#does this even qualify as spoilers

[nandermoenthusiast]

The coffin lands with a crash, Nandor already out of it gracefully as his vampiric nature grants him.

“Have you survived the fall Guillermo, are you allright?” he asks haughtily and with a barely concealed predatory grin at the yelping heap of limbs and clothes that is Guillermo right now. Of course he was never truly worried for his well being, Guillermo might be human, but he is no regular human, if his van Helsing blood has anything to say about that. Nandor just likes to tease.

“Yes master, im fine, i just wasnt prepa-“

Nandor offers him a hand out of the coffin, the way Guillermo has done so many times before for him. Nandor looks at him curiously, Guillermo looks all flustered right now, hes cute. Hes always cute of course, but damn. He hasn’t even realised the obvious parallel yet, just took his hand absent-mindedly as he was rambling about something. His hair is all mussed up too. Cute.

Probably the moment registers into Guillermo’s mind as Nandor hears his muttering protests suddenly cut short. He’s looking at their gingerly intertwined hands and kinda looks like hes about to swallow a frog, or maybe like he’s about to start crying again. This fucking guy. Always a theatrics with him. But Nandor has learned to lean into his little guy’s moods. He leaves him to his maybe horny maybe emotional thoughts and finishes helping him out of the coffin.

The air is thick between them now. He can sort of hear Guillermo’s heartbeat from this distance, the little guy probably has a concert thumping in his ears right now. Nandor enjoys playing with his food, always has, and today is no different. He takes a step closer. Guillermo takes an infinitesimal step back. There is a wall very close to his back. Right where Nandor wanted him.

“You know as i was saying about the cameras, Guillermo…” he starts feign-casual as he very not casually hovers over him, black eyes boring into him with the fire that only very rarely comes out in front of the crew. Guillermo looks like he’s a mixture between disbelieving and like he’s gonna pass out from hyperventilation at a moments notice. It’s an endearing mix.

“Y-yes, you -were saying something about your hair…” Guillermo couldn’t physically look away from Nandor if his life depended on it right now.

“And other reasons”, very seriously.

“- Yeah”, an exhale.

Just look at his eager little eyes. Should he put the guy out of his misery? Well come to think of it, should he put himself out of his own misery? He’s been in love with the guy for the better part of a decade now. Of course he’s not about to say that now. Let him play the part of suave vampire for his Guillermo, let him fullfill any fantasy he’s ever had, at the very least this very first time they do this dance. There will be time for the mushy stuff later. Come to think of it, what is Nandor doing?? Acting on years of pent up sexual and romantic tension, of course, but what is he setting himself up to? Heartbreak.

Violent, earth shattering heartbreak. Maybe not today, maybe not in 10 years, but soon. Soon to a vampire anyway. No- you don’t know that. If Guillermo loves me, he might find a way to not leave me like he always does. He always does leave. But then he also always comes back. Doesn’t he? Nandor loses himself in these thoughts for a moment, and Guillermo seems to notice his mind is suddenly somewhere else.

Oh, to be known so completely. Oh, to have a worthy partner, a partner who knows everything about you, a Lazlo to your Nadja, a Charmaine to your Sean, a Sire to your Baron. And to have to lose it in a matter of years. Just his luck. But also like Colin Robinson said, dont be sad cause its over, smile cause it happened.

Nandor’s eyes keep searching Guillermo’s as he draws closer and closer, eyes intensely registering every microexpression on his beloved’s face, the little crinkle between his brows and the small nervous smile that’s forming around his lips. His hands land seamlessly and delicately on either side of Guillermo’s face, and he feels his breath hitch. He really doesn’t give a flying fuck if he’s gonna suffer for a thousand years, Guillermo is here right now and he looks like he’s gonna break under his touch. One hand goes to cradle his head, thumb delicately swiping over Guillermo’s ear and pulse point, as Nandor brings their noses together and they breathe the same air for a moment. The other hand is held gently across his cheek, just there, a reassuring weight. “I’m going to kiss you now”.

And Nandor kisses him.

[cordycepsbian]

the thang

[frogs-in3-hills]

i think this is a really interesting comment for taylor to make considering she never actually had any personal experience with alec’s desire for revenge. iirc she was actually a little taken aback by the idea when aisha brought it up after he died, probably because she never fully understood his disaffectedness for what it was (an extreme trauma response). but over a year later this makes me feel like taylor sees aisha’s revenge against heartbreaker as solely alec’s, as opposed to something they were both invested in but that aisha had to take the burden of. the idea that aisha is “acting like regent” when she talks about revenge and not acting like herself i think is inaccurate, it’s just not a stance i would have expected from taylor necessarily. ig she really internalized aisha saying that he did want revenge, even though aisha is the one who did the revenging? did alec ever express that desire in front of taylor? if he did, i forgor ^_^;

[lgbtlunaverse]

I've seen a good number of people ask a question along the lines of "why do characters like Falin and hate Laios when they're so similar?" and i've also seen good analysis on the differences in how the touden siblings carry themselves that would, despite their shared traits, make a person gravitate to one more than the other.

But i feel like we've overseen one very central thing here.

People don't like Falin

Like... the average person in dungeon meshi doesn't like Falin. She was deeply ostrasized by her home village, in magic school she had zero friends before Marcille and the others generally saw her as strange and a bit offputting.

Characters like Namari and Chilchuck like her well enough but not necessarily more than any other member of their party, including Laios. Neither Kabru nor his party think much of her. The canaries don't give a fuck about her. Toshiro's retainers don't see her as anything else than the weird foreign girl their boss has a crush on.

The reason we think everyone loves Falin is because, despite all the indifferent side characters, the 2 most important and central characters of the story are Laios and Marcille. Who are NOT representative of the average attitudes to Falin! But necromancy georg number 1 and 2 are our main eyes into the story and they love Falin so much that it colours our perspective of the whole world.

The only side character who qualifies as liking Falin and not Laios is Toshiro (at least at first, as he ends the story on much better terms with Laios) and that says a lot about his character, with him drifting to the quiet Falin precisely because of her oddness but being both uncomfortable with and deeply jealous of Laios' much more open expression of that oddness. Because he's a repressed guy from a culture where etiquette is incredibly important.

But like I said, that's a specific aspect of him, not to the world at large.

Because there's also people that click more with laios than with Falin.

Kabru, for one, who is initially distrustful of laios but clearly also deeply fascinated by him and drawn to him.

Minor spoilers, and you don't have to read too deeply into this, because I don't think Kabru particularly dislikes Falin or anything. But it's interesting that when he talks about his distrust of the toudens in ch.32 he's talking about them both. But his big friendship declaration in chapter 76 is aimed squarely at Laios, he doesn't say "you and your sister" he says "you"

And Senshi!! He instantly clicks with Laios, well before he does so with anyone else in the party– who he also becomes friends with, it just takes a bit longer– specifically because they bond over their shared special interest in monsters!! Senshi is kind towards Falin and cares for her wellbeing, but he also... doesn't know her. The reason he is even here, helping to save her, is because he and Laios bonded over monsters and he wants to help his new friends out!

Of course, the theme of neurodivergent isolation is very present in Laios' story. I'm not denying that. He does turn people off, without meaning to and unable to fully understand why! But so does Falin. And just like there are people who like her despite of or even because of those traits, there are people who do the same with him.

In conclusion: "Average person loves Falin and hates Laios" factoid actually statistical error. Average person is neutral on both Falin and Laios. Georcille, Laiorg and Geoshiro, who live in the dungeon and think over 10,000 Falin-loving thoughts a day, are statistical outliers adn should not have been counted.

[rimatsu]

Ok convince me to reject caution and embrace delusion. Why are you so hopeful? 

the safe bet is definitely caution. but regardless of initial intentions, nothing is ever set in stone in the 911 writing room and that’s reason enough to remain hopeful. still, when people say the chances of a reconciliation are non-zero, i think that’s low-balling it. at the very least, we’re at 10% chance, 90% faith.

granted the interviews i (unwillingly) absorbed via osmosis don't exactly inspire confidence but again: 1) tim is fickle as the wind and writers can change their minds at the drop of a hat, 2) nothing that was directly stated by actors or showrunner contradicts the idea of a makeup arc, 3) if the breakup was intentionally designed as a temporary hurdle they’d imply otherwise anyway (oh god i sound like Them don't i.... this is a cry for help)

the reasons why 8x06 could qualify as a temporary split have been extensively discussed so i’ll try to be brief (spoiler: i failed) before tackling what i’d like to see in 8b. buckle up buttercup, i’m a yapper:

1) the breakup wasn’t written as definitive or unfixable. buck and tommy didn’t part because of irreconcilable differences or because passion/attraction fizzled out. if they wanted that door closed, tommy could’ve simply said he was uninterested in pursuing long term commitment with buck, that they’re not compatible in the long run — there: a clean, uncomplicated break. instead, we’re told that tommy desperately wants to be the person buck settles down with, but he’s convinced buck is propelled by the excitement of novelty, that he suspects buck is latching onto him for the wrong reasons, that he can’t allow himself to merge their home life together in fear he’ll never recover once buck wants out. the implications here being tommy is in love with buck already. for his part, buck came to the realization that he wants a future with tommy and immediately decided to pursue it because that's just the type of man he is: never one to do things by half-measures, seeing no value in waiting once his mind is made up. so there’s no conflicting desire there. they want the same thing: permanence with each other. the next two episodes also paint a strange picture if the goal is a definitive separation. buck bakes excessively in an attempt to cope when he never needed a coping mechanism following a breakup before, and we’re told several times that he wants to reach out — in fact buck was about to reach out until he was physically stopped. in total, 3 tommy mentions so far. usually we get the one and then buck moves on to greener pastures (abby notwithstanding, but she's an exception and not the rule, main character privilege and all). we were even deliberately shown that tommy considered contacting buck on his own. that's establishing regret and a desire for reconnection on both sides of the equation. again, that’s a never seen before: tommy is an outlier. completely unnecessary if the breakup is a done deal. whether they follow it through or not, the aftermath was written in such a way that there’s ground for a reconciliation if needs be

2) this is the first buck break up to happen during the first act of the season, something that’s normally reserved for the finale for maximum impact. why this distinction? strange placement for the end of a romantic storyline if you ask me.

3) they're never going to replicate a LI that checks out as many boxes as tommy does, or recapture the romcom magic that was 7x04-7x06. and it's fine if they don't, not all endgame romances need to be the most memorable of the bunch, but it'd be stupid to let the remaining potential go to waste. it's undeniable, the show is nearing its end, i don't imagine they get renewed past s10. if they go the natalia route again and introduce a LI at the last moment, it's going to pale in comparison to the other viable option, one that has pre-established history and connection to buck/the 118. inadvertently or not, they set up an epic love story of intertwined fate. tommy has literally haunted the narrative since the pilot: one of the very first thing abby reveals is that she’s not over tommy breaking off their (retconned) engagement. as such, tommy has played a pivotal role in shaping buck into the man he is today: if tommy hadn’t transferred out to harbor station, buck wouldn’t have found his family and his life purpose. if tommy hadn’t left abby, buck wouldn’t have realized that emotional intimacy and romantic connection is what he seeks. if tommy hadn’t kissed him, a huge part of buck’s identity would’ve remained buried and unexplored. how are they possibly going to top a red string theory dating back 8 seasons? they can’t. i’m sure they’re aware of that.

4) why bring our attention to tommy’s admiration and envy for a tight-knit unit like the 118, on three separate occasions, if the ultimate goal isn’t to reward him and integrate him into the makeshift family?

5) idk what it's worth, if it's worth anything at all, but there’s been a substantial amount of displeasure voiced over their breakup. tommy is buck’s most well-received LI to date. they took a risk with the Big Bisexual Reveal and it paid off with increased engagement and viewership. if they were still debating a reconciliation, surely they've heard that at least some people will eagerly welcome a makeup arc with open arms.

i'm a broken record so i'm probably repeating myself but here goes my ideal timeline for the rest of the season (not a speculation, not wishful thinking, but a secret third thing):

i'm gonna operate under the assumption that the breakup happened solely so buck could be at his lowest for the kidnapping plot line with a minimal/reduced support system (no boyfriend AND no best friend around when his pregnant sister is abducted). in other words, i don't think buck will be in a place to venture back into the dating world by 8x09-8x10 quite yet (i don’t actually buy the buck-dates-the-serial-killer theory). he's handled the breakup fairly well but now with the kidnapping & eddie gone/in the process of moving, i assume that's when he really starts to spiral.

(if we get a fourth tommy mention here, i'd say it's a promising sign. it’d be a purposeful way to keep him in viewers’ radar after the 4-month break)

i think getting maddie back after a few days of fear and uncertainty will be a breakthrough for buck and he’ll make a conscious decision to move on from his funk by the end of 8x10.

ideally “jumping back into the pond” would take place in 8x11 to 8x13, starting with a comedic montage of buck in a string of various failed dates. this is the part of the season where i expect him to utter the word bisexual, probably when the topic of exes comes into play. every other queer identity in the show gets labeled and stated in no uncertain terms, but bisexuality is ever only vaguely implied (nancy in ls) or shown but not explicitly spoken (buck and eva). it’s frustrating. personally i choose to believe buck’s lackluster reaction to maddie’s questionable “how many men did she turn gay?” joke was intentional on the writers’ part. it was the perfect opportunity to reaffirm his sexuality but buck didn’t bc he's not fully in tune with his queerness yet. yeah he speedran through his coming out but recalibrating your entire identity after 3 decades of presumed heterosexuality is a complex process rifled with ups and downs. i hope it gets explored with more care and depth in future episodes.

supposedly we know two things: the fling is another form of coping mechanism, and it's short-lived. chances are it's going to be a woman, and i'd love for it to be a bi girl bc 1) yay bi4bi m/f representation, 2) he's dating someone who can intimately relate to his experience and can maybe offer some additional clarity where clarity is still needed.

my other preferred scenario is that he meets a guy who immediately clocks that buck is still hung up on his ex and not emotionally available for anything more than casual fun. basically give buck a sex friend who can expose him to the LA gay scene. if my memory serves me right, OS said he'd like to see buck in queer spaces. i would like to see it too (we could’ve had that exploration with tommy but i digress….)

long story short, he eventually meets someone he has chemistry with, but it's still not as easy or companionable or butterfly-inducing as it was with tommy. buck gets back home from the seemingly successful date and he just... starts baking — wordlessly communicating to the audience that he’s still plagued by Tommy Thoughts.

now if i put on my clown shoes, i’d say the bts pictures of the 217 engines suggest an upcoming bucktommy reunion on a call (surely they were made for a reason. right. RIGHT????), ideally in 8x14. i’ve babbled about it here, but the sparknotes version is:

- there's a 5 alarm high-rise fire requiring ground and aerial ops. tommy is tasked with delivering firefighters to the roof, including the 118. the chopper ride to destination is understandably awkward but professional enough

- tommy joins ground ops once he’s completed his maximum hours of flight. he ends up trapped in a pocket of rubbles with buck after a partial structural collapse. that’s when they hash it out. it’s not pretty: they’re on edge and exhausted and full of adrenaline and words aren’t sugarcoated or minced. but they’re honest, and afterward they understand each other’s perspective.

it has been said before, but i don't think buck registered the underlying message of the breakup. we know he doesn't handle rejection well, and it's likely he was so hyperfocused on being told no that he didn’t compute the “no matter how much i want to be (your last)” part. that’d explain the 118’s strange response to the split. if i was told “my boyfriend broke up with me because he thinks i'll eventually break his heart once i figure out he's not who i truly want” i’d strongly advise communication before calling it quit prematurely. but if my friend told me “my boyfriend broke up with me when i asked him to move in bc he doesn't think we'll last bc i don’t know what i want” i would trust that they relayed the correct story and i too would discourage contact.

anyway buck has stated that he doesn’t want to chase after someone who doesn’t want him before, but now he knows that wanting was never the issue with tommy, that the breakup was fueled by insecurities and fears and trauma rather than disinterest. at first, it’s presented as reaching a necessary closure: once the fire is contained, buck and tommy part way with another “see you around, buck. i truly hope you find what you’re looking for” and a bittersweet smile. except now buck has had another breakthrough, he’s full of renewed resolved and clarity, and he’s ready to fight for this relationship, so he shows up at tommy’s doorstep the next night and pleads his case.

in 8x15-8x16, we see them readjust to being a couple except this time, it's with the knowledge that they both want serious in the long run. maybe they discover facets of each other previously kept under wraps for the sake of 'keeping it light and breezy'. also they fuck/fade to black on screen (this is imperative)

the last two episodes are focused on the closing disaster, whatever that might be. in this hypothetical timeline, we get a few more glimpses of domesticity. maybe even establish the setup for a move-in next season when bucktommy discuss buck’s lease.

you can have the helicopter crash as a treat for s9. once they're truly settled with each other and it's bound to be more devastating.

voilà <3 apologies and congratulations for your perseverance if you made it this far. the answer was never supposed to be this lengthy or tangencial oops can you tell i’m obsessed. terminally ill even

[thewertsearch]

UU: now consider that A1 begets A2. UU: A2 begets B1. UU: and B1 begets B2. UU: and the participants of B2 are the ones who will make an effort to exit all this tUrbUlence and falderal.

Again with this exiting. If I didn't know any better, I'd suspect that Lord English wanted these dangerous Players out of his neck of the woods as soon as humanly possible.

UU: yoU are one of them! :U UU: and yoUr yoUng ancestor is another, thoUgh she is "presently" stationed in B1.

Wait, is Umbra saying that Jade qualifies as a post-Scratch Player? She is travelling to this session as we speak, but I didn't expect her to join the game on an official basis.

Are pre-Scratch Players really allowed to just... slot themselves into the new session, if they're able to find it? That doesn't sound right - according to Scratch, the typical fate of a Scratched Player is absolute oblivion. There's something very weird going on, here.

GT: So you are still in contention that i will meet our elders as youths? UU: oh yes! ^u^ GT: Ah ha! Then i WILL be traveling through time. I knew it. GT: Or… they will be. Whichever it is. GT: Which is it, btw? UU: caUsal spoilers, sir english!

Hm.

UU is clearly omitting a lot - but for now, I'll give her the benefit of the doubt. After all, giving Jake too much information would risk dooming the timeline, a dilemma that Rose struggled with before.

GT: I never got to know my grandma very well and it always seemed like she led an amazing and adventurous life. GT: Then this seemed to be proven true in my correspondence with her. So im really looking forward to it. UU: so trUe. id pay a hefty ransom to get to know my forebears. GT: I remember you mentioned your race doesnt really jive with ours familially speaking? UU: correct. i never knew those who one woUld identify as my parental eqUivalents. U_U UU: it is in the way my race propagates. oUr ancestors precede Us by millenia.

Alright, so Umbra lives in a world where trolls still reproduce via the Mother Grub. That doesn't really narrow down where she comes from, but every little helps.

GT: Miss alien i think we are like birds of a feather you and i. GT: When do i get to learn your name by the way? UU: hm trUthfUlly? UU: it may be for the best that yoU never know it. UU: it coUld stir Up some things best left in their present eqUilibriUm.

This, however, has completely stumped me.

What could possibly make Umbra's name so dangerous to know? The only theory I have is that it's an intimidating name we're already familiar with, such as Doc Scratch or Lord English - but neither of them really fit.

If nothing else, Umbra is a girl, and something tells me Lord English isn't genderfluid. (Not that I wouldn't be thrilled to be wrong.)

GT: What are we even trying to accomplish here? What is even the rootin tootin POINT of this game? […] UU: yoUr objective today is to pave the way for the arrival of gods.

It's starting to sound like all the pre-Scratch Players will be slotted into the new session. I'm not sure why that would be required, though - the troll session certainly didn't integrate the Ancestors as Players.

Jade does have all the pre-Scratch Lands, though, as well as the Battlefield.

Are we going to be shoving both sessions together, or something? That feels like something that would glitch the hell out of the game - so, in other words, it's something I really want to see.

[viiennie]

𝕭𝖊𝖙𝖜𝖊𝖊𝖓 𝖞𝖔𝖚𝖗 𝖑𝖆𝖘𝖙 𝖇𝖗𝖊𝖆𝖙𝖍

Gojo Satoru x f!reader

chapter one

Tags and warnings: Zombie Apocalypse, mentions of gore (including blood and death), slight angst (?), spoilers to ‘Happiness’, eventual smut, female reader, p in v sex, fingering, creampie, lovey dovey sex in the midst of a literal lock down, masturbation, slow burn kinda?, fluff, romance, drugs, manipulation, exhibition, gojo is a pervertttttt, mdni — 18+, enemies to lovers word count: 4093

You never thought that at the ripe age of 29, you’d be taking walks for the sole purpose of hoping to find dropped money on the road. 

Hey, You can’t be blamed now, can you? Life is completely unpredictable, and you’re just glad you at least have an apartment to sleep in and a job that pays kinda enough. But what can you do when the bills are still high, and you still got a loan to settle? Your salary barely covers your living expenses, and you’ve got those damn loan sharks to be worrying about to add to the list. 

You always thought life would go well after graduating Criminology and getting a job in the military. To top it all off, you climbed the ranks and secured a respectable position without getting your hands dirty. Back then, you lived on the tallest floor of your dream apartment and bought all your dream cars to drive and wake the neighbors with.

It was the sweetest life had gotten. 

If only you didnt—

Riiiiiing!

Your phone buzzes in your pocket, the lights flashing as the name of your boss along with the picture of a very stern looking pig pops up on screen. You sigh, staring at it and pondering if you should answer the call. Your finger hovers over the green logo, a hesitation in the twitch of your digits as you debate missing the call and getting a handful of scolding when you go to work or answering and getting the same amount of scolding for something stupid you probably did while on the job. 

Another sigh leaves your lips when you decide to answer.

“There’s a job for you. I emailed all the details to you.”

He hangs up, not even bothering to hear a response from you. 

God, he’s always like that. Acting like some VIP, treating everyone else like they were below him. Countless times have you slapped the shit out of him in your dreams, and countless times have you hurled curses at him behind his back. Why’s there always a stick up his ass anyway?

You open the pdf file in your email, groaning at the 42 pages you have to read over. 

You work as a bodyguard now, the only place that didn’t blacklist you being an executive protection services company. Your job was to make sure your clients stayed out of harm's way, and so far, it’s been an absolute piece of cake compared to your previous occupation. You just had to stand behind them, look intimidating, and keep that up for the rest of the day.

As you skim over the file, you realize that this was the typical case of a nepo baby being rebellious whilst getting neglected by their parents. It was always, ‘I just can’t seem to control my teenager’ ‘He gets out of hand and always ends up almost killing himself.’ but they have never considered the fact that they’ve barely present in their child’s life?

Your duties consisted of absurd things, like cooking and making meals for the client, ensuring he does not leave the house, and even doing the laundry. A rise of annoyance boils in you as you continue to read down your responsibilities—things that nannies would do. If they wanted to hire one then they should’ve contacted someone else, not a body guarding company. Besides, why was this task assigned to you and not someone more qualified? You don’t ever remember putting ‘experienced nanny’ in your resume. 

No. You’re not doing this. You had your pride to—

Total Salary: 15,000,000 ₩ per day.

Well, it’s not like taking care of a child is that hard right? Besides, you do these so-called duties everyday for yourself! Not like adding an extra pair of clothes to the washing machine or cooking for two would be that hard. And! you get to sleep in a million dollar penthouse for three whole days, who wouldn’t miss that offer? And the living expenses are covered by your client too? Man, the pros are really outweighing the cons right now. 

You carefully read through the pages, scanning over the personal details of your new beloved client.

Full Name: Gojo Satoru

Birthday: 1994 December 7

Age: 28

Gender: Male

You blink

Once, twice, and then thrice.

Are you seeing this right?

The person you’re going to be babysitting is in fact not a little boy, but a grown ass man at the ripe age of 28? The person you’re going to be cooking and cleaning for is a grown adult capable of doing these daily chores with all of his four limbs intact? This couldn’t possibly be right, could it? You shake your head, scrolling back to look at the delicious view of the 15 million displayed on your phone screen. So what if it was a grown man? That means you wouldn’t have to be too worried about buying toddler food and all that, right? And him being an adult means he’s perfectly capable of doing his own chores, meaning, less work for you! 

Yeah, that’s right.

Things don’t have to be negative.

You inhale, gathering your thoughts and prayers, hoping this wasn’t about to be the worst decision of your life. No way it will be. It’s just for three short days anyway. And what if you actually end up getting along well with the guy?

Day One

Standing before these grand doors bring back memories you never liked. It reminded you of what you used to be—what kind of glory you used to hold. The keys in your palms feel cold, like ice that doesn’t melt despite the warmth your skin radiates. It feels illegal entering someone’s home without knocking— it's like you’re trespassing. But what can you do when those are your instructions?

The door to the penthouse swings open, the sound echoing through the spacious hall. The moment you step inside, the air feels different—cool, fresh, like everything in this space was designed with immaculate precision. You take a second to absorb the layout: sleek, minimalistic furniture, modern art pieces hanging from the walls, soft ambient lighting, and large glass windows that offer a wonderful view of the city. It’s everything you’d expect from a man who has money to burn but little else to do with it. It’s also everything you’ve ever wanted ever since falling into this pit of poverty.

You take another step in, and the door closes behind you with a soft click—a sound that tells you you’ve just sealed your fate. You take a deep breath in, to prepare your beating heart, and exhale, reminding yourself that you’re here now, and that this is really happening. 

“Hello?” you call out, your voice carrying a bit farther than you intended in the vast silence. You wait for a response, but there’s nothing but an eerie stillness. You feel awkward in this large space, your senses used to the small cozy apartment you lived in. You feel like a misplaced object here, like a piece of banana peel in the middle of a diamond sea. 

Then, suddenly, you hear a loud thud from what sounds like the far side of the apartment, followed by a burst of laughter. It’s carefree and youthful, almost too much so for someone who’s supposed to be the CEO’s son. Your eyes narrow as you start walking further into the apartment, your boots clicking sharply against the polished floor.

"Yeah, yeah, I’m coming!" The voice calls out lazily, not even bothering to sound apologetic.

You stop in your tracks as a figure finally appears at the threshold of what you assume is the study. Satoru Gojo strides out, looking like he couldn’t care less about your presence. His white hair is slightly messy, falling carelessly over his forehead, and he’s dressed casually in a loose-fitting white shirt and black pants, the kind of outfit someone of his status might wear to keep things comfortable while still looking polished. You stare at him for a moment, noting how his playful, almost mischievous grin makes him seem like someone who hasn’t taken a single thing seriously in his life. Maybe this is why they told you to just walk in without warning. This guy didn’t even bother standing up the moment he heard someone entering his home.

“So, you’re the new babysitter?” His tone is light, amused, and you can already tell he’s not taking this job seriously at all. He doesn’t even bother to get off the couch, merely reclining with his legs sprawled out in front of him. “I thought they’d send someone with a little more... personality.”

Your lips press into a tight line, frustration rising in your chest. This was the guy you were supposed to be protecting? It was a far cry from what you had imagined. It’s okay! You expected this. I mean, the pay wouldn’t be 15 million for no reason right? All you had to do was endure this asshat for 3 days, and you’d be out, never having to do it again with the amount of money you’ll accumulate by then. 

“I’m not your babysitter, Gojo,” you reply flatly, setting the file down on the coffee table between you. “I’m here to ensure you stay out of trouble for the next three days.”

He doesn’t seem fazed, however. He tilts his head back and stretches his arms over his head with a casual ease that only someone with his kind of wealth and status could pull off. “Oh, come on, you don’t have to be so serious all the time, miss. Relax a little. This doesn’t have to be a hard job, does it?” 

You nod, a small, twitching smile on your lips. Yeah, this doesn’t have to be hard for the two of you, just don’t let yourself be absorbed into his insufferableness, and things will be all fine and dandy.

The smile on his face never fades, though there’s something in his eyes—something that makes you realize he’s enjoying the tension between you more than he should. He leans forward, his elbows resting on his knees as he regards you with a look that borders on teasing. “Don’t worry miss bodyguard, I’ll make sure to cooperate extra well for you,” he says, his voice oozing with mock sincerity.

Gojo’s eyes flicker with curiosity for a brief moment before his grin turns more knowing. You were far from what he expected. When his father told him he’d be hiring professionals to keep him in check, he was expecting a middle aged old grump with a tragic backstory, not an angry little kitten that was his age. 

You take a deep breath, keeping your cool. You’re a professional. You endured 4 years of brutal training, and spent the next 5 years being an active soldier, one man child isn’t gonna break you. “Where do we start?”

“Start?” Gojo repeats, his eyes twinkling with a challenge. “I’ll give you a tour of the place. Get settled in, and we’ll figure things out from there.” All of a sudden, he’s all buddy-buddy and normal, standing from his seat with a groan that tells you it’s the first time in a few long hours he’s standing from that couch.

“Okay,” you mutter, though you know the last thing you need is to be stuck following him around all day. But you have no choice now—this is the job you so happily accepted. Perhaps you just had a bad first impression, right? Maybe this is just his personality and he’s actually a nice guy under all that ego!

Gojo leads you through the penthouse with a surprising amount of enthusiasm, his movements exaggerated for your benefit. The whole time, you feel his eyes on you, like he’s analyzing you as much as you’re analyzing him. He talks non-stop, making sarcastic comments here and there, each one more annoying than the last, and you keep your responses short but interactive. Last thing you wanna hear is him whining about you being a cold person. 

When you finally arrive at the guest room, he gestures dramatically to the sleek, modern decor. “There you go. It’s not much, but it’ll do for the next ten days. I hope you like the view,” he adds, pulling back the heavy curtain to reveal a stunning view of the city skyline, one you’ve seen countless times in your dreams. 

You take a step inside, but before you can say anything, Gojo’s already made his way back to the living room. “I’ll be in my office if you need me. Don’t break anything while I’m gone.”

As you stand there, staring at the sprawling apartment, you feel a strange tension in the air. You’ve dealt with dangerous situations, but this—this was something else. This penthouse may be the safest area in the entire apartment complex, but there’s something in here that greatly unsettles you, that what’s dangerous isn’t outside of this place, but inside. Your eyes linger on the door that your manchild is behind and you finally realize how hard your heart is thumping against your chest. 

It’s Gojo.

Gojo’s the dangerous one here. 

Shaking your head, you set down your bags, neatly placing them against the door before you pull out your phone to check if there were any updates from your boss—any additional information or duties perhaps, but your notification bar is empty. (thankfully)

Ding!

Omg, have you heard about the attack at the training center?

You raise an eyebrow at the text you received from a friend that was followed by a 10 second video she sends. The thumbnail sends chills down your spine, the image of an unsettling trainee with bloodshot eyes and protruding veins being the first thing you see. He has blood dripping down his chin, his teeth stained with a deep red. There's no possible way that was real. This is probably a prank, right?

As you play the video, you realize the unmoving body in the background with blood pooling around it isn't a prank. Neither is the way the zombie thing continues to bang its head against the glass part of the door where the cameraman stands behind. You can hear people screaming in the background and the labored breathes of the person holding the camera.

What the fuck?

For this type of thing to happen in a military training center is unheard of. With the amount of security and the amount of trained professionals around, they would shoot at the sight of suspicious movement. Perhaps that trainee was infected in the facility itself?

You sigh, shaking your head. That wasn't for you to worry about. You're sure they've already taken care of the situation, making sure no one else would be harmed after one casualty. Besides, you weren't even in the military anymore, so what business did you have with all this?

You lock your phone and toss it onto the counter with a bit more force than intended, the dull clatter echoing in your quiet apartment. For a moment, you stand there, staring at the blank wall in front of you, the disturbing video replaying itself in your mind despite your best efforts to shake it off. It was none of your business, you remind yourself. You weren't a part of that world anymore—no chain of command, no classified briefings, no need to carry the weight of threats on your shoulders.

Still, the unease lingers like an itch you can't quite scratch. The image of that bloodied trainee and the helpless body in the background refuses to leave your thoughts, clawing its way into the forefront no matter how hard you try to shove it back. The screams and the clattering of rushes footsteps ring in your ears like a broken radio.

“Snap out of it,” you mutter to yourself, dragging a hand through your hair. Standing still wasn’t helping. Maybe you just needed to clear your head, step outside for a bit and distract yourself with something mundane. Groceries. That was the perfect excuse to leave this place. And besides, it would help to restock in the case that a zombie apocalypse would really break out soon.

Opening the door, you’re surprised to see Gojo sitting in the living room, manspread as he switches through the channels with a bored look on his face. His eyes glaze over to you, a grin stretches through his lips. “Out so soon? I know my face is irresistible, but you barely spent 5 minutes in there, miss bodyguard.” As soon as he opens his mouth, it’s like flies are flocking over to him. You push aside the feeling of annoyance, not wanting to waste energy on him. 

“I’m going out to buy groceries. Is there anything you want?” You sigh for the fifth time today, hand resting on the doorknob of the front door. 

“Anything sweet pleaseee” He hums sending you a wink that has you cringing before focusing back on the TV.

Nodding, you make sure the credit card provided to you is safe in your pocket before heading out. You’re greeted by a kind cleaning lady who smiles at you with fondness, “My, I didn’t know such a pretty young lady lived here!” Her voice is soft, reminding you of your grandmother whom you dearly miss. You smile back at her, feeling yourself relax in her presence, “I’m not moving in, auntie. Just staying with a friend for a few days.”

“Oh my, that’s a shame. I would have loved to see you everyday!”

You chuckle at her response, politely saying goodbye before stepping into the empty elevator. 

Whilst you were out on a grocery store run, Gojo shuts off the TV, a serious expression overturning his previously cheerful one. He was getting sick and tired of his father hiring these people to watch over him like he was a child. Being a detective was a step he took to free himself from the chains of being born into his family, a step he took to rebel against his unreasonable father, who was a businessman obsessed with continuing his legacy, he didn't expect the price he had to pay would be getting house arrested by his father in his own home with some stranger.

He hops off of the couch, walking over to your room and opening the door without a care in the world. He snoops through your things, looking through your identification cards, opening all the pockets in your bag. He’s surprised when he discovers an ID tucked away in the deepest depths of your bag, as if you didn't want to see it but kept it with you because you didn't want to let go.

​​Gojo's fingers brush against the smooth, metallic edge of the card as he pulls it out of the hidden pocket in your bag. The ID feels substantial in his hands, heavier than an ordinary card, exuding an air of authority and importance. He almost feels guilty snooping around like this.

The front of the card is dominated by a sleek, black matte finish that absorbs light, giving it a tactical, almost stealth-like appearance. At the top, bold silver letters gleam against the dark background:

“13th Special Mission Brigade”

Below that, a faint watermark of the Decapitation Unit’s insignia—a black panther—catches the light at certain angles, visible only upon close inspection. 

Your photograph occupies the upper-left corner, a stern, no-nonsense expression on your face. You wear your ceremonial full dress uniform, badges of what you've done and where you've been displayed onto the clean cloth. Next to the photo, your name is printed in capital letters, the font crisp and official: 

Y/N L/N

Lieutenant Colonel, Decapitation Unit

Beneath your name, your serial number and rank are listed in smaller, but equally precise text, alongside a QR code that has been scratched out, an occurrence that happens only if you've been discharged from duty.

The right side of the card displays the unit's motto in embossed silver script:  

Silence in Action, Swift in Justice.

Just below the motto is a small holographic seal that shifts between the South Korean flag and the emblem of the Decapitation Unit, further verifying its authenticity that Gojo was most definitely not doubting at this point. Around the edges, faintly visible microtext runs continuously, forming a border of tiny but legible words repeating:  

For honor, for country, for the safety of all.

On the back, the design is equally meticulous. The background is a faint camouflage pattern in shades of gray and black, with a magnetic stripe running across the top. Centered in bold red letters is a warning:  

AUTHORIZED PERSONNEL ONLY: This card must be presented upon request. Unauthorized use is punishable by law.

Beneath it, a small, clear rectangular panel reveals an embedded fingerprint that has also been scratched out by a blade. The rest of the back contains rows of text detailing clearance levels, blood type, and emergency contact information.

Gojo turns the card over in his hands, raising an eyebrow. "So, former Lieutenant Colonel, huh?" he murmurs to himself, a mix of admiration and suspicion flickering in his eyes. A soft chuckle escaped his lips as he slipped the card back where he found it, making sure to tuck it away with the same care. 

“Guess you’re not as simple as you seem, miss bodyguard,” he mutters, stepping out of your room. The gears in his mind are already turning, trying to piece together just how someone with your past ended up here, protecting him.

The buzzing of your phone on the bedside table catching his attention, the constant dings sending a mix of irritance and curiosity through him. Well, he’s already touched all your things, what more was a phone? He takes the phone in his hands, testing his luck by typing 12345 in. He face palms when your phone opens, wondering why a special forces agent would set a password like that on her phone. He opens the chat that’s been spamming you, skimming over the ‘y/n stop ignoring meee’ ‘i know you’re seeing this’ and the random emojis being sent. 

A video with the thumbnail equivalent to a zombie horror movie garners his attention, his finger tapping the play button without much thought, thinking he’d be watching some kind of trailer to an upcoming film. But he’s met with a gruesome sight, the same thing you had watched before leaving. His eyebrows furrowed as he tries to comprehend the scene.

Then he’s reminded of a recent case he investigated before being locked in this penthouse by his father. It was manslaughter, with the victim being the front desk worker of a motel. The crime scene was gruesome—bite marks and ripped flesh along the neck of the man. They had originally thought the perpetrator fled from the scene, but as he scanned the room, he discovered the motherfucker hiding under the bed, his mouth still dripping with blood. “I don’t remember much of what happened.” He said as they interrogated him on the scene, “I just took this drug, and before I knew it, I kinda blacked out.” 

He had originally thought it was a classic case of reckless manslaughter under the influence of illegal narcotics because the perpetrator seemed perfectly human. No bloodshot eyes and no visible veins like in the video he watched. 

Perhaps they were completely unrelated. 

He’s about to erase all evidence of him snooping around your phone until the last message your friend sends makes him pause.

‘They say he returned to normal when he was transported into the vehicle, that’s so freaky!’ 

Okay, they’re definitely related.

He puts your phone back on the table, rushing to his room where he opens his drawer and removes the hidden compartment that contained a capsule he found in the crime scene of the motel safely sealed in a tiny ziplock bag. It’s clear blue with a shine around the edges. He opens his laptop, entering the police force search engine and encoding his badge number before surfing the net for information about a blue capsule drug. 

The most similar one in appearance is a treatment drug for pneumonia called, ‘Next’. It had failed due to the fact that it was mutagenic, meaning it had the chance of mutating human DNA. 

It didn’t take a lot of brain cells to conclude that this drug was probably the cause for the odd series of events. Judging from the way an apocalypse hasn’t started and he doesn’t hear people screaming for their lives, then the military probably has this disease under control. Just when he’s about to sigh from relief, he hears a loud thud from the hallway of his apartment building, followed by three more before an eerie silence deafens him. He has half the mind to check outside, but he knows that’s probably the last thing he wants to do. The amount of horror movies he’s binge watched tells him that the first to die is always the one to check whatever’s going on.

Then his front door opens. 

“(y/n)...?” He calls out, goosebumps rising on his skin. 

“Gojo, stay in your room.”

He’s not sure why, but he’s relieved it’s you who walked through that door, and not some flesh eating monster.

a/n: first chapter outtt yaaayyyyy!!!! kinda scared for this series bc the premiere didnt get a lot of attention😞 anyway!! hope u guys enjoyed this chapter💖

taglist: @atomicweaselpaperapricot @boothillglazer

[babyangelsky]

I know we're all still sweating over the first half of this episode (or I am at least) but since I'm feeling chatty today, I really wanna talk about Mut and Tongrak's conversation at the restaurant and how much I loved it. There are so many little moments that deserve appreciation and recognition.

This is the first one. When the auntie comes over to sing Mut's praises, he doesn't look at her or at Tongrak, he just ducks his head. From what she says, we can gather that this isn't the first time he's brushed off compliments so it isn't that he's not used to praise. I think there's a little more to it.

And look at Tongrak's expression after the auntie leaves.

And the way he looks at Mut afterward. There's fondness there. There's respect and admiration. We've had small moments before this where the way Tongrak looks at Mut changes but this feels like the first time he really sees him. He's getting a clearer picture of who Mut is and what he means to the people in the village.

And it's because of that that he looks genuinely surprised and a little shocked when Mut reveals that his father kicked him out at 15. You can almost hear him asking himself, "how could anyone ever do that to this man?"

Mut talks about how he went to live with his aunt and started supporting himself relatively casually but there's a faraway look in his eyes when Tongrak asks why he doesn't go home.

And he looks down because despite his tone, it hurts to remember why he can't go home. It makes him sad to remember why he considers the fishing boat only his father's instead of theirs, as a family.

There's a defiance in his expression when he says that his father never takes back what he says and neither does he, and there was something about this specific wording and look that made me think that the reason his father kicked him out has to do with him being queer.

I have not read the novel (nor am I asking for spoilers) so I could be very wrong but this moment just read so queer to me. It unfortunately wouldn't be unheard of for a parent to kick out their queer child and for that child to cut ties with them because of it.

The shift in expression when Mut asks Tongrak if he thinks he's pitiful is so tiny but it's so significant. It's like he's daring Tongrak to pity him and resigned to it simultaneously, like pity is a foregone conclusion. It tells me that Mut is used to being pitied. He says himself moments before this that Tongrak could ask anyone on the island for his story so I'm sure there's no shortage of people who do pity him.

Maybe that's why he reacts the way he does when the auntie praises him. Maybe for him it's rare to be praised for his successes without having it be qualified or run through the filter of his personal history.

Even before Tongrak said a word in response, I knew what his answer was going to be. There's sympathy (and maybe even some empathy) in his expression. There's a sort of...I don't know how to describe it. Defiant kinship? that says, "why would I pity you?"

He shakes his head and gives a firm, decisive no. He doesn't pity Mut. He may not say it, but his face says that he's very quickly growing to admire and respect the person Mut has made of himself.

Of course he doesn't pity Mut. And hearing it makes Mut smile. A true, genuine smile that reaches his sparkly eyes and softens just a little bit when he says thank you.

This conversation felt like such a big shift for them. I have no doubt they're going to continue to bicker and annoy each other and piss each other off but from here on I think and hope there's going to be an undercurrent of understanding to it.

Tongrak is open to learning more about Mut and although Tongrak isn't willing to reveal too much of himself yet, the desire to learn more is there on Mut's part, too. He's not gonna push though. He accepts Tongrak's answer of why he became a writer being only for the fun of it.

And he does what no one else has before and praises Tongrak for it.

Which Tongrak was not expecting at all because why would he when no one has ever complimented him before? For Mut to be the first means a lot, and so does the fact that Tongrak compliments him right back.

Because I really do think that his compliment is coming from a place not only of respect, but from solidarity as well. We know that Tongrak doesn't want the people in the village to think badly of Mut for being affectionate with a man in public, and that moment also read very queer to me.

Queer people are like magnets and, in my experience at least, not only are we drawn to each other, we look out for each other. Tongrak doesn't give a damn what people think or say about him both because he's secure in who he is and because he's only a tourist, but Mut lives there. Despite his snark and snippiness, I don't think he wants Mut to have a hard time existing in his home.

Anyway! Those are just my few cents for this episode. This scene really stuck out to me and I wanted to talk about it because the whole time I was just:

Fort and Peat did some beautifully subtle acting and I didn't want it to get lost in the horny shuffle.

[cjrae]

Stunted Love. Or: The Theme of MaoMao's little finger.

Maomao's little finger is a recurring motif in the Apothecary Diaries, and it receives even more emphasis in the anime's first season - it represents her belief that romantic love leads to pain and destruction. Spoilers primarily for the anime, but also the epilogue of light novel four and Chapter 15 of light novel six below.

Love In A Cage

The motif is first introduced in "The Unsettling Matter of the Spirit" - Concubine Fuyou's story. Maomao has already noted the parallels between the red light district and the Inner Palace, but here we see what happens when romantic love is introduced into the mix. On paper, Concubine Fuyou is a literal object of pity. Her personhood is being gifted to an officer who recently distinguished himself on the front lines, discarded after having failed to please the Emperor. It's telling that this is one of the first times we see Jinshi interacting with a consort where he is completely serious, without bringing his charm to bear. We never hear him say anything, but it's clear that he's communicating the Emperor's order with respect and understanding the gravity of the consequences for Fuyou.

As the events of the episode unfold, the parallels between courtesans and consorts get stronger as Maomao introduces the concept of having a contract bought out - if a man wants a courtesan enough, she is also an object to be purchased, albeit at potentially astronomical price. At first glance, it would seem like these women have absolutely no power in these scenarios - but by the end of the episode, Maomao shows us the feminine side of this transaction - how a woman can manipulate the system she is trapped by in order to get what she wants. All she has to do is lower her value - a rather counterintuitive measure that can go horribly wrong all too easily, as we see later.

And what Concubine Fuyou wants is to escape the Inner Palace to be with the man she loves - a task that she succeeds at. She has played a long, patient game in the service of freedom. Trapped in the cage of the Inner Palace herself, Maomao holds her scarred finger against the freedom of the sky and wonders what kind of medicine love would make.

Devotion

We see further flashbacks to Maomao's past through multiple episodes, but the next time the concept of love is brought up is when Fengming is confessing her role in the death of Consort Ah-Duo's baby in "Honey" (episode 11). Maomao is brought up short by Fengming's confession - she flat out says to the audience that she's never loved anyone with that depth of devotion Fengming displays toward Ah-Duo, so she doesn't know how Fengming feels. But if she doesn't have empathy to offer, she does have a rough kindness. Another person might have said that Ah-Duo deserved to know why her son died, that the knowledge might have provided closure. Maomao, however, believes that knowing the baby's cause of death would only cause more pain (it's never the crime and always about the cover-up) without providing any actual benefit.

With these two episodes framing her early character development we see that, whatever Maomao's natural inclinations are (and I will leave discussion of neuro divergency to those better qualified to discuss it), there is a certain distance between Maomao and her emotions most of the time. It is implied that this distancing from her emotions is a trauma response as the image of a woman holding a knife above her head while kneeling on a bed is shown but not explained (it is the only recurring image during the montage before the discussion about her potential execution with Jinshi).

Lakan and Fengxian

In "Lakan" (episode 18) the motif begins recurring more often as Maomao's parentage is revealed. We've caught glimpses of the sick woman in the annex before, but as the camera pans over the bed, it's clear that this is Maomao's mother (as always in anime, the hair is a dead giveaway). We've seen Maomao in this room, always curled in a fetal position, staring with blank eyes, but here we see Maomao actually caring for a woman who she describes as driving her out over and over again. The camera's focus is on Maomao's eyes as she watches her mother continuing to deteriorate - they're blank yet again, echoing her earlier line of "This is stupid. She's gone."

This is not the look of a girl who genuinely doesn't care about her mother. The image of her mother with the knife upraised is straight out of recurring nightmares that wake her gasping with terror and continue to haunt her after she's returned to work. While there is no AFFECTION involved, there are certainly very strong emotions here. Later, in the bath with Meimei, Maomao wonders if Meimei's in love - and immediately shies away from the thought, insisting that "love is an emotion I'm sure I left behind in the womb."

Interestingly, this is immediately belied as the Three Princesses (the women who took on the maternal role that her mother discarded) begin to pamper Maomao in the bath, and she relaxes into their touch, flushed with belonging and pleasure at their attention.

Confrontation

In "Blue Roses," (episode 22), everything has built to a head. By hiding Maomao back into the Rear Palace, Jinshi is acting as her shield - and Lakan responds with a power play. Both he and Jinshi are aware that Lakan knows his true identity, so Lakan provokes Jinshi with a political test. "Nothing is impossible" for a man with Jinshi's power - so providing some blue roses at a garden party in early spring should be simple, right? It's a near impossible task and Lakan knows it - even if Jinshi were to figure out how to dye the roses to be the appropriate color, they're still out of season.

Up until now, Maomao's response to Lakan has been to hide. But, with Jinshi's reputation on the line and seeing how worn out he is, Maomao has finally had enough. So she takes Lakan's challenge on and, while she's in the process of growing the hothouse roses so that Jinshi can best Lakan, she diverts unwanted attention from the Crystal Palace's handmaidens by showing Xiaolan how to do a manicure - something that draws attention to the deformed pinky on her hand and changes her perspective of the damage to the finger.

The art should be paid attention to here - we see close up shots of two other people's hands after having the manicure done - Xiaolan and Consort Lihua. In both of these shots, there's some subtle detail paid to their little fingers as well - Xiaolan's is ever so slightly crooked rather than perfectly straight, while Lihua flexes her fingers so that the pinky is extended as she looks at her hands. In the next shot, Maomao has done her nails as well - and when Jinshi draws attention to the fact that he's surprised she would do her nails (like Hongiang, Maomao usually prefers work over fashion), she looks at the finger and remarks that, even though her little finger is twisted and scarred, it looks better than it did before - an acknowledgement that the finger is not actually a hindrance, but a piece of her identity.

Healing

Giving Lakan the opportunity to finally do right by Fengxian is the most grace and forgiveness that Maomao can extend to either of her parents. Their romantic love is certainly sympathetic to an outsider, but Maomao was shaped by the consequences. Lakan's carelessness and Fengxian's willingness to break the rules of the pleasure district in order to deliberately lower her value so that she could be with the man she loved, is the guiding cautionary tale of her life.

But Maomao has also grown over the season. She is neither the terrified little girl, abandoned by mother and father alike (however unintentionally on Lakan's part) nor a teenager full of fear fueled rage at Lakan's persistence. She is Luomen's daughter and proud of that fact - she has found her family and a place in the world. It is with that more adult understanding of the world around her that she dances atop the wall of the Rear Palace, giving her parents the only thing she can, which is her blessing and best wishes for their short future, as she sends her mother off.

Sure enough, who is watching her as she takes a step toward a more mature identity but Jinshi? Other characters have provided a shield between Maomao and Lakan - Verdigris' madam, Meimei and even Luomen. But it is on Jinshi's behalf that Maomao decided to face Lakan herself. She loves her adoptive dad and granny and sisters with all the affection she never received from Fengxian, but Maomao's actions have always spoken much louder than her words - Jinshi protected her and she, in turn, chose to face her childhood bogeyman to help him.

Is it stating the obvious that Maomao tripping and Jinshi catching her is an obvious metaphor for falling in love?

As she dances on the wall, we see the two seemingly disparate sides of her identity coalesce into a whole. The moment she lets down her hair is a uniquely Japanese moment of eroticism (this is why maiko and geisha use the oshiroi that bare the nape of their necks), even as she's also deliberately reapplied her freckles.

The moment she realizes that Jinshi truly sees all of her in a uniquely emotional moment, she trips and is made terrifyingly vulnerable as she nearly goes over the edge - only to be caught safely in Jinshi's arms.

Safely back atop the wall, the little finger comes up one more time - except that this time, instead of looking at the damage inflicted and seeing the scar, Maomao looks at her pinky and shows it to Jinshi, telling him what sounds like a strangely gruesome medical fact. That a fingertip can regrow if cut off. For all the trauma that her biological parents caused her, for all that her pinky will be scarred for the rest of her life, the wound did heal. Maomao has healed - she is capable of friendship, loyalty and love that can inspire devotion - even if she rarely displays open affection.

Love Creates Fear

This motif comes back again, at the end of light novel 4 (what will be the end of Season 2, if the studio continues to stick to two light novels a season for pacing, which I expect they will). Jinshi has officially cast aside his cover as a eunuch and stepped into the political limelight as the Imperial Brother. Maomao, as a result of their adventures, has returned home, to her apothecary shop and, as she works she thinks about how everything has changed.

"Jinshi must have finally gone back to being whoever he really was. Maomao didn't know his real name: she couldn't have used it even if she did. The worlds they lived in were simply too different…Anyway, now that Jinshi was no longer a eunuch, he couldn't get away with keeping some lowborn girl around him…So it was for the best, really, that Maomao had come back to the apothecary's shop in the pleasure district."

As Maomao ruminates to herself about how she will never see Jinshi again, she retreats to what she knows best - medicine. She's got her emotions under lock and key and she's begun experimenting, working on creating a more potent painkiller. However, her pain tolerance is too high to work with her previous methods.

Or, to lay the metaphor bare, Maomao has dealt with abandonment before, but not like this. Her usual methods aren't working - so it's time to up the ante. What she does next is extremely telling.

"'Got to cut deeper if I want to be sure'. Maomao looked at her left hand, then tied some string firmly around her pinky. She stood and took a small knife from a cabinet. 'Here goes!'

Just as she was about to bring the knife down, a beautiful voice interrupted her: 'WHAT are you doing?'

Without a word, she turned to see a man in an unusual mask standing in the entryway of the shop…'Done with all your work?' Maomao asked, undoing the string around her finger and putting the knife back in the cabinet."

The thought that she and Jinshi are now living in such different worlds that they will never see each other again is painful enough that cutting her finger off in a thinly justified experiment is preferable to feeling her own emotions. What Maomao wants in this moment is a return to the emotional numbness of the past - only this time, she will do the damage herself.

But Jinshi is not Lakan and abandoning Maomao for any reason is simply not an option. Just as he caught her on the wall, Jinshi catches her again. A prince is standing in an apothecary shop on the edges of the red-light district, a place where he should not be - except for the fact that it's where Maomao is.

Connection and Communication

Finally, as a callback toward the end of light novel six, Jinshi and Maomao are beginning to reconnect after Jinshi screwed up and lost a lot of emotional ground in light novel five's epilogue, and he does the following.

"She reached out for the package, which Jinshi had put behind his back, but he planted a palm on her belly to keep her from sitting up and she couldn't reach it. She kicked her legs from sheer frustration and this time he grabbed her ankle. She was just trying to decide what he might be planning when he brushed the tip of his pinky finger along the back of her foot.

'Hrk?!' Maomao choked, squirming...The back of her foot, and her back as well, were hopelessly vulnerable to a gentle brush of the fingers.

'M-Master Jinshi...That's...not...fair!'"

While Jinshi is still the instigator in this scene, this is the the first instance of romantic and sexual contact that Maomao accepts, eventually bursting out laughing - and when he gets that laughter, Jinshi also immediately backs off, accepting that he has pushed her as far as she can go right now. But that first contact was via that tiny fingertip representing love.

His hard-learned patience is rewarded when Maomao is finally willing to speak to Jinshi about how she's feeling about his desire to marry her, first obliquely as they discuss the plot of a very familiar tragic romance, before she addresses the issue directly.

"Instead of answering, she murmured, 'I don't want to be an enemy.' Jinshi gave her a sidelong look as if to ask whose enemy she meant. 'To Empress Gyokuyou,' she said.

Would Jinshi understand what she was saying? If not, that was fine, Maomao thought. There were things even he didn't know.

'You - '

He seemed about to ask her something else when a horse whinnied outside..."

Maomao may be hesitant, she may feel very confused, but she finally gives Jinshi something to work with here - communicating to him not that she simply doesn't care about him that way, but that she has a very real, concrete fear about what a romantic relationship with him would mean, not only for them, but for everyone else around them.

That's a lot to balance on the tip of a pinky.

[nonsensology]

So I've had these Grunkle Stan crackships on my mind for almost a year now. Could be interpreted as platonic, but I think there's great and fascinating potential if interpreted fully romantic. Full musings and explanations below (Warning: very disjointed and random).

Uncle Chan from Jackie Chan Adventures

Maybe Ford and Stan stumble across the Chans on one of their globe-trotting adventures. Both groups fight off the same supernatural threat and surprise each other with their ease and familiarity with the weird and fantastical.

I feel Uncle is kind of a weird in-between of Ford and Stan. He is knowledgeable but not a nerd like Ford, is generally cranky but doesn't get into trouble like Stan does, although he does have a level of disregard towards authority if it gets in the way of his goals. He's quick to do research instead of impulsively charging into a situation.

I think Uncle's dynamic with Stan would be hilarious. They would argue a lot on how to deal with a threat, but once they agree to work together, they could kick ass. Once he gets past his initial annoyance, Stan would probably enjoy Uncle's quips, even more so when he realizes that Uncle does not say them to be funny, he's just naturally snarky.

Uncle is never shown having any romantic interest or relationships, so I kind of headcanon him as ace, but I think it would be really interesting to see what kind of queerplatonic relationship he and Stan could form.

Jade and Mabel would probably hit it off immediately, and while Jade isn't as studious as Dipper, she also has an enthusiasm for the supernatural so she'd probably get along decently with him. She'd also probably think Stan and Ford are super cool, especially considering their lax attitude toward giving children weapons. Though they do still take the kids' safety very seriously.

Jackie is doubtful of Stan, much like he was with Viper, but seeing Stan look out for the kids would probably endear him a little. Ford might also help ease his worries, and maybe they both could have fun discussion about archeology.

I think Tohru and Soos could get along decently, though Tohru would find Soos' eccentric musings odd at first.

Additionally, Uncle's shop is in San Francisco, practically next door to Dipper and Mabel in Piedmont. The kids would easily visit each other every weekend.

Bruno Madrigal from Encanto

Stan has been to prison in Colombia, so I don't think he'd willingly travel there for fun, and Encanto Valley seems relatively closed off from the rest of the world, so I imagine their meeting is accidental, maybe a result of the Stans getting caught in a storm or something. They stay for a while in the valley while repairing their boat.

Stan might initially be outraged at the idea of the Madrigals not charging anyone for the use of their gifts, but perhaps lightens up when he sees how close-knit the community is. He'd still come up with ways they could show off their powers Mystery Shack style, probably butting heads with Alma in the process, lol. He might encourage Bruno to adapt a more showman-like approach to his seer abilities to make it more presentable and less intimidating.

Bruno and Stan connecting over their shared feelings of isolation from family is definitely what drew me to these two together in the first place. If they ever got serious about their relationship, I can imagine the biggest hurdle would be deciding if they should continue a long-distance relationship, since neither is keen on asking the other to be separated from their family.

Yuuko Ichihara from xxxHolic and Tsubasa: Reservoir Chronicle

Major spoiler alerts for both series. It's been many years since I've read them, and Tsubasa had so many plot twists that even CLAMP (the writers) admitted they were confused by the end result. I also might be misremembering some details, so bear with me. Factoring in the plotlines for both series and Gravity Falls would make for an incredible AU fanfic that I unfortunately am not qualified to write.

Due to Yuuko's shop being in Tokyo, a whole ocean away from Oregon, I like to imagine some timey-wimey space mumbo jumbo allowing Yuuko and Stan to meet in the dream realm. Maybe at some point, Yuuko's shop would obtain a door connecting it to the Mystery Shack.

Stan and Yuuko both have a mischievous side, though Yuuko is generally more reserved. They could start out as drinking buddies, though I imagine Stan would probably favor a light beer, while Yuuko loves sake.

They also both use aliases (it is never revealed what Yuuko's real name is), but Yuuko would likely be upfront about it. As their relationship progresses, Stan would probably feel comfortable telling Yuuko his real first name, even after she tells him the supernatural dangers of giving your real name.

While Stan scams his customers, he generally sells harmless entertainment and trinkets, whereas Yuuko grants wishes and operates strictly on an equivalent exchange basis. To quote the wiki, "All of Yuuko's customers must pay a price in order to grant their wishes, which can be no more or no less than the one demanded, or else harm will come to one's way. She is not one to tell the customer the most direct way to solve their problems because in the end, it can only be solved with that person's own realization and resolution to change themselves... Her abilities are not unlimited and may almost seem like a curse as it appears that she is unable to do anything for anyone or grant any gift (other than feelings) without it becoming a binding transaction." 

When Stan finds out just how powerful Yuuko is, I think he might react with a mixture of hesitation and awe, especially when she reveals she knows about his past, and Ford being lost in the multiverse. I am on the fence on whether Yuuko would use her powers to bring Ford home sooner, or let Stan continue working on the portal because he's already close to completing it and this would be significant in defeating Bill.

I found that the main villain of Tsubasa, Fei Wang Reed, surprisingly parallels Stan. Both endanger reality to bring back someone who is lost, but while Stan does it out of love and devotion to his family, Fei Wang Reed only did it in an arrogant plan to prove himself a powerful sorcerer. And in Fei's case, the person is already dead. CLAMP's universe establishes that the dead cannot be brought back to life, and Fei's wish to do so would cause the universe to be destroyed. I wonder if Bill would factor Fei as part of his plans.

Stan also surprisingly shares a lot in common with Fai D Fluorite. Both use their twin's name (Fai's real name is Yuui), and for much of the series Fai's tragic backstory regarding his twin is unknown, and he hides his trauma under a laid back exterior. I think Stan would empathize a lot with Fai, after he finds out his backstory.

Kimihiro Watanuki is revealed to have been created to fill a void left by Syaoran after the latter wished to turn back time. I remember Watanuki's character arc involved realizing that people cared about him. "Don't disappear", "Continue existing". Stan would probably take Watanuki under his wing, much like he did with Soos. Watanuki might find life with the Pines family far more chaotic than he's used to, but slowly warm up.

Yuuko is revealed to have died a long time ago and has basically been in magical stasis due to Clow Reed's unintentional wish. When time finally moves forward again, Yuuko eventually passes on. She doesn't return in the canon series, but Watanuki is stated to have also suspended his time to wait for her return. In this AU, maybe she reincarnates in the past and reunites with Stan and the Pines in the present day.

[bwat5-blog]

A Sister's Love: Jinx & Vi

**Spoilers For Arcane**

A while back I had a short but pleasant discussion with someone on one of their posts about Jinx's treatment of Vi, and how it can feel like Jinx doesn't seem to care about Vi in many instances. In hopes of further discussion, I posted in the community where many of you wonderful folks shared your thoughts on the subject and I got a lot of really good insight into this as well. I was thinking about that this morning and it got me thinking about Jinx in general, and more specifically the times when even if it's not as clear, her love for Vi shines through.

I've said this many times but it bears repeating. I am aware that I have been quite harsh on Jinx. The unfortunate reason for most of that is that a significant amount of Jinx fans have an obsession with comparing her to Caitlyn or Vi that borders on the fanatical. But my issue has never been, and will never be with the character herself. I think she is absolutely amazing as a character and loved watching her story unfold.

*I do this every-time but I think it's important. Especially because some of you have shared with me that your own mental health is what has made you connect with Jinx so strongly. I understand and recognize that her mental health plays an immensely important role in her character's journey. I am in no way, shape or form a qualified mental healthcare professional. So any disrespect or lack of sensitivity is not my intention*

Jinx & Vi:

The journey of these sisters is heartbreaking and inspiring in equal measure. It is many people's favorite part of the story and for good reason. They are so close when the show begins and ripped apart by the darkness in their world. Only to fight their way back to one another through love and sacrifice.

But their story is not without conflict. In fact at their lowest point they almost kill one another. There is much that can be said about Vi's love for Jinx, the times she fails her, and those important moments, but I want to focus on Jinx right now.

I don’t have exact quotes on hand, but someone in the community made an excellent point during our discussion. Even when Vi and Jinx are at odds, and Jinx’s hallucinations try to convince her that Vi no longer loves her—that she’s been replaced by Caitlyn—Jinx fights back. She defends who she knows her sister to be, even if she can’t always silence those voices. It’s only pain, fear, or manipulation that pushes her too far, making her lose her grip on what she knows to be true.

During the horrifying sequence when Jinx is being saved by Singed, she hallucinates. And who does she hallucinate in that terrifying moment when she is in terrible pain and in such need of comfort? Vi. Even though she just tried to kill Vi on that bridge. The vision is only corrupted when Caitlyn appears, which all stems from Silco and Sevika feeding Jinx's paranoia.

Okay. I know what some of you are thinking seeing me post ANYTHING about the dinner party on a Jinx positive post. Hear me out. There is no question that Jinx does ALL sorts of fucked up shit here. But we are talking about her love for Vi. What does she want here? She wants things to be like they used to be. She wants her sister. She is in such a dark and twisted state that she cannot see how terrible her actions are, but at her core, she wants her older sister to love her like she used to. She doesn't hurt Vi (I mean aside from the bonk). Additionally, and again- I AM NOT SAYING SHE DIDN"T DO TERRIBLE THINGS HERE- Even with all she did to Caitlyn, she knows Vi cares for Caitlyn, she views Caitlyn as the one who was taking Vi from her, and yet she doesn't kill Caitlyn and she easily could have. This is not about justifying anything she does. It's about looking for what lies beneath the darkness in her to see the person she has the potential to be again.

Here at their lowest moment, when Vi and Jinx have almost killed each-other, and Jinx is glad Vi is the one who is going to finish her, Jinx screams "NO!" when Isha does this. She doesn't want Vi to die.

Vi is at her worst during her pitfighter arc. I'm not going super in-depth on this because this post is about Jinx but Vi is in a self-destructive spiral and totally alone. It's quite clear in one moment that Jinx is there in the crowd but if you slow down the whole sequence you actually see her there a few times. This was primarily what I was discussing with some other people and I believe Jinx was watching over Vi in the best way she could process. I'm sure there was some degree of pleasure in seeing Vi cast out by Caitlyn at first, but with all other signs pointing to Jinx caring for Vi I don't think Jinx was here laughing at her sisters pain. More trying to be there and watch over Vi but with no idea how to approach her with all that happened.

*I fully recognize there is a degree of speculation on my part for this point but I think it's reasonable, feel free to let me know if you disagree!*

With everything that has happened between them, the fact that Jinx comes to collect Vi when she finds out about Vander speaks volumes. There is still much to be worked out between them but she wants their family to together again including Vi. And although I couldn't find the GIF for it, when jinx is in the dark with her lighter after Vi and Vander fight is such a heart wrenching moment. She is clearly so afraid that she has caused the death of her sister, her dad, or both. She cares so much for those that she has left.

Jinx and Caitlyn's history is the furthest thing from simple. But in this moment, Caitlyn cast Vi out, hit her, became the commander and placed Zaun under martial law all because she wanted Jinx (this is not a who is right and who is wrong I'm just making a point), Jinx would HATE Caitlyn. But she knows what she means to Vi. And she just saw Caitlyn save Vander. Jinx easily could have let Rictus finish Caitlyn then jumped in if it was just about saving Vander but she still jumps headfirst into the fight.

In the aftermath of Isha and Vander's death, Jinx could easily have escaped Caitlyn. But Caitlyn tells Vi that all Jinx wanted was to make sure Vi was safe after Vi sacrificed herself to protect her.

Jinx's mindset in this moment is a complicated topic. But I want to focus her feelings about Vi. Vi has come and broken her out of jail, risked everything for her again. And Jinx realizes Vi will never give up on her. Even at great cost to herself. So Jinx punches her and leaves her, and almost begs her to start living for herself. Because she knows Vi cannot give herself that permission. She wants Vi to choose her own life, and to choose love.

Free and clear, obviously Jinx was going to do something horrible but thankfully Ekko talked her down. Even still, she could have done anything. But what does she choose to do? She chooses to ride to war with her people, honoring Vi's faith in her.

And of course, the absolutely devastating final sacrifice (I know she's alive but you get it) of Jinx saving Vi's life when the pain and grief finally overwhelm the fearsome brawler. I have mentioned it many times, but Jinx's core belief is that everyone who gets close to her dies. She thinks she is a curse on all who love her. But in her last action, she saves the life of the older sister she knows will always love her, and who never gave up on her.

I have touched on most of this before but it was just on my mind this morning. I hope I didn't bore anyone. I know there are LOTS of strong feelings about Jinx and like I have said over and over nothing here is about justifying the wrong she did. It's just about looking at those moments that showed her true colors even when she herself couldn't see them. Hope you enjoyed, take care!

[shanastoryteller]

so, you've been posting/reblogging about sam being the exception to the rules of "This is alright to do when everyone else does it/ It's not alright to do but we can do it to sam". Do you have any fanfic recs that throw that hat around? Like, they realize they were actually in the wrong? or some good fix it? some bad break it?

mmmmmmmmmmmmmmmmmm

honestly not this fandom's strong suit. probably the most self indulgent part of see something say something is having dean accept that sam going to stanford wasn't a personal attack, was something he needed to do for himself, and the no contact trauma of it all was pretty much entirely john's fault. in canon he's literally betrayed by sam going to college until he DIES. he never chills or gives credit to the idea that sam deserved and needed space to grow outside of him

there are a couple "sam dies in the panic room" fics floating around out there, which are pretty good, but relatively short and sort of only deal with the immediate regret that dean feels because his brother is dead and not really because he understands how he fucked up

here are some that sort of qualify, but nothing that quite scratches the id for this in the exact way i'd like. unfortunately i think to really dig into this (for me) you've got to hit "sam was both saved and destroyed by dean's deal" and "dean came back wrong" right over the head before you can really deal with the repercussions of it. which is both hard and sort of an unpopular opinion! so i get it

feel free to drop your own recs if you have them!

Crossed Wires by rivkat (summary: A spnj2xmas gift for costsofregret, who liked angst, pining!Sam, one thinking the other is dead, and hurt/comfort. It’s like you know me.) sort of deals with the concept of sam's autonomy but it's pretty brief.

One Saved Message by ratherastory (summary: After a hunting accident puts Sam out of commission for a couple of days, Dean decides to surprise his brother with a new phone, since his old one is toast. Even better is when he finds that he’s been able to save all of Sam’s old information and restore it to his cell. That’s when he discovers an old voicemail that Sam has kept saved for the last two and a half years… Charity fic for help_japan. sinka won a fic from me and requested some Voicemail fix-it fic, and that is what I have attempted here. Spoilers for all aired episodes up to 6.19.) deals with the voicemail but not really all the actions dean took to make that voicemail believable

Paint Me a Monster by TheMarvelousTolkienJob (summary: Sam is a freak. He knows that and, after everything that happened with Ruby and the demon blood, Dean finally does too. Not that they actually talk about it or anything. No, they wait around for Sam to be kidnapped and tortured before they do that.) is a fic focused on all of this and it addresses the voicemail and the reasons the voicemail was believable but it doesn't end with anything so much resolved as it is at least in the open air. which is a perfectly good ending, i just want closure T_T

The Talking Cure by Mollyamory (Molly) (summary: Dean tries to keep his mouth shut, but as much as he wants to keep quiet, he also wants to say--) set immediately after season 8 with no gadreel. dean feels the need to reiterate what he said in the church

Soft Like a Blue Triceratops by sprinkles888 (summary: Sam finishes the trials, expecting to die. Instead, he gets a life that sounds idyllic - the demons locked away, the angels gone (mostly), and Dean by his side. All he has to worry about is the various monsters attempting to fill the power vacuum; a too-empty bunker; his own deteriorating mental health; Dean’s dive back into alcoholism; and not getting enough sleep (even for him). Oh yeah, and that pesky fact that his dreams are starting to seem a little bit too much like visions. He can handle it. He can. (Sometimes he can’t.) If this is healing, Sam sure doesn’t want to know what deterioration looks like. A season eight finale/post-season 8 AU) is probably the closest i've found that really comes down to grilling both on how messed up the brothers are and how it's taking a toll on sam specifically, but it doesn't really get into the double standards of it all. bold for emphasis is mine, because my god that's really the whole fic. great exploration of them, but it did hurt to read

not at all in the vein of the ask, but by the same author Sounds Like Truth and Feels Like Courage by sprinkles888 (summary: Turns out that the Men of Letters had a way to perform magic on the regular without the messiness of witchcraft. All they need for it is a pair of soulmates, a couple of rings from the bunker, and a willingness to spend time platonically touching. And, well, the Winchesters are already sitting at two out of three… (In which Sam and Dean cuddle, spend time being emotionally vulnerable, mend relationships, learn just how powerful their souls are, find power in memories, watch way too much Netflix, and become targets of an organized group of monsters set on killing them.)) is a comfy warm fic about the boys by the same author that i can reread without hurting my own feelings

[queenlua]

hey lua what decks do phoenix aceattorney and miles aceattorney play in magic

PHOENIX WRIGHT

once upon a time, a friend bullied me into going to a Pro Tour Qualifier, which was probably the largest Magic tournament i’d ever been to at that time, right?

i was happy to be bullied, to be clear, but the problem was… i hadn’t played standard-format Magic competitively in about 2-3 years.  so my knowledge of the current metagame, what deck archetypes were popular, and what the current cards even were, was staggeringly limited.

“it will be fine,” said my friend.  “here, take this spare deck i built.  it’s super-straightforward and easy,” he lied.

he said this to me approx. 8 seconds before the first round began, so uhhhhh, i sure was playing a game of magical cards without ever having even looked at the damn deck before!

so, lo, literally in the course of playing the deck, i was learning how this shit was supposed to work.  “oh!” i’d exclaim with delight, halfway through my turn.  “THAT’S how those two cards are supposed to interact.  oh that’s super clever.  what a neat combo.”  and then i’d proceed to shiftily look at my opponent over my cards, riffle those cards a lil bit, and then say “pass” with as much of an enigmatic vibe as i could muster.

meanwhile, my opponent was Actually Prepared, and they were Trying To Win, and they were pissed.  they threatened to call Slow Play on me because i was taking so fucking long reading all the cards.  as in, he literally called a judge over, who stood there watching me the whole time, in order to determine if i was being Criminally Bad At Magic versus just A Regular Amount Of Bad At Magic, and i was sweating bullets the whole time because i didn’t know this deck or their deck or any of those cards and AHHHH why is the judge staring at me!!!

….which only served to make it EXTRA-humiliating for this poor fuck when i proceeded to eviscerate them 2-0.  hahahah get dunked onnnnnnnn nerd!!!

and then i also proceeded to eviscerate my next opponent???

sheer dumb luck.  i cannot overstate how ill-prepared i was for this tournament.  i absolutely did not deserve these wins.

meanwhile the friend who gave me the deck was having a much worse time with their deck, and they were like “what the fuck. you weren’t supposed to win. how are you winning with that shit, my deck’s so much better than yours”

anyway.  i think that’s the kind of scenario Phoenix would get into if he were an MtG player.  dude Gets Himself Into Situations And Then Uses Cleverness + Bullshit + Luck To Get Out Again.

(AA4-era Phoenix seems like he’s doing the same thing… but, in reality, he’s actually been meticulously crafting his deck in secret for the past six months.  he’s not even aiming to win the tournament, he’s just exploiting a known weakness in the opponent-matching system that lets him know with certainty who he’s going to get matched up against (spoiler: first round is Kristoph), and he’s hyper-optimizing his deck to beat Literally Only Those People.  meanwhile, Apollo, who built a tryhard hyper-optimized variant of Red Deck Wins, is lowkey annoyed that Phoenix's seemingly-random pile keeps vaulting him just one table above him in the standings, because Apollo knows his deck is better. he knows it!!!! just let him go 1v1 and prove it aaaaughhhh!!!)

((also, in case you want Actual Concrete Cards And Colors And Stuff: in general i think Phoenix prefers limited play (draft, sealed, "anything where you open booster packs on the spot & throw a deck together") to constructed play, because he doesn't like being tied down to any one game plan. when he does play constructed, i think he's less attached to a specific colors and more attached to specific mechanics. in particular: he's not a combo player exactly, but he likes mechanics that feel like bullshit. dude saw Madness for the first time & his eyes lit up & he was in LOVE, "you mean i'm discarding the card but then i can cast it for free??? hell YES." he absolutely ran a poison counter deck during New Phyrexia. ah fuck i just realized he was probably a huge stan for noted awful expansion Battle for Zendikar, i think i gotta cancel him now, sorry))

((and i think Phoenix also has a touch of Timmy in him! like, i went to a huge state tournament once with a bunch of really skilled players, and there was this one dude in our car who had a really solid deck, clearly adhered to a lot of the trends in the meta at the time... but his win condition was a Shivan Dragon. which wasn't a bad card at the time, it was a reasonable win condition, but it was... slightly suboptimal? not at all the obvious pick? sort of random? and multiple people asked him "why is that your win condition" & he shrugged and said "i like dragons." so the dragon stayed & that dude ended up getting second place in the whole tournament so FUCK optimal play, bring a dragon. i think Phoenix would sneak in a dragon now and again. just 'cause))

MILES EDGEWORTH

this one is trickier!!!

young!Miles is just going to play Whatever The Meta Deems To Be The Best Deck, right. the von Karma perfection thing and all. it's all very boring & micro-optimized to be the Best Deck Of Its Kind & he pours over the results of the big name tournaments week after week & does some math or whatever to hyper-optimize his own build of the Obviously Correct Deck. there is no soul in any of this, purely Executing On A Formula.

...but then he experiences Character Growth & has his big gay crisis & now he has to pick up the game again. he opens the latest tournament results... clicks around some win % stats for various cards in a desultory kinda way, and... his heart's just not in it, right?

enter 2-4 era Miles. 2-4 era Miles is playing some utterly unhinged Five Color Good Stuff thing. there's a lot of Planar Chaos cards in there, because that whole set was about Weird Shit & cards doing Stuff You're Familiar With (But In The Utterly Wrong Color!!!) & all that is resonating with Miles more than he'd care to admit. he cannot possibly talk about his unnecessary feelings but he can make a weird noise rock album about them. and by noise rock album i mean this fucking Magic deck.

and he's playing this deck with a 100% straight face, as though this is the exact same behavior that won him the Junior Super Series five years in a row & not a desperate cry for help from a madman. everyone else is like Miles... are you playing fucking singletons... in a fucking standard deck... you know your deck will be more consistent with four-ofs right... and then he gives a cool fish-eyed stare & taps out to cast some arcane bullshit legendary creature & gives a single rap of his knuckles against the table to indicate that he's passing the turn.

and it works, is the thing! all those years of training to be the Spikiest Spike Ever have paid off; this Five Color Good Stuff thing relies on some pretty clever insights to make the mana base work, and parts of what he's doing eventually get adopted by the larger metagame to become an Actual Serious Deck. but, like. it's still a monstrosity. any skilled players watching are still definitely wondering Are You Okay, Dude.

after 2-4, i think Miles settles back into playing something more normal. he still cares about winning, but he's going to do it with a touch of class. he wants a game that involves dialogue, some actual back-and-forth, because just trying to combo off is lame coward behavior.

aw yeah baby we're talking counterspells!!!

he's a blue player at heart & he's happiest when he's updating the autopsy report shutting down whatever his opponent's plan is. he'll splash other colors as the occasion calls for it, but he'd be happy running mono-blue the rest of his life. like, i ran a pretty fun Legacy deck back in the day which consisted of:

every kind of counterspell i could get my hands on,

propaganda because FUCK creatures,

thieving magpies for the card draw,

and a few silver wyverns to, y'know, actually win the game

...and i think Miles would appreciate that deck. just play counterspells until the opponent runs out of steam & then cruise your way to victory with a couple birds. simple. elegant. classic. doesn't involve any of this modern Planeswalker bullshit (Miles regards most developments that happened to MtG post-Time Spiral block or so as affronts to game design).

(i do think Miles has a secret fondness for sagas as a card type, however. they remind him of all that Character Growth, but in an abstract/subconscious/nonthreatening way. too bad most of them are a bit of poor match for the kinds of decks he likes to play)

FINALLY: i think Miles hates playing Commander with every fiber of his being & Phoenix loves it & this is a pretty serious point of contention in their relationship. poor dudes

[fantasywater]

Stolas will never be called what he is in canon.

Spoilers: Brief mention of Via storyboard leaks.

Firstly,the same woman who said a main character getting dragged off to a room to get ganged raped was the funniest joke in the show is not about to call another main character in her other show a rapist.

Instead, she gives lip service in a vacuum to what Stolas has done to shut critics up. The Full Moon episode for example is her technically dealing with it so now she can move on. Basically, Stolas to her is off the hook. That's why she wrote him calling himself a monster(with the qualifier IF in front of it), and Blitz got to rant about his hatred. She even let him say everything you put me through, but without going into any detail of course.

However, notice how none of that matters in the very next episode. Stolas supposedly thinks he's a monster, but is weirdly very snarky to Blitz and calls his victim a motherfucker on stage at a hate party for him. Blitz screams everything you put me through(sooo rape) you pompous asshole, but is trying to get sex literally in the cold open, pulls Stolas close in his lap, gets jealous, and looks at him with romantic longing like Stolas is a prize that Blitz should be sad that he has now lost.

Also, notice how she hops so strongly to classism since that's a safe negative topic for Stolas's transgressions. However, that was never the biggest issue with their dynamic. It started in Opps with Blitz suddenly caring, very much so, that Stolas is a prince. Even the majority of his tirade in FullMoon dwelled on that aspect the most instead of the more pressing issue.

She does this with Octavia as well. The lyrics in her song give lip service by saying "I won't forgive you, I won't take it, I will grow without you, you will only know my name", and then she goes no contact. However, let's look at the foreshadowing of why this isn't going to stick.

Complete strangers Octavia and Luna hug like their best friends in Seeing Stars. Octavia and Luna semi-hug and giggle in the pride poster. Plus a rather curious one, which the official Spindlehorse account hurried up and deleted, was a car decal sticker with Blitz, Stolas, IMP, as well as Via, all together and Blitz is saying My Family on the tagline.

Also, Spindlehorse is a business first. Therefore she is not about to have anyone in the show call Stolas by name what he actually is. To do so would tank her show by destroying her most popular character.

There would be a mass exodus because the Stolitz fans wouldn't be able to lie to themselves anymore if anyone in the show point-blank said rape or coercion. So safe lip service is all we will get so that the several money shots in Sinmas can happen plus the marriage foreshadowing in the merch.

However, here's a game to play in debates with the Stolitz fandom.

"Did Blitz have free will or was it coercion?"

-Drop a pic of the chain scene.

-Then the scene of the feathers trying to muffle Blitz as he fights and screams.

-Now put those scenes side by side with the one of Stolas calling himself a monster if Blitz is a prisoner.

-Also for extra fun add the scene of Blitz looking degraded and angry after sex in one of the mirror images from All to You.

Now watch them scatter.

Thoughts?

[emilylawsons]

HI I’M BACK AND I FINISHED SEASON 3 AND I HAVE THOUGHTS™️

Newsreader spoilers under the cut

Okay first: THE NEWSREADER IS ONE OF THE GREATEST TREASURES TO GRACE TELEVISION AND IT DELIVERED ON EVERYTHING

ANYWAY…

The open ending as far as Helen and Dale goes—my shipper heart is a little sad we didn’t get a more explicitly romantic ending for them BUT these two have so much healing to do, and it starts with being exactly where they are. Finding peace and happiness as individuals before they give themselves to any relationship. And I think, no matter what any fan was hoping for, they can take this ending and decide how it goes for them. (Also the loving way Helen spoke to him and looked at him while she was talking to him off air. 🥹) They’re both exactly where they need to be and in their element, and that’s what the audience has been rooting for since day one.

THE PARALLELS AND CONNECTIONS TO THE FIRST EPISODE IN THE LAST ONE. Dale singing Kyrie in the car. Helen taking Dale home and talking care of him and “coming up with a plan.” Fucking brilliant.

Helen’s journey this whole season—getting a diagnosis and coming to grips with it. Being resistant at first but coming around and COMMITTING to getting better even when it’s hard and she hates it—frickin’ facing the place where she was locked up and endured additional trauma. She truly came into her own, and I’m just continuously blown away by Anna Torv and how, in every single project she does, she puts so much care and thoughtfulness into how she portrays her characters and the difficult situations they face. And she’s just a fucking incredible actress. THE SCENE IN 3.03 AFTER SHE GOT HER DIAGNOSIS AND CALLED DALE BROKE ME. I don’t think anyone else could have portrayed Helen. I just don’t. And Helen’s arc was all the more satisfying because the writers/creators decided to trust their talent and make her just as much a part of the creative process.

And Dale…oh my boy Dale. Sam frickin’ Reid the actor you are. Dale’s character arc has to be one of the most intense and challenging I’ve ever seen on TV, and Sam probably had the hardest job. Dale’s breakdown? OH MY GOD. We always knew Dale needed to break. He would have to be driven to the brink to be human again. And, just like with Anna as Helen, there was no one more qualified to bring Dale Jennings to life. Holy shit. Incredible, meaty, deep storytelling happens when you have creatives with a vision and actors they’re on the same page with. Sam got it from day one, and he saw it through to the end.

But Helen and Dale, stars of the show they are, are not the only incredible arcs we got to see. THE SATISFACTION OF WATCHING LINDSAY CUNNINGHAM GET KICKED OUT ON HIS ASS AND DENNIS SITTING IN HIS SEAT. The stuff of legends. And not just Dennis getting his moment (which we absolutely saw coming after he clocked Lindsay last season), but JEAN FUCKING PASCOE yelling at him from across the newsroom. I clapped. I cheered. And you know, I even cheered a bit for Evelyn Walters in all of it. She’s out for herself and still doesn’t get it (and Geoff was far from a victim), but she stood when it counted. She took action on one good thing. And watching them all collectively work together to get Lindsay what he deserved? Delicious.

And then we’ve got my girl Noelene who also went through The Most™️ oh… She’s got so much to figure out about standing up for herself and what she wants, and Rob’s got so much growing to do to be a better husband and father. But she did stand up for herself. She stopped being afraid to tell people how she felt and what she needed. She called Rob out on his racist tendencies and opened up to him about her work/motherhood balance, and she called out Helen for using her like everyone else and overworking her, and they both listened. She has hope ahead of her, and it was beautiful to see.

A few other small notes:

The whole Dale/Kay dynamic was so strange, but it needed to happen. Her constant comparisons of him and Geoff helped fuel his necessary fall. And it served to show what a terrible place Dale was in.

Cheryl got married!!! Good for her 🩷

Fuck Bill, and congrats to Helen for being like “I’m not gonna be punished because I didn’t wanna fuck you”

Tim gets a well deserved love and happy ending!!!

I’m really happy they brought back Linus. What a treasure.

Overall, as sad as I am to see this show go, they delivered on all counts. Everything they said they would be, they were. Every arc, satisfying. Just so beautifully and masterfully done, and with love by everyone involved. 18 episodes of perfection. And if Michael Lucas and Emma Freeman ever produce another show together and hire Anna Torv and/or Sam Reid or any of the wonderful-across-the-board cast? I will get my VPN’s worth as an American and be there for it.

[thatscarletflycatcher]

Annotated Editions: the case of Jane Austen's Persuasion

The other day I made a post about my poor opinion of David Shepard's annotated editions of Jane Austen's novels, specially in terms of how much praise they get in the Austen fandom. That last qualifier is important, because while in general I do think they aren't great in a vacuum, it's specifically the place of honor they get in fandom that makes my judgement harsher; not because popular=bad, but because, well, if you claim to be excellent, you should be excellent.

So I'm gonna try here to compare three annotated editions: Shepard's, Norton Critical, and Oxford World's Classics.

Let's begin with the introductions/prefaces. Prefaces are complicated, because for the most part there is a tradition in this sort of literature to treat them as a free space for an essay, basically fulfilling the role of an afterword, instead of working as an introduction, as a summary of the historical, biographical, anthropological, artistic, etc, clues that will facilitate and enrich the comprehension of the text by the reader.

How goes Shepard about his introduction to Persuasion?

There's a brief note to the reader before the preface itself explaining what kind of notes he has added to the text; so far so good.

The preface itself is roughly divided in the following sections:

a biographical sketch of Jane Austen (5-10%)

comments on the spot Persuasion occupies popularity wise in the list of Austen novels, followed by, as Shepard's argument for why it is so;

An in-depth comparative analysis of the whole plot and main characters of the novel, with other Austen novels, pointing "pros" and "cons." (90-95%)

A comment on how he thinks Austen's style would have been moving forward, disagreeing with Virginia Woolf.

The first section is useful to contextualize the work, but the second is basically spoilers + Shepard's opinions on the novel and on the novel as compared to other Austen novels; this latter part is of little or none usefulness to the reader, and even its quality as an essay has several very weak, "sloppy" points. For example, the assertion that Persuasion, like the rest of Austen's novels is a romance; not only because many would disagree, but because a good introduction would include a discussion of the genre of the novel, and for an Austen novel the discussion and explanation of the nature and tensions of romance, bildungsroman and comedy of manners is VERY important. Another weak point is the blank assertion that Austen never wrote a scene between two men alone, which is false). Another notorious absence in this introduction is the historical setting of Persuasion; it is a rarity between Austen novels in how relevant the Napoleonic Wars are for the plot and how firmly they date the narrative. Tied to this are considerations of class, and the meaning of the navy as a symbol of meritocracy and Austen's special relation to it through her family... none of which are even mentioned in this preface.

How does the Norton Critical Edition by Patricia Meyer Spacks tackle the same part?

When did Austen write the novel and when was it published.

Brief summary of currents of opinion on tone and theme of the novel.

A discussion of traditional views on the "femininity" of Persuasion.

Critical evaluation of this in relation to contemporary analysis of the ethical and the political in Austen and the novel.

Her own interpretation of the novel as an ethical study on the concept of self-love.

A brief note on the choices made for the presentation of the final text.

I do think, even by this brief summary, one can uncontroversially say this is a better preface. While it still lacks the practicality of information that is mentioned rather than explained about the context of the novel, its use of spoilers is sparse and isolated rather than extensive. No supporting references to other novels are made (which I think is a good thing, because those involve a certain requirement of familiarity for the reader), and while the personal interpretation of the editor is presented, it is not an opinion on why Persuasion is popular, but a reference, a way for the reader to organize and approach the text of the novel.

Now on to Oxford World's Classics, introduction and notes by Deidre Shauna Lynch.

Napoleon and the briefest historical context he provides for the novel

An analysis of Persuasion's uniqueness in the Austen canon through the character of Anne

The permanence/change break through the changed roles of houses and the predominance of travel in comparison to previous novels

The role of memory and with this a tieback to continue elaborating on the historical context of the Napoleonic Wars in England and the cultural change it brought in the understanding of History

Persuasion as a sequel-like novel, for which a main interpretative key is that of History and Memory

A stronger attention on aging and disability

The interrelation between war history and social history in the novel, and the time frame of the events

More elaboration on the theme of past and present and personal history, with a contrast between Sir Walter's reading of the baronetage and Anne's reading of the newspapers

An interpretation of Persuasion as commentary on Sir Walter Scott's restoration plots; Wentworth and Mr. Elliot as two forms of return of the past.

An analysis of The ConversationTM between Anne and Harville still on the theme of personal history.

A comparison between the two endings of the novel

The assertion that the novel isn't melancholy and nostalgic in the end, but open to the future

This introduction is much more meandering and essay-like than the Norton one, and in that way much closer to Shepard's, in its use of spoilers and commentary on a text the reader is unfamiliar with. It's definitely not a GoodTM introduction as introduction, but it still includes mentions of important historical context and keys to reading the text; and its commentary provides references not only to other authors writing at the time, such as Scott and Wordsworth, but of more contemporary sources as well. There is some poliphony to it beyond a mention in passing to Virginia Woolf.

Besides that, it's also worth mentioning that the volume includes a brief biography of Austen and a chronology of her life elsewhere, a full note on the text editorial choices, a selection of bibliography for further reading, and three context appendixes on rank and social status, dancing, and Austen's relationship with the navy. As much as I'd think those appendixes should have taken the place of preface and the preface a place of afterword, the information to the reader has been included.

In terms of this kind of extra, Shepard has included a chronology of the novel, maps, and pictures in his notes, which are features the other editions don't have that might be of interest; but he has not provided good contexts like the Oxford edition does, either in the introduction or as appendixes; or pieces of solid, well researched essays and contextual texts like Norton does. Both Oxford and Norton include the cancelled chapters in an annex; he doesn't.

Someone would reasonably argue that Shepard chose to include all contextual information in the notes, and here is where personal opinion comes across the strongest: I think he does it that way, not for the reader's convenience, but for the padding of the notes and to inflate the value of his role as an editor. The addition of titles to the chapters of the novel, and the repetition of notes and information serve, in my opinion, the same end. In my opinion, there is a substantial difference between providing someone contextual information before they engage with something, and giving it as the something unfolds. Your first experience of a soccer match would be entirely different if someone told you the rules of the game, the stakes of the particular match, etc, before you get to the stadium than if they were to feed them to you during the match; and I think the former is a much more satisfying and rich experience.

So, notes!

Shepard's editions have lots and lots of notes. For example, for Chapter I of Persuasion he makes 65 notes, against 9 of Norton and 15 of Oxford. A first impression would say "oh, that's a really nice lot of info!" until you stop to think if this is really such a heavy text that it requires a note every 40 words on average. That's almost two notes on the extension of this paragraph alone. Let's dig a bit more to see where are the differences in selection.

Norton's, as you might have guessed now, tend to be editions heavy on the commentary side through essays and articles, and so notes are minimal and sparse. The notes on this chapter are on "baronetage", "patents", "creations", "Dugdale", "worsting", "chaise and four", "Tattersal's", "black ribbons", and "alineable". None of the notes go over a line. Oxford includes all these, and adds "High Sheriff", "exertions of loyalty", "duodecimo", "heir presumptive", "awful legacy", "dear daughter's sake", "every ball", and "his agent". Listing all the Shepard notes would be exhausting, so let's try some general classification of the notes that aren't the ones above:

3 geographical notes that amount to "this is a place in England, see map", which are easily understood in context.

14 glossary notes which usefulness/necessity is very variable. Awful and town are very reasonable notes; one wonders the necessity of notes on bloom and independence which are easily understood by context.

This theme of usefulness extends to the rest of the general notes. That stillborns were not uncommon during Jane Austen's era, or that Austen's fabricated entry of the baronetage actually does look like an entry of the baronetage is trivial and not necessary for the understanding of the text at all. That lady Russell is the widow of a knight is something that the text will state the following chapter, and that knights ranked below baronets will be heavily implied there too. The explanation of what an old country family is literally reads as redundant. Many notes are like this: information that is trivial, explained further on in the text or easily understood through context. This is specially the case of notes like the one saying that cousin marriage wasn't illegal, that people of high status spent a lot of money showing it off, and that rich people also went into debt.

There are useful notes, but when you trim them down to the actually pertinent and useful, there aren't many more than the ones included in the Oxford edition.

Now let me take a look at some of the notes shared between Shepard and Oxford:

On patents/creations:

Shepard:

The book listed families in order of receipt of the title. Thus Sir Walter would first see the earliest patents (i.e., grants conferring the baronetcy); there would be only a “limited remnant” of them because most early baronetcies had expired by this point due to the death of all possible heirs. Sir Walter could only know this by consulting another book such as Dugdale (see note 9) and comparing its list of all baronetcies with the entries in his baronetage, for the latter would show only existing titles—that he has done this indicates how obsessed he is with the matter. This carefully acquired knowledge arouses Sir Walter to admiration for himself as the holder of a surviving baronetcy. He would later come to the many pages showing the creations, or new titles, of the last (i.e., eighteenth) century and feel contempt for their relative newness (his came from 1660; see note 12).

Oxford:

limited remnant of the earliest patents: a title was also referred to as a patent: ‘a writ conferring some exclusive right or privilege’ (Johnson). Sir Walter regrets the passing away of the families whose titles date back to the seventeenth century. James I had created the title of baronet in 1611 and had used the financial support he obtained from the baronets he created to fund his army in Northern Ireland. endless creations of the last century: Sir Walter’s contempt for the low-born recipients of the new titles that the government had distributed would extend to those who, like the commander of the Fleet, Lord Nelson (the son of a mere country clergyman), had recently been rewarded with newly created peerages for their war service.

Oxford omits information that will be said explicitly later on in the text (that the Elliot baronetcy dates from 1660), and in its place includes a very relevant example of a new patent to show why Sir Walter looks with contempt upon new creations, rather than simply repeating what the text says.

High sheriff:

Shepard:

The High Sheriff (often simply called sheriff) was, after the Lord Lieutenant, the leading official in a county, responsible for the execution of the laws. He served for one year. The position, usually held by a member of the gentry, carried great prestige and would be a source of family pride.

Oxford:

the chief representative of the Crown in county government, the High Sheriff presided over parliamentary elections and the administration of justice. Holders of the office (which is now a mainly ceremonial one) were chosen annually from among the principal land-owners of the county.

While Shepard gives me something I can gleam from the text itself (the social importance of the title) Oxford tells me what his job entailed.

The note on duodecimo is an interesting case, where technically Shepard's information is more complete, but he spreads it in such a way as to pad his note count and extension. He simply notes that it is a small book, and refers to a note on books on chapter X:

“Large” could refer to thickness but is more likely to refer to length and width. At this time books came in widely varying sizes. The principal ones were folios, in which a standard sheet of paper was folded in two to make the pages, quartos, in which the paper was folded into quarters, octavos, in which the paper was folded into eight pieces, and duodecimos, in which the paper was folded into twelve pieces. Thus the length and width of a duodecimo would be one-sixth those of a folio. The type of book would influence its size. Popular books, especially novels, tended to come in smaller sizes, while serious, scholarly ones were usually larger. Thus the size of Charles Hayter’s books helps spur the Musgroves’ worries about excessive studying. They might be naturally inclined to such worries, not seeming bookish at all themselves.

What's the reference for this note specifically? "and having been found on the occasion by Mr. Musgrove with some large books before him, Mr. and Mrs. Musgrove were sure all could not be right, and talked, with grave faces, of his studying himself to death." Clearly the natural place of this note is on "duodecimo" in chapter I, but by this strategy Shepard not only manages to make two notes out of where there should be only one, but inserts notes visually in chapters in such a way as to make it appear like he has lots and lots of substantial, erudite explanations to make all the time. This strategy he repeats a lot through the text.

It's these habits of trickery, of padding and puffing up that I find intellectually dishonest, and rather inexcusable in a man who is an academic and must know better. I have also accused him of sloppiness. Perhaps I could have been more charitable and say that Shepard is a Historian by profession, and the things that touch on the literary and the philosophical, his references are much more scarce and lacking, not particularly well researched (in contrast with his historical notes). I mentioned how despite being relatively similar in tone and aim, the contrast between Shepard and Oxford showed that the Oxford annotator was familiar with literary authors in ways Shepard wasn't. This reflects in notes as well. For example:

Pinny

Shepard:

Charmouth is another coastal town (see note 8, for a description). Up Lyme sits atop the ascent next to Lyme, and offers views of the town and sea. Pinny is a spot a little west of Lyme. (For locations, see map.)

Oxford:

Many readers encountering this description of the scenery of Pinny, just west of Lyme, have detected an echo of the poet Samuel Taylor Coleridge’s ‘Kubla Khan’ (composed 1798; published 1816). See lines 12-13: ‘But oh! that deep romantic chasm which slanted | Down the green hill athwart a cedar n cover. . . .’ The romance of the landscape is the product of a series of landslides, which have carried into Pinny Bay some of the cliff paths on which Austen must have walked during her stay in Lyme.

Marmion and The Lady of the Lake/Giaour and The Bride of Abydos

Shepard:

These are two long narrative poems by Walter Scott. In contrast to the above poets, Scott immediately achieved great popularity. The two poems cited here, his most widely read, were among the best sellers of the age—and in this age, poetry generally outsold novels, at least until Scott’s own novels appeared. Both poems are stories of love and war, set in sixteenth-century Scotland; a critical element of Romanticism was fascination with the past, especially the medieval past, and Scott was central to fostering this sentiment. Jane Austen mentions each of these poems in her letters. These are two narrative poems by Lord Byron, the other highly popular poet of the time. Both are tragic love stories set in the Middle East; fascination with foreign lands, especially ones regarded as highly exotic, was another feature of Romanticism.

Oxford:

The first two titles refer to long narrative poems, romances of medieval times, published by Sir Walter Scott in 1808 and 1810; the third and fourth refer to ‘Turkish tales’ published by rival poet Lord Byron in 1813. The poets’ representations of warrior heroes committing doughty deeds in picturesque settings probably contributed to their wartime popularity. Still, the notes that Byron appended to his poems adopt a more cynical view of their heroes’ sabre-rattling than do the poems themselves, in ways that distinguish their account of heroism from Persuasion’s, idealistic view of its chivalric war hero. Anne and Benwick prove themselves faithful observers of the literary scene when they attempt to adjudicate between Scott and Byron (an attempt they resume on p. 90). Similar efforts at a comparative evaluation of the decade’s two most commercially successful poets are pursued in William Hazlitt’s The Spirit of the Age (1825) and the anonymous A Discourse on the Comparative Merits of Scott and Byron (1824).

Our best moralists

Shepard:

These could refer to a wide array of works, especially from earlier years. The eighteenth century, whose spirit Jane Austen exudes in many respects, was characterized by a general preference for prose and an emphasis on greater rationalism than the Romantic period. Moral essays, frequently supported by observations on life and contemporary mores, were popular throughout the century. Collections of letters, often highly polished, also appeared. Finally, biography developed as a significant genre, and it, like much of the prose of the time, often had a moralizing tone, pointing out lessons and presenting examples of virtuous behavior.

The difficulty in following precepts of patience and resignation had been a popular theme of many writers, especially when discussing the influential philosophy of Stoicism, which counseled rational indifference to the ills of life. Similarly, as in all ages, many who preached virtue did not always live up to their preaching. One of the most influential prose moralists of the eighteenth century, and a favorite author of Jane Austen’s, Samuel Johnson, addresses this point in one of his essays (The Rambler, #14). He writes that “for many reasons a man writes much better than he lives.” But he argues, “Nothing is more unjust, however common, than to charge with hypocrisy him that expresses zeal for those virtues, which he neglects to practice; since he may be sincerely convinced of the advantages of conquering his passions, without having yet obtained the victory.” Rather, he claims that such a man should be commended for attempting to impart to others some of his own, possibly hard-earned, wisdom. From this perspective, Anne’s counsel to Captain Benwick, which does certainly come from her own extensive experience, would represent a valuable and benevolent service to him, whatever her own failings in achieving patience or self-control.

Oxford:

The texts Anne prescribes to Benwick would very probably include works by Samuel Johnson. Throughout the second half of the eighteenth century readers made an almost medicinal use of the essay series The Rambler (first published 1750-2), in which Johnson treats such topics as the dangers of solitude and the necessity of resignation in the face of loss. Johnson’s biographer James Boswell claimed of The Rambler that ‘In no writings whatever can be found . . . more that can brace and invigorate every manly and noble sentiment’ ( Life ofJohnson, ed. R. W. Chapman (Oxford: Oxford University Press, 1983), 154).

Here I would note that the much longer two-notes reference of Shepard sits between vague and repetitive, and that in my opinion both sin by omission of Shaftesbury (Anthony Ashley Cooper).

Dark blue seas

Shepard:

Byron’s The Corsair, a work Jane Austen mentions reading in a letter (March 5, 1814), begins with the lines, “O’er the glad waters of the dark blue sea, / Our thoughts as boundless, and our souls as free.”

Oxford:

Benwick and Anne perhaps recall the second canto of Childe Harold's Pilgrimage (1812). Its description of the hero’s voyage from Greece and of the ‘little warlike world within’ (ii. 154) he enters when he boards the ship certainly glamorizes nautical life: ‘He that has sail’d upon the dark blue sea, | Has view’d at times, I ween, a full fair sight’ (ii. 145-6). They may also be remembering the lines that open The Corsair (1814), a description of the freedom that the poem’s pirates enjoy as outlaws: ‘O’er the glad waters of the dark blue sea, | Our thoughts as boundless and our souls as free’. In a letter of 1814 Austen sounds jaded about the Byronic heroes, such as Harold and Conrad the Corsair, who enthuse Captain Benwick: ‘I have read the Corsair, mended my petticoat, & have nothing else to do’ ( Letters , 257).

'eleven with its silver sounds’

Shepard:

The origin of this phrase, which seems, based on the quotation marks, to be from a particular text, has never been identified for certain. One commentator, Patricia Meyer Spacks, suggests the phrase may allude to a line in The Rape of the Lock by Alexander Pope, a poet Jane Austen certainly knew well: “And the pressed watch returned a silver sound.” The phrase does not represent a literal description of the operation of the clock, for the component parts of a clock were made of other metals than silver, usually brass or steel. Clocks were standard parts of a home, designed for elegant appearance as well as utility.

Oxford:

The literary allusion has not been traced. In 1921 Herbert Grierson conjectured that Austen was here misremembering the description of the coquette’s morning rituals that Alexander Pope gives in The Rape of the Lock (1712): ‘Thrice rung the Bell, the Slipper knock’d the Ground, | And the press’d Watch return’d a silver Sound’ (i. 17-18).

Note how here Shepard is crediting Meyer Spacks, but does not reference where (the Norton Critical Edition), whereas the Oxford annotation traces the conjecture to what appears to be its original proponent.

The pen has been in their hands

Shepard:

At this time there had been moves to improve the quality of women’s education, but it still was inferior to men’s, especially at the higher levels—no universities admitted women. As for books, while women had come to constitute a substantial portion of those who wrote novels, men dominated virtually all other fields of literary endeavor.

Oxford:

even as she has Anne object to examples from books, Austen echoes the precedents set by figures in the literary tradition who have previously commented on men’s monopoly of the written word. Anne sounds like the Wife of Bath in Geoffrey Chaucer’s Canterbury Tales , who is exasperated by male clerics’ representations of women, and, closer to Austen’s time, like Richard Steele’s character Arietta, who recounts the story of Inkle, the mercenary Englishman, and Yarico, the native woman of Jamaica whom Inkle betrays, so as to counter her male visitor’s trite examples of female inconstancy. Arietta observes, ‘You Men are Writers, and can represent us Women as Unbecoming as you please in your Works, while we are unable to return the Injury’ (.Spectator, 11 (13 Mar. 17 n)).

I'm not saying that necessarily Shepard's notes should be absolutely excellent in every single way and aspect in order for it to be a serviceable/good annotated edition; but all the things I have mentioned above make them appear to me thoroughly undeserving of being considered excellent, above the rest, or definitive.