#but also a double edged sword

[padfootastic]

Out of universe: Lily’s letter is in Sirius’s room so that Harry can read it with no thought behind why it was in a room Sirius hadn’t set foot in since he was 16, way before Lily would’ve written the letter

In universe: Sirius kept that letter in Azkaban and brought it with him when he escaped and somehow never lost it, his personal belongings were sent to his family after his arrest and they never got rid of them even though they never thought they’d see Sirius again, his family or an Order member went and gathered up all of Sirius’s stuff from wherever the belongings of dangerous criminals are kept (and if it’s the Order that did it, they got it after he escaped Azkaban, so I guess the Ministry or whoever keeps convicted criminal’s stuff over a decade after they’re arrested), Sirius himself went and got the letter even though he was a wanted felon, and presumably some other reasons as well.

oooh i entirely forgot that harry found it much later 💀 it’s v likely sirius could’ve gotten that letter (and his other belongings) from somewhere and kept it in GP himself. i still like the thought of him carrying it w himself always tho hehe just bc it’s utterly heartbreaking.

[cup-o-stars]

Last part for old GF sketches

(Actually, most of these aren't old at all, but their average is brought down by the last picture, which I drew back in August and kept forgetting to post)

[taylortruther]

taylor truly madly deeply hates to be misunderstood

[likea-black-widow-baby]

I wanted to take a moment to respond to a complaint I've seen a lot of people having about AAA.

I've seen a lot of posts, mostly about Agatha or Rio, talking about how they were "done dirty" by not having enough time dedicated to their stories. There were gaps they wanted to see filled in, or explanations for moments we see that we never get the background for. And I 100% sympathize and even agree. But people are blaming Jac and the writers for that and it is just so not their fault.

I would personally blame the prevalence of short-form storytelling that's dominating TV nowadays. I think we've actually forgotten how long seasons of TV used to be. The first six seasons of Agents of S.H.I.E.L.D. had 22 episodes each! And that's why it was so good! We got to spend so much time with the characters, learning their backstories and seeing them learn to care about each other.

If things feel rushed, if storylines feel incomplete, I would blame this shift towards shorter TV seasons. It's not Jac or the writers' faults-- they were given 9 episodes to pack in backstories and relationships for seven characters, set up the Young Avengers, build a satisfying story for a preexisting character (Agatha), answer questions left by MoM and Wandavision, and, you know, be a coherent TV show with a plot that made sense, all with a smaller budget than most other Marvel productions. This has been a problem for ten years-- all that pressure is the reason why Joss Whedon left the MCU. (Not defending Joss, just saying this trend has existed for a while now).

All this to say, if you feel unfulfilled with how AAA handled things, please don't blame the people who worked on it. They did everything they could with the short leash they were given.

[untouchedsoap]

there is something sooo fucking good about early seasons ian and mickey, about watching this summer fling turn into something more, the fear that elicited from mickey but him being unable to stop, finding those little moments hidden away and taking all this meaning from small gestures and persevering in dugouts and under bleachers and barely pressed confessions in the back of a church that is soo good for my brain

like i am very glad mickey gets to shout his love for ian from the mountain tops and also beat his love for ian into his dad's face but when he was clenching his teeth shut and his love for ian was coming out regardless ohhhhh baby i was eating

[dimonds456]

It is not okay to speculate whether or not someone is suicidal. If they claim to be, you should 100% take that shit seriously and give them the benefit of the doubt.

That said, if someone is using their own suicidality as a weapon to gain sympathy, emotionally manipulate someone, or to push other people down, GENUINELY fuck that person. While it's not okay for us to doubt that statement just because they're weaponizing it, that also doesn't mean we need to ALLOW that manipulation to convince us of something.

If you feel the need to use your terrible mental health as a step-stool in a conversation to make your side more heard than the other, you need to take a step back and re-evaluate yourself. And I am saying this as someone who ALSO has shit mental health and has been in the trenches with it before. I get it. I understand. But also STOP.

It's tempting to want to save your own ass over recognizing where you've gone wrong, but just a word of advise: recognizing where you've gone wrong WILL save your ass and give you better mental health and wisdom down the line.

However, emotionally manipulating people absolutely will not.

[cto10121]

how is jk rowling closer to dickens than donna tartt?

Rowling, like Dickens, is supremely devoted to social realism, which includes comedy, satire, and commentary. So naturally she also uses his techniques (significant character names, child POV with adult sensibility, etc.) and sometimes even tropes (abused orphan boy, mean relatives, relative and abject poverty, snobbery and classism, etc.). This is most glaringly apparent in the Strike series, to the point where they are more like sociological tomes than mysteries, but Harry Potter also fits the Dickensian mode very comfortably.

The difference is that Dickens was not really a mystery writer, whereas Rowling is, at least in plot. Also, Dickens had a much more visceral experience with poverty and institutional injustice than Rowling; there is a lack of that both-sides centrism in Dickens. He was also more influenced by Shakespearean psychology and tropes than Rowling. Rowling, however, was much more aware of white supremacy than Dickens could ever be—her understanding of class struggle includes colorism (Voldemort and some of the Death Eaters especially are aristocratically coded to the extreme - all those Anglo-Norman names! Revealingly, none of them are POC).

As for Donna Tartt, from the two (very popular) books I’ve read by her, she only uses Dickensian tropes for quasi-mythic and romantic journeys; they are largely empty of their political and social commentary, almost serving as mere literary allusions. Above all, she seems mostly concerned with the power of art, literary or otherwise.

[goodboy4femmes]

I hate texting first for fear of bothering them but I’m SO needy for attention

[twisted-wonderland-but-gayer]

Heya guys I greatly appreciate the requests but please remember this is a male/masc/Gn Leaning blog. I don't write explicitly female readers/yuus. Sorry

[zeb-z]

most islanders think Foolish is entirely pro Federation, either because he wants the power they give him or because he doesn’t truly understand what he’s doing or what’s at stake, and is just having fun. even to Cucurucho, he’s a bit of a fool - an overambitious one sure, but a fool nonetheless - who’s irritating and asks too many questions, not quite in a concerning way, but in the way a kid might bother you asking for more ice cream. a newbie on the job who wants the world and is trying to find his place in all of this - any digging for information surely isn’t malicious, because he’s obvious and ignorant about it!

it’s always so exciting when they talk about him, when they say such things to his face - it means it’s working. he tells Cellbit that he’s genuinely infiltrating and he’s not believed. Bad straight up says Foolish’s plans to a Federation worker, and if anything it does more to legitimize him further in the eyes of the Federation.

because he’s silly, and overeager, he can play dumb and his true intentions fly right over everyone’s heads. they only see him for whatever singular facet of his personality that he chooses to present, and it works so well because he can be all those things, he just overplays it to his benefit. Bad is one of the very few who can see his tricks for what they are, who doesn’t underestimate him - because hes right, Foolish does have this way of slipping past peoples defenses to get the info he wants without them even knowing they needed defenses in the first place.

idk this latest stream was just full of these little moments. acting silly when Etoiles asked him why he’s working for the Feds, and grinning when Etoiles says he’s basically a clapping monkey who doesn’t know what he’s doing, calling him naïve. asking Cucurucho a million questions and overwhelming him, acting suspicious and curious around the black concrete nonsense - allowing him to easily get away with presenting exaggerated, biased, and some even fabricated, evidence for his investigation, controlling the narrative entirely, because that part of the convo was made insignificant. (and through those questions, possibly even getting more bonuses for his office and fellow workers - he’s gotten the break room so far, and coffee machines, and another level for investigations, which has swayed workplace opinion towards him heavily.)

then with the AI, Cucuruchito, engaging in banter, then sharing a secret, which seems like a big deal - but everything he told the AI is just what he himself was told by Cucurucho, it was no secret to the Feds at all. then flirting with it for a long time before leaving - which is a tactic he outright explained to chat. to get what you want, information, loyalty, etc, you have to build a good repoire. if it takes flirting, and charm, if it takes a date or two, he’s more than willing to play the part to get what he wants. he’ll pretend to eat up their bullshit about him being special, and let them think he’s charmed instead of the opposite.

Foolish is good at what he does because he catches more flies with honey than with vinegar, and the flies never realize their caught - he’s patient enough to play the long con. and really, could someone as naïve, as foolish as him, be able to do such a thing?

he isn’t taken seriously. and it won’t be their final mistake, but it will certainly be the one that damns them.

[august-anon]

i’m so glad you’re on a dc kick because so am i

oh dude the dc kick is SO intense, batman and the batfam esp has me in an absolute chokehold lol

I'm devouring fanfic like I need to to breathe, have almost worked my way through the entirety of Batman The Animated Series from the 90s (and am debating which cartoon to dive into next), started reading Batman: Wayne Family Adventures webtoon, and intend to start on comics soon once i can make sense of some of these comic reading guides (i am a Linear and Continuity girlie, comics are REALLY not built for my breed, but by god i will read them even if it kills me dkjfhdfh)

i am so glad to share this dc kick i am in with others lol, i have put SO much dc stuff into my queue and it still takes up over half my untagged/unscheduled drafts, and i am STILL sitting here frothing at the mouth like "i need more batman and/or batfam content immediately" djkfhdkjfh

[stunt-lads]

Pros of being a writer: I can write whatever I want forever

Cons of being a writer: I have to write whatever I want forever

[gothamsfinestdummy]

Here’s a random awkward Romy I drew up in my evil science lab

[fatalism-and-villainy]

While talking to @menciemeer, something came up re: Jack’s motivations for being in Italy in season 3 that I haven’t seen discussed much - and that is that he’s explicitly there not to catch Hannibal, but to save Will. Here’s his dialogue with Pazzi in Secondo:

Jack: If he hasn’t already, Il Mostro will return to Florence. Pazzi: Come back with me. We have a chance to regain our reputations and enjoy the honours of our trade by capturing the monster. Jack: I’m not here for the monster. Not my house, not my fire. I’m here for Will Graham.

This is even more striking in light of the context for his character that the very next episode gives us - his conversation with Chilton in Aperitivo establishes that he’s been forced into retirement with the FBI, but he’s not interested in regaining his standing or reputation. (Very odd in light of the fact that come the Red Dragon plot, he seems to still have his old job in Behavioral Science). Chilton tries to get him to use Will as bait to find Hannibal:

Chilton: Will is going to lead you right to him. Jack: Oh, no, he’s not. Not to me. I’ve let them both go. I’ve let it all go. Chilton: You dangle Will Graham and now you cut bait? You’re letting Hannibal have him hook, line, and sinker. Jack: You’ll excuse me, Dr. Chilton. I like to be home in the evenings when my wife wakes.

What stands out about this exchange is Chilton’s “letting Hannibal have him” phrasing. It foregrounds not subduing Hannibal, but preventing Will from succumbing to his worst impulses, as a central motivation for Jack in 3A. It’s also significant that it’s his need to care for Bella that leads him to defer pursuing anything relating to Hannibal or Will, because her death is framed within the episode as the impetus for his investment in following Will to Europe - as he tells Will in the funeral scene, “you don’t have to die on me, too.”

So much of Jack’s character arc in the first two seasons is juggling his repeated sacrifice of others for the greater good. His guilt over what befalls both Will and Miriam features prominently in season 2, and during Will’s trial, he’s already prepared to put his career and reputation on the line to stand up for Will and atone for what he feels is his role in Will’s downfall. Both the traumatic events of Mizumono and Bella’s death bring about more of a full turnaround in that direction - Jack becomes less invested in apprehending killers in service of public safety, and more invested in saving the specific person who’s been harmed by that project.

I think this motivation doesn’t always stick in people’s minds because these exchanges get eclipsed by Jack beating Hannibal to a bloody pulp a couple episodes later, as well as his inexplicable return to working for the FBI in 3B. But even in the former altercation, his fight with Hannibal feels personal, more about venting anger and grief than actually apprehending Hannibal. In Dolce, when Will asks why Jack didn’t kill Hannibal, Jack responds “maybe I need you to” (in the same exchange, of course, as “you need to cut that part out”). That scene also establishes clearly that Will and Jack are, like Pazzi, “outside the law and alone.” As in Mizumono, they’re effectively vigilantes - and Jack’s mission is not serving justice for the FBI, but in saving Will from Hannibal’s influence.

This is why, despite the fact that Jack is once again embroiled in FBI business in season 3B, I always envision his role post-canon as being a continuation of what haunts him in the first half of the season - less about catching or killing Hannibal than about rescuing Will. It’s a lot more compelling to me, at least, than him simply continuing to be the face of law enforcement.

[procyonis]

What I’ve learned from being intersex is that no matter what I do, I cannot fit in anywhere good enough for the liking of peers.

I was never feminine enough. I am now not masculine enough. Couldn’t be taken seriously when I presented femininely, and now I’m not taken seriously when I realized how much I wanted to present masculinely.

LGBTQA+ spaces have also not been safe, trans spaces weren’t either. And I wasn’t even truly safe with partners, referring to me as a woman when I never was one.

[doubletrucks]

it is so cool and definitely not insanity inducing at all how no matter how i personally feel about my own gender or how hard i try to present myself a certain way everyone including other queer people are going to make assumptions abt me and my identity that are pretty much completely untrue based on the way my body looks 👍👍👍 something i did not ask for at all 👍👍👍