#but i have also had help sometimes

[1zashreena1]

What do you consider growing up middle class?

I am going to answer as honestly and sincerely as I can based on my own experience

If your parents told you to just focus on your studies instead of get a job because they need your help to pay the electric bill

If you were ever gifted a car of any age/maintenance state

If college was a given assumption and not a silly kid pipedream

If you had an icemaker, central air, and washer-dryer

If you didn't use every last edible centimeter of fruits and vegetables

If you paid someone else to clean your house

If you could get new glasses AND see the dentist in the same year

If ordering pizza was a routine event rather than a special occasion

If your back to school shopping consisted of completely new clothing

If you had hobbies that cost money or required your parents to invest time and effort (like traveling to tournaments or getting you specific gear/equipment)

You took a family vacation more then twice growing up and those vacations weren't just visiting extended family a little ways away because staying with them is free

You went on a class/school trip

You flew anywhere as a child

You had a passport

Your parents didn't hoard extra prescription meds so that the next time you got sick you could just take the leftovers and not require paying for another round of Dr visit and pharmacy costs

You had more than 1 bathroom in your home

You were allowed to pick something out every time you went grocery shopping

You didn't really worry about how you were perceived when walking into stores/restaurants because you weren't desperately hoping that no one could tell your financial status from the state of your clothes

You didn't have to learn how to run a household by 16 because you had parents who could afford to be home and awake to do that for you

Your only hope of escaping your hometown and breaking free wasn't selling your entire existence to a deeply disturbing national war machine by enlisting in the military or similarly selling yourself by marrying rich

The best paying jobs available weren't physically damaging or dangerous (like how I destroyed my back unloading trucks because it paid way more than cashiering or waiting tables or how I knew multiple people doing construction at the risk of severe accidents or corrections to get paid more while risking violence)

You could afford to take time out/off when sick, whether it be the flu or full on depression

I'm sure I could think of more but just some things off the top of my head. Please remember that my experiences are directly related to the specific area/culture/time period in which I grew up and are not universal. Do not come for my parents who were doing the best they could with what they had, understand that me working to help pay the bills was while they were working 2 jobs and 70 hours a week simultaneously, they were not abusing me in this regard, it was just our reality. Also, on that last point, I am not shaming people that can't or don't work for whatever reason, I am stating that the option of recuperating in peace was simply not available to me, and I was previously diagnosed with major depression, have attempted suicide multiple times, and am now known auDHD with pmdd. So I understand the need but could never have it (and yes this has resulted in huuuuge life problems for me).

I am lower middle class now at 38 because I was able to put myself back thru school twice while still working and "married above my social station" (lol) and my partner has been able to take care of me in ways I considered as fairy tale movie stuff (like pay for my health insurance so I could get cancer treatment). I could not have done so without them. So I get it. I do take time off now, I do have a passport and take international vacations, I do get my glasses AND contacts at the same time, I do buy myself new clothes and even expensive purses, I do get necessary medical care. Yes I am still a little bitter and I do have permanent damage/issues from this stuff. And don't get me wrong, I had a lot of privilege in other ways and I know it. But what I came from is part of who I am and that's just reality.

Here, have cat rewards for making it to the end

[swiggity-swexual-i-am-asexual]

As per usual, it’s DP crossover with (probably) DC, although you could probably adjust it for other fandoms

ANYWAYS

A little kid and his mother are trick or treating in another city, perhaps at some kind of event rather than knocking on doors, and the kid is dressed as Phantom. It’s very adorable, with his little ghost-shaped bucket and clearly homemade and already stained costume—listen, white only works if you can just fly over street grime or phase it out of your clothes—and his slightly I’ll fitting wig. The kid is SO happy to be out and about dressed as his favorite, and maybe even showed it off to Phantom back in Amity Park before his family left.

The hero, insert whoever you wish here, is probably in civvies and just enjoying the event. The kid, meanwhile, is so glad when people ask who he is so he can explain, and so- the hero gets to hear ALL ABOUT the local town hero who is probably pretty small time despite the kid’s clearly exaggerated stories. The hero certainly never heard of him, but the kid’s mom confirms that Phantom really was the town hero, despite some mixed reviews of the poor guy.

“Did you manage to show him your costume?” the hero asks.

“Yeah! We went down to the cemetery to leave flowers and I got to show him my costume.”

Wait. Cemetery? Maybe it was part of theme, because Phantom had to be named that for a reason, but… it sounded like…

The kid ignores the suddenly VERY still hero and instead turns to his mom. “Momma, do you think we should bring him candy? He doesn’t get to trick or treat like we do, and I can work super hard to get him a bunch!”

The kid’s mom just smiles. “We could, but maybe we should bring him something homemade. I bet he’d like something more filling, teen boys like him have a hollow leg.”

The kid wrinkles his nose. “Like Vernie with the pizza bagels?”

“Like your cousin, yes. We can make some cinnamon rolls and take them to his memorial, maybe bring some of the apples from your grandpa’s garden…”

The hero is pretty much forgotten as the two-part family wanders off, not quite intentionally forgetting the hero is there so much as the hero somewhat accidentally ended the conversation when they just froze and didn’t ask anything further.

Not that the hero didn’t want to. But they’d learn something very serious.

One—there was a small town hero they’d never heard of. Two—that hero was apparently a teen. Third—most pressingly, the teen hero was both beloved enough to have kids dressing up as him and dead enough to have a grave.

This… might require some phone calls.

[bogkeep]

thoughts, repeating.

[myoonmii]

I keep thinking about Merlin’s love for Arthur and how it’s so clearly portrayed in the show to the point that it practically drives the plot of the show. However when it comes to Arthur’s love for Merlin it’s more subtle and sometimes difficult to even grasp, and I started thinking why that was, aside from the obvious fact that Arthur has a lot of trouble expressing his emotions affection or otherwise. I think it also lies in the fact that Merlin knows Arthur intrinsically throughout the show; he is one of the closest people to Arthur, and sees him for who he really is. Arthur admits as much.

Sure, Arthur knows Merlin but the main part of the plot is that he really doesn't know Merlin. Merlin wants him to desperately understand him and “see me for who I am” but he can't yet. And I think this subconsciously creates a barrier in the way in which Arthur can care for Merlin, and how Merlin can let himself be seen by Arthur.

Which is why I think he was also so hurt when the magic reveal happens because more than the betrayal of Merlin having magic, it was the betrayal of Merlin not letting Arthur see him for who he really is and for hiding a main part of himself. Arthur says it himself “why did you never tell me” that’s what hurt him the most.

I think the most damning piece of evidence for this is the fact that while we see snippets of Arthur’s feelings for Merlin thought the show, the biggest signs are in the last episode after the magic reveal; in which he finally gets to understand Merlin, and this time REALLY know Merlin, and as the barriers of what held them back from understanding each other truly fall away, Arthur evidently “falls in love with Merlin all over again”. We see him actually express himself to Merlin.

This is another reason why I think if anyone was ever to create another season of Merlin after Arthur’s return, it’s physically impossible not to make it about Merlin and Arthur acknowledging their feelings for each other. Because there is no way forward without them acknowledging how deeply they care for each other, obviously anyone is free to argue what kind of love that is, but its impossible not to see the deep love there either way.

They always knew they loved each other, just maybe never realising how much and what that means, because its almost second nature to everything that they do.

[radioroxx]

hey guys 🤲 spare nille thoughts? s’il vous plaît???

[raiiny-bay]

the kids released a new album

[deoidesign]

Thinks about my next series again... I drew the icon for it!

I'm planning to have it launched within a year! I'm hoping for summer 2025. I want to make a prelaunch page before Time and Time Again ends so people can subscribe if they're interested, but I'm worried the series return would be too early...

[turtleblogatlast]

Sometimes I wonder if Leo’s instant latching onto Señor Hueso is due to the fact that Hueso is an older adult man (specifically a father at that) who, while fed up with Leo a lot of the time, still deigns to give him a modicum of attention.

Considering Leo’s a Leo, he craves that attention from a father figure, even if said attention isn’t positive. As long as he’s acknowledged, that’s enough for him, since he’s already used to being his own biggest (and often only) fan as is.

Luckily, Hueso does come around and (reluctantly) forms a connection with Leo as well, but again, I have to wonder if Leo picked out Hueso for a reason.

[whetstonefires]

Hey here's an angle on the Jiang family dynamic and its impact on Wei Wuxian that I haven't seen discussed:

Wei Wuxian grew up seeing Jiang Yanli routinely having her agency cut off and denied in both large (betrothal) and small ways. That were largely tied up in her gender, sure, but this was also a family containing Yu Ziyuan. A daughter in this household had every chance of having her gender treated as of secondary importance.

She just had to earn it.

The way Jiang Yanli was hemmed in and her potential as an independent actor dismissed was at least as strongly correlated with her failure to be a powerful sword cultivator.

So Wei Wuxian's total refusal to let anyone know that he'd lost access to his cultivation and his violent reactivity against being diminished or condescended to during his Sunshot-to-death period, when before he was pretty immune to being looked down on, could have a lot to do with having been presented with this clearly labeled diagram of how your personhood gets stripped away when you are, by the standards of your society, disabled.

[moonkhao]

hi.

[paint-it-dead]

me trying to explain the berserk trio:

ok so you know that famous internet question: "the man or the bear?" well. casca would choose the bear cus she is a woman who has suffered her own share of experiences with men and understands the true gravity of such a question. guts would also choose the bear, cus according to him fighting a random man would be considered "too easy" and he needs "a real challenge". griffith would choose the bear cus he misunderstood the question and he is a feral bisexual twink with oddly specific needs. in this essay i will-

[stubz]

warning - bad guy wants to kill people and threatens to eat them + ship invasion

General Morbius was one an accomplished soldier. He was ruthless to his enemies, loyal to those who appreciated him, and willing to do anything. He was made for war. The coalition was not, it was made for peace and thus the general was rarely if ever used.

He had been fine with this...until he rejected as captain of the main ship. A tighalax by the name of Nox was chosen instead. Nox was not ruthless, was too hesitant to make the hard decisions, was a runt.

Morbius would not let a runt replace him.

That's when he met Sine Macula, a ruler who stood for everything the coalition did but was not afraid of getting their hands dirty to do so. Morbius respects that and so he fed him information. He got away with this for several months until found out...but not caught. There was not enough proof to charge him with treason and so he laid low. His schedule became tight and rigid, work then straight home. No dawdling or talking...well not to anyone he thought were a real threat.

The human chef from the west side cafeteria, the human who was head of sanitation, the human from the youngling centre, these were the only ones he talked to. They were the only one's who understood him and listened to him. At least that's what he thought.

He had a strange feeling about why the captain's first mate had reduced the amount of tails/watchers on him and so he did some digging. Oh how he longed to rip those filthy humans apart with his teeth...how he longed to watch the life leave their eyes as they gurgled out pleas through blood...

He let them into his home, he let them know of his thoughts and desires, he told them details and secrets, he let them meet his family-touch his family with those filthy dirty hands!!

He has calls to make.

.

The general cruelly smiles as he walks through the halls and sees his former allies escorted into the cargo bay, a temporary jail until they see who is worthy to join and who is to die.

His grin widens as he steps into the command center to see the Captain wrestled to the ground along with the first mate. A muzzle is shoved into the tighalax's mouth. A shock collar is strapped around the petronlic's neck. How lovely.

Growls and curses follow him as he turns around to continue to enjoy the show. He sees dozens of his new soldiers subdue an orc with tasers and guns loaded with rubber bullets. He hopes Fenrir will see his side and join, the orc will be a wonderful soldier.

Disgust crosses his face as he sees the ships tech supports throuple make the most offensive and crude gestures to him as they're dragged to the cargo bay. How Quip ended up Glip and Kal he'll never know.

..

"So we have everyone?"

"Not yet General, we're missing 30."

"30? How was I not made aware of 30 missing crew members??" he sneers grabbing the soldier by the shoulder.

"They weren't high priority-!"

"Well they are now since you lost them! Who did you lose?!"

"Th-the youngling centre sir!"

"...the youngling centre?" he whispers.

"Y-yes, sir."

"...you lost the youngling centre? The very centre run by the disgusting humans who betrayed me?"

"Well find them right away sir-!"

"You have two hours or I'll be using your bones as the broth for my diner tonight." he releases the soldier who sprints away to his team.

...

Kim knew she was going to die if they were found. The younglings would be most likely safe, Max too if he didn't fight back, but her? She would be killed.

When Captain asked her to spy on Morbius she did so without really thinking of the danger. She wasn't going anywhere dangerous, she would just talk to him whenever she him in the ship. Just talking, easy!

But then he actually opened up to her and that's when she realized how dangerous he actually was. The 'jokes', the wishes, the cracks that let her see who he really was...it scared her. And she couldn't do anything but grit her teeth and smile.

She was still safe though. They never met off the ship. She rarely actually talked about herself, he did all the talking, she never let anything slip.

But Morbius had still found out. He had found out, played along, and now the ship has been taken over.

They've done this before, her and Max, and therefore already had a plan. Lock the door, close the blinds, turn off the lights, hide in the supply room in the secret room and block the door. No one make a sound.

Hours pass and they do their best to keep the children quiet. Do their best to take their minds off the shouts, blasts, and shots fired with whispered stories and reassurances.

By the fifth hour, she knows because Max counted to keep himself calm, all is quiet. Kim hates it. She wants to leave, she can't breathe, her heart is too loud, she-

The tiny door opens.

Standing there before the group of 30 is a youngling. Standing between them and their fate is Morando. The General's son.

The youngling's mouth opens.

....

"WHAT IS THE MEANING OF THIS?!" Morbius roars, sirens blaring throughout the ship nearly drowning out his voice.

"Sir! There is a fire in the youngling centre!" a soldier screams directing his comrades towards the fire.

"AND WHY ARE YOU PUTTING IT OUT?! WE'RE BLOWING THIS SHIP UP THE SECOND WE LEAVE!!"

"Your son is there sir!"

General Morbius is many things. A killer, a soldier, a liar, a betrayer, but in that moment he was only a father. And fathers' love their children.

"Kill the one who was supposed to watch him. All available soldiers with me. If my son dies I will skin you all and eat you whilst you still breathe."

General Morbius loves his child and if his child dies he will kill everyone and anyone who contributed to it.

.....

General Morbius loves his child. Morbius loves his child. He would kill for him. Die for him. And in this case forgive him.

The fire was a diversion. His son was not in any danger. His son was tricked by the disgusting humans.

Morando had found them while looking in the supply room for a toy to play with after having given his escort the slip. His son had intended to alert him, call for reinforcements. But the humans had used their silver tongues to trick him.

One last meal they said. Humans were given one last meal before defeat, before death. Morando had seen no issue with this, he respected Kim and Max, they had given him much fun and amusement.

The final meal involved fire but since the centre's kitchen was partially destroyed they asked to use Fure, a fyreian. Morando agreed once again.

They cooked, involving all the younglings, even Morando. They sat down together and ate, inviting Morando, giving him his own plate. Kim begged him to let her tell one last tale before capture, he allowed.

The comradery, a warm meal, a tale catering towards his son's taste...the humans were not as foolish nor soft as he had thought.

They lulled the youngling into a false sense of security before capturing him. Tying him up, his son. Gagging him, his child. Carrying him like a sack over their shoulder, his flesh and blood. Setting the fire and leaving Morando's shawl just outside the door to make it look like he was in there, trapped, burning...a brilliant plan.

With how little soldiers there were in the cargo bay they managed to sneak in and free their crew mates. How the orcs, rextalians, tighalaxes, and other apex species fought.

It was a swift defeat. They had taken control of the ship whilst he was distracted by the fire. They had the armory now. They had called in reinforcements. They had Morando. What else could he do but surrender?

Humans are so much crueler than others give them credit for. A species who have mastered trickery to such a degree that younglings are not even safe from them.

[mymarifae]

sooooooo when i jokingly said to myself "haha did ruan mei play aeonic necromancy on tingyun's remains or something" i wasn't expecting that to literally be the case what the fuck

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[arttsuka]

Augustus: *throwing a tantrum* "DAD WHY AM I LIKE THIS"

Octavius: "Well, I didn't sculpt you but it seems they ran out of marble."

Augustus: "DO YOU KNOW HOW MUCH IT STINKS HAVING NO HANDS"

Jed: "Or legs."

Octavius: "That's not helping."

Omg you can't just say that Jed!

[lucienne-thee-librarian]

Just to minimize my chances of being genuinely misunderstood OR deliberately misinterpreted, and crucified for something I don't think, How Dare You Say We Piss on the Poor website etc...I'm gonna say this right up top. I absolutely understand why people don't like Thessaly as a character, if anyone does completely unironically stan her as some kind of feminist hero who Did Nothing Wrong uwu, I personally see it as a bit of a red flag. I don't like terfs real or fictional. In a vacuum, I could even completely sympathize and agree with the people who want her cut.

HOWEVER.

It's really something to me to see people clamoring for her to be cut, because she carries and expressed an ugly indefensible prejudice (transphobia) in words towards (1) person. Meanwhile Hob fucking Gadling enacted one of the most violent forms of antiblack racism I can even think of against thousands no, millions of people, the ripple effects of which still affect billions more today. Just a little light idk, profiting off the fucking slave trade and had to be told by someone else that it was bad...and he's a fan favorite.

People are saying Thessally being Dream's love interest reflects badly on him or is somehow endorsement by the narrative (?!?!?!?!?!? Didn't she (SPOILER ALERT AS IF IT MATTERS BY NOW) help participate in his extended assisted suicide? She's not painted as a great person to me just another character what are y'all SMOKING whatever fine. It's fine this is fine.) But shipping Dream with Mr. Former Slaver is not only not verboten or frowned on widely in the fandom but its THEE most popular pairing by far. So...why the difference?

Like where are the same fans who are saying Thessaly shouldn't just be more clearly shown to be wrong, she shouldn't even be in the show at all when it comes to Hobert's crimes??? Yes, transphobia is indefensible. Isn't racism?

And I hear the cries of "it's fiction!!!" Already rallying (if anyone who needs to hear this even sees it lol) to which I say:

HORSESHIT. I KNOW you don't, deep down, really agree because if you did, why get upset about Thessaly being included??? Why does what she said to one person matter if it's Just Fiction You Guyze. Fictional characters are allowed to do bad things and fiction isn't reality sweaty....except when you only apply that standard to fictional racists you like and simp for, but fictional transphobes you don't are SO HARMFUL they shouldn't even be portrayed in fiction.

Like. Give me a big fat BREAK. This looks like bullshit, no? I'm sorry, but I'd love for someone to try and give any other explanation besides one personally offended you or hit home for you, and the other doesn't.

And if that bothers you or you feel like it says something negative about you...idk what you want me to say??? You can't control how other people perceive you and that's how people outside this majority-of-the-fandom bubble see it. You don't need to respond, I just wish and genuinely hope this gives you a moment to think about why fans who ARE bothered by both (and not just paying lip service to being bothered by the one but railing against the other) are so frustrated with people saying everyone is welcome but in practice only bending over backwards for the comfort and emotions of themselves, and people they can easily relate to.

You don't have to like Thessaly (I don't. I find her an interesting antagonist, I don't stan her. And frankly imo likability is not. the point of her character) but you'll pardon me for feeling more than a bit cynical and side eying people's motivations for what seems a...pretty obvious double standard, on what fictional crimes related to real world issues matter to y'all, and which clearly don't. Either actually bring the same energy to the table for fictional people who committed atrocities, even if against a group you're not part of and thus don't feel the need to empathize with, or just carry on, but accept that you don't have the SLIGHTEST room to talk about cutting characters who do immoral things. And you also need to accept that you look like a hypocrite when you do.