#dave's life is suffering

[calware]

"i happened to not find this character very interesting or likeable" doesn't automatically mean they're an objectively bland and boring character it just means you have a personal opinion

[anarchicblade]

Persona that looks like dirk strider wannabe

[getmesedated]

i do this to soo many depressed 30+ year old men

I don’t know who needs to hear this, but if you’re at a low point:

If you were a fictional man right now, there would be *at least* ten people if not a large portion of the fanbase that would call you their wet beast poor little meow meow

[rat-shark]

TUA SEASON 4 SPOILERS

okay so let me get this straight

Luther lost his wife then died as a stripper with a house that's falling apart

Diego died after just having found out his wife, who he'd been unhappy with for a long time, cheated on him with his brother

Allison died without a husband, with her career at a standstill, after not speaking to her family for years and without really fixing their relationship

Klaus died after relapsing after 3 years of sobriety, scaring his niece, without reuniting with Dave and with the additional trauma of being buried alive and sex trafficked

Five died having failed to stop the apocalypse - his only goal for the past, what, 60 years of his life - with unresolved feelings for Lila

Ben died suffering inside a huge blob that ended the world, never getting to be happy with Jennifer

Viktor died because he finally, FINALLY dared to question and oppose his father, after being unable to maintain a stable relationship with a woman for years (RIP Sissy ig)

Lila died stuck in an unhappy marriage, with conflicted feelings towards her husband AND his brother, with whom she had cheated

ok ok cool cool cool, got it.

[yifftwiceplz]

ok to shed more light on the whole council thing - being that all the verses are just bubbles in the void and interconnected and wed just won an extremely difficult and harrowing reality-altering game and were not looking to have more of it altered we (p much everyone that stepped through the door on the victory platform) formed a council to keep each other in check and exert a moderate amount of control over the universe and keep it safe and unsburbed

hence we have it on lockdown and im not sure of the logistics of that because it involves all the aspects and some horrorterror deals but we got this thing sealed off like fort knox cuz you know what we dont need is some situation where another dave comes in and he gets all buddy buddy with everyone and then he turns evil and its like "you have to kill the real dave" but nobody can tell daves apart for shit so i end up dying and a new dave takes over my universe kind of like how theres those birds thatll stone cold knock some chumps eggs out of the nest and lay its own and fly away and make the cuckbird raise the kids while they party in monaco

at least until we have solid defenses and contingencies for timeline/universe discrepancies

all this to say its not that you guys arent cool but ive only known you about 3 weeks and bro didnt teach me much but he taught me not to give out my address to strangers yfm

[bethrnoora]

normally i wouldnt like. care that much bc adaptations often add their own interesting take on things but if u want to experience 2010 odyssey two i'd really really recommend trying the book instead of the film. it's hard to follow up 2001 in general but there's a lot of actually interesting interpersonal stuff between the american + russian astronauts as well as more depth to dr. chandra that i feel the movie version seriously lacks

[david-talks-sw]

Debunking myths in the GFFA: Luke Skywalker isn't the One True Jedi™ and doesn't "reject the Jedi teachings."

The myth:

Luke's Jedi mentors - trained to be dispassionate and mission-driven - callously tell him to let his friends die in service of a greater cause.

"In The Empire Strikes Back, Luke becomes Yoda's Padawan, and there are echoes of Anakin's training and the dilemmas he faced. Like Anakin, Luke is told he is too old to begin the training. Like Anakin, he has a vision of his loved ones suffering in captivity, and receives cold advice from Yoda, who tells him to sacrifice Han and Leia if he honors what they fight for." - Jason Fry, “Family Tradition; Rejecting the Jedi Teachings” Star Wars Insider #130, 2012

The intended narrative:

The Jedi are actually right on all points. Luke isn't ready or fully trained and he's arrogantly letting his emotions rule him and rushing into danger. By ignoring them, Luke gets himself into a spot of trouble that actually jeopardizes the lives of the very friends he tried to help, as they now need to rescue him.

“It’s pivotal that Luke doesn’t have patience. He doesn’t want to finish his training. He’s being succumbed by his emotional feelings for his friends rather than the practical feelings of “I’ve got to get this job done before I can actually save them. I can’t save them, really.” But he sort of takes the easy route, the arrogant route, the emotional but least practical route, which is to say, “I’m just going to go off and do this without thinking too much.” And the result is that he fails and doesn’t do well for Han Solo or himself.”

“Luke is making a critical mistake in his life of going after- to try to save his friends when he’s not ready. There’s a lot being taught here about patience and about waiting for the right moment to do whatever you’re going to do.”

“Luke is in the process of going into an extremely dangerous situation out of his compassion— Without the proper training, without the proper thought, without the proper foresight to figure out how he’s gonna get out of it. His impulses are right, but his methodology is wrong.”

The myth:

The Jedi want Luke to repress his feelings and kill his father, to destroy the Sith, their religious enemies. As emotionally-detached Jedi, it is inconceivable that a Sith would come back from the Dark Side, and thus wrongly believe that the only solution is to kill Vader.

"It's easy to miss that Luke disagrees sharply with his Jedi teachers about what to do. Obi-Wan and Yoda have trained Luke and push him toward a second confrontation with Vader. He is, they believe, the Jedi weapon that will destroy both Vader and the Emperor. When Luke insists there is still good in Vader, Obi-Wan retorts that "he's more machine than man-twisted and evil." When Luke says he can't kill his own father, Obi-Wan despairs, "Then the Emperor has already won."  But Obi-Wan could not be more wrong. It is precisely because Luke can't kill his own father that he defeats the Sith." - Jason Fry, Star Wars Insider #130, 2012

The intended narrative:

The Jedi never tell Luke to "kill" his father. That's just a fact.

They tell him to "confront" and "face" him.

Their bottom line is that Vader and the Emperor need to be stopped.

If Luke can manage to do so without killing his father, that's great.

"In Jedi the film is really about the redemption of this fallen angel. Ben is the fitting good angel, and Vader is the bad angel who started off good. All these years Ben has been waiting for Luke to come of age so that he can become a Jedi and redeem his father. That's what Ben has been doing, but you don't know this in the first film." - Star Wars: The Annotated Screenplays, 1998

(credit to @writerbuddha for finding the above quote)

The problem is: Darth Vader has a track record of murdering loved ones who refuse to kill him. Be it his wife...

... his father/brother...

... and if you're going by Canon, his little sister.

As such, there's a very strong chance that Vader might do the same to his son as well.

“A Jedi can’t kill for the sake of killing. The mission isn’t for Luke to go out and kill his father and get rid of him. The issue is, if he confronts his father again, he may, in defending himself, have to kill him, because his father will try to kill him.” - 1981 story conference, from The Making of Return of the Jedi

Now, as the last Jedi left, the fate of the galaxy rests entirely on Luke's shoulders.

If he dies, then the galaxy and its billions of inhabitants are doomed to live in a tyrannical dictatorship forever.

“He knows a confrontation is brewing between Luke and his father. Ben hopes Luke will either save his father or kill him, because whatever extra powers Luke's got in his lineage, he is the one person that can probably fight his father and win.” - The Star Wars Archives: 1977-1983, 2018

There's a time for talking things through... and a time to do your duty. Above all else, a Jedi's duty is to end conflict.

Obi-Wan was once tasked with this same duty.

And while he managed to weaken Vader considerably (thus avoiding the catastrophe of a full-powered Vader being unleashed onto the galaxy)... because of his attachment, he failed to kill Vader.

Twice, if you include the Kenobi show.

(A show which, per Pablo Hidalgo, is one of George Lucas' favorite recent Star Wars projects, a tidbit that doesn't surprise me one bit considering how much the series perfectly aligns with what Lucas said about Star Wars (see here, here and here))

Point being: because Ben failed his duty, the galaxy suffered for it.

Luke is now in danger of doing the same.

If he's unable to end the conflict in a peaceful way, then Luke needs to be ready to do so in a more permanent manner. Because while Luke has qualms about killing his father, there's a very big chance that the feeling won't be mutual.

So Luke isn't rejecting his teachers' orders to kill Vader. He's saying he's unable to confront Vader altogether, because he'll be half-assing the task. In the (very likely) worst case scenario where reasoning with Vader fails, Luke is concerned he won't be able to follow-through and do what he must.

Further, there's also a worse outcome to Luke dying: Luke joining the Dark Side and becoming yet another asset of the Emperor, more dangerous than Vader himself.

It's thus essential that Luke steel himself and mask his emotions, because the Emperor is a master manipulator who'll likely attempt to corrupt Luke via the strong emotions he has for his friends.

Obi-Wan is not telling Luke to repress his emotions. On the contrary, he acknowledges that these feelings do Luke credit. But the fact remains that when your opponent can jiu-jitsu those feelings against you and your friends, you need to keep a poker face.

And judging by how close the Sith Lords come to seducing Luke to the Dark Side...

... that advice is completely on point.

The myth:

"It isn't Jedi teachings that save the galaxy, but bonds the Jedi tried to forbid - such as the love of a father for his son, and a son for his father. Emotional attachments, in other words." - Jason Fry, Star Wars Insider #130, 2012

The intended narrative:

In Return of the Jedi, Luke isn't doing anything different than what other Jedi have done.

He does his best to avoid lethal force unless he deems that it is necessary (see his fight against Jabba's hostile forces).

He sacrifices himself for the greater good and let himself be captured, in order to allow the mission to be carried out.

He tries to reason with his enemy, hoping to avoid conflict.

He spares his enemy, showing mercy.

That's all standard Jedi stuff. We've seen other Jedi do all those things, both in the films and The Clone Wars.

If that isn't enough, just look at how Lucas describes what Jedi normally do (left), versus what Luke does in Return of the Jedi (right):

See what I mean? There’s pretty much no difference.

In Lucas' narrative, Luke isn’t “better than” or “rejecting the teachings” of the Jedi who came before him. He’s following the Jedi path. And he's really good at doing so.

Because this idea that Luke "rejects the teachings" makes no sense! They're Lucas' teachings. He agrees with the Jedi, they're the mouthpieces he uses to deliver the audience his own values.

Lucas having his main character do something he'd ideologically disagree with is something that doesn't make sense.

And part of this confusion comes from a misunderstanding of the word "attachment", in Star Wars.

It doesn't mean "emotional attachments" or "feelings" or "affection." It comes from the Buddhist principle of non-attachment.

It's not about depriving yourself of relationships or affection, it's about accepting that everything comes and goes and letting go of those very things you hold on to, when the time comes.

Lucas makes a distinction in his discourse between attachment and compassion.

"The whole idea of the movie, ultimately is that you have the Light Side and the Dark Side. The Light Side is compassion, which means you care about other people. The Dark Side is you care only about yourself. And you are obsessed with yourself. Getting your pleasure and getting all your stuff. The other one, you give it to everybody. You give goodness and health to everybody else.  So the issue of love... there’s a line between loving somebody compassionately and caring about them and helping them. But the other line is not to be greedy or... once you are greedy then you get fearful. You don’t want to lose what it is you have that you are getting. So you have to learn to give up everything. And ultimately for a Jedi Knight, it’s very easy to give up." - Celebration V, Main Event, 2010

In-universe, this is something Anakin knew the theory of, but never really applied all that much.

Luke on the other hand, was able to learn the lesson and apply it.

Speaking in Lucas lingo, it's not Luke's attachment that makes him spare Vader. It's his compassion. And in turn, that compassion inspires Vader to do the same.

"It really has to do with learning. Children teach you compassion. They teach you to love unconditionally. Anakin can’t be redeemed for all the pain and suffering he’s caused. He doesn’t right the wrongs, but he stops the horror. The end of the Saga is simply Anakin saying, ‘I care about this person, regardless of what it means to me. I will throw away everything that I have, everything that I have grown to love - primarily the Emperor - and throw away my life, to save this person. And I’m doing this because he has faith in me, loves me despite all the horrible things I’ve done. I broke his mother’s heart, but he still cares about me, and I can’t let that die.’" - The Making of Revenge of The Sith; page 221

Or, to put things more simply:

Attachment (selfish love), is what makes Anakin do this:

Compassion (selfless love), is what makes Luke do this:

Now, could Lucas have made his narrative more explicit, to avoid confusion? Maybe.

But I think it's also fair to point the finger at the biggest cause of these muddied waters:

Simply put, the Expanded Universe (the Star Wars books, novels and games that spun out of the films) established new lore elements that didn't necessarily align with Lucas' vision of things. Namely:

Jedi can get married, and Luke marries Mara Jade.

Jedi can begin their training as adults, and Luke takes on many apprentices that are already adults.

When considering George's minimal involvement in the development of EU stories, it's easy to see why these plot points were allowed to come through.

But when he made the Prequels, his headcanons came to light and the above plot points needed to be retconned.

George Lucas' narrative:

"Nope. You can't be a Jedi and be married."

This isn't actually coming out of left field.

When Timothy Zahn asked for Luke and Mara to be married or engaged, back in 1993, Lucasfilm initially vetoed the idea.

And over the years, Lucas and other Lucasfilm employees have made it it clear that "Luke getting married" did not align with his vision (so much so that it's a plot point in Attack of the Clones).

So the question becomes: why can't Jedi get married?

It's about commitment.

Simply put: you can't have two marriages. Eventually, your commitment to one of them will falter and you'll ruin them both. A Jedi is already married to the cause and to the Order.

If they want to get married, they have to leave the Jedi.

"One of the things [the Jedi] give up is marriage. They can still love people. But they can’t possess them. They can’t own them. They can’t demand that they do things. They have to be able to accept the fact, one, their mortality, that they are going to die. And not worry about it. That the loved ones they have, everything they love is going to die and they can’t do anything about it. I mean they can protect them as you would ordinarily protect, you know, ‘Get out of the way of that car.’ Somebody charges you with a gun, you knock the gun out, but there is an inevitability to life which is death and you have to accept that." - Celebration V, Main Event, 2010

And this is another example, really, of how Lucas' own values and past experiences shape the Jedi's teachings.

Marcia Lucas divorced George because he was constantly working on Star Wars, even when he wasn't directing it, which she said led to an emotional blockage in their marriage...

... and this leads us to the reason why George didn't double-down on the success of the Original Trilogy: he decided to take time off to raise his three kids as a single Dad.

He learned his lesson, reasoned that he wouldn't be able to be both a good, present father and a successful blockbuster film director.

When you're dealing with time-consuming commitments of this scale, you need to make a choice, or you'll end up (half-assing and thus ruining) both of them.

"Nope. Jedi get taken in as babies for a reason."

Once again, this has to do with Lucas' definition of "attachment."

"Jedi Knights get taken from their families very young. They do not grow attachments, because attachment is a path to the Dark Side. You can love people, but you can't want to possess them. They're not yours. Accept that they have a fate. Even those you love most are going to die. You can't do anything about that. Protect them with your lightsaber, but if they die they were going to die. There's nothing you can do. All you can do is accept that fact. In mythology, if you go to Hades to get them back, you're not doing it for them, you're doing it for yourself. You're doing it because you don't want to give them up. You're afraid to be without them. The key to the Dark Side is fear. You must be clean of fear, and fear of loss is the greatest fear. If you're set up for fear of loss, you will do anything to keep that loss from happening, and you're going to end up in the Dark Side. That's the basic premise of Star Wars and the Jedi, and how it works. That's why they're taken at a young age to be trained. They cannot get themselves killed trying to save their best buddy when it's a hopeless exercise." - The Star Wars Archives: 1977-1983, 2018

Jedi need to maintain objectivity and neutrality, in their day-to-day lives of mediating peace between planets.

And learning to "let go of your attachments when the time comes" is part of that training. But it is something that takes discipline and time, and thus the child needs to be young enough to develop this skill. Otherwise, they end up like Anakin, who always struggled to properly learn it and eventually was doomed by his greed.

This being part of Lucas narrative is also evidenced that in his earlier plans for the Sequel trilogy, he'd have Luke train children, not adults like he does in the EU.

"Luke is trying to restart the Jedi. He puts the word out, so out of 100,000 Jedi, maybe 50 or 100 are left. The Jedi have to grow again from scratch, so Luke has to find two- and three-year-olds, and train them. It’ll be 20 years before you have a new generation of Jedi." The Star Wars Archives: 1999-2005, 2020

The EU's retcons of Lucas' narrative:

Now, obviously, the addition of all these rules and other elements such as midi-chlorians... it does something to the older audience. They grew up on the Original Trilogy, dreaming they could be a Jedi too if they just believed enough. Now that bubble is burst.

"Wait, if I'm a Jedi I can't get married?! And I need to be taken in as a toddler, with a certain kind of blood score?! That's bullshit!"

More importantly... it goes against about a decade's worth of established EU lore (which Lucas never factored into his storytelling)!

So what does Lucasfilm Licensing do? They go with it.

They take these "weird" rules the older audience and authors don't like, and retcon a new narrative around them to ensure both the books and the new films all stay canon within the EU own continuity.

George Lucas revealed new information about his universe in Episode II that ran counter to earlier stories of the Expanded Universe. Among the surprises: the Jedi Order is monastic, with love and marriage forbidden to its members. This would necessitate reforms to the Jedi Code over time to separate the ancient era when Nomi Sunrider was married to a Jedi, seen in the Tales of the Jedi (1993–94) comics, as well as the post-Empire era when Luke Skywalker married Mara Jade in the comic series Union (1999–2000). LucasBooks also needed to create plausible exceptions for Ki-Adi-Mundi, a Jedi Master who had multiple wives in the Prelude to Rebellion comics (1999). - Pablo Hidalgo, The Essential Reader’s Companion, 2012

When it comes to Luke specifically, the narrative becomes:

"Uh... y-yes. The old Jedi Order forbid marriage, only took in toddlers and had a blood pre-requisite... which was weird, wrong, too detached, too systemic, and part of why their Order failed! But, uh, Luke's New Jedi Order allows marriage, unlike his dogmatic predecessors, because anyone can be a Jedi guys!" Hahaha! (fuck's sake George)

But as already explained above: those new rules aren't meant to be perceived negatively. It would make no sense if they were, they're based on Lucas' own values.

You know what it does do, though?

It cements the narrative that Luke is the One True Jedi™, who rejected the dogmatic teachings to forge a new path forward.

That's not the intended narrative of the Original Trilogy, nor the six-film saga as a whole.

If you've made it this far in the post (congratulations) and are interested to read another all-encompassing post about that, you can check out the link below :)

[hoe4hotchner]

With blood on his hands | [A.H]

Pairing: UnSub!Hotch x gn!reader CW: Dark. This story contains descriptions of graphic violence, murder, mental illness, grief, and emotional distress. Dark themes, betrayal, loss of control, and fear, kidnapping, physical aggression, helplessness. WC: 5.2k

Please don't request a part 2 unless you have a very specific idea, my brain physically couldn't come up with more plot for this.

           The house was quiet. Too quiet. Bearing signs of life throughout the whole layout of the building, yet the disturbing truth of what had happened made you uneasy.

           It was the same scene they’d encountered twice already - an all-American family, slaughtered in their home, with no apparent struggle, no clear motive. A mother, a father, and their young son, all lying lifeless, their blood staining the carpets, their lives ruthlessly cut short.

           You stood beside Rossi, your hands clad in gloves, and a frown etched upon your face as you surveyed the scene. The scent of blood and suffering hung heavy in the air, choking your senses. You had seen your fair share of horrors, but this was different. This unsub was different.

           "Third one this week," Rossi murmured beside you, his voice gruff with exhaustion and irritation, feeling the weight of the case starting to take its toll. "We need to catch this guy before he strikes again."

           You nodded, eyes scanning the room as your mind worked through the details. This unsub wasn’t just killing; he was destroying. The brutality of the murders suggested rage - deep and personal rage. There was a familiarity to the way everything was laid out that you couldn't put a finger on.

           You stepped over to the nightstand, where the mother’s jewelry lay scattered. Your eyes caught a golden ring, glinting in the light. You reached for it instinctively, feeling a strange pull toward the piece of metal. It was simple but familiar, in a way that made your stomach churn with suspicion.

           Frowning, you held it up to the light, inspecting it. That’s when it hit you like a punch to the gut.

           You knew this ring.

           Your blood ran cold as memories flooded your mind. Years of working alongside him, watching him fiddle with that exact band on long nights at the office, lost in thought as he processed information and clues. You had seen it on his finger countless times.

           Hotch.

           Your heart pounded in your chest, a dizzying sense of disbelief washing over you. There was no way. No possible way. You told yourself it was a mistake, that the stress of the case was playing tricks on your mind.

           But the more you stared at the ring, the more your instincts screamed at you.

           You weren't wrong about this.

           You swallowed hard, slipping the ring back onto the dresser. Rossi hadn’t noticed your reaction, he was busy analyzing the scene with his usual calm efficiency. You forced yourself to stay composed, your mind racing.

           The families. The pattern. A mother, a father, and a young son. Haley and Jack. It was so obvious.

           It all clicked into place with horrifying clarity. Hotch's stressor… the deaths of his family. You remembered the way he had shut down after losing them, how the grief had changed him. But never in your worst nightmares could you have imagined this. This was not the man you knew.

           You took a shaky breath, your mind spinning. You couldn’t tell Rossi - not yet - he wouldn't believe you. Wouldn't believe that his oldest friend was capable of this. Not until you were sure. Not until you’d seen Aaron, looked him in the eyes, and confronted him yourself. You owed him that much.

           "Dave," you said, forcing your voice to stay steady, "I’m going to head out. I need to check something."

           He glanced over at you, raising an eyebrow. "You okay? You look pale."

           "I’m fine," you lied, offering a weak smile. "Just need to follow up on a hunch."

           Rossi nodded, distracted by something on the floor, and you took the opportunity to slip away, your heart pounding in your chest. You could barely keep your hands from trembling as you made your way out of the house and into your car. Thankfully you had arrived separately.

           The drive to Aaron’s old house felt like a blur, your mind spinning with possibilities. Every part of you hoped you were wrong. That this was all some horrible mistake, that there was no way the man you had worked with for years could be behind these murders, that this was truly just some twisted dream, and that you'd wake up soon.

           But deep down, you knew.

           This was reality.

           When you pulled up to Aaron’s house, the pit in your stomach deepened. His car was in the driveway, the lights inside the house dim and all the curtains closed. You swallowed hard, forcing yourself to stay calm. You had to confront him. You had to know the truth.

           You walked up to the door, every step feeling like a death sentence. When you knocked, there was a long pause. Then the door creaked open, revealing Aaron, standing in the doorway. He looked disheveled, his eyes dark and sunken, the weight of grief and something darker pressing down on him.

           "(Y/N)," he said, his voice low and rough. "What are you doing here?"

           You tried to speak, but the words caught in your throat. You stared at him, your heart racing as you noticed the subtle signs - the tension in his posture, the way his hands flexed at his sides. And most of all, the unmistakable wedding band missing from his finger.

           "I…" you began, your voice trembling. "I need to talk to you."

           Aaron’s eyes flickered, something unreadable passing behind them. He stepped aside, letting you in without a word. You walked into the house, the air thick with tension, your nerves screaming at you to turn around and leave, to get out while you still had the chance. But you couldn’t. Not now.

           As you stepped further into the room, your eyes landed on something that made your stomach drop - on the kitchen counter, barely noticeable, was a small streak of blood. Fresh blood.

           Aaron closed the door behind you, the sound echoing ominously through the quiet house.

           "You shouldn’t have come here," he said, his voice low, almost a growl.

           Your heart pounded in your chest as you turned to face him, the realization crashing down on you with terrifying certainty. Aaron Hotchner wasn’t just your old colleague. He wasn’t just the man that had been your boss. He was the unsub you were looking for. He was the monster you’d been chasing.

           And now, you were alone with him.

           Hotch stood over the lifeless body sprawled across the floor in his living room, his breath coming in ragged gasps, his knuckles bruised and bloody. The man beneath him had been dead for several minutes now, his face a mangled mess of flesh and bone, barely recognizable.

           Hotch’s fists clenched and unclenched, the blood dripping from his fingers painting the carpet with small, crimson pools. His heart was pounding, not from fear or guilt, but from the pure adrenaline coursing through his veins. He should have felt something - regret, remorse, shame—but there was only emptiness. Nothingness. And rage.

           The rage never left him. It simmered beneath the surface, a constant presence, threatening to consume him whole. After Haley and Jack, everything had spiraled. Their deaths had shattered the last bit of humanity he had clung to. He had tried, God knows he had tried, to be the man everyone needed. The leader. The protector. But after them, something inside him had broken, irreparably so.

           At first, he had managed to keep it hidden. But over time, the mask had slipped, the cracks becoming impossible to cover. The anger had grown, festering like a disease, until it had taken over every part of him. It was easier this way. Easier to stop pretending to be the good guy, the man who saved lives, when all he wanted to do was destroy them.

           Besides the way he had hurt Foyet had felt so good.

           He turned his head, his gaze cold and calculating, as a knock landed on the door.

           The scent of sweat hung thick in the air, and the room was suffocating with the tension of your predicament.

           You stood in the doorway, your eyes wide with shock, taking in the scene before you. The man on the ground, the blood, the violence. And Hotch. Not a single drop could be seen on his clothes. Only his hands bore signs of the crime. Your mouth moved, but no sound came out. You were frozen, paralyzed by the realization of what you were seeing. What he had done.

           Hotch stared at you, his chest rising and falling with shallow, uneven breaths. The look on your face - the fear, the disbelief - only fueled the fire inside him. For a moment, there was silence, an unbearable tension hanging between the two of you.

           Then, he spoke. His voice was low, a growl barely restrained by the thin thread of control he had left within him.

           “You really shouldn’t have come here.” He repeated his previous statement

           You blinked, finally finding your voice. “Aaron... what have you done? This isn't you.”

           Hotch’s jaw clenched, his eyes darkening with something unrecognizable. He took a step toward you, the cold gleam in his eyes sending a shiver down your spine. “I did what needed to be done.”

           You could barely breathe, your mind racing as you tried to process what had happened. This wasn’t the man you knew. The man you had worked with for years, the man you had trusted. The man you had secretly loved. He terrified you now. This was someone else entirely - a predator, who was cold and unfeeling.

           “Aaron, please...” Your voice shook as you took a step back, instinctively retreating from the danger that loomed before you. “You don’t have to do this.”

           His eyes flashed with anger, and in an instant, he was on you, his hand gripping your arm with a force that made you wince. His breath was hot against your ear as he whispered, “Don’t tell me what I have to do. You don't know anything”

           You swallowed hard, trying to remain calm despite the fear coursing through you. “This isn’t you,” you whispered, your voice trembling. “You’re not a killer.”

           His grip tightened, and you gasped, pain shooting through you as you felt him slightly twisting your arm. “Aren’t I?” His voice was sharp and dangerous. “Do you know what it feels like, to lose everything? Watching them die? Knowing you couldn’t stop it? Knowing that you weren't fast enough?”

           Tears welled in your eyes as you tried to pull away from him, but his hold was unrelenting. “Aaron, please,” you begged, your voice barely above a whisper. “This won’t bring them back. What Foyet did was terrible.”

           For a moment, you thought you saw something - some flicker of humanity cross his face. But it was gone as quickly as it had appeared, replaced by cold indifference. He released you, shoving you back roughly. You stumbled, catching yourself against the wall, your heart pounding in your chest.

           Hotch stood there, his eyes burning with fury, his hands still stained with blood. “Don't tell me what's right or wrong. They’re gone and nothing can bring them back,” he said through gritted teeth, his voice void of emotion. “There’s nothing left for me but this.”

           You shook your head, tears streaming down your cheeks. “There’s more to you than this. You’re better than this, Aaron. I know you are.”

           He laughed, a bitter, cruel sound that sent chills down your spine. “Better? Better for who? For you? For the bureau didn't trust me to be in the field after what happened?” His eyes bore into yours, and you could feel the hatred radiating off him. “Do you really think you know me? The man I am now?”

           You didn’t answer, too afraid of what he might do next. His rage was palpable, an almost physical force that seemed to fill the room, choking you with its intensity.

           He moved toward you again, his eyes wild, his movements erratic. “You think you can save me? Is that it? You always had a savior complex, just like Morgan.” He grabbed your chin roughly, forcing you to meet his gaze. “You can’t save me. No one can.”

           You trembled under his touch, your heart thrashing in your chest, trying to claw its way out as his fingers dug into your skin. For a moment, you thought he might hurt you, that you might face the same predicament as the lifeless body in his living room. That he might go too far. But then, just as quickly as the anger had flared, it seemed to dissipate, leaving only emptiness in its wake.

           He released you, stepping back, his breathing heavy and uneven. His hands shook as he wiped them on his pants, the blood smearing across the fabric. He looked at you, something dark and broken in his eyes. “You should leave,” he said, his voice hollow as he turned his back to you.

           You swallowed, your throat dry. “Aaron—”

           “Go.” His voice was cold, final. There was no room for argument.

           You hesitated for a moment, torn between the part of you that wanted to stay, to help him, and the part that knew he was too far gone. Finally, with a heavy heart, you turned and walked toward the door, your footsteps echoing in the silence.

           As you reached the doorway, you turned back to look at him one last time. He was standing in the center of the room, staring down at his blood-stained hands, his expression unreadable.

           “Aaron,” you whispered, a single tear rolling down your cheek, and your voice breaking. “I’m sorry.”

           But he didn’t look back. He didn’t say a word. And as you stepped out into the night, the door closing behind you with a soft click, you knew that the man you had once known was gone.

           The door had barely closed behind you when Hotch’s mind snapped back into a cold calculation. He could still feel the sting of your words in the air, your plea for him to stop. You should leave, he’d told you. But now, as silence wrapped around him, a horrifying realization dawned - you knew of him.

           Who else knew?

           You were the only one who had seen him like this, who knew what he had done. The team… They would never believe it on their own. Not until you told them, he was sure of that. But what evidence did you have to back up your claim?

           His pulse quickened. His anger, momentarily soothed by the violence he'd unleashed, flared again. He couldn’t let you leave. He wouldn’t.

           He moved quickly, his body still humming with adrenaline. You had made it to the end of the driveway when you heard him behind you. His footsteps were heavy and purposeful. You froze, your heart pounding in your chest.

           "Aaron?" you called over your shoulder, your voice trembling. But there was no response, only the oppressive sound of his approaching footsteps. Fear gripped you.

           Before you could take another step, he was on you. His strong hand wrapped around your wrist like a vice, yanking you back toward him with brutal force. You gasped, struggling against his hold, but it was no use. His grip was unyielding, his expression dark and twisted as he dragged you back into the house, thankful that he and Haley had bought a house in a secluded area.

           "You thought you could just walk away?" His voice was low, a deadly whisper, sending a chill down your spine. "That you could leave me and run straight to the team? Tell them about what I've been doing?"

           You blinked, fear coursing through you as you tried to speak. "No, Aaron, I—"

           "Don’t lie to me!" he snarled, his face inches from yours. "I see it in your eyes. You were going to tell them. Weren’t you?"

           Terror constricted your throat. You wanted to scream, to plead with him, but the words wouldn’t come. His anger was suffocating, his eyes filled with a malice you’d never seen before.

           "I can’t let you do that," he said, his voice eerily calm now, the storm of his fury momentarily quieted by cold calculation. "You’ll ruin everything. This—" He gestured to the leftover blood still staining his hands. "This is who I am now. And you’re not going to stop me."

           Without warning, he yanked you roughly into the storage closet, slamming the door shut behind him. The darkness swallowed you both whole. You stumbled, trying to catch your balance, but Hotch was determined. His large frame loomed over you, his hand still gripping your wrist with bruising force.

           "Please, Aaron, you don’t have to do this," you whispered, your voice shaking as you tried to reason with him. Tried to pull yourself out of his grip.

           But his expression was unreadable now, lost in the darkness. His fingers tightened around your wrist, and you winced in pain. A high-pitched whimper left your throat as the pain coursed through every single nerve in your body.

           "I do." His voice was cold, devoid of the empathy and warmth you once knew in him. "You’re the only one who knows as far as I can tell. And if I let you walk out of here, it’s over for me."

           Your breath hitched, panic rising in your chest. "Aaron, I won’t tell anyone," you pleaded, desperation leaking into your voice. "I swear, I—"

           "I told you don’t lie to me," he hissed, cutting you off with a deadly glare. "I can’t trust you. Not anymore."

           The air was thick with tension, the weight of his gaze suffocating. You could barely make out the features of his face as your eyes adjusted to the darkness, but you could feel the cold determination, it was unmistakable. He had made up his mind. There was no reasoning with him, no turning back.

           Hotch fumbled with something on the wall and soon enough the overhead light bulb flickered on, the dim light barely bright enough to light up his features. Before you could react, Hotch pulled a length of duct tape from a nearby shelf, yanking it free with a sharp sound. Your heart raced, and you instinctively tried to back away, but he was faster. With a cruel efficiency, he shoved you up against the wall, pressing his body against yours to keep you in place.

           “Stop fighting me,” he growled, his breath hot on your neck.

           You struggled, trying to wriggle out of his grip, but it was no use. He was stronger, and his anger gave him a terrifying, unnatural strength. The tape wound around your wrists, biting into your skin as he bound you tightly. Tears pricked at the corners of your eyes as you realized there was no escape.

           When he was finished, he stepped back, watching you with an unnerving calm. Your heart pounded in your chest, panic threatening to overtake you.

           "What are you going to do?" you asked, your voice barely a whisper.

           Hotch tilted his head, his eyes narrowing as he considered you. “I’m going to make sure you can’t destroy everything.” His voice was cold, emotionless. “I’ve lost too much already. I won’t lose control again.”

           Without warning, he grabbed you, throwing you over his shoulder with brutal force. You screamed, but the sound was muffled by the closet walls. His grip on you was like iron as he carried you out of the building, and into the garage where his car waited patiently.

           You thrashed against him, panic clawing at your throat. But it didn’t matter. His mind was made up, and his body moved with the cold precision of a man who had crossed the line of no return, a man who wasn’t coming back.

           He tossed you into the trunk of his SUV, the metal cold against your back as he slammed the hatch shut, trapping you inside. The darkness closed in around you, and all you could hear was the sound of your own panicked breathing and the engine roaring as Hotch turned the car on.

           You were trapped.

           The engine screeched as Hotch drove with grim determination, the rain streaking the windshield of his SUV. His fingers gripped the steering wheel tightly, his knuckles turning white at the force of his grip. You still lay in the cramped trunk, the tape burning the skin on your wrists as you struggled to free yourself. Hotch had made a stop after about an hour on the road on the road to gag your screams, he was tired of hearing your begs and pleas for mercy. You lay helpless as the vehicle bumped along the dark, slick road. Every movement jostled your body, sending sharp pains through your limbs, but the terror coursing through you dulled the physical discomfort.

           The man behind the wheel was someone you thought you knew. But this version of Hotch was a stranger.

           His phone buzzed on the dashboard, but he ignored it. You could barely make out the faint sounds through the barrier between you, but you knew it had to be the team. They had to realize by now. But the phone in your pocket still clutched tightly against your side despite the restraints, was your only lifeline. Garcia could trace it if you managed to answer it the next time they tried your number. The team would find you, you were sure of it.

           But Hotch already knew that. And he wasn’t going to let it happen.

           Your heart raced as the SUV took a sharp turn, causing your body to slide slightly across the floor of the trunk. The storm outside was intensifying, and you could feel your anxiety building in the way he drove — focused and determined. He had a plan.

           The car slowed, the rhythmic thud of the rain against the roof of the trunk filling the silence. He pulled off the main road, the sound of gravel crunching beneath the tires. Your pulse quickened as the vehicle came to a stop.

           A car door slammed shut, and you heard his heavy footsteps approaching. The trunk popped open, letting in the cool, rain-soaked air. Hotch loomed over you, his face set in a harsh, emotionless mask. Without a word, he reached down, his grip bruising as he grabbed you by the arm and pulled you out of the trunk. You stumbled onto the muddy ground, barely able to keep your balance.

           His fingers moved deftly, reaching into your pocket and yanking out your phone. His lips curled into a dark smirk, his eyes flashing with twisted amusement.

           “You thought the team would save you,” he grinned in a low almost scary voice. “You thought Garcia would trace this… pathetic.” He held up your phone. A flash of lightning struck down in the distance behind him.

           Before you could react, he dropped the phone on the ground and crushed it under his heel before throwing it into the lake you had stopped near. You barely heard it splash into water over the sound of the pounding rain. Hotch calmly walked over to a large rock, grabbing it with both hands. You watched in horror as he smashed his own phone repeatedly, reducing it to a mess of shattered glass and plastic.

           Your only connection to the outside world was now gone.

Hotch turned back to you, his face illuminated by the brief flashes of lightning. His expression was as cold and unfeeling as the storm around you, but there was something darker in his eyes — a satisfaction in watching your hope slip away.

           “You always were smart,” he murmured, stepping closer, towering over you. “Too smart for your own good.”

           Without another word, he shoved you back into the trunk, his strength leaving no room for resistance. You were thrown back into the small, confined space. The rain and the outside world disappeared, leaving you in pitch-black darkness once again.

           The car started again, the engine rumbling as Hotch continued driving. You were no longer sure where you were, feeling like he potentially had driven you in circles to throw you off track, and that uncertainty gnawed at you. There was no doubt in your mind that Hotch had planned this meticulously. He had been covering his tracks, eliminating threats, and now he was eliminating your ability to interfere.

           The drive felt endless, the sound of rain against the roof your only marker of time passing. You tried to shift, to loosen the restraints on your wrists, but every movement sent sharp pain through your limbs. The car’s motion made you nauseous, the fear and discomfort blending into a haze.

           Eventually, the car slowed again. You felt the shift in the vehicle as it came to a stop. The air was suffocating, your breath quickening in panic as you heard the sound of the driver’s door opening for the third time and then the distant crunch of dried leaves under Hotch’s footsteps. Where had he taken you?

           The trunk opened again, and Hotch’s silhouette was backlit by the faintest glimmer of moonlight filtering through the storm clouds looming above. His face was unreadable, but there was no regret, no hesitation in his actions. He reached in and grabbed you roughly by the arm as he pulled you from the trunk once more.

           You were in the middle of nowhere - an abandoned building ahead, its windows dark and some of them were even shattered.

           The perfect place for someone to disappear.

           “We’re going inside,” Hotch growled, his voice harsh and barren of the warmth it once held.

           Your legs buckled beneath you, no strength left to carry your body, but Hotch didn’t care. He hauled you toward the entrance of the building with ease, his grip bruising on your bicep as he pulled you through the door. The interior was pitch black, the only sound was your rapid, panicked breaths and the distant rumble of thunder as the last of the storm was passing you.

           He led you through the building, the air biting at your skin. You could feel the hatred radiating from him - the complete absence of the man you once knew. He stopped in the center of a large, empty room, turning to face you with a dark, predatory gaze.

           “You should’ve stayed out of it,” he hissed, his voice low and dripping with venom. “But you couldn’t help yourself. You just had to know.”

           He stepped closer, his presence overwhelming as he reached out, his fingers gripping your chin tightly, forcing you to look up at him. His eyes bore into yours, cold and merciless.

           “You’ll wish you hadn’t.”

           The BAU team gathered in their conference room, the air filled with a heavy silence. The flickering lights of the monitors and the scattered case files did little to lighten the grim atmosphere. The latest string of killings had left them all feeling drained and frustrated. They knew the pattern - the targeted families of three - but the connection was proving elusive.

           Reid, hunched over his paper files, spoke up. “The pattern is consistent. Every victim family has been targeted in a specific order: the father is always the first to go, followed by the mother, and then the child. We’re missing a crucial piece of the puzzle. Why does the unsub want the sons to watch their parents get murdered?”

           Morgan, pacing back and forth, nodded grimly. “We’ve checked financial records, phone records, and even personal connections, but nothing’s coming up. It’s like the unsub is just a ghost.” He listed, counting with his fingers as he mentioned each thing.

           Rossi, reviewing photos from the crime scenes, frowned in concentration. “There’s something we’re not seeing. Maybe we need to look at the details of each scene once again, this time more closely. There’s got to be a common thread.”

           Garcia was furiously typing away, her eyes darting between various screens. She was usually the one bringing good news or revelations, but this time her face was a mask of worry. “I’ve cross-referenced all known data, and I’m still coming up empty. It’s like the unsub is erasing every trace of himself.”

           Penelope’s words were interrupted by the sudden appearance of a new piece of evidence popping up on her screen. The team watched in quiet concern as she displayed a series of images on the large television screen behind them. The new evidence came from a tech at the latest crime scene.

           “Look at this,” Garcia said, her voice trembling slightly as she pointed to a photo of a golden wedding ring lying on a dresser. “I’ve run the image through our database. It’s not just any ring. It’s a unique design only a handful made in total, and I found a match.”

           The room fell silent as the team examined the image. Reid’s eyes widened as he recognized the significance too. “That ring… it’s a distinct piece. I’ve seen it before.”

           Rossi’s gaze shifted from the photo to Garcia. “You’re saying this ring could be linked to someone we know?”

           Garcia nodded, her fingers flying across the keyboard. “I cross-referenced it with our records, and it matches the description of a ring worn by someone in our team.” She swallowed the lump in her throat as she saw the name displayed on her laptop.

           The realization hit like a thunderclap. The team exchanged worried glances, their earlier frustration giving way to a new kind of dread. Rossi’s face darkened as he leaned in closer.

           Garcia nodded again, her expression serious as she confirmed the words Rossi had been about to ask. “The ring belongs to Hotch.”

           The room erupted into chaos. Morgan’s eyes widened in shock, and Reid’s expression was one of horror. “No way,” Morgan said, his voice filled with disbelief. “Hotch? He’s one of the most dedicated agents we’ve ever worked with.”

           “Is there any chance it could be a coincidence?” Rossi asked, his voice tight with concern. "That it's one of the other owners of similar rings?"

           Garcia shook her head, her face pale. “I don’t think so, they've all been spotted across the country and have rock-solid alibis. The design is too specific. And if Hotch is involved, we need to find him before it’s too late.”

           Reid began to piece together the information, his mind racing. “If Hotch is connected to the unsub, then it’s possible that he’s been orchestrating these murders from within. We need to act fast.”

           The team sprang into action, their earlier determination now transformed into urgency. Rossi and Morgan began to gather additional evidence and check Hotch’s recent whereabouts. Reid and Garcia worked on tracking Hotch’s phone, hoping to pinpoint his location.

           As the team raced against time, their focus sharpened on finding Hotch and uncovering the truth behind his involvement in the killings. Each agent’s heart pounded with the realization that someone they trusted might be the very monster they were hunting. But they were not ready to admit it just yet.

           Meanwhile, the darkness within Hotch continued to grow, his plans advancing while the team desperately tried to uncover the truth.

           The next move was crucial - finding Hotch could be the piece they were missing.

[almostfoxglove]

let's write some ANGST!

hey kids. we're back, as promised! some of you may remember the angst writing challenge I hosted in the summer and, well... what can I say? I love to suffer. so we're back to celebrate the new year and bring in 2025 with some BIG FEELINGS!

❤️‍🩹 rules

1. 📜 your fic must include angst, and at least one image OR the quote from your moodboard. how much angst is totally up to you - happy endings are allowed, but feel free rip my heart out, too :,) 2. ✅ entries are due by march 1st, 2025. if you need more time, just let me know!! the angst is for fiction only, not real life, so there's no stress here <3 be sure to tag your post #almostfoxgloveangst2 when it's done!

note: photos in the moodboards are just for vibes, and aren't intended to be prescriptive / representative of any characters in your piece.💗 you are welcome to write in any AU or canon universe you like! as usual, 18+ mdi!

❤️‍🩹 participants & masterlist below the cut!

ALL SPOTS HAVE BEEN CLAIMED!

📰 dave york - @guiltyasdave

⚔️ din djarin - @sawymredfox

🕒 din djarin - @djarinmuse

🦌 din djarin - @slimybeth69

🎯 din djarin - @burntheedges

⛓️‍💥 din djarin - @saradika

👻 ezra - @morallyinept

🌼 frankie morales - @toomanystoriessolittletime

✉️ frankie morales - @amanitacowboy

🎻 javier peña - @quinnnfabrgay-writes

🌾 javier peña - @milla-frenchy

☎️ javier peña - @whocaresstillthelouvre

🚬 javier peña - @pedgito

🪖 javier peña - @iknowisoundcrazy

🌳 joel miller - @aurorawritestoescape

🔒 joel miller - @jolapeno

🕯️ joel miller - @gracieheartspedro

👑 joel miller - @schnarfer

🛑 joel miller - @evolnoomym

🐎 joel miller - @arcanefox207

🍷 lucien de leon - @gothcsz

🪙 marcus acacius - @myownwholewildworld

✒️ marcus acacius - @joelmillerisapunk

🚂 marcus pike - @secretelephanttattoo

🪦 max phillips - @jennaispunk

⛪ max phillips - @yopossum

🥀 oberyn martell - @galway-girlatwork

some mutuals & folks who showed interest in this challenge:

@jolapeno @luxurychristmaspudding @perotovar @iknowisoundcrazy @guiltyasdave

@galway-girlatwork @pedges-world @yxtkiwiyxt @yopossum @morallyinept

@inept-the-magnificent @schnarfer @burntheedges @ak-vintage @quinnnfabrgay-writes

@eupheme @amanitacowboy @whocaresstillthelouvre @itsokbbygrl @sp00kymulderr

@sugarcoated-lame @pedgito @aurorawritestoescape @toomanytookas @gothcsz

@encasedinobsidian @jessthebaker @joelmillerisapunk @myownwholewildworld @chronically-ghosted

@secretelephanttattoo @sawymredfox

[directdogman]

(Sorry if I have bad English, I'm from Spain.)

I'm super hyperfixated on the original managers, so I have 2 questions.

1. In Dialtown, Tango/Terrence says no one called him Tango before. Assuming that in the DSaF universe he also liked that nickname, did any of the other original managers call him Tango or not?

2. A headcanon I've seen in the DSaF fandom is that Abel hated everyone BUT the real Scott Cawthon, and that Scott was the only one that tolerated Abel (some ppl even ship them). Is that close to canon? Or the og Scott Cawthon also hated Abel? I really want to know what they thought about each other.

Btw, I really love your games, I've played the DSaF trilogy many times, and the Dialtown demo (I haven't played the full version of Dialtown yet, but I've seen gameplays and I'll buy it for my birthday), thank you for making 4 incredible games <3

I don't answer many DSaF questions these days, but this one's interesting so here goes:

1)Tango's nickname is a DT invention as far as I remember. If he preferred the name in DSaF's universe, Harry would've used it for sure, given how much he liked Terrence and since he's literally using a name he doesn't believe is really 'his' because it makes him feel better. He of all people would understand.

2)Yeah, that's a pretty good way of stating it, but there's a little more nuance to it that explains a little bit more about Abel/Joe's rift.

Basically, the original Scott Cawthon was a unifying figure. He got on with every single one of the original managers and they all thought the world of him. The Phone Guy process was started in an attempt to recreate him by Abel (and the other managers at first) and you gotta consider why they'd all want to do that. He was the glue that held the group together, the only manager liked by everyone else there without exception, someone who could defuse tension and resolve conflicts amicably.

It's true that he had the most patience for Abel and never badmouthed Abel to the other managers and even defended him earnestly, knowing Abel the best of the other managers and knowing some of Abel's early life and where he came from, while the others were more willing to honestly discuss Abel's short fuse and occasionally mean nature (even Terrence to some extent!) This led Abel to develop more of a bond with him than the other managers and somewhat distrust the others.

While Abel was essentially Scott's number 2, as time went on, Joe became more and more integral to the running of their budding company, since he was a skilled accountant and managed to balance the books despite Scott's somewhat reckless spending at times (he was overgenerous to the point where it sometimes led to financial trouble for the company, a stark contrast to what Freddy's became later.) Since Joe was so blunt (and Abel's biggest critic), Abel was incredibly jealous and insecure that if the trend continued, Joe would supplant him.

This also explains why Abel was so willing to toss his other managers into the 'machine' when each of them suffered accidents. Ultimately, it wasn't just sheer cowardice, it was him trying to recreate the past - to recreate the one person who seemingly saw him as anything other than a vampire. Someone who actually wanted him around. Of course, no two snowflakes are ever exactly the same. Abel was a poor replacement as the owner of the company, Joe was barely able to keep things afloat amidst a messy and chaotic expansion and Harry wound up presiding over the company's demise.

There's a pretty widespread narrative theme in DSaF of damaged people trying to recreate something they've lost - Dave trying to turn Jack into the new Henry, Jake and his family, Harry and his former identity, the Kennedy family reuniting.

“Can’t repeat the past? Why, of course you can!”

But, the fact is, you can't recreate the past. The only way forward is to pick up the pieces and build something new.

[mlembug]

Grrl Power is a webcomic by Dave Barrack about a superheroine who works in a comic shop.

okay

Write Who You Know: Main character Sidney Scoville suffers from ADHD — like, absolutely not coincidentally, the author Dave Barrack.

interesting

At least, most supers are ridiculously photogenic. In a world where the average superhero is over six foot, has zero percent body fat, and the ladies have D-cup chests, Sydney is short, flat-chested, and angry about it. She's also sarcastic, caustic, a huge nerd, and is bonded to seven floating orbs that give her superpowers. [...]

🤔

I suspect if I was a woman I would have a decent size collection of cool boots. Every time I google women’s boots for Maxima reference, there are a ton of cool and/or sexy results. 90% of which Maxima would never wear, but they make me regret not being a transvestite. Okay, not really. Is it weird that I think about my “if I was a girl” wardrobe? It just occurred to me one day how different most of my life would be if that 50/50 coin flip that determines our sex came up the other way. Not the broad strokes, of course. Me being a boy or girl wouldn’t affect where my dad moved our family due to his job, or what schools I went to – at least not through high school. But would I have been into sci-fi and fantasy movies, video games and comic books and D&D if I’d been a girl? It’s not impossible, certainly, and I might have appreciated the physique of my He-Man action figure in a different way, but it’s probably a lot less likely. All of my drawing came from wanting to draw my own superheroes and Vallejo/Frazetta/Elmore/Parkinson/Caldwell style pictures. Would this comic exist? I think there’s like a 10% chance. Of maybe it would be called Man Power, and it would feature a bunch of muscular, shirtless dudes with effeminate faces and dazzling cum-gutters. Sydney would still be named Sydney, but he’d be built like an 11 year old boy… Okay, Sydney wouldn’t change much I guess.

🤔🤔🤔

[princeloww]

DAVID TENNANT ROLES STARTERPACK

(Different roles, where to find them and what they're like!!!) (+ more that I didn't go into included at the end)

*disclaimer: this is sort of UK orientated, 'cos I don't know any American streaming services or where stuff is available in other countries, so PLEASE comment other places you can watch things!!!!

- Takin' Over the Asylum (CAMPBELL BAIN)

Follows a DJ and a group of patients trying to keep a radio station going in a mental hospital. David plays one of the main characters, Campbell Bain, a mostly upbeat and energetic young boy with lots of enthusiasm and spirit. Some angst!

☆ YOUTUBE (free)

- Blackpool (PETER CARLISLE)

A body is found in an arcade run by Ripley Holden, and him and his entire family are pulled into the murder investigation surrounding it. DI Peter Carlisle is working on the case, and highly suspicious of Ripley. He's a pretty major character and has a romantic plot - as well as a few funny musical numbers. Includes sex scenes.

☆ UKTV PLAY (free in UK), AMAZON PRIME VIDEO

- Casanova (GIACOMO CASANOVA)

The (mostly sexual) adventures of Giacomo Casanova, a charming and fraudulent man who falls in love very quickly and very dramatically with a lot of people, all while essentially bullshitting through life and jumping on every opportunity to make money. Includes sex scenes but also angst, such as illness, injuries, some violence, and general suffering.

☆ MYFLIXERX.TO (free), AMAZON

- Recovery (ALAN HAMILTON)

A man and his family coping with the recovery and rehabilitation process after he (Alan, David Tennant) suffers from brain damage. Angsty. Lots of crying, suicide references, head injury stuff.

☆ YOUTUBE (free)

- Harry Potter and the Goblet of Fire (BARTY CROUCH JR)

I recommend pirating this one so you're not supporting JK Rowling. DT plays Barty Crouch JR, an antagonist and the son of Barty Crouch. He's kind of a minor character, as he's not actually in a lot of scenes.

☆ Probably on most pirating sites (my go to is MYFLIXERX.TO)

- Learners (CHRISTOPHER ??)

Lighthearted movie about a woman trying to pass her driving test. David plays Chris, her driving instructor. He's a bit of a dork, very sweet and kind. Has a love plot, briefly fights a guy. No major angst.

☆ YOUTUBE (free)

- Hamlet (HAMLET)

Hamlet. Prince of Denmark wants vengeance after his father's death. I haven't actually watched this one yet but I assume it's got the same amount of angst and drama as Hamlet typically does.

☆ AMAZON PRIME VIDEO

- Single Father (DAVE TYLER)

After a fatal car accident, Dave Tyler (DT) is left to parent four children on his own. Still struggling through grief, Dave falls in love again and attempts to hide it. Has LOTS of crying, lots of kissing, sex scenes, DT being miserable and sobbing, etc.

☆ MYFLIXERX.TO (free)

- Rex Is Not Your Lawyer (REX ALEXANDER)

Unaired pilot. Only 40 minutes. Show wasn't picked up, but it is very good. Rex is a successful and skilled lawyer who is forced to stop practising when he starts having panic attacks every time he speaks in court. He decides instead to coach people who want to represent themselves. Lots of DT in very tight suits. American accent. Not MAJOR angst but he does has daddy issues and a panic disorder, so.

☆ YOUTUBE (free)

- Fright Night (PETER VINCENT)

A kid discovers that his neighbour is a vampire, and he seeks out a famous vampire slayer to help him. Peter Vincent (DT) does not live up to his name, and turns out to actually be sort of pathetic. No major angst, not a lot of clothes, no romance, but lots of eyeliner. He's very bisexual. Violence, vampire horror, creepy neighbour.

☆ DISNEY+, AMAZON PRIME

- The Decoy Bride (JAMES ARBER)

Celebrity Lara Tyler tries to get married to her author fiancé James Arber, but the paparazzi interrupts the wedding. Desperate to keep it private, she takes James to the island that he based his book on. Somehow, the paparazzi still find them, and they hire a decoy bride to pretend to be Lara. Romance, kissing, light hearted, minimal angst. David in a funny outfit. Fake dating trope?

☆ AMAZON PRIME

- Nativity 2: Danger in the Manger (Donald and Roderick Peterson)

Sequel to Nativity, but you don't need to watch the first one. Primary school teacher Donald Peterson (DT) is forced to take his class to Wales to participate in A Song For Christmas, a festive singing competition. Here he is put against his twin brother, who is a successful composer and with whom he has a strained relationship. Light angst - lots of daddy issues, but generally sweet.

☆ AMAZON, I think its on NOW TV???

- The Escape Artist (WILL BURTON)

A defence lawyer, Will Burton, gets a murderer off free, and very quickly grows to regret it, when his client comes after his family next. Lots of murder. Like three murders I think. Hot lawyer DT.

☆ AMAZON (I can't believe I forgot this one)

- What We Did On Our Holiday (DOUG MCLEOD)

A family go to Scotland for their grandfather's 70th birthday. Doug (DT) and his wife (Rosamund Pike) are getting a divorce, but are hiding it from the rest of the family. Movie is mostly focused on the kids and their grandad, but David has a few moments, and he's generally present throughout. Funny, slightly shocking at times, family film. No major angst. Character death.

☆ AMAZON PRIME

- Richard II (RICHARD II)

Shakespeare's Richard II. David plays the titular character, the extravagant, heartless and cold King of England, Richard II. We see his fall from grace as he is stripped of everything he owns and knows. Quite angsty. Long hair, androgynous David. Queer kiss scene (although they are cousins, soo...)

☆ you can find a link in a REDDIT comment if you search for it, AMAZON PRIME

- Broadchurch (ALEC HARDY)

An eleven-year-old boy is murdered in a small town, sending shock-waves through the community. Story follows both the family and communities response to the crime, as well as the investigation done by DI Alec Hardy (DT) and DS Ellie Miller (Olivia Coleman). Lots of angst from Alec. He is sick and hiding it. Injury, dizziness, panic attacks, that sort of thing - as well as a heart attack. He has a lot of trauma and daddy issues. Season three touches on topics of rape (warning).

- Mad To Be Normal (RD LIANG)

Biopic about RD Liang, a Scottish psychiatrist. Sex, misogyny, mental health topics, some self-harm (done by another character)

☆ AMAZON (sensing a pattern)

- Good Omens (CROWLEY)

An angel (Michael Sheen) and a demon work together to stop the end of the world. Queer romance (canon), some angst. Drama, comedy, LGBTQ+. David plays Crowley, the demon (who "sauntered vaguely downwards" rather than fell from heaven)

☆ AMAZON PRIME

- Staged (DAVID TENNANT)

A COVID lockdown comedy about David Tennant and Michael Sheen talking via Zoom during the lockdown. Actually quite sad at times? Mostly silly, though. Features Georgia Tennant and Anna Lundberg.

☆ BBC Iplayer (UK) (or VPN)

- Around The World in 80 Days (PHILEAS FOGG)

Phileas Fogg, a quiet and reserved man, decides to travel around the world in 80 days, after he receives an anonymous postcard calling him a coward. Cute found family, drama, angst (ex-lover stuff, internalised cowardice, illness, near death experience), some violence. There's a scene where Phileas gets flogged (whipped, essentially) quite violently, and it's somewhat graphic. Touches on themes of racism. Phileas is 100% neurodivergent.

☆ BBC Iplayer (UK) (or VPN)

- Inside Man (HARRY WATLING)

DT plays a vicar, Harry, who is involved in a murder after trying to protect his son - who was accused of having CP. Suicide themes, murder, self-harm - explores the idea that any person can murder, if they're pushed the right way. Includes topics to do with CP and pedophilia.

☆ NETFLIX, AMAZON

- Litvinenko (LITVINENKO)

Biopic about Alexander Litvinenko. A group of detectives investigate the poisoning of Litvinenko. David is bald in this show. (Scary)

☆ ITVX (UK) (or VPN)

- Doctor who (10TH AND 14TH DOCTORS)

Do I need to explain Doctor Who???? David Tennant plays the tenth and fourteenth regenerations of The Doctor, a Time Lord from outerspace. He travels around in the TARDIS with human companions.

☆ BBC Iplayer (UK)

I think I'm gonna leave it there, but there are a LOT that I have not touched on. This post is a very accurate and long list of everything on DT's filmography, so i recommend you check that out.

Other things I didn't mention (off the top of my head):

There She Goes, Bad Samaritan, Einstein and Eddington, Rab. C Nesbitt, Bright Young Things, LA Without a Map, Much Ado About Nothing, Duck Patrol, True Love, Gracepoint, Camping (US), Nan's Christmas Carol, Mary Queen of Scots, (You, Me and Him), Secret Smile, Deadwater Fell, Jessica Jones, Dramarama, Spies of Warsaw, AND A LOT MORE. (+ voice acting roles, and also his narrating work on Spy In The Wild (2017)

[soulmusicsongs]

Funky Basslines

I’ve compiled another very subjective list with the 15 of the best songs with an awesome funky basslines.

The Devil Is Gonna Get You -The Future Kind (Dave Hamilton's Detroit Funk (Rare And Unreleased Twisted Funk 1967-1975, 2006)

Enfer et Marijuana - Andy Loore (Ambiance Rythmes Vol. 5, 1970)

Good Time - George Campbell (So Much Love / Good Time, 1973)

I Cry - Millie Jackson ‎(It Hurts So Good, 1973)

I Think It's A Big One Coming - Leonard (Lil' Man) Kaigler (I Think It's A Big One Coming / You Got Me Believing In You (Dreamin' 'Bout You), 1974)

Lahilaha Illallahu - Afro Express (Asalam Aleikum,1976)

Let Me Tell You What I Found Out - Herman "Hack" Bartholomew – La La You / Let Me Tell You What I Found Out, 1970)

The Lord Don't Know Nothing 'Bout Unemployment (He's Working Overtime) - Leslie Isaiah Gaines & the Voice of the People (The Lord Don't Know Nothing 'Bout Unemployment (He's Working Overtime) / The Lord Don't Know Nothing 'Bout Unemployment (He's Working Overtime), 1983)

Napoli Si Ribella - Franco Campanino (Napoli Si Ribella (Colonna Sonora Originale Del Film), 1977)

Ratty Ratty - Maskman (Ratty Ratty / Sitting On Your Doorstep, 1972)

Roots Talk - Mabrak (Ital Talk - Liquid Talk, 1976) - Jamaica

Runnin' Wild (Ain't Gonna Help You) - The Scott Three (Runnin' Wild (Ain't Gonna Help You) / Gotta Find A New Love, 1971)

Suffering Wrath - Rudy Love and The Company Soul (Suffering Wrath / Life Ain't So Bad, 1970)

Wait… No Hurry - Grotto-II (Wait… No Hurry, 1978)

Zina - Ouiness (Bahebek Mara / Zina, 1979)

More Funky Basslines

Funky Bass in 21 songs

30 Funky Basslines

Best Funky Bass Lines : 25 tracks

Bass in Gospel: Bass for Believers

More Funky Basslines

Funky Basslines in Soul Music, part 5

Top 10 basslines in Soul and Funk Music, part 4

Top 10 basslines in Soul and Funk Music, part 3

Top 10 basslines in Soul and Funk Music, part 2

Top 10 basslines in Soul and Funk Music, part 1

[stuckasmain]

Hal’s deactivation is hard hitting across both the movie and the book. It’s been dissected a million times and likely more in the future. Most recently in the way of Hal having little agency…he has no arms to ward off his attacker or means of defense (but I’d argue killing Frank and the others was his defense, especially in the movie when his reasoning is more ambiguous). I do love the idea this is following and hope to see more of it in the future, however the way I’m approaching it is with a more romantic lense.

The entire lobotomy sequence is heart wrenching and almost worse in the novel purely because we get to see Dave’s thoughts on it. Not only do we hear Hal’s frightened pleas for his life but we get the ‘attacker’ perspective and it’s… an act of mercy.

While there is the themes of survival and violence this is approached with a softer touch. It’s much more that he is putting Hal out of his misery. Ending his suffering. Not putting him down like an animal but rather the harsh decision faced when one has an ill/dying lover.

“The only answer was to cut out the higher centers of this sick but brilliant brain, and to leave the purely automatic regulating systems in operation” 155

After the job is done Dave forgives Hal incredibly quickly once all of the facts are in. He can quickly pull together the mental break that must’ve happened and recognizes that Hal had the very human ‘fight or flight’ response to what he had been through. He had always been treated like a sixth crew member, respected and talked to like anyone else but it is only “post Mortem” that Dave recognizes how human Hal was and that true emotion might be more than theorizing.

“And yet, in one very real sense, he was not alone. Before he could be safe, be must be lonelier still.” 153

The fact that Dave genuinely sees Hal as his last true connection. Even after the murders. How he fights and forgives and comes up with excuses to not have to go through with the enviable because then will he be truly alone… but he also knows logically- Hal isn’t right and can’t be left active. Despite his feelings safety and protocol come first.

Hal is human in Dave’s eyes and it makes things all the more tragic, it’s what turns shutting off functions into lobotomy, into murder. He thinks he won’t feel pain, not because he’s machine but because there’s no sense in the human cortex. So human that his “true” voice is unrecognizable and horrifying.

“Bowman could bare no more. He jerked out the last unit, and Hal was silent forever.” 157

It’s not rage which he makes the final blow, it’s sorrow. It’s pulling the plug.

Some of Hal’s lines in the book particularly, as we get more insight into him as well and some of his pleading. His honest to god confusion and panic because he’s so young and has no idea of sleep and …

“I don’t understand why you’re doing this to me. . . You are destroying my mind. . . Don’t you understand? I will become childish. . . I will be nothing. . .” 156

I don’t know, I’m becoming borderline incoherent but there’s something here that’s so tender and sorrowful that I have to address it. I’m a sucker for the violence = intimacy metaphor just as anyone but the unwitting murderer is also an angle I have to adore.

Maybe in another life Hal got to be a little gay Victorian with someone to hold his hand on his sick bed rather than be murdered. I just think he deserves better; they both do.

Computer death sad -> he should be fed soup

This is when you know you should go to bed.

[marvelstars]

Anakin and Slavers

"His undoing is that he loveth too much"

George Lucas

One thing that I always liked about George´s work in relation to Anakin and slavery is how out of the left field he and Dave Filoni wrote Anakin´s relationship to the people who owned or saw him as a property at one point or another and yet it makes total sense for his character.

For example kid Anakin has no doubt that Slavery is horrible and at 9 he is actually working towards developing technology to help free his Mom, friends and himself from it. He hates with capital H the fact those people have control over the life and death of other people but at the same time he has great compassion and kindness which his mother helped nurture. This along with the fact that Watto was the only adult male figure who was around during his early chilldhood, this complicated his feelings towards slavers in a very tragic way.

Anakin feared Watto´s violence and didn´t for a moment doubt he would have been willing to sell off his mother or him if the customer got to a big enough price but at the same time he listens to his advice when he travels to the dune sea to do his work with the jawas and his pov is almost as important as his Mom´s, in the novelization of TPM Anakin remembers not to talk to strangers or to get close to Tuskens Raiders camps thanks to Watto´s advice.

So in Anakin´s mind, Watto is someone he fears but also someone he takes advice from, respects to a point, sometimes gets sassy to and actually listens to almost as a father figure BUT at the same time he has no doubt he would activate the killing chip if he tried to escape.

Pain/abuse/fear mixed with care/advice(sounds familiar?) Anakin knows slavery is awful but he can´t help but see Watto as a person because of who Anakin is, Annie is a kind and understanding person and to point may justify Watto as a "Man of bussines" and "Not as bad a other masters" "It could be worse" but he definitely doesn´t trust him in the same way he does his mother, she is blood, she is family. He and Mom are a team.They shared their secrets.

The first time Anakin saw Watto again after being freed, he was a Jedi with training, almost a knight and the first thing he does to the guy who beat him and his Mom some years ago is to ask him if he can help with the ship parts Watto is working on because he noticed Watto is struggling and his bussines is falling down compared to how it was when Anakin was a kid. When Watto noticed who Anakin was he didn´t reject him and accepted his congratulations but keep himself appart, hoping to learn about his mother whereabouts.

When Watto told Anakin he sold Shmi, Anakin doesn´t have a reaction, he takes Watto´s justification of "I am sorry Ani but bussines are bussines and anyway the person who bought her freed her and married her" Anakin doubts it´s as good a picture as Watto is talking about but he takes his justification and leaves.

When he meets Owen, Beru and Cliegg he sees they are indeed nice people and the reason for his mothers suffering is something completely different that they were not able to stop so he doesn´t blame them for her fate. When Anakin lost his mother it was only natural for him to seek a family, someone he could share how he really felt and his secrets, he could not be part of the Lars family but Padme was willing to love him so she became his new confirmed family, right along with Obi-Wan and Ahsoka but while he had to show himself different to them, he didn´t had to do that with Padme, just like he did with his mother.

In the clone wars Anakin shows again this complex view of slavers with Queen Miraj Scintel, the cartoon goes out of it´s way to show she looked at him as pretty property and he didn´t let her forget that and actually it was strongly suggested he may have been raped by her at some point to keep safe Obi-Wan, Rex, Ahsoka as well as the people they wanted to save while he got enough soldiers to stage their rescue. Anakin had a plan the whole time just as he did as a kid so he keep his cool even when he saw another slave choose suicide over keep being under the control of Scintel. Yet in the end when the Queen was killed by Count Dooku Anakin felt sorry for her, he could not help it.

So this mix of rejection/anger/hate/disgust towards slavers mixed with pity/understanding which is something that was part of what made Anakin a good person gets used agaisn´t him in his relationship with Palpatine.

He first shows himself as the father figure Anakin thought he could find in Qui-Gon before he died a better father figure than Watto had been, a father figure that didn´t reject this title like ObiWan did, Palpatine did this to get his trust as a young child and later young adult and then he showed himself as the real sith master he actually was, Palpatine knew that Anakin wasn´t a stranger to be treated as property by people who showed themselves as good advicers or somehow not as bad as others despite their actions. So Anakin´s initial compassion, kindness and understanding for people that abused him is played agaisn´t him to make him fall to the darkside and chain himself again to another worse master who didn´t just seek to use his skills and body but who wanted his soul as well.

And the same reasons why Anakin justified Watto at first when he was a young kid also applied to Palpatine, he may be a sith but he ran the Republic better than those corrupt politicians, he isn´t a perfect Emperor but in Padme´s absence he is better than the alternatives. He isn´t as bad as a master and anyway I deserve this because I fell to the darkside and nobody can come back from that, if he abuses me I got this coming because I choose this and he still teaches me the ways of the force, he rescued me from Mustafar when Obi-Wan left me to die and he didn´t have to, he is all I have left.

So once Anakin´s voice died down Vader was left with many reasons to say to Palpatine "What´s your bidding my master?" because in his mind master isn´t a word that contradicts father and Palpatine became his father in all but name, this makes George´s words about Anakin fatal flaw being the fact he loved too much make complete sense and it´s a tragedy.

[alloalouette]

It’s pretty clear that the men in my life, even the ones who oppose trump, think it’s just going to be another shitty four years filled with “stupidity”, merely.

They genuinely do not comprehend the immediate threat to safety and mortality this new era is to women, to any person who is non-white and non-conforming to conservative christofascist nationalism.

They can still go about their lives relatively unscathed if they don’t say much and just make it through what they perceive to be four years of drudgery. As much as they are concerned, and care about me and the other women in their lives, they have not grasped the deadly seriousness of the situation.

They genuinely have not perceived the future that will come soon and, once things are set in motion, will decline with extreme rapidity. Just like with roe v wade: there one day, gone the next, and life-saving care just vanished all over the country and women started literally bleeding out in parking lots.

Open misogyny and assault will become the normative social behavior, more than it already is in online right spaces, because the punishments will be few or dismissed entirely.

Men who secretly are intrigued by or even love the idea of controlling and harming women will behave with what appears to be “mob mentality”—once it is permissible they will let it all out of hiding. Just as we saw ugliness we did not dare to believe existed in family and friends come out unhindered and without shame during the first term, we will be shocked, just as we were then, at the way trump et al. will have changed, broken, people we thought we knew. The same will be true for any person with social privilege turning on anyone they deem beneath them, unworthy of dignity or safety or care.

The legal frameworks that in that past would have kept men like trump, Fuentes, Elon, and everyone they are shouldering up with from doing what they already have done to arrive at this moment—frameworks that should have been used to prevent this, their integrity having already been crippled by not being applied to stop him et al. from advancing—those remaining scaffolds of decency he is going to dismantle swiftly.

In every instance of autocracy and fascism throughout history, again and again is the shock and awe at how rapidly democratic norms, public institutions, and acceptable human behavior just unraveled.

Do not — DO NOT — imply to women, to non-white and non-conforming people in your lives that the next “four years” are going to “suck”. If that is your belief, your feeling, your impulse to say or think, hush.

Read project 2025, thoroughly.

Watch Walsh, Fuentes, and those adjacent to them, to hear their glee at owning women, at controlling and ruining, at smashing their faces into brick ceilings (gloating in their abuse and suffering, and their delight at being the hand that delivers it metaphorically and literally).

Listen to the people who are terrified. Fucking remember what trump did in four years when it was a “fluke” and everyone with a shred of decency left was scrambling to hold everything together through tenuously and wide-spread grasping fingers, futilely in many cases. Fucking remember.

Read Sarah Kendzior, Jared Yates Sexton, Heather Cox Richardson, Dave Troy, and anyone they retweet or quote. These are historians and analysts, experts in political history, especially fascism and autocracy. They are the ones running out of the mines shouting that all the canaries are dead. Pay attention.

If you want to know what to do next, start reading Octavia Butler, George Jackson, James Baldwin, and expand from there. Start listening to indigenous people and reshaping your concept of social bonds, social cohesion, and how we survive this.

It’s not how you think, men in my life. It’s not how you think, those of you who think this is reactionary and extreme. Indigenous communities that are still here today have survived every empire, for good reasons. Learn them. Learn from them.

For the rest of us, and those of you who make the inward journey and meet up with us, cultivate resistance. It begins in your heart and mind. Existence is resistance. Joy is resistance. Empathy is resistance. Anything that supports freedom for others (which will always come back to you), is resistance. Get after it.