#i have! i started and finished a fantastic book

[no-thanks-im-stuffed]

I have a Gravity Falls Theory I've been meaning to write down for a WHILE so here goes:

Stanford Pines is no genius and I'm gonna pick apart every single one of "Ford's" scientific inventions/accomplishments to prove it.

Grab a beverage, this is gonna be a long one

[Gravity Falls spoilers, a little bit of The Book of Bill]

Contents:

Ford's "Grand Unified Theory of Weirdness"

Codes and Secrets

Inventions

Ford's Tragic Backstory

McGucket

Why Would He Do This??

After Weirdmageddon

TLDR

1. Ford's "Grand Unified Theory of Weirdness"

I can support most of my claims with the help of Journal 3. Unless Ford had actual, scientific research papers, this is the only research we have from him and it's... not scientific in the slightest. Ford treats his "research notes" like a personal diary. I get that they had to design the Journal to be entertaining to kids, but from a scientific lense (which is what he wants to be perceived through), most of Ford's discoveries are very surface level and sometimes (especially later on) border on paranoid conspiracy theorist rambling.

His Grand Unified Theory of Weirdness is the reason he came to Gravity Falls in the first place. His goal is clear:

but, on the very next page, the ramblings start.

It gets worse once he finds the invisible ink.

"The pyramids were built to appease Bill!" sure, buddy.

(And yes, Bill confirms most of these ramblings about his history in The Book of Bill, but a) he too could be lying about this and b) I don't think he had a nice chat with Ford about who he tricked and tormented to build his portal. It wouldn't really fit into the timeline.)

The one bit of "science" I found him doing was his experimentation with the Bottomless Pit. He threw objects in the hole and only saw some stuff coming back while other stuff went missing. Ford hypothesizes it might be a "Möbius Pit" and even spends enough time experimenting on it that he found out "nothing ever seems to get lost on Friday the Thirteenth". Credit where credit is due.

Anyway, he's documenting all kinds of fantastical creatures in the Journal - adding his whimsical commentary and making random assumptions about stuff without any scientific basis. As he admits himself later on, this is getting him nowhere to actually start his Grand Unified Theory of Weirdness, let alone finish it. It's been SIX YEARS.

BUDDY WHAT ARE YOU DOING.

It took a spark of "divine intervention" to even start doing any meaningful research and it was just Bill telling him "hey there's a weirdness dimension btw".

Ford even admits that he didn't come up with it himself. The next pages are the first actually scientific looking ones so far, but more on that in the Inventions section.

He doesn't really advance on his Weirdness Theory for a while (see McGucket chapter for more), but later in the Journal, Ford has a little adventure with Dipper, talking about "The True Theory of Weirdness". He drops a "weird" jelly bean on the floor and watches it roll uphill towards Gravity Falls. He then states that Gravity Falls is a "Weirdness Magnet" and every oddity is eventually drawn to this place. Which is not a theory scientifically speaking, more like an unproven hypothesis. He didn't develop a model to, let's say, predict which oddity will find its way to Gravity Falls next or when it will happen.

"I explained that I felt in my bones that my arrival at this town, and perhaps Dipper's, too, was not an accident. That we were part of some greater fate the town had in store for us." Very scientific.

2. Codes and Secrets

The Journal has several hidden messages from a good handful of characters, some more encoded than others.

We all know about the Map leading to the secrets of Nathaniel Northwest's fraud from the show. Ford found it somewhere in the library.

It just needed to be folded. Layton ass puzzle. A 12 year old figured it out. Ford couldn't do it. Even Mabel is poking fun at him.

Now on to the ciphers.

One of them is a letter from Blendin, encrypted with the Vigenère cipher. To this, Stanford "aced cryptology" Pines says the following:

He was given the key and still couldn't make sense of it. Of course a cool puzzle for people reading the Journal, but not really helping Ford with upholding his image of being an undeniable genius.

Ford himself mainly uses the Atbash and Caesar ciphers, both being a) literally thousands of years old, b) incredibly simple and c) not his own invention.

Bill uses two symbol substition ciphers.

Now I don't know about you, but if a divine being chose me as the genius of the century to inspire me and said being left tiny hidden messages in my diary, I would stop at nothing to try and decipher what they're trying to tell me. For some reason, Ford did not do this. The first message Bill leaves says "I'VE BEEN INSIDE YOUR MIND SIXER, I KNOW YOUR SECRETS". He could have seen all of this coming wayyy earlier (or just had yet another red flag to ignore).

Anyway, I accidentally solved the code before finishing the Journal just to discover that Bill is literally handing him the solution on a silver platter towards the end.

Girl, what do you mean "???" ??

Now, I know Ford at this point is incredibly sleep deprived, paranoid and traumatized. But come on. If I can solve it 6 coffees in while dissociating, our genius can find the solution to Bill's alphabet using the A1Z26 cipher that he put in the journal himself. Plus, as mentioned, he could have deciphered his alphabet way before The Betrayal when his mind was still sound.

So again, not a good look for Ford in the whole genius department.

3. Inventions

Now let's take a look a the inventions which are most commonly associated with Stanford:

The Portal

The Bunker

The Magnet Gun

The Quantum Destabilizer

The Perpetual Motion Machine

The Portal is not one of Ford's inventions, that much is pretty clear. He "comes up with the idea" after Bill told him about some kind of "weirdness dimension".

Now maybe Ford built the portal. Or McGucket built it (which I find more likely due to his tendency to build large scale metal structures) and Ford helped him. We can't really say for sure.

What we CAN say for sure is that McGucket left the day before the big test, which means the portal was basically finished at that point. So if there was still any work left to be done, it would have been minimal and "even Stanley" could figure it out without help, so Ford probably could have, too.

The Bunker. Designed and built by McGucket (and possibly the lumberjacks before zapping them with the Memory Gun), including the death trap of a security system.

Notice the wording. McGucket insisted he could do it on HIS own. But then went out of his way to ask the lumberjacks and not Ford to help excavate the whole thing.

Why? Why not include Ford? Maybe because McGucket could tell Ford was overworked. Maybe because he thought even with Ford's help, they wouldn't have been able to do it in a timely manner and he didn't want to memory zap more people than neccessary, I'm not sure.

Anyway, the Bunker consists of the Bunker itself, a Security Room, an Observation Room and a Storage Room. On top of that, a Temperature Control Apparatus, a Cooling System and a Cryogenic Tube.

Again with the phrasing. "HIS skill for construction". "telephone HE built". "my assistant really topped HIMSELF with the security precautions". "once F starts inventing, HE can't stop".

A man like Ford wouldn't pass up on an opportunity to tell the world about his own accomplishments, yet they are strangely missing in these pages. However, the sketches documenting McGucket's work have become more technical than they've ever been. They even have small annotations that seem as if Ford asked McGucket what he was currently building.

"F has explained" implies McGucket was once again doing this on his own. Why else would he need to explain anything to Ford if they were doing this together? Plus, again, surely Ford would have mentioned something, anything, if he had participated in any way.

The things he DID mention is that he found a mole man skeleton and "Shifty", the shapeshifting creature. And he saved McGucket once Shifty broke out of their cage (Remember this for later, it'll come in handy). And he conducts tests on Shifty (remember this as well).

On to the Magnet Gun.

Again, passive form. If Ford had modified the gun himself, he would have told us. Chances are it was once again McGucket. Or it was just taken from Crash Site Omega as Ford says in the show that he and McGucket came down there often to loot the UFO for tech.

Lastly: The Quantum Destabilizer.

He actually admits he worked on it. However, he spent 30 years between dimensions. In these 30 years he couldn't find anyone (including himself) to get the Destabilizer working. The Other McGucket, however, was able to do it in less than a week.

Ford claims he was missing a suitable power source which The Other McGucket found, but there's no way of knowing if there was more to those "minor adjustments" to Ford's blaster than Ford would like to admit.

The only invention left is the Perpetual Motion Machine which I will save for the "Tragic Backstory" section.

Honorable mentions:

The Hyperdrive needed to power the portal:

"F's mechanical know-how" vs. "my keen intuition." implying Ford merely found the Hyperdrive, but McGucket extracted it safely.

So the Hyperdrive was looted from Crash Site Omega. Plus, McGucket was the one to realize it was even needed in the first place.

While between dimensions, he was given a Dimensional Translator. Also not his own invention.

The metal plate in his head? Not his invention. Not even his idea. The Oracle did that for him.

The Book of Bill has another example that Ford can't invent for shit: He found the blueprint of Abigale Blackwing's Anti-Bill-Suit in the library (once again, not even his own invention) and drafted a more modern blueprint. And either he completely failed to build it or it didn't work because we never hear from it again. Instead, he installs a retina scanner to keep Bill out of the lab. Which he (probably) ALSO didn't build himself.

In summary:

Portal: blueprint by Bill, (probably) built by McGucket.

Bunker: designed and built by McGucket (probably with the help of the lumberjacks).

Magnet Gun: likely looted from Crash Site Omega.

Quantum Destabilizer: a mess before McGucket fixed it overnight

Perpetual Motion Machine: see below.

Dimensional Translator: Not Ford's invention.

Metal Plate: thought of and installed by The Oracle.

Anti-Bill-Suit: invented by Abigale Blackwing.

In fact, he mostly doesn't even say that he did any of this. He openly admits whenever he took something or McGucket built stuff, and barely calls any of the inventions his own. We just assumed that he can (on account of him being a genius), so we assumed he did.

4. Ford's Tragic Backstory

would only make sense if he ACTUALLY couldn't get the Perpetual Motion Machine to work. We already know Ford is an unreliable narrator and I'm probably not the first one to point out that it doesn't make sense that Stan supposedly cost Ford his entire scholarship by breaking his Perpetual Motion Machine (accident or not).

Think about it from a college's point of view: You hear about a young man who apparently built a machine that violates the laws of thermodynamics. You don't just pass up on something like that just because it didn't work the ONE TIME you came to visit. That would be an exceedingly stupid thing to do. I think they would have given him that scholarship if he even got close to achieving such a feat.

Now let's briefly assume Ford IS a genius whose invention got sabotaged. Ford could have easily fixed it and asked for a second appointment with the judges. This did not happen. And even if he didn't get into his dream school, he could have used this perpetual motion machine for the good of humanity. He didn't do that. If the Machine had ever worked, it would have made international news. It didn't. He would have been world famous. He isn't.

What does that tell us?

Does he even have 12 PHDs as he keeps claiming? In what? For what reason? Wouldn't he get a scholarship for his dream school at some point given his seemingly endless potential? It all seems like overcompensation to me. Reminds me of Tommy Tallarico and his ever-increasing number of Guinness World Records.

However, there is a reason Ford is like this. It is connected to his tragic backstory, but I will include this in the final chapter for narrative reasons.

Also note how even in A Better World, he did not go do his dream college. The science center was built around the Shack that he went to later in life:

And even there, he only manages to make a name of himself with McGucket's cooperation. We already established he couldn't build the portal on his own. My guess that McGucket once again did the heavy lifting and didn't mind Ford taking the credit (as you will see in the McGucket chapter).

5. McGucket

At this point we've already gone over how McGucket built (probably) most of the Portal, the Bunker and everything in it, and got the Quantum Stabilizer to work. We also know that in his free time, he loves to tinker. He canonically built a laptop (with extra keys for Fords fingers), a cellphone, the Memory Gun, several killer robots, the Shack-O-Tron and started an entire ass cult along the way.

And that's just what I picked up on from skimming the Journal.

We only see McGucket make stuff on screen. All this time he's welding together contraptions, piloting giant killer robots, having a blast.

We never see Ford tinkering ONCE. Still, he constantly praises McGucket for his "brilliant mind", "mechanical knowledge" and "skill in construction".

I think Ford was McGucket's assistant. He didn't get ANYTHING done before he called McGucket over for help. In the bunker, all he did was find a skeleton and conduct "experiments" on Shifty (by showing them pictures of creatures and documenting what happens). He led McGucket to the UFO crash site, McGucket was the one to actually extract the Hyperdrive. All of the stuff Ford does sounds more like an assistant's job to me.

I'm also pretty sure McGucket knows that Ford isn't the genius he claims to be. Upon seeing Bill's blueprints, he immediately gets suspicious:

Why would he say this to a fellow genius?

And he's the one who recognizes something is wrong with the portal earlier than anyone else.

The day before the test, he meets Ford at the diner to warn him cause he knows something is deeply wrong - and offers him a thesis paper.

Now here is where things get interesting.

Ford gets angry. But instead of saying something like "How dare you insult my scientific integrity / intelligence", he thinks McGucket wants the Grand Unified Theory of Weirdness to himself, which obviously couldn't be further from the truth. But Ford is too insecure about his intelligence and too curious about the portal to care.

This makes me wonder if McGucket had done this before. They went to college together. What if McGucket wrote Ford's final assignment as well? What if he'd seen him have a meltdown over the introduction and whipped up a fantastic final thesis in an afternoon?

We know McGucket cares deeply for Ford, and we can tell his intentions at the diner were sincere. He doesn't really want or need any credit - meanwhile Ford is starved for it. This is probably also why he's fine being "Ford's assistant" even though he's the one putting in most of the work.

6. Why Would He Do This??

Before we talk about Ford's plans after Weirdmageddon, I have to mention that there's a good reason Ford is pretending to be a genius. This is pretty speculative territory, but I think it makes sense given what we know about the Pines family.

When you're a twin, at least in the Stan Bro's case, you're constantly being compared to one another. Once it has been established that Ford is the "smarter" of the two (true or not), their father latches onto that and soon Ford's intelligence becomes his entire identity. I think just like Stan was looked down upon and neglected for being the "stupid" twin, Ford was burdened with expectations for being the "smart" twin. "You're gonna go far, kid. You're gonna make us so much money, you're gonna get us out of this dump." An INSANE thing to burden a child with.

This goes well for a while - Ford gets straight As and is the pride of the family. His ego inflates. But then something strange happens which I'm sure many "gifted kids" can relate to - he hits a wall. At some point he can no longer brute force things with his intelligence and he has trouble keeping up with his family's expectations. His massive ego gets damaged beyond repair.

Soon, he starts questioning everything. "If I'm not the smart guy, who am I? What's left?" He's been living like this his entire life. It's way too late to turn back so he moves forward. And if intelligence can't get him there, at least he can use the smarts he does have to make sure nobody else ever finds out. It's not unlikely for him to develop this attitude and it's the same kind of mindset he brings to taking the Hyperdrive from Crash Site Omega:

In a way, this makes him a con artist like Stanley. Which, after everything that's happened between the two, must feel like such an insult to Ford that he'd rather live in denial than face reality. The reality being that he is about as intelligent as Stanley, too. This doesn't mean that Stan is dumb (he managed to get the portal to work with barely any help, after all) - just that Ford is not as intelligent as he (and everyone else) thought / expected of him. AND that Stanley isn't as dumb as everyone always told him he was.

I think while yes, Stan broke the Machine, Ford couldn't fix it. Or it was never even a Perpetual Motion Machine to begin with. Yes, Ford couldn't go to his "dream college", but was that really his dream? Or his father's? Remember when McGucket offered him the Weirdness Thesis on a silver platter, saying with this he can finally "get his life back", and Ford still refused it? Maybe he didn't want his old life back. Because his old life SUCKED without Stanley in it.

7. After Weirdmageddon

Now that we established what Ford's dad wanted him to be, let's explore what Ford actually likes doing.

Obviously journaling and sketching what he sees, but what else?

Ford loves exploring. He goes on hikes, climbs mountains, visits caves, goes ham on Crash Site Omega. In the Bunker he looks around and discovers a mole man skeleton and Shifty while McGucket did the inventing/building.

He's also great at action hero stuff. He saves McGucket from the Gremloblin, and later from Shifty, he's jumping around the UFO with a magnet gun as if it's the only thing he's ever done, and saving Dipper from the security system, just to name a few.

He even says this in the episode: "I need to train an apprentice to help me fight monsters, solve mysteries, and protect this town." This doesn't really sound like science stuff to me.

So yeah I think Ford lied about being a genius to compensate for his (self perceived) lack of other qualities, he lied about his 12 PHDs, his scientific accomplishments, maybe even some inventions. He sucks at decoding things despite claiming to have "aced cryptology". Instead, he spends most of his time exploring, fighting monsters, stealing shit and getting in all kinds of dangerous situations. Truth is, he is much more similar to Stan than he'd like anyone to find out.

He also doesn't even WANT to do science. He likes the idea of science, like in Sci Fi movies, but not the actual labor that comes with it. Ford has been travelling between dimensions for 30 years. He probably is the only human to ever have done that in his dimension. Surely he spent these 30 years on research? Well...

There's only a single line mentioned in the Journal about doing anything scientific and he didn't even dedicate the entire sentence to it.

He "compared notes with scholars". That's it.

But surely he has so many papers and theories he can finally publish to fulfil his initial goal to "join the ranks of Newton, Tesla, & Einstein in the pantheon of science"?

Nope. He goes treasure hunting with Stanley. Ford seems to have forgotten all about his research. And I think that's not just because he wants to make up for lost time, but also because this is what he truly wanted to do in the first place, before he was forced into the "genius" mold.

To go adventuring, to be creative, to spend time with the family that matters.

8. TLDR

Ford didn't manage to write his Grand Unified Theory of Weirdness.

His Journal is entertaining, but ultimately full of unscientific ramblings.

He didn't build the portal, bunker, magnet gun, quantum destabilizer, or any other invention I could find.

All of his accomplishments can be traced back to either Bill, the town library, or McGucket.

He didn't write his own codes, he couldn't decipher any of the codes or secrets he found, including the ones he was given a solution to.

The Journal makes it look like Ford is McGucket's assistant and not the other way round.

McGucket is amazing and needs to be protected at all costs.

The tragicness of Ford's backstory makes no sense if he actually WAS a genius.

He needed to keep up the genius act because that's what his family expected of him and now he's con-artist level good at it.

He spent 30 years between dimensions committing crimes and preparing for revenge instead of doing science.

he seems to not even LIKE doing science. he prefers exploring, drawing, and getting into dangerous situations.

Once back in his home dimension, instead of doing anything science related, he goes adventuring with his brother.

Disclaimer: I have nothing against Ford, if anything this adds to his character cause I haven't seen anyone even so much as question his status as a genius yet. I just needed to get this out of my system cause this has been brewing in my brain since JULY.

This took me 10 hours to write. Thank you so much for making it this far, this post was brought to you by Autism™

[boleynqueenes]

Happy birthday!! I hope you treat yourself nicely too! You deserve a great birthday 🎉 and!! Important to note that one page is still something to celebrate 🩵

it is when you've had writer's block :')

thank you!

[thebraxiatelcollection]

Is anybody else's relationship with Doctor Who currently all over the place like a rollercoaster at the moment, or is it just me?

I do love this show and what it has done to me and the friends and opportunities I've had through it and I will always be thankful for it making the person I am today, but I just feel like the last few years it has not been as it should be in terms of writing and quality control? I don't know how else to describe it.

I have been doing my best to completely ignore the bits of Doctor Who that I don't like and focus on the areas that I do like, and I really want to get back into the expanded universe / classic series again, I think.

I've taken a step back from the fandom recently and been trying to dive into other stuff, but maybe I should try and just pick up a random doctor who books or audios to get me into the spirit of things again.

[problemswithbooks]

BNHA 423

So, I can't say I feel much of anything reading this weeks leaks.

I'm not shocked that Shigaraki died, nor would I be surprised if his death is taken back next chapter and he gets brought back to life in some way.

The thing is despite people saying Shigaraki dying messes with the themes of the story the themes have always been more then a little shaky. IDK if it's just a difference in culture, but Hori has a way of setting something up as being a big deal/theme and then doing something that completely contradicts it.

It's really no surprise he might have killed off most of the villains including Shigaraki despite setting the story up in a way where saving villains seemed to be a theme. He did the same thing with self-sacrifice being portrayed as bad, but later showing it as good.

I will say I don't necessarily agree with how some people are framing Shigaraki's death as throwing abuse victims under the bus. I do get the frustration because Hori did focus a lot of how Shigaraki was used by AfO and in a lot of stories that would be used to absolve him of guilt for all the destruction he caused. But Hori never had Shigaraki change his mind. His last words are him continuing to wish he could have destroyed more and wanting Izuku to relay to Spinner he never stopped fighting for destruction.

I think if this had been a more thought out and focused story you really could make it a great tragedy. It feels unfair that he couldn't be saved, that despite Izuku's effort, at the end of the day Shigaraki wasn't able to break away from the destruction he was manipulated and groomed into believing.

In that way I can understand the anger of some fans, because the story is essentially a tragedy framed as a simply triumphant narrative. It always felt like it wanted to have some deep meaning, and always seemed on the verge of it, but never stuck the landing. The one thing I've always been left wondering is: what is Hori trying to say with this story?, and IDK if the ending, given what's on the page right now will really give me an answer.

If anything I think perhaps Hori was trying to say to much at once. I'm sure a lot of it gets lost in translation and cultural differences, still part of me thinks he bit off more then he could reasonably flesh out. Thinking back many writing choices feel like he had an idea or passing thought and added it because it was cool or thought he'd have time to do more with it latter but due to shitty writing conditions couldn't implement properly.

[asclexe]

*me blinking at the last page* woabh…

[pinktinselmonstrosity]

guys in very very big news, after finishing my dissertation i suddenly have energy and motivation and passion for my hobbies again???? like. almost overnight???? mental

[chaosthrive]

🤪

[slo-djinn]

I have to admit that I have never read Watership Down before now. It was a book I dreaded reading in high school because, despite doing well in English class, I really hated all of the analysis and breakdowns done since they, more often than not, seemed to be centered on what the *teacher* thought the 'correct' interpretation was.

But that post about survival from different perspectives resonated with me and I've actually checked it out (digitally) from the library a bit ago and begun reading it. (Three chapters in and very intrigued.)

Anyway, I wanted to tell you and thank you for sharing that post since your additional tags convinced me to check it out. 💙

Aw I’m so glad! I hope you love it. We were shown the animated movie at school when I was 9 (it’s savage, the 80s was a wild time lmao) and I found the book when I was older and read it so much. Fiver is the best bun 💜

Also, for people that aren’t from the UK (and those that aren’t aware) Watership Down actually exists and it has been my lifelong dream to visit there one day.

[iamthedukeofurl]

Scott Pilgrim is, I think, the best example I can think of for establishing a setting's Nonsense Limit. The setting's Nonsense Limit isn't quite "How high-fantasy is this". It's mostly a question of presentation, to what degree does the audience feel that they know the rules the world operates by, such that they are primed to accept a random new element being introduced. A setting with a Nonsense Limit of 0 is, like, an everyday story. Something larger than life, but theoretically taking place in our world, like your standard spy thriller action movie has a limit of 1. Some sort of hidden world urban fantasy with wizards and stuff operating in secret has a nonsense limit around 3 or 4. A Superhero setting, presenting an alternate version of our world, is a 5 or 6. High fantasy comes in around a 7 or so, "Oh yeah, Wizards exist and they can do crazy stuff" is pretty commonly accepted. Scott Pilgrim comes in at a 10. If you read the Scott Pilgrim book, it starts off looking like a purely mundane slice of life. The first hint at the fantastical is Ramona appearing repeatedly in Scott's Dreams, and then later showing up in real life. When we finally get an explanation, it's this:

Apparently Subspace Highways are a thing? And they go through people's heads? And Ramona treats this like it's obscure, but not secret knowledge. Ramona doesn't think she's doing anything weird here. At this point, it's not clear if Scott is accepting Ramona's explanation or not, things kind of move on as mundane as ever until their Date, when Ramona takes Scott through subspace, and he doesn't act like his world was just blown open or anything, although I guess that could have been a metaphor. there's a couple other moments, but everything with Ramona could be a metaphor, or Scott not recognizing what's going on. Maybe Ramona is uniquely fantastical in this otherwise normal world. And then, this happens

Suddenly, a fantastical element (A shitty local indie band finishing their set with a song that knocks out most of the audience) is introduced unrelated to Ramona, and undeniably literal. We see the crowd knocked out by Crash and The Boys. but the story doesn't linger on the implications of that, the whole point of that sequence is to raise the Nonsense Level, such that you accept it when This happens

Matthew Patel comes flying down onto the stage, Scott, who until this point is presented as a terrible person and a loser, but otherwise is extremely ordinary, proceeds to flawlessly block and counter him before doing a 64-hit air juggle combo. Scott's friends treat this like Scott is showing off a mildly interesting party trick, like being really good at darts. The establish that Scott is the "Best Fighter in the Province", not only are street-fighter battles a thing, Scott is Very Good at it, but they're so unimportant that being the best fighter in the province doesn't make Scott NOT a loser. So when Matthew Patel shows off his magic powers and then explodes into a pile of coins, we've established "Oh, this is how silly the setting gets". It's not about establishing the RULES of the setting so much as it is about establishing a lack of rules. Scott's skill at street-fighter battles doesn't translate to any sort of social prestige. Ramona can access Subspace Highways and she uses it to do a basic delivery job. It doesn't make sense and it's clear that it's not supposed to. So later on, when Todd Ingram starts throwing around telekinesis, and the explanation we're given is "He's a Vegan" , you're already so primed by the mixture of weirdness and mundanity that rather than trying to incorporate this new knowledge into any sort of coherent setting ruleset, you just go "Ah, yeah, Vegans".

[mostlysignssomeportents]

Sandra Newman’s “Julia”

The first chapter of Orwell's Nineteen Eighty-Four has a fantastic joke that nearly everyone misses: when Julia, Winston Smith's love interest, is introduced, she has oily hands and a giant wrench, which she uses in her "mechanical job on one of the novel-writing machines":

https://gutenberg.net.au/ebooks01/0100021.txt

That line just kills me every time I re-read the book – Orwell, a novelist, writing a dystopian future in which novels are written by giant, clanking mechanisms. Later on, when Winston and Julia begin their illicit affair, we get more detail:

She could describe the whole process of composing a novel, from the general directive issued by the Planning Committee down to the final touching-up by the Rewrite Squad. But she was not interested in the finished product. She 'didn't much care for reading,' she said. Books were just a commodity that had to be produced, like jam or bootlaces.

I always assumed Orwell was subtweeting his publishers and editors here, and you can only imagine that the editor who asked Orwell to tweak the 1984 manuscript must have felt an uncomfortable parallel between their requests and the notional Planning Committee and Rewrite Squad at the Ministry of Truth.

I first read 1984 in the early winter of, well, 1984, when I was thirteen years old. I was on a family trip that included as visit to my relatives in Leningrad, and the novel made a significant impact on me. I immediately connected it to the canon of dystopian science fiction that I was already avidly consuming, and to the geopolitics of a world that seemed on the brink of nuclear devastation. I also connected it to my own hopes for the nascent field of personal computing, which I'd gotten an early start on, when my father – then a computer science student – started bringing home dumb terminals and acoustic couplers from his university in the mid-1970s. Orwell crystallized my nascent horror at the oppressive uses of technology (such as the automated Mutually Assured Destruction nuclear systems that haunted my nightmares) and my dreams of the better worlds we could have with computers.

It's not an overstatement to say that the rest of my life has been about this tension. It's no coincidence that I wrote a series of "Little Brother" novels whose protagonist calls himself w1n5t0n:

https://craphound.com/littlebrother/Cory_Doctorow_-_Little_Brother.htm

I didn't stop with Orwell, of course. I wrote a whole series of widely read, award-winning stories with the same titles as famous sf tales, starting with "Anda's Game" ("Ender's Game"):

https://www.salon.com/2004/11/15/andas_game/

And "I, Robot":

https://craphound.com/overclocked/Cory_Doctorow_-_Overclocked_-_I_Robot.html

"The Martian Chronicles":

https://escapepod.org/2019/10/03/escape-pod-700-martian-chronicles-part-1/

"True Names":

https://archive.org/details/TrueNames

"The Man Who Sold the Moon":

https://memex.craphound.com/2015/05/22/the-man-who-sold-the-moon/

and "The Brave Little Toaster":

https://archive.org/details/Cory_Doctorow_Podcast_212

Writing stories about other stories that you hate or love or just can't get out of your head is a very old and important literary tradition. As EL Doctorow (no relation) writes in his essay "Genesis," the Hebrews stole their Genesis story from the Babylonians, rewriting it to their specifications:

https://www.penguinrandomhouse.com/books/41520/creationists-by-e-l-doctorow/

As my "famous title" stories and Little Brother books show, this work needn't be confined to antiquity. Modern copyright may be draconian, but it contains exceptions ("fair use" in the US, "fair dealing" in many other places) that allow for this kind of creative reworking. One of the most important fair use cases concerns The Wind Done Gone, Alice Randall's 2001 retelling of Margaret Mitchell's Gone With the Wind from the perspective of the enslaved characters, which was judged to be fair use after Mitchell's heirs tried to censor the book:

https://en.wikipedia.org/wiki/Suntrust_Bank_v._Houghton_Mifflin_Co.

In ruling for Randall, the Eleventh Circuit Court of Appeals emphasized that she had "fully employed those conscripted elements from Gone With the Wind to make war against it." Randall used several of Mitchell's most famous lines, "but vest[ed] them with a completely new significance":

https://law.justia.com/cases/federal/appellate-courts/F3/268/1257/608446/

The Wind Done Gone is an excellent book, and both its text and its legal controversy kept springing to mind as I read Sandra Newman's wonderful novel Julia, which retells 1984 from the perspective of Julia, she of the oily hands the novel-writing machine:

https://www.harpercollins.com/products/julia-sandra-newman?variant=41467936636962

Julia is the kind of fanfic that I love, in the tradition of both Wind Done gone and Rosenkrantz and Gildenstern Are Dead, in which a follow-on author takes on the original author's throwaway world-building with deadly seriousness, elucidating the weird implications and buried subtexts of all the stuff and people moving around in the wings and background of the original.

For Newman, the starting point here is Julia, an enigmatic lover who comes to Winston with all kinds of rebellious secrets – tradecraft for planning and executing dirty little assignations and acquiring black market goods. Julia embodies a common contradiction in the depiction of young women (she is some twenty years younger than Winston): on the one hand, she is a "native" of the world, while Winston is a late arrival, carrying around all his "oldthink" baggage that leaves him perennially baffled, terrified and angry; on the other hand, she's a naive "girl," who "doesn't much care for reading," and lacks the intellectual curiosity that propels Winston through the text.

This contradiction is the cleavage line that Newman drives her chisel into, fracturing Orwell's world in useful, fascinating, engrossing ways. For Winston, the world of 1984 is totalitarian: the Party knows all, controls all and misses nothing. To merely think a disloyal thought is to be doomed, because the omnipotent, omniscient, and omnicompetent Party will sense the thought and mark you for torture and "vaporization."

Orwell's readers experience all of 1984 through Winston's eyes and are encouraged to trust his assessment of his situation. But Newman brings in a second point of view, that of Julia, who is indeed far more worldly than Winston. But that's not because she's younger than him – it's because she's more provincial. Julia, we learn, grew up outside of the Home Counties, where the revolution was incomplete and where dissidents – like her parents – were sent into exile. Julia has experienced the periphery of the Party's power, the places where it is frayed and incomplete. For Julia, the Party may be ruthless and powerful, but it's hardly omnicompetent. Indeed, it's rather fumbling.

Which makes sense. After all, if we take Winston at his word and assume that every disloyal citizen of Oceania is arrested, tortured and murdered, where would that leave Oceania? Even Kim Jong Un can't murder everyone who hates him, or he'd get awfully lonely, and then awfully hungry.

Through Julia's eyes, we experience Oceania as a paranoid autocracy, corrupt and twitchy. We witness the obvious corollary of a culture of denunciation and arrest: the ruling Party of such an institution must be riddled with internecine struggle and backstabbing, to the point of paralyzed dysfunction. The Orwellian trick of switching from being at war with Eastasia to Eurasia and back again is actually driven by real military setbacks – not just faked battles designed to stir up patriotic fervor. The Party doesn't merely claim to be under assault from internal and external enemies – it actually is.

Julia is also perfectly positioned to uncover the vast blank spots in Winston's supposed intellectual curiosity, all the questions he doesn't ask – about her, about the Party, and about the world. I love this trope and used it myself, in Attack Surface, the third "Little Brother" book, which is told from the point of view of Marcus's frenemy Masha:

https://us.macmillan.com/books/9781250757531/attacksurface

Through Julia, we come to understand the seemingly omniscient, omnipotent Party as fumbling sadists. The Thought Police are like MI5, an Island of Misfit Toys where the paranoid, the stupid, the vicious and the thuggish come together to ruin the lives of thousands, in such a chaotic and pointless manner that their victims find themselves spinning devastatingly clever explanations for their behavior:

https://www.bbc.co.uk/blogs/adamcurtis/entries/3662a707-0af9-3149-963f-47bea720b460

And, as with Nineteen Eighty-Four, Julia is a first-rate novel, expertly plotted, with fantastic, nail-biting suspense and many smart turns and clever phrases. Newman is doing Orwell, and, at times, outdoing him. In her hands, Orwell – like Winston – is revealed as a kind of overly credulous romantic who can't believe that anyone as obviously stupid and deranged as the state's representatives could be kicking his ass so very thoroughly.

This was, in many ways, the defining trauma and problem of Orwell's life, from his origin story, in which he is shot through the throat by a fascist: sniper during the Spanish Civil War:

https://www.rjgeib.com/thoughts/soldiers/george-orwell-shot.html

To his final days, when he developed a foolish crush on a British state spy and tried to impress her by turning his erstwhile comrades in to her:

https://en.wikipedia.org/wiki/Orwell%27s_list

Newman's feminist retelling of Orwell is as much about puncturing the myth of male competence as it is about revealing the inner life, agency, and personhood of swooning love-interests. As someone who loves Orwell – but not unconditionally ��� I was moved, impressed, and delighted by Julia.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/28/novel-writing-machines/#fanfic

[menagerofmischief]

shrimp cocktail, cold appetizer, lobster, coca-cola, yes dessert, served by oscar piastri

Dia's Diner Menu

shrimp cocktail rivals to lovers cold appetizer rough sex lobster "I love watching my cum leak out of your pussy" coca-cola somnophillia dessert aftercare

Oscar Piastri x Ferrari!driver!reader

TW: one bed trope, unprotected sex (wrap you willy please), sleep dry humping

WC: 2k

A/N: I enjoyed writing this one a lot. Also I wanted to say I'm so thankful to all of you that sent requests and that I can't wait to write all of them but you'll maybe have to be patient with me because I'm a student and am pretty busy with school. I hope y'all are gonna enjoy this one.

Some bigger force, God or karma or fate or whatever else there is, was definitely out to get me. Because this had to be the worst fucking night of my life. I’m not being dramatic when I say that.

Why was this the worst night of my life?

We just made it to Singapore for the upcoming Grand Prix and went straight to our hotel. The whole grid was staying at the same place since it made things more convenient. I go up to the reception to check in and get the key to my room, all but ready to collapse into the mattress and sleep the jet lag off. 

“I’m so sorry Miss,” the receptionist says, tapping her fingers against the keyboard, glancing up at me every few seconds. Finally she looks up, her expression apologetic. “It seems there was a mistake with the booking and we double booked your room.”

I fight off the urge to groan and roll my eyes, instead plastering a smile on my face. “It’s fine, it’s not that big of a deal. Just put me in whatever room is available.”

She makes a face, looking down at the computer again and then returning her gaze to mine. “I really am sorry but there are no other rooms available right now.”

Now I really did groan. “Fantastic. Can I know who the other person occupying the room will be?”

Before the receptionist had the chance to answer, my worst nightmare in human form came up to the desk, standing right next to me. “Hello. I’m here to check in - it’s under Oscar Piastri.”

The woman - I finally glanced at her name tag, seeing her name was Alice - looked between us, then down at the computer before looking at us again. “Sir, as I was just explaining to the lady here, the hotel double booked your room by accident.”

“It’s fine just put me in a -”

“There’s no available rooms.” I cut him off. “Just the one.”

Oscar looked at me, narrowing his eyes. McLaren’s golden boy, affectionately nicknamed ‘the polite cat’ by the fans was the biggest thorn in my side for a long while now. Everything started back in F2 with our on track rivalry which grew with each race. Then I signed into F1, fulfilling my childhood dreams of racing in red and thought I escaped him. I thought too soon apparently because after my announcement post, his followed soon and I was once again back on track with him.

Did I have a reason to hate him? Absolutely! Was it awfully petty and possibly over-dramatic? Very likely. It was my first race in F2, I was about to finish P2 it was amazing. Then he crashed into me and drove us both into the wall, causing us both to DNF and lose out on a podium.

We have hated each other ever since.

“It’s okay - we’ll share.” Oscar’s voice brought me out of my thoughts, quickly turning my head to look at him.

“What!?”

Oscar took the key from Alice and dangled it in front of me, a smirk on his face. “I said we’re gonna be bunking.” He pulled the handle of his suitcase, “Come on then, Y/n”

✿ ✿ ✿

“You stay on your side of the room,” I said, putting the chair in the middle of the room to make it a half marker. “And I’ll stay on mine.” The one queen size bed would definitely be a problem as well, but one I would mention later.

“And how are you gonna go the bathroom since it’s on my side?” He asked, his voice holding a teasing tone.

“Bathroom if free ground, hallway too” I stated, crossing my arms over my chest.

Oscar’s gaze dropped down, stayed for a few seconds and then his eyes met mine again. He hummed, “And if I wanna open the window then what? Since it’s on your side.”

“Don’t act smart,” I told him. “It doesn’t suit you.”

“You wound me!” He gasped, pressing a hand over his heart.

“Shame it’s not fatal.”

✿ ✿ ✿

This was definitely the weirdest night of my life.

With only one bed in the room, no couch and neither of us willing to put our body in uncomfortable positions sleeping on the chair or on the floor, night before practice - Oscar and I made an agreement to share the bed.

One of the extra blankets from the closet was bunched up and put down the middle of the bed separating the two us. Not that it served much purpose considering that it was kicked down and off the bed while we were sleeping.

I woke up, rubbing my eyes to adjust to the dark and then I felt it. The slow, yet desperately feral rolls, the pressure and the pleasure. I had to press a hand against my mouth to stop myself from moaning, taking in deep harsh breaths through my nose.

I came to a realization about three things, so goes:

Oscar had moved a bigger part of his body onto my side of the bed.

He had pulled me close and caged me in his arms sometimes during the night.

He was grinding his very much hard cock into me -  in his sleep.

My cheeks were on fire and it felt like the rest of my body was too. The pajamas, which I purposely picked out because of how light they were, felt suffocating now.

I didn’t even realize what I was doing until it was done, my body moving on its own. One leg pushing slightly forward, opening just enough space for Oscar’s hips to chase mine and my ass slowly barely grinding back into him.

I was enjoying this much more than I should have and it was wrong. God, it was so wrong. But when his erection was rubbing so perfectly against me, I couldn’t bring myself to care.

I was wet, I knew I was. I could feel how soaked my panties had gotten and the uncomfortable feel of my slick underwear did not escape me. As the pressure increased I couldn’t help but let out a moan.

The noise felt deafening in the silent room and my eyes widened. Oscar’s body stilled and my breath caught in my throat, the dread of having woken him with my moans taking over me.

A moment passed, two moments passed. Then Oscar’s hands tightened around my body, pulling me even closer to him, my ass pressed just against the outline of his dick. One of his hands moved down my stomach, dipping into the waistband of my sleeping shorts and going straight down into my panties.

He ran a finger through my folds, coating it in my slick and it took everything in me not to moan. “You’re fucking dripping,” his voice in my ear made me freeze. Awake afterall. “This wet from me humping you? And here I thought you hated me.”

The pad of his finger touched my clit, a gasp falling from my lips at the pleasurable feeling. “Did you enjoy me rutting into you while I was sleeping, you dirty dirty girl?” He added more pressure, rubbing circles on my clit and this time I didn’t hold my moans back. “Woke up halfway through, when you started grinding your ass on me like a bitch in heat. You seemed so into it, I thought I’d just keep going.”

“Wasn’t,” I whispered.

“What was that?” He growled into my ear.

“Wasn’t grinding on you,” I said, through gritted teeth.

His fingers pinched my clit and my whole body surged forward, mouth falling open to let out a loud moan. “Don’t lie,” he said, the tone of his voice leaving no room for argument.

“Fuck you.”

“Oh don’t worry sweetheart, you will.”

Oscar pulled his fingers out of my panties, making me whine at the loss of friction on my clit. His chuckle vibrated through the room. He got up onto his knees on the bed, arms coming forward to grab my shoulders, and pulled me roughly so I was laying on my back.

I couldn’t help but look at him above me. His eyes were full of lust, pupils blown wide and cheeks red. As much as I didn’t want to admit it to myself, he looked absolutely ethereal. 

“Tell me to stop,” he said, fingers hooking into the waistband of my sleeping shorts.

I held his gaze, a shaky breath falling from my mouth. “Don’t stop.”

In one move he pulled down both my shorts and my panties, throwing them behind him without a care. Then he took off his own shorts, followed by his boxers - that ended up being thrown somewhere too. He pulled me up enough to take my top off, and then pushed me down again, leaving me completely bare. 

Oscar leaned over me, his mouth drawn in a smirk, his breath hot on my face. “Tell me not to kiss you.”

“Kiss me,” I whispered. He didn’t waste a second, as soon as the words were out of my mouth he was surging forward, his lips pressing harshly against mine, tongue pushing into my mouth. He pulled slightly back, my lip caught before his teeth and he gently bit down, making me whine into his mouth.

“Fuck me,” I panted into his mouth. “Please just -”

I didn’t get to finish what I was saying as he pushed himself into me fully in one go, making me scream. His hand pressed against my mouth, muffling the noises I was making. “Do you want to wake the whole hotel up?” He asked as he began thrusting, pulling himself out until only the tic was still in me and then forcefully pushing back in again. “Some people came here to sleep, not to listen to you moaning like a whore on my cock.”

His other hand went between us to rub my clit. I was practically sobbing as he worked his fingers in fast circles around my clit while roughly thrusting into me. My vision was blurred with tears that were spilling from the corners on my eyes.

Oscar’s hand moved only a little, leaving room for me to speak but close enough for my lips to brush against his palm with each word. “Cum,” I babbled. “Gonna cum! Oscar, please!”

“Yeah?” He asked, his voice hoarse. “Gonna cum for me like a good little slut? Go on then - cum”

I came with a moan, wrapping my legs around his waist and caging him in. Oscar fucked me trough my orgasm, his own following. He twitched inside of me before cumming, painting my walls and making me whine at how full I felt.

He pulled out of me slowly and went to the bathroom to clean himself up. After a moment he returned with a wet, probably warm, towel in his hands. He kneeled on the bed and gently spread my legs with his hands.

“Fuck,” Oscar groaned. “I love watching my cum leak out of your pussy.” His fingers dipped to collect some of his cum which had spilled out of me and was slowly dripping towards my ass, and pushed it back into me, causing me to gasp.

He leaned forward and placed a kiss on my forehead and somehow my cheeks burned ever hotter. After he gently cleaned me up and terrorized me to drink water, he laid down in bed next to me and pulled my body into his, arms wrapping around me.

“Are you finally going to let me take you out to dinner?” He asked, his voice husky and breath hot against the side of my face.

I hummed, my eyes barely open and already feeling sleepy. “Don’t crash into me while I’m winning on Sunday and we’ll see.”

“That was one time!”

I chuckled, placing my hands over his hand on my stomach. “Yeah, I’ll let you take me out to dinner.”

Believe it or not this might have actually turned out to be one of the best nights of my life.

[blondedmuse]

SUMMER DAYS

synopsis. ꩜ what it’s like to spend your summer days at Saltburn.

author’s note. ∿ this was supposed to be a drabble/headcannon but i can’t write anything short it seems; allusions to smut, fluff.

at breakfast

you sat next in between Venetia and Farleigh, across from your lover, Felix. Sir James would ask you if you slept well and had a good night, a kind and common courtesy for any guest he’s hosting at his home. Everyone turned to you as you nodded, recalling the night before. It was spent in Felix’s room, his hand over your mouth as you moaned, careful not to wake anyone up.

“Yes, I slept well,” You answered. Everyone probably noted that your hair indicated other wise, just slightly messier and unkempt than it’s usually been in the morning. But you wondered if everyone could see the cheeky smile on the boy across from you at the table.

in the pool

You swam after breakfast with Venetia while the boys sat in the lounge chairs. You’d asked Felix to swim with you but he insisted he'd finish the book he was reading. While Farleigh got into the pool after a few splashes from Venetia, it seemed as though Felix needed more convincing.

"Don't you wanna get in the pool?" You asked Felix, crawling up his body on the chair. "The water's nice, it'll cool you down-" he started tickling you before you could finish your argument, trying to get your wet body away from his.

"Christ, you're cold!" He laughed as you attempted to fight back, pushing away his arms with yours.

"Fine, you want me to go in?" He caved, picking your body up from on top of him and walking over to the ledge of the pool. "You first."

You screamed as Felix threw you from his arms into the hair, hitting the water with a splash. Felix followed suit, diving in right after.

"Is this what you wanted, darling?" He said swimming over to you and you wrapped your legs around his frame underwater, bringing him closer to you.

"Exactly." You answered, locking your lips with him only for your kiss to be interrupted by Farleigh's fake gags.

"Get a room!"

on the court

you were invited for a match of tennis. You changed from your bathing suit attire into a silk dress, a pair of sunglasses and heels, which is not necessarily ideal for the sport but you wanted to follow formalities. You and Felix were paired together for the doubles game against Farleigh and Venetia.

It was nonchalant the way you all played, slightly lethargic from the champagne you’d been drinking. Still, Felix managed to keep the score and in the final game of the second set you scored the winning point for your team. And to celebrate Felix lifted you off the ground, throwing you over his shoulder.

“Fantastic job, love!” He laughed, spinning you around.

“Felix, put me down!” You exclaimed, slapping his back playfully in between giggles.

“Did you guys see that?” He taunted the other team. “We have a new Wimbledon star over here,” He beamed jokingly and Farleigh was quick to flash him the finger, watching Felix pop another bottle of Champagne.

in the field

You laid bare on your stomach, a cigarette hanging out the side of your mouth as you read one of the few books you packed with you.

"There you are," Felix said, stripping off his suit from earlier's tennis match. "You like what you see?" He asked as he watched you stare intently and he shot you a coy wink.

"You know it, baby," You replied, lifting the sunglasses to rest on your head so you could see Felix in all his glory.

"They say it's rude to stare," he declared, walking over to you and sitting down on the ground next to you.

"Then I guess I'm the meanest bitch alive," You smiled and he plucked the cigarette from your mouth. You gasped, (jokingly) jaw dropped.

"They also say it's rude to take things that aren't yours."

He raised his eyebrow playfully as he took a drag, teasing you. You rolled your eyes and he laid down next to you.

"They also say sharing is caring," He exhaled.

You scoffed with a chuckle. "Shut up. Who is 'they’ anyway?" You questioned and he shrugged, offering you your own smoke back. Nonetheless you accepted it as he kept it steady while you took a drag. Your head rested on his shoulder as you puffed out the grey odor, and he watched in admiration. He observed how the sunlight pooled in your eyes and the way your lips curved as you breathed out the stench in clouds. Sure, Saltburn was his house, but the weight of your head on his shoulder made you feel like home, and he appreciated every moment of it.

at dinner

you felt intimated by the sophisticated customs at Saltburn and dinner was no different. You sat at the large dining table next to Felix, his hand on your thigh.

"You look beautiful, my love," He told you as he passed you a bottle of wine, which you gladly accepted. You were dressed in an evening gown to match the black tie attire everyone else had shown up in, yet you still felt out of place like a sore thumb. You poured a glass of wine, hoping it would ease your anxiety.

"Not too much, darling," Felix warned, giving a slight squeeze to your leg. He could sense your nervousness, having been watching you toy with your jewelry for the past five minutes. But, he didn't want you falling over yourself by the end of the night either. You looked around and everybody seemed to be occupied with conversation of the company around them so it seemed like you were in clear to have a side conversation with your lover.

"I know, I just feel like I don't belong here."

Felix grabbed the hand that was fidgeting with your necklace and brought it to his mouth, his lips leaving a delicate kiss on your skin.

"You of all people deserve to be here. There's nothing to worry about." You didn't say anything, only huffed as you bit your lip. "And if you don't believe me and you still feel nervous, just squeeze my hand alright?"

You nodded, accepting his offer and holding his hand in yours as the woman next to him dragged him into another conversation. Still, when you squeezed his hand, it was always reciprocated, Felix unable to ignore you.

at the lake

you and Felix giggled, arms linked together as you headed towards the body of water. You excused yourselves from dinner early—dragging on with meaningless conversation you began to zone out from, and Felix was just as bored as you. Dinner wasn't usually like this but the additive guests, the Henry's, seemed to dull the excitement with their own stories solely for the purpose of one-upping the Cattons it seemed. So, Felix came up with an excuse for the both of you, something along the lines of 'you weren't feeling well' and he 'needed to take care of you' which wasn't entirely untrue. Boredom is an uncomfortable feeling which Felix needed to take care of by something more fun.

"Thank you for that but why did you have to make me the damsel in distress? They're going to think I'm a snob," You whined.

"They would never. But me on the other hand? Yeah I think you're a snob. Making me carry your heels is outrageous," He teased with your shoes in his hand and you shook your head unable to hide your soft giggles.

"But they do love you y'know."

"Whatever," You mumbled and you felt your feet lift off the ground as Felix threw you over his shoulder. You watched him put your heels down and the ground started to move below you.

"Felix! Put me down! Where are you-" You saw the edge of the lake and it clicked. "You are not throwing me in without a bathing suit! Felix, please!" You screamed, resorting to slapping his back.

"Quiet, love, you're gonna get us in trouble."

"I don't have another dress, put me down!" You demanded.

"You can borrow one, its fine." With that he threw you into the lake, your body sinking into the cold water.

"Felix!" You cried as you resurfaced, watching him stand at the lake's edge completely dressed and completely dry. "It's cold!" What am I supposed to wear after this?"

"You can take my jacket," He reassured you after he stripped himself of his suit, jumping into the lake after you, only clad in boxers.

He swam towards you. "You poor baby."

"It's cold."

"How 'bout I warm you up then?" His hands were at your sides, pulling up your dress under water, his mouth hot against your neck as he began to mark his territory. You knew now that the night would end with you in his bed like it had for the past week, and you would be asked about it all over again at breakfast—but there's no other way you'd want to spend your nights and summer days.

[foodfightnovelization]

ROTTEN: Behind The Foodfight

Holy chips! It's an exciting time to be a Foodfight! fan, because ROTTEN: Behind The Foodfight is finally out! This really is THE definitive documentary on the insanity behind the movie, and it finally answers the question of just what was going on behind the scenes during production. Since I helped out with research (and I even get a short line of dialogue at 45:19) I've already seen everything that was shown off, but had to keep quiet until all the interviews were conducted and the documentary was finished. But now it's out and everything has been made public, the cat's out of the bag (the Fat Cat Burglar?) and I can talk about all the production material that's been shared.

Before I get into any of that though, I'd highly recommend you watch the documentary for yourself. It's insanely well researched and put together, and having worked together with Ziggy Cashmere (the documentary's creator) I know how hard he dedicated himself towards making this all possible. If it weren't for him, the most interesting Foodfight! discovery would've been finding the novelization, and we would have never gotten any real insight into how this movie came to be. It's also a documentary that really speaks for itself- I don't want to say too much about what it reveals since it's all expressed far better through its narrative and the interviews with people who actually worked on the project. My favorite is the interview with texture artist Mona Weiss- she tells such horrifying stories about how she was treated by Larry and other crewmembers, yet does it all with a sense of humor that makes it clear she's enjoying getting to talk about her crazy experiences. It's clear Foodfight! was an unmitigated disaster from start to finish, and there's nobody to blame for that but Larry Kasanoff himself. The movie was rotten from the top down and despite the countless talented animators and artists working on it, nothing could fix the fact that it was fundamentally mismanaged in the worst way possible. I think the quote from producer George Johnsen summarizes it best: "Foodfight! was a good idea that unfortunately lost its way during production. The technology, the art, and the direction were not in sync. Many very talented people gave their all to make the picture, but more understanding of process from the top was needed for it to succeed."

But if you saw the documentary, you already know all that, right? So instead, let's talk about the behind-the-scenes material that's finally been shared! You can find everything I'll talking about HERE on archive.org-

It's worth following the link and checking it out for yourself- there's so much it'd impossible to discuss everything. Artwork, storyboards, bloopers, models, a nude render of Lady X, an interview with Larry Kasanoff, the list goes on and it's still being updated! Despite the documentary already being out, people who worked on the movie are continuing to share new material! It's pretty incredible- for the past year I've ran this blog all I've really had to discuss are two tie-in books, and now there's so much Foodfight! material I can't even keep up with it.

I mean LOOK at all this, isn't it fantastic? The character art by Jim George showing off just how much better these designs originally were, the countless environments showing off just how stunning Marketropolis could've looked as well as the strength of the core idea "what if a supermarket came to life at night", and insanely detailed storyboards for a 7-minute pitch reel that was used to sell the movie to investors. Normally, I'd be ALL OVER this because it's all just incredible, but there's something far, FAR more fascinating than any of it.

There are even multiple drafts of the script (one from 2005 and one from 2007 respectively) and normally I'd be insanely fascinated by those too, making extremely detailed posts explaining the differences between the drafts and how they compare to the novelization, but there's something else that was found that blows ALL of this out of the water and is easily one of the most monumental lost media discoveries of ALL TIME.

That's right, a rough cut of the ENTIRE movie from 2005 has been found, containing nearly ALL the completed animation from earlier on in production. I mean, that's mindblowing right? We first got sent this around a month ago, a little while before the documentary came out, and I literally stopped everything I was doing at work to just sit and watch this. This is the closest we're ever going to get to the "original" version of Foodfight! after all- only 7 minutes of footage was ever actually made before they switched to mocap, made solely for the aforementioned pitch reel, and this workprint contains practically all of it! On top of that there are some great storyboards in here, as well as some truly hilarious ones cobbled together from 3D renders, and the plot is far better than what we ended up with, a lot of the more inappropriate jokes being absent. This rough cut is actually pretty similar to the novelization in that regard, and it also contains scenes that we'd previously only read about in there.

For example, in the novelization there's a snowmobile chase through the mountains, with Brand X soldiers on snowmobiles and a heavy avalanche close behind. This scene was completely left out of the movie itself, but in this workprint it's here! ALL the previously novelization-exclusive scenes are included, and this rough cut is seemingly based on an even earlier draft of the script than that- here Brand X are still defeated by a flood, whereas by the time of the novelization it'd been changed to a lightning storm. There are SO many exciting differences in this workprint, the snippets of original animation we get to see are SO good, and it's SO much better than the movie itself that I think it by far deserves the crown as the DEFINITIVE version of Foodfight! There's so much in it I want to discuss, that there's no way I can fit it all into this one post...so stay tuned, because in the next few days I'll be doing a FULL analysis of the 2005 workprint, pointing out all the extra brand mascots not in the finished film, and generally just gushing about how amazing it is.

I mean, this is it. Just take it all in for a second- the original footage was considered lost media for over a decade, and now it's practically been found in its entirety, embedded in an early cut of the whole movie...isn't that just phenomenal? All the mysteries have been unraveled, all the questions have been answered, and now we can relax, take a deep breath, and watch Foodfight!...the REAL Foodfight! Make sure to enjoy it, and join me next time for my analysis!

[only-luce-the-goose]

Heeeey pookie!!

i loved your Arthur fic too much, the man deserves to receive more love here🥹🫶🫶 I have two ideas for you, which in my head make more sense. I will try to explain myself as best as I can but in reality this is not my strong point LMAO

If you want and can write something about loving every little thing the reader does, such as the habit of brushing his hair behind his ears or, for example, when he reads a book that she cries, smiles or curses as if he LOVES that about her. 😮‍💨💗

Or maybe something about him being a little jealous and possessive not in a grotesque sense like I had to defend her from someone in a bar or something, like her being too nice by not wanting to walk away so as not to hurt the other person even if it's bothering her (that happens to me often haha😅)

Maybee some of the care for her when she's sick 🥹🥹

Of course, only if you feel comfortable with these ideas, which were more than two, I apologize for that, I'm a little excited.🧍🏻‍♀️🫶🫶

(I hope I have made myself understood, also English is not my first language, I am sorry if this is complicated when read or understood, also sorry this was so long :(, anyway much love to you 💗💗💗💗)

Little things

A/N: I am going to write all of them, they're so cute. Arthur absolutely deserves more love, he's underrated. Don't worry btw, your English is fantastic. I'm actually Australian so my spelling of certain words are different to everyone else's 😅. Keep an eye on my page for the next few days, I'll release them soon (I just need to finish my uni assignment first, whoops 🤷‍♀️). I hope I did what you were thinking 🫶🫶

Arthur Leclerc x reader

Warnings: Fluffy/Simp Arthur

Synopsis: "If you want and can write something about loving every little thing the reader does, such as the habit of brushing his hair behind his ears or, for example, when he reads a book that she cries, smiles or curses as if he LOVES that about her. 😮‍💨💗" - This part of the request.

You and Arthur were lying on the couch watching a movie after a long day. You propped up my pillows with Arthur on top of you, head resting on your chest. Your fingers started to scratch the back of his scalp, slowly worth their way up. He sighed as he pressed himself deeper into you, nuzzling his face into your skin. He lifted his head up and pecked your lips. You look down at him and giggled, “what was that for, baby?”. He looked up at you with a peaceful smile, his eyes brimming with love as he replied “just appreciating the small things” before resting his head back on your chest as you kept scratching his head.

The next time it happened, you guys were cuddled up in bed and you were reading a book. It might be one of the saddest books you had ever read in your life (for this I’m gonna use “Bridge to Terabithia” cuz I feel like everyone read it for school). You got the the chapter where the girl fell into the creek and drowned. The pure amount of detail broke your heart and sent you into a sobbing mess. Your sniffles caught Arthur’s attention, he looked down the see his shirt beginning to get wet. He pulled you up to face him as we wiped your tears. “Hey hey hey what happened mi amor?” He rushed. You explained what happened, causing Arthur to give you that look again. A peaceful smile, eyes brimming with love, he pecked your lips, “how about we read a happier book?” He suggested. “No” you said as you made eye contact again “I just wanna cuddle”. He grinned and settled down, pulling you into him “that is something I can definitely do”. You smiled as you tucked yourself into his side.

Another instance was when you and Arthur were walking through the paddock. The crowd was pushing and shoving, sweeping you away with them. Arthur quickly realised you had gotten caught up, jogging back to guide you again. You think your right hand to his left, your left hand coming up to hold his strong bicep on the same arm, basically wrapping yourself around his arm. You have his hand a little squeeze, leaning your head on his shoulder when he squeezed back. You made it to the Ferrari garage and you knew you would need to let go but you didn’t want to, do you didn’t. Arthur planted a kiss on your forehead and gave you that dopey, in love look he gives you in moments like these. “What?” You laughed. Arthur pecked your lips “nothing my love” he mumbled against them, “just admiring” he winked. Just like a school girl, you giggled and then cuddled into him, are grip still tight on his arm.

What really stood out is when you were cleaning your shared apartment. You were going through your shared closet when you found a brown leather book. The title on the inside of the book, in Arthur’s unmistakeable handwriting, was “those moments”. You flicked through the book and saw dates and times, which matched to all the moments when Arthur gave you the look. Scratching his head on the couch, crying at a book, being clingy at the paddock, it was all there. What you didn’t know, was that Arthur was leaning on the door frame, watching you read his little things journal. “Find something good, amor?” You jumped at his question. “I’m so so sorry. I shouldn’t be snooping but I’ve never seen it before, and I had no idea what it was for. I’m sorry, I should’ve given you your privacy an-” Arthur cut you off with a kiss. “Im glad you found it. Everytime you ask about this “look” I give you, you now know what I was feeling and thinking. Is that ok amor?” He has a glimmer of home in his eyes as he asks you. You put the book back where you got it from, wrapped your hands around his neck and kissed him deep “of it is, I love you Arthur” “I love you mi amor”

[physalian]

You don’t have to pay for that fancy worldbuilding program

As mentioned in this post about writing with executive dysfunction, if one of your reasons to keep procrastinating on starting your book is not being able to afford something like World Anvil or Campfire, I’m here to tell you those programs are a luxury, not a necessity: Enter Google Suite (not sponsored but gosh I wish).

MS Office offers more processing power and more fine-tuning, but Office is expensive and only autosaves to OneDrive, and I have a perfectly healthy grudge against OneDrive for failing to sync and losing 19k words of a WIP that I never got back.

Google’s sync has never failed me, and the Google apps (at least for iPhone) aren’t nearly as buggy and clunky as Microsoft’s. So today I’m outlining the system I used for my upcoming fantasy novel with all the helpful pictures and diagrams. Maybe this won’t work for you, maybe you have something else, and that’s okay! I refuse to pay for what I can get legally for free and sometimes Google’s simplicity is to its benefit.

The biggest downside is that you have to manually input and update your data, but as someone who loves organizing and made all these willingly and for fun, I don’t mind.

So. Let’s start with Google Sheets.

The Character Cheat Sheet:

I organized it this way for several reasons:

I can easily see which characters belong to which factions and how many I have named and have to keep up with for each faction

All names are in alphabetical order so when I have to come up with a new name, I can look at my list and pick a letter or a string of sounds I haven’t used as often (and then ignore it and start 8 names with A).

The strikethrough feature lets me keep track of which characters I kill off (yes, I changed it, so this remains spoiler-free)

It’s an easy place to go instead of scrolling up and down an entire manuscript for names I’ve forgotten, with every named character, however minor their role, all in one spot

Also on this page are spare names I’ll see randomly in other media (commercials, movie end credits, etc) and can add easily from my phone before I forget

Also on this page are my summary, my elevator pitch, and important character beats I could otherwise easily mess up, it helps stay consistent

*I also have on here not pictured an age timeline for all my vampires so I keep track of who’s older than who and how well I’ve staggered their ages relative to important events, but it’s made in Photoshop and too much of a pain to censor and add here

On other tabs, I keep track of location names, deities, made-up vocabulary and definitions, and my chapter word count.

The Word Count Guide:

*3/30 Edit to update this chart to its full glory. Column 3 is a cumulative count. Most of what I write breaks 100k and it's fun watching the word count rise until it boils over.

This is the most frustrating to update manually, especially if you don’t have separate docs for each chapter, but it really helps me stay consistent with chapter lengths and the formula for calculating the average and rising totals is super basic.

Not that all your chapters have to be uniform, but if you care about that, this little chart is a fantastic visualizer.

If you have multiple narrators, and this book does, you can also keep track of how many POVs each narrator has, and how spread out they are. I didn’t do that for this book since it’s not an ensemble team and matters less, but I did for my sci-fi WIP, pictured below.

As I was writing that one, I had “scripted” the chapters before going back and writing out all the glorious narrative, and updated the symbols from “scripted” to “finished” accordingly.

I also have a pie chart that I had to make manually on a convoluted iPhone app to color coordinate specifically the way I wanted to easily tell who narrates the most out of the cast, and who needs more representation.

—

Google Docs

Can’t show you much here unfortunately but I’d like to take an aside to talk about my “scene bits” docs.

It’s what it says on the tin, an entire doc all labeled with different heading styles with blurbs for each scene I want to include at some point in the book so I can hop around easily. Whether they make it into the manuscript or not, all practice is good practice and I like to keep old ideas because they might be useful in unsuspecting ways later.

Separate from that, I keep most of my deleted scenes and scene chunks for, again, possible use later in a “deleted scenes” doc, all labeled accordingly.

When I designed my alien language for the sci-fi series, I created a Word doc dictionary and my own "translation" matrix, for easy look-up or word generation whenever I needed it (do y'all want a breakdown for creating foreign languages? It's so fun).

Normally, as with my sci-fi series, I have an entire doc filled with character sheets and important details, I just… didn’t do that for this book. But the point is—you can still make those for free on any word processing software, you don’t need fancy gadgets.

—

I hope this helps anyone struggling! It doesn’t have to be fancy. It doesn’t have to be expensive. Everything I made here, minus the aforementioned timeline and pie chart, was done with basic excel skills and the paint bucket tool. I imagine this can be applicable to games, comics, what have you, it knows no bounds!

Now you have one less excuse to sit down and start writing.

[shoujo-wizard]

Hallmark movie AU steddie A/B/O ft kitchenwitch!Steve im calling it "Bewitched by Yuletide"

A!Eddie O!Steve

@lexirosewrites this has turned into a drabble oops

Eddie ends up making it big time with the corroded coffin guys, except after nine albums together they're not getting along very well. it all comes to a head during a long flight out of Europe back to the US, and when their private plane landed, the band had agreed there was no more band. they gave a final concert in the US. so eddie finds himself at a crossroads. he still had his money, he still had his fame, and he still had the connections of a rock star. he could launch a solo career, get writing a debut solo album, make the right calls to people with the right taste, he could be very successful for at least one album. except as eddie thought it through more and more, he just felt tired. he didnt want to write anything, he didnt want to play another electric guitar solo, and he didn't want to go through the promotion process. he didn't want to attend award shows, not even to host. the spotlight was fantastic, but on the flight back to the US Felix had pose them all a question

"do we really want to do this for the rest of our lives?"

eddie didn't want to. he felt adrift, not sure what he really wanted to do for the rest of his life, with all the money they'd made. then he gets a call from his Uncle Wayne; he'd fallen and was in the hospital for the last 2 days. he emphasizes he's fine, just ended up hitting his head hard. a friend is taking care of him till the worst of the concussion symptoms resolve. he tells Eddie his door is always open to him. so eddie books a flight and is in the small town of Hawkins by the next morning.

wayne gives him directions that are of little help, but he writes them down just in case. he pulls into the driveway of Wayne's farmhouse, and the old man is sitting on his front porch in a wicker rocking chair. he hands Eddie a coffee mug & motions to the other chair then the thermos sitting on the small table. so eddie sits to fill his mug instead of doing anything reasonable like turn off his car or at least close the driverside door. It has gotten to late autumn now. halloween is approaching. eddie drinks a mug of coffee in silence before he starts a conversation.

"do I want to do this for the rest of my life?" eddie watches the wind move through the fir trees.

"whatever you want to do, son, just know you'll always have a place in my life." is what wayne hums back.

Wayne is situated inside comfortable on the couch. his uncle lets him know that his friend will be coming by after he finishes work to bring him dinner. Eddie says to let this 'Harrington' know tht he'd like to be added to the dinner guest list. wayne just chuckles like he knows something Eddie doesn't.

even later when the sky is turning dark a new car pulls up outside the farmhouse. Wayne hollers that it's "steve and robin" right before the front door is bursting open to let in the cold air, and two people eddie's never met before. eddie wants to ask them to sit down, but then a broad shouldered Adonis with his neck wrapped in a pink scarf is moving around him to the kitchen as if he does so everyday. an alpha woman with a choppy bob is completely disinterested in him, instead she's sitting with Wayne engaging him patiently in conversation while the noises in the kitchen continue to grow.

eddie expects a lot of things when he walks into his uncle's kitchen. None of them could've prepared him to walk into a room permeated with the scent of apples. to see the adonis from the doorway without his pink scarf or coat. his hair is a cresting wave, and he moves assuredly around the space. he's unpacking several canvas picnic bags, which makes Eddie pause because he's sure that the omega in the kitchen had only entered with a large dutch oven in his hands.

they have a short conversation that ends with Eddie offering his help with dinner. Steve declines politely, but Eddie doesn't leave the kitchen exactly. he sits down at the breakfast nook within the room, and engages Steve in conversation. steve asks about the acoustic guitar case among his things at the bottom of the stairs. eddie blinks because he can't remember if he brought his things inside or not. ultimately deciding he must have. eddie admitting his band had broken up, and that he's staying with Wayne for the moment.

the four of them sit down to dinner, and then before Eddie knows it he's in the kitchen cleaning up with Robin. when they get near done steve walks in and starts the coffee maker. then wayne is shuffling cards, and they're eating dessert while sipping at coffee. then before Eddie feels like he can blink Steve and Robin r driving back to Hawkins proper.

Eddie couldn't stop thinking about apples the entire night.

[there's definitely more to say about this AU..... but i think this is a good little set up tht kinda shows the set up]

[I might write more to this but i won't make promises. you'll likely all have to wait till the next Slick Sunday i choose to participate in]