess

@ep2nd ha chiesto: In your shadowpeach bio parents au, if MK and Wukong were created by Nuwa, with Nuwa using Macaque and Wukong as a base, has anyone wondered who created Macaque? And does Macaque himself knows?

Wait Nuwa created Wukong? If that's so I think then all the 5 monkeys were made by her, for some reason.

@boonalina ha chiesto: Sooo what exactly is the courtnapping process like? Is it just a simple "I'm gonna pick you up and carry you away" or is it an entire ceremony? Does someone have to lure the person into place? For example, Mei bringing Redson over to a secluded spot so that Mk can "courtnap" him? (Side note: I've been in this fandom for around two years now, and this comic is what made me find out about courtnapping lol)

I "think" anything that can be counted as like a sneak attack that takes them out of guard and brings them to the designated courtnapped room can be considered as courtnapping technically.

Anonimo ha chiesto: ... Hey so your shadow peach bio parent AU is better way better than season five. WOAH, WHO SAID THAT!! (no but seriously it is like a sitcom I tune on ever so often. Much love 🫶)

Haha thank you! That's a HUGE statement!

Anonimo ha chiesto: I wonder if MK has any unique attributes/abilities as a living mass of celestial material?

He's such a cocktail ofdifferent energies I wouldn't be surprised he is able to glow in the dark.

@cjtuy ha chiesto: I do have a question it's mainly about pigsy and tang when and how long have they been together as a couple and did both of them find mk are they married ?

They have been together for almost a year, but I don't think they are married, but maybe that could happen in the future??? But yeah MK found out a little after season 5 that they are together, that was also the same time he started calling Tang "Papa"

Anonimo ha chiesto: Has macaque added any personal items to the house? Like is he moved in? Have Wukong and macaque improved or changed anything else besides making the bed bigger?

Yes he did! Half of his belongins are in FFM, althought he's a little more minimalistic than Wukong. He also have been bothering Wukong to death so that he can finally organize his stuff (and they were roomates

Anonimo ha chiesto: I feel like if they were to play Minecraft or something macaque would be the base mom. He would be the only one to remember to farm food to not starve. The others would probably forget all the time that hunger is a thing in game. Wukong or Mk: oh dang does anyone have food I'm starving Macaque: (always brings extra for this reason) "sighs" yes

AH!

Anonimo ha chiesto: Remember the Minor Scale episode, from season 2? Where MK learn how to shrink himself? And there’s also the final episode of that season where MK just grow very big to try to fight LBD. I just love that part of his power and I have seen very little people showing it. Like, sometimes that power can show up when the poor boy is experiencing overwhelming emotions that can’t be contained anymore, or pure exhaustion. For example, Having many responsibility can lead to a lot of stress and exhaustion and at some point MK just can’t do more and just become tiny, not able to do more. On the opposite, maybe he experience trauma again through a nightmare (like about azure for example) and the emotional burden is to much and he just becomes big because of that. You see my vision? I love sizeshifting base on emotions :)

Aww and i love emotion-based powers, they are just so easy to play around.

Anonimo ha chiesto: Tbh the show should let macaque have a motorcycle. Wukong gets to be passenger princess

Yesss

Anonimo ha chiesto: as we get into the colder months i like to imagine MK’s first winter coat and he’s all super fluffy and warm

Cool for the monkey parents, bad for pigsy and all the hair in the restaurant from sheeding.

Anonimo ha chiesto: I think it would be so funny if MKs rock hadn't been cracked and he'd been raised on FFM by wukong. If the same thing happens in the show macaque planning to take mks powers thinking he's just Wukongs student but then while macaque and MK are training. Since macaque is so close he notices his ears. (Being raised by a monkey he gets his form sooner) suddenly putting everything on hold busting into FFM and is like WUKONG WTF

There's a fic on AO3 about it it's A Son of Two Dads

@cheese-hommo ha chiesto: Hii, fiesta I want to say I love how you draw and everything, it just looks so cool and beautiful. Now, with the last chapter of Monkey parents Au and so, with the acknowledgement of the demon etiquette and else, DBK and Wukong really misunderstand the comfort scene for a confession? Or something more? It was just so funny seeing the two of them getting so embarrassed at the end 🙂‍↕️

Ah, 2 young demons in their true forms so close to each other, blushing? Scandalous.

Anonimo ha chiesto: I've seen Mk is his Lego merch- he gots a tooth gap- so does this MK have one or did he get it filled?

Wait that was a tooth gap??? I though it was like, a detail of the smile

Anonimo ha chiesto: 🎤 what is your official (if any) opinion on Ink MK? (as a character, plot device, literary parallel, what have you)

It's ok. I personally believe "shadow" version of one character with their own fears and doubts is a clique a little bit too much used. But they give a lot of angst.

Anonimo ha chiesto: Thoughts on Macaque knowing either Japanese or Korean due to him liking anime.

I'll give you one better. Macaque always traveled to Japan pretty frequently during the centuries. Then became a weeb

Anonimo ha chiesto: Maybe it's just me but Wukong looks a bit thicker each time, is it because his fur's thickening or is he getting chubbier ??????? Anyway luv ur art

Both.

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[icarusredwings]

Do you guys ever think about dementia Charles seeing Pietro and getting sad or becoming really happy because his poor mind connects the dots that he's Erik? It dosn't compute that this wouldn't be Erik because hes too young to be Erik rather assuming that he is young Erik and not exactly having the logic to understand that they are so differently aged.

"Oh! My old friend, you've gotten a haircut. Quite bold of you. It makes you look much younger."

".. yeah, yeah, old man.." he mutters, trying to avoid him best he can, but sometimes, when the others are busy, he can't stand to leave him alone. Coming to sit with him just to litsen to him gab about random nonsense, talking so fondly about his X-men and memories dear to him.

"Do you remember?"

"Do I remember what?"

"When Jean got her first bad grade and she cried to you about how cruel I was to her." He chuckles softly. "And all she got was a B-"

Pietro stares at him like he's crazy. Jean cried to his father? But why? He had his own children to take care of. So why would he treat her like that? It makes him a bit angry. "No.. I don't. What else?"

"Hm?"

"What else happened? With jean and my da- erm. Me."

"I believe it's Jean and I." He corrects his grammer, making the younger man roll his eyes in annoyance. Once a professor always a professor I guess.

"Sure. Jean and I.."

"You acussed me of being too hard on her, but when I explained it, you laughed... I haven't seen you laugh like that in so long.." It's sort of now that Charles remembers what's going on. Who he's talking to.

"..Im sorry. Who are you again?"

"Well you like to call me speedster."

"Pft. No I do not. Mr. Maximoff.. you've grown so big since the last time ive seen you."

'You just saw me yesterday' he thinks but makes that awkward smile and nods. "Yup.."

"Youll have to forgive me. Im not always.... here."

"I know.. are you alright?"

He shrugs in his chair. "About as alright as anyone could be in my situation." Ah yes. The paralyzed old bald man who was losing his mind still had jokes. Funny. But sad. He remembered him being so similar and yet.. so different.

It's not long before Jean comes to give him his medicine again, convincing him that it was for the kid's saftey. "You don't want to hurt them. Do you, Charles?"

"No... but I'm not that gone yet. I can decide when it's best to take my medication."

She smiles so sweetly at him. "Professor, you made this time schedule yourself. Im just doing what you told me. You always knew best for us."

"Oh.. well, alright then."

Before Jean can walk away, He stares at her.

"....Why did my father like you?"

"Excuse me?"

"Charles... he said.." He trails off, not sure how to say it without talking too quickly.

"He said you cried to my father. And.. he defended you."

Jean tilts her head. "I wouldn't say defended. I was just a child having a fit." She admits then shifts, looking at the walls as if remembering.

".. He was here a lot.. and then he just.. stopped coming. Im sorry. I don't know why. Like I said I was just-"

"Didyoureadhismind?"

"Uhm.. just a couple times."

"Jean used to con you into getting her ice cream." Charles smiles, closing his eyes, reminiscing.

"He.. got you ice cream?"

Jean's not dumb. She understands his frustrations, glancing at the old man and then to Pietro again. "Like I said.. I was just a kid.. I was just excited to be able to use my powers. I didn't mean anything by it. I didn't even know he had other children."

"...He never got us ice cream.. he didn't even bother sign my birth certificate.."

"Im sorry, Peter... Professor? Tonights dinner is potatoes gravy turkey with apple sauce. Remys making it so it might be a little spicy."

"Oh, that's alright. He means well. Erm.. thats the blue one right?"

Jean snorts. "No Professor. He's the card one."

"Oooh yes. Reeemmyy... right." He says his name slowly as if trying to connect 'the card one' to 'Remy' in his brain.

"...Bye Peter." She says, now awkwardly leaving.

"Remys that rat from the cooking movie" Pietro whispers and Charles' eyebrows raise. "Ahhh! Remy! That's right."

He might be an x-men. But he could still pull a little evil here and there.

[luckyladylily]

The negative reactions to HDG are really interesting to me because the "problematic" elements are certainly not new or even presented in an extreme form. I think there are a lot of people in the political left who treat independence and self determination as sacred concerns that should be placed above all other concerns - it is morally better to cling to scraps or even the illusion of self determination than to give it up for a significant increase in quality of life.

Several years ago, well before the first HDG stories, I had a discussion with one such person based around the idea of daily food preparation and how much of a burden it could be. The discussion came down to this: I put forward the idea a "freedom" is only useful to a person if they value it. Otherwise it simply becomes a burden. I made the claim that if I never had to manage determining when to eat, what to eat, or preparing that food again at the cost of never being able to choose what I eat, then I would make that trade without hesitation (assuming a benevolent someone choosing for me). The person I was discussing this with could not accept this, and we ran through all the reasons why until, ultimately, all they had left was "It feels like giving up." which they insisted important enough to override all other concerns.

My time, my peace of mind, my health, my happiness, even the fact that I have very little practical choice in what I eat anyway due to fatigue and financial limits, did not matter as much as what they saw as a moral imperative to cling to a scrap of self determination.

I think a lot of people who react so negatively to HDG that they have to go out of their way to harp on it are dealing with it on that level. Self determination and Independence are moral imperatives, and in that respect HDG is a deal with the devil. You get everything you ever want or need, and the only price is your soul self determination.

It brings up a few very uncomfortable ideas that challenge their world view, including: First, many people do not consider the pursuit of self determination for its own sake as an overriding moral concern - meaning their set of values are not necessarily objective. Second, many rational people would make this bargain. Finally, the amount of people in the world that would be much better off having made such a bargain is uncomfortably high because the scraps and illusions of self determination they have are basically without real value and our standard of living is just that low.

Makes people very uncomfortable to think about it, so it's easier to just say "You shouldn't enjoy HDG stuff because it's problematic!"

TL:DR - The fact is that we are so very far below the bar of a society that is acceptable on even basic levels that many people's standard of living has them looking up at being a favored pet to a benevolent owner. As a kink setup? That's hot. As an assessment of the state of affairs of our society? Very uncomfortable for some people to think about, so they get mad when people have fun thinking about it.

A critique I've seen of HDG is "you'd have no control over your life" and idk, I feel like I have so little control over my life now.

the main difference is here it's due to capitalism, ableism, and transphobia and I have to largely take care of myself. Whereas in HDG, I would be fed, clothed, my disabilities accommodated for, my transition would be done in a week And I'd have a large hot plant person caring for me the entire time.

If I'd have no control over my life, at least HDG is safe and sexy

[soft-pine]

1.18 something wicked

say your desk is covered with a pile of paperclips. something wicked is the magnet you drop in the middle and then they all stick to it; they're all connected.

it's all here. the parentification, the neglect, the way john treats dean which sam doesn't witness, the extreme likelihood that john was using his kids as bait, and the intentional, specific, glorious, lovely ways dean has specifically chosen not to be like his dad.

in the flashbacks, we see dean is in charge of feeding and looking after sam for (at least) three days in some random motel room with the shades drawn. he's not even supposed to go outside. he doesn't have a number for john, just the instruction that if john's not back by a certain time, he's supposed to call pastor jim.

we see john giving dean instructions and responsibility (and criticisms) which he's not giving to sam.

dean is at most 11 years old (ep takes place in 2006. dean says the case from when he was a kid was 16-17 years ago (1989/1990). john's journal places it in 1988; dean was 9)

crucially, even as an adult, dean barely talks to sam about what he remembers of the case when he was a kid. he lets go of little bits at a time and absolutely necessary to the case. but he does not want to process what happened. even when he's so torn up that he breaks down and explains what happened, he doesn't want to talk about it. in part, of course, because he's ashamed of failing to kill the shtriga. but also because dean keeps john's secrets (9.07). and even when he doesn't, sam is not who he tends to process with.

but it's deeply impactful to have an episode where we get to see how dean was treated as a child versus how he treats the kids he meets.

dean is so kind to children throughout season 1, from lucas in 1.03 to lily and charlie in 1.05 to michael here. there is something so great about the way he is both clear that the bad things aren't these kid's fault, while also understanding kids have agency and insight.

i know dean is torn up about using michael as bait for the shtriga but feels he doesn't have much of a choice in order to stop the thing. but the conversation he has with michael is so thorough it really gets me.

DEAN: This camera has night vision on it so we'll be able to see clear as day.... Are we good? SAM: A hair to the right... There, there. MICHAEL: What do I do? DEAN: Just stay under the covers. MICHAEL: And if it shows up? DEAN: We'll be right in the next room. We're gonna come in with guns. So, as soon as we do you roll off this bed and you crawl under it. MICHAEL: What if you shoot me? DEAN: We won't shoot you. We're good shots. We're not going to fire until you're clear ok? Have you heard a gunshot before? MICHAEL: Like in the movies? DEAN: It's gonna be a lot louder than in the movies. So I want you to stay under the bed, cover your ears, do not come out until we say so. You understand? DEAN: Michael, you sure you wanna do this? DEAN: You don't have to, it's ok, I won't be mad. MICHAEL: No I'm ok. Just don't shoot me. DEAN: We're not going to let anything happen to you. I promise.

what a specific contrast that is with

DEAN hesitates, terrified. As he does JOHN bursts through the front door, gun raised. JOHN: (Shouting) Get out of the way! DEAN ducks and JOHN shoots the shtriga multiple times with his hand gun.

something wicked is up there with monster at the end of the book for episode titles that'll make you crazy if you think about it too much.

some other thoughts are just, the first time i watched this scene i thought i was going to explode with love:

DEAN: Yeah well, first of all, I'm not going to open fire in a freakin' pediatrics ward.... Second, wouldn't have done any good, because the bastard's bullet proof unless he's chowing down on something. And third, I wasn't packing, which is probably a really good thing cause I probably would have just burned a clip in him on principle alone.

moral compass boy i would die for you a thousand times and get up and gladly do it again.

and nothing - i mean nothing - hits like dean's voice cracking over the "if it means anything sometimes i do too." like i could actually go insane.

also watching supernatural is how you fill up a computer disc with pictures of dean looking ever so beautiful. like. look at him!! ethereal!!

also also ilu microaggression michael. they should have brought you back in the finale, king.

[azaharinflames]

Will you share your theory on what you think is happening behind the scenes of 911?

Hi, Nonnie!

Sure! As long as everyone is aware this is purely speculation, and nothing I say should be taken as proof of anything, I have no problem.

I've gone over a few things in my head, to be honest. I thought that JLH having filming conflicts could've been a major factor, and I still don't exactly disagree with that initial idea, but overall I think it was one of the things that threw TM for a loop.

Now, I've seen a lot of people theorize that perhaps Angela is leaving and that is what is causing so much chaos in BTS, but I am on the fence about this. I do think she might've asked to not have such a big role moving forward, especially if they get a season 9 (which I am also on the fence about ngl), like perhaps retiring, or just having a more laidback position training new recruits. The seeds are planted for that, not so much for her fully leaving. And it would give Angela more free time to dedicate to other projects (which, yes please. I need her in new projects ASAP).

So... (and please don't kill me for this, it's just a theory).

I think it all comes back to Ryan. And that he perhaps is leaving, or actively wants to leave. I will try to explain myself as concise as possible:

A couple of months ago there was already speculation about this. In all of his individual interviews (which were a lot, to be honest), Ryan made a point of talking about his work beyond 911 and talking about what he would like to do after 911.

On top of the individual promo, there was an uncharacteristically high amount of BTS dedicated to him and the godforsaken mustache. To the point where they threw a mustache party. And in the pics of that party, the vibes were that it was a party for Ryan, not in general.

Small thing, but Josh randomly dressing up as Eddie for Halloween. Perhaps unrelated, but I wanted to add it.

The 911 account reposting and celebrating Ryan's 100th ep, when 1. it wasn't his 100th (if we count the eps he was actually in) and 2. it was also JLH's, and yet they didn't say a thing about it. Ryan reposted that as well and the message he reposted it with was more nostalgic than anything else. Very much giving 'it was an honor to work with you, what a journey'.

I could be wrong, but I do think his contract ends this season. So, that just adds to it.

The timeline of the move to Texas. By the reactions alone I was fully expecting Eddie to leave for Texas at the end of 808, and then to be back with Chris (in a lazy way of solving their conflict off-screen) by 809-810. But the way he's currently thinking about it makes it very sus for me. As in, it can be a thing for the end of the season, and an actual goodbye for Eddie.

Of course, nothing of this has to actually happen, and it's quite possible it just exists in my brain. But this makes sense in my funny brain because then it explains why BT had to break up so soon... because they wanted Buck to feel completely isolated.

We know 809-10 will deal with Maddie being kidnapped. That alone will make Buck spiral. But if on top of that his best friend is also leaving... well, being alone just adds to the isolation and the angst. Because if Tommy was still around he'd be able to lean on him, and have him help him through this. But it seems like the writers wanted Buck fully alone for this, because sure, seeing a character never learning and being completely isolated is so much fun.

If this ends with BT getting back together, I honestly don't know. It wouldn't surprise me if Tim doesn't know. But, all in all, I wouldn't be surprised if RG deciding he's done is the thing that kinda created the domino effect.

(Also: I do not believe Oliver was telling Tim to fire Lou and end BT. Sorry. I just don't really see it. Nor do I think there were actual conflicts between actors BTS, as much as everything they're doing right now does feel a bit weird)

Anyway, thanks for letting me rant, Nonnie! My inbox is always open for ranting, venting, or discussing

Take care <3

[pearlbubbles]

Okay I have a lot of thoughts about this season, and maybe bc I never played lol that this season felt like a mess to me but I think a lot of it was due to poor writing choices,

Jayce calling Mel out for “manipulating” is insane to me. When he doesn’t hold the same sentiment for Cassandra or Victor (who was the one to allegedly give him that stone in the first place?). He acts like he had no control of his actions and I guess it’s easier for him to pin the blame on someone else than admit his faults.

Mel is a politician, he knew that when he met her. She did not make it a secret that she was basically sponsoring his research. But at the same time, she was one of the few people who advised him against making hextech weapons specifically, and went out of the way to make sure that that technology did not fall into the hands of bad actors.

however, it was Jayce and his poor decisions that kept making hextech weapons even though it went agonist his ethos, he even made weapons for Caitlyn’s special strike team, something Mel did not tell him to do lol,

like this entire time Jayce was able to use Mel’s statues and influence to get what he wants (social capital etc)

and when they get together romantically, Mel only treats him as an equal, supports his ideas (which basically let’s him do what he wants on the council bc of her influence), and is a source of emotional comfort.

so it’s really strange that he starts to view her as someone who used him, we never really see Mel confiding in Jayce besides that one time which served as a way to give the audience insight to her backstory. She’s always the comforting him, the one providing for him etc, she even serves as a buffer for Jayce against the manipulation from others, so to have him pin all the blame on her is so deranged to me lol

I also fill like the narrative of the story does nothing to counter his claims, they don’t address the other actors in the corruption of hextech for warfare (*cough cough* Caitlyn lol)

there were interesting places they could take this, there were interesting ways to explore this dynamic, but instead it got boiled down to Jayce pinning the blame on someone else because he refuses to live with the consequences of his own creations

[candy-cloud-system]

Guess who’s back speaking their shit ! This guyyyyyy ! . Allow me to write a long ass paragraph explaining everything about why I am NOT going to take back what I said.

First off. Comparing anything I said in that paragraph to racism is wild. Not ONCE did I mention race, and it was a completely irrelevant and honestly just false comparison. Hating someone for being downright ableist is SO much different than being racist. And I can guarantee you, I will never hate anyone for their skin color or race. That is something they are born with, and cannot change. And the diversity of human beings is single handedly the most beautiful thing to me.

Now. A more accurate comparison, if you will, would be saying something along the lines of this: imagine you broke your leg because of someone else’s actions, and it causes you a lot of discomfort, pain, and changes the way you have to function. Often you get frustrated with things you’re unable to do the same as someone without a broken leg, or even get super angry at the person who was the cause of your broken leg, sometimes finding yourself daydreaming about how much better your current state would be if you hadn’t been around them or left the situation sooner. Now imagine the next day you see someone else with a cast on their leg, and you think “oh! Someone who may have a similar experience and understand my struggles!” Just for them to tell you their leg was never broken before and they simply “wanted” to have a broken leg.

Imagine the pure frustration that would give. All the thoughts of everything and all the pain and regret and rage you face daily now being mimicked by someone who woke up and decided to claim they had it simply because they wanted to. THATS what it’s like seeing an endo.

I will say this now. Plural means the exact same thing as a system. There is NO difference. There is no such thing as “systems have trauma, but if they say they’re just plural then they aren’t claiming to have a disorder!” Because that’s bullshit.

Endos cause a lot of harm to our communities, even if they aren’t aware. The misuse of terms and stealing of terms from cultural practices, invading our spaces sometimes with purpose to harm us, convincing actual systems their repressed trauma or even remembered trauma doesn’t exist or wasn’t bad, and wide spread misinformation highly effects people like me who have to live with the actual disorder.

I’ve seen a lot of systems (myself included) who are uncomfortable calling themselves plural. Although it is a correct, and sometimes more used in medical settings term for systems; the association of the word with endos who think slamming another label on themself justifies blatant ableism has made that term unbearably difficult to use on ourselves. I’ve seen the same with the words headmates, host, fictives, and other system terms.

“Tulpa Systems” are stealing a cultural term, AND misusing it at that. Tulpamancy is a term from Tibetan Buddhism. Original concepts of it found in the Buddhist Niramāņakāya, and later came into traditions of Mysticism. It is NOT when a 14 year old on tiktok decides they want a serious mental health condition and “creates an alter” for themself. Tulpas are part of a culture. And are spiritual practices.

Invading spaces that aren’t made for you can be very harmful. Even if unintentional or seemingly “harmless” those spaces are MADE for certain people. Those certain people need places they feel comfortable being themselves with other people like them. That’s very important. Something I’ll compare it to is this; I get very uncomfortable when an abled body person gets in the school elevator with me. The elevators at my school are made specifically for disabled individuals and those who cannot walk up stairs. It with the exception of escorts, when someone who is perfectly able bodied gets on, it creates a tension for me. They’re invading a space made for me and people like me, simply because they wanted to. I feel it’s unfair to me, because I’m not able to fit in comfortably in their spaces, I cannot walk up stairs with ease, yet they can, the elevator is a space where I can feel comfortable and capable with the abilities I have, and I feel very uncomfortable when that’s invaded by others. And it’s the same with system spaces. I’ve ranted to my friends countless times about how I never feel comfortable in the online system community. My spaces get invaded constantly by people who think they have a right to steal what should be a safe space for trauma survivors. I have grown accustomed to the reality that I will never have a space online that I will be completely safe from ableism in this community do to endos. Even in real life I have faced people in the eyes who faked my disorder just because they thought it was cool. They faked and copied my real struggles, lied about experiences and made me miserable. And I feel like i don’t even have to speak about the endos who come into spaces to harm us. We can all tell that’s fucked up.

CDDs are a trauma response. And something it does, and it’s whole point, is to hide your trauma. A lot of people with CDDs will not remember what happened. It’s what makes it so tricky to cope with and heal from. I’ve had a very close friend of mine ignore their plurality and not take steps to heal due to them being convinced they didn’t have trauma or wasn’t enough trauma and they were an endo. That is so incredibly harmful. I cannot stress that enough. Telling people they can have a CDD without trauma, even putting that option of being plural without trauma is SO harmful. Because young people who may realize they have a CDD and not be educated on them will brush it off as being an endo, spread that misinformation, and most dangerously; not be able to take the proper steps to heal. Lucky for me, I understood that it was a trauma related disorder, so I was able to get into therapy, get on medication to help myself combat my depression, and find coping skills that were healthy for me to work on growing and coping with my CDD and other disorders. Convincing someone their CDD isn’t serious, or that it’s not trauma related takes that away from them. It takes away the realization of the need to heal, it takes away the chance for them to cope with serious trauma. And it can even worsen it. People with trauma who categorize themself as endo or are categorized by others as endo may be even more effected, feeling like trauma is now a competition or that they aren’t enough to have a CDD that they may actually be struggling with and wanting help for. I hope you understand how harmful that is.

The spread of misinformation is WILD. One of the first things usually brought to me by my friends at school who don’t know much about DID is usually some misinformation they saw from an endo. And of course I don’t mind educating them properly at all, but it honestly hurts me a bit to see some of the crazy things I’ve seen them believe because of how much misinformation people spread on the internet about this disorder.

CDDs aren’t fun, they aren’t quirky. They’re serious trauma stemmed disorders formed to help someone survive. It’s not “having silly characters I like in my head”. It’s NEEDING them to keep you alive and as stable as possible when in horrible conditions whenever you are in the most vulnerable stage of your life.

Blah blah. Internet rant. Blah blah. I can already feel the comments calling me a loser and telling me to blow up or something 💀 like ima lowkey be mean for a sec but do y’all ever shut up? Learn to literally educate yourself instead of believing a 13 year old who wants the entire cast of Hazbin Hotel in their head cus they think it’s quirky (no shade to actual systems with hazbin alters)

Get ur ableist asses outta here fr 💀💀💀💀😭😭😭 making my life hell

Tw: syscourse ,

Endos DNI with this post.

Hot take; I shouldn’t have to be terrified to read / like posts. I should have to read the tags to make sure it’s not posted by an endo trying to infiltrate our spaces. I shouldn’t have to fear that the thing I’m gonna read is going to send me into a spiral because it’s gonna be some stupid ass shit about how “traumagenic systems are losers” or whatever the other stuff endos say about us is.

WE SHOULD NOT HAVE TO HAVE AN ALTER WHO SITS OVER MY SHOULDER EVERY TIME I OPEN THIS APP THAT CAN PULL ME AWAY INCASE SOMETHING GETS BAD.

THAT SHOULD NOT BE A THING I, A TRAUMATIZED SYSTEM, SHOULD HAVE TO DEAL WITH WHEN LOOKING FOR COMFORT OR SILLY CONTENT TO CHEER ME UP REGARDING THE TRAUMA FORMED DISORDER THAT WILL FOREVER MAKE MY LIFE DIFFICULT.

“Endos don’t hurt anyone🥺🥺🥺”

yes they fucking do.

- Sharkbite

[drdemonprince]

I’ve only just read your Burnout piece on Substack and it made me think of the anon you answered awhile back about anti depressants and anti anxiety medications.

I’m Autistic and am on anti anxiety medication which basically masked all the warning signs and symptoms of Autistic burnout. Those usual indicators I usually can pick up on which indicate I’m doing too much and not resting enough weren’t present on the medication.

I felt good (although very numb like the anon said) so I kept on taking on more and more and initially thought it was great! I’ve never been able to commit to things or work on multiple projects at once even ones that super interest and excite me because I get overwhelmed and burnt out quickly.

But without the warning signs I kept going and going until I started to feel really weird. Disassociated, not sleeping, upset stomach, drinking a lot. I thought everything was great so it took awhile to piece together that this is maybe what Autistic burnout results in when it’s covered by meds.

I’m now slowly withdrawing from the meds. I figure the authentic anxiety is better than false measures of “success”.

So just a warning to Autistic people I guess, I don’t know if what I’ve experienced is common or just subjective but it’s worth being aware of.

This is pretty much how I feel about psychiatric medication for myself, as well. I want the warning signs. I want to notice my body and brain rebelling. A lot of psychiatric drugs are somewhat effective at making us feel more numb, for a while, which is why they are used as a stopgap when a person's situation is unmanageable. I'm a big believer in the "Affect as Information" Hypothesis: when we feel like shit, that means something about our circumstances simply has got to change. Often that means giving up responsibilities, letting people down, letting things go.

I even feel the same way about weed. I have a lot of friends who use weed daily to manage their overwhelm, and it seems to work great for them, and potentially I should be doing the same thing. But I am terrified of having a massive dependence on a large quantity of weed in order to function, and when I *did* use weed daily, it became a baseline need and made me dissociate even further from myself. I now take the desire to use weed or otherwise get blasted as a signal that something is amiss and that I'm overwhelmed and seeking escape -- that doesn't mean I don't listen to that desire some of the time. I get high and/or drunk on the weekends pretty often. But I don't want to lose touch with my body's warning system. AND I have the immense luxury of being able to change my life circumstances when things get to be too much. If someone doesn't have that freedom, well, sometimes substances are the best thing you can get - be that psychiatric or off market.

[charlott2n]

(note: this is gonna be some variety of "am i trans" ask. you probably get a lot of them, and might be uninterested in reading one, so just letting you know. i hope you're not too annoyed.)

For a bit, I've been feeling that I'd be happier as a girl. It's just.... I have the fear that I'll never be able to view myself as a girl, or adapt to being one. I still very much think of myself as a boy, identify with my masculine name, and a lot of the "being a girl" stuff feels too far off for me to conclusively say whether I'd like it, hate it, or feel neutral about it. I know it's like the stereotypical fear, but I'm scared that I'll just give myself dysphoria. What do I do? When do people stop feeling like they're acting? Does coming out, socially transitioning, or hrt help generally with it? I know you're probably gonna suggest that I do those things, but I need permission/a kick in the pants or I'll never build up the willpower.

oh i dealt with that massively. i knew i wanted to be a girl but i didnt feel like one. thats part of why i didnt realize i was trans until i was 21. i waited until the yearning overcame the lack of feeling. thats what its all about. you Want to be a girl! that much is clear. and thats amazing!! you shouldnt give up on that just because it doesnt feel exactly right or something. to be honest, i didnt feel like a girl until some time last year, maybe 6 months or so into hrt! it just takes some time and progress but im sure youll get there :) youll be so, so happy with yourself. i love you. go for it!!

[marvelfanfn2187a113]

Control Contained

Loki & teen!reader

Requested by Anonymous

Synopsis: the Avengers take you in when you develop powers, but no one seems to be able to help you control them—until a certain god of mischief steps in

Warnings: panic attack. Canon? Who’s that? We’re setting this in the Avengers compound like it’s 2012, deal with it.

“Hey, I need you to focus.”

You swear Steve—yes, the Captain America—had said that to you at least a dozen times, but you still couldn’t quite get it.

“It’s not working,” you insisted.

“That’s because you’re not focusing.”

“I’m trying!”

Steve’s eyes softened—you hated it when he did that, it meant that he’d given up on being Captain and was ready to be Steve; it meant he thought you were done for the day.

“Look,” he sighed. “I think maybe you’ve had enough.”

“My powers always come out when I can feel them—“

“But that’s dangerous,” Steve argued. “Strength has to be controlled.”

“Yours,” you corrected. “But mine is different—mine is like Loki’s.”

“Not this again,” Steve sighed. “We talked about this. Loki isn’t trusted enough to train new recruits, especially not you.”

“What do you mean especially not me?” You asked.

“Well, there have been a few incidents,” Steve said.

“That was right when I found out about my powers,” you said. “I’m better now. Besides, no one got hurt.”

“Not yet,” Steve said. The grimace on his face showed that he regretted the words the moment they left him. “That’s not what I meant. It’s not your fault, I know you’re trying—“

“But I’m so dangerous that you don’t think I should be around bad influences, is that it?” You took a deep breath, trying to curb your growing frustration. You could feel your powers pulsating beneath your skin.

“That’s not—“

“Why am I even here? So you can keep an eye on me?”

“Kid, stop, I didn’t mean—“

“Forget it.” You shook your head. “Just forget all of it.” You turned to go, but Steve gently grabbed your arm.

“Wait—“

“I said forget it!” You jumped in surprise when a burst of orange shot from your hands, blasting Steve back against the far wall.

Your breath hitched in your throat, and you stared with wild eyes at your friend, your mentor, an avenger, lying on the ground because of your powers. Powers you didn’t know how to use, powers that could hurt people. Steve groaned and lifted himself to his feet.

“You need to calm down,” he barked. “You can’t just—hey, easy, just breathe.” Steve’s tone softened when he saw the way you were trembling and struggling for breath. “I’m totally fine.”

“I’m sor—I’m—I…” you backed away from the man, staring down at your hands. Why had you done that? What if it happened again? You saw Steve approaching you from your peripheral, but you weren’t about to let him.

What if you hurt him?

You wouldn’t give yourself the chance. You turned on your heel and ran out the door before Steve even got close to you.

…

Loki was a bit wary of being around the new teenager in the tower—mostly because the other Avengers side-eyed him every time he so much as spoke to you, as if they thought he were corrupting you.

He felt for you; he couldn’t imagine having to learn about his powers surrounded by—to your eyes—a lot of heroes, nearly all with superhuman abilities. It had been just him and his mother when he learned how to use magic, and he hadn’t even let Thor watch.

It was as if his train of thought summoned you—if only for a moment. Loki barely had time to spot you before you were brushing past him and running for your room. That was abnormal; you always greeted him, always.

“Are you alright?”

The slam of your door was his only answer.

…

Someone was knocking. You’d just hurt Captain America, your heart was pounding, you couldn’t catch your breath and someone wouldn’t stop knocking.

“Y/N? It’s Loki, can I come in?”

Your breath caught in your throat—you couldn’t answer.

“If you don’t answer me I’m going to come in.”

You opened your mouth to try again, then stopped. Did you even want to tell him to go away? After all, he was the one you’d wanted to train you.

But what if I hurt him?

It was too late, the door was opening—

“It’s alright.” Loki was in front of you before you’d even seen him enter the room. “Take a deep breath.”

You tried—you really did—but you couldn’t manage anything better than a wheezing cough before you went back to hyperventilating. Your head was fuzzy, your knee was shaking, and you just couldn’t breathe.

“Ok, too late for that,” Loki muttered to himself before reaching for you and grabbing onto your hands.

“No—“ you managed. You didn’t want to hurt him.

“It’s ok,” Loki assured you. “It’s ok. I want you to let it go—all that power that’s going through you—let it go.”

It was now that you saw the bits of orange floating around your fingers.

“No,” you whimpered. “I can’t control it.”

“You don’t have to,” Loki promised. “You can’t hurt me. Let it go.”

You closed your eyes tightly, forcing a breath in, then harshly out. With your breath, you also forced out your powers, pushing them away to where they couldn’t control you.

“That’s it.”

You snapped your eyes open; the orange of your powers was flowing over Loki’s hands and morphing into green. He was absorbing your expelled energy.

You kept pushing, forcing the magic out until you were spent and collapsing in Loki’s arms.

“It’s ok now,” he said softly. “Do you feel any better?”

You slowly pulled away, taking one deep breath, then another.

“Yeah.” You nodded. “What—what was that.”

“You were having a panic attack,” Loki said.

“I got that—I meant with the magic.”

“You’ve been tamping down your powers and your emotions for too long, haven’t you?”

You swallowed. “They—the avengers—they said I had to have control.”

“You can’t have control by shoving down your emotions,” Loki argued. “You’ve got to feel them, otherwise your powers will build up until they just want to explode. If that had happened somewhere else, it could have been bad. But I know how to absorb energy so it couldn’t go anywhere.”

“I don’t want to hurt anyone.” You sniffled.

“Hey.” Loki patted your shoulder. “Your emotions won’t hurt people if you don’t bottle them up like that. I can teach you, really teach you, how to control your powers, and you won’t have to stop feeling. I’ll talk to the team; we will. We’ll convince them, ok?”

“Ok.” you nodded, the ghost of a smile flitting across your face.

“Ok.” Loki stood to leave, but you stopped him with a question.

“Hey Loki?”

“Yes?”

“Where did you learn all that?”

Loki’s face twisted in a smile.

“My mother helped me—when I was just about your age.”

[scrunglepaws]

"I come from a big family; lots of siblings. Too many to talk about individually without taking all your time, so I'll just pick a few. Hmm... I suppose I'll start off with the eldest, Silas. I think he was about the best big brother someone could have. Strong, protective, loyal, kind-hearted. I looked up to him a lot as a little kid. Now that we're both grown, I find him a bit tiresome. Er- not for any bad reasons, though! It's just that his mannerisms have changed ever since he set out to sea. Sailors must be a rowdy bunch because he's just so loud and boisterous anymore. Between him, his wife, and his flock of kids; it's just a LOT of chaos to deal with all at once. Saps the energy right out of me, you know? He's a good person though, and a better son than me. He supports his family and is able to regularly send money to our parents, too. Still helping out with the farm even after he left! I'm happy for his success."

"Out of all my siblings, I spent the most time with Nine. We're pretty close in age and just sort of ended up being more of the oddballs in the family. I was because of, uh, my interest in magic… And having two tails… But Nine was sort of outlandish on purpose. Because she was the youngest, she often felt overshadowed and wanted to stand out. She's a girl? Well then, she doesn't want anything to do with femininity. She's named Nina? That's boring; she'll come up with her own name. No one likes to hang out with Tails? Well then, she will! Eh… heheh… Eh… It was nice to have one sibling to confide in and share secrets with now and then. I even told her about how I was baffled by romance and never wanted to marry. Instead of calling me weird, she made a pact with me to never get married either! Well… Until she met that girl, Fiona, and they started dating, but… It's fine. She's not beholden to some dumb promise we made when she was 12. We mostly drifted apart when I moved out anyway."

"Nowadays I'm not particularly close with any of my siblings. Or my parents. Growing up, I was more likely to keep to myself. It's um, sort of embarrassing, but I was kind of afraid of my family? I'd get this from everyone now and again, but my two older brothers especially liked to say that I was actually a changeling. You know, that their real brother was replaced as an infant by a spriggan, leaving behind me: a changeling. A… Fae creature. They said that Mother and Father would find me out soon enough and abandon me in the forest, back where I belong. Or that they'd beat me so I'd confess my origin and return the "real" Miles. Apparently my parents left my older brother, Manny, in the forest when they suspected him of the same thing, but he proved himself by making his way back home. C-Clearly just things they made up! A-And I don't have nightmares about it now that I'm grown… But, uh… I am ashamed to admit that I purposefully never really spent time with Manny because of that. I just- I didn't want to give them any more reasons to suspect me. He was a very strange kid, even to me. I regret never trying to understand him. I think maybe… We might have had a lot in common. And not because of anything to do with fae."

For characters!

If any of you have family, what's your family relationship like?

More character questions!!

[arceus-insanity]

Endeavor Deserves No Sympathy!

I don't understand how anyone can think Endeavor was ever a good dad. It also always comes off as incredibly victim blamie, especially towards Touya, and often Shoto too.

He literally only got married and had kids to use them. He never gave a shit about their well being, never even thought about it until he had the one thing he cared about and was still miserable. I've already gone over the math proving he gave up on achieving his dream himself at 21 at the absolute latest. (https://www.tumblr.com/arceus-insanity/763259515356512256/i-liked-endeavors-character-when-he-was?source=share)

And basic math will once again be used to prove just how little this waste of flesh actually tries.

This time the focus is on how quickly he abandoned Touya and immediately went to emotional abuse via neglect & literally replacing him, and once again risking that more children be born with self-destructive quirks.

For context we only see Endeavor doing anything with his kids that's not him literally walking through and ignoring them in two circumstances. Once when Fuyumi's a newborn and Touya is attempting to crawl (not walk) over to her. And training. Those are the only times he tries to spend with any of them, even after he starts his 'atonement'

Now comparing Touya in the scene of them training and himself as a toddler and all the child imagery this series loves to use instead of actually saving imperfect victims, Touya is at least 3 (probably closer to 4) when he's taken to the doctor and they are informed of his condition

Natsuo is 4 and a half years younger than him.

We know for a fact Natsuo (& Shoto) was conceived after they got the news, not willingly either. Pregnancy takes 40 weeks average, so Touya would still be 3 when Natsuo was conceived. So once again it took this 'man' less than a year to give up and have another child he hoped to use as a tool, and was explicitly making to hurt his existing son. And as I have said plenty of times before, risking that the new kids could be born with the same disorder, I hate how convenient it is that Shoto gets near zero negative quirk side effects.

Want to know what we never see, Endeavor doing something else with Touya and Touya demanding training, it's always him walking past/ away from Touya. Considering all of the shit they've pulled to soften Endeavor's abuse both in the manga and even more so in the anime, they wouldn't skip something like this. It's not hard to tell that Touya's 'obsession with training' is really about spending time with his dad, you know like a human child that literally needs love, proven by numerous studies and research in the real world.

He throws all parenting responsibilities onto Rei, adds more children to that load, and when Touya suffers for it (like everyone else) he does nothing, doesn't even hire a nanny

Another are you kidding me take I've seen is that somehow Touya's quirk issues are worse than Midoriya's and Yuga's. Touya managed to train his quirk to produce blue fire at 13 with zero equipment and less than no help, and only lost control of it, because of the mental abuse Endeavor had inflicted on him leading him to a mental breakdown. And/ or the theory I've only seen once of AFO using his ability to force quirk activation (seen with a passed out chapter 90 during his first confrontation with All Might)

Midoriya was breaking his bones all the way into the Shie Hassaikai arc and was only able to fight because Eri and was breaking support equipment in the following arc as well. Yuga had a support belt all the way back in the entrance exam and was still struggling with that.

Speaking of Yuga let's compare parental effort here, because as much as it backfired Yuga's parents tried a whole lot more. For starters they nearly bankrupted themselves to get him a quirk, so he could feel equal. All For One is a mythic man prior to his arrest, and those who knew of him were shown to be serious long-term villain groups, so they had gone to quite a bit of effort to find that he existed to begin with. They also got him support gear (the navel belt thing) as a kid to help him with said quirk, he literally had it in the entrance exam. Endeavor never looked into that, Endeavor is not only rich too but he's a top hero he would have direct access to support equipment companies that would jump at the opportunity and it never even occurred to him.

Endeavor's name is an irony as endeavour means to try hard to do or achieve something. He never tries hard he gives up incredibly quickly the second there's any road block, but instead of moving on he makes everyone suffer for it. He's a toxic pageant mom who'd rather force their child into a toxic world and a role they don't want than work on himself

And what finally makes him change? Getting exactly what he wanted and still being miserable, and he still expects through his actions his family to cater to him.

Not his son getting a major disability due to his actions, no, he decided to double down, mentally abusing and neglecting the son he supposedly loves, raping his wife who didn't want more kids or participate in this abuse, and again risking that Natsuo & later Shoto might have that same issue. Not when his wife breaks down and permanently scars his precious masterpiece, who proceeds to rightfully blame him, and he just thinks of it as a tantrum despite it lasting a fucking decade. Not when his eldest literally dies as the result of his selfishness. Not literally during any part of this entire process!

Dabi is 23 when Endeavor finally starts to 'try' to be better, that means that for at least 24 years he has only been caring about his fucking precious number one spot in a popularity contest that he couldn't even bother to try to be likeable for, this wasn't one bad decision, this was him constantly choosing to be so insanely selfish that he found ways that shouldn't even be possible for over two decades. And it was all him.

[askinkiskarma]

I have a lot of thoughts about arcane and rather than dealing with them on my own i thought i would try to write them out and see how other people feel and maybe have a conversation about it, because the beauty of art is sharing it and seeing it through your own eyes, as well as others’ - the beauty of art is its ability to ignite and spark a conversation… a change.

Arcane is very important to me, because of what it represents - humanity, in all its aspects and kaleidoscopic facets, in all its glory and in all its misery. What made it unique is how inherently relatable and universal the feelings and experiences the characters go through and how inherently human their problems are at their core, and whilst they were able to keep a lot of those sentiments in season 2, I feel by act iii they forsook a lot of what made arcane special.

Very rambly thoughts ahead, I do apologise, and please tell me yours, I would love to speak about it and process it.

To me arcane was always about class struggles, about oppression, about what happens to the oppressed when they are pushed to the brink, about how that affects a person’s journey and their fates, and putting faces to those struggles on both sides of the equation - vi, an orphaned child who was forced to grow up too quickly and parentified to the point she felt like she had no value outside of being a protector; jinx - a brilliant mind who fell victim to trauma because there was no one able to help her outgrow it or deal with it; silco - a man who has seen the oppression first hand and chose to fight it regardless of the sacrifice it took. I could keep going and going but Arcane was a phenomenal display of character and morality, and an almost perfect attempt at the shades of grey that make most of us who we are. No character was without flaw, and no character was unjustified in their actions in their own minds and due to their own particular set of circumstances.

I think most of the gripes I have with season 2 stem from two overarching themes: time and ambition. But before I go into this, let me praise it for a bit because despite all my grievances, I still think it is the best animated piece of art of all time and I still think it's better than 99% of anything I've ever been invested in. Although almost redundant to even talk about, I want to shine a light onto the animation. I have to give so much credit to every single person involved in bringing this series to life, because it is a spectacle from the first frame to the last, and the amount of talent, effort and passion it took to do this can never be put into words.

I will bring up things I loved about it as I'm talking what I didn't, because they are very much entrenched. My biggest complain about season 2 is that, the fact that it was only one season. I believe everything they've set out to achieve and every plot point they introduced could have been properly addressed and done justice in in one more season, and therefore, none of the problems I'm about to go into would have ever been an issue.

Imagine this: season 2 starts exactly as it did, with the first three episodes dealing with the aftermath of jinx's actions and the loss that drives Piltover into deplorable reactions, with Caitlyn and Ambessa at the helm, descending into fascism, Cait driven by blind rage and the prejudice she's been fed her entire life without an active effort into trying to overcome it, Ambessa driven by ambition and desperate attempts to one-up the Black Rose organisation. However, the season progresses differently - to me, this conflict and its consequences should have been what this season was about.

Simple yet deeply impactful, tackling the themes they set up in the last season, tackling the intricacies of what would lead the characters into their actions - for Cait, expanding on the way grief, fear and guilt makes you regress back to your most ignorant, primal, selfish self; for Vi, the way a lifetime of being told she's responsible for everything and everyone and her unbridled desire for love and family made her abandon her core principles and join the people she hates in order to kill the monster she thinks she's responsible for creating; for Ambessa, the way her deeply embedded and deeply repressed fear of the Black Rose coupled with the Noxian belief in strength and sacrifice and war made her give up one her core beliefs that warriors are forged through blood sweat and tears and not through magic and reach out to Singed, therefore becoming an almost caricature of herself etc etc etc.

That coupled with the overarching conflict between Piltover and Zaun, how Piltover's actions are the breaking point for Zaun, as well as the personal conflicts between Jinx and Vi, Mel and Ambessa, Vi and Cait, potentially Jayce and Cait once Jayce realises Cait has become someone she would have absolutely despised just a few weeks ago, would have made for a compelling and powerful season that kept to much of the themes of the first season and could have been the stepping stones for a larger conflict that could have been introduced but not expanded in this season - Viktor and the Hexcore, the bigger battle between humanity vs the arcane, the Black Rose and their involvement in everything.

Season 2 would introduce Isha as a positive role model for Jinx and a way that Jinx would be able to be rescued from the nothingness her life had become - Isha could have been a symbol for Zaun, and the reason Jinx would decide to become the face of the revolution for Zaun independence. Season 2 could have ended with the Jinx and Vander moment in the prison, or with her reaching out for Vi after her KO in the pits. Season 3 then could have dealt with everything else, and been a great way to introduce other characters and other conflicts (Mel and the Black Rose), which I assume will be part of the next series about runeterra.

I think this season and what it was trying to achieve was great, but its biggest downfall was that in its ambition, it fell short of what made it great. Because whilst the fighting and the animations and the moments we did get with the characters were great, there wasn't enough time to make them justified or fleshed out, and in that, we lost the essence of what people loved the most about Arcane - the eye to detail, the accuracy in character writing and portrayal.

I loved seeing Cait and Vi together and I loved seeing them get into conflict - I did not, however, love that Caitlyn went from being a dictator to redeeming herself in basically one episode with no consequences for her actions. Vi should have been mad, she should have been furious, she should have held her accountable and she didn't. I wanted them to have a much earned sex scene, but not in a prison, which overlooks the insane amount of trauma Vi has suffered in Stillwater and how insensitive doing it there comes across as.

I loved seeing Jinx and Vi reunited - but for a story that started and was always at its core a story about two sisters, there was not nearly enough done to explore their very complicated and tumultuous relationship and bring it to a satisfying conclusion. Not one scene in which they talked about their issues, where they opened up about the past, where they resolved anything before Jinx eventually died, and then, not even one scene of Vi mourning her or what her death represents to the overarching story or to Zaun.

I loved seeing Jinx get better, and her character was actually the highlight of the show for me this season, but a lot of it felt rushed and not properly explored - by the beginning of act 2 she seemed basically perfectly sane, and even after losing Isha, she seemed perfectly in charge of her emotions and was able to surrender herself and make perfectly rational decisions, which doesn't seem in line with all we know about jinx. Not to mention Isha was never mentioned once in the whole of act 3, and neither did Jinx becoming a symbol for Zaun amount to absolutely anything in the end.

I hated how much like the fandom, and the characters themselves, the writers seem to overlook Vi completely. She got the short end of the stick at literally every turn and I thought she would have gotten a semblance of justice in the end, but she didn’t. She forsake everything she knew and believed in because Jinx needed to be killed - Jinx was actually better and fixed herself without any of her involvement, so she betrayed herself for nothing. She finally opens up to Cait and cries in front of her, begging her not to change because she’s already lost everything - Cait betrays her like 5 minutes later and attacks her, abandoning her, then comes back like nothing happened and Vi doesn’t give a shit and forgives her immediately. Finally gets Vander and Jinx back? Loses them both again in the span of a few days. SHE EVEN FUCKING GOT A BAD ENDING IN THE HAPPY ALTERNATE UNIVERSE WHERE EVERYONE ELSE WAS HAPPY LIKE WTF. I could keep going and going about Vi and all the ways she was done wrong but I’d be here forever so let’s move on but #justiceforvi

I liked the Jayce and Viktor conflict and I actually believe everything they've done with that they handled well, since it was basically the main plot of the season, and I loved the way ekko's storyline intertwined with theirs, but this could have been handled even better in a season dedicated to it, and I wish it hadn't come at the expense of Jinx, Vi, Cait and the conflict between Zaun and Piltover. Watching this show felt a little bit like watching season 1 of game of thrones and then halfway through season 2 we're actually in season 8 and the white walkers are here and nobody cares about the iron throne anymore and everything that happened we're supposed to forget about and focus on jon snow vs the night king and it's so confusing cause I kinda cared about Ned Stark and who killed Jon Arryn and i’m kinda still mad that Cersei killed Lady and I’m still curious about Bran and his visions and Varys and the importance of choosing a leader who cares about the small folks and and and ???

This is such a long post and I’m very sorry and I’m writing it on my phone so it might not even make sense but I needed to get some of it out because this has taken over my life.

I probably will have more thoughts as I’m processing this more but for now pls tell me i’m not alone and pls tell me your thoughts 🤍

[alexanderwales]

Notes on 3000 miles

Last year my doctor told me that I had high blood pressure, high cholesterol, and a high resting heartrate. So I started biking on an exercise bike, and by my best estimations, I'm either close to hitting 3000 miles or have already gone past that.

I should clarify that this wasn't all at once. I took many breaks.

So here are some notes.

When I started, I was on an exercise bike that my wife had gotten from her work. It wasn't the best, but it was free, and I made a deal with myself that if I biked every day for a month, then I could justify getting something better. I really really did not want to buy a piece of exercise equipment that would just sit in the house gathering dust, because that would feel awful ... but I do kind of wish that I had gotten the better bike sooner, because it removed some of the "friction" of exercise, where it felt like there were too many reasons not to get on the bike. The new exercise bike (a refurbished Peleton off Facebook marketplace that my wife got me for Christmas) really does just feel and move better. I think the general principle of not doing costly monetary commitments until you've shown costly personal commitment is a good one, however.

Blood pressure is in normal range. Cholesterol is in normal range. Resting heartrate is in normal range. This was all the case three months in, and this level of cardio is more than enough to maintain it.

Right now, I bike for thirty minutes a day, going 8-10 miles according to the bike. That range is enormous, because it represents vastly different amounts of work. Going 10 miles in 30 minutes is 20 miles an hour, and I keep the resistance relatively high, so by the end of it I'm always panting. By contrast, going 8 miles makes me feel like I didn't put in enough work.

My goal every day is sweat-based and completely qualitative. I want to soak through a shirt. This means that doing more laundry than I'd prefer to, which is an unanticipated consequence of the biking. It's also, compared to all the metrics the bike gives me, a very clear sign that I am actually exercising my body "properly" in a way that's achieving something.

I did some of the Peleton classes, and found a lot of the metrics to be motivating, but ... eh. Exercise is mostly about being healthy and maintaining my body, so my current strategy, for the last six months, has been to either shut the brain down or keep it fully engaged in something that passes the exercise time. Usually this means a TV show, especially a foreign one with subtitles, which need slightly more brainpower.

The final two minutes is always the worst. I'm just ready to be done with it. Sometimes there's gas left in the tank, but I still feel sweaty, thirsty, and overheated. I have a water bottle, and I drink from it while I bike, and I have a fan pointed at me that I turn on once I'm warmed up, but I always have a sense, in those last two minutes, of "finally I'm done". I tried the thinking man's solution, only biking for 28 minutes, and this did not help. In my entire year of biking a half hour a day, I didn't ever elect to go into overtime.

I initially lost ten pounds, then slowly gained it back. I am, in fact, overweight, but I'm holding more or less steady now, and there have definitely been some body composition changes, with muscle replacing fat. I went down about four inches at the waist. I've changed very little about how I eat (which is 90% meals that I cook myself, and a daily coffee drink of some kind, usually made myself with sugar/cream/chocolate). Biking amounts to 300-400 calories a day or something like that, so I'm presumably eating more to compensate and just not realizing it.

Mental health has been rocky, but that's just sort of how it is for me. I definitely feel less mentally well on days that I don't bike, and feel better afterward, but I have no idea how tight the correlation is, and if I had been keeping track on a mood tracker, I'm not sure I would be able to sus out from self-reported mood alone whether or not I was biking.

During the summer I replaced a lot of indoor exercise bike stuff with outdoor biking. My son has only recently learned to bike, so he's been with me many of these times. Usually that means that we're either biking a lot less distance, or we're biking for a lot longer time at much lower intensity, sometimes both. There's a bike path that's downhill from our house which goes for maybe six miles, with some good, clear turn back points, but that means a fairly arduous uphill to get back home. If I lived in a place where the weather wasn't frigid for almost half the year, I would probably be doing outdoor biking more.

I think the most important thing, if you're doing exercise every day, is making sure that you're doing it in such a way that it's sustainable and virtually incapable of injuring you. This mostly means proper form. Early on, I had a habit of pressing down the right pedal with the outside edge of my foot, and after fifteen minutes of doing that, the muscles in the foot would be aching and uncomfortable. I'm not sure why I was doing that, but it was difficult to get myself to bike in a way that wouldn't be putting strain on me.

I think it's okay to skip a day ... if it's for the right reason. Of the days that I've skipped, I always try to make sure the reason isn't "fuck it, I don't want to". I should either be feeling sick, feeling like I need to rest, or replacing biking with some other form of exercise like a hike in the woods or some weightlifting or something. If I start skipping days because I just don't feel like it, that's where the whole scheme falls apart.

I am currently sort of wondering how long this is going to go on for, and I think the answer is "for the rest of my life", or at least until I'm unable to keep it up for whatever reason. I don't think there's any particular reason to prefer an exercise bike (or regular bike) over running or rowing or some other form of cardio, but I think I have proven to myself that this is cardio I can do daily and stick with it to the level that is probably necessary for me to stay healthy. I'm not committed to doing it for the rest of my life, since in theory some other form of cardio might come along and sweep me off my feet.

I do wish that I had started earlier in my life, even if daily exercise has not been the panacea for mental health that I had been kind of hoping it would be. I hope that I have the willpower and wisdom to keep up with it indefinitely.