#but i'm figuring shit out internally it's just a Process i do better on my own

[xbadnews-a]

tonight i've been almost entirely unavailable ooc! I've been painting & drawing & listening to cr. i just haven't been in the right headspace to be talking to people so I've stayed mostly to myself <3

[tealvenetianmask]

How Blitz and Stolas figure out how they feel: external vs. internal processing

I've been in therapy a ton (feeling like I'm not alone in that in this fandom), and one of the things I've learned from it is that I like to process my thoughts and feelings externally- by talking about them. It turns out not everyone is like that. I'm like Blitz in this way.

I first got on this topic when I was thinking about how Blitz flip flops in Apology Tour. When he goes to see Stolas at the beginning of the episode, he goes in with an idea he's trying out- a narrative he's committed to FOR NOW, insisting that he's there to reinstate the full moon deal with TONS of undue and shaky confidence.

Is this plan something he's actually confident in? Absolutely not. But he's going to commit to it damnit and see how it plays out. Does he believe it? I think he does in the moment. He's convinced himself anyway, and when Stolas wears him down and he understands that he's not doing himself any favors . . .

He starts processing the real shit aloud.

I don't think Blitz has ever admitted this to himself, at least not this articulately and accurately. He needs to say it aloud in order for it to be real. Oops too real.

He's SCARED because he didn't even KNOW he felt this way, but things are becoming very clear and dangerously close to the heart of the matter . . . so he pivots again back into comfortable territory (conflict).

By the end of the conversation, he arrives at a new mission, one that's sort of an equilibrium between his realizations about his honest feelings and his need to have a mission he feels confident in. He's not all confident or all honest- he's still in flux.

There are SO many more examples of Blitz realizing how he feels BY TALKING (later in Apology Tour when he's talking to Stolas, and then when he's talking to Verosika . . . but then also back in Oops, etc.), but I'm going to leave it at one for brevity here. What's important is that we NEVER see Blitz processing alone. Even in his part of the duet (more on songs in a sec), when he's technically singing to himself, he's consoling himself with a narrative rather than really processing the things that need to be processed.

Blitz needs a person to process with.

But Stolas is an internal processor. We know this already because he made the plan to give Blitz the Asmodean crystal and sat on it for literal months, procuring the crystal, ironing out what he would say, trying to initiate conversations with Blitz, but never explaining how he felt to anyone before it was time- and absolutely NEVER in a way that was half baked.

The way Stolas sings his feelings actually gives us a really clear and beautiful picture of how he processes and figures things out. I forget who said it, but someone on the Helluva creative team referenced a broadway truism that in a musical, characters sing what they can't speak. I think for Stolas it's often what he can't YET speak because he's still processing. He has full honest conversations with himself (Stolas Sings, Just Look My Way), and then when he's face to face with Blitz, he knows exactly what he wants to say. His feelings and beliefs actually progress from song to song- he expresses his awareness of a problem in Stolas Sings and gets more precise about how he feels and what he needs to do about it in Just Look My Way.

By The Full Moon, for better or worse (kind of both), Stolas knows exactly what he wants to say to Blitz and how he wants to say it.

Even when he's upset, angry, and then drunk, when Stolas speaks about his feelings, he's consistent. He's decided. He loves Blitz. He wants a real relationship. From his point of view, he doesn't care about social class, so he can't understand why Blitz is so stuck on it.

But he's missing something key (it's the social class thing- it's definitely the social class thing), and internally, he's cooking, and we see that (again) when he sings.

This is the rawest and most in flux stage of his thought process that we've seen. Because this is how he figures out what he thinks and feels- with himself, in song.

Okay- so interesting psychoanalysis- why does this matter to the story?

Well, I think that Stolas doesn't understand that when Blitz speaks in these super emotional, fraught conversations, he doesn't go in knowing what he thinks and feels. He's figuring it out on the fly. He's figuring it out BY talking, and needs to be allowed to do that. Should he do this with a therapist instead of with the person most likely to be hurt by the ideas he flies through on his way to his true feelings? For sure, but this is Blitz.

In turn, Blitz doesn't understand that when Stolas acts absolutely certain and doesn't seem to take in the things Blitz is saying, he's not talking to a brick wall. He's talking to a moveable person who, once he's alone (or singing) is going over and over everything and breaking his thoughts down and reformulating until he arrives at something new.

So . . . it might be a little much to ask these two to understand each other's different processing styles- but they're coming along in their own ways. And I'm looking forward to them understanding each other. Someday. Maybe. Fucking sit down and talk. Slowly. AGH.

[sailorblossoms-snowbaz]

In awtwb, we see Simon take his cues from Baz – he doesn't know how to be in a loving relationship (outside of friendship) and doesn't know how to express romantic love or sexual attraction.

We see Simon slowly learn from Baz, picking up what Baz puts down (making progress in bed when he switches his focus to "pleasing Baz") or identifying the things Baz does for or to him that he likes, and trying to do them for Baz. "I like the way Baz constantly checks on my well-being, you think that could be annoying, but it makes me so happy I wish I always had this..." after reading Baz being Simon's rock, the shoulder Simon leans on for a whole book... we see Simon doing the same thing for Baz in SFC. We see Simon start to use pet names for Baz after Baz has been using them with Simon since they got together, so we can infer that Simon likes when Baz calls him love and darling (and he would, since he insistence on being called Simon and not Snow comes from wanting to feel closer for Baz, since he was used to associating Snow with their distance)... but it doesn't end there. Or rather, it didn't start there...

On their very first meeting, Baz holds back while Simon can't resist the incredible pull he feels towards him. Much can be said about their meeting, about how much it says about the characters and the way they act about their feelings for the other, once they become aware of what those feelings actually are, but I don't want to get sidetracked here. Simon is someone who refuses to process (and so isn't used to analyzing himself or his feelings, or knowing what he wants outside of the very obvious – that being "I want a family, stability, to belong"), who needs something to guide his actions at all times... and so would be used to react to what he thinks other people are putting down. It's a survival instinct.

I think Simon has always been taking his cues from Baz.

When Simon first meets Baz, it's a moment characterized by an irresistible pull, an unbearable pain that can only be soothed by touching Baz. That's how loving Baz feels like for Simon. That's how attraction feels. It's painful to not be able to touch Baz (he will pick fights not just for his attention, but because is the only way he knows how to touch him... note how quickly Simon escalates in his touches in less than 24 hours once the truce begins). And Baz reaction to Simon in that first meeting? He's feeling the same things too, and yet, he restrains himself. While such control can awake certain admiration, his restraint in the face of such intense feelings can also feel like a rejection. Why else wait to hold Simon's hand? Maybe he just doesn't want to touch him at all, maybe he sees Simon as beneath him – which is something Simon could feel and internalize on a subconscious level, even before Baz starts acting in ways that Simon feels like it’s saying that more blatantly (which is part molded behavior and part of a wall – when Simon is like "Baz is the most arrogant person I know" I think Baz was very much exaggerating that shit around Simon, but that's another post)

This sets the tone for their future interactions. I'll never stop saying this because I'm not a bitch easily fooled by unreliable narrators with unprocessed homosexual thirst: Simon has always been following Baz around. It's just the intensity with which he follows him that varies. In one way or another, he always found him interesting and mysterious and enthralling... I also always say Simon is the obvious one between the two of them – he doesn't know, but his behavior betrays him (when Agatha and Penny both figure out in hindsight that Simon's behavior towards Baz has been gay behavior for years... it's them mostly looking back at Simon's behavior, they didn't know Baz like that back then). Baz is way better at hiding himself, and the defenses he employs are thorny. His walls have barbed wires at the top. When Baz looks unimpressed by Simon, but his behavior makes Simon think he's absolutely despised? Simon lashes out – Baz is a(n incredibly fit) creep only capable of making 2 or 3 expressions >:c (yeah, I picture Simon making that face, like he's pouting... because he is! Mr. "I know you're alive because I have been observing your soul" doesn't truly believe this shit). When Baz looks unimpressed by Simon, but his behavior makes Simon think Baz loves and wants him? A turn on, actually. Baz’s resting bitch face makes Simon want to climb him like a tree and suck his face. The difference is in what Simon is picking up from Baz (even if other things also come into play)... that has always been the case, I think. He's not free of impulses (he's full of them, actually) but a lot of his behavior centers on what he thinks (or assumes) (whenever he assumes we have problems) he's getting from Baz.

[tacroyy]

losing my shit about the two times vimes gets slapped by a woman in the guards books (night watch and snuff; spoilers for both below). terry pratchett is completely goddamn brilliant.

both times, it's near enough to the beginning of the plot that vimes is partially convinced he doesn't know what's going on and is still information gathering (so, working a little on autopilot, although thoughts are starting to coalesce). the women he encounters show up after a watershed moment—major transformative plot points on both occasions—and both help him and help move the narrative along with the information they provide. and this is my favorite detail—he's tired both times, too, and just needs to think, because of the amount of new information he's processing.

from night watch:

"I think perhaps I lost my memory when I was attacked," he said. That sounded good, he thought. What he really needed now was somewhere quiet, to think.

"Really? Perhaps I'm the Queen of Hersheba," said Rosie [Palm]. "Just remember, kind sir. I'm not doing this because I'm interested in you, although I'd admit to a macabre fascination about how long you're going to survive. If it hadn't been a cold wet night I'd have left you in the road. I'm a working girl, and I don't need trouble. But you look like a man who can lay his hands on a few dollars, and there will be a bill."

"I'll leave the money on the dressing table," said Vimes.

The slap in the face knocked him against the wall. /end quote

and from snuff:

She [Felicity Beedle] turned to Vimes. "It would seem, commander, that providence has brought you here in time to solve the murder of the goblin girl, who was an excellent pupil. I came up here as soon as I heard, but the goblins are used to undeserved and casual death. I"ll walk with you to the entrance, and then I've got a class to teach."

Vimes tugged at Feeny to make him keep up as they followed Miss Beedle and her charge toward the surface and blessed fresh air. He wondered what had become of the corpse. What did they do with their dead? Bury them, eat them, throw them on the midden? Or was he just not thinking right, a thought which itself had been knocking at his brain for some time. Without thinking, he said, "What else do you teach them, Miss Beedle? To be better citizens?"

The slap caught him on the chin, probably because even in her anger Miss Beedle realized that he still had his steel helmet on. /end quote

vimes makes mistakes. he makes mistakes all the time, and he knows this, and pays attention to them. vimes spends a lot of time thinking about thinking (engaging in productive, internally motivated metacognition well within his zone of proximal development, my master's in teaching insists i say). he thinks about his thinking, and he thinks about other people's thinking through the lens of his own.

in both instances, vimes is coming to realizations about the true nature of things.

in night watch, this would initially seem to be more surface than deep: he's getting to physical grips with exactly when and where (and who) in the past he is; he's learning the ground, mapping, figuring things out—but vimes is also trying to settle himself back in to what he knows, and what society is in these different times, to see if that fits. plotwise, in vimes's present, the seamstresses have a guild, rights, safety, standards, rules, regulations, and even societal respect—although certainly not close to what they deserve, it's much more than what they had before vetinari made their guild a reality. but in the past, where vimes is now, the seamstresses don't have this level of security, and are subject to violence (although it is shown to be societal and legal violence [being arrested for working during their profession's peak, etc] rather than interpersonal or sexual violence [the agony aunts exist and, it is clearly stated, dispense the same justice that they do in the future, specifically to individual clients rather than to larger institutional structures]).

so, when vimes puts down rosie by making a disparaging joke about her profession—oh, you're actually not important to me or to men or to society at all; your labor is not to be respected; i got what i needed from you and will of course pay you, but in the most insulting way possible—he's not only communicating what society thinks, but a moral issue of the novel as well. night watch, after all, is about revolution: who gets to be in power, and who gets to control who gets to be in power? it's frankly revolutionary for pratchett, a mainstream english author, to treat sex workers and sex work as positively as he does (of course, his depictions are not without flaws). he makes it clear that, after all, shouldn't we view sex work as physical labor? isn't it true that anyone who is employed is engaging in physical labor? how is a seamstress really different from a "seamstress"? (it's the power dynamics and misogyny standard to western/european/american/christian society: women and sex must be controlled by the patriarchial majority, kept small and afraid and in chains.) pratchett legitimizes the seamstresses in vimes's present. in vetinari's ankh-morpork, the seamstresses have just as much power as the merchants, the armorers, the assassins—and vimes knows this, but he did grow up in the past he's in now.

in snuff, vimes's approaching anagnorisis is more obviously manifested. brilliantly, pratchett begins vimes's encounter with the goblins by talking about vimes's childhood teacher, mistress slightly, who "taught [him] how not to be afraid" and made him blackboard monitor, "the first time anyone had entrusted him with anything;" vimes thinks he'll put a bag of peppermints on her grave if he gets out of this alive. all positive, and in fact clearly transformative, praise from our hero. but vimes is in a goblin cave, and pratchett has brought up mistress slightly because vimes is remembering his first (educational, not physical) encounter with goblins. this paragraph is worth quoting in full:

"[Mistress Slightly] had one book in her tiny sitting room, and the first time she had given it to young Sam Vimes to read he had got as far as page seven when he froze. The page showed a goblin: the jolly goblin, according to the text. Was it laughing, was it scowling, was it hungry, was it about to bite your head off? Young Sam Vimes hadn't waited to find out and had spent the rest of the morning under a chair. These days he excused himself by remembering that most of the other kids felt the same way. When it came to the innocence of childhood, adults often got it wrong. In any case, she had sat him on her always slightly damp knee after class and made him really look at the goblin. It was made of lots of dots! Tiny dots, if you looked closely. The closer you looked at the goblin the more it wasn't there. Stare it down and it lost all its power to frighten. 'I hear that they are wretched, badly made mortals,' the dame had said sadly. 'Half-finished folk, or so I hear. It's only a blessing this one had something to be jolly about.'"

a near-perfect depiction, unfortunately, of the educational experience. encounter something that scares you and makes you uncomfortable, examine it with the help of a pedagogist, examine it on your own, take it apart so that you are not afraid anymore, and instead understand what it is and how it is made: that's the experience from the first word of the quote all the way until "Stare it down and lost all its power to frighten." and then, a heel-turn: your teacher shows that they completely misunderstood the lesson they were teaching—and that you, the child, understood both parts of the lesson perfectly: you absorbed the critical thinking skills and that this existing societal prejudice is, in fact, totally correct and should not be examined using the skills you just learned.

thus, pratchett has vimes, our hero, our moral center, spout the violent, ingrained, dehumanizing, incitement-to-genocide nonsense of the society in which he has been formed. vimes does this tiredly, without thinking, without making the connection between how things are and how they ought to be, missing the direct relationship of that required moral reevaluation to the case and situation at hand. and pratchett throws that directly back in vimes's face, physically. both times, pratchett says: even if you're tired, even if there's shit going down, even if your worldview is being turned upside down, even if you're in the dead middle of processing everything you've so recently learned, you cannot make the mistake of dehumanization/depersonalization. and you, of all people, have to know that, vimes. not one drop of alcohol passes your lips, not one minute after six goes by without you reading to your son, not one arrestee is subjected to even small or casual police brutality. and not one person—seamstress or goblin—is to be insulted and discriminated against and excluded from deserving to live. to do so, to make that mistake even once, is to face the immediate physical consequences of it from someone deeply and fundamentally in the know. you need the sense smacked into you.

from night watch:

"Consider that a sign of my complete lack of a sense of humor, will you?" said Rosie, shaking some life back into her hand.

"I'm... sorry," said Vimes. "I didn't mean to... I mean... look, thak you for everything. I mean it. But this is not being a good night."

"Yes, I can see that."

"It's worse than you think. Believe me."

"We all have our troubles. Believe me," said Rosie. /end quote.

from snuff:

It was a corker, nonetheless, and out of the corner of his stinging gaze he saw Feeny take a step back. At least the boy had some sense.

"You are the gods' own fool, Commander Vimes! No, I'm not teaching them to be fake humans, I'm teaching them how to be goblins, clever goblins! Do you know that they have only five names for colors? Even trolls have around sixty, and a lot more than that if they find a paint salesman! Does this mean goblins are stupid? No, they have a vast number of names for things that even poets haven't come up with, for things like the colors shift and change, the melting of one hue into another. They have single words for the most complicated of feelings; I know about two hundred of them, I think, and I'm sure there are a lot more! What you may think are grunts and growls and snarls are in fact carrying vast amounts of information! They're like an iceberg, commander: most of them is where you can't see or understand, and I'm teaching Tears of the Mushroom and some of her friends so that they may be able to speak to people like you, who think they are dumb. And do you know what, commander? There isn't much time! They're being slaughtered! It's not called that, of course, but slaughter is how it ends, because they're just dumb nuisances, you see. Why don't you ask Mr. Upshot what happened to the rest of the goblins three years ago, Commander Vimes?"

And with that, Miss Beedle turned on her heel and disappeared down into the darkness of the cave with Tears of the Mushroom bobbing along behind her, leaving Vimes to walk the last few yards out into the glorious light. /end quote.

[homunculus-argument]

The first time I tried to seek transgender diagnosis, I got turned down for it. I had sought my way into the diagnostic process when I was 13 or 14, and after testing and interviewing me for three years, I got a negative diagnosis at 17, on the grounds that not being legally assigned male didn't seem to cause me sufficiently remarkable distress. I had been tightroping that shit for years out of fear that they'd deem me too anxious, distressed and clinically depressed to endure the transitioning process (which they had implied was also a real possibility), and I had leaned too hard the other way.

At that point in my life masking the fact that I'm in devastating emotional distress wasn't just second nature to me - I wasn't aware that I had some other, original nature underneath it. So I took their diagnosis at face value and figured that "okay, so my first assumption was right - nobody wants to be a girl, it's just supposed to hurt and everyone else's just better at enduring it than I am."

So the clothing I wore and the way I presented myself changed overnight. I went from wearing grey hoodies and ratty jeans into short skirts, clumsy heavy makeup, clumsy heavy jewellery and low-cut tops. I could not make myself wear jeans because those are "men's clothes", and instead of being anxious about not passing for male, I got overwhelmed with being anxious about looking mannish, being undesirable. It was like an one-man cargo cult, doing my best to do everything externally "right", but without any inherent spark of femininity to inspire it.

And it's not like I was even raised in a particularly gendered or conservative environment - me and my sister had a remarkably gender-neutral upbringing, though those words weren't used in Finland in the 90s. I wasn't taught any ideas at home that women can't wear pants or have careers - our mother was an international sales agent for crying out loud - but I had internalised the idea that it's supposed to hurt, so absorbing the idea that my body was simply an uncomfortable decorative object came unconsciously.

So I spent a few years dressing like everyone's least favourite girl in a Tim Burton film brothel, and almost got married.

[emblazons]

this is likely so personal and just. way to much info but there is no where else in my life I could possibly put it and...weirdly, I trust y'all lmfao

There's something so painfully unnerving about having someone be genuinely interested in you after being single for so long, and I don't think—for all of my internal belief that I was ready for "the right relationship" when it came for me—I was prepared for how much there is a very real part of me that desperately wants to run and hide from it solely because it challenges my internal status quo.

The thing is....when I last had a meaningful breakup with a semi-serious partner (2019), I treated being single as a temporary state; something to "get through" until I found a new partner, and I went through the classic dating app gambit and saw men and women and tried to "put myself out there" the way they tell you to do. Then, after realizing how little I wanted to deal with casual dating and hookups—and after being told on my birthday a man I'd been talking to for four months already had a GF of two years—I lost a taste for trying to make something out of nothing and just put sex and dating entirely on the back burner, instead taking the "you can only control you" advice I'd always seen so I could focus figuring out who I was without a partner to constantly distract me from that.

From probably the beginning of COVID, that meant focusing on ...just every single aspect of myself. From healing the mental anguish of burning out of my (then) previous job, finding the bravery to do things I would always do with partners by myself (going to the movies, going out to eat, even shit like solo international travel) and even just letting my "inner nerd" come to the fore because I didn't have anyone looking at me funny for doing things like spending hours writing Stranger Things analysis or learning to make gifs (lol), I've spent nearly the last four years just...learning to like all the random corners of myself as myself, finding out what it felt like to go to sleep alone and content with the woman staring at me in the mirror.

In doing that though...so much fell into place for me in so many areas it never managed to when romance was a priority. I got a job that I absolutely love, and make more money than I even thought possible ever, nevermind before 30. I went from having roommates and shit credit to having my own apartment and fixing a lot of the financial mistakes I made in my early 20s. I learned to take better care of my body—going to all the doctors i had avoided for years, taking accountability the aspects of my health I could control, and losing the nearly 60 lbs I gained from illness and medicine (and poor habits) in that previous 4 year period. I traveled to New Zealand for the first time, went to all the concerts and music festivals and events that growing up poor had denied me, and learned how to be comfortable doing everything from buying cars to making serious appointments all alone. All of that happened because I was single, not in spite of it—and as I realized how much mental space "the pursuit of love" had taken from everything else, being single slowly started to feel like a boon from the universe in a way my formerly partnered or "crushing" or "dating" self could not have even dreamed.

Granted—that was not an easy process. Even right now I'm not sure it would be honest to say I always enjoyed it, especially at first. Some days being "single and not looking" felt like the world was crushing me under the weight of being alone, from how much easier it seemed emotionally, mentally and even financially for my partnered friends (because "a burden shared is a burden halved" as they say) to the way when the walls closed in and life got really hard, the only other being in the room was my cat and....maybe God.

Learning not to be annoyed when one of my friends found someone they loved and wanted to be with seriously—often moving toward marriage, because that's the era of life I'm in—was still a challenge, and not wanting to bite people's heads off when they said "but aren't you lonely" still happened a fair amount. Slowly becoming desensitized to my body as a sexual entity felt strange at first, but then it slowly changed into something comforting as I realized that a lot of the sex I was having before wasn't rooted in an expression of affection or desire for my partner, but expectation, habit, and a refusal to accept that I was actually pretty fucking demisexual. I started looking at my own relationship history and other people's as something to be studied and considered not emotionally, but logically—and slowly slipped into a version of myself the me of my early 20s could not have ever fathomed.

It wasn't even until I was in New York in May that I realized, probably for the first time in all that time, that I had accomplished all of what my "intentionally single era" was designed to do. I was a featured speaker on a panel with one of the largest design magazines in the entire world—but more than that, I was someone I liked, respected, and wanted to be, because when I looked in the mirror, who stared back made me happy as fuck to know.

So, I said I would be more open to meeting new people again. And within—I shit you not—three weeks, this man shows up on my birthday of all days and within five meetings wheedles his way not just into "oh he's kind of cute" territory, but all the way to me kissing his cheek, saying his mispronunciation of a word he's only read is cute and holding his hand at a concert on a random Wednesday.

I literally cannot tell you how unnerving that feels. I cannot tell you how much I can feel the walls of my four years of singleness wanting to shut him out despite all the green flags he's managed to present at record fucking speed, especially compared to all the partners I had before him. I cannot tell you how much even the usually nice feeling of liking someone feels sullied by my own sincere doubt this is going to work out in the long run, or how even the smallest things he does that aren't like me feel like giant red flags because I've spent so much time focusing solely on myself even a smidgen of someone else in that space feels enormous.

I cannot tell you how weird it feels to have someone look at me with desire, both for my body and to know me more; how weird it feels to sense the starting of attraction in myself because someone has laid so much of themselves at my feet and still stayed present despite my overwhelming desire to isolate and intellectualize. To me, its been four seconds of my life since I met this man—someone who I honestly didn't even think I would like that much, and who made me defensive solely because he was reaching for something I wasn't even sure I was ready to give—and him being intentional about seeing me, remembering things about me and complementing me feels like an overstep...even though it's probably one of the healthiest things that could be happening to me.

Even the fact that I told him about my family, my struggle with anxiety and my distancing myself from sex for so long feels fucking insane to ME, and I'm the one who did it. It feels like this little lonely, touch-starved gremlin inside of me has been let out of her cage on a leash and still managed to run to the front of the deck and start barking directions. Two inches forward feels like a mile when you've spent just under half a decade not moving at all—and while I don't feel overwhelmed by it yet, this whole thing gives me anxiety even as I'm nearly desperate at this point to let myself explore it.

I don't know. I might regret even say this, though I don't think so; even if it doesn't work out, it was going to happen sometime and with someone. I just. Its new. Its different. It is just about as far out of my comfort zone as I could get, and that feels weird to say considering how the me of "before" would have laughed at how little has actually been done. There really isn't anything to do at this point but see it through as far as it makes sense to—and to accept the want that it returns to me, no matter how horrifying that seems in the moment...and as he texts me, as I write this even now.

I'm nervous, I'm anxious, and I'm excited. Right now, I think that's all i've got.

[philosophika]

Writeblr Positivity Tag

Hi @inkovert! Thank you, as always, for the tag. Just a quick shout-out; if you don't know Inkovert yet, please please please go check out their WIP, My Dearest Enemy. Also, do you like having in-depth discussions about writing with other up-and-coming authors? Participate in @inkovert's Spilled Ink Saturdays. The first session (on book-to-screen adaptations) was a lot of fun!

✦ What motivates you to write?

I agree with @inkovert. It's not that I'm motivated to write, exactly... It's more that I feel I... have to? There's a sort of internal inertia that keeps pulling me back to fiction. Maybe it's obsession? Maybe it's Maybelline? 💃😉 No, but seriously, I think it may be connected to this weird instinct I have to document things? To give you an idea of what I'm talking about, when I was in my mid-twenties, I went through a terrifying break-in. I kid you not; there was a literal man with a balaclava crouched in my shower in the middle of the night. How did I respond? By screaming, obviously. But after the screaming? I called up my boyfriend and narrated every single detail of what I saw and heard while trying to escape the house with my family. In my mind, I felt it was critical to tell him what was going on, not because I thought it would help catch the culprit(s) (we didn't know if there were more), save us from whatever bitter fate awaited, etc., but kind of in the same way people carve "I was here" into walls? If I was going to die (which was a possibility; a friend's father died in similar circumstances at around the same time), I needed someone to know what I'd seen, to know that I'd seen... So, do I write because I'd die if I didn't? No. I write because I'm going to die anyway. Because I know I'm going to die.

✦ A line/short snippet of your writing that you are most proud of/happy with. If not, maybe share a line of someone else's work you love (just please credit them):

I can do you one better! Because @inkovert kindly tagged me, I'd like to return the favour by referring you to their Wattpad page, where you can read their current WIP, My Dearest Enemy

✦ Which OC makes you smile every time you think/talk about them, and what are they like?

Haha, I don't know if any of the OCs in The Sorcerer's Apprentice make me smile. They all worry me a lot. By accepting an apprenticeship with the sorcerer Valeriano, Altaluna is heading straight into a nest of venomous vipers, and they are going to maim her; they are going to maim her for life. Every time she feels optimistic or wow-ed by the glitz and the glam of her new environment, I cringe internally. My poor, sweet summer child! Valeriano, on the other hand, is a monster, so it's hard to smile when thinking of him. Hmm... maybe the only character I genuinely smile around is Cucufate, the talking monkey. He's the only character whose behaviour and snide comments can be underplayed as just 'animal antics,' which means he's the only character who can get away with giving people a little of what they truly deserve. It's hard not to love him for it.

✦ What process of writing do you enjoy the most?

Again, I have to agree with @inkovert. The editing process means no blank page, and no blank page means (rejoice!) no existential suffering. My first drafts are always shit and a disappointment. But my second drafts? Dost thou want to live deliciously? With the second draft, I know where I'm going, what's happening, where to trim the fat and everything I need to make the story what I wanted it to be in the first place. Usually, I downright discard the first draft and write the entire story from scratch, but better, so much better. And editing the second (or sometimes, third) draft? Pure, unadulterated bliss. Goodbye, low self-esteem, goodbye doubts; cue me some Nina Simone, why don't you?

✦ What part of writing do you think you are the best at? (Yes stroke your own ego it's okay)

Editing, re-drafting. I'm good at figuring out what's wrong and have no trouble whatsoever massacring my darlings.

✦ What is something in the writeblr community that is most enjoyable?

The community! I love participating in tag & ask games, reading people's work, celebrating my mutual's triumphs, and sharing my progress. I don't have any writer friends outside of Tumblr (apart from academic writer friends, though they're a very different kettle of fish), so I really appreciate being able to log on and be met with all this creativity.

✦ A writing tool/device you use that helps you with writing? (It could be speech to text, a writing program etc)

Okay, so first thing first: I have ADHD. Any thought I have is an explosion that simultaneously sends spin-off thoughts in every imaginable direction, which, in turn, send spin-off thoughts in every imaginable direction, and so on and so forth, and on and on, until some of the spin-offs reach a dead end and their line withers, and/or I reach the limits of my capacity to hold all these thoughts in my mind and spontaneously combust. Instead of trying to fight this multi-generative tendency (this leads to a state of paralysis where I can't do anything), I've found a way to let the 'explosions' take the lead without overloading my systems, so to speak. Basically, I figured that if I stored every direction my mind went in somewhere other than my mind, I could let it do its thing without risking burnout. For that, I use MindNode, a visual brainstorming software. And let me tell you, it's been a life-saver. Now, when considering a scene, I document every possible route available to the characters and/or the setting, assign each ramification a score (for example, +1 Worldbuilding, +1 Foreshadowing, +1 Symbolism, +1 Character Development, -1 Cliché, -1 Undermines Tension, -1 Repetitive, etc.), and then choose the one with the highest score to write out. This method is obviously quite time-consuming, but it does have some unique strengths beyond helping me deal with my ADHD: (1) it ensures that there are no superfluous scenes in the grand design, (2) it ensures that all scenes are layered and fulfil multiple story functions at once, (3) it discourages going with the first option that presents itself (usually cliché, in my case), (4) it encourages out-of-the-box creative thinking, (5) and, finally, it's likely to lead to scenes that surprise you, the writer (for example, I was shocked by how many routes led to my character's death, lol). So, yeah, MindNode has been very helpful to me.

✦ A piece of worldbuilding that you like in your own story? (It could be the magic system, a particular place in the story, a law, etc)

I love the magic system, but I'm not sure I'll reveal anything more about it before publication than I already have in this post. You're just going to have to wait and see ;)

✦ Tag some people whose works you love/have been your biggest supporters:

I follow TONS of talented writers on this site, among them: @inkovert, @that-chibi-writer, @tate-lin, @kingkendrick7, @ettawritesnstudies, @blind-the-winds, @aquadestinyswriting, @avrablake, @alinacapellabooks, @lordfenric-writes, @moonscribbler, @cee-grice, @sender-paulson, @sarah-sandwich, @liv-is, @athenswrites, @junypr-camus, @rubywrite, @winterandwords, @salmonandfox, @merlina87, @songsofsomnia, @words-after-midnight, @lucianinsanity, @talesofsorrowandofruin, @nanashi23, @sam-glade, @at-thezenith, @kestalsblog, @kaatiba, @theunboundwriter, and so many more!

[pocket-aces]

Let's hear them secret scientist headcannons, lay em on us

Cheveyo and Dr Bara I don’t have any hcs for and I’m saving my miranda ones because I got an ask about her specifically.

Beeman 🛸

Beeman is somewhere on the autistic spectrum. 1. He always looks at things objectively for the answer that’s the most beneficial to bettering humanity as a whole. (Side note that’s probably the whole organisations premise: find and figure out how dangerous unexplained shit works before anyone else in the population does)

2. He uses insults as a form of showing affection and doesn’t mean to be as blunt as he is

3. There are multiple instances in canon where he points out specific seemingly random things about certain smells, suggesting he might have some sort of sensory processing disorder which is common in people with ASD

4. He lives and breathes his hyper-fixation and doesn’t really pick up Zak/Fisk’s boredom when he’s making them rewatch hours of fake alien footage whilst he’s really into the details of it

I know some people see him as a season 3 villain but generally I just can’t. He’s more likely to go all hermity and stew for a while over how his hypothesis was wrong than hunt down the saturdays for revenge.

Dr Cheechoo ❄️

- youngest member of the group

- stayed largely neutral in the kur thing because this man is so anti conflict it can sometimes be to his detriment

- Has a crush on Doyle (I ship them in some scenarios with a slow burn thing going on) and its a secret he’s ready to take to the grave until someone badgers him into just asking the guy out

Mizuki 🏔️

- wish we had a bit more development on him, particularly in the second season to play on what he and Zak had in common

- probably never ends up getting a replacement body.

- We also never found out what his secret scientist specialisation was.

Grey Men 🧪

- So many people have already found references/easter eggs about these guys I agree with so I have very little to add

- I do have one AU that they are kind of key in (its Doyle centric but has the greymen as the antagonists on some unethical human cryptid genetic testing in the name of creating an army to protect international security, all whilst francis tries to expose them)

[my-castles-crumbling]

whats up cas? reckon you could gimme some advice? 

so i’ve just graduated and i’m taking a gap year. but right now it’s the summer and i’m going on hols with my family.

but I realised recently me and my mates will be far from each other for a lot of the time. cause most of them are gonna go to skl and stuff. 

I mean my best mates coming on my gap year with me but, most of them, we’ll be away from. 

one of my mates, Leo (it’s chill to use his name right, u don’t know me or him) we both really wanted him to come with us on the gap year but he’s worked himself dead and won’t give himself a break to chill out. 

the other day me and him were hanging out when he admitted he used to have a crush on me before we became friends. and i ended up telling him I also used to have a crush on him before we became friends.

and then he flipped out.

he’s known i’m bi for a while, I had a boyfriend for a bit last year. plus he’s gay. so it can’t have been a shock.

and I used to flirt with him all the time, so idk what he’s been doing this whole time. 

but he was weird as hell about it and that was three days ago and he won’t text me back.

is it not hypocritical of him to care that I used to be interested when he also used to be interested? 

I figure maybe it’s internalised shit but idk if it’s better to let him reach out to me or to like, drop by his place so we can talk. 

Hi! <3

I almost wonder if he still likes you? Like if he was lying about not liking you anymore? Because if that was the case, that would warrant freaking out.

I would give him a bit more time before showing up at his house. Whether it's internalized shit or him still liking you, let him process. But yeah, if he's still not answering after a few days, call him out on his bullshit.

Keep me updated, I'm curious!

Naming you leo anon!

[sensitiveheartless]

*kicks down your door*

The newest chapter of Dazai’s Moving Detective Agency is so fucking good it is now my fave chapter I did not expect THAT to be the solution to the heart thing. Also the Akutagawa and Atsushi thing was Goddamn hilarious.

*Shakes your hand, fixes the door, and leaves.*

HULLO oh my gosh I'm sorry this took me so long to respond to alskdfjskfjs this ask was one of the ones that kept disappearing and reappearing in my browser inbox for some reason — ANYWAY YESSS (I want to talk about spoilers for chapter 19 so I'm gonna put them under the cut :0)

Ok so the heart thing! I wanted to mention that I remember seeing your comment where you theorized about how maybe the heart thing would be solved by Chuuya and Dazai kissing or saying "I love you" for the first time, and that maybe they could metaphorically share a heart between them, and the way you wrote it sounded so nice and romantic and lovely and while I was reading it I was internally just thinking "oh no" because of how it was actually going to go XD

In retrospect I really did have Chuuya solve it in the most brute force way possible aksdjfksfjks — speaking of that scene though, it did change a bit from the way I had originally planned it! Since I wrote the story back to front, I figured out the ending first, then the middle, then went back to the beginning and worked forward from there — so as a result, by the time I got back to the ending, a bunch of character stuff had changed.

Basically, in my first draft, Chuuya was going to get out of the chasm, find Dazai in the castle ruins, tell Yosano "before you say anything I know this is very medically inadvisable", then immediately pull his own heart out of his chest and split it in half (much to the utter horror of everyone watching). I was kind of hand-waving the magic aspect at that point, figuring "well, he's a star with a shit-ton of magic, he can probably survive doing wild stuff like that".

...But then I started writing everything out from the beginning, and added all the stuff with Chuuya learning not to shut out the people who care about him and to let them help him when he's in trouble, and in the process of really digging into his character arc I realized that I had made it so that him acting on his own like that would have been rolling back the character development I had already given him aksjdfksdfjskj SO I thought about it for a looong time and gradually figured out how to incorporate Rimbaud, Yosano, Kyouka, and the rest into all helping out in their own ways. And I ended up liking that version way better, since it fits more with the theme of support and the importance of all Chuuya's bonds he's made along the way, so I think it was worth the extra effort in the end!

...It still is a very brute-force way to solve it though XD Chuuya has a very straight forward approach to everything ksjfkdsj

ANYWAY that was a long ramble — I'm also really glad you enjoyed the Akutagawa and Atsushi shenanigans, I ended up having way too much fun with that part :D Their interactions are actually pretty similar to how I initially planned everything out (that end part where Dazai and Chuuya are completely wrapped up in each other while everything is spiraling out of control around them is heavily inspired by the ending of the book version of Howl's Moving Castle, and I had most of the dialogue for it figured out from the beginning).

...Honestly, considering how out of order I wrote it, I'm surprised I didn't have to scrap more scenes. As it is, the only things that really ended up getting changed/scrapped were:

A part of chapter 11 (in particular, the bit where Chuuya and Dazai talk after Dazai brings Akutagawa and Kyouka to the castle was originally a very different tone, because Chuuya was not supposed to have gotten as far along his "realizing he has feelings for Dazai" arc)(I do still kinda like the original version for the comedy aspect, but I like the way the final version fits with their relationship progression better)

A scene where Dazai was going to get drunk, which had to be scrapped entirely (I was basing it off of the book scene where Howl gets drunk and goes on a rant about the curse, but I ended up deciding that it a), made things way too obvious, and b), Chuuya should have absolutely figured everything out from what Dazai said and I didn't want to make Chuuya seem like a moron)

The final confrontation between Chuuya, Dazai, and Fyodor changed a LOT. I rewrote that scene. So many times. Similar to the Chuuya-pulling-out-his-heart-scene, there was a bit in my original draft that ended up being very out of character for Dazai because of how his and Chuuya's relationship had developed in the rest of the story, so I had to completely switch around how they got into the chasm in the first place. I again think it was worth the effort though, because I think where it landed (Dazai completely losing control of the situation and having to trust Chuuya to save them both) was more interesting for Dazai's arc as well.

Anyway, all that said— I've had a really really good time writing this fic, and I'm happy other people have enjoyed it too!! (And hopefully I can actually finish chapter 20 soon aksdjfksdj things keep getting in the way of it help)

[nellie-elizabeth]

Grey's Anatomy: You Make My Heart Explode (21x05)

Teddy and Owen are so annoyyyyyingggg...

Cons:

I'm sad for no Yasuda this week because I know we're losing her soon. I wonder if we're just phasing her out right now with not much more content to follow. It's a bummer.

Lucas and Simone have a romantic moment in this episode and while nothing was super annoying about their scene, I do just want to lodge my familiar statement that they bore me. Just so that's on the record.

Owen and Teddy are not fun to watch. In one sense they are realistically like an old married couple, but only in all the worst ways. Owen is such a whiner, and Teddy is so rude to him, and they both rather unprofessionally let it carry over into their working relationship, and then Richard has to do a Wise Old Man routine and talk to Teddy about it, and Owen has to remember how to be romantic and connect with her so they don't have to schedule sex... it's just so tedious. Better, I suppose, than the kind of melodrama that makes me hate the characters with a fiery passion, but worse than if they'd just fade quietly into the background and walk off of the show while nobody's watching. I can't believe these are the characters that are sticking around, and not Schmitt and Yasuda.

Pros:

I really liked Schmitt and Adams's dramatic helicopter adventure with their young patient! I felt some real tension for them and then felt the corresponding relief when they made it back safe. Amelia making eye contact with Lucas was a nice little touch, checking in subtly on her family... I also loved that Monica gave Levi the validation that he does belong in pediatrics and that she does believe he can be good at it. Schmitt is a lesson in how making a bad first impression doesn't mean you can't ultimately be really successful and find your place in the world. He takes a little longer to figure things out, but he always gets there in the end!

I was right about his love interest dude, too. Turns out, not a cheating thing. A dead husband thing. The comedy of Jo and Levi hiding in Jo's car from their problems as their men accost them from the outside was really funny, but I'm glad they didn't drag things out any more than that. Levi knows the truth now and they can proceed from there. I loved the line about how this is all really new for him, dating after being widowed... it puts Levi in a position to be the one trying to make someone else feel comfortable and safe, which I thing will be good for him!

Jo and Link are never going to be my favorite thing in the world, but I did at least like that they addressed the tension and fear they felt about the pregnancy in the way that they did. Link's fix-it attitude is his own way of coping with his fear, and it clashes with the way Jo needs to emotionally process. That seems like a very realistic conflict for them to be facing!

Blue ends up being an advocate for a member of the janitorial staff who has a serious health condition and can't afford treatment. I like stories about Kwan giving a shit, even though it's not like it's some big secret that he has a soft heart underneath all the attitude. I have a feeling that this will be a story-line that carries through the season, which is something Grey's has gotten better and better about doing in recent seasons - we learn that the hospital administrators want to help this guy get the treatment he needs, but the timetable might prove an issue, as the man has a son with special needs who can't be left on his own. I'd love to see Blue continue to problem solve on this and learn to be a better doctor and person through the experience.

I'm sure I've missed stuff here and there - Ben seems to be settling in just fine, Bailey is still a little anxious about it, the interns are all exhausted picking up Yasuda's shifts, but they're hanging in there. We finally saw potential movement on the Amelia/Monica front, but not a lot of development. Maybe we'll get a Meredith check-in soon? We'll find out soon enough!

7/10

[intrepid-creations]

Okay so ..... I'm still working on the thing that I'm doing (sorry I'm like on night shift number 3 and coherent thought is not my forte at this point. But vibes are. And here are some vibes.) The thing I'm doing is more than this sketch of Eivor. It's Eivor and like a ton of other people and Soma weaving them all together like a Sami band and look it'll be done eventually.

But I just wanted to kinda give a bit of an idea about my process.

Which I can only sum up as:

Internal screaming and wondering what I'm doing with my life.

First ... sketch the thing.

Like ... I'm getting better at poses. And by better I mean about 90% of the time I still need to trace over a ref photo to figure out how the fuck the human body functionally moves. Because I never went to art school and I didn't get to stare at naked women (or men) to do anatomy drawings.

Second ... Cry in a corner

Decide how I'm going to shade this thing. Because I could go either of two ways - "color" in the line art as all white and then subtract to shade... kind of like how you'd handle shading a regular sketch. I tried that.

And what I got was something I'd describe as: Actual Disney Princess Eivor fuckin' Varinsdottir. Which while she collects enough goddamn animals to qualify as one - it was not what I was going for here.

So I move to step 3:

Look up an absolute fuck ton of references on lithographs and shading on lithographs (which ... quick definition: they're like hand-made prints. You sketch the thing on a block of limestone with special ink or whatever, then you can use that to make a ton of prints - but basically ... you have to do a lot of interesting things with shading. Look it up to know what I'm talking about. But if you've seen like tarot cards or even US currency - that's the kind of shading I'm talking about.

First ... I edit the hell out of the reference to really get the contrast up and make it grayscale. Helps me find the highlights and shadows.

Hej there sexy.

Anyway - got the ref down. Now spend the next like three hours doing the shading. Or really ... it's just coloring in her face but like with a bunch of lines and shit.

And voila...

She looks like she belongs on the $1000000 bill.

Still not even REMOTELY done with this but I'm tired, it's almost noon, and I'm still on night shifts so I really need to go to fucking sleep. GOOD NIGHT.

[sailorblossoms-snowbaz]

We're told Simon and Baz fighting is about getting the other's attention (and also just... kids being kids). There's something else – part of it from the beginning, and part of it manifesting as they (and their feelings) grow. It hit me with Simon and Baz fighting in Las Vegas: jealousy.

It's something that often sparked conflict between Baz and Simon. Jealousy of each other (power vs skill) and romantic jealousy (not wanting the other to be with someone else, while Simon didn’t understand what or who he really wanted). Baz can easily identify being jealous of Simon and being jealous over Simon, but for Simon, who avoids processing and has difficulty identifying his feelings, these two types of jealousy are yet another thing making it hard to figure anything out. Heteronormativity makes one type of jealousy easier to identify ("if I grow 1 inch he grows 3 inches..." "I struggle speaking and fucker speaks no less than 3 languages...") while the other is completely indecipherable (it's so telling that when Agatha goes after Baz it's "of course she would, who wouldn't want Baz? Baz being himself is enough to make romantically desirable" and he never thinks that shit about Agatha when it's Baz who's supposed to be going after her, that it's Baz who gets Simon's jealous scenes – "did you have to hold her hands?" – "I know Baz better than anyone else" manifesting when he thinks he's in front of competition –> that being Agatha and Lamb, etc)

The backsliding we see in WS – Simon does understand what he feels for Baz now, and he feels threatened ("I'm going to let my boyfriend go because he deserves better than me" says the guy who tries to kill The Other Man when it seems like he's trying to make a move on say boyfriend) so his combativeness comes up. (When I checked this post in my drafts I wrote "there's probably something about Simon being casual about girls checking out Baz but being willing to ruin a mission twice because a man might or might not flirt with Baz" like, dude is "narrowing down" The Treats because he knows Baz is gay but doesn't really internalize Baz doesn't want anybody else, but I don't feel like elaborating so do with that what you will)

[not-poignant]

Recently I unexpectedly had two weeks of paid time off work. As something to do with this sudden free time, I decided to set myself a challenge; to write a short story, which is something I had never done before. I've always admired you for having such a talent with words, and I wanted to give it a try.

And Pia... IT WAS HARD! SO HARD! >.<

I wrote every day. I was sweating. I was pacing. I was groaning. I was laying face down on the couch. Just trying to MAKE. THE. WORDS. DO. THE. THING! You make it look so easy! xDD

I literally had several of your stories open as a cheat sheet, to figure out everything from “how does punctuation work” to “how in the world does he transition from internal monologue to conversation so naturally??”

But after two weeks of nearly full time writing, I finished my first 9358 word story.

Is it any good? Probably not. Am I going to do it again? Again, probably not xD

I'm proud that I finished it and as much as I was struggling, I enjoyed the challenge.

But the most impactful thing I took away from these two weeks, is a whole new level of appreciation for your work. Deep diving into your stories, trying to figure out how they work, it honestly blew my mind. YOU ARE SO GOOD! I've always adored your writing because it resonates with me so much and it never fails to take me on an emotional journey. But now I've had a glimpse of experiencing the craft behind it and all I can say is... You truly are one of the best authors out there.

So, thank you for sharing your incredible work with the world.

Omg anon, this message was so great to get.

Firstly, firstly- you're AMAZING!!! You are so good! You had a goal, you'd never done something like this before, and you finished a 10k story? That's basically a novella! Like, holy shit anon, that's incredible tenacity given you've never done it before! Even I wasn't busting out 10k stories when I first started writing.

This message made me so happy, but also frankly really just impressed as well. In some ways it's easy to kind of not see that I've been doing this for 10+ years, I've had a lot of practice, I write faster than I used to, and I didn't used to write this fast when I started out!

I bet your story is a lot better than you think it is. And tbh, maybe you'll find a way to enjoy the process more. :D I think it's awesome you wrote what you did, even if you never do it again *flails quietly*

But also I have this gif saved permanently on my computer and I think you'll very much relate to it even after two weeks:

Also you can have this one too:

And this one!!!!

Actually you can bet I have a folder of a ton of writing gifs because it's a WHOLE mood:

--

I think it's cool though that you gained an appreciation for the craft. Like anything, I think it's great when it looks like it's easy because frankly if you feel like you're slogging it through my writing and every sentence is a burden then I've done something wrong sdalkfjads

But it is something I care about and put a lot of time and thought into, and I'm just so impressed you tried it. That's cool, friend. You're cool.

Hobbies and new skills have to watch out when you're around, it seems like your determination is very Hulk!Smash level! :D :D :D

[ask-katotter]

I see a lot of people posting about the barbie movie and how its about feminism failed at that and no??? Don't get me wrong, feminism and the patriarchy does feature, but thats not the far and away point of the movie. Plot elements, but not the primary thesis ya dig? See I'd argue the movie is actually about a little girls viewpoint on coming to grips with women's place in society, how she can define her worth within that, a process kicks into high gear during the crisis of a changing body and understanding mortality that is puberty.

Lemme explain. First we see the barbies as they begin. Perfect examples of what a person "could grow up to be" this is a phase where your being built up by your parents hopes and dreams, and all the amazing things you could do with your life. Problem the first in girls this frequently leads to a 'not like other girls phase.' This has two problems, first its prone to making you very judgemental of girls you dont relate to ei weird barbie. It also becomes internally destructive as when you start getting older as you don't just judge other people you judge yourself. If you compare yourself to other more successful people and inevitably find yourself wanting you can't function when challenged..."I'm just stereotypical barbie" is used often as both an excuse not to engage and a method of blaming herself for not being more exceptional.

Now while it seems that the movie has abandoned the theme of little girl growing up when we realize that our protagonist's child is in fact already an adult. But its not. For starters I present Ken. Ken is enamored by the concept of a patriarchy and brings his version of it home to barbie land right? But its a little girls version of the patriarchy. Not a man's. Beer is everywhere yet nebulous and vague, its very much about dressing up manly as Patrick Swayze, and most importantly HORSES. DEAR GOD THE HORSES. So here's the thing, men do think cowboys are manly but often as not they don't give a single shit about the horses. But you know who's obsessed with horses? Little girls. And you know what little girls think is really reeeeeally manly?

Guys who like horses.

This of course is part of the barbies obsessed with Ken phase, where they are what they think ken wants and nothing more. A lot of kids go through solely seeing a relationship as the be all end all goal of growing up, but it really doesn't help you. If you solely are defined by your significant others you are both purposeless without them, and not going to grow at all. The barbies realize this when they figure out that much of their discomfort is from trying to fit this mold. Ultimately barbie convinces Ken that finding who you are through a relationship is impossible, and its not fair to yourself or the other person.

AND SO my theory is this. The movies central thesis is played out through the eyes of a little girl but it is literally "what is an adult?" Its not as barbie first thought to be utterly exceptional and perfect be that in looks or in achievement. Not as Ken thought as a relationship to be obtained. Its about just rolling up yourselves and dealing with things now because well you gotta. And so we end on the final joke. Barbie is going to the gynecologist. What better example of shit you just gotta roll with as an adult.

This is also why barbies human was not a little girl but a mother to a little girl gone on nearly adult. It brings up a lot of feelings to watch someone else go through all the changing understandings you had to. You hope they will figure out how to navigate all the different ways you can define yourself. All you can do is let go of your illusion of control in life and stay in touch with yourself through your own lens. As you vicariously relive that watching the changing in your kid, you see the world as a child once more and pray your daughter figures things out the same way you did, while reexamining it yourself.

Lastly I'd like to get to the old lady barbie tearfully tells "your beautiful" and she says "i know" it's not just a joke comparing the wacky old lady to the blonde 10. Its directly showing that old lady has something barbie still needs, that final stage of growing up. Someone who's confident enough to accept themselves as they are, who likes themselves without comparison to anyone else. Hell Ruth even laughs about her tax evasion issuesm Getting old is rough in a lot of ways but getting to the point where you are just you and fuck what anyone else thinks? stunning. Well and truely beautiful.

[mlobsters]

so i started this episode and when the flowers started coming back to life i thought to myself, if i'm gonna watch some sad timeywimey shit then i'm gonna just go all in and rewatch arrival. and if i'm gonna rewatch arrival, i'm gonna rewatch interstellar. so that's what i did instead. here's attempt #2

sidenote david reed did the story, he was also a writer on the magicians

supernatural s5e19 hammer of the gods (st. david reed, teleplay andrew dabb, daniel loflin)

starting strong. she's so good, great voice

DEAN How you doing?

WOMAN No.

DEAN But--

WOMAN No.

yellowjackets s1 - rekha sharma as jessica roberts

funny little trick of lighting and certain colors, can't say i pay much attention to what they're wearing unless it's an outlier like that white floralish printed button down and the like sam wore in early seasons especially, but thought, i don't recall seeing dean in a brown jacket before

but in this cooler kitchen lighting, it looks green. there was a tiktok going around a few years ago about someone who bought a ... hat? that looked green or brown depending on the lighting. reminds me of that

i appreciate the point of like hey. judeo-christian apocalypse, what about all these other religions that have to deal with the bullshit fallout. BUT like, is big g god who abandoned them in the same hierarchy as these gods? because if not, then hmm. i may not have enough firing brain cells for this thought process, and definitely a general lack of understanding of religion

um random ghostfacers pseudo-but-kinda-not promo? okay.

ps the angel blades to me always looks like super cheap plastic fake chrome things. i try not to laugh every time i see one.

sam's reaction *chef's kiss* padalecki is hitting the spot for me lately with his wtf faces

DEAN I'm outta options. Now on any other given day, I'd be doing my damndest to, uh, kill you. You filthy murdering chimps. But, uh, hey, desperate times. So even though I'd love nothing better than to slit your throats, you dicks, I'm gonna help you. I'm going to help you ice the devil. 

not loving the makeup they went for on decaying vessel lucifer. also do not understand the internal logic of why lucifer can just snuff out a god. little snicker snack twist of the wrist but archangels and their ilk need a special blade otherwise?

makeup looking much better in this mood lighting with some blood spatter. very menacing, to boot

this pestilence bit with the goo is unending. please, we get it. 😩

okay. laughing at myself because i'm just realizing i thought matt frewer was murdock in the original a-team, but no. that was a different dude. dwight schultz. i can't figure out what i originally knew him from, maybe doctor doctor, maybe the stand? something 80s/90s.

altered carbon s1e6 man with my face - matt frewer as carnage

kind of a nod to max headroom there seems like. which, i'm not sure if i ever saw any of the max headroom shows? i just associated the character with coke ads.

the stand (1994) matt frewer as trashcan man

dwight schultz not matt frewer in the a-team

well. i wasn't really expecting that change of heart with gabriel, and swift execution. i like the actor and the character but while i picked up the mushy emotions they were putting down, i also hold a grudge against him for torturing sam for approaching a year with the mystery spot. wish maybe they'd worked on that arc a little longer.