#but some resonate more

[latelierderiot]

dreams of freedom & a life with no regrets🌻

twitter - bsky

[adriles]

when we’re done with our overwhelming grief we’ll eat i guess

[keferon]

“Mistakes on mistakes until” ch 69 spoilers below!

Ahahahahahahah here I go again

Mistakes on mistakes until until I can draw Jazz with my eyes closed

I woke up, checked my phone, woke up for real and decided that whatever plans I had for this day yeah no they can wait a little bit kfkgnfk

Also. Consider listening this while reading. Or don't who am I to tell you what to do~

[goblins-riddles-or-frocks]

forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.

[vaguely-concerned]

purple hawke who, at malcolm's death, lost not only a father, a mentor, the single most stable and safe point in their world up until this moment. but also the only person in their life who would consistently, gleefully 'yes, and — ' them. the loss, in one fell swoop, of both a beloved parent and your sole willing — no, not only willing, enthusiastic — improv partner. truly, the most unkindest cut of all that the maker could have seen fit to deal. (there's always so much less laughter in the house, after malcolm's gone.)

and then after all the horrors of the blight and trying to make a new life in the shithole turned shithome of kirkwall....... they meet varric. and something that's been slumbering deep within their soul dries a tear of relief and joy and whispers 'oh we are so back'. and they are so right

[poorly-drawn-mdzs]

Remember: The burning sensation is part of the process.

[chalkrub]

mockley time it's mockley time will you have some mockleys of mine

[canonkiller]

[pearlsdiamondsandvodka]

the sandra lynn / fig conversation is driving me Insane. fig saying that sometimes she doesn’t wanna exist as herself at all…not wanting to ask her friends how they see her (because she’s afraid to hear their response) saying that to someone she is a monster and she Cannot stop thinking about it. sandra lynn starting the conversation saying she needs to step up but is also simultaneously taken aback about what fig expresses and doesn’t know how to responds to it and suggests getting ice cream. sandra lynn saying “convincing people they deserve good things is really tough” talking about herself but how it also reflects fig. insane!!

[kaeya-senpai]

Akito and his fuckass blueberry that keeps following him

[pensivebathtub]

used to be one of the rotten ones, and i liked you for that

[jazzatron9000]

back on my cowboy flint agenda with a lil sketch. :) too tired to color but still wanted to share

[commsroom]

as an extension of how hera reads as trans to me, hera/eiffel resonates with me specifically as a relationship between a trans woman and a cis man. loving hera requires eiffel to decentralize his own perspective in a way that ties into both his overall character arc and the themes of the show.

pop culture is baked into the dna of wolf 359, into eiffel’s worldview, and in how it builds off of a sci-fi savvy audience’s assumptions: common character types, plot beats, or dynamics, why would a real person behave this way? how would a real person react to that? eiffel is the “everyman” who assumes himself to be the default. hera is the “AI who is more human than a lot of humans,” but it doesn’t feel patronizing because it isn’t a learned or moral quality; she is a fundamentally human person who is routinely dehumanized and internalizes that.

eiffel/hera as a romance is compelling to me because there is a narrative precedent for some guy/AI or robot woman relationships in a way i think mirrors some attitudes about trans women: it’s a male power fantasy about a subclass of women, or it’s a cautionary tale, or it’s a deconstruction of a power fantasy that criticizes the way men treat women as subservient, as property. but what does that pop culture landscape mean in the context of desire? If you are a regular person, attracted to a regular person, who really does care for you and wants to do right by you, but is deeply saturated in these expectations? how do you navigate that?

I think that, in itself, is an aspect of communication worth exploring. sometimes you won’t get it. sometimes you can’t. and that’s not irreconcilable, either. it’s something wolf 359 is keenly aware of, and, crucially, always sides with hera on. eiffel screws up. he says insensitive things without meaning to. often, hera will call him out on it, and he will defer to her. in the one case where he notably doesn’t, the show calls attention to it and makes him reflect. it’s not a coincidence that the opening of shut up and listen has eiffel being particularly dismissive of hera - the microaggression of separating her from “men and women” and the insistence on using his preferred title over hers. there are things eiffel has just never considered before, and caring for hera the way he does means he has to consider them. he's never met someone like hera, but media has given him a lot of preconceptions about what people like her might be like.

there’s a whole other discussion to be had about the gender dynamics of wolf 359, even in the ways the show tries to avoid directly addressing them, and how sexual autonomy in particular can’t fully be disentangled from explorations of AI women. i don’t think eiffel fully recognizes what comments like “wind-up girl” imply, and the show is not prepared to reconcile with it, but it’s interesting to me. in the context of transness (and also considering hera’s disability, two things i think need to be discussed together), i think it’s worth discussing how hera’s self image is at odds with the way people perceive her, her disconnect from physicality, how she can’t be touched by conventional means, and the ways in which eiffel and hera manage to bridge that gap.

even the desire for embodiment, and the autonomy and type of intimacy that comes with it, means something different when it’s something she has to fight for, to acquire, to become accustomed to, rather than a circumstance of her birth. i suppose the reason i don’t care for half measures in discussions re: hera and embodiment is also because, to me, it is in many ways symbolically a discussion about medical transition, and the social fear of what’s “lost” in transition, whether or not those things were even desired in the first place.

hera’s relationship with eiffel is unquestionably the most supportive and equal one she has, but there are still privileges, freedoms, and abilities he has that she doesn’t, and he forgets that sometimes. he will never share her experiences, but he can choose to defer to her, to unlearn his pop culture biases and instead recognize the real person in front of him, and to use his own privilege as a shield to advocate for her. the point, to me - what’s meaningful about it - is that love isn’t about inherent understanding, it’s about willingness to listen, and to communicate. and that’s very much at the heart of the show.

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[muffinlance]

I really do love your writing and Salvage gets me through when I am sad or depressed. However, I was wondering, how do you cope when someone who wrote a review didn’t like your writing? If you’ve had this before… I had one today and I am dejected. I’m working through my perfectionism and I keep telling myself, “my writing isn’t for everyone and it’s okay.” Any advice?

If it was unsolicited, especially on a fanfic? Delete it, block the person if you feel like, then go do your rage activity of choice before forgetting about it forever. That person is rude and doesn't deserve your time anymore than someone bumping into you on the street.

I've also found it useful to actively think of my fanfic as writing practice, and not even my brain expects perfection from writing practice. It also frees you do Try Cool Things.

Now take this digital blanket and cup of hot chocolate and go reread your nice comments.

[goldensunset]

the indecision between ‘i love this character and i want them to be happy/i want to see more of them’ and ‘it would be most narratively compelling/intriguing if they died or otherwise were (mysteriously) never seen or heard from again’