#but if this is going to be a part of the show for any significant amount of time then i literally just can't

[specialagentartemis]

heck yeah!!!

Depends on what you like about sci-fi and what you want to get out of Trek. There's lots of it, which means there are lots of entry points and lots of stuff to cater to different fans.

Option 1: TOS

If you have a fondness for - or at least a high tolerance for - low budget 60s nonsense, The Original Series is lots of fun. Roll with the stupid stuff for them gems that are also in there haha.

TOS was designed to be watched in any order, and doesn't really build on what came before. If you have less of an interest in 1960s Nonsense, here's a list I assembled with @chimaerakitten of what we'd consider the Important TOS List to get the TOS Experience.

The must-watch TOS episodes (in no particular order):

“Devil in the Dark”

“Balance of Terror”

“Amok Time”

“Space Seed”

“City on the Edge of Forever”

“The Trouble with Tribbles”

“Mirror, Mirror”

“The Tholian Web”

Mixed quality episodes with Significant Lore:

“Conscience of the King”

“Journey to Babel”

“The Enterprise Incident”

“The Menagerie”

"Plato's Stepchildren"

Just For Fun:

"Miri"

"The Naked Time"

“Who Mourns for Adonis”

“For the World is Hollow and I Have Touched the Sky”

It’s stupid as hell but I personally love it so much:

“A Piece of the Action”

And then you can decide whether you liked those enough to go watch the rest haha. (even I haven't actually seen all of TOS, even though there are only three seasons of it.)

Option 2: TOS Movies

Another option, if you want the TOS cast with Kirk and Spock and McCoy and all of them: the movies - Star Trek movies 1-4 - are overall higher quality and better put together, and give you a great overall Original Series Experience. You should probably watch at least "Space Seed" and "Journey to Babel" beforehand to get the high points of stuff that'll come back in the movies. But the movies mostly stand on their own and tell tighter stories. (5 is bad. I haven't watched 6 but people like it.)

Option 3: TNG

If you want higher production values and generally better writing and more interesting sci-fi ideas, you can start with The Next Generation instead - lots of people prefer it! However, I would recommend starting with TNG season 2, and only go back to season 1 if you decide you like it. The first two seasons aren't strong, though season 2 introduces a lot of ideas that get riffed on later, and has some good Data episodes. TNG was for the most part designed to be watched in basically any order.

Option 4: DS9

Deep Space 9 is my favorite show, and tells a much more mature, cohesive, serialized story with more complex characters. However, if you want to start here, I would recommend watching at least a few episodes of TNG before jumping into DS9 to get a baseline for what the Star Trek world of the 24th century is like. The TNG episodes "Q Who," "The Best of Both Worlds" Part 1 & 2, "Redemption" Parts 1 & 2, and "Ensign Ro" will give you some important setup for DS9. (TOS's "Mirror, Mirror" provides important background on the Mirror Universe that comes back in DS9, and there is an absolutely fantastic DS9 episode that's a direct riff on "The Trouble with Tribbles" which I recommend watching anyway because it's also great haha.)

Those are my recommended entry point options depending on what you like! And if you like it, there's looooots more where that came from, haha.

“Which fictional universe would you rather live in—“ Star Trek. Star Trek. There is a correct answer and it’s Star Trek. “I want to have cool adventures—“ Star Trek. “I want to live in high tech but ethical peace and comfort” Star Trek. “I want to be a psychic alien—“ Star Trek. “But I want to do magic—“ do you know how much weird magic shit happens in Star Trek. Also Star Trek has holodecks you can pretend to be in Lord of the Rings or Star Wars or whatever and then come home to your usually peaceful interstellar community. There are basically no downsides to living in the Star Trek universe if you take the assumption that you remain you, a human living on Earth. You can join Starfleet or you can stay home and enjoy fully automated luxury gay space communism. The answer is Star Trek.

[bcacstuff]

One of the US reviews for TCND:

These days, Sam Heughan is a fan-favorite presence on the small screen, but he wouldn't have garnered mainstream awareness if it hadn't been for his breakout role in the hit television adaptation of Diana Gabaldon's Outlander book series. Over the last decade, Heughan's performance as a swoony Scottish hero and self-professed wife guy on the Starz series has propelled him to certified heartthrob status — but with Outlander finally set to conclude with its eighth and final season at a date yet to be determined, it's no wonder Heughan has been taking other projects, perhaps in an effort to step out from the long shadow that Jamie Fraser still casts.

On paper, The Couple Next Door, Starz's six-part psychological thriller based on the Dutch series Nieuwe Buren, has a lot going for it, as messy relationship dynamics play out against the idyllic backdrop of suburbia — and at first, the show gives every indication that it's ramping up to an erotic, twisted climax. But despite best attempts from Heughan, along with his main co-stars Eleanor Tomlinson (Poldark), Jessica de Gouw (Arrow), and Alfred Enoch (How To Get Away With Murder), the series frustratingly pivots away from its most intriguing elements in favor of weaker B-plots, ultimately resulting in a hectic finale that relies too heavily on outdated, regressive tropes to drive its biggest conflicts.

What Is 'The Couple Next Door' About?

Primary school teacher Evie Greenwood (Tomlinson) and her partner, journalist Pete Thomas (Enoch), are looking for a fresh start in more ways than one. Moving to a small suburb in Leeds feels like the right next move for the young couple, especially once they run into their next-door neighbors, PC Danny Whitwell (Heughan) and his wife, yoga instructor Becka (de Gouw), while attempting to lug their belongings into the new house. Evie is drawn to the beautiful young couple from the start for a variety of reasons, the most obvious being her attraction to Danny. However, as someone who grew up in a very conservative, religious household, Evie's eyes are soon opened to her neighbors' more non-traditional lifestyle.

As the four spend more and more time together, Becka and Danny disclose the fact that they're non-monogamous, even if they make a point of always "playing" together with other couples. As Evie starts to entertain the idea of experimentation, Pete's reservations about opening up their relationship lead to rising tensions. Yet their drama isn't the only one that plays out within this seemingly sleepy community. As a somewhat lowly traffic cop with little authority and mounting bills to pay, Danny begins to accept late-night jobs that don't exactly fall on the legal side of things — right around the time that Pete starts digging into local corruption for his latest exposé. As for Becka, she's built a successful social media presence, but she's also attracted a creepy real-life stalker in the process, one who isn't willing to go away without throwing a wrench into her picture-perfect existence.

Over the first half of its eight episodes (all of which were provided for review), The Couple Next Door has a lot of promise, especially when it focuses on the evolving and tangled relationships between its main foursome. Yet the series is also majorly underserved by its pacing, as it spends a significant amount of time devoted to building up that tension and then ultimately fails at offering a more nuanced depiction of attraction and obsession given the sheer number of other characters and storylines that have to be juggled. The problem is that none of these secondary threads are even remotely as interesting as the main one; every scene spared for Becka's stalker, or Danny's off-the-books job, or any side character for that matter, feels like a missed opportunity to return to the emotional rollercoaster playing out between the two leading couples. Cutting at least one of these B-plots may also have resulted in a better lead-up to the finale, which climaxes in a way that feels extreme, even for these four.

Some characters are afforded better treatment — in many instances, de Gouw's Becka feels like one of the only mature adults in the room — but others seem to regress in increasingly drastic ways purely for the sake of drama. Unfortunately, The Couple Next Door joins recent films like Nightbitch and Babygirl in giving one of its female characters a backstory steeped in extreme, cult-like religion that feels perplexing at best and reductive at worst in justifying sexual exploration. Evie's ignorance about polyamory could've been filtered through a simpler, more straightforward premise of a woman embracing her innermost desires, and the blurred lines that result when she finds herself falling for the one person she shouldn't. But Tomlinson's character is done the biggest disservice over the course of the season; as Evie's fixation on Danny intensifies, she becomes even more of a caricature, with her later scenes devolving into stereotypical '80s erotic thriller territory — and not in a way that can be considered complimentary. The show's men don't fare any better; while he does have excellent chemistry with both Tomlinson and de Gouw in the scenes that call for it, Heughan is given very little to do other than handsomely brood. Meanwhile, Enoch, in welcome contrast, initially gets to play a more level-headed and less alpha presence, but, like Evie, Pete's characterization annoyingly falls prey to jealousy and rage.

In many ways, this show would have been better off solely revolving around these objectively attractive people and the palpable tension that stems from them debating whether they should all sleep together — and to a point, The Couple Next Door delivers on that front. But the season quickly becomes derailed by way of less intriguing subplots, disappointing character regression, and poor pacing that struggles to build to a satisfying finale. It'd be one thing if there was a promise for more at the end of it all, but with the show having already been renewed for a Season 2 featuring a completely new cast, there's no opportunity for this version of The Couple Next Door to continue. Given how it all wraps up, though, maybe that's for the best.

The Couple Next Door premieres January 17 on Starz.

[mumblesplash]

i feel like the thing that's hardest to fully get across about the hgcz is that this monstrosity was NOT ORIGINALLY SUPPOSED TO BE A COHESIVE STORY. CAN ANYBODY HEAR ME. GUYS IT WAS SUPPOSED TO BE A NORMAL ZINE WHAT IS GOING ON

[redgoldblue]

.

[hollowwhisperings]

that thing wherein you're reading something and just KNOW

"this person has completely forgotten that the characters here live in Japan/Korea/China/Russia"

and is, instead, writing like an American.

[armandauntie]

I love this take so much! You bring up so many key points from the series that I keep mulling over, and I think your commentary on these themes as a reflection of Anne Rice’s own internal debates over morality are really poignant and help put all the wild character choices in context, especially the question of ‘what the fuck happened to Daniel? Why did Anne Rice drop him like a hot potato after QOTD?’

It also makes a ton of sense to view these shifts through the lens of Rice interrogating her own beliefs and faith. From what I know, she was constantly redefining herself in relation to Christianity and Catholicism, which especially as a woman in her era makes a lot of sense due to the debates in the Catholic Church at the time over whether women deserved like… any rights and how a lot of even slightly feminist Catholic women (for example, my mother) had a really hard time reconciling their faith alongside it all. I think it’s fairly noticeable how Louis, Armand, and Lestat in particular are constantly debating with others and themselves over how to reconcile faith with their existence. And complete forgiveness (especially from women and children to men who abuse them) is a pretty significant part of being a “good person” in Catholic faith, so it makes a lot of sense for her characters to exemplify this as well.

I also loved your point on how Armand’s character deepens and becomes more (straightforwardly) sympathetic over the course of the series and as Rice’s view of him changes. The TV show sort of paints him as somewhere in the middle of her two extremes, and you’re exactly right that the series gives more space for characters like Louis and Claudia to have righteous anger and not have to forgive, which may end up changing Louis’s future relationship with Armand from the books.

One of the exciting and also nervewracking thing about this series taking a different artistic direction is that it’s really hard to guess exactly where they’re going to go and who they’re going to focus on in future seasons. We can definitely assume that Lestat is a mainstay but in terms of when and how Louis and Armand appear, it’s a lot harder to predict. My selfish hope is that we can get more spotlight on Louis and Armand and how they process forgiveness and abuse, since I’ve so far really enjoyed what the show has done on the subject.

Okay last thought and slightly off-topic, but I also selfishly really hope the show in the future focuses more on Armand’s cultural and racial identity and how that affects his belief system. Armand being South Asian and (maybe, sort of) Muslim has so much potential impact on his character, and a nuanced reflection on that would mean so much to me and also really valuable for non-SWANA/South Asian/Muslim people to see.

Anyways thanks so much for this essay! It really got me recontextualizing the series and Rice as an author and made me excited to think about even about the books and moments I don’t usually care for as much. I’d love to hear more takes you might have on the topic!!

Consent and Abuse in The Vampire Chronicles (and how it explains things like Daniel and Louis's disappearances)

TW: discussions of abuse, sexual abuse and rape, and CSA throughout this meta.

I’ve now read the first six Vampire Chronicles books, and I want to talk about the role that consent, or more importantly, the lack thereof, plays in the morality the books espouse. When I was a few books in, I discovered this post by @diasdelasombra, which uses excerpts from several scholarly texts to create a schema that helps us understand who Anne Rice considered a “worthy” victim of abuse. To summarize, the characters that Anne favors and who are featured in the narrative were violated against their will, but don’t whine about their misfortune. Instead they extend grace and forgiveness to their abuser. (Think of David or Lestat) The characters who are portrayed as conniving, wicked, or who are punished by the narrative are those who don’t adequately protest their assault, or who harbor anger or plans of revenge towards their abuser (think of Claudia).

When I say abuse here, I am specifically talking about sexual abuse and rape, but also being turned into a vampire against your will. Being bitten by a vampire is obviously sexually coded, and being transformed into a fledgling vampire nonconsensually is a metaphor for a rape. So I’m going to spend this meta talking about nonconsensual turnings interchangeably with rape.

When I read about the dichotomy of victimhood detailed in the original post, the books suddenly shifted in my mind, and I felt like I understood Anne as a writer for the first time. I love these books and their resulting adaptations, but I do believe that Anne had many flawed beliefs, and this insistence that the only proper response to assault is complete and total forgiveness of the perpetrator is certainly one of them. I want to take the theory put forward by the original post one step further, and propose that in addition to imperfect victims, Anne also struggled to write about characters that engaged in sex/vampirism consensually. This feels very Catholic to me; you’re allowed to enjoy sex, but only if you didn’t ask for it. It’s the lust and the longing that’s sinful. It’s this discomfort with consensual desire, along with the insistence that victims must forgive their abusers, that is at the heart of many of the most frustrating aspects of the Vampire Chronicles. It also drives some of the conflict I see in the fandom, and has the potential to impact the TV adaptation in interesting ways. I talk about all of that in detail below the cut:

We can see this central belief about abuse and worthy victims easily in the characters Anne chooses to feature. Lestat, David, and Marius were all turned against their will, but crucially do not linger, protest, or whine once the act is done. Lestat is incapable of holding any kind of grudge, Marius approaches vampirism and eternity with calm stoicism, and David immediately forgives Lestat for turning him against his will.

I think this is key when we try to understand why Anne wanted to replace Louis with David as a companion for Lestat. Louis’s turning is complicated; you get the sense that he did consent to it, even as he tells Daniel that he “can’t say that [he] decided” to become a vampire. And even though he does forgive Lestat at the end of IwtV, the telling of the story in that book is filled with resentment and anger. Louis is not a perfect bastion of forgiveness by any means. Anne talked about how she wanted to move on from the grief that Louis represented and also the passivity he embodies as a character (which she classifies as uniquely feminine, which adds another dimension of meaning to who is allowed to consent to sexual acts and remain angry at abuse) but I also have to assume that she wanted to move on from his anger. Which is actually a huge disservice to Louis, Lestat, and the complexity of the narrative.

The other characters who are turned consensually are all abandoned by the narrative. Madeleine is killed, Gabrielle largely disappears after TVL, Nicki kills himself, and Daniel goes mad and is then simply forgotten.

My love of Daniel is the reason why I started stringing this theory together. Daniel is the most clear-cut case in the entire chronicles of a consenting adult who deeply desires to become a vampire. He has no reservations, no resistance. The Devil’s Minion chapter is unique in that it lingers on Daniel's love and desire. Daniel is briefly allowed to want something unabashedly that is also coded as sinful and evil. And once the consummation of his desire happens, Anne simply doesn’t know how to continue to writing him. Armand’s insistence that fledglings will come to hate their makers seems in some ways to be a result of Anne’s worldview, that desire cannot cannot endure unpunished, rather than something Armand would believe in-universe (he never hated Marius, after all). When fans rail at the way Daniel’s story seems to disappear from the page, this is what we are protesting: Daniel’s desire deserved to be shown, Daniel deserved to evolve, and Daniel’s willingness does not require rebuke.

There is of course another interpretation of the Devil’s Minion chapter, which is that it is Armand playing out his and Marius’s relationship, but this time with Armand in control. In some ways I think the Devil’s Minion chapter is the one successful attempt Anne makes to subvert the cycle of abuse. Yes, Armand is re-enacting many of the things done to him, but Daniel is happy to do this role play with him, at least for a while. While far from perfect, their relationship manages to turn abusive history into present day kink, and exist in a context of mutual care.

Armand himself is probably the most interesting edge case in terms of Anne’s dichotomy of worthy and unworthy victims. He asks to be turned into a vampire, but he’s also a child, which makes his ability to consent unclear. (Whether Anne even believed that child sexual abuse was possible at all is up for debate; she wrote a message on her “fan voice mail” that is still transcribed on her website that defends a convicted pedophile and seems to argue that 14 and 15 year olds are effectively adults and therefore cannot be abused. Yikes yikes yikes.) This kind of uncertainty seems to be reflected in the changing way Anne writes Armand throughout the series. He’s evil at first in the same way that Claudia is evil; a conniving forever child who is smart and vicious enough that what was done to him can be justified. But Anne softened on Armand after Queen of the Damned. As the series goes on, Armand comes to resemble Anne’s perfect victim more and more. He forgives Marius relatively quickly, for instance, for turning Benji and Sybelle without his consent.

For Marius (and Lestat) overcoming victim status also means becoming the abuser, the rapist, the perpetrator of the dark trick. The only way to not be trapped under the cycle of abuse is to perpetrate it. Even though it is hidden in a lot of language about love and forgiveness, this theme is ever present in the Chronicles and to me it’s where the true horror of the books lies.

We see these values begin to be applied to world building and the book’s overarching philosophy more and more as the series progresses. Akasha is the big bad in Queen of the Damned because she represents the ultimate lack of forgiveness. She is angry at all the men in the world for their collective abuses (a world view that seems to originate at least partially from the overly protective and restrictive way Enkil treats her, in my opinion) and seeks to kill them. She is an unquestioned evil, in a way that most characters aren’t in The Chronicles. And Maharet and Mekare, who are much more forgiving towards Khayman, one of the perpetrators of their own rape, are the ones able to defeat Akasha. Forgiveness and grace trumps righteous anger every time.

Memnoch the Devil is an interesting book (even if it is not a *good* one, imo) because it spends its pages interrogating this idea of abuse and forgiveness, but blows it up to a theological scale. Memnoch’s main argument with God is that he lets humans suffer needlessly. Memnoch feels that all that is good and holy amongst humans can be found in the way we love each other and find joy in sex, art, food, and celebration. But God requires humans to suffer through disease and death, and sometimes even violence brought about by religion. When Memnoch is put in charge of hell, he makes souls worthy of heaven by working on them until they are ready to forgive God for the suffering they had to endure during life. That’s what makes you worthy of heaven: forgiveness. I find this so interesting because it almost feels like Anne is arguing with herself over philosophy and religion. Memnoch is very convincing and his belief that joy without guilt is good is given due weight by the narrative. In some ways it’s what these books are about- sensual pleasure without guilt. But on the other hand, Memnoch is the devil (if that- Lestat is never quite sure if he’s really the devil or just a malignant spirit) which means we shouldn’t trust what he says. The idea of God as the ultimate abuser— the person who puts humanity through unspeakable horrors on a wide scale, and then requires our forgiveness in order to find peace— really chimes with the way that Anne writes about abuse in the rest of the series. According to this view, the cycle of abuse is absolutely inescapable. It is decreed by the almighty, and the only way to not be completely crushed by it is to accept its omnipresence and embrace its perpetrators without anger.

This focus on forgiveness is clearly a huge part of Anne’s (and therefore the vampires’) worldview, and I of course find that pretty problematic. But I also think it hurts the reader’s ability to connect to the characters and can have the unfortunate side effect of draining the books of the conflict needed to create a propulsive plot. The vampires’ inclination to completely forgive those who have wronged them, and to not linger at all in any feelings of anger, grief, or resentment, sometimes leads to baffling situations where conflicts that loom large in one book are completely forgotten in the next. The most jarring example of this to me is Armand casually playing chess with Santino in Queen of the Damned. Santino! The vampire who kidnapped him, forced him to eat his best friend, and generally tortured him. And they simply never address this. They just start playing a casual game of chess on Night Island after Akasha has been defeated. Situations like this can make character seem like they are acting completely out of character, and it makes it hard to understand their motives. Yes, there’s the in-universe explanation that time heals all wounds and eventually vampires just live long enough that they can’t hold any grudges. But I still think it’s reasonable to assume that Armand would hesitate before casually engaging with Santino again, no matter how long has passed. This kind of automatic forgiveness also means that we skip over so many conflicts that that would be fascinating to read about. If Armand and Santino really do need to reconcile, I want to see what that looks like. I want to see Armand remember Ricardo when he looks at Santino. I want to see what David and Lestat mending their relationship after Lestat’s violation looks like. But we don’t get any of that and instead the vampires move seamlessly on to something else, which is often much less interesting than these interpersonal conflicts that Anne ignores. And because of that, I think this focus on forgiveness creates books that are less fulfilling than they could be.

I think this focus on forgiveness is also at the heart of some of the conflict I see between book readers and show-only fans. I often see book readers talking about how Armand and Louis come back to each other later in the books, that Louis forgives Armand enough to live with him again for a time. And this makes sense in a book universe that prioritizes forgiveness above all else. In fact it actually signifies positive character growth for Louis, as it means he is becoming closer to Anne’s definition of a worthy victim who can forgive those who wronged him.

Fans of the show insist that the TV version of Louis will never forgive Armand, and for all I know they might be right. The TV show has shown that it’s very capable of taking the events and themes that Anne presented and reframing them. The show is already presenting a more critical depiction of CSA, in my opinion, by doing things like eliminating the incest subtext between Louis and Claudia and making it clear that Marius groomed Armand. I also think the show does a better job of keeping emotional stakes consistent. Louis may forgive Armand, but something more substantial than time passing will have to happen to facilitate that in the TV show. So show Louis may indeed never forgive Armand, given those new parameters.

In its efforts to reframe some of Anne’s themes, I believe the television show is shifting the emphasis on forgiveness slightly. Louis’s arc over the first two seasons depends on him reaching a state of forgiveness, not for an abuser, but for himself. He extends grace to Lestat as part of this process, but I really believe that the catharsis comes from Louis embracing his own failings and his own power, and moving forward with confidence. He has not forgotten his anger or the things that were taken from him, but he has the ability to face the rest of eternity now without self-recrimination. I imagine moving forward that this is going to be a major theme of the show. No matter if you sought vampirism out or had it thrust upon you, you must learn to how to deal with its horrors and its perks. You must learn to embrace your own monstrosity and not shrink from it. And you must find a way to accept the love that those around you are willing to offer, whether or not you always perfectly deserve it. I think these are lessons that Lestat, Armand, and even Daniel have yet to learn in the television show. Those character arcs are going to fuel the show through its coming seasons, and I for one cannot wait to see it unfold.

I’m interested to hear from other readers to see if they picked up on these themes, and how they anticipate the show will adapt them. Please tell me your thoughts! And thank you for reading this far.

[prokopetz]

I think a lot of folks in indie RPG spaces misunderstand what's going on when people who've only ever played Dungeons & Dragons claim that indie RPGs are categorically "too complicated". Yes, it's sometimes the case that they're making the unjustified assumption that all games are as complicated as Dungeons & Dragons and shying away from the possibility of having to brave a steep learning cure a second time, but that's not the whole picture.

A big part of it is that there's a substantial chunk of the D&D fandom – not a majority by any means, but certainly a very significant minority – who are into D&D because they like its vibes or they enjoy its default setting or whatever, but they have no interest in actually playing the kind of game that D&D is... so they don't.

Oh, they'll show up at your table, and if you're very lucky they might even provide their own character sheet (though whether it adheres to the character creation guidelines is anyone's guess!), but their actual engagement with the process of play consists of dicking around until the GM tells them to roll some dice, then reporting what number they rolled and letting the GM figure out what that means.

Basically, they're putting the GM in the position of acting as their personal assistant, onto whom they can offload any parts of the process of play that they're not interested in – and for some players, that's essentially everything except the physical act of rolling the dice, made possible by the fact most of D&D's mechanics are either GM-facing or amenable to being treated as such.*

Now, let's take this player and present them with a game whose design is informed by a culture of play where mechanics are strongly player facing, often to the extent that the GM doesn't need to familiarise themselves with the players' character sheets and never rolls any dice, and... well, you can see where the wires get crossed, right?

And the worst part is that it's not these players' fault – not really. Heck, it's not even a problem with D&D as a system. The problem is D&D's marketing-decreed position as a universal entry-level game means that neither the text nor the culture of play are ever allowed to admit that it might be a bad fit for any player, so total disengagement from the processes of play has to be framed as a personal preference and not a sign of basic incompatibility between the kind of game a player wants to be playing and the kind of game they're actually playing.

(Of course, from the GM's perspective, having even one player who expects you to do all the work represents a huge increase to the GM's workload, let alone a whole group full of them – but we can't admit that, either, so we're left with a culture of play whose received wisdom holds that it's just normal for GMs to be constantly riding the ragged edge of creative burnout. Fun!)

* Which, to be clear, is not a flaw in itself; a rules-heavy game ideally needs a mechanism for introducing its processes of play gradually.

[stele3]

I feel like. Part of the reason we're seeing hot takes like "video games like Stardew Valley are bourgeoisie and you should feel bad for playing them" and "if any actor in a TV show even hints at supporting any part of Israel then we need to boycott that entire show" and stuff like that is.

Online activism does virtually nothing. It does virtually nothing, guys. You can reblog and repost stuff all day and it does nothing. And so there's this desperate need in people's minds to Do Something, but social media platforms have so thoroughly trapped us into the idea that This Is How You Connect With People, that we think blogging = activism.

But nothing we've reblogged thus far has made a significant difference in the world. So we keep reblogging, desperately, convinced that if we root out the real evil in our media consumption or if we pare down our beliefs to the One True Ideal and force everyone around us to share that ideal, then finally Something Will Change For The Better.

Log off. Go give blood; there's a critical shortage right now. Help someone in your community; it might not fix wars that are thousands of miles away but it'll help that person. Call or email your local representative about issues that matter to you. Fucking vote. Do something in the not-online space. It'll matter more than 100 posts in a row about Important Things.

[hyperions-light]

Someone was being a fucking hater on my explicitly positive DATV post AGAIN (u all know I can see your tags right. They get delivered to me express mail style) so here’s an essay about how I thought the Grey Warden plotline was great:

First, it was extremely lore-consistent. I don’t know how to tell people this, but the Grey Wardens simply are sort of shady— it’s part of their charm. In DAO alone we found out they:

- kill anyone who refuses the joining

- are definitely using a blood magic ritual to induct people

- tried to usurp the throne of Fereldan

In DA2 they:

-Forced Malcolm Hawke to perform a blood magic ritual against his will to contain Corypheus, by threatening to kill his family

- Built a giant prison in the mountains they didn’t tell anyone about and that someone could wander into and not be able to escape

- the entire Corypheus thing. They didn’t even tell the other Wardens like what he was or how dangerous he was.

DAI:

- the demon army thing was pretty bad

And that’s not even mentioning any stuff from the books or comics or shows! That’s just stuff in the games!

So they’re shady. It’s okay! They’re my little woobie guys, idc if they’re sort of shady!

But the plot in DATV is about all of those previously established issues coming back to bite them in the fucking ass, as they should! Knock knock, it’s the consequences of your actions, baby! The chickens are home to roost

(Which is just good storytelling. Like if you set up a bunch of issues and then never pay them off or anything that’s bad.)

Destroying Weisshaupt was inspired! Firstly bc Davrin is Weisshaupt, metaphorically (bulwark against the darkness, etc, I already made a post) so it serves his character arc. But also because it strips away the pageantry and the grandeur from them; no more castle for you! No more myth!

Davrin explicitly tells you that the First Warden is a traditionalist; he represents the historical attitudes of the Wardens. They do not accept help, they do not give up their secrets, they are standing alone against the dark. And it doesn’t work! He’s fucking wrong (and very punch-able). Being secretive and isolationist is a mistake that costs them nearly everything.

But also, and I’m not sure how many people experienced this on the first go-around, the game does ultimately come down on the side of the Wardens always trying to do the right thing. You CAN talk the First Warden down, because in the end he’s a Warden, and he might be stubborn and curmudgeonly and miserable but he CARES about the world. He came to do good. He admits he was wrong and he helps you. Because the heart of the Wardens is about selfless service to other people. In Death, Sacrifice.

Stripping away Weisshaupt and the glory and pageantry leaves the Wardens at their most vulnerable and forces them to return to their fundamental principles: helping people. That’s what Lavendel is about. Helping individual people and preserving every life possible even if it doesn’t feel that glamorous or heroic. Lavendel isn’t a significant place; it doesn’t matter, but it matters so much.

And then, the Cauldron.

First off, do not at me about Last Flight. I don’t think people should have to read external materials to play this game and understand it. If the information is vital it should be presented to the player in the text.

The Cauldron is the repository of the Wardens’ secrets; it’s where the keep the bones of the Archdemons, the secret to the Joining, ancient and dangerous weapons, as well as the bodies of the griffons, which represents their most shameful errors. Isseya is the avatar of the Wardens’ mistakes; she’s been hurt by what they made her do, and her pain was never acknowledged by them. They buried her story and her suffering like they bury everything they don’t want to deal with and are ashamed of. They left the bones of the griffons, whose deaths they directly caused, to rot because they were too sad to acknowledge them.

But it was wrong to walk away, it was wrong to bury it. Isseya makes sure that they can never do that again, that they have to own what they did and take responsibility. By discovering who she is and by restoring her personhood to her, by reminding her of her love which drove her to her anguish in the first place, Davrin saves her and he saves the griffons. He doesn’t do it using violence, because another sin of the Wardens is just assuming that they can kill their way out of their problems, which the game disproves by revealing the origin of the Blight. You can kill as many darkspawn as you want, you will never fix it! The Titans’ dreams do not need to be slain, they need to be healed.

Isseya is in so much pain because of her incredible love for both the griffons and the Wardens, and because of her guilt. Look what she builds! An alternate Weisshaupt, a distorted reflection of her home. She entreats both Davrin and Assan to join her, because she doesn’t think she’s trying to destroy anything. She’s trying to save them! She wants them to come home. “I am their mother,” she says, and she’s right. She saved them, then, and she ends up saving them now! Because she made Davrin and the other Wardens look, unflinchingly, at what they had done, it will never happen again. She was going about it wrong during the game, but she was ALWAYS trying to save them.

Davrin, Antoine and Evka represent the Wardens’ commitment to being different. They let Flynn undergo the Joining without becoming a Warden, they reveal secrets to non-Warden Rook, they offer to help the Viper without asking for anything in return. They ask for help and offer it freely. If the Wardens are going to persist into a world without Archdemons, they HAVE to change. They can’t be what they were anymore. The game is asking what a Warden is when they have to be more than their oath, when they have to live. It’s a great exploration of and expansion on previously established lore.

Anyway, my advice if you hated the plot and the game and the characters is to a) make your own post b) don’t bother me about it, because I have the time and I will be loudly positive in response!

[inafieldofstarflowers]

I just re-read The Foxhole Court and for the first time I noticed the parallels between Wymack’s speech about Kevin’s time at the nest and THE Riko roast in book 2:

Wymack: “[Tetsuji] raised Kevin to be a star” // Neil: “Being raised as a superstar must’ve been really, really difficult for you”

Wymack: “Kevin isn’t human to them. He’s a project” // Neil: “Always a commodity, never a human being”

Wymack: “He put a lot of time and money into kevin’s development on the court. As far as Tetsuji is concerned, Kevin is valuable property. Any profit Kevin makes is rightfully the Moriyamas’” // Neil: “Not a single person in your family thinking you’re worth a damn off the court”

Wymack: “Kengo and Ichirou mostly keep to New York and couldn’t give a flying fuck what Tetsuji and Riko do” // Neil: “Kevin and I talk about your intricate and endless daddy issues all the time”

In my opinion, this is significant for two main reasons.

First, as Wymack says, “Kevin doesn’t talk about his time at Evermore,” so Neil didn’t get this information from HIM. This is part of why the “Kevin and I talk about your intricate and endless Daddy issues all the time” is so funny, because you know Kevin is sitting at that table losing his MIND at being implicated in this, but this speech means those claims are based on something.

Second, and I think more importantly, Neil is turning everything Wymack told him was true of Kevin onto Riko. On the Kathy Ferdinand show, Neil implies that Kevin is better than Riko, and that Riko knows it and is scared of it—“people are finally going to know which one of you is better. They’re going to know how premature [the facial tattoo] was.” In the Riko Roast (TM), he’s continuing to make that insinuation by basically saying “hey, all those things you think about Kevin? All that dehumanization? It’s true for you, too. Only Kevin got out and you’re still there, and we see that and talk shit because of it.” He’s not just knocking Riko down, he’s building Kevin up while he does it, because in this scenario, Kevin is one of the people on the outside seeing how pitiful Riko is, while Riko is just a guy everyone thinks is annoying, and who should just shut up.

[taliabhattwrites]

I don't think there is a significant or notable number of people who believe transmascs are not oppressed.

I feel slightly insane just having to type this out, but this is rhetoric you inevitably come across if you discuss transfeminism on Tumblr.

The mainstream, cissexist understanding of transmasculine people is the Irreversible Damage narrative (one that's old enough to show up in Transsexual Empire as well) of transmascs as "misguided little girls", "tricked" into "mutilating themselves". It is a deliberately emasculating and transphobic narrative that very explicitly centers on oppression, even if the fevered imaginings misattribute the cause. As anyone who's dealt with the gatekeeping medical establishment knows, they are far from giving away HRT or even consults with both hands, and most transfems I know have a hard enough time convincing people to take DIY T advice, leave alone "tricking" anyone into top surgery.

Arguably, the misogyny that transmasculine folks experience is the defining narrative surrounding their existence, as transmasculinity is frequently and erroneously attributed to "tomboyish women" who resent their position in the patriarchy so much they seek to transition out of it. This rhetoric is an invisiblization of transmasculinity, constructed deliberately to preserve gendered verticality, for if it were possible to "gain status" under the sexed regime, its entire basis, its ideological naturalization, would fall apart.

Honestly, the actual discussions I see are centered around whether "transmisogyny" is a term that should apply to transmascs and transfems alike. While I understand the impetus for that discussion, I feel like the assertion that transmisogyny is a specific oppression that transfems experience for our perceived abandonment of the "male sex" is often conflated with the incorrect idea that we believe transmasculine people are not oppressed at all. This is not true, and we understand, rather acutely, that our society is entirely organized around reproductive exploitation. That is, in fact, the source of transfeminine disposability!

I know I'm someone who "just got here" and there is a history here that I'm not a part of, but so much of that history is speckled with hearsay and fabrication that I can't even attempt to make sense of it. All I know is that I, in 2024, have been called a revived medieval slur for effeminate men by people who attribute certain beliefs to me based on my being a trans woman who is also a feminist, and I simply do not hold those views, nor do I know anyone who sincerely does.

If you're going to attempt to discredit a transfeminist, or transfeminism in general, then please at least do us the courtesy of responding to things we actually say and have actually argued instead of ascribing to us phantom ideologies in a frankly conspiratorial fashion. I also implore people to pay attention to how transphobic rhetoric operates out in the wider world, how actual reactionaries talk about and think of trans people, instead of fixating so hard on internecine social media clique drama that one enters an alternate reality--a phantasm, as Judith Butler would put it.

Speaking of which--do y'all have any idea how overrepresented transmascs are in trans studies and queer theory? Can we like, stop and reckon with reality-as-it-is, instead of hallucinating a transfeminine hegemony where it doesn't exist? I'm aware a lot of their output isn't particularly explicative on the material realities of transmasculine oppression despite their prominence in the academy, but that is ... not the fault of trans women, who face extremely harsh epistemic injustice even in trans studies.

The actual issue is how invisiblized transmasculine oppression is and how the epistemicide that transmasculine people face manifests as a refusal to differentiate between the misogyny all women face, reproductive exploitation in particular, and the contours of violence, erasure, and oppression directed at specifically transmasculine people.

You will notice that is a society-wide problem, motivated by a desire to erase the possibilities of transmasculinity, to the point of not even being willing to name it. You will notice that I am quite familiar with how this works, and how it's completely compatible with a materialist transfeminist framework that analyzes how our oppression is--while distinct--interlinked and stems from the same root.

I sincerely hope that whoever needs to see this post sees it, and that something productive--more productive dialogue, at least--can arise from it.

[slasherhaven]

Slashers with a significant other who is a cam girl and wants them to be in one of their videos? 💃

2 posts in 2 days who do I think I am? See ya'll in a year! /j

CW: NSFW

You do Cam Work and Ask the Slashers to be in your Videos:

Thomas Hewitt

Thomas is pretty conservative when it come to sex and such, but he's come around to your cam work, especially since you let him help with the details.

You like when he picks what you were or what scene you might do. You made Thomas feel like a part of it and that made him comfortable with it.

Still, he's very surprised when you ask if he wants to do a video with you. He refuses immediately and you respect that.

You ask again a while later but with more details. Like nobody would know who he was, you would keep his face out of the shot, and the two of you will do whatever he is comfortable with.

Your first video with him is of you riding him. His head isn't in the shot but the rest of his frame is. The size difference goes hard and your audience agrees.

Thomas is a flustered mess when you sit to read with comments with him. Everyone is talking about the new man in your video, gushing about how big he is and how attentive he is. Even with his size it seems your audience could sense his gentle soul, commenting on the chemistry you both have and how they would love to see him again!

Thanks to all the lovely comments, Thomas agrees to do another video even if he doesn't see himself putting his face on camera any time soon.

Michael Myers

Michael honestly does not care that you do cam work.

When you first ask him to be in a video, he pretty much ignores it.

But when you ask again some time later he doesn't see why not.

As long as his face isn't in the video or anything, you can film it, he doesn't really care.

The videos you make with him afterwards are pretty similar to your first video with him.

Usually you bent over while Michael fucks you to tears.

Michael is barely in the shot most of the time. Sometimes it just a close up on you, other times it includes Michael but only ever getting at high as his chest.

Everyone is obsessed with your mystery man. Where did he come from? What was that scar from? Can we see more of him please!!!

Jason Voorhees

We all know that Jason's comfort levels with sex is extremely low and it takes a while for him to become comfortable with physical intimacy. So cam work is certainly going to take some time for him to come around to.

And once he's become more comfortable with that, it's going to take a whole lot longer before he feels comfortable being in a video.

When he does decide to give it a go, he is a real hit!

He refuses to show his face on camera and you do whatever it takes to make sure he is as comfortable as possible.

Before Jason says you can use his name in videos and descriptions, your audience referred to him as 'the gentle giant', which is completely accurate!

No matter your usual content, Jason is nothing but gentle with you when he's in a video.

Brahms Heelshire

Watches your videos over and over again, he loves them. He'll watch you record them and watch them later once you've posted them. He can't get enough.

He's already got his pants off when you ask if he wants to be in one of your videos. You end up fucking even though you're not filming it.

He actually doesn't have much of a problem with having his face on camera. He's still a little insecure about his facial burns but you have alleviated most of that by this point.

And after the first video and he reads all those positive comments. Some are as horny for him as they are for you.

Fully embraces his new pornstar identity. He's insufferable.

He'll be in any video you want and your audience love watching you take care of your needy brat.

Bo Sinclair

Bo is in fully support of your work, it brings some money in and he gets to watch your videos. Even if his possessiveness still often gets the better of him. Whenever he reads comments of people praising you, Bo has an insatiable need to bend you over something just to prove a point.

Gets all cocky and arrogant when you ask if he wants to be in a video.

Needless to say, he agrees to do it.

And he takes to it pretty easily. He knows how to get all of his favourite reactions from you, how to get you pleading and begging for him, and he wants everyone watching to know.

Bo is arrogant and always smirking when the camera is on but it performs well.

He likes to how the camera and film himself entering you. He really does have a terrible ego.

Vincent Sinclair

It gets Vincent flustered, he could admit that, but he appreciates the artistic side of it all. It takes more effort and consideration than one might think!

He likes helping you get ready for a video and taking care of you afterwards.

He's hesitant when you first ask if he wants to be in a video. A part of him wants to do it with you but he's not confident enough in himself.

But he loves making you feel good and at this point he knows he's good at it, so he gives it a try. You can film them without posting them after all, like practise runs.

He may never show his face but he doesn't mind having his body on camera. Sometimes he even just hides his face with his hair instead of keeping his head out of the shot completely.

On Vincent's more self-conscious days, he'll film close ups of him fingering you instead.

He's very good with his hands and your audience agrees. They are very jealous of you.

Lester Sinclair

Lester is pretty neutral on your work, but of course he absolutely loves your videos.

He's mostly just surprised and flustered when you first ask if he wants to be in one of your videos. He thinks you're perfect so he understands why people would want to watch you, but he doesn't really see why people would want to watch him.

But he still agrees to it because he's your biggest supporter!!!

Your audience love the chemistry and intimacy between you both, leaving comments about how real your videos feel.

The videos that perform best are usually the ones where the two of you forgot you were even filming, just giggling together and enjoying each other. Lester gets all nervous and shy when the camera turns on, which is adorable, but forgetting that the camera is there really does help him perform better, the sweetheart.

Your audience love your more thought out and planned videos but appreciate the occasional more relaxed video with your sweet boyfriend.

Bubba Sawyer

Super flustered by your work but he's supportive.

Is super surprised and nervous when you ask if he wants to be in a video.

He agrees to give it a try once you explain that you can always delete it and nobody has to see it if he changes his mind or doesn't like it.

Bubba is just a big sweetie really, and you know just how to turn him into a squirming, blubbering mess.

And your audience love to watch you do it!

In later video's you do, you use the viewers' comments to fluster him even further. Using all the kindest and sweetest comments that say how lovely he is .

Come on, Bubs, they love you, they're being so nice. Why don't you say thank you?

Billy Lenz

Billy loves watching your videos and when you ask if he wants to be in a video with you, he is so excited!

He's completely down to make some home videos but he's a little unsure about putting it online for other people to see.

So you make it so his face isn't visible and let him watch the final edit before uploading it. He thinks it's so hot, he can't say no.

Honestly, you could do really well with just audios alone though. People will go wild for it. Billy unable to keep his mouth shut, all those desperate moans and whines and noises, the sticky wet slapping of skin. Honestly, a video element is just a bonus at this point.

And who gets off to the video the most? Billy obviously!

Asa Emory (The Collector)

Asa monitors your accounts anyway, even if you don't know it. He wants to know what you're posting and how people are responding. Don't want any bullies or trolls, right?

He's probably tried to manipulate you into suggesting it anyway.

He doesn't have much of a problem with your cam work, he's just a possessive bastard and would love to claim you in front of your entire audience.

The mask stays on!

Okay, he designs a new mask to avoid any chance of self criminalisation but whatever.

You two can make it big in BDSM communities.

Ties you up, blindfolds you, gags you. Whatever he feels like, but often seems to focus the camera on your reactions rather than on what he is doing to you. Studying his favourite little specimen.

Your audience already adored you of course, but they also love this new Dom you brought it.

There is no doubt as to who you belong to now.

Jesse Cromeans (Chromeskull)

Obviously Jesse has no problem with being on camera and he already has a pretty big ego, so he'll probably even wear the Chromeskull mask. It's his signature whether it's for his snuff films or your cam work.

Like Asa, you do absolute numbers in the BDSM community. Everyone is very pleased with his fully suited up, masked Dom that you brought in.

He already has his Chromeskull persona all fleshed out so he just brings that energy to your videos.

He's a sadistic Dom and you might have to upload an Aftercare video at some point just to reassure your more loyal audience that you're alright and always well taken care of afterwards.

Otis Driftwood

Is obviously a fan of your videos and isn't going to stop you from making them. You aren't actually fucking anyone else, so he's cool with it. And if he feels particularly jealous or possessive at some point, he knows he's the only one who can actually pin you down and have his way with you.

Oh yeah, he's down to make a few videos with you. He's probably got some old tapes of his own somewhere, long forgotten. He's not shy.

Says the filthiest shit, it kinda becomes his think on your platform.

Otis can be absolutely disgusting but, fortunately, there is an audience for that and they flood to your videos.

Calls you all sorts of names, asks you if you get off on knowing everyone is going to watch him fuck you. That everyone is going to see all the things you let him do to you.

Baby Firefly

Baby loves that you do cam work, she loves performing. She happily does your hair and makeup, she helps you pick out costumes and which toys you'll use in that video.

Hell, she's even filmed a video or two for you!

She's your number one supporter so of course she jumps on camera as soon as you ask if she wants to be in a video.

The two of you are all dolled up and she's magnetic, the audience love her as much as they love you.

The two of you are absolute menaces if you decide to do a livestream, pulling in huge donations because Baby is going to pout and taunt. Why should the two of you put on a show if they're not showing their appreciation properly?

Baby is the type to respond to very low donations with "it's alright, you can just say you're poor". She never promised to play nice and she just thinks you're worth more than that!!!

You end up apologising for her.

People are into it though.

Yautja (Predator)

Your mate doesn't quite get it but he's cool with it.

Is hard as soon as you ask if he wants to be in a video. Yautja's aren't very conservative or prudish when it comes to sex and nudity, so you weren't too surprised.

He loves the thought of taking you, of claiming you, and everyone knowing that you're his mate. That he's a worthy mate for you.

Even when he's a regular feature in your videos, he doesn't completely understand it, he just knows he's into it.

Everyone loves to watch you try to take him fully, the struggle, the determination, the satisfaction when you manage it.

You have cornered the Monster Fucker market. They don't know if it's real, if it's a very elaborate costume, or very realistic animation, either way they are eating it up.

All the other performers who use alien dildos and such are super jealous, obviously.

[gossippool]

hi welcome back to leanne rewatches deadpool & wolverine and goes insane about every single detail in this movie. in this edition: how logan's clothes reflect the trajectory of his character

1. the suit—inside

so we start off with the scene in the bar where logan appears to be wearing what we're used to seeing him wear. flannels, leather jackets. his outfit and even the setting is not at all unfamiliar for him. but, as we later find out, he was wearing the suit underneath all those layers the whole time.

during his talk with laura, he reveals that he wears the suit to remember those he'd lost, and as a reminder of what he'd done. he's had the suit on permanently for god knows how long, hidden under his clothes. at this point he bears the suit like a cross, suffering in silence under the guise of normalcy, yet sacrificing what's left of his identity by reducing himself to what the suit represents; by taking all the jabs and nasty looks people throw at him that he thinks he's too deserving of to combat.

2. the suit—outside

after wade pulls him out, he has the suit on display for quite a while. on one hand, it shows the fight that's in him now as a contrast to his passivity in his own world. on the other hand, it's also a sort of vulnerability: what that suit stands for and by extension what he himself is is now laid bare to the world. out in the open for people to question. maybe that fight that's in him now stems precisely from this vulnerability.

this vulnerability is both good and bad for him: it causes him to lash out at the questions from wade that he's not ready to answer. it also leads him to open up to laura and finally speak about what happened—who knows if he's ever said any of it out loud before. fun! even with just the suit, we're already seeing some development.

and THIS is where it gets interesting.

3. the white shirt—his mind

the first time we truly see him without the suit is when cassandra nova looks into his mind. i've been going back and forth on whether this is logan's own manifestation of himself or if it's cassandra's, and i still don't know. i think the distinction does matter, but in the end what it conveys is the same.

firstly, another layer of vulnerability again. he's already on his knees for cassandra, submissive—now in his mind he's also stripped as bare as he can be (i think we all know white shirts can sometimes leave little to the imagination). cassandra looks at him and says "you're hiding ... from all the ones you let down." how interesting is that?? if we go all the way back to the first scene, he hides his suit under normal clothes. and he hides this version of him in his mind even further underneath all of that.

secondly and as an extension of that point, white symbolises purity. cleanliness. even a promise of new beginnings. let's tackle this from the two possible perspectives.

if this is logan's manifestation of himself, it would be so intriguing that this is how he appears. maybe it means that despite it all, there's some good in him. maybe it means that deep, deep down, past all the shame and the guilt and the grief, there's still a part of his mind where he can just be.

on the other hand, the white could also symbolise a second chance—like i said, a promise of new beginnings. i made a post about this scene here, but the basic point is that cassandra is offering him something that no one else may ever be able to offer him. a chance to fully be himself, to silence the voices. the white is such a stunning visual representation of what she is saying logan could be if he stays with her. which makes it even more poignant that he doesn't.

4. the time ripper

after this scene, he's in the suit again, necessarily. but then! BUT THEN!!!!! the time ripper!!! y'all need to understand the significance of this scene in all its nuances FR! here you can look at his abs again:

but the thing is we know by now what the suit represents. all his failures, all his guilt, his inability to let go of his past. it represents him. isn't it just so fitting that it's at this point where he saves the fucking world that the suit breaks away. it breaks away from him. he's free. this not the same as him just taking it off, because with it breaking into pieces he literally cannot wear it anymore. this is not just a hugh jackman body appreciation, this is logan finally moving on. this is him realising that he is not a failure, that he is not his failures, that he has something else to live for.

5. him

and oh my god, we finally make it to the extremely satisfying ending. after all of that, we finally come full circle. he's in his normal clothes again, the wife beater and the flannel, except this time without anything underneath. he's no longer defined by that one incident, defined by his mistakes and the people he let down. he is just him.

[madlori]

On Tommy Kinard

"It's not that I don't like Buck and Tommy, it's just happening so fast, he's underdeveloped!"

*clears throat*

Here is a recap of what we know about Tommy. And this is just off the top of my head, I didn't rewatch anything.

He was closeted at the 118 before and found the atmosphere repressive. He (probably) acted like a dick to fit in. When presented with the chance to make things better, he took it, and developed positive relationships with Hen, Chim and Bobby.

He was in the army and trained there as a pilot.

He knows Muay Thai and has a set up in his house.

He likes to work on cars and has a lift at his house (where TF does he live is my question - he has some nerve being agog at Buck's loft if he has a muay thai gym and a car lift)

He is down for violating departmental policy at the drop of a hat (has done so on at least two occasions) to help a friend and has no problems fucking with the fire chief.

He is a nerd. He likes pub trivia and has incorrect Star Wars opinions, and can keep up with Chim in the movie-quoting department.

His favorite movie is "Love, Actually" and he likes craft beer and monster trucks.

He came out when he transferred to Harbor and felt comfortable enough to stop lying about who he was.

He follows MMA and has friends in Vegas who like him well enough to hook him up to a frankly insane degree.

He'll risk his own life and engage in helicopter skulduggery to save people he doesn't know...I mean, apart from doing that for a living.

He'll take time out of his day to give a tour to the cute boy who called him up and offer to give that boy flying lessons (a significant time investment) which was probably maybe about more one on one time with said boy.

He yearns for the belonging and found family that the 118 became after his departure and probably befriended Eddie hoping to earn a plate at the cookout, aside from just clicking with him.

He likes Eddie and Chris a lot and they like him. Chimney also likes him.

He was attracted to Buck right away and was emotionally aware enough to pick up on Buck's jealous feelings over Eddie and his friendship, even if he was surprised that it was him Buck wanted to get to know.

He respects and values Buck and Eddie's friendship and wanted to make sure Buck knew that.

He's brave enough to shoot his shot by planting one on a dude.

He's a lil bitchy but also generous and ready to throw in with this insane guy who's inviting him to a family wedding after 0.5 dates.

He showed up to a bachelor party when he was on call because Buck asked him to, then showed up in turnouts after fighting a fire for like 12 hours yadda yadda we all know this part.

He has got it BAD for one Evan Buckley, who he only calls "Evan" which according to LFJR is a conscious decision by the writers, which fascinates me.

He was willing to take a chance with a man just discovering his sexuality BUT wasn't willing to put himself through that if the man in question wasn't ready for it. When Buck showed him that he was, he was all in.

He does NOT take his coffee like that.

Oh and

He's a beast.

This is VASTLY more information than we knew about ANY of Buck's previous girlfriends with the possible exception of Abby. Even Taylor did not get this much development over 20 episodes (things we knew about her: she was an ambitious and ethically flexible reporter, did not eat fudge, had a dad in jail, and sometimes jogged for exercise, she was capable of being nice and did love Buck, I believe). And as for it being fast? Sometimes it just be like that? A relationship doesn't have to have year(s) of buildup. Sometimes people do just meet, like each other, and start dating, in fact in the real world that's usually what happens. It's in TV Land that you have to have eighteen seasons of UST before pulling the trigger. Most of the time in reality people just vibe off each other and decide to go out and THEN they learn about each other.

And they've got a great start. You'd think they'd barely spoken by how a few naysayers are talking about it - the loft scene was like a solid five minutes of very open conversation, the Cringe Date seemed to have gone well and again, open and honest (if cringey) conversation before Cockblocker Eddie showed up, and the coffee meetup was again....open and honest conversation. They're not gonna show us long scenes of them exchanging firefighting stories and workout preferences (I mean, I'd watch that, but it's not what the show is about).

In conclusion, anyone saying he's poorly developed or the relationship is "out of nowhere" either is being willfully obtuse or has ridiculously unrealistic expectations for relationships and/or what constitutes character development.

As for whether they have chemistry, that's a matter of subjective opinion. Given that a TON of people watched that harbor tour scene (even when it was posted as a sneak peek) and started going "wait...what's going on here...are they flirting??" might be a clue. People were talking about Bi!Buck maybe happening with Tommy based solely off that clip of the harbor tour and what they were seeing between them. And imho that loft scene was crackling. But we all see things through the lenses of our biases, myself included.

Got that off my chest, whew.

[zaczenemiji]

Hi there! It's me...again. Hope your doing okay.

I was thinking about a new request about Kenji Sato x Fem! Reader based on the song "Please, Please, Please" from Sabrina Carpenter. Reader is a singer just like her so and has a relationship with Ken but she thinks that some things aren't doing good, but she also has him wrapped around her finger. Like the part with "I beg you, don't embarrass me, mother******". It can be angst but also fluffy and spice (Only if you want to but no smut) It can end in a happy ending.

The rest is up to you because I know you'll do a great job. No need to rush so take your time.

Don’t Prove ‘Em Right

Kenji Sato x Singer!Reader

Word Count: 1,358

Genre/Warnings: Angst (light), Character Development, Drama, Emotional, Redemption

Author’s Note: I went with a bit of angst 🤧

MASTERLIST

“You could do better.”

This was one thing you’ve always heard since you started dating men as a singer. Throughout your career, you were either cheated on, abandoned, or used in a way that they just rode your fame.

Other times, fans would ship you with another singer or celebrity or whoever famous and you’d give it a try for them but the ending is the always same: you two were just pretending for public entertainment and there was never love at all.

Your perception of love blurred the longer you got in the singing industry. You sang about it, wrote songs about it, but you’ve never really experienced it for a significant amount of time or for a significant depth.

That was until you met Kenji.

Despite his fame, he seemed down-to-earth and genuinely interested in getting to know you. He took you to his baseball games and introduced you to his teammates. In return, you invited him to your recording sessions.

Kenji was always supportive, and always encouraging. He seemed genuinely proud of your achievements and was always there for you. Despite his busy schedule, he shows up at your gigs and concerts and cheers you on from the front row.

He had a way of making you feel special like you were the most important person in his world. It was easy to overlook the occasional outbursts, the moments of impulsiveness that seemed to come with his fiery temperament.

You told yourself that everyone had flaws, and Kenji's good qualities far outweighed his bad ones.

You believed in him and in the future you could build together. Despite the red lights and the stop signs, you held on to the belief that this time, this love was right.

But as time went on, the cracks in Kenji's facade began to show. His temper flared more frequently, and his impulsive decisions started to take a toll on your relationship.

You made excuses for him and justified his actions to your friends and family. You told them he’s different.

But they told you that with the way he’s behaving, you’ll just end up in the dumps again—that he’s going to cheat on you, hurt you, leave you, and the ending will be the same…

“You could do better.”

Heartbreak is one thing, but your ego is another. You couldn’t afford your name dominating the headlines again. And for what reason? Another breakup.

You loved him deeply, but the constant cycle of highs and lows was exhausting. You wanted to believe that he could change, that he could be the man you fell in love with.

But the more you tried to fix things, the more you realized that some things were beyond your control.

You sat in front of your vanity doing your makeup nicely. You glanced at the clock. Kenji would be here any minute to pick you up now. Tonight is your big night. It’s an afterparty to celebrate the release of your new single.

Your boyfriend had a reputation for causing a scene. It wasn't entirely his fault—he was passionate but it sometimes translated into impulsiveness. Tonight, of all nights, you needed him to be on his best behavior.

As if on cue, the doorbell rang. Kenji stood there, looking dashing in a tailored suit, a grin spreading across his face as he saw you.

"Wow, you look stunning," he said, pulling you in for a quick kiss.

"Thanks," you replied, forcing a smile. "You sure you wanna come?"

"Of course," he replied with a confidence that both reassured and worried you. “I’m always here for you.”

You arrived at the venue in no time. Celebrities, reporters, and fans filled the room, all eager to celebrate your success. You and Kenji mingled with the crowd, exchanging pleasantries and accepting congratulations.

But as the night went on, Kenji's behavior started to shift. The drinks were flowing, and while you had stuck to soda water, Kenji had not.

You watched with growing anxiety as he laughed a little too loudly, and gestured a little too wildly. The conversations around you started to feel like a backdrop to a ticking time bomb.

You pulled him aside. "Kenji, please," you whispered urgently. "Just... take it easy, okay?"

He frowned, a mix of confusion and irritation crossing his features. "What? I'm just having a good time."

"I know," you said, forcing another smile. “Just... for me, okay?"

He sighed but nodded and for a while, it seemed like he was keeping his promise. He stuck by your side, an arm around your waist, engaging in polite conversation with your friends and family.

However, you left him one moment and then the next, he was talking to one of the reporters. The latter walked away, a smirk on his face. Kenji turned to you, his face flushed with anger.

"Can you believe that guy?" he spat. "He had the nerve to ask about the last game. Said I sucked."

"Kenji," you said softly, trying to calm him down. You placed your hand on his chest. "It's not worth it."

"But—"

"Please, Kenji. Just... let it go."

He looked at you, the anger in his eyes slowly fading. He took a deep breath and nodded. "For you," he said quietly.

But the reprieve was short-lived. You caught sight of him at the bar, raising his voice at someone who had apparently made a snide comment.

The situation escalated quickly, and before you knew it, Kenji had thrown a punch, causing a commotion that drew everyone's attention.

Your heart sank as security rushed in to break up the fight. You could feel all eyes on you, whispers spreading through the crowd.

You felt a sense of dejà vu as this wasn't the first time Kenji let his emotions get the best of him, and you were able to hold it together as you’ve always done, but then you heard the one thing you hated.

“She could’ve done better.”

Without a word, you grabbed your things and stormed out of the venue, the tears you had been holding back finally spilling over.

Not long after, Kenji arrived at your house, disheveled and remorseful. "(Y/n), I'm so sorry," he began, reaching out to you. "I didn't mean to ruin everything."

You stepped back, keeping a distance between you. "Kenji, this can't keep happening. You promised me you would behave tonight!” You said in between sobs. “This was supposed to be my night, and you turned it into a disaster.”

You sat on your couch, your legs feeling too tired to keep you up. "I can't keep making excuses for you,” you continued. “I can't keep sacrificing my career for your mistakes."

Kenji fell silent, his shoulders slumping in defeat. He’s scared. He knew what those words meant. At that moment, he felt like the sky was crashing on him.

"I don't want to lose you, (y/n)," he said quietly, tears falling down. "I love you, and I know I've been screwing up. But I'm willing to do everything to make things right. Therapy, anger management, whatever it takes."

You stared at him, your heart aching with a mix of love and doubt. "Kenji, this isn't just about tonight,” you said. “This has been happening for a while now.“

“Please, (y/n),” he begged, his voice trembling as he knelt in front of you, embracing your legs as he rested his head on your lap. “I want to be the man you deserve. Please, give me one more chance."

Over the next few weeks, Kenji followed through on his promise. He made genuine efforts to address his issues.

He went out of his way to apologize to your friends and family for his behavior at the party, taking full responsibility for his actions.

Slowly but surely, he’s coming back to being the man you fell in love with. He made sure you wouldn’t be the one doing better because he was becoming better himself.

One afternoon, you had lunch with your friends. They asked about how things are now going between you and Kenji. You gave them a smile, a genuine one since after the party.

“He became better.”

Taglist is open! Comment if u wanna be tagged on future Kenji oneshots

@flowerloves @eternallyvenus @puppyminnnie @wattpadsuckssohard @sakura-onesan @reggies-eyeliner @buggs-1 @miffysoo @spencerrxids @stupidbutsmart @marimargirlies @mixvchelle

[ozzgin]

Its been 6 months😭😭 pleaasseeee make a part 2 of the android x human story im beggingggg😭

-H❤️

Yandere! Android x Reader (II)

Featuring your assigned android partner who is not as devoid of humanity as you originally thought.

Content: female reader, AI yandere, mildly NSFW, based on Caves of Steel

[Part 1] | [More original works]

The case had been solved.

Not only that, but you'd managed to prove that human officers were just as efficient as their robot counterparts. The Commissioner was beyond ecstatic, pacing back and forth in his office and finding new ways to praise your detective skills.

"That'll show those Spacers. They think some glorified tin box can match our skill?"

You frowned at his words and glanced to your side, where the android was sitting. He observed the Commissioner with the same polite smile, no hint of disagreement on his features. Was he not insulted? You questioned him once the formal meeting had finished.

"I have no reason to be offended, (Y/N). It is a personal opinion, and thus I have no control over it."

"So you don't mind people disliking robots to such an extent?"

He pondered your statement.

"I would certainly be upset if it was you who harbored the disdain. The beliefs of other humans hold no meaning to me otherwise."

You couldn't tell if he said it out of politeness, or if he actually meant it. Most likely the former, in order to part on good terms. After all, your partnership has reached its completion. He'd return to the Spacer Colony with his report on human customs, and you'd go back to your regular job.

Except he never left. Days later, he was still sipping on his morning coffee, lounging at your table. You fiddled with your cup in contemplation. Was there anything else left to do?

"When are you leaving, actually?"

The pale man raised his eyebrows in mild surprise.

"Is my presence here of such significant disturbance?"

"What? No!" you swiftly exclaimed, stumbling on your words. His lips widened in yet another cheeky grin. He was teasing you again.

"My assignment on Earth is done, thus I should have returned to the Colony already. That's what you're wondering about, yes? I am awaiting a response from my superiors."

"Whether you can go back?"

"No, whether my transfer has been accepted. I have applied to be your permanent partner."

You could feel your cheeks burning with heat. Was it that obvious to the synthetic that you enjoyed his company? Then again, he wouldn't have gone through such motions just for your sake.

"Why did you..." you probed sheepishly. There was no logical reason for him to keep working in a poorer, less advanced environment.

"Because I want to continue spending time with you."

Nonsense. An artificial being wouldn't make its decision based on such mundane, emotional reasons.

"I don't believe you."

"I understand. It is a faulty answer to come out of a machine. Though unlike common AI assistants, we have been invested with the capacity to develop likes and dislikes. Interests. Wants. It helps with variety and individualization."

"And you want to stay here? If I didn't know you any better, I'd say you have a crush on me or something", you attempted to joke.

A few moments of uncomfortable silence. Had you gone too far with your humor? Was it too cliché of a sentence? You turned away, tucking some strands of hair behind your ear. You just had to be witty, huh?

"I'm afraid I do not know what to tell you, (Y/N)."

"You don't need to say anything, it was a poor choice of-"

"Many social aspects have been implemented into my behavioral network. Workplace rapport, friendships, intimate relationships. What seems to be lacking is the transition from one to another. I know how to act as a romantic partner, but how does one achieve such a title in the first place?"

You gazed at him, incredulous. What was he trying to say?

"I am trying to convey that I am indeed infatuated with you. Which, then, makes my initial explanation dishonest: while I do appreciate our fruitful work cooperation, it is not a main reason for my decision. I hope this clears up any misunderstandings."

You'd never been a romantic. You sometimes flipped through sample pages of contemporary romance books at stores and community centers, but they always felt forcefully cheesy. Predictable. Consequently, you never had any grand dreams of passionate confessions under the rain.

On the other hand, you also didn't expect to be asked out in such a mechanical, calculated manner. Or that a machine would be the suitor. Yet there was something charming about his approach. For the first time since meeting him at the border, you saw him struggle. There was something human-like in his uncertainty.

You stood up from the table, and walked towards the android. Then, you placed a reassuring hand on his shoulder, expressing the mutual feeling and understanding.

His eyes bore an eerie glint to them. It was most kind of you to offer a common ground, but he knew better. The affections you held for him were, with utmost certainty, a mere fraction of whatever overwhelmed him from the moment he encountered you. Limerence, obsession, compulsion, there were many definitions that aptly described his otherwise unexplainable desires towards you. Even more unexplainable was the fact they'd evolved from a blank slate, a programmed agent with no previous knowledge on feelings or humans.

You noticed his hesitation.

"Is there anything else troubling you presently?" you nudged.

Nothing of immediate urgency. Well, not for you, at least. The android remained thoughtful. What were the variables which needed to be met in order to initiate a sexual encounter? Would it have been inappropriate for him to suggest intercourse straight after this conversation? To him, it was a natural escalation he'd considered many times in the past. To you, it could've come as a sudden, crass, and hurried proposal.

He reached for your wrist and discreetly pressed a thumb against your skin. Judging from your resting heart rate, facial expression, and localized temperature, there was a fair chance you wouldn't reject his advances. Once the statistical risk had been assessed, he pulled you in for a kiss.

"Would it be possible to continue this in your bedroom?" he inquired, standing up.

"Alright, just don't...ask for approval for every single step" you retorted. You'd rather not become a narrator of your own pounding.

You open your eyes with a squint, greeted by unexpected natural light flooding your bedroom. Someone must’ve lifted the hologram blinds.

“My apologies, I hadn’t considered the discomfort it would cause you. My Spacer colony uses artificial lightning, though I am becoming rather fond of the natural sun rays here.”

Your android partner is meticulously preparing his outfit for the day. Judging by the stark nakedness and the glistening skin, you suppose he’s had a shower while you were still sleeping. You involuntarily furrow your brows and blush at the sight. He notices your embarrassment. 

“A most surprising reaction. You have seen the very same genital organ…”, he says as he quickly checks his wristwatch, “...precisely eight hours and forty-five minutes ago.”

“It’s just…most people get dressed once they start doing other things. I also wear a towel for coverage when I come out of the shower.”

He processes your words.

“Hmmm. Illogical, but it explains your reaction.”

You stand up and stretch with a prolonged yawn. Suddenly, a revelation hits you: your mind flashes with images of the android fondling your body, your ears ring with the shameless moans you’ve let out throughout the night. Your face turns pale.

“Listen, when is your next functional inspection?” you ask, without waiting for the synthetic to answer. “Will they, uh…will they have access to all of your memories?”

You know that the android permanently records all data and saves it into a memory unit. It’s a pointless fear, of course. The Spacers couldn’t care less about irrelevant details. If the intended tasks are fulfilled, what happens on the side is out of their concern. Yet you don’t exactly appreciate the possibility of your personal deeds airing like this, before the eyes of multiple engineers. 

“You may rest assured, whatever involves your privacy will not be included in the examination.”

“Do you get to decide what is checked and what isn’t?”

“No, most data is sampled randomly.”

You stare at him, confused.

“Then how-”

“It is not common practice, nor encouraged by our code of ethics. I can, however, choose which information is available to begin with.”

“What? I thought you’re fully controlled by whoever created you. If they so desired, couldn’t they open you up and take whatever they require?”

The robot smiles at your assumption and takes a few steps towards you.

“Once an android model is finished, one can no longer modify the processor. Not without compromising everything else with it. It is not a device to be deconstructed, (Y/N).” He taps his temple, then continues: “I am a biocomputer. While most of my parts are mechanical, my processor is a cortical organoid developed in a laboratory. A human brain, if you will.”

Somehow, the discovery fills you with dread. A living organ, encapsulated within a machine. What does that say about consciousness? About self-awareness? The Spacers didn't just tinker with metal scraps and smart computers. They artificially birthed life.

You were always under the impression that your robot companion is closer to the computer you have on your desk. Billions of lines of code within a black box, which then lead to spontaneous, novel interactions with the outside world. To think that at the very core of his functions lies a clump of living cells...

Perhaps you weren't so different, after all. The line between machines and humans is suddenly blurred.