#but it sucks so bad because I always know that it just means in a month or so I’ll hate them

[infiniteglitterfall]

Not to, you know, point out yet again that you Hamas stans don't give a fuck about Palestinians, but....

The chasm between what Gazan activists say about Hamas and October 7, and what Western leftists and Hamas say, is absolutely fucking horrifying.

All of this below is from just one Gazan activist who's been repeatedly tortured, by Hamas, for fighting for his own human rights.

As expected, Hamas began executing Gazans the moment the ceasefire deal was reached, accusing them of "working with the occupation." Just today, they executed 10 Gazans, and they promised to do more in the coming days.

This isn’t a novel tactic; it’s an age-old strategy employed by Hamas to silence critics and instil fear among citizens who oppose their rule. I would greatly welcome a position from the pro-Palestinian movement advocating for pressure on Hamas to end its ongoing oppression of the people in Gaza.

For those who support Hamas and express admiration for the organization in light of the recent ceasefire announcement, it is vital to recognize that in Gaza, tens of thousands of innocent civilians are experiencing profound suffering, while Hamas seems largely unconcerned with their plight. They chose to prioritize sending their terrorists abroad for treatment, insisting that each fighter be accompanied by three family members.

What about the numerous Gazans who were shot and tortured by Hamas throughout the war? Shouldn't they be given the opportunity to receive medical treatment abroad?

You know what would help the Palestinians in Gaza? Condemning Hamas' atrocities. Instead, the protesters routinely chant their desire to "Globalize the Intifada." Apparently they do not realize that the Intifadas were disastrous for both Palestinians and Israelis, just as October 7 has been devastating for the people of Gaza.

They should be speaking up for the innocent victims of Hamas—both Palestinian and Israeli. Instead, they endorse Hamas's ideology with posters announcing resistance "by any means necessary" and chants of "from the river to the sea," effectively glorifying the Al-Qassam brigades, Hamas' military wing, whose ideology is entirely based on the elimination of more than 6 million Israelis from the land.

I really, really try to be polite and explain things most of the time.

But after watching "pro-Palestinians" spend the entire war actively helping silence Gazans and making things worse for them, through pure Hamas-worshipping violent tankie revenge fantasies...

I'm just going to indulge myself in one do better, shithead.

“elon musk did the nazi salute, remember to check on your jewish friends uwu” you all celebrated when jihadi terrorists live-streamed the torture, kidnapping and murdering of israelis on 10/7/2023 but ok

[genderqueerdykes]

genuinely why do you believe in this transandrophobia bs. it’s MRA for trans people. We are affected by transphobia but misandry and "androphobia" aren’t real. We are not oppressed as a result of being men. plus most transandrobros always speak over transfems. - a tired transmasc

because it's real and i've faced it. friend, you do not need to hate yourself that bad. you do not have to self flagellate and pretend you do not experience a specific type of transphobia. you have been persuaded by rad fem pilled people to hate yourself and deny that you suffer a specific form of oppression. transandrophobia does exist, and pretending it doesn't for the approval of rad fems won't make you any safer or enjoy your trans manhood.

you're hurting other trans mascs & men by saying the oppression they face isn't real. reducing it to "just transphobia" is denying that those people are specifically being targeted because they are TRANS MEN and nothing else. you are hurting your trans brothers and siblings when you say this. you're hurting YOURSELF to say this. please be kinder to yourself. please stop telling yourself that what you're going through isn't real. you're not helping anyone except conservatives to deny that trans men & mascs face specific forms of oppression

i know you're tired, but sucking up to rad fems will not make your life as a transmasc easier. denying that you face a specific type of oppression is not only hurting you, but every other trans man and transmasc around you. if you care about other transmascs and trans men, stop denying their pain and suffering and telling them how to phrase it. you are legitimately hurting other people when you say this, why do you not care?

you do not care anywhere near as much about yourself and other trans men as you think you do, especially if you say "transandrobros". if you view other transmascs standing up for themselves as being "transandrobros", you really do not respect yourself or transmasculinity at all. and no, "most" trans men are not horrible to trans women. "most" trans men do not talk over trans women. trans men talking about their issues is not "talking over" trans women. please upgrade your opinion on other transmascs. you have a TON of internalized transandrophobia to get past. being a transmasc does not mean that you do not harbor internalized transandrophobia. because you clearly do as of right now.

hating transmascs and denying what we go through doesn't make transfems and trans women like you more, just so you're painfully aware of this. this kissing up to transfems and trans women by throwing transmascs and trans men under the bus is so old and tired. you're not getting transfem brownie points by being transandrophobic. all you're doing is hurting other people.

you don't have to self flagellate and pretend you don't have a specific struggle for the approval of people who are not transmascs or trans men. you're holding yourself and all of your siblings back. i'm a proud trans men's rights activist. we're something that's needed. we are not magically cis men who face no oppression after coming out as trans men. be kinder to yourself. this behavior is hurting trans men and sucking up to rad fems at the same time. why do you WANT to throw other transmascs under the bus? why do you WANT to shit talk other transmascs? it doesn't make transfems like you more.

i'm sorry you've been brainwashed into thinking that ALL mascs and men are inherently dangerous predators that can never be oppressed, but it's just not true. do better for yourself. do better for your siblings. do better for your family. kissing up to trans rad fems will not make them like you more. they're just using you as a tool to spread their propaganda. this is conservative behavior, and you're just plain wrong if you pretend that transandrophobia doesn't exist. being smug doesn't make you right.

[godhandler]

Tokyo Day 

| s. geto x reader, mentions of n. zenin x reader, infidelity, angst, fluff ending, geto is an unstable maniac in love as he was created to be, porn with serious plot, 2k words, part 4 | FIN.

previous series masterlist

“A younger you would’ve spat in your face if she saw you now.”

The plates stacked neatly outside your suite door, you and Suguru sit in the tub, him scrubbing your back. Warm lavender-scented water lap at your natural nakedness. The designer of this Modern Japanese suite must have been anything but Japanese, you muse. Why else would they set the ¥ 142,500 bathroom walls to mimic cheap public baths? 

These two things are polar apart. They could never be the same. One holds dignity, pride, excellence, and the other is like you. 

You wonder what Suguru means by his words. No question, you were beaten down by life. White ashes, leftovers of the blazing hurricane you were a decade ago. Was that the crime your former self would detest you for? It wasn’t like you planned to lose yourself, it just happened because that’s how life played out. 

You imagine a freckle-faced 15 year old questioning you– Why don’t you get a sorcerer job and become independent? 

Naobito would never let you see your son again then. 

Then why did you even have a kid?

It wasn’t your choice. Naobito wanted a kid. 

Why did you marry that jackass? 

Mom needed money and you couldn’t get a job. 

She’d just be confused, you think. You used to get so mad when adults told you things like – ‘oh you’re too young, you won’t get it’, but now you think they were right. To some degree. You’d understand, sure. But you hadn’t suffered enough to empathise. 

Why don’t you kill yourself?

My son. 

“Earth to the lady.” He massages your soapy neck, thumbs pressing into the right parts that hurt the most. Foam catches onto your locket. 

“A younger Suguru would’ve set his dragon on you if he saw you now,” you reply. No venom in your words. Just stating factual truths.

“Because we were stupid kids.” He smiles. “We were stupid kids who thought we knew everything. I thought I could have everything.” He leans down to kiss your neck from behind you. “I thought I could have you.”

Lost glory, tears turn your eyes cloudy. “Have me.” 

The spot where his lips touched your skin burns even after he washes all the soap off. 

You sit on the edge of the tub, Suguru towelling your feet dry on the heated floor. “My body’s not like it used to be,” you tell him, an apology in your tone that he frowns at. “After the pregnancy, I mean. I envy men. You look just as good as you did back then, even better, if anything.”  

“You look perfect, darling. I have scars too.” 

“And abs.” 

“Pardon me for having abs,” he grins, pressing kisses to your foot. “How could I ever make up for the crime of having abs?” 

You kick him lightly in jest, but he simply grabs your heel and kisses your calf instead. “You look like a mother should. Why is that bad? We’re not kids anymore. I’m happy that you lived a life and your body shows it. I just-” he kisses your knee. “- wish that you lived it with me.” 

“I wish he was yours,” you confess, sighing as Suguru parts your knees and buries his face in there. “My son. You should’ve been the father. Should’ve been my husband, my groom at the altar.” 

“Tell me more.” He briefly comes up for air before resuming his work. Master of your body, he draws his skill from both an archive of memories he hasn’t used in a decade and natural instinct that just knows. Soul-mate. 

You keen from divine pleasure, Suguru feasting on the taste of you to his heart’s content. You can feel his rock hard cock pressing against your leg. “We could do our hair similarly. I always thought lilies would go so well in your hair bun. We’ll wear cream white and ivory with just a hint of gold.” 

“How about a spring wedding? We’ll get a venue filled with cherry blossom trees.” 

“Yes! Ah-” Soft bathroom lighting catches on the edge of his jaw as he sucks on your clitoris, two fingers curled deep inside you. Searching around for that sweet spot… here or here or here– found it. “-Oh, Suguru!” 

“Keep talking,” he orders. “Darling.”

You gasp in between each word, trying to think of anything other than the burning pleasure flooding through you. “All- ah- our friends would be in attendance. Too much, oh, Suguru! Sigh- Nanako and Mimiko could be the ring bearers, Naosuke the flower boy.” 

His grasp on your waist is so tight, his nails mark your skin into little crescents. “I want another in your belly by that time.” He promises, “Have you pregnant under your pretty pretty wedding dress. Mark you mine.” 

Suguru cannot stop smiling like a fool when you grab the back of his head and hump your orgasm out on his face. 

“Wanna be mine so bad, darling?” His taunting words so unlike his gentle kisses as he carries you to the bedroom, his tongue still warm from the depths of your sweet cunt. You can’t help but moan. “Want to have my kids? Be with me forever?”

He places you into the bed soft as the most precious crystal in the world that he’s finally got his hand on after with much cost and yearning. His. You’re his. 

“I’ve been faithful, Suguru.” The diamond between your collarbones could almost trick him into thinking it’s true. Naobito Zenin’s wedding ring, chucked out of sight under furniture, still exists in the same reality as you two. Not that either of you were thinking about it. “Always been yours.”

Suguru kisses you over and over again, buried in your arms as he smooths your hair away from your face with his large hand. Sunk in you, surrounded by pillow fluff and warm blankets. The bedsheet is soft uncrinkled silk, made to be enjoyed sex on. It feels like he’s been out travelling the world for a decade and is just one step away from entering home. 

He thinks that you mouth ‘I love you’ before your face scrunches up through the sting of penetration. So pretty, so perfect, all his now. 

“I love you more,” a whisper that drowns under your cry as he pushes fully inside you. Snug fit, flesh made for each other. 

He can’t not bring up your husband, no matter how much it’ll hurt you. “Does he feel like me?” He thrusts harder, your eyes squeezing shut in pleasure. “Tell me, darling, does he?”

“He’s busy with his whores, thank fuck.” You reply, lightly pulling his hair to punish his unfounded jealousy. “At my luckiest, I see him once a month.” 

“I’ll kill him, I swear on your life.” 

“I would’ve done that myself if not for Naosuke. Besides, I’ve kept you with me.” 

It must be some telepathic connection because he immediately understands what you mean. It was a gag gift from Satoru 13 years ago when you had first started dating. A clone-your-penis kit, where you poured black silicone into a mould of Suguru’s dick and created your own homemade dildo. You used to hit Suguru on the head with it back then. 

“The scandal,” Suguru grins, “The Head Lady Zenin fucking herself on a silicone cock of her former lover. Did you enjoy that, darling? Cucking that old man? If you missed me that much, you should’ve just come to me.” He kisses you again, his rhythm messing up as he gets closer to finishing. “I keep waiting for you to come.” 

“Don’t pull out.” You tell him. 

“Of course not.” He replies. He doesn’t. 

Wrapped up in his arms, his full weight pressing you down, you pray that it takes. You pray so hard. You don’t know if you’ll see him again. The very thought of having to go back to your real life now, to put on the ring and hide the locket under your blouse, to serve dinner to the husband waiting back home and lay under him at night– the very thought makes you want to drown yourself in the bathtub. 

Again came the question you could not answer: what was your original sin? That at the critical juncture, what was the wrong choice– to run to the arms of a genocidal maniac or to meekly submit to the socially correct match?

Why, when you picked the right option 10 years ago, are you this miserable?

“Will you come?” He laughs stupidly at his own pun, all strength sapped out for the time being. “Seriously, will you?”

“Will you come, Suguru? Could you leave it all behind? Just run away with me, love and honour me?” You ask, “Marry me?”

Kitten-like, Suguru softly squeezed a breast, thinking. How could he love and honour you if he didn’t even love and honour himself? And how could he love and honour himself if he willingly chose to not be himself? Close his eyes and turn his back to the duty he was put on Earth to do? Accept defeat? Be weak?

No. you both knew that. No. At the end, it came out a no. 

But– “I could marry you.” He decided. The kind of decision that only the strong are allowed to take. “Who could stop me? I want you. I want to have you.”

“My son, he–”

“I would raise him as my own. I’d give him my name– Geto. Both of you will be mine. Our son, our daughters. How does that sound?” Rhetorical question, because Suguru has already decided that it sounds exactly like what he wants. 

“His birthday is soon, right, darling? We’ll have his renaming ceremony together as well. Wonder what technique he’ll have? Ha- the Zenins would only waste him, better off that I train him myself.” 

“Suguru, it’s too fast, I think.”

“I don’t.” 

He waits for you to debate him. You weren’t blind to his wrongdoings. You couldn’t even read the report from his last mission without vomiting from the pictures of the devastation he caused. Rotting bones, half-charred people, a whole village burnt off the map. And yet–

“Was I wrong? Darling, look me in the eye and tell me that I was wrong, that my logic or actions do not make sense, and I swear on your life that I will give it all up.” 

“... Your morals are wrong.”

“But am I wrong?” 

Is he? Is this the wrong decision? You’ve already made one in the past, but that was actually the right one which turned out to be wrong. Hell, is there even anything like a right or wrong decision? 

“No.” 

Suguru cleans you both up. After a quick cuddled-up nap and a light sashimi filler, you had to part. He was travelling back with his daughters and you could not stay the night without your son, who would cry and cry till he saw you. 

He walks you back to your Volvo, a spring in his step. He’s accomplished a lot before dinner today. “In case the cuck bothers you,” he nods to the detestful ring back on your finger, “kill this little bug-curse I’ve planted in your locket. I’ll know, and I’ll be right there before you blink an eye. Though I don’t doubt you can handle yourself.” 

Suguru opens the car door for you, kissing you a long goodbye right in front of the Zenin servants. Not that they dare flicker a glance at your direction, what with the leech-curse still wrapped around the car till Suguru called it back. “Remember our promise, guys?” He reminds them cheerfully. 

“Get home safe, darling. Bye-bye!” 

He’s still waving to your car disappearing into the distance when his own car reaches. “Woahhh– Mimiko, look, Geto-sama’s face is all red and happy!”

“Thanks for getting us the canvases, Geto-sama. Nanako, isn’t it obvious, he’s having hot flushes. Because he’s old.” 

“Thanks, Mimiko.” He replies, good mood unbroken by teenage girls. “How was the school trip? How did you like Tokyo?”

“It was okay. We just went to see shrines, like we don’t have more than enough of them in Kyoto,” Nanako replied. Mimiko was pulling out the cute plushies she bought to show him. “You lived here back when you were young, right? What about you, Geto-sama, did you have a good day?” 

“Oh,” he smiles, hugging his daughters to him. “Just the best.”

As they set off for home, Manami driving again and the girls asleep after their long day, Geto Suguru, victor of the day, taps on his iPhone: 

text when you reach 

see you tmr 

I love you 

previous series masterlist

[spikeface]

hiiii hello if you would ever like to rant about teen wolf s6a please do <3 i'm like five episodes in on my rewatch and i'm constantly oscillating between peeking at my phone like a proper zoomer and repeatedly asking myself where is theo my friend enemy theo.... i know he's here where is he...

Omg okay I will but you have to understand that this is the distillation of years in this fandom, the once loose coal of my irritation compressed into a diamond of haterism. There are parts of this season I love, and I've made peace with some of the stuff I complain about here. 

But we're not here for peace. :)

Never Say "Pineal Gland" Again. The Ghost Riders are fun as a plot device. People being kidnapped and forgotten, a mystical train station, that's fun! Teen Wolf loves monstrous, seemingly unknowable villains, and does great with them in two ways, both of which 6A fails at:

The first option is to get inside their heads. The alpha of season 1, the kanima, the darach, the nogitsune, the Dread Doctors—all are introduced as deeply alien creatures whose inner lives and personal connections to the main cast are slowly revealed. 6A seems like it's going down that route, because the crew spends a lot of time trying to figure out and talk to the Ghost Riders, but there's no payoff: they just want to hunt forever and that's that. No personal history with anyone, no connections beyond a willingness to mind control Parrish and a bit of nervous shuffling around Lydia.

Which might still be fine, because the second option with characters like these is to make them window dressing for a charismatic villain, a la the oni with the nogitsune or the berserkers with Kate. This framework would be great for 6A if not for the fact that the villain in this case is Garrett "Brain-Eating Nazi Lion Wolf" Douglas. 

Douglas does not get enough hate. I get that he's so forgettable, what else is there to say besides "blech," but we can do better. Teen Wolf has such fun villains: they're dramatic and camp, while also intimate and personal. They have deep connections with the main crew and almost always have a sympathetic side to them. Even the nogitsune, the most alien of the main villains, has an almost plaintive moment where it reminds Noshiko that it's only doing what it was created to, what she summoned it for.

Nothing about Douglas is challenging or charismatic or sympathetic or aesthetically appealing or well acted. Davis had a bad habit of hiring wooden blonde hunks as far back as the mechanic of season 2, and now there's one as a main villain. Douglas's closest connection is to Theo—their scene in the shed is easily Douglas's most engaging, though that doesn't say much—but their connection is superficial. How would Douglas even know who Theo was if he spent those years floating unconscious in a vat? 

His final showdown is deeply unsatisfying. By the time Scott faces him, they've barely interacted so far. What does it mean for Scott to challenge him? What does he mean to Scott? How has Scott grown to be able to face him? Why does Douglas want this power anyway? Why would this Nazi be telling a Mexican-American that he'd be a fine Hitler youth? What the fuck is happening here? 

In the end, Peter rightly points out that a brain-eating Nazi is such a low bar to clear that taking a stand against him is almost meaningless. Douglas is a mockery of the complex, charismatic, intimate, high-stakes villains of previous seasons. Damnatio memoriae is too good for him; we need to remember how bad he sucks.

If Only We Knew Someone With Lightning Powers. Dropping Arden Cho unceremoniously was gross. Following that with a season of lightning villains is gross. Having Kira's only legacy be a sword that is then given away and broken, after everything she sacrificed for it, is just foul.

Would It Kill You To Let Them Go To Prom? Teen Wolf is only sporadically interested in high school life. Sometimes, it's part of the show's appealing silliness, but 6a's indifference just gets to me. This is the final semester of senior year for Scott and co., but we get absolutely nothing. Stiles misses that final semester and apparently, so do we! There's no classes, barely any lacrosse, and definitely no prom or graduation or college acceptance letters, nothing that acknowledges this season as a rite of passage. Any hints to the characters' future are condensed into a few lines at the end. C'mon, man.

It goes beyond the expectations of a teen show. Davis is so indifferent to his characters that in the next season, he makes all the characters who should be juniors into seniors, just to add on a flimsy narrative about things ending. It's lazy. 6A, to me, also really brings out how little Davis has invested in the world of Beacon Hills. Beyond Coach, there are so few consistent background characters. The high school class, lacrosse team, hospital, and sheriff's department are all prime opportunities for recurring background characters, but the show only bothers with a few (e.g. Brett&Lori, Sydney, Danny until they dropped him without even telling the actor). Nathan, Gwen, and Phoebe are all new characters, rather than people who have existed in the background before this, and after this season, they disappear again. There's very little sense of the world of either the high school or the town in general, and it stands out in a season where the whole town is being targeted.

The Newest Werewolf. Hayden was a minor character in season 5, but still had a lot going on: a close relationship with her sister strained by the supernatural; having to work a shitty job to afford the medications for her life-threatening condition; being targeted by the Doctors; being pursued by a boy she's not sure if she likes; trying to flirt when she's naturally competitive and sarcastic; DYING; being revived by Theo and then exploited by him; fighting the Demon Wolf's attempts to get in her head; deciding to help her friends; walking a fine line to survive the Beast when she's kidnapped by him; discovering Tracy's body. Her life is rich, and ends with a groundbreaking moment where she's the first person onscreen that becomes a werewolf with fully informed consent.

In 6A, she's flattened into Liam's love interest. Almost all of her scenes are with him, and her decisions are almost entirely about him. Many of her lines are about reassuring him. The exception is her dynamic with Gwen, which is much more engaging, and to me only shows how much more they could have done with Hayden if they just let her cook. Why is Liam the only one to get scenes alone with Theo? Surely she and Theo would have stuff to say to each other. Or what about her relationship with Scott? Why is Liam the only beta to have an arc with him? Where's her relationship with her sister??

The Wailing Woman. This should have been such a good season for Lydia. The groundwork is all there! Banshees have a special power over the Ghost Riders, and to placate them, the Ghost Riders create a facsimile of someone the banshee has lost.

Hmm, whom has Lydia lost recently? Whose presence might give her a vested interest in ignoring evidence of the Wild Hunt? 

Allison would have been perfect as the deceptive product of the Wild Hunt, and would have matched the framework the show established far better than Claudia. Part of the reason the Hunt falls apart is because Lydia is instantly suspicious of Claudia, and has no emotional investment in her. With Allison, Lydia would get to say goodbye to her in a way that matches the season being set in the final semester of high school. 

This would also have built on season 5 in fruitful ways. Lydia's power makes her a target in season 5, but she has almost no agency over her power. She's driven to blow Valack's head off without any control over it. 6A could be about Lydia realizing that this fake Allison has been created for her because the Wild Hunt is afraid of her power, but only if she chooses to use it.

And with respect to Allison, Lydia has more grieving to do. She's been struggling to process her death since it happened. She spends all of season 4 trying to find a way to help people as a response to Allison's death, but then is locked in a basement for the finale. In season 5, she has to be told by Stiles about Allison's role in defeating the Beast. Lydia deserves a season in which she can properly grieve Allison. She's literally the wailing woman! Let her wail!

As a final note, I'll add that I was frustrated with the way Stydia was done in this season. I dislike it strongly but waffled on including it because I've never been a big Stydia shipper, and so I worry that this criticism will seem motivated by my disinterest in the ship, rather than my frustration with its execution. My issue, though, is not Stydia itself but how little the show explored Lydia's subjectivity. 

Imho 6a substitutes Lydia remembering Stiles for her liking him, and prioritizes exploring his feelings over hers. It's clear from the first episode that Stiles is still in love with her, even if he's accepted they'll never be a romantic couple—which is one of my favorite things about Stiles, and a great part of O'Brien's portrayal. But when it comes to Lydia liking Stiles, the show focuses on how she's the one to remember him. But that's also, apparently, because she's a banshee? They focus on that at the expense of her personal feelings for him, and when the scene is most explicitly about their connection—in the memory landscape sequence of "Memory Found"—the focus is on Stiles' feelings for her. It just didn't seem like it was about Lydia in a meaningful way. The previous season, she'd been into Parrish, which is a pairing I despise and don't want to see more of, but the fact remains it was important to Lydia. The lack of exploration of how Lydia had ended it or moved on from it felt like more dismissal of her experiences. Stydia seemed like it was ultimately about making sure the audience knew Stiles is important, at the expense of a real exploration of their dynamic, which I discuss more below.

You Don't Have To Stop But Could You. So, okay, stay with me on this one. I loved that Theo returned, and thought they did some great things with him, BUT that's not why we're gathered here today. Despite enjoying a lot about Theo's dreamscape sequence, I was really frustrated by the way it framed Tara and what its impact was clearly intended to be.

I really loved the first scenes of Theo's return: he's dirty, angry, confused, and biting. He looks exhausted with his own bullshit, but instantly attacks Liam and Hayden and then threatens to kill everyone, and lies by omission about Douglas (and his own powers?), reflexively playing his cards close to the vest. He's looking out for himself and averse to personal risk. I thought they did a good job of presenting a Theo who has the potential to change, but hasn't yet. He's not really ready to see Scott and Malia again, and reverts to flippancy. 

We also get a scene in “Ghosted” of how deeply Theo hurt Malia. She hallucinates his betrayal in connection with her guilt about her own family; both of them are still deep wounds for her. It makes sense that she would lose control at the sight of Theo suddenly showing up in Scott's living room with a little "you aren't still upset about the whole shooting thing, are you?"

But then the episode ends!

And the next one starts with the Tara dreamscape.

Again, I don't want to sound like I disliked this sequence full stop. I've written meta about its relationship with Scott's dreamscape sequence and what it says about Theo, but I remain frustrated with how the basic impact is about generating sympathy for Theo. Tara is the victim the viewer knows least (vs Josh or Tracy or Scott), her death the most ambiguous (we only see Theo watching in what could be a daze, like the one pre-resurrection Tracy was in), and her only role in this sequence is to hurt Theo. She doesn't have any subjectivity beyond that: she's not Theo's sister, betrayed by her little brother's violence towards her, ready to explain her point of view. She's a gory ghost who barely reacts to Theo, a walking prop.

Theo, meanwhile, is there to be pitiable. When he was pulled under, he was powerful, and attacking everyone, and wearing shoes. Now he wanders barefoot through the hospital, and at the sight of Tara, he just runs. Beyond some frustration with the door, there's none of the vicious anger he showed in season 5. 

To be clear, it's not that I think Theo shouldn't be pitied or doesn't have this vulnerability, and Cody Christian does a stellar job with this scene, which is also beautifully atmospheric. But in terms of the impact of the scene on the viewer, it's there to create pity for Theo at the expense of grappling with any of the violence he did. It frustrates me because the sequence easily could have addressed his violence while still making him look sympathetic.

Theo was trapped in and perpetuated a cycle of violence. The viewers don't know the full truth about Tara, but we do with Scott, Josh, and Tracy. Theo killed them. What's more, we know all three tried to have a connection with him: Josh followed him post-resurrection despite the fact that Theo had been the one to kill him the first time; Scott wanted Theo in his pack, trusted him, and tried to be there for him; and Tracy was in love with him, trying to help him, without judgement, even when he was at his lowest. It would have been much more meaningful to have Theo face them instead of Tara, or at least in addition to her. 

It also would have been more meaningful to have Theo reckon with his capacity to do violence, rather than his fear of suffering it. We all know Theo is scared of being hurt; Theo knows most of all. He's even honest about it: "I don't want to be one of the bodies, it's that simple." What he has more trouble with is confronting how he perpetuates a cycle of violence, or even that he's in one. The dream sequence as it is does have Theo confront the idea of an endless, unchanging cycle, but it would have been much more effective to have that cycle be about the violence Theo did.

Think about how it would have looked if, once Tara dragged Theo down, Theo went on to reenact any of the violence he did, over and over and over. He could push Tara off the bridge over and over, but it'd be even more impactful to have him kill Josh over and over. He already killed him twice, but now he has to do it forever.

Scott stands there, barely on his feet, betrayed and weary, and says, "Now you have to kill me yourself." 

And Theo does, over and over. 

Tracy tells him, over and over, "You're hurt. You need time to heal." 

And Theo kills her for it, over and over. 

You'd get the same progression towards despair, but now it would be much more about Theo confronting what he did. It would still be a sympathetic depiction of a lost kid, shaped and trapped by brutal forces, while addressing his own choices, and why Malia might be so upset to see him.

As it stands, the sequence undermines Theo's history and Malia's reasonable reaction to him. We get her flashback/hallucination, Theo's inflammatory return, but then an episode break, followed by an extended sequence in which Theo is nothing but helpless and pitiable, finally followed by Malia's rage. Her reaction is divorced from the catalysts of the previous episode, and the scene of her anger even contains a callback to the dreamscape ("you don't have to stop"). I've made my peace with it, but it remains frustrating as a choice from Davis, who wrote this episode.

Malia Middle Name Tate.* Again, there's a lot I love about what they do with Malia in 6A, but now is not the time for love. So much of Malia's screentime is about Stiles and Peter at her expense. Those are both huge relationships for Malia, but they're not explored on her terms. 

The last we saw of her and Stiles, they'd broken up over a complicated situation. Stiles ends things at a self-destructive moment, as Malia tells him she would accept him even if he did kill Donovan. In some ways, I think Stiles is punishing her for this acceptance out of self-loathing, but it's also about the fact that Malia's acceptance is clearly tied to her own desire to kill the Desert Wolf. She accepts what might be Stiles' violence because she wants him to accept that she plans to kill Corinne, and Stiles isn't cool with that. The two never speak about it again, though, even though Malia subsequently doesn't kill Corinne. By season 6, the two obviously have baggage, as seen in their clash over the senior portrait. 

Once Stiles is gone, we see that he's still her anchor. I thought this was an interesting choice, because Scott and Allison's breakup was what forced Scott to be his own anchor. It would have been interesting to see that for Malia, or for her to decide that she still wants Stiles to be her anchor as a friend, or any sort of arc where she processes the breakup or her own feelings or makes decisions about Stiles for herself. Instead, the anchor concept seems to exist to remind the viewer how important Stiles is in general: he's Malia's anchor! Look how lost she is without him! Stiles simply must be rescued from the Wild Hunt! Malia isn't the one to break through the veil, however, and after he's back, there's still no sense of what this means for Malia. Her subjectivity re: Stiles is just ignored. After he comes back, she doesn’t even get a scene to greet him.

It's even worse with her "arc" with Peter. The last we see of those two is in the finale of season 4, when Peter betrays her. After going out of his way to get close to her, he literally tosses her aside and tries to kill her friends. Season 5 begins with Malia confirming that she's Malia Tate, not Malia Hale. She then forgets Peter until he returns from the Wild Hunt, when she goes to take his pain and is suddenly struck with the memory of his betrayal. That's the entirety of their relationship. 

Meanwhile, Peter is busy carving the biggest revenge spiral of his life in Eichen, suggesting he hasn't changed much from the end of season 4, before he's swept away by the Wild Hunt. I didn't dislike his scenes with Stiles at the train station, but to the extent that it's about his relationship with Malia, it cuts out Malia. Stiles' contempt for how alone Peter is as a result of his actions is good, as is his desperate plea for Peter to help his daughter, if no one else—but Malia sees none of this. She goes to Peter after his return only because he seems marginally less horrible than Theo, and still doesn't trust him. And why would she? Why would the viewer? We saw how big that revenge spiral was. 

Peter does go on to sacrifice himself for Malia, but these moments are always about Peter and what he wants, and they lead to one of the most abhorrent moments of the show. The fact that Malia is forced to call him "dad" despite obviously not wanting to is just gross. It's all about what Peter wants, and honestly, why would he even want this? It's meaningless because it's forced, and it's especially foul that Lydia is written to be the one telling Malia to do this, given Peter's history with her. I hate it!!

Meanwhile, where is Henry, the father she chose? Was he kidnapped by the Wild Hunt? Did she ever tell him she's a werecoyote, or about the Desert Wolf? 6A won't tell us. We see in "Ghosted" that her mother and sister's death still haunts her, but does the season do anything with that? No.

The last grump I'll add re: Malia's treatment is how little she gets with Theo. I've already talked about how I disliked how her anger at Theo is framed, and it was especially frustrating that it wasn't followed up with anything beyond an angry quip in the finale. Liam gets a series of scenes (good ones!) where he works through his anger at Theo, and it's incredibly frustrating that Malia, after having a much more intimate dynamic with him in season 5, gets so little. I despise the writers' choice to ignore them.

*This is a tiny thing but in the birth certificate prop for Malia in season 4, you can see that her name is written as Baby Malia. So. Technically. Malia is her middle name. Baby: a beautiful name for a baby.

Mieczysław. You knew this was coming. My frustration with how Stiles was handled this season is about the ways in which it's done at the expense of other characters, and even of Stiles himself.

The premise of 6a was to work around O'Brien's absence by making it a plot point. Stiles becomes the focus of the season, but theoretically, characters could have space to work through their relationships with him, and potentially plenty more for dynamics with other characters. 

But in practice, the writers clutter the season with repeated empty claims about Stiles' importance that stifle exploration of Stiles' relationships. Yes, he's Malia's anchor, but what does that mean now, after season 5, and how does it change over the course of the season? Yes, he's Scott's best friend, but again, what does that mean now? How does the season help them grow and develop? A lot of screentime is given to the sheriff, who gets long soliloquies about Stiles' importance, but there's no sense of development in their relationship or even any context. We don't, for instance, get any sense of what it means for the sheriff to have forgotten his own son, or how this revelation relates to things like refusing to believe him about the supernatural in 3a. On top of all of that, the sheriff's consistent presence and the primacy of his relationship with Stiles only emphasizes how marginalized every other parent-child relationship is in 6a: Scott&Melissa, Lydia&Natalie, Malia&Henry, Liam&Dr. Geyer, and Hayden&Valerie get almost nothing. I wonder if Noshiko has any thoughts on the importance of your child being remembered.

Some of the references to Stiles are poignant—the Jeep, for instance—but their impression overall is that the writers thought that Stiles could be replaced with cardboard cutouts. We get a parade of props, disconnected anecdotes and lore, the useless introduction of Elias (never seen before or after and gives them no new information<3), and of course, my worstie, Claudia.

Claudia's presence is a reference to Stiles, but not meaningfully about him; Stiles only finds her at the very end, and instantly rejects her. The biggest arc re: Claudia is the sheriff's, and while I'm not, like, against the idea of him grieving Claudia, it's done at the expense of Lydia's arc. To the extent that Lydia focuses on Claudia, the show seems to be trying to suggest that Stiles is important to her, but the message is undermined by the cheap cipher. Is she thinking about Stiles because he's important to her, or because there's a fake lady in his house right now? Is her relationship to him about her feelings for him, or her role as a banshee?

And again, all of this is at the expense of something like Lydia's grief for Allison.

If we needed to pad Stiles’ absence with proxies for him, why not at least give us characters who explore his dynamic with the pack? Why not, say, a flashback scene of when baby him met baby Lydia? We have actors for both their younger counterparts. Or, better yet, why not scenes between Stiles and Scott as little kids? Again, we have the actors, and it would allow for more exploration of their relationships. It’d be especially meaningful for Sciles, given their anxieties this season, but I have more thoughts on that below.

The Alpha of Beacon Hills. The extent to which Scott is shut out of arcs and relationships is bananas. There are things I like (Scott&Liam, Scott&Lydia&Malia as besties), but we're here for the parts that frustrated me, which were numerous:

His future and dreams. This builds on my frustration with Davis's general disinterest in the characters' lives, which I discussed above, but it was an unresolved plot point for Scott last season and gets worse this season. Season 5 (last semester) made Scott's future more tenuous than ever. His dream is UC Davis's prestigious vet science program, and he's working his ass off to get into it: he's got school, extracurriculars, his job, and the constant life-or-death chaos of people trying to kill him or wreak havoc he's told he's duty-bound to stop. Season 5 Scott seems despairingly resigned to things always getting worse, but also throws himself into things like AP Bio, despite his friends' lack of faith in him (hated that scene) and his teacher's negging. Then, of course, Theo and the Dread Doctors show up, and the last we hear is that Scott has missed a deadline for a scholarship. In 6a, he's excelling at his psych elective (AP Psych?), but is still stressed about how much class he's missed.

Then we get nothing until the very end of the season, when Stiles asks in passing: "Real question is, how did you get into UC Davis?" Why is this such a tiny moment? Why is Stiles so uncharacteristically snide about this achievement, when he's been one of Scott's biggest cheerleaders, and this season is meant to be a Sciles season? Wtf?

Scira. Not one word about Scott dealing with Kira's absence. Not one word!! Everyone jail forever!

Scott&Peter. This could have been such a juicy arc. Scott's last interaction with Peter was the season 4 showdown, but Scott still has hope for Peter—a hope he's committed to even when it causes friction with his best friend. Peter's return and his tentative interest in connecting with his daughter would have been a great basis for exploring what it means for Scott to have this hope, or just an exploration of Scott and Peter in general. Peter is Scott's first supernatural villain and his own supernatural origin story, and Scott forgets him. The show gives us a beautifully devastating scene where Scott goes to help a seriously injured man and, in taking his pain, discovers that this was the man who caused him some of his own worst pain! Scream!

But then… nothing? Scott and Peter barely have interactions, never mind a meaningful dynamic. It could have been so powerful. Such a waste.

Scott&Theo. Some of this was really good! The moment when Scott walks into his house and suddenly sees the kid who murdered him standing in his living room, seemingly have once again convinced Liam to believe him! I loved it! We get a very rare moment of Scott being at the edge of his rope, ready to snap, and we can see Theo's shock. The last time he saw Scott, Scott was angry but also desperate to get away, shaking when he got close to him, staring at him with big sad eyes. But now things have changed! You can see it hit Theo. That's so good, and there are elements of the Sceo arc in this season that I adore.

But after that dynamic return, Scott and Theo split up, and we don't get any of the charged conversations and confrontations that Liam and Theo get—why not? It would have been so good!

What moments we do get prioritize Theo's perspective. In the finale showdown with Douglas, for example, he mocks Scott that a lone wolf never survives. At that point, Theo makes his entrance to declare: "He's not alone. He's got a pack."

This is so significant! It directly recalls the murder, when Theo trapped Scott alone and told him he didn't have a pack. Beyond that, Theo's risking his life in a seemingly impossible fight, just to back up Scott, without even claiming he's part of the pack, and in facing Douglas, he's confronting a demon from his own past.

But that's the point. This moment is mostly about Theo. We barely get Scott's reaction, beyond the shock of Theo's arrival, and then the tone changes with Malia and Peter's arrival. We don't get Scott's perspective on that moment, or Theo at this point, or anything else with them. Blech.

Scott&Melissa. I could go on about how their dynamic was dropped about halfway through season 2, but I'm gonna try to keep it to 6a here so please know I'm exhibiting great restraint! Anyway, they get so little. There's that devastating scene in "Ghosted" when Scott hallucinates that his mother's been murdered and doesn't yet realize it. So haunting, and potentially so resonant to their relationship: does he worry that being a constantly targeted werewolf has doomed her? That he can't protect her? That he's already lost her in some sense? How does it tie in to the fact that she's then taken by the Wild Hunt, and he's seemingly doomed to lose her, that he's lost her already? We barely linger on that moment.

We see him teach her to use a weapon, but the moment's gravity is ignored for the joke of her electrocuting her son. Melissa's arc with Chris is half-played for laughs, even though it represents a significant move on her part to become more involved. Why now? What does it mean for her? For that matter, what does it mean for her to date the man who once treated her son like a rabid dog? Does she even know about that? Does her son have any feelings about their relationship? We don't know. 

Scott&Stiles. Omg, ok, where to begin. This should have been the Sciles season, and its faults had nothing to do with the acting—the love and loss was palpable for Posey and O'Brien, and I think that gives their arc the poignancy people love about this season. They act their hearts out around some really awful writing.

The writing starts off well. It seems like the season is going to address some of the fallout and unresolved communication issues of season 5. Stiles, who's still petrified of losing everyone, is obsessed with being "needed," while Scott, who's been shackled to a nightmare since he was bitten, is desperate to no longer be required to fight. This recalls a lot of the tension of 5x01, which was never really addressed, and it's a great theme for the final semester of senior year.

The two also struggle to articulate how much they mean to each other, which seems like a lingering issue from s5. By the end of 5b, they'd affirmed that they were on the same page, in the same pack, and needed each other, but hadn't articulated their anxieties about losing each other. A season in which they're separated is the perfect way to explore it, and at first, it seems like they're going to. Scott uses his psych class to guess at how Stiles' anxieties are manifesting, as if it's been on his mind. He asks nervously if Stiles wants to split up (to look for clues), and seems relieved when Stiles refuses, as if the question is about something deeper.

Stiles, for his part, answers with meaningful intensity. He's clearly trying to express that he doesn't want to lose Scott, in the same way that his obsession with being "needed" is about not wanting to lose people, and being convinced that a crisis is the only way to hold on to them. Scott, meanwhile, sees crises as what get between him and his connections to people—they're what take people away from him, and him away from his life with them. This is a great theme to explore for Sciles, because the answer to both issues is the fact that their friendship has always been bigger than supernatural crises—older than Scott being bitten, bigger than the Wild Hunt. Scott could assure Stiles that he's never going to lose him—not because Scott needs his help, but because he wants his friendship. He'll never draw away even if it means tearing apart the Wild Hunt. Stiles, for his part, could assure Scott that no matter how many crises there are, how often Scott is forced to be the true alpha, he'll always be Stiles' friend first: "You'll always be human to me." Both significant statements after s5!

At the very least, the season seems like it's going to make these two articulate how much they mean to each other. In one of my favorite moments of the season, Stiles realizes he's going to be taken and tries to talk to Scott. O'Brien's acting is so good here, because you can see that Stiles is beyond trying to explain what the problem is. He just wants to tell Scott something like goodbye, how much Scott means to him—but he can't. There's no way he's saying goodbye, and his love for Scott is too big to articulate.

And Posey's reaction is soooo good. You can see Scott take in that Stiles is clearly struggling with something, and that this struggle is significant in the same way as the one from the previous season. He won't push Stiles to talk right now, and wants Stiles to know he isn't drawing away: "Tell me later." At the same time, he's holding Stiles to actually come talk to him, instead of stewing like he did in s5: tell me later.

But then Stiles is gone! Scream!

And then, once Stiles is gone, Scott struggles with how to articulate how much Stiles means through the hole his absence creates. All he can say is that it feels like he's missing a limb, and when it comes time to remember Stiles in "Memory Found," he gets so overwhelmed with how much Stiles means to him that he almost dies. 

All of this suggests that the payoff for this struggle is them finally articulating what they mean to each other--in the most basic way! They're traumatized eighteen year old guys, no one is expecting speeches. Just something about how their friendship answers some of their most existential worries: "I still got you."

But instead we get:

SCOTT: They still need us. STILES: They'll always need us. And, you know, I... I need you. You know that. SCOTT: I need you, too. I'm gonna miss you. STILES: No, really, I need you, though. Uh... I lost my license in the Hunt, so you have to drive.

Why is Davis so allergic to meaningful expressions of love in the context of characters leaving? So many characters disappear with no goodbyes (Jackson, Isaac, Danny), or only the briefest one (Kira, Derek). O'Brien and Posey do their best with this scene—both of them seem near tears—but the writing's joke-y tone works against them at every turn. It's Stiles' final scene before the finale, and the capstone to Scott's greatest relationship in the season and arguably his greatest in the show, and it could have been so much stronger if Davis weren't an infuriating mix of apathetic and cowardly.

This concludes this episode of Spikeface’s Sundry 6A Snipes! Thank you for letting me rant<3. 

[miraculousshitandgigles]

Okay I decided that I'm going to need to tie my hair back into a ponytail and suck off John Constantine. Because I saw two different post and I was like no your so fucking wrong.

Like a post I read a few days ago said Batman doesn't have a contingency for John and my thought was. Of course he doesn't cause if he's gone bad how did we get so fucked.

John is so cunning that batman most of the time diverts to John to lead if he's out of his wheel house. John Constantine is the most cunning, sleezy, and corrupted mother fucker anyone knows. Fuck most villains say their atleast a better person than John and their right. John sucks and he knows it he trying so hard nobody has to be like him he pushes everyone away because way the fuck would you even want to be around him he sucks right?

No, simply put John is also the selfless and self deprecating man ever. John will die before he lets anyone else think they lost. John will do whatever it takes to win and I mean everything if something happens and John okayed it you know it was necessary.

Batman once went out of his way to tell people hey listen to John yeah he sucks but he knows what he's talking about because he fucking does.

Their are more powerful magical users in dc and all of them agree fighting John Constantine sucks he simply knows more than you 9/10 times if he doesn't. It really doesn't matter since he can just get someone who owes him a favor to tell him. And that's another thing everyone owes John something and he pays back his. John will always pay back his deals or just make sure he could never pay in first place it's amazing honestly.

Now I should say at the end of this post I'm doing this all based off memory I don't read about hell blazer anymore since I found reading the magic side of dc feel like reading whole other universe by itself. Like if you read a John Constantine comic sometimes your wondering why isn't the Justice League here this seems like a league threat and johns by himself.

[tangledinink]

i've actually decided that anyone who's made any disaster twin fanwork that includes dialogue along the lines of, "i can't survive without my other half," or "i'm not a whole person without you," or "life isn't worth living without my twin," owes me $50.

[compassmili]

I kinda really hate how I've been treated throughout my life

[selfinflictedgunshotwound]

i'm kind of amazed how most of the stardew marriage candidates just want you to be their manic pixie dream whatever by agreeing with everything they like and plying them with compliments or praise or whatever (which is fine but a bit. Much) but for shane his romance is just you being there for him while he figures his own shit out... dunno why i never wanted to romance him before he's so good

[termagax]

re: "good girl" i think they say it once randomly as a joke and its just one of those things that gets him wayyy more than they expected it would. so now its their secret weapon and they use it very sparingly and every single time he gets super embarrassed about it but it works ill tell you what.

[zeb-z]

as much as Bad very much does care for the well being of all the eggs, as much as Leo of course cares for her tio, the fact remains that Roier is her closest family and caretaker right now, and he Does Not Trust Bad. not with the time of day, not with the location of Pepito’s room, certainly not with Leo. and it’s like, after everything that happened in Purgatory, it’s to be expected. it doesn’t matter how much Bad has cared for the eggs, it doesn’t matter how much we as the audience know he’d do everything in his power to keep any one of them safe - the fact remains that his actions have tarnished the trust he’s built with some of the other islanders. it remains to be seen how this’ll come into play with the rest of Red, as they’re still missing, but it’s super obvious with Roier.

I doubt Roier will be on tomorrow to take care of Leo, and I know Bad is planning on giving her cookies and taking care of her. and I’d bet money this’ll be another point of tension against Bad - yes, even though he’s watching out for Leo. I keep coming back around to actions having consequences, but it’s prevalent, and this is one of the many Bad is experiencing - a complete lack of faith and trust from the others because of his actions in Purgatory.

[bizlybebo]

finally fly home tomorrow evening

[itspileofgoodthings]

cause it wasn’t sexy once it wasn’t forbidden!!!!!!!!!!!!!!!!!!

[bueris]

okay maybe I should seriously reconsider my path in life and sell my soul to marketing or journalism instead

[a-walking-fandom-reference]

beginning of the year when you have chronic illness is just scheduling appointments with all your doctors

[meownotgood]

Can I ask what your ✨Aki journey✨ was like? I’m a Aki girlie but you clearly love Aki more than any blog I’ve ever seen (purrr) When did you start becoming interested in him? Was it an aHA moment or did it develop over time? I’m really curious!!! What inspired you to start this blog? I live, laugh, love backstories 🫶🏾❤️‍🔥

YES I would be so happy to answer this!!!!!!!

so before I read chainsaw man, I knew next to nothing about it, I wasn't really a manga reader in general to be honest but I started getting into it because I wanted to get caught up with jujutsu kaisen after finishing the anime. when I did, I really enjoyed jjk, I wanted to read more manga and a friend suggested I read chainsaw man because it's similar. I was like okay... a lot of people are into it... it looks cool... why not.

and when I started reading and I got to that third chapter and I saw aki... I literally said to myself: yeah, he is going to be my favorite. because he's exactly my type — the suit, the hair tied up so it's long and pretty when he takes it down, the SMOKING??? THE PIERCINGS????? I thought his hair was silly but adorable, his personality was stern but quirky and likable, his kon power was so cool. he was just so cute and hot and definitely my type of character.

but really, even though aki was always my favorite character from the start, my obsession truly began when I finished the manga. aki's arc is just so good... I fell in love with him the whole way through but especially after the manga was over... I loved watching him grow as a character, he just feels so real and relatable personality wise and story wise. he's immensely flawed but kindhearted to his core. he's so human. I love how he's emotional and soft and the conclusion to his arc is genuinely my favorite thing in any piece of media ever, it's so bittersweet and compelling. (and I'm a mess for that bittersweet shit okay)

anyway after I read chainsaw man for the first time I was feeling a mix of emotions between "wow that was the greatest thing ever" and "what the fuck did I just read" but more than anything I yearned for more aki, and so I read it a second time almost immediately after, and then the aki brain infection just grew worse and worse.... was screenshotting every panel of him... I read it a third time... a fourth time in the colored version to collect more panels......... I started my blog over a year ago to post fanfic and rant about aki and the rest is history

[mainfaggot]

how do you cut someone off