#have a feeling its something meta like this..

[3liza]

Unfortunately, I think we are headed for another pandemic and to be honest, I think we are already in the middle of it. I have basically 5 hospitals and over 100 clinics in our health system, and I have not seen it this bad since covid slammed us. All of our area hospitals are full, we can no longer depend on the CDC for truth on anything, and many doctors are sounding the alarm. We just opened our drive through testing facilities again. We are encouraging telehealth visits instead of in person if at all possible. Right now Covid, Flu, and RSV are running rampant... However, its this new mystery illness that is really going fucking nuts. In my direct department of 80+ people, I had 24 out with it in one week. Several of those turned into pneumonia .. 2 were hospitalized. Both me and my wife have had it. It felt like covid... Wife even lost her smell and taste. We both got tested for the usual stuff and it was all negative. Whatever this is, its highly contagious. It doesn't matter what we test for, it comes back negative. It feels like covid, hard to breathe, but with lots of sinus pressure, congestion, non productive cough, extreme fatigue, and lasts a long time. I took stronger steroids than usual, Methylprednisolone .. Helped a little.. Then about 10 days of antibiotics.. Ended up needing an inhaler for about a month. Same story with my wife, but hers turned into full blown pneumonia. Watch out for this shit. So far its not too deadly, but the fact is that no one knows what the hell it is. Maybe bird flu or something, but tests are coming back negative. There are plenty of theories out there, with some saying its some new strain of Human Meta pneumonia virus, bird flu, swine flu, and tuberculosis. The point is, you can no longer trust the CDC or any government health agency and even the media is under reporting it. Its all over the country. Honestly, the biggest killer right now is influenza A.. Its running rampant and resulting in a shit ton of hospitalizations.

[justatypicalwizard]

Meta-isekai | K. Bakugo ✧ Act I Scene I

-`♡´- In which Bakugo gets isekaied into a shoyo romance. -`♡´-

Peak stupidity ⋆ ˚｡ ⋆୨♡୧⋆ ˚｡ ⋆

Act I 𓆩⚝𓆪

Scene I: What the fucking fuck?

𖹭 Katsuki woke up but not in his dorm room, rather in something that resembled his bedroom at home.

𖹭 What the fuck? He thought as he threw his legs over the bedsheets and stood up. Something was off. Was he stuck in a quirk?

𖹭 On his desk sat a fat black cat. Katsuki didn’t own a can so the sight of the animal caught him off guard.

𖹭 ‘’What the fuck?” He said out loud.

‘’Why are you cursing at me first thing in the morning?” The cat answered.

Katsuki’s hand shot in the air, straight into the cat's fluffy face. He gathered his strength and… nothing happened. Not even a spark from his palm.

‘’You’re acting weird.” The cat hummed and started licking its butt.

With eyes wide open Katsuki headed back towards the bed, hopped inside and curled under the sheets trying to cope with what was happening. This must be some kind of a quirk and he’s in danger now. The fight is happening around him but he doesn’t hear or feel anything because he’s under some sort of illusion. How can he get out?

‘’Going back to bed is not like you. Come on, we have stuff to do.” The cat persisted as it jumped on the bed sheets. ‘’Wait.’’ It zeroed in on Katsuki’s face, nearing him gently, paw after paw. ‘’You’re not my Katsuki.”

𖹭 Katsuki wanted to grab the cat to pin it in place but it slipped out of his fingers leaving only a few black hairs in the place he the blonde tried to grab him. Katsuki started to shout and jumped out of the bed trying to get close to the poor animal. This evoked a deafening hiss as the cat started to flee.

𖹭 The door slammed open and his angry mum entered the room. ‘’What the heck are you doing? Get ready for school, brat.” She shouted even louder than the cat and slammed the door back closed hard enough to make the walls shake.

𖹭 But Katsuki didn’t live with his mother anymore.

𖹭 ‘’Can you please stop trying to kill me? I see that something is wrong and I’m trying to work it out too!” The cat hid on the wardrobe. ‘’I told you, you’re not my Katsuki, what have you done with him?”

‘’How the hell am I not that Katsuki? There’s only one Katsuki and It’s me!”

‘’Nuh-uh.” The cat, very slowly, neared the crease of the wardrobe and jumped down. It sniffed the air next to where Katsuki was standing all the while observing the man. ‘’You’re from a different world.” It stated matter-of-factly. 

Katsuki wanted to start chasing the creature again for making him an idiot but the can was smarter this time.

‘’I know it sounds stupid but look around you! Is this your room?” This made his stop. ‘’Do you have a talking cat in your universe? And why are you trying to intimidate me with your open palm? Stop sticking it my way!” Shit, Katsuki’s done it instinctively.

‘’Listen, something is off and you are not the right Katsuki, not my Katsuki. You’re Not-Katsuki. I don’t know why this happened, I’ll try to find out though. Still you’re stuck with me here for a while so I night as well tell you my name.”

The cat hopped back on the desk, back bathing in the morning sun that made its fur shine in a weird pinkish manner.

‘’My name’s Black Cat and I’m your magical companion.” It bowed its head. ‘’My mission is, and has been for some time now, to help you achieve friendship and love. I’m like your Fairy Godmother. For the last year and a half I have been trying to help you and well it went…” Suddenly the cat went silent. 

‘’It went what?”

‘’Let’s just say I had more diligent love-students under my paws for the last eternity or so.” To which Katsuki could only blink a few times because he never thought he would hear such a sentence in his life. ‘’Whatever place you came from, good news is, I can send you back.”

‘’Thank god, do it now.”

“The problem is-” The blonde groaned and the cat hissed. “Listen to me brat! The problem is making you travel to a parallel dimension will cost an immense amount of power, and I don’t have such a reserve right now!”

‘’Then focus or some shit.”

“It’s not like that. My power comes from you, you and your friendships and loves.”

“What do you want me to do!” Katsuki’s voice was getting alarmingly loud again.

‘’Shut it unless you want your mum to come in again and see you talking to an empty desk. Only you can see me, dummy.” The cat stuck out its small tongue. “What you have to do is find friendship and love big enough to gather tons of energy for me.”

“I’m not buying that shit.”

“Just, listen to me please. I want my Katsuki back. Besides you don’t know whether my Katsuki isn’t in your place now. What world do you come from?”

𖹭 Suddenly, Katsuki imagined a random guy, version of himself or whatever, with not idea what a quirk is, standing in his shoes. This could cost him all the hard work he’d put in over the years to become a hero. Heck, that guy could kill someone by accident if he never used his quirk.

𖹭 “I need to go back. Me, I mean him, everyone else, fuck it this is a piece of shit situation.”

Katsuki started to pace the room with the cat observing him carefully.

‘’What? My Katsuki is going to kill someone in your world?”

‘’I have a quirk - a superpower where I can create explosions out of my hands. It took me years to get rid of the reflex of exploding something anytime I got irritated. How do you think a version of me that never experienced this quirk will react?”

“Oh shit. We need to get you back quickly.”

“Mhm.” Katsuki nodded.

“Okay, listen. I know how we can pool enough energy for me to send you back.”

“I’m listening.”

The cat straightened and crossed his hands as if he was a human.

“For the last year and a half I’ve been trying to help my Katsuki by creating some meaningful friendships and confessing love to his crush. It did go somewhere, at least on the friends part, but not enough for me to ascend (so essentially leave him). If you could, in a short period of time, achieve what he couldn’t in over a year, we might be able to gather a lot of power that would not run away if you’re quick.”

“So, make friends and get a girl.”

“Essentially.”

“You’re lucky I’m good at winning.” Katsuki smirked.

“Well, it would be a win-win-win honestly. You’d go back to your world. My Katsuki would come back here straight into his dream-come-true and I could finally leave him.”

“You don’t seem to like him/me.”

“I’m more on the lazy side while my Katsuki was a handful.” The cat lied down showing its belly. “But there’s one thing I must warn you about. I am tied to my Katsuki, not you. As my Katsuki is somewhere in your hand-explosion world he can no longer make wishes and dreams about this reality. What this means is that if you fail to make his highschool dreams come true you’ll most probably be stuck in this world forever. Stuck with me at that because I can only leave you if you’re happy enough or dead. You have only one shot at this. Also, if it’ll take you too long to make all the wishes come true I won’t be able to gather enough power at one time to blast you back home.

Are you still in?”

Katsuki neared the desk which made the cat stumble onto its side. The morning sun made the blonde’s eyes glint with irritation but a smirk was plastered on his face. Crossing his arms on his chest he looked down on the cat.

“I already told you I always fucking win.”

“Please never tell me about your homeworld. I don’t want to know what mended you into this shape.”

[afloofwithmultipleinterests]

☆ |BLUE LIGHT| ☆ ☆~~*☆*~~*☆*~~☆

It's just a bad dream, pump.

It's just a bad dream.

[secriden]

There's something so wondrously momentous about Style only saying his "I love you" now, when he realises that all the secrets he was keeping from Fadel are already laid bare.

He says this a significant time after Fadel has said his (and, in the context of the wider narrative, after Kant and Bison) and for the character we have seen as prone to glibness, exaggeration and flippancy with his words, that feels incredibly intentional.

Because this confession was the only truth Style had left to give.

Fadel is finally done playing his (poorly thought out) game, done with his (already cracking at the seams) charade, done with giving Style more opportunities to pull at his heartstrings with his earnestness lies.

Fadel is demanding the truth, and tells Style exactly what truth he wants to hear.

And the thing is, there is truth in this: Style's motivations at the start were wrapped up in a deception specifically targeting Fadel.

I know we, as a fandom, harp on about Style "doing all that for a car", but something I would like us all to revisit is what Kant actually says to Style when he first asks Style to "hit on" Fadel:

Kant: You need to help me. You know I don't usually feel this way about someone. And then shortly later, after Style refuses: Kant: Hey, hold on. (Kant grabs Style's hand.) What do I have to do to for you to help me out? Should I pay you?

(Please forgive my inability to gif and watch Style's reaction to this.) Style is visibly surprised and intrigued. Kant seems to be serious about this request, and I think Style decides to test just how important it is to Kant by asking for the one thing he knows Kant will not give up.

Just look the expressions on Style's face. We didn't have the context of knowing Style back then as well as we do now, but this is the look Style gets when he's throwing out a challenge (to Fadel), when he's trying to ferret out some new insight (from Fadel), when he wants to see how someone (Fadel) will react to whatever outlandish (provocative) thing he's said or done.

And when Kant agrees, Style even checks again if Kant is serious about going through with it -- and it's this that convinces Style of the sincerity of Kant's request.

Yes, the car was a factor, and yes Style also wanted revenge and to humble Fadel, but at the centre of Style's motivation has always been a plea for help from a friend.

In episode 1: Kant: Under one condition. You have to make him head over heels in love with you. Style: I'll do it. Not just for the car, but someone like him needs to be humbled by someone like me.

But in agreeing to help Kant, Style really was damning Fadel to play the fool because Fadel's feelings (his heart) was a commodity that Style was fully willing to play with back then.

And there are aspects of truth here too. When Kant tells Style about Fadel (and Bison) being hitmen, Style decides he's done and wants out. Kant reasons that it's more dangerous for Style to break up with Fadel now, because it would look suspicious, but crucially this isn't enough to convince Style.

So Kant, once again, makes the plea to friendship and to his need for Style specifically, and it is this that causes Style to finally cave.

But in doing so, the things that Style agrees to are:

Kant: Work with me. Help me get more information about them. Once we get that, it's done. Captain puts them in jail, and we walk free.

So while Style may not be directly working with the police, he is working with Kant who he knows is working with the police. By proxy, Style is involved with the police, but in front of the empty pool, he makes it clear to Fadel just what that involvement actually entailed:

Style: Kant asked me to take you out so you could leave him alone and he could freely investigate. Fadel: What did he get out of it? Style: I don't know! That ain't my business! All I was asked of is to take you out.

And this, too, actually is true! Since finding out, Style has literally not discovered a single thing that could be remotely useful to the police investigation:

He's found out that Fadel likes to gym at night. He's found out that Fadel uses tenderloin in his burgers. That he runs in the morning before going to the market. That he attends a grief support group.

But these were all things Kant also already knew and could have given the police if it were in any way useful for the investigation.

Even his attempts to get Fadel to confess to his "other job" (something the police also already know) were clearly in service of wanting to save Fadel and/or convince him to give up the life of crime in the hopes that Fadel wouldn't have to be sent away from Style to prison.

But the truths are tangled up in misunderstandings and Fadel's own assumptions now; and also further tainted again by Bison's own hurt over Kant's betrayal. And Fadel literally cannot see -- because his eyes are filled with tears [see: @thisautistic's gifset + my tags] (good grief, Joong, the actor you are) -- the honesty Style is bleeding from the marrow of his bones.

Because the truth is that along the way Style has also found out that Fadel is a good older brother. That Fadel is still hurting and bleeding inside because his parents were murdered. That Fadel wears his favourite bands' make up in secret because he cannot bear the thought of other's judgement. He's found out that Fadel misses Style, wants Style, and hates himself for it. That Fadel is afraid to love. That Fadel is acutely aware of his own darkness and cannot comprehend an existence that would not involve someone (Style) rejecting it. That Fadel does not believe that 100% trust is possible, but that he will get himself drunk so that he can offer Style as much vulnerability as he can physically make himself give.

Because the things that Style did find out were all the ways Fadel's heart is soft and tender and precious and worthy worthy worthy of all the love Style has to give.

And Style will stand firm on this truth because this is the only thing he has left to give Fadel.

Because Fadel knows, now, all the ways Style was unworthy of his trust, but crucially has not figured out the most important truth:

Because in all the ways that Fadel has ever known he should want, Style actually IS worthy of his trust. Style knows the truth Fadel is hiding, knows what this man is capable of, knows the danger of being in his arms, knows the likely nonexistent future Fadel has to offer him -- and wants him anyway. -- Quoted from my meta post on the "One day, I'll be your 100%" line.

And as I alluded to in the tags on @yinwaring's insightful post: Style fully embodies the belief he espouses; because even in the face of a gun to his head and Fadel threatening to kill him if he will not admit that this, too, is a lie, Style refuses to give Fadel anymore dishonesty.

And this is because Style knows that the truth matters; now more than ever.

Because Style has had days to grapple with his worry after Fadel's disappearance. Style has had a week's worth of checking the diner only to face the regret he feels about not handling things differently. Style has had to recognise the terror of thinking he had lost something he never even knew he wanted in the first place.

And while Fadel had his realisation back in episode 4, Style never had to face this until Fadel vanished from his life and left a gaping hole in the shape of the absence of Fadel's smile.

So if this is what it takes, if this is the penance that Fadel demands of him, then it is a price Style is most happy to pay.

Because Fadel does not realise is that Style, too, now knows what it means to lose a love worth fighting for.

And in the war Fadel now feels compelled to wage against Style (because, yes, that's definitely still going on), the one damning thing Fadel has failed to recognised is that his only true weapon was leaving Style behind.

Which is why Style has already won. Not because Fadel's walls have crumpled again or because they don't still have a ton of things to talk through and work out (they really, really do), but because Style has already been stripped bare (and I mean this literally, like we all recognise THAT was the reason why Dunk is only in boxer shorts in that scene, right?? Like, I know we were joking about it, but seriously, that was so very intentional and a visual representation of Style being both stripped and, most importantly, freed from the lies he felt compelled to tell Fadel) and this means he has nothing holding him back.

And Fadel can wield his gun and his words and his anger and his hurt, but Style will die on the hill of the truth that he knew and understood and chose to love Fadel anyway, and saved this last confession for when he knew he could tell Fadel the truth without any lingering deception; and when the time is right, when Fadel is finally ready, Style will be there to welcome him back with open arms and, without any hesitation, an open heart.

[heartorbit]

the star you've longed for

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[specialtysacrifice]

Idk if Mac had a strong sense of self before coming out. I think a lot of it was constructed and obviously based on people he thought he should be like. His dad, or action movie characters. It looked like he had a strong personality, being bossy and stubborn, but I bet if he was asked any typical "fist date" questions, he'd come off like a cardboard cut out, or like an action figure toy with a pull string. Only able to say obvious macho bro-ey answers, not understanding how to genuinely answer. And he truly believed that's who he was. He had to. Because if he wasn't that, wasn't a man, who was he?

Coming out, going back, coming out again, eventually having it stick, he doesn't know who the fuck he is or supposed to be. I think being Gay is a title/role to Mac in the same way being Straight or a Man was. He's only ever seen queers in a negative or, at best, stereotypical light so he doesn't understand the deeper levels to himself. He's just swapped roles from "macho rowdy ladies man" to "gay bear/hunk sex machine" in place of understanding himself on a deeper level.

There's an assumption that queer people have a deeper sense of self and understand ourselves better than cis straight people, but coming out isn't always a coming home. It can destroy your sense of self and leave you completely lost about who you are as a person. It can feel like starting from ground zero.

We see this with Mac almost immediately. Mac Finds His Pride has him lost the whole episode, apathetically going from one queer scene to the next as Frank tries to help him find what Type of Gay he is. Eventually culminating in an attempt to still gain his father's approval. I think the dance helped Mac process his relationship with god, but he is still very lost as a person by the end of the episode.

Another example, very obviously, is when they're in Ireland. Mac has lost all sense of identity. Already struggling with his catholocism and being gay, he's shortly stripped of his Irish identity as well (and immediately tries to figure out how to be Dutch? iirc). That's Mac's whole plot for that entire season pretty much.

He looks to other people to tell him what to do, almost refuses to make his own decisions. Who is Mac? What does he like to do? Not in relation or service to other people, but to himself? I don't think the writers, Rob, or Mac know the answers. He's not gay, he's Mac. What does that mean?

I don't know where else to go with this. Besides that, I feel that in The Gang Goes Bowling, we see just a little bit of Mac returning. Or rather, becoming. I hope we see more of him.

[sammygender]

i’ve never been as angry on behalf of a character as i am for sam winchester

[pnfc]

i haint watched the dang chibisode and idk if ill actually watch it with sound on sdfjk but i have a hurt feeling about them casually imbuing perry with speech for a one off gag because the idea that he needs to talk to communicate is fake. we had 4 seasons of wacky magic hijinks cartoon where perry never needed verbal speech to communicate. they couldve done this gag at any point in the show but they didn't, and the fact that they didn't felt significant. perry's muteness is such a core part of his character, to me, to the way i conceive of him/write him. i don't wanna overreact to a goofy little side cartoon (even tho i'm doing it anyway) but it's still the characters, and it still upsets me! ok that's it i've said my piece

[ferrouswheel11]

The moment that made Bruce the man he is today was the moment his parents were murdered in the alley. He thinks that that moment for Tim had or will have to do with the deaths of his parents as well, like it was for him, for Dick, for Jason, all children whose lives were changed forever by tragedy. He doesn't realize that that moment for Tim was a decade ago at Haly's Circus.

Bruce thinks that he and his mission are the poison, that prolonged exposure will eventually drag Tim down into the darkness he resides in (or worse, like it did to Jason). He thinks of the child he once was, remembers that he became the Bat so that no other child might be suffer that same loss, that same transformation that he has. He doesn't realize that Tim's path was set from the very first day he can remember.

Tim doesn't know how to be any different. How to be anything other than a boy who deduced Batman's secret identity by accident. A boy whose heroes inspired him to become a detective, to pick up computer skills, to learn to fight. A boy who cared enough about two strangers at the circus to risk his life for them a decade later.

Becoming Robin was just the culmination. Becoming Robin is when everything that made Tim Tim started to make sense. The night in the alley was the night Bruce’s life changed, but that night at the circus was the night Tim’s life began.

[arsenicflame]

steddyhands modern au inspired by this post:

(1828 words, themes of kink but nothing explicit, established blackhands & gentlebeard-centric. Happy Pride!)

Stede picks up leatherworking in the wake of his divorce. He's not exactly sure how it ended up being such an important hobby for him, only that he had always admired the intricate designs on his horse's best bridles, and with little else to do with his time, he decides to give it a go.

It's rocky going at first, but he's having fun working with his hands for the first time in his life, and there's a sense of satisfaction in seeing the design come to life as he works. With practice, his skills improve, and he learns how to make things that are truly one of a kind.

He starts off posting his pieces online, as a way to reach fellow enthusiasts, but quickly finds himself with a rather large audience. Stede’s style is unique, and, after many requests from his followers, Lucius encourages him to make some more basic pieces he can sell. It's not about making money for Stede, but another way to meet new people who share his interests- as Lucius keeps telling him, it's sad that his personal assistant is the main person he talks to these days. 

So Stede sets out on a new adventure, and has quite the time designing a new range of patterns for the market. He makes purses, belts, bracelets, and, most importantly, dog collars- all still with his unique designs embossed into them, of course. He rents a booth at his towns monthly craft fair, and very quickly finds himself with a new group of friends in the other regulars- Pete, his usual neighbour, who sells an array of wooden figures he carves, Roach, who runs a stand for his bakery, and Frenchie, who isn't actually a stallholder, but is almost always busking near his friend Wee John’s stand of knitted goods, bringing life to the market even in the pouring rain. There's also Buttons, another regular at the market. Nobody is exactly sure what he does there- he doesn't sell things, or seem to buy anything either, but rain or shine, he's there with the birds.

Stede’s been doing this a few months by the time June rolls around. As he's setting up his stand, he notices that the area is much busier than it’d normally be at this time of morning. Lucius, who got roped into helping run Stede’s stall somewhere down the line (despite his protests that this is not what personal assistant means… But hey, he got a boyfriend out of it, at least), reminds him that there's the parade today, too- not realising that Stede had no clue there was a parade today, and especially not that it was pride. Stede immediately jumps to fretting about the amount of stock he’s brought, and Lucius takes the cue to escape, saying he’ll go and grab them coffee (but really, he's off to flirt with Pete)

Lucius is still missing when Ed stumbles across the little leather stall. Stede’s just ran back to his car to fetch his last boxes of inventory, and by the time he returns, Ed’s already begun to narrow down his choices. Stede greets him, starting to tell him that they're not actually open yet, but before he gets more than a couple of words out, Ed’s exclaiming “You're a Kiwi!!!”

The two of them smile at the shared recognition, and Stede says he’ll make an exception, just for Ed, and asks him what exactly he was interested in. Ed tells him that he's looking for a collar “for his boy”, and points out the particular design he was looking at. It happens to be one of Stede’s favourites from this latest run of work, a fact he mentions to Ed. It leads them into a discussion about Stede’s craft, and Ed’s Izzy, and then everything in between. Ed’s listening intently to the things Stede’s telling him, completely drawn in by the process, and by Stede himself. He watches as Stede stamps Izzy's name into the collar, and Stede even lets him have a go at one of the stamps. 

Lucius reappears sometime in the middle of this- only to immediately retreat again, seeing Stede engrossed with Ed. He sets up camp at Pete's booth opposite, watching this man flirt intensely with his boss- and Stede flirt back just as hard. Does Stede even realise he’s doing it? Lucius had known Stede was gay since before Stede even admitted it to himself, but this is on a whole other level.

The pair stand there so long that Izzy comes to look for Ed- the two of them are manning a float on the parade with their crew, and it's past time for them to get geared up. He's already worked up, frustrated to have been left to set up everything alone, when Ed had just gone to see if he could get them both coffee. So maybe he's a bit of a prick, approaching with a brash “where the fuck have you been, Edward”, to which Stede brings the same energy, giving a bitchy “Ed! Do you know this guy?” Izzy tenses, ready to snap, but then Ed cuts in, excitedly telling Stede that this is “his Izzy!” Which confuses the hell out of Stede. 

Forgetting his earlier attitude, he asks Ed if he “really named his dog after his friend”, only to be met with confusion right back from Ed at where the hell Stede got the idea he had a dog from. Stede gestures at the bag with the collar in it, to which Ed has to tell him, “oh, no, that's for him.” Ed tells Stede that they're here to run a float for their local leather society, and while Stede is certainly shocked by what Ed’s saying, he's not finding himself… uninterested. It's simply that he’s never even considered any of this before, especially not that people would use the things that he made for this, but Ed sounds so enthusiastic about it all. He tells him about how his friends would love to see Stede’s work, about how classic leather gear is always so fucking boring- but not Stede’s stuff, no, Stede’s stuff is “fresh” and “fascinating” and unlike anything Ed’s ever seen before. 

Ed's enthusiasm is incredibly infectious, so when he invites Stede to come back to see their float, he readily agrees. It’s a concept Izzy’s less than enthusiastic about. He doesn’t really want to bring this man who’s dressed like he just walked out of a HOA board meeting to their kinky little corner of the world, but he is having a lot of fun watching Stede squirm, so decides not to raise a protest. He does demand he gets his long-overdue coffee first, though (Stede pays for it- as “compensation for him distracting Ed from his job”, he says, not giving Izzy a second to process before he's tapping his card)

By the time they return to the float, Fang, Ivan & Jim are waiting for them, all already geared up. Stede is stunned silent at the sight for about 5 seconds, before he starts actually looking at the quality of Jim’s harness, and proceeds to go off about the poor quality of the craftsmanship, about how the hardware is tacky and completely the wrong choice with this leather, how his “ten year old daughter could do a better job!!!” 

There's complete silence from the group, until Izzy, of all people, bursts into laughter at Stede’s audacity (and, the fact he was staring at Jim's tits completely unabashedly, like he hadn't even noticed them in the first place). Izzy's laughter sets Ed off as he tells the group about Stede’s misunderstanding- “you didn't say he was a person!” “I mean, he's my dog”- and soon everyone's having a friendly giggle at Stede’s mistake.

It's somewhere in the middle of the retelling that Ed remembers that this whole thing happened because he was buying Izzy a gift. After a moments fumbling, he presents Izzy with the collar-  It's a rich, deep black, embossed with a rolling pattern that resembles waves. It’s made from a firm enough leather to take the tooling, and to remind Izzy that he’s owned while he’s wearing it, yet still soft enough for long term comfort. Izzy's eyes immediately lock on to it, an unreadable expression coming over his face, and Ed turns it; first so he can really see the design and Izzy’s name embossed into it, and then so he can see the small “Ed ♥” on the inside of the collar, right over his swallow tattoo. 

“I did the heart,” Ed says to him softly, intended only for Izzy’s ears. Izzy's eyes flick up to Ed’s, and he raises his chin to give Ed the room to put it on. Ed buckles the collar around his neck almost reverently, a test of the tightness turning into a caress of Izzy's neck. It's a perfect fit.

It's as though something comes over Izzy; so twitchy and abrasive earlier, now silent, staring at Ed with a look akin to worship in his eyes. He obediently tilts his head for a kiss as Ed's fingers move to his chin- It's a sight to behold, and one that has Stede intrigued. He wants to know more about this lifestyle, and these men in particular. He wants to be the one to put that expression on Izzy's face.

The moment breaks as Ed and Izzy pull apart, and Ed calls for the crew to finish the last bits of set up. Izzy shakes himself a little before running off to bark orders again, but even still, there remains a softness to him that wasn't there before. 

Ed turns back to Stede with an apologetic smile, already obvious that he has to get going. Before he can speak, however, Stede jumps in -“My business numbers on the card in the box… I'll be around all day”- Ed’s smile turns more genuine at that, promising to stop by if he gets a moment, and that he’ll send his friend's Stede’s way- “if he wants that kind of business.” Stede says that he does, actually- that he's seen a whole new world already today, and, while he was a little taken aback at first, he can feel the passion Ed and his friends have for this life. If there's one thing that's ever mattered to Stede, it's other people's enthusiasm. Maybe he doesn't completely understand yet, but he would like to try.

One year later, Stede’s back at the market on pride weekend again, far better stocked for the crowds this time around. Lucius is finally free to spend the day flirting with Fang & Pete to his heart's content, now that Stede’s roped his own boyfriends into helping him run the stall- and into modelling the merchandise. Ed loves that part, while Izzy needs a lot more convincing, but the puppy eyes Stede & Ed weaponise against him make a very good argument.

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[gece-misin-nesin]

lowkey think that if jorge really wanted to sell us on the "odysseus is a monster thing" he should have had odysseus continue to stab poseidon even after he begged. bc like. Looking at odysseus now? he's less a monster and more like a morally grey protagonist. All of his questionable actions have pretty good explanations behind them. if you want to tell me he's a MONSTER, you need him to do something really fucking vile. without good justification. killing the baby? (also. he fought in a war. i reckon plenty of babies died indirectly as a result of his actions somehow) zeus literally told him he and his family would die otherwise. blinding the cyclops? pretty self-explanatory. sacrificing the men to scylla? bad, but has an understandable reason behind it and you can theoretically justify it. choosing the crew to die? saving his own life+you could argue they are the ones at fault for eating the cows anyway. torturing poseidon? there's literally no other way poseidon would let him go at that point AND he immediately stops after he begs.

point is, if you're going to tell me a character is a monster then at least make them do something that cannot be defended. something that CANNOT be justified at all. continuing to stab poseidon after being begged would have done that. but who knows, maybe the suitors being killed will be shown as something like that? still unlikely though considering they plot to kill telemachus and rape penelope.

[huginsmemory]

Even with TBOB and thisisnotawebsite.com there's... Still so much we don't know about Bill. Like ok yeah he's given a tragic background, we know a bit more about his henchmaniacs, but we really don't know a lot. Like, what happened directly after he accidentally destroyed his dimension? It isn't said. Sure time baby KNOWS about Bill's destruction of his dimension, but it seems like he didn't show up after Bill's dimension was destroyed to apprehend him because he only knows about Bill after Bill tries to make a deal with him, causing Bill's wanted poster. And how did Bill become basically the overlord of the nightmare realm, and gather all his henchmaniacs? Like there's a good period where we just don't know. And it's implied he's shocked and horrified (likely even dissociates, since he does that) after he destroys his dimension. But his characterization doesn't seem by that point to be one that immediately goes into a self-destructive, violent god-becoming maniacal spiral of self hatred; it's more one to be overwhelmed with grief and spend a good long time in the midst of his grief, then necessarily he's about to DO anything. And generally speaking trope wise, there's steps missing; typically in this sort of scenario, the usual progression is this:

characterized as monster due to being different in some way

tries to prove their not

ends up hurting someone anyways

gets further villainized, and antagonized by others

Acceptance of being a monster, and goes okay? You wanted a monster? I'll be a monster.

Now this fits Bill's early life, up to number 4, but we don't know what happens immediately after. It's possible he just went into his spiral immediately after, but it feels wrong, because it is missing the part of someone further villainizing him beyond himself which causes him to lash out due to the expectation (and internalized) idea that he would cause harm. I'd assume maybe some kind of interdimensional authority showed up and accused him of purposely trying to kill his dimension, which triggered his "okay, then I'll be a monster", or even a situation where his 'monstrosity' through the badge of killing his dimension is garners him respect. Considering that his henchmaniacs are chosen out of monstrosity and violence as a badge of honor, it feels very much like this would make sense, except none of them really know about Bill's dimension. He doesn't brag about the violence of it; he only calls it a liberation, contrary to the idea that Bill ever used it to gain clout. Instead, it's more likely that an interdimensional authority showed up and accused Bill, except from circumstances, it doesn't seem like it was Time Baby, so not sure who it would be... but at the same time, that expectation is often required for the character to truly embrace their 'monstrosity' and become truly violent. Or perhaps it was delayed after the destruction of his dimension, later when he begins to run with his henchmaniacs and disregards the law, but that also doesn't feel satisfactory for character development. Or perhaps I'm just overthinking this trope...

Also, how did he have his powers? Some is clearly stuff he's always had; pyrokinesis from that one rhyme, the ability to see into 3d, and he was somehow able to destroy his dimension by whatever he did to let Euclydians see the stars (telekinesis?), but beyond that? Was he always all-seeing? How did he become a 'dream demon'? Are his deals actually binding or does he lie? Are these things that he acquired later, because Euclydians seem to be written about as if they usually don't have any of these abilities, nor the abilities Bill is known to have when young, nor did Bill seem to be able to be all seeing when he was younger. Plus, how was Bill able to survive the destruction of his dimension, if he's technically made of the same stuff as everyone else, who all seems to have a physical form? Why then does he seems to be characterized as a being made of pure energy and thought; is that just in Earth's dimension, or does he have a physical form within the nightmare realm? There's multiple things that are contradictory about his body (mouth-eye, yet talked about removing his exoskeleton to feed--not sure exactly when this was mentioned--plus his mouth located under his bricks and bowtie in his exoskeleton in journal 3). But he seems so thrilled by his physical form though on earth, and we know that physical forms exist within the Nightmare realm as Ford was in it... yet it seems like hes characterized to have no physical form, so did he perhaps lose his physical form when his dimension died? Did he technically die with them too, but with his powers was able to survive essentially as a ghost like he tells Dipper you become without a body?

[astranauticus]

link click yingdu ep 1 is truly the gift that keeps on giving the more you think about it the more layers you unlock. at first i thought the 'video call with phone in shirt pocket' trick is a pretty effective way of replicating their dives with like.. normal human technology without their powers and then i realised that's probably because lu guang specifically thought 'this is a situation that would call for a dive except cheng xiaoshi doesn't know about the whole time travel powers thing yet, what would be a good and reasonable approximation of that that i can spring on him rn'. also, we know this is not the first time he's experiencing this day because he was checking the clock before he proposed the whole video call phone camera thing, implying that he had the 'script' for this day just like he did with the anime convention, but even then he could only warn cheng xiaoshi about the guy behind him with the bat right before he was about to get hit - probably because cheng xiaoshi kept 'doing unnecessary actions' and messing up the timeline/lu guang's 'script' and forcing him to improvise. once again, lu guang's trying to protect cheng xiaoshi while also hiding information from him and cheng xiaoshi's failing to follow lu guang's instructions and putting himself in danger because of his own kindness and impulsivity - their entire dynamic moving forwards, captured in their first (arguably more like.. the 0th) 'job' together.

[gale-force-storm]

You know, I think my favorite thing about Gale's whole "watching you in battle makes me horny" scene is like. He's not wrong. A brush with danger does in fact increase one's desire for "other forms of stimulation". Studies have shown that being in situations that cause a rush of adrenaline, be that going on a roller coaster, seeing a scary movie, walking across a swinging suspension bridge, or something else, increase feelings of attraction. It's literally a Known Thing that adventurous stuff is great to do on a date because it will most likely make you more into each other.

Idk, I just love that his come-on is not only extremely nerdy, but also scientifically accurate. Feels correct and I'm glad they did it lol