#but you can't DO that with a character who is in a POSITION OF POWER

[yannisdesk]

Just saw someone say that making Caitlyn feel all-consuming misery over her actions is "misery p0rn" but her not being held accountable for her actions at the hands of any sort of justice due to how Piltover is structured is realistic.

Okay.

The last part is true. I don't expect Caitlyn to be thrown to whatever the Runeterra version of the ICC is (there is none) by the new council she just reinstated that only has its power back because she surrendered her power. I personally have never argued that. I don't even want Caitlyn to serve time in prison or die in battle. By being held accountable I mean held by the people she's personally hurt, such as Vi. Face some tangible consequences from the people of Zaun, who she gassed and oppressed for nearly an entire year. Idk, something.

Maddie doesn't count. Caitlyn never did anything wrong to Maddie to deserve that specific betrayal; it was made kind of obvious that she'd been under Ambessa's yoke from the beginning. Also, that was not "holding her accountable" - that was a spy doing what a spy does, or a jilted lover getting petty revenge if you want to interpret it that way. For all we know, Caitlyn could've rejected Ambessa's offer to becoming the leader of Piltover, and Maddie would've either been placed as a plant to whoever ended up taking that position, or still sent by Ambessa to somehow undermine whatever plans Caitlyn would've ended up having at that point.

But her feeling all-consuming guilt is unrealistic "misery p0rn"? Frankly, that's a load of bullshit. People who commit atrocities like that should feel bad about doing those things. When you become the head of a military dictatorship, co-sign locking up masses of civilians on trumped up charges, and engage in chemical warfare, the realization of what you've done should shock you to your core. You should feel like shit. Coping with what you've done should be difficult. That's a part of growing as a person and anyone that has ever had to face the fact that they've done something to seriously hurt another person, me included, recognizes this. The argument that she should get to walk away self-righteously patting herself on the back because she freed Jinx and sacrificed her eye is absurd, and not even something Caitlyn as a character would agree with.

Am I personally saying there's no way for Caitlyn to move forward? No, I was fully expecting to her to come out of her dictator era, and to have some sort of well-done redemption arc that would make sense and add depth to her as character. But much like Vi, her character just wasn't given that space because it was a lot of moving from one plot point to the other without being given time to breathe.

This isn't even about disliking or liking Caitlyn as a character, I personally have always been fond of her and even identified with her to an extent; it's really about not agreeing with how her arc was handled and the greater implications of it.

Sidebar: And let's keep this a buck-fifty - y'all only make this argument because you like Caitlyn or identify with her in some way. Other characters simply do not get that same grace. A lot of you who make this argument are the same ones that pop blood vessels over Ambessa to the point where people can't even express interest in Ambessa as a character without you jumping down their throats.

[herbariumua]

I know it's just another joke moment, but I want to say that I really like how far Homer and Waylon's relationship went. Of course, I don't think when they make the series, they think about it this far - but if we look on everything that happened between them, it's actually something that has some continuity.

We know that Homer and Barney bullied Waylon as teenagers - at least once Homer seriously beat him up, which makes their fight scene in the episode "Homer the Smithers" feel like a nice revenge. Their meeting in the flashback episode where Homer was trying to get a job didn't do anything positive for their dynamic either; Waylon openly despised him for his incompetence. In the early seasons, Waylon himself was more mean, prickly and sarcastic towards the others, and their particular friction was with Homer: still due to his incompetence, or in those moments when Mr. Burns briefly directed his affections towards Homer - making Waylon very jealous.

But in later seasons, Waylon is still written as very intelligent and professional, but suffering from OCD and anxiety, vulnerable and very lonely. He becomes increasingly contrasted with Mr. Burns' aloofness as he tries to introduce social benefits and normal working conditions during his management of the power plant (which backfires on him).

Because Waylon is changing so much, their relationship with Homer is also getting a lot better. Waylon seems to have somehow come to terms with how stupid Homer is - but still asks him for help or favors, like inviting guests to the party (who actually exist or haven't died yet). Homer finds him both boys: both Julio and Michael - the first for selfish reasons, the second - because he really felt sorry for how lonely Waylon is.

I recently watched an episode (yes, I still haven't finished the whole series, I'm so sorry) where Homer suffered a traumatic brain injury that put him on 2 months off. And I feel like in the early seasons Waylon would have supported Mr. Burns that Homer should go back to work instead of arguing that Homer was seriously injured. It really shows his development as a character and the development of their relationship: they can both feel sympathy and genuine compassion for each other.

It's just musings on musings, it's just that I found this scene even cute in a way - and it inspired me to write this post. Maybe somehow it is worth writing a big post-analysis about their relationship, where they - although in the background - but still evolved from the attacker-victim in adolescence to enemies (?) in adulthood to friends now.

P.S. Also, I love that Waylon and Marge are best friends, I really wish the show would remember that and give us more hints that they see each other regularly. The next episode is all about the two of them, which I can't wait for.

P.P.S. And yes, I write about him in his first name, what you gonna do about it, I'm in another country :D

[bonefall]

Oooh, can you talk about the meta reason you rewrote the blizzard holly relationship and blackstar's backstory?

HOKAY

But I'm gonna preface this one; I hate Blackfoot's Reckoning. I think it's one of the most "solid" written books in the series and I still fucking hate it. I talk about authoritarianism on this blog a lot, and I think BFR was the one time that the series actually tried to textually address what they'd put on the page.

So TW for fascism, including discussion of an incredibly unfortunate quote from the book that is either an accidental or purposeful invocation of the Nuremberg Defense.

Blackfoot's Reckoning is a book that's supposed to delve into Blackfoot's backstory, what made him the cat he was during TPB. Throughout the book they're questioning, "what made him act the way he did?" And trying to drive home that Blackfoot needs to learn from his mistakes so that he doesn't repeat them

But, at the same time, they cling to their slimy Good and Evil dichotomy. So the book decides that Blackstar wasn't an Evil cat, no, he was just a Good Mislead Boy Who Loved His Clan. He's constantly lied to, mislead, people are murdered and he's duped into believing whoever gets framed, suppressing critical thought about his actions. They're trying to both write a "reckoning," but also make his motivations more sympathetic.

So in between questions of, "Is Blackstar really a Bad Boy?" and happy rewards for Blackstar when he goes through a memory, they've decided to shove in replays of Blackstar's most gruesome moments but this time he frowns :( and feels Guilty when he does them. In the eyes of the writers, if you feel sad doing hate crimes, that means there's a goodness inside of you actually.

And just like Clear Sky, all Blackstar "needed" was divine intervention. You can simply retcon in a "reckoning," even if it was never in the main series for the 10+ years the character was alive and active.

But it's not enough that Blackstar himself was getting a stupid retcondemption. No, see, they have to remind you that he was following evil people. The dichotomy inherently crunches away the nuance-- Good and Evil are inherent qualities. Tigerstar and Brokenstar are Evil People. Blackstar asks, "If I was following Evil People, what does that make me?"

The narrative concludes, "A Good Person, but mislead."

And because they can't have nuance with their Good and Evil dichotomy (or couldn't at the time), they failed to address the authoritarianism spectacularly. Think I'm reaching?

They literally wrote the Nuremberg Defense into their book. I'm not doing hyperbole, Blackstar word-for-word thinks the Nuremberg Defense, "I Was Just Following Orders," but then they bury it in a barrage of scenes showing he's Actually A Nice Guy who is Sad to do Bad Things. Either they attempted and failed to do something more meaningful with this book, OR they are so fucking stupid they accidentally included the famous Nazi officer legal defense for a character who DOES A HATE CRIME for a racist dictator.

What was IN TPB was a Blackstar who supported a massacre and expulsion against another group, was complicit in the use of child soldiers, and rehearsed a public execution for a mixed-race character. Like it or not, this is a really heavy subject... and what they decided to do was downplay every one of his actions, because he was good deep down.

And I just find that disgusting. This was ABSOLUTELY the wrong conclusion. They can't show Blackstar ACTUALLY being bigoted. They can't delve into REAL hate, or the idea that maybe he LIKED the power he had over people. Those are Evil People Things. He has to "know," deep down, that what he's doing is wrong.

He cannot have a real change, in spite of the title of the shitty book being Blackfoot's "RECKONING," because he is not bad to begin with.

So, Hollyflower and Blizzardwing.

To recap for everyone who didn't read BFR; Hollyflower is raising her three kits alone because Blizzardwing cheated on Featherstorm with her. Black only learns that he is an accident because he stayed up late one night and overheard an argument. By day, he gets bullied by Clawpaw specifically that he might be mixed-Clan and has to seethe over the truth he knows.

it's dumb. I'm sorry. This is dumb and boring, which is even worse

The war criminal was bullied as a child and that's why he did bad things :( He was good all along he was just sad :( shut up shut up shut up

The "bad environment" he was raised into was... having a single mom and being suspected of maybe being half-clan, but then learning that he isn't half-clan, and being indignant that he can't just share the information he knows about because it would make things complicated or something idk

None of this particularly contributes to his mindset as an adult because he does not HAVE a unique mindset as an adult.

He was just nebulously Sad and followed whatever strongman leader came along, constantly being tricked and bamboozled by outright lies.

"Omg WindClan killed Raggedstar >:0 ??? Oughhhhh that butters my biscuits... was it wrong that Brokenstar sent my baby nephew to battle? No, nevermind that thought that makes me uncomfortable :("

He never has any particular bigotries that were exploited, he was just tricked and mislead the entire time, while also being sad, because God Forbid Blackstar ever have been an 'evil cat'

He gets THANKED by his dead parents for keeping the secret??????????????????? girl ok.....

as usual the bully itself never really gets addressed

It was cheap and easy to just make Blackfoot's backstory the same shitty 'bullying' they write for most villains. This bullying is how he ends up bonding with Brokenkit, a villainous 5-year-old who says, "other cats don't matter" because he's eeeeeevil.

They're supposed to have a commonality connection, Blackstar who is Good Deep Down and Brokenstar who is Evil Deep Down, and that is supposed to serve as the reason why Blackstar willingly blinds himself to the incredibly obviously evil things that his superiors do.

His flaw isn't that he had bad intentions, it's that he didn't think.

FUCK that. FUCK this book. FUCK the Erins for trying to say that there are fundamentally good and bad people. That with the death of Tigerstar, of Brokenstar, of whoever, the society gets to return to 'peace' because now there's no Evil Tyrant to lead everyone astray.

The Erin's depictions of hard childhoods are sauceless. Dry, unbuttered, burnt bread. You want to see a BAD home environment? I'll SHOW you a bad home environment, not just a single teenager being rude. You wanna see the sorts of conditions that prime young people to joining radical causes for a sense of belonging? I'll GIVE you those conditions. Let's TALK about what bounces around in the head of people who aid and abet tyrants.

It's not this dumb ass sadboy shit I'll tell you that much

[jzargo]

Never has "you praise a male character for the same traits you hate a female character for" been more true than with how fans react to Astarion vs Minthara

[birdmenmanga]

huh... okay... economically magi actually has a pretty coherent story... I was just unable to comprehend it when I was in middle school...

[unproduciblesmackdown]

post pitching everyone lives au / coconana treated seriously already getting too long lol like hmm then. imagine the So Niche You're The Only Fic possibilities

[travalerray]

it's the WORST when you can't interact with a particular fandom at ALL because they are simply incapable of talking about the plot but WILL talk about your NOTP for hours on end so you just mope about it in silence

[inkskinned]

no, actually, where is the whimsy?

my ex had a best friend named larry who asked me once: what do you think comes after irony?

we were at the bar where larry worked. it was a quiet night, and he'd hopped over to sit with us on the patron side. i swirled the lemon around my limoncello martini.

earnest positivity, i said, while my ex said, art self-destructs.

i stared at my ex. he stared at me.

his argument was the cinemasins argument: look how bad media is becoming! look at the loopholes and the dumb shit!

it was roughly 2011. galaxy print was still in. at the time, i had a favorite shirt that was a wolf howling at the moon. it got ripped in half in the wash and i honestly still mourn it. i dressed like effie stonem, because everyone did. and irony was the name of the thing. men liked MLP "ironically." the internet liked the kind of crass, "anti-mainstream" vibes of things like fuck romance, touch my butt and buy me pizza. we put cats in sunglasses everywhere, which was because we only liked things in irony.

and media had the same vibe in it: anti-hero white men would be "hard to love" and then storm off the scene. nobody was just earnestly trying to save the world: they were jaded, angry, unoriginal. mad you even asked them to try to help.

my ex ends up not being wrong. cinemasins becomes super popular. a lot of people start viewing media with this lens that is the cruelest, most jaded depiction. it's wrong for your character to have unexplained powers, even if the entire movie is about how strange it is she has unexplained powers - that is still considered a "loophole." characters make thoughtless, panicked choices? loophole. characters are actually kind people, despite hardship? loophole. features a woman doing literally anything without assistance? loophole. movies become hyper-aware of scrutiny, and now irony rules the media.

which means you go to a movie, and the character has to turn to the screen and say "beats me!!" or one of the side characters has to have some kind of quip like "are you seriously telling me that you think this is normal?" because nothing can happen in earnest. like a sitcom laugh track, we now anticipate the fourth-wall break: the moment that the media acknowledges it is telling a story. the media has to apologize for itself, or else someone like my ex rolls their eyes.

but here's the thing: i wasn't wrong either.

the difference might be that i am (and always have been) so soft-hearted that any crack in the light of this world will spear me into the ground. and i was the poet in the relationship. (he thought that was the same thing as being naïve and stupid). i was making things daily. i knew how all of us artists are driven by some strange desire to evolve. he notably liked to critique art, not to create it.

so yes, i've made things that are bitter and angry and even ironic. i've made long, sharp poems with all capital letters, and i've made poems about how the silence stretches out like a song. someone wrote once that we will spend our whole lives just circling the place we grew up. i think it's more that we spend our whole lives trying to remake a home. i think it's that as we age, it becomes less exciting to build the castle on the beach - we become aware of erosion, of windforce. we realize what we really want is to come home to our dog, castle or not.

and while art in the foreground is mired in white male violence and irony, and aggression, and not taking anything seriously - i don't think that's true of all art. i think more and more artists are leaning in to the things we love. the world has changed so much. they have taken so many things from us. the only thing we have left is love. at the bottom of the moving box - all we get is the faint sense that we have to appreciate what little we've got. i can't enjoy this stuff ironically anymore: what room do i have for irony? if it makes me happy, that is an amazing thing. there are so few happy places left for me. i want to be happy because of how leaves shiver beside each other like nestling birds. i want to be happy because of the color pink, and how magenta doesn't exist. i have spent so much of this life suffering, i have earned my right to a gentle ending. if nothing matters, i get to assign meaning to the nothing. i get to create meaning. i am an artist first and foremost, which means creation is my thing.

where is the whimsy? wherever i fucking put it. because if this is my last fucking chance to do any good in this world - i want to do it earnestly. i want to write things that make you happy. that make people feel heard and seen. what comes after irony has to be positivity.

it was close to my 21st birthday. in 7 years, i would end up writing a book about this relationship, which is hopefully coming out somewhere around May 2024. i come back to this bar scene in my memories a lot. i keep thinking of how pale my ex was. the look that crossed his face. how i looked back at him. how for a moment, both of us couldn't recognize the other person. like the gulf between us was a suddenly wide and cavernous thing. like we were alien to each other. he never took my opinion seriously, and he always seemed surprised whenever his manic-pixie-dream-girl ever broke free of the plot. like in the whole time we were together, i wasn't human enough.

this knowledge: where he said nothing comes after, my only instinct was what comes after is love.

[krakensdottir]

The idea of Crowley previously being a very powerful angel and still carrying around shards of that power is just so delicious to me. I'm a sucker for characters who aren't at all what they used to be. Underdogs who were obviously once a Big Deal, and you can't see it most of the time, until some improbable bit of classified knowledge or mention of higher connections leaks out. Especially if they really don't like to talk about it or dwell on who they were, if for one reason or another, they want to leave it all in the past.

I have had a feeling about Crowley since season 1. His position on Hell's hierarchy is relatively low, so it's not immediately apparent at first. But things stood out. How he bends reality to his will without seeming to even think about it, sometimes even without realizing. He decides it would be funnier if the paint guns were real guns, but also makes sure no one actually gets shot. This seems to take no effort or concentration on his part; it's done almost offhandedly. Or how he drives the Bentley through a wall of fire, keeping it from falling apart by sheer determination, while the much higher-ranking demon in the seat next to him is discorporated in seconds. Almost as impressive is how he negotiates London traffic, which from what I've heard is a borderline miraculous feat normally, let alone at 90 miles per hour.

And of course, the time stopping. Something even Aziraphale apparently isn't capable of. Something that, with a particularly fierce effort, literally stops Satan in his tracks. The sort of power wielded by a cosmic engineer who once needed it to do his job - 'I helped build that one,' he says, eyes a little distant as stares at a picture of a nebula - and he still carries it with him, skulking around on Earth, far from the cosmos he helped to create. Having let go of most of the rest, even the memories of it, burying them with the person he used to be. He's changed who he is but he can't change what he is, and if you cracked open that lowly serpent, you'd be blinded by the starlight within.

[noahsresources]

DETAILS ABOUT OCS !

send an emoji/description of emoji to learn more about a writer's oc! many of these are taken from my munday asks meme, because i thought it would be fun to make a version for characters too! the prompts are categorized by emoji type and given descriptions in case anyone can't see the symbols. can be used for roleplayers and any general writers alike! for roleplayers, these can also be used for your interpretations of canon characters if you so desire as well!

𝐎𝐁𝐉𝐄𝐂𝐓𝐒. 💭 THOUGHT BALLOON — what is your oc's MBTI, enneagram, and/or other personality aspects (if known/interested in)? 🚗 CAR — does your oc have a driver's license? can they drive/operate any automobiles/machinery besides cars? ✈️ AIRPLANE — does your oc like traveling, or do they consider themselves a more homey person? 🎮 VIDEO GAME CONTROLLER — what are three of your oc's favorite hobbies? 💍 RING — does your oc have any piercings? do they want any (more) piercings? 🖊️ BALLPOINT PEN — does your oc have any tattoos? do they want any (more) tattoos? 📚 BOOKS — what level of education has your oc most recently completed/is currently in (GED, undergraduate, grad school, phd, etc)? 🎻 VIOLIN — does your oc play any instruments? what is their skill level (beginner/intermediate/advanced/virtuoso/etc)? 🩹 ADHESIVE BANDAGE — does your oc have any physical and/or mental disabilities? 🩸 DROP OF BLOOD — what is your oc's blood type?

𝐒𝐘𝐌𝐁𝐎𝐋𝐒. 🎶 MUSICAL NOTES — what type of music does your oc like? do they listen to music very often? 💯 HUNDRED POINTS SYMBOL — share three random facts about your oc that others may not know. 💤 SLEEPING SIGN — is your oc a light sleeper or a heavy sleeper? how are their sleeping habits? 🔱 TRIDENT EMBLEM — can your oc swim? do they enjoy swimming? 🔺 RED TRIANGLE POINTED UP — does your oc know how to use any weapons? 🔶 LARGE ORANGE DIAMOND — does your oc know cpr? do they have any other medical expertise? 🚫 PROHIBITED — does your oc drink/smoke? do they do it regularly, or is it more on occasion or for special events?

𝐍𝐀𝐓𝐔𝐑𝐄. 🌈 RAINBOW — what is your oc's sexual orientation/gender identity? what pronouns do they use? 🎄 CHRISTMAS TREE — what is your oc's favorite holiday? 🐶 DOG FACE — does your oc have any pets? 🐈 CAT — does your oc prefer a wide circle of friends or a few close friends? 🐷 PIG FACE — what is your oc's favorite animal? 🐉 DRAGON — what is your oc's favorite mythical creature? 🍃 LEAVES FLUTTERING IN WIND — what is/was your oc's favorite subject in school? 🌴 PALM TREE — does your oc have a green thumb? do they enjoy gardening? 🍎 RED APPLE — where was your oc born? do they still live in/around their place of birth or do they live somewhere else? how do they feel about their birthplace?

𝐇𝐄𝐀𝐑𝐓𝐒. ❤️ RED HEART — what are three of your oc's positive traits? 🤍 WHITE HEART — what are three of your oc's neutral/questionable traits? 💔 BROKEN HEART — what are three of your oc's negative traits? 💘 HEART WITH ARROW — what and/or who do(es) your oc consider the most important to them? 🧡 ORANGE HEART — does your oc tend to prioritize family or friends? 💛 YELLOW HEART — how many languages does your oc speak? what language(s) are they learning, if any? 💚 GREEN HEART — does your oc prefer being inside or outside? 💙 BLUE HEART — does your oc have any cool/special powers and/or abilities? how are they with magic, if it exists in their world? 💜 PURPLE HEART — what is your oc's ancestry/genetic background? 🖤 BLACK HEART — has your oc killed or seriously wounded anyone before? have they broken someone's heart and/or broken someone's trust?

𝐅𝐎𝐎𝐃𝐒. 🎂 BIRTHDAY CAKE — when is your oc's birthday? how old are they? what are their sun, moon, & rising signs (if known)? what about their tarot card, ruling planet, & ruling number (if known)? do they fit the typical traits of these sun, moon, & rising signs? 🍝 SPAGHETTI — what is/are your oc's favorite food(s)? 🍰 SHORTCAKE — what is/are your oc's favorite sweet(s)/dessert(s)? 🍦 SOFT ICE CREAM — what is/are your oc's favorite ice cream flavor(s)? 🍔 HAMBURGER — is your oc good at cooking? are they good at baking? which one do they prefer? 🥯 BAGEL — what does your oc's typical breakfast look like? do they usually eat breakfast? 🥪 SANDWICH — what does your oc's typical lunch look like? do they usually eat lunch? 🍛 CURRY AND RICE — what does your oc's typical dinner look like? do they usually eat dinner? 🍸 COCKTAIL GLASS — what is your oc's favorite alcoholic drink, if they can drink? ☕️ HOT BEVERAGE — does your oc prefer coffee, tea, hot chocolate, milk, water, or some other drink? how do they like to take this drink (ex. coffee with milk, hot chocolate with whipped cream, a specific kind of tea, etc)?

𝐏𝐄𝐎𝐏𝐋𝐄. 😊 SMILING FACE WITH SMILING EYES — what are your oc's career/general life desires? what do they want to get the most out of life? 😖 CONFOUNDED FACE — is your oc an introvert, an extrovert, or an ambivert? do they let people in easily, or are they more reserved? 🤔 THINKING FACE — what are some of your oc's quirks/mannerisms? 🧐 FACE WITH MONOCLE — is your oc more logical or emotional? 🤓 SMILING FACE WITH GLASSES — is your oc chatty or quiet? are they at ease in social situations, or are they more shy? 🤩 FACE WITH STARRY EYES — is your oc a planner, or are they more spontaneous in their actions? 😥 SAD BUT RELIEVED FACE — is your oc prone to getting stressed out, or is it easy for them to keep their cool? 😓 DOWNCAST FACE WITH SWEAT — is your oc open-minded or stubborn? are they inquisitive or do they prefer to keep to their bubble of knowledge? 😞 DISAPPOINTED FACE — does your oc attract others, or do they tend to be left alone? 🤒 FACE WITH THERMOMETER — does your oc get sick easily? 👨‍👩‍👧‍👦 FAMILY WITH MOTHER, FATHER, SON AND DAUGHTER — how many people are in your oc's immediate family? how many people are in your oc's extended family? do they have aunts, uncles, cousins, grandparents, etc? who in their family are they closest with? are they close with their birth family, or do they have a found family?

[bramblebeau]

Alright I told myself I wouldn't interact with fandom when s2 came out, and I haven't and don't plan to except to say this about people deciding Caitlyn is the Worst or that the writing is OOC.

As someone who has had a family member violently killed, I cannot stress how much it shakes up everything you thought you were and stood for. My beliefs in proportionate compassionate justice and the rights of all human beings are some of the strongest I have (stronger now because of the way that experience affected me personally), but they were pushed to the absolute limit when it came to an individual who had killed my loved one, showed no remorse, and laughed in our faces outside court, among other things.

People generally like to believe it wouldn't be them or their peace-loving family members being talked down from seriously considering violent revenge, consequences be damned. People like to believe they wouldn't lash out at people closest to them under that pressure, that they wouldn't build walls around the kindest and most sensitive parts of themselves because those parts are the ones feeling pain you never thought possible, that they wouldn't stalk the killer, make notes on all their family and friends, and fuck up their hands punching walls in anger wishing so badly it was flesh and bone because they can't handle the fact that there's no way to turn back time to stop it all from happening. People like to think they're "better" than that. But the reality is messy and painful as hell.

With Caitlyn, she has the added guilt of having actually had the opportunity to stop Jinx before she fired the rocket, but she hesitated just long enough for it to result in the deaths of her mother and other councillors and in the cities being plunged into chaos. Not only that, but the person close to her she's lashing out at is the person who caused her to hesitate, and just so happens to be the sister of the killer.

Furthermore, her behaviour is entirely in character. We have seen her set up as someone who becomes obsessed with achieving a goal and will do pretty much anything she wants to get there. In S1, we agreed with her methods because her goal was exposing and taking down Silco, and because it led to Vi being released. In S2, she's doing a similar thing but it's fuelled by fear and a type of pain she doesn't know how to deal with, rather than being fuelled by a need to prove herself and solve a case, and it leads to her making morally questionable decisions and to hurting Vi. She admits herself, albeit privately to Vi, that she does not know what she's doing and doesn't know how to fill this hole in her chest (and the hole in the city leadership). She has been sheltered from the real world for almost all her life, and as a result she has no experience of functioning or making decisions under this kind of pressure. The real world blew up in her face in the worst way and she was given power and a loaded rifle, and then shoved into an even more elevated position by a very experienced warlord who is manipulating the shit out of the whole situation.

I'm not saying that you have free rein to hurt people when you're grieving and facing extreme stress. (If you think that's what I'm saying then idk I'm not sure there's much hope for you in terms of critical thinking skills). What I'm saying is that Caitlyn is exhibiting pretty normal human behaviour that most people would be susceptible to in those circumstances, not the behaviour of someone who is some kind of heartless abusive bastard.

TLDR: Caitlyn is being written in a way that completely makes sense and is also not OOC, and if someone told me there would be no chance of them reacting in similar ways I simply would not believe them.

[mythicalthings]

Yeah, the tags under this cut have it right.

TA is still sexist for making Adrien the "feminine" one and Marinette the "masculine" one and having nothing else changed.

Adrien is still a stereotypical damsel in distress type, literally in narrative seen as a princess in a tower, and they treat him like shit for it. It's still sexist. You still see femininity as weak and in need of saving.

You know, I am 100% sure that if Marinette and Adrien were gender swapped the season 5 finale would be almost unanimously hated like it should be.

[cheesit-notes]

PERVY TASK FORCE 141

pervy task force 141 who just can't help but take a peak at their newest recruit, you! (and the things they do.)

tags: mdni!, task force 141 being pervs, touchy johnny, intrusive staring w. simon, power abuse w. captain price, implied coercion for sex in all of them, sort of implied guilt tripping and blame on reader,

a/n: this is a repost from my old account! I wanna change sm of this 'cause I wrote this a while ago but oh well, old memories' sake. never done tags like this so im not quite sure what to write :'>

dirty gaz who’s morals get debauch the moment you enter the picture. he can’t help but imagine you in various positions taking him, all of him. he knows he shouldn’t but god, the way you look, the way you walk, everything you do… its your fault, you made him this way. so how will you take responsibility when you find him all hot and bothered?

touchy soap who can’t help himself when he’s next to you. whether it’s an arm around your shoulder or a hand that’s a little higher on your thigh than it should be; there’s nothing he can’t and won’t do. if you ever do voice your opinion on this, he dismisses it, “it’s just a habit, lass, do it to everyone”. so don’t bother, just let him get away with this, after-all it’s because you look so pretty, yeah?

lieutenant ghost who glares at you shamelessly. he says its ‘cause you tell a lot about someone’s character just by looking at them. but over time, his gaze seems to fall less on your face and more on your body. can you really blame him though? the clothes you wear reveal wonders and yet still leave so much to the imagination, it’s honestly like you’re purposely trying to seduce him! eventually he’ll want to confirm his imagination with the real thing. he needs the confirmation, it’s making him all agitated down there every second you deny him. so you’ll give in and help him, right? take responsibility.

price who gets off of the power rush from the authority he holds over you. he’ll give you some extra tasks, twist it somehow so it’ll make sense why you’re sitting on his lap all obediently. abuses his power over you to get you to do things that he wants you to do. oh, he should feel guilty about the power abuse but look at you! you’re so pretty, he can’t help but get high off ordering you around.

[asha-mage]

🌶️

The MCU's Spiderman is not a poor execution of Peter Parker's character concept. He's not even poor execution of Miles Morales's character concept.

He is a poor execution of Terry McGinnis's character concept.

Peter Parker and Miles Morales both have so many fundamental pieces to their characters that are just missing for the MCU's Spiderman. Familiar names are floating around him- Aunt May, Mary Jane, Ganke Lee- but the fundamental ideas that make up Peter or Miles arcs just are not there. Themes like Miles's family expectations, Peter's constant money struggles, and the balancing act of doing good vs trying to live your own life are all absent. Even the idea of power and responsibility isn't properly introduced until the THIRD MOVIE when that really should been the central theme from the beginning.

Rather the MCU Spiderman has way more parallels with Terry McGinnis. Both are young hot shot teenagers who end up being taken under the wing of established and experienced hero who is on their way out. Both have complex relationships with their mentor which in a lot of ways serves as the driving force of their character arcs. Both gain high tech suits which enable their heroism. Both are viewed (or at least supposed to be viewed in MCU Peter's case) as heirs to the legacy of this hero.

It falls apart when you get into how they are different. While Uncle Ben is implied to have existed and be dead by the time MCU Peter is introduced in Civil War it's never actually confirmed and never properly comes up. Meanwhile the death of Terry's father is essentially the inciting incident of Batman Beyond: it's what motivates and drives Terry and the murder and it's fallout are the main focus of the first two episodes of Batman Beyond.

What's more MCU Peter's relationship to Tony is grounded in the fact that Tony just shows up one day and essentially taps him to join the Avengers. Bruce by contrast initially tosses Terry out on his ear, and when Terry turns up seeking justice for his father Bruce can't offer him anything but 'go ask the cops for help', and when that goes exactly as poorly as Terry said it would, Terry breaks into the manor steals the Batsuit and goes to stop Powers himself. Terry has active agency in his own choice to be a hero, which helps define his relationship with Bruce and to heroism. While MCU Peter was doing his own superheroics prior to Tony showing up in Civil War (not that he ever does much of that in future movies) his relationship to Tony is defined by Peter's dependence on him and his quest for Tony(/the Avengers)'s approval. And because they don't even bother name drop Uncle Ben or flashback to him, we're left with the impression that the main thing driving MCU Peter is that quest for approval. His motivations are never more complexly explored, and we don't even really see him just running around Queens stopping muggings or car crashes or anything that hints he enjoys or feels the need to actually help people.

And I think that gets into the final and most important difference between the two. Gotham not only needs Batman, it visibly and obviously and terribly needs Batman. Batman Beyond leans into this because decades without a Batman have left Gotham a cyperbunk dystopian hellscape. The city needs someone to stand up to the darkness, to be a symbol of hope, to be aspirational. Terry taking up that mantel means fighting supervillains, yes- but mostly it means doing what the original Batman did. Solving murders, stopping muggings, rescuing people from burning buildings or fighting off street gangs like the Jokerz.

But even in the earliest MCU movies, New York only needs superheroes when the current world ending threat shows up. Otherwise the city is all bright shinny clean streets filled with haplessly content citizens. This is the only reason that Vision's position of 'Our very strength invites challenge' in Civil War makes any sense- because the only purpose of these Superheroes is usually to fight a threat they where somehow responsible for creating. And this problem hits 'friendly neighborhood Spiderman' the hardest because he only has a responsibility to use his great power to solve problems, if their are problems in need of solving. Most of Peter Parker's (and Miles Morales's, Gwen Stacy's, or any other Spiderperson's) day is not fighting alien armies or netherworld gods. It's stopping break ins, rescuing people from car crashes, or dealing with other small scale local threats, that none the less benefit from someone with his abilities to make them better. Either New York in the MCU is an ideal utopian city where the police have everything handled apparently (which ha!) or Peter is apparently not interested in stopping bad things from happening. He spends so much of the first movie basically begging Tony to give him superhero things to do, not realizing that he could go outside and find people that need help on his own.

In conclusion MCU Peter Parker isn't 'regular Peter Parker but not an underdog', or even 'Miles Morales but white'. He's 'Terry McGinnis but without any agency in his own heroism'.

[dark-konohagakure2]

If you can, I'd like something dark with gaara and breeding, like a breeding program to preserve the best of his genes.

tw: dub/noncon, power imbalance, breeding, mild misogyny, mating press, domestication, rough sex

All characters depicted are 18+

Gaara has never given marriage and children much thought, he has his desires like any other man, but he largely suppresses them due to his busy life, but after Temari marries outside the village and has a son, a son that could one day become Kazekage, the demands for Gaara to have a child coming from the village elders get all the more frequent and insistent.

While Gaara already has a child, Shinki is his son by adoption, and the higher ups want a child of Gaara's own flesh and blood, initially Gaara doesn't really see the difference, to him blood doesn't define family, but he goes along with the demands regardless, albeit reluctantly.

When the fateful day comes and Gaara is to conceive his heir, he's initially reluctant and even somewhat nervous, a rare feeling for the stoic Kazekage, but when he actually sees the girl he's to breed with (who looks even more reluctant), Gaara's hesitancy fades away, he was worried he'd have to sleep with someone too young or too old, but when he sees that his partner is someone his age and beautiful, he starts to feel all the more eager.

He mostly ignores her cries as he gets on top of her, lifting her legs up next to her as he gets into a position that will ensure maximum deep penetration, but Gaara isn't heartless, and he'll reassure her if she's struggling and crying too much.

"Shhh, there now, it's okay. I'm sure you'll be a great mother for our children, I'm sure of it. Now stop struggling, or I might have to be more forceful."

Being both the Kazekage and a single father is very stressful job, and his rough thrusts will reflect his frustrations, his cock ramming down into her fertile cunt hard and fast, leaving her whimpering and quivering underneath the stoic redhead.

Gaara doesn't understand why she isn't enjoying it, he was under the impression that girls liked it rough, but she isn't liking it at all, in all his inexperience he wrongly believes that he's not being rough enough with her, and that's why she doesn't like it, so he'll pound into her even harder in response.

Once he finally does cum inside of her, which doesn't take too long due to his sexual sensitivity, Gaara makes sure that he's cumming directly into her womb, his body weight pressed fully down on hers as he groans quietly, his pent up seed filling up her insides.

Gaara won't stop his efforts to breed her even after he finishes inside her for the first time, he wants to ensure beyond a shadow of a doubt that he gets her knocked up, both to satisfy the demands of the elders and for his own desires, so he's going to cum inside of her until he can't anymore.

"There we go, good girl... You'll be a great mother, and a good wife too... Now, time for round two, I want my Shinki to have a lot of siblings..."

Gaara makes a mental note to sign some marriage papers as soon as he's finished, he initially thought that all he had to do was cum inside of her and be done with it, but he's found himself quite smitten with the woman underneath him, and plans to act on his newfound affection by making her his permanently.

[huginsmemory]

Ideology of Exceptionalism and Gravity Falls; meta and character analysis

I had a whole ago read a post by @icanlife that had a quote by Alex Hirsch on Ford's greatest flaw, and wanted to explore what the flaw is, which is the ideology of exceptionalism; in the exploration, I’ll touch on what it is and how it is used in abusive relationships and cults, as well as how it drives multiple Gravity Falls characters and consequently how it impacts relationships between these characters, and how the show ultimately refutes exceptionalism.

Quick note here; I am not in any way, shape or form a psychologist nor have any formal training in psychology; this is written from my own experiences with this ideology and my own forays into psychology and trauma-informed learning. It is also written with a loose understanding that is likely not broad enough to cover all references to cults, extremist groups and abusive relationships. 

The Ideology of Exceptionalism 

First of all, we have to get through a drier bit, which is… what is the ideology of exceptionalism and how does it arise? Might be fairly obvious, but it is the belief that you are, or belong to, a group of exceptional people, thus more important and worth more than anyone else; ie, those who don't qualify as 'exceptional'. It is often a subconsciously learned ideology. Now, what qualifies one as exceptional can be extremely varied; generally it revolves around something that provides some form of privilege. Thus, it might be, as the main exceptionalist idea in Gravity Falls, 'intelligence', or power, or it can be such things as attractiveness, quantity of money one has, species, nationality, or skin colour and ancestral heritage. The ideology of exceptionalism, being by nature hierarchical, devalues, and at its worst, openly and violently dehumanizes those who do not qualify as exceptional. 

For why exceptionalism occurs is an extremely broad topic, but I've personally found that, for exceptionalism revolving around intelligence, it's a result of a poor sense of self-worth, and having one's self-worth tied to what makes one exceptional. Poor self-worth itself (again, broadly) is a result of childhood trauma from a lack of positive affirmation and unfulfillment of the emotional needs of the child. Meanwhile, self-worth becoming tied to the quality of exceptionalism generally is a result of when positive affirmation was pretty much solely provided around their 'exceptionalism', especially when provided derogatory commentary, or a blatant example of how they would be treated if they aren't 'exceptional'. As a result of the general lack of affirmation, self-worth then becomes often solely reliant on the qualities of exceptionalism, as that is the only way for the child (and later, adult) to get affirmation of their worth, as well as out of fear of being ‘not worth anything’ like the examples of ‘non-exceptional’ people they have been given. 

This is especially likely to occur when the child is a social outcast; the adoption of the hierarchical ideology of exceptionalism, and the devaluation/dehumanization of others often occurs subconsciously as an avoidance/minimization tactic from pain. This is to say, the child, and later the adult (if healthy self-worth is not established) goes 'it doesn't matter what the non-exceptional people say or if they accept me since I matter more than them because of my exceptionality'. It can even be taken further, that being shunned is part of one's exceptionalism, and becomes part of the qualifier of being exceptional. For instance, 'they just can't understand because they aren't exceptional and that's just a part of being exceptional'. This idea also neatly tailors into the part of the concept of being better then others means you are separate from others; this can be taken that someone who is special, needs to be alone to be truly special.

Obviously, exceptionalism is not a healthy coping mechanism for poor self-worth, as often such people constantly feel the need to prove and show off their exceptionalism to gain that affirmation and avoid rejection, which is stressful. As well, it often negatively impacts their relationships with other people as a result of the arrogance of believing that they are better than most others, or even deliberate sabotage due to their arrogance. This occurs as they flatten the complexity of human experience to black-and-white hierarchical categories of exceptional/not-exceptional through constant judgement of those they meet, and often refuse to engage with people who don't belong to their 'exceptionality', or even people they simply don't like, even if they technically qualify. Generally, those that they do like or have close relationships with, often due to being similar, are automatically labelled as 'exceptional'. Those judged as ‘exceptional’ also become privy to the open judgements of ‘non-exceptional’ others, out of a subconscious belief by the exceptionalist that the other believes similarly; something that may strain their relationship if the other doesn’t ascribe to exceptionalism. This all culminates in the exceptionalist being blind or even adverse to the diversity of experiences, which makes it difficult to create relationships and community outside of echo chambers of their own beliefs (if they can even find this), and subsequently, these people are often isolated and have very few to no close relationships with people. 

However, all humans require connections with other people, relationships where one can rely on others emotionally and physically if needed and feel accepted; they also require to feel like they are worth something, that their life has meaning. Lacking meaningful connections and having a crippled sense of self-worth, a deep yearning hole is left in these people. Exceptionalism, especially as it is a narrative constantly pushed by Western society as it validates hierarchies, is then employed as a (often subconscious) trauma response to assuage this yearning hole, with arrogance and denial. And depending on the circumstances, it can be a very strong and definitive trauma response for people.

This isolation and lack of self-worth is catnip to abusive relationships, including cults and extremist groups. These types of relationships often heavily rely on isolating their victims or pulling them into echo chambers of solely the abuser’s rhetoric, to redefine what is healthy through gaslighting; as the exceptionalists are already isolated, this makes them extremely susceptible. They also often provide these people affirmation, and in these cases especially about their exceptionalism, thus confirming their self-worth, their 'specialness', while also providing them the connection they have been lacking, either through the cult community or through the abuser’s own presence. These emotional needs, which haven’t been met in a long time, if ever, begin to be fulfilled; something that abusive relationships and cults hinge on, rather than any form of logic.

Ideology of Exceptionalism and Gravity Falls

The main characters within Gravity Falls which are heavily ascribed to exceptionalism would be both Ford and Bill; this characterization deeply impacts the story and their relationships with others (technically the Northwest are another case regarding wealth, but less directly impact the storyline and thus tangential; Gideon also is an example, but as a mirror of Bill). With each of these characters I’ll go into detail within their sections on the way they began to ascribe to exceptionalism, and how it plays out later in their relationships; I will first begin with Ford, then move to Bill. Then, to cap it off, I’ll go into the characterization of Stan and the way Gravity Falls refutes exceptionalism. 

Ford and Exceptionalism

Firstly, the quote from Alex Hirsch that kicked this whole baby off, as mentioned previously; 

“Ford sees Dipper as someone who’s special like himself. That’s Ford’s great flaw, his arrogance is he believes that there’s special people, and everyone else. That human attachments are actually weaknesses. And the song and dance that he’s giving Dipper right now, is the song and dance that he gave McGucket, back when they were younger… ‘You and me are different, we’re better than everyone else. We have a path that no one else can understand, and only us can do this.’ It’s a very seductive idea for Dipper… Dipper is a smart kid, but Ford’s projecting. Ford loves Dipper because he sees someone who’ll tell him ‘yes’ to everything. Who’ll never challenge him, who’ll do a really insane dangerous mission.”

Very blatantly Alex Hirsch calls Ford out on his arrogance in the belief that he is special, in his belief in the 'lone hero' complex, in his belief in exceptionalism. And really, it should be no surprise that Ford does so, considering the way he's depicted as a social outcast as a child (other than Stan), and the way his parents have been clearly shown to be not particularly emotionally supportive (“I’m not impressed”); they don't provide positive affirmation except for his intelligence (mostly due to the possibility of money making through it…), while also actively comparing him to Stan who is derogatorily ‘not-exceptional’, and ‘worth less’. This all sets Ford’s self-worth up to be fragile, and other than Stan who wholeheartedly accepts him, he is isolated and invalidated; plus, the only other validation he receives is around his intelligence. All very classically fitting the profile for exceptionalism.

Image id: Stand and Ford when they were children, both clearly enjoying each other's company.

Ford’s belief in his exceptionalism catalyzes after the shattering of his and Stan’s relationship. Previously the twins are shown to do everything together, having a very close caring relationship; something unlikely if Ford thought he was better than Stan. Also, when Ford is talked to about his opportunities, Ford looks uncomfortable at the way they talk about Stan as inferior, compared to how he himself is being praised; but in the offer he’s simultaneously finally being validated, he’s being told he’s someone worth something, and he’s going to be someone worth something after this. And then the science fair incident occurs, and Ford loses that validation from his parents, from the judges and a future of more validation; after being promised validation and acceptance, it slips through his fingers. And in his anger of being denied that, it becomes easy to begin to slip subconsciously into the rhetoric the others have been feeding him; that he’s exceptional, that Stan isn’t, and he deserved to be recognized for his worth. So he breaks the relationship with the only person who accepted and validated him for who he is. With that loss of previous support, Ford becomes then deeply obsessed with proving his exceptionalism to the world to assuage that fragile self-worth, to become accepted, or even better, revered, confirming that he is someone of worth, someone special, like he was promised. 

Ford’s obsession also doubly functions as a way to alleviate his guilt over shattering their relationship; if he’s exceptional as he believes, then he’s within the right to respond the way he did, as he’s worth more than Stan, he's better off alone, and he has a right to be angry over being denied that validation. As well, in much the same way as it is used as a way to alleviate his guilt over the end of their relationship, it is also likely used in a way to minimize the pain of being ostracized (although not directly depicted); afterall, Ford’s keenly aware and insecure about his social ineptitude and his six fingers as things that make him different from other people, case in point with his experience visiting Lazy Susans Diner. Thus it wouldn’t be unsurprising if he uses the idea of being worth more than those who ostracize him to imply it ‘doesn’t matter’ what they think. His ostracization by nature keeps him from generally forming close relationships, with the exception of Fiddleford (who much like him, is socially outcast, and intelligent) during his university days. As a result, he's isolated and acutely lonely, having lost Stan.

Image id: One of the missing Journal 3 pages in TBOB, detailing Ford's botched social interaction in Lazy Susans Diner. In the background is the print of his six-fingered hand.

In his obsession over being acknowledged, Ford, like many others who believe in exceptionalism, identifies strongly with the causes of his ostracization (his intelligence, his six-fingeredness) as part of, or wholly, makes him exceptional. It is obvious through his choice of study; with the grant he has been gifted, he chooses to revolve his work around the weird, the outcast, something that you see Ford gravitate towards being an outcast and deemed 'weird' himself (which in Journal 3 he openly talks about). Something that can be, much like him, framed as 'exceptional'. His work is even recorded in a journal that Ford deliberately chooses to put his six-fingered hand on the cover of. Intertwined with the way it becomes adopted into the idea of exceptionalism, is the keen loneliness from his ostracization and a deep desire to be accepted and a wish to find a community of other weird people.

Image id: Two pages from journal 3, labelled 'Myself', in which Ford is open about being weird, and a social outcast, while also noting his ambitions and that 'Gravity Falls, [is] the place that I fit in.'

Ford and Bill

All of this culminates in Ford becoming an incredibly easy target to manipulate by Bill. He’s desperate to be acknowledged (and thus accepted) by an authority figure so that his belief in exceptionalism is justified and his self-worth confirmed. And he knows he’s intelligent, that he's exceptional because people have told him so, but he just needs to prove it with something that shakes the world. And the grant is finally his second chance after the fair, but he's stuck, and the research is going nowhere, and he's in a town where he doesn't really know anyone and he’s so terribly lonely. And sure, he clings to his exceptionalism but if he can't even prove it then is he really exceptional? Is he even worth anything like he thought he was? And what about what he's left behind, rejected, because of his exceptionalism?

And THEN he finds an incantation and he ignores the warnings because maybe, just maybe, this will be his break to get that acceptance/validation he has been chasing his whole life? 

And then it's better than that. 

A god, essentially, shows himself to him, an ultimate figure of authority. And he tells him that yes, he is special, he’s worth more than other people, and Bill’s only showing himself to Ford because he is so much more intelligent than anyone else. Ford is suddenly getting his exceptionalism confirmed by a god of ancient knowledge, an immensely intelligent interdimensional being, and he’s also showering him with affirmations, specifically affirmations around what Ford's fragile self-worth is based on. And even better, he's delighted by Ford's six-fingeredness; he's not put off at all, it even becomes his main nickname for Ford, just like it used to be for Stan all those years ago. On top of it all, Ford's own social ineptitude doesn't phase Bill, another thing Ford is self-conscious about; Bill's own social ineptitude as he's not human probably makes Ford feel comfortable, knowing that's not expected from him.

Through Bill, not only does Ford find someone who validates his self-worth through intelligence and even confirms to him that his weirdness is part and parcel of making him special, he also finds someone who he regularly (generally) is in contact with, who enjoys talking to him and even banters with him familiarly. Hell, Bill even deliberately goes out of his way (literally possessing a whole wack ton of rats, then dream karaoke) to celebrate his birthday with him; how long do you think Ford has simply skipped his birthday since he had no one to really celebrate it with? The loneliness, beneath his arrogance and belief in exceptionalism, is being fulfilled; for the first time since Ford was a teenager, he's fully accepted by someone, social awkwardness, six fingers, exceptionalism and all. 

Image id: One of the lost pages from Journal 3 in TBOB, the 'one thing led to another' page, with Bill and Ford singing karaoke and drinking together, both clearly enjoying themselves; Bill has an arm slung around Ford's shoulders.

So it's really no surprise at all that Ford fell for this, hook line and sinker. Hell, if I was in Ford's shoes I would fall for it just as hard. And I've seen a few posts floating around talking about how Bill is bad at manipulating, and no, he's not. He was able to pinpoint exactly what Ford wanted and needed, and provided that, was charismatic enough to provide that. Again, manipulation isn't about logic. It really isn't; it's about the emotional core in people, what people lack and what you can give them to slowly reel them in to sing your dance and song. And people will ignore vast swaths of red flags when you're finally being accepted, when you're finally getting your emotional needs met at least in some way or form. It's better than not having them met at all, such as previously. So Ford worshipping Bill is really not a surprise, especially as Bill deliberately stoked it.

All of this is part of why you see Alex Hirsch call Ford's belief in his exceptionalism his greatest flaw; because it allowed him to be very easily manipulated by Bill, and by its nature kept Ford isolated from others, evident by his arrogance in assuming he knows best and refusing to see other people who aren't as 'intelligent/weird' as him as worth getting to know, listen too and even reach out to ask help from, it's him believing he has to be the lone hero as someone whose 'special'. It's something that blinds him to the danger of his work around the weirdness of gravity falls because he’s desperate to seek a place where he and his weirdness belong, and it's something that plays out in each and every relationship he has because it's something he clings to so deeply. It's what cost him his relationship with Stan, who previously accepted him completely, and, as he's disinclined to form new relationships and as Bill actively strokes his paranoia (Trust No One…), ultimately further increases the hold Bill has over him. It's only Fiddleford’s presence as he works with Ford that allows him some form of outside reference and reprieve from solely Bill’s influence, something that Bill resents deeply and is clearly jealous and angry about, even if Fiddleford is helping create the portal. And it's ultimately Fiddleford, once he was aware enough of what was happening, calls Ford out on it, seriously jeopardizing Bill's influence over Ford; but Ford is too invested in the portal, in chasing his own ambition and caught up in Bill’s manipulation to take him seriously, until the incident with the trial, and Ford beginning to hear other voices then Bill.

Ford’s Exceptionalism and Wider Relationships

Now back to how it plays out in all Ford's relationships; we've already gone over it with Bill's influence, because it made him extremely easy to manipulate, and with his disregard of Stan in favor of validation of his exceptionalism. But Ford, as pointed out by Alex Hirsch, also exerts the ideology's seductive rhetoric to both Fiddleford and Dipper (who look up to Ford) in a similar way that Bill does with him (although there is a difference of it being used intentionally and maliciously, compared to subconsciously and earnestly, even if it is problematic). Ford, with his black-and-white view of exceptionalism, sees both Fiddleford and Dipper as people who are like him; 'exceptional', and so he treats them as such, and uses this rhetoric to coerce them into helping him.

For Fiddleford, the lure is how he can change the world, how he can be finally acknowledged if he helps Ford with the portal. And it works well; he willingly chooses to leave his own work and his wife and young son, to work with Ford. Much like Ford, Fiddleford himself is also a social outcast and regularly presumed less smart than he is, and he’s got a chip on his shoulder to prove himself, to gain acknowledgement and recognition from the world at large. Although Fiddleford has a family which presumes he’s not entirely lonely like Ford is, he also clearly has deep feelings for Ford, some which are hinted to be more than just ‘friendly’ feelings; it is likely the combination of the lure of validation and spending time with Ford, a kindred spirit that accepts him and an old friend/crush, that causes him to agree (afterall, it was Ford who made Fiddleford feel accepted and choose to stay at Backupsmore). And Fiddleford’s not even considered a partner, but rather an assistant to Ford due to Ford's arrogance, and he still drops everything to go! It’s more about their relationship and connection rather than validation, but that doesn’t stop Ford from espousing exceptionalism. And this is a distinguishing difference, because although Fiddleford would like recognition, he’s not there solely because of it; he’s not a believer in exceptionalism nor arrogant about his skills, and so, unlike Ford who is blinded by his obsession, he’s much more aware of the dangers of the weirdness of Gravity Falls. Thus, he's actively calculating the risks involved, and when he realizes there could be potentially devastating consequences of the portal, he attempts to talk Ford out of it; this fails due to Ford’s own denial and obsession over the portal. In the end, it all goes terribly sideways, and Fiddleford ends up losing everything he had; his wife, his son, his friend, his memories and himself to the trauma he had experienced at the invitation of his friend with the lure of validation and company, due to the memory gun he had created himself. 

As for Dipper, much like Ford, he also has issues with self-worth (many of the episodes deal with Dipper finding self-worth; ie, the manotaur episode), has a physical oddity (his birthmark) and by far the trait he relies on most for worth is his intelligence (for example, in one episode he rubs it into Mabel's face over and over again in beating her in games). He's also extremely desperate to be recognized by authority figures as someone intelligent, case in point when he summons the dead after being made fun of by the government agents to try and show them that the information he's gathered is important after Stan dismisses his knowledge. This desperation to be seen as someone of worth from Dipper, much like Ford, extends to the need to be a hero, something he even says at the end of the zombie episode; yet, due to Mabel, unlike Ford he's not a lone hero, and Mabel also half the time acts as the hero.

Image id: Zombies crawling out of a crack after Dipper summons them; Dipper and the two agents look on in horror.

It all culminates in Dipper hero-worshipping Ford when he returns; really, no different than Ford worshipping Bill. And Ford clearly finds it extremely flattering; Dipper's attention and amazement of him feeds his exceptionalism. Exactly how Ford responded to Bill, Dipper is willing to do anything for Ford, excited too, in an attempt to impress Ford and be validated and accepted. And for Ford, that's an extremely heady feeling, especially as someone who has been constantly alone the last 30 years, especially when he had one previously confirm his exceptionalism all those years ago and stopped, and now someone is once again affirming that idea. And Ford doesn't have to be alone again, because he's found a kindred spirit in Dipper as his assistant, someone ‘just’ like him, someone who is exceptional. Because he sees himself in Dipper, he begins to espouse exceptionalism unconsciously, by praising Dipper's own intellect and adventurous spirit, assuaging his feeling of self-worth, while also telling him he's more important or better than others because of it. 

And it's seductive to Dipper, because he wants to hear those affirmations of his self-worth, especially as he hero-worships him, but Dipper isn't sold on it, because it means leaving Mabel behind, it means believing that he's worth more than Mabel (and also, Stan, and all his friends he’s made in Gravity Falls). It's ultimately because of his relationship with Mabel that he rejects the ideology; he's not isolated the way Ford was with Bill, and he's not willing to break that relationship for that acknowledgement, because his relationships matter more to him.

Bill and Exceptionalism

Now of course, that's only on the Pines; what about Bill? 

While it's obvious that Bill uses exceptionalism as a main manipulative tactic, it's not just an ideology he sprouts emptily; it's also an ideology he believes in, just like Ford, although it's less based on intellectual exceptionalism, and more on power and 'weirdness'. 

This most distinctly can be seen in Bill's denial about what happened to his home dimension; Bill's belief in his exceptionalism occurs as a pain avoidance tactic from killing his whole dimension. Bill was clearly a social outcast within his dimension due to being able to see 3d; he's not accepted, and not trusted, to the point that there is medical intervention to make him blind. That's a deeply traumatic experience that completely erases one sense of self-worth, where one’s sanity is called into question by your parents on something that is not harmful, that's beautiful and you just want to share with them. It's a deep and clear rejection of who Bill is, and his ability. As a result, out of a desperate bid to be understood and accepted, he ends up trying to show them the stars. And it ends up killing everyone. 

Image id: Page of TBOB, on 'The Early Years' which notes that Bill was an oddity for seeing 3d, something that was illegal to speak about. Bill frames it as something that made him 'special' and better than all the others.

Traumatized, and originally rejected by the dimension, he instead weaves an excuse of exceptionalism; that it doesn't matter what he did to them because he's exceptional and he's worth more than all of them because he can see 3d, because he's powerful, so he shouldn't/'doesn't' feel any remorse about it. With such a traumatic result of trying to be accepted by people, he rejects the idea of trying to be accepted for who he really is; instead adopting a facade of a monster that he believes he is (and eventually, becomes).

Even if he clings to the delusion of exceptionalism, and shuns attempts to find true acceptance, he still wants it; and that's where his henchmaniacs fit in, as they're all, as Bill's noted when trying desperately to get Ford to join him, weird; each has something 'wrong' with them, which is why Bill accepted them as his lackeys (although it's not like we know the context around these). It's a surface-level acceptance however, one more predicated on fear than emotional acceptance. He's taken his 'weirdness', much like many do who believe in exceptionalism,as ‘part of what makes him exceptional'.

In the same way that Ford wants to show the world that he's smart and intelligent by building the portal, Bill does so by wreaking havoc and taking over existences as a way to show the world that he's powerful, that he's someone to be reckoned with, that he's not someone to be ignored because he's someone who's worth more than others. If you can't be loved and accepted, then being hated and feared is better than being ignored; acknowledgement at least approaches acceptance, it's validation of some sort of worth. It also functions as deliberate self-sabotage of his morals, by proving that he is the monster that killed his entire dimension; if that's what he is, then that's who he's going to be, because if he wasn’t, then he has to come face to face with his remorse over what he did to his dimension and his whole house of cards around his exceptionalism and not caring collapses. So instead he keeps feeding the delusions the denial, and lies and lies and lies and keeps lying to ignore all of it, to wrap himself in this shroud of exceptionalism and brutality as a way to function. And it somewhat works, because he's mostly deluded himself about it all, even if subconsciously he knows. 

And of course, this display of Bill's exceptionalism is what brings Bill to earth, to Gravity Falls, and to manipulating humans. In meddling with earth and humanity, beyond Bill's goal of taking over earth and fleeing his own unravelling dimension, he also enjoys reaping the benefits of being worshiped by humans, who find him awe-inspiring. Their amazement of who he is, and Bill's own posturing and manipulation of people leads to Bill literally forming cults (ie ciphertology) or having apprentices that worship/find him (to varying degree) inspiring; all reinforcing his feelings of exceptionalism. 

Of course, Ford numbers among these people; he praises Bill and worships him, as he's played like a fiddle by Bill, because his self-worth and belief in exceptionalism is fucked up in a way that perfectly resonates with Bill’s. Because it's the exact same types of issues around self-worth, around being an outcast, being weird and wrong physically, and yet at the same time gifted. And Ford clearly is incredibly lonely and yearning for acceptance, but so is Bill; since the beginning he's been trying to find someone who would accept him, even if he's given up on it. And for his song and dance to entice Ford in, he pretends he's not crushed dimensions for fun, that he's not a 'monster'; a version of him he buried after he had tried to show his parents the stars, one that he occasionally resurrects and puppets around for manipulation (all lies are better when they have a grain of truth). And this version of him is worshipped, but above all is accepted, is loved by Ford. The softer parts of Bill, even if they are still weird as fuck, the parts that were never far beneath the surface for all his deluding, become loved by Ford. Much as Ford becomes hooked on Bill’s praise, Bill also becomes hooked on Ford's genuine love and care. It becomes personal, unlike any previous ‘inspirations’ and Bill over time gets to the point that he feels accepted, safe enough with Ford to share about his dimension much more close to the truth then he did with any of his henchmaniacs. He becomes vulnerable with Ford, in response to Ford’s own vulnerability with him. He’s finding acceptance for the first time in his life around the softer parts of himself, not just the feared acknowledgement that comes from his dimensions conquering; much like Ford is finally finding companionship and acceptance with Bill, not just only intellectual validation. Bill's also for once, not just self-serving; he cares, and goes out of his way to take time with Ford, even celebrating Ford's birthday (in the unique way he does things), both with the rats and the karaoke.

Image id: One of the lost Journal 3 pages in TBOB. Ford recounts Bill talking about the destruction of his dimension, and calls himself by implication a monster.

They're both fulfilling each other's emotional needs, needs which both of them have struggled with most, if not all of their lives (although their relationship is certainly not healthy, considering it's codependent as fuck, riddled with exceptionalism and oodles of power imbalance issues). And suddenly, against Bill's plans, Ford's no longer just a disposable pawn, but someone Bill wants as part of his team, someone by his side, closer than his henchmaniacs are. He's unwittingly fallen for Ford, and so when everything goes sideways in his plan, and Ford swears it off, suddenly cutting off their relationship and that acceptance Bill had finally felt, he spirals into grief and anger from the rejection. As a result, he becomes extremely abusive to Ford in desperate attempts to continue their relationship, and ultimately he becomes obsessive over Ford joining him again as Ford continues to refuse, as evidenced by both Weirdmageddon and the Book of Bill.

Stanley Pines, and the Refuting of Exceptionalism 

Exceptionalism, being a negative driving factor behind many core character dynamics, is ultimately refuted by the show. This occurs multiple times over the show, such as with Mabel in the Pioneer Day episode, especially compared to Pacifica, but mostly through Stan's characterization. Stan is someone who has been since the beginning characterized (if lovingly so) as someone who is a failure by societal standards; he’s an older man running a run-down tacky tourist shop to swindle gullible tourists out of their money, has multiple divorces, has an ongoing feud with a literal 12 year old, clearly has had multiple mishaps with the law (some ongoing), is generally pretty self-serving and is extremely lonely and really had no close relationships until Mabel and Dipper showed up. He's not exceptional; he's not even what we would consider 'decent' enough to have a 'typical, hard working job’. In short, he’s a failure, a stark difference to the idea of 'exceptionalism' that characterizes Ford. If he's gifted in any area, it would be charisma (debatedly), not anything else.

But it's still Stan who rebuilds the portal from literally only one journal (not all three!) and gets it to work. It even seems like he only needs some codes from the other two journals when he does get them, suggesting that he was able to extrapolate from what was left and the first journal’s blueprints to fix it entirely, something that is extremely difficult and technically complicated (Ford, Bill and Fiddleford all worked on it together!). Stan's able to do it, even if it's been shown he's not 'naturally' gifted in that area. And it's something he does as a result of his deep care for Ford; because even after their fights, he cares about Ford and wants to right his wrongs, believes he should, because of his whole life of being defined as a failure and even worse than that, screwing up his ‘exceptional’ brother’s life. And he’ll do it even if that means learning how to build an interdimensional portal, even if it takes up thirty years of his life doing so, and he doesn't waver. Much of this is connected to his own complexes around being deemed a failure compared to Ford, having failed to succeed in his life, and how he feels that he needs to atone for screwing up Ford’s life, now for the second time; but beneath it all, he also cares. Much like Ford, he's extremely lonely, but he's not blinded by Ford's arrogance, and as a result he wants to make sure Ford's safe, because that's what he used to do, they’re twins, they grew up together, they once they had fully accepted and cared for each other, and dammit that still means something, and Stan hasn't found that depth of emotional connection since. So if possible, he wants to rekindle that closeness they had, but first, he needs to bring Ford back. 

And in the end, it's not Ford's own special gun he built using his intelligence that 'kills' Bill. It's Stan, someone who Ford had long ago broke it off with in search of validation of his exceptionalism, someone who both Ford and Bill labelled as 'not-exceptional', who defeats Bill. It's exceptionalism's devaluation of people who are 'not-exceptional' that causes Bill to underestimate the Pines beyond Ford, and it's only when Ford put aside his exceptionalism and his refusal to accept and trust 'non-exceptional' people, that is, trust Stan once more, that causes Bill to end up defeated by Stan.

In the end, it's not about who's 'smarter'; it's a reminder that everyone has different skills and are better at different things, but that doesn't diminish one's worth or value, and that just because someone isn't naturally 'gifted' in an area doesn't mean they can't learn or use different ways to get around obstacles. Ultimately, it comes down to that no one is worth more or less than other people; exceptionalism is a lie. It’s a lie and an excuse, and it's certainly not a healthy way to assuage one's poor self-worth. What does matter is creating positive healthy connections with other people, and caring about them. This creates a community where you can be yourself and be emotionally fulfilled through these connections; and when opposition does arise, you become able to fight it together, and fight so much stronger than if you are alone.

And by the end of the show, you see that. Ford begins to let go of the ideal of exceptionalism and its black-and-white categorization; finally recognizes his own faults around prioritizing validation of his intelligence and exceptionalism over his relationships, and finally, after all the years, chooses to create and rekindle positive relationships with people, trust people, and make amends. And in the end, he goes sailing with Stan, prioritizing their relationship, finally fulfilling their childhood promise.

Image id: One of the pages written by Ford into TBOB. Ford refutes Bill's idea of happiness, and says he has finally found his own happiness, and it looks like the photo taped in, of Stan, Ford, Dipper, Mabel, Soos and Wendy, all smiling together.

TLDR: Exceptionalism, an ideology of categorizing people into being special and worth more vs plebian and worth less, is a trauma response and subconscious ideology that characterizes Ford and Bill’s lives, deeply impacting all their relationships as it is used to coerce people into doing what they want, makes Ford easily manipulated, and breaks relationships through their arrogance. It is ultimately denounced through the way Dipper chooses to reject Ford’s offer and his rhetoric of being exceptional, and through the way it's not Ford’s intelligence, but rather Stan, who has been labeled as 'not-exceptional' and a failure at life, that defeats Bill through trickery. It's a reminder that everyone has worth, and no one is worth more than other people, even if one may be gifted in certain areas; the ideology of exceptionalism is fragile and a lie. In the end, creating a caring, loving community around oneself is where strength truly lies, as is seen with the deep care and love the characters have for each other, and the repairing of Ford and Stans relationship.

Thanks to the lovely @eshtaresht who deigned to beta read this monster of a post for me

If you enjoyed this meta, (first of all if you read all this you're a champ!) I've also done another gf meta post! (It's shorter I swear)