#i do not understand how any of you survive there

[honey-tongued-devil]

Arcane preference reacting to a s/o with a mental health issues (eating)

My disclaimer, as someone with this issue, I’m sorry if this isn’t what you wanted. I’ve actually been thinking about it for a while, but I was a bit cowardly about doing it, so I’m taking the opportunity now. I don’t want to go out of character, so I’m sorry if some characters come across as harsher than others. Unfortunately, I know I should write the name of the illness, but if I post it that way, Tumblr will take it down.

Jayce:

- He’s academically intelligent, but it takes him far too long to notice that something’s wrong. But you can’t blame him, it’s something so far removed from him that he couldn’t have understood it sooner.

- When he does realize, his first reaction is panic.

- Jayce can’t feel like just a blade of grass; he feels emotions deeply, taking on any blame, especially if something happens to the people he loves. His first thought is that he did something to make you feel that way, inadequate.

- But once the panic phase ends, the responsibility phase begins.

- He does the grocery shopping, he cooks, and his workouts become more regular, where he has you climb onto his back while doing push-ups or holds you in his arms during other exercises.

- He doesn’t know why you do it, but the quickest way to show you that your weight isn’t a problem is by showing you how easily he lifts you.

- And maybe, if you feel up to it, he can hold you in his arms with one arm supporting you while he cooks, letting you taste various ingredients.

Viktor:

- Unlike Jayce, it only takes two suspicious behaviors in a row for him to understand what’s happening. It’s something far from his world, sure, but he recognizes it.

- And he confronts you. He doesn’t beat around the bush, doesn’t stammer; he might even sound angry because he doesn’t understand why you’d hurt yourself like this and willingly give up your well-being.

- I won’t lie, I doubt that an open discussion about something this delicate with him wouldn’t lead to at least one hysterical cry.

- But he’s not brutal for the sake of being brutal; his suffering and frustration turn into anger. It takes him a while to calm down, but he won’t accept compromises.

- You’ll have meals together at home, either returning to your rooms together or straight to the house, so no one can see you and you won’t feel bad.

- And he won’t force you, he tries to handle it with as much care as possible, but there’s no day that goes by without him getting up from the table if you haven’t eaten at least two food items per meal.

- He loves you too much to see you hurt yourself in that way, and knowing that he can't do anything about it makes him feel powerless.

Ekko:

- It takes him a week—not to understand, but to process it.

- Having grown up in total poverty, the idea of giving up food “for whim” makes him react in a way that is only human.

- And the whole thing is too distant for him: everyone’s skin is grayish, 90% of the population of the Lanes has missing limbs and monstrous prosthetics, and everyone’s goal is to survive as long as possible. What does it mean that you’re against your own survival??

- As unsupportive as he might be regarding the issue, he becomes incredibly vigilant and concerned.

- He’ll always make sure you’re warm enough, that you’re comfortable, and no matter how frustrated he is, he’ll always try to stay close to you, even just holding you in bed until you fall asleep.

- Every single comment you make about your body, he’ll respond with, “Don’t talk about my partner like that,” 

- no one can speak badly of you, not even you.

Vander:

- The most understanding: he was young once too, and although in his size meant an advantage, he and Silco snuck into various galas when they were younger, and there, even though he never had these problems, he would feel a strange sensation seeing that he was the biggest in the room or that it was hard to find someone to steal clothes from that would fit him.

- He doesn’t lecture you or anything like that, he doesn’t get angry despite how he grew up; he just feels sadness for you that you can’t see how little that complex matters and how beautiful you already are.

- His compromise is vegetables. If you don’t feel like eating every meal every day, it doesn’t matter, but at least four days a week, you have to have three meals.

- And for the rest, he’ll cook, making sure to prepare the best dishes made from vegetables so that you don’t feel guilty and your body doesn’t deteriorate.

- But he doesn’t support your illness, he simply ensures that you get everything you need and never go below the necessary intake without having you feeling guilty about it.

Silco:

- Hoping that the most attentive and watchful man in the lanes wouldn't notice how, suddenly, meals go from moments of lightness to something you try to avoid at all costs is a bit foolish, but he says nothing.

- He waits for as long as necessary, basically to see how long it lasts and how much you're not planning to talk to him.

- When he realizes you won’t, not anytime soon, he waits for you to be alone in his office, where you’ll find a slice of cake on his desk. Sure, it’s a low blow, but it’s also the fastest way to get you to confront the issue without too many escape routes.

- He’s a big fan of the saying “dirty laundry is washed in the family,” so if you act strange about meals in front of others, he won’t allow questions or jokes, but in private, he won’t accept “no” for an answer.

- He has enough problems already without you crying from hunger pains or having psychotic episodes due to sugar deficiency, so as long as you're under his watch, under Zaun's eye, he won't let you live with unhealthy standards.

- During meals, he becomes the strictest. He doesn’t say anything, but one look is enough to make you think twice about contradicting him. In the evening, though, when your mental health is most fragile, he becomes gentler, comforting you as much as you need.

Jinx:

- You find fertile ground, but like any good bearer of the same issue: she feels she can do it, but you cannot.

- Being with her or in her space becomes like a live-action version of Thumbelina: she’ll leave sweets, chocolates, things she knows you like to encourage you to eat so you can’t hurt yourself.

- She usually forgets to eat herself when she’s caught up in her studies and work, but if she has someone to care for, it doesn’t matter how, she’ll make sure to remember. Even if it means setting a few colorful bombs with timers.

- She feeds you. In the most visible, worst way. It’s easy that if you turn your head, you’ll find a cookie shoved in your mouth unceremoniously.

- And every single tight-fitting outfit disappears from her lair. Magically, whatever clothes you pick up from her pile fit loosely, but if you ask her about it, she’ll claim she doesn’t know what are you talking about.

Vi:

- Want to see Vi in a panic, becoming super protective and possessive in a way? Just wait for one episode, and you’ll see everything you haven’t seen.

- She’ll check on you at least three times a day, and in the evening, when you have pain or a crisis, she’ll run back and forth from the room, thinking about everything she can do to help you feel better without making you feel guilty.

- During meals, she’ll hold you in her arms and insist that you eat, but not aggressively—in a way that’s almost frightened: she’s always been used to fighting big, real monsters, but even when it came to her sister, she could never defeat the invisible ones, and the fear of failing or hurting someone she loved again terrifies her in an agonizing way.

- Like Jayce, she’ll also try a more physical way of reassuring you, like body worshipping when you’re alone or working out with you to show you that your weight doesn’t matter.

Caitlyn:

- She doesn’t know how to react; she realizes it quite quickly but fears that by acknowledging it, she might only make you feel worse.

- One day, she gathers the courage to ask if everything is okay and tells you that she’s noticed those behaviors. When you open up to her, telling her about the issues, she doesn’t respond right away and simply hugs you.

- She becomes more caring, making sure that you don’t have to attend banquets or dinners where you wouldn’t feel comfortable, bringing you food in your room to eat together, and sometimes even leaving the room so as not to put pressure on you.

- When you mention a craving, she immediately springs into action to get it for you, even if you complain that you weren’t serious. Once she understands how your condition works, she orders everything in three portions, so she can eat with you and then be the first to say that she wants more, asking if you want to share the third portion.

- If you have fat accumulated in any area, she’ll knead it with her hands while kissing you, to let you know that she loves every inch of you.

Mel:

- She notices you're having a crisis before you even realize it yourself.

- She’s a ruler, but what she learned from a young age is that a leader must appear reliable and look good, so even if unconsciously, she too sometimes experiences small crises when she feels like she isn’t looking perfect.

- No conversations, no lectures, just an increase in cuddles, moments of intimacy, and later, she brings home sweets.

- “They were a gift to me today at the council,” she lies, but sometimes she says she got them for both of you. She doesn’t want to make you feel like you’re in the wrong. She knows that when you’re ready and if you want to, you’ll bring up the issue with her, but for now, the best thing she can do is help you get through the episode with euphoria, love, and treats that encourage you to listen to your hunger rather than the illness.

Sevika:

- Like everyone in Zaun, the idea that someone would voluntarily give up food is simply incomprehensible to her.

- But she won’t comment on your problems. She doesn’t intend to invalidate them, but she also won’t encourage it.

- “Are you sure? That’s a bit too little,” will be her comment when you eat something ridiculously small, before making you a proper portion of food herself. If you try to argue, she’ll respond with a smug smile, saying that if you eat that little, you’ll end up breaking when you’re in bed together.

- As much as possible, she’ll try to get the best, freshest, and most natural food, to reassure you that you don’t need to worry, but she’ll never insist that you eat if you say you don’t feel up to it. She’ll gesture for you to come sit on her lap and keep you there, occasionally offering you things she knows you like, telling you that she’s really craving them, and if you want them too, she’ll go get them.

- If a crisis is particularly bad, she’ll try to finish her work as quickly as possible to be able to stay with you for the rest of the day and not leave you alone.

[joinsideke]

And I actually did NOT say "not wanting to be raped is purity culture". I did NOT say we should get raped rather than commit suicide (as if it's one or the other, as if most women even know they're about to get raped and have time to kill themselves instead, as if this is the norm). I did NOT say surviving trauma is easy. And I most definitely did not say anyone should go on living through endless torture they can't escape, you hyperbolic twit.

So here, let me extrapolate what I actually did say, since reading comprehension is not your strong suit:

Feminists like to say rape is a fate worse than death. I said that rape is not inherently worse than death, because death is final. You can survive rape and though it may be difficult, you can get help, you can get better, and you can go on to have a fulfilling life. This is not to say you necessarily will, just that it's possible and worth trying for, whereas nothing is possible if you're dead. Call me an optimist, but I believe in the potential for happiness, even with life's hardships. I do not believe victims of rape or any other abuse are doomed for it.

But feminists don't seem to agree. They claim rape is the worst thing that can happen to a woman, and that they would rather kill themselves instead. This notion and what it implies is what I'm calling purity culture. Again, why is rape worse than death? Does it mean you're ruined for life? You're damaged goods because a man forced himself on you? You'll never find happiness again, so that's why it would have been better if you had killed yourself? Cos that's sure what it sounds like. Do you not see the problem with this? If rape is worse than death, how can rape victims go on living?

I saw in your tags that you have been raped before, and I am genuinely sorry to hear that. But you didn't kill yourself, and you add that you're still not sure if you would or not if faced with that situation again. Kinda contradicting what you're saying in your post, but I get it. It's a traumatic, awful thing to go through and no one should ever have to go through it. I understand why you have complicated feelings about it.

I'm not saying you or anyone should choose rape over death. I'm saying you shouldn't have to choose death over life. I don't care about hypotheticals, I'm worried about what this rhetoric does to people who have survived. Yall deserve better than that.

Haven't seen anyone else addressing how the "feminist" preference for being eaten by a bear over meeting a man alone in the woods is in large part about purity culture and terror of rape.

Like, this whole thing is an obvious reference to older tales where the virtuous maiden flees the wicked men and gets eaten by a bear or fell off a cliff, but at least she died a virgin!

I miss where there was at least a feminist contingent that thought that being raped wasn't a fate worse than death.

[unboundprompts]

hey! i was wondering if you had any advice for writing a "bully" tough guy character with a hidden heart of gold that will be redeemed later on in the story? i wanted to have their motivation being seeing their bullying as making people stronger (for maybe a reason like from being bullied for being weak themselves) but idk how i would begin to write this

How to Write a Bully with Opportunity for a Redemption

Establish a Compelling Backstory

Bullying History: Flesh out the character's past. Perhaps they were bullied themselves, leading them to believe that by bullying others, they can instill strength and resilience. This creates a cycle of pain that they think they're breaking.

Family Dynamics: Consider their family situation. Maybe they have a tough home life that forces them to adopt a hard exterior, believing vulnerability is a weakness.

Defensive Mechanism: Make it clear that their bullying is a defense mechanism. They may fear being seen as weak or unworthy, so they project toughness to avoid being hurt again.

Create Layers of Personality

Contradictions: Show moments where the tough guy’s softer side shines through, such as helping someone in a subtle way or expressing empathy toward a friend. This builds intrigue and hints at their hidden depth.

Hobbies or Interests: Give them a passion that contrasts with their tough exterior, such as caring for animals, art, or even an interest in literature. This helps humanize them and shows they have more to offer than just their bullying behavior.

Develop Strong Relationships

Friendships: Explore the dynamics of their friendships. Do they have a best friend who sees through their tough exterior? This friend can be a source of support and also push the character toward redemption.

Conflict with Others: Show how their bullying impacts their relationships with other characters. This can create tension and give other characters a reason to want them to change.

Establish Their Motivation for Bullying

Internal Monologue: Use the bully’s thoughts to explain their perspective. Allow them to rationalize their behavior with phrases like “I’m just toughening them up” or “They’ll thank me later.” This internal justification provides insight into their mindset and shows that they genuinely believe in their method.

Dialogue with Others: Show conversations where the bully explains their philosophy to friends or peers. They might say something like, “You have to be tough to survive. I’m just giving them a reality check,” or “Weakness only gets you hurt.” This can illustrate their conviction that they’re helping rather than harming.

Interactions with Victims: When the bully interacts with their victims, allow moments where they express a twisted sense of encouragement. For instance, they might say something like, “You’ll thank me when you’re stronger,” or give unsolicited advice on how to handle being bullied, further solidifying their misguided belief.

In-Scene Justification: As the bully corners a victim, they might say, “You think this is tough? You should’ve seen what I went through. I’m making you stronger. You’ll thank me when you can stand up to people like me.”

Aftermath Reflection: After an intense encounter, the bully reflects, “Maybe I pushed them too hard. But if they break now, they’ll never survive out there. I can’t let them be weak.”

Confrontation with a Mentor: In a scene with a mentor or friend, the bully might insist, “I’m not a bad guy. I’m doing this for them. They need to be ready for the real world. They’ll understand one day.”

Build Moments of Realization

Catalyst for Change: Identify key moments that can serve as turning points for the character. Perhaps they witness the consequences of their actions firsthand, such as a target of their bullying breaking down.

Moment of Kindness: Have them perform a small act of kindness that contradicts their tough persona. This could be something like defending someone who’s being bullied or comforting a classmate in distress.

Craft a Redemption Arc

Struggle with Self-Perception: As they start to recognize their wrongs, explore their internal conflict. They might grapple with feelings of guilt or shame, unsure how to change.

Facing the Consequences: Introduce scenarios where they face the repercussions of their past actions. This can lead to a moment of humility, where they apologize or make amends.

Support from Others: Allow other characters to help guide their transformation. Perhaps someone who was bullied approaches them and expresses that they see potential in them, encouraging a new path.

Highlight the Heart of Gold

Acts of Courage: In the climax, have them step up to protect those they’ve bullied, showcasing their newfound understanding of strength and vulnerability.

Positive Impact: Illustrate how their change positively affects others. This can be through friendships, mentorships, or even inspiring other characters to change as well.

End on a Hopeful Note

New Identity: Conclude the character's arc by showing them embracing their softer side while still retaining the tough-guy persona, proving that they can be both strong and kind.

Forgiveness: Allow for forgiveness from those they’ve wronged, reinforcing the theme of redemption and growth.

Example Character Arc:

Initial Setup: Jake is known as the school’s tough guy, bullying anyone he deems weak, believing it will make them stronger.

Backstory Reveal: Through flashbacks, we see Jake bullied mercilessly for being small and weak, leading him to adopt his aggressive persona.

Turning Point: After witnessing the severe impact of his bullying on a classmate, Jake begins to reflect on his actions.

Redemption Moment: In a climactic scene, Jake defends the same classmate from a new bully, proving he’s changed.

Resolution: By the end, he’s mentoring younger students, using his experiences to help others find their strength rather than tear them down.

[brittle-doughie]

Hi Brittle-doughie, sorry for bothering you. I'm pretty sure I sent this once, but If this has been asked before you can delete this.

Every relationship isn't perfect. There's bound to be some challenges.

How would Golden Cheese Cookie, Nutmeg Tiger Cookie, and Smoked Cheese Cookie apologize to their lover after an argument?

Apologies, Apologies (Nutmeg Tiger, Golden Cheese, and Smoked Cheese Cookie)

It was hard for Nutmeg Tiger Cookie, getting used to a different kind of life here in the Cookie Kingdom, where it was complete peace and quiet compared to the tough terrain of the spice desert she was used to.

She hadn’t completely lost all of her previous habits, insulting and shouting at cookies whom she considered beneath her in strength. Which leads to the fight you two have, she didn’t understand why you were defending these bumbling fools that wouldn’t even survive for long if they can’t fight!

She does come around eventually and apologizes after much hesitation. She’s just not used to this change in scenery when she’s been a warrior that valued strength above all else for so long, she’d hate to spit on your trust and care for her with her behavior. She’ll do what she can to adjust herself, but she can’t do it without you.

Golden Cheese Cookie was not budging on any suggestions to move the souls of her treasures somewhere else, they were perfectly fine where they were and she refused to put them at any risk. What if there was an accident and she loses one of her people in the process!? What were you even suggesting!?

You tried to reassure her that the vault concept you had was something planned for a while, you just wanted to give Golden Cheese that extra security that her subjects would be safe from any threats that would come to the kingdom. Golden Cheese didn’t want to hear it and demanded that you leave her alone…

She does deeply regret it once she’s calmed down, you were only trying to help in keeping her citizens’ souls safe. The Secret Vault is built and Golden Cheese spends every waking moment apologizing profusely, she didn’t mean to raise her voice towards her dearest treasure…

You had trusted Golden Cheese Cookie with the kingdom, much to Smoked Cheese Cookie’s irritation. Didn’t you see that another war was upon you all, and Golden Cheese doesn’t want to do a thing about it!

It was a source of arguments where you try to convince Smoked that Golden Cheese Cookie wouldn’t let anyone down, but he didn’t see it that way. If you didn’t want to see it his way, then so be it. He can do this on his own…

It only takes his defeat for him to fully realize what he had done. He expected you to leave him, but that wasn’t in your nature to just abandon him over a petty argument. He’ll call you a fool for being so forgiving…his wonderful fool…

He quietly shares his apologies to you as you two hold each other close together. He didn’t want to be crumbled again, and he didn’t want to be crumbled…alone.

[emeritusemeritus]

Masquerade: you can fool any friend who ever knew you. [Fred Weasley]

**This is part 2 to a request you can find HERE**

Title: Masquerade, you can fool any friend who ever knew you.

Pairing: Fred Weasley x SarcasticHufflepuff!Reader {Idiots in love}

Timeline: Non-specified/ non-canon event.

Summary: Following Hogwarts’ anniversary masquerade ball, will Fred ever find the mystery woman he’s longing for, and can you, his best friend with a light crush on him, survive it?

*Updated Warnings: Unrequited love, idiots in love, friends to lovers all the usual divine tropes. Happy ending I promise. Minor sexual references, 1 mention of masturbation, George fancies Angelina. Slight angst? We have a massive crush on Freddie. Bonus points for anyone who knows where the title is from. Kissing, love confessions. Did I just write 5k words and none of it was smut?! There’s a mention of Paedophilia in the form of a passing age related joke*

Word count: 1.8k

Thank you to my wonderful Anon who inspired this two part fic with their brilliant request. This story flowed out of me and I was unable to stop writing. Did I cry writing this? Definitely Maybe 🖤

It was mid-afternoon and you were walking from charms when you felt a paper bird fly into your shoulder, confusing you as there was virtually no one around. You'd stayed behind after class with Flitwick to go over some extra work you'd asked for to boost your grade and became throughout confused at the random paper. Opening it, you couldn't help but smile, seeing Fred awful handwriting littering the inside.

'Little Badger- My dorm, 8pm?'

You knocked on the door, waiting for his signal for you to enter and walked into the dorm with a smile on your face, pausing once you noticed that George wasn't there.

"Where George?"

"Well I'm offended," Fred says, giving you blank look, "where's bloody George, am I not good enough now? Also hello."

"Hello trouble," you say, walking over to hop onto Fred's bed, instantly lying down on the surprisingly comfy and tidy bed. You squeal as you feel him jump in beside you, the tiny beds making you think that Fred would be jumping on you but he surprises you by scooting over to allow you to just lay beside him.

"What did you want to do?" You ask, turning your head towards him.

"Hmm?" He asks, half as if he's not listening and the other half as if he doesn't understand.

"You asked me here, what have you got planned?"

"Nothing really, just wanted to see you. It's not a crime is it?" He smirks, eyes soft.

"Only if you're a paedophile," you say bluntly, watching with glee as his eyes bulge and he bursts out a laugh at the dark joke.

"Rotten woman," he mumbles, earning a half-arsed shove on the shoulder as you smile at him.

"Fancy a nap?" You say, eyes closing as you find a comfy spot on the bed.

"How old are you?" He asks tauntingly, preparing to tease you over the need for a little sleep.

You open one eye, looking straight towards him with a smirk on your face, "do you really want me to make the paedo joke again?"

His hands instantly come out to tickle your sides and you beg for mercy as you squirm, almost falling off the bed in the close quarters a few times before he relents.

"Let's go to the kitchens," he suggests.

"Or.. let's take a nap."

"Astronomy tower?"

"Orrrrr a nap?"

"Bloody hell woman how tired are you? I'm offering a romantic date with food and a view, not to mention the giant squid, and all you want to do is to sleep!"

Despite your eyes remaining closed, you'd never felt more awake at the word 'date' so casually slipping from his mouth, a fire in your tummy beginning to ignite the very thought. You try to think of something to say, anything, in reply but you can't, all words failing you completely until you bring up the one topic you didn't want to talk about.

"Not sure your mystery woman would approve," you joke, though there's no real humour in your words. Fred snorts and you open your eyes to see him frowning off into the distance.

"Given up on her already?" You say, digging a little deeper, intrigued by his curious reaction. You watch as he frowns, turning his head slowly to look at you, eyes softening slightly the longer that he stares.

"Let's go to the black lake."

"Are you going to drown me?"

"What? No," he says in concern at your words.

"Alright, lead the way then Weasley."

It's bloody freezing when you reach the edge of the lake, the wind whipping through the trees like it's trapped between the tree line and the school, making you fight off a chill.

"Here, have my robes," Fred offers, his fingers reaching for the fastening.

"No Freddie I'm fine, you'll be freezing," you say, reaching up for his hand to stop him untying it.

He pauses, your hand still resting on his as he looks into your eyes, a soft smile ghosting his face.

"You haven't called me Freddie in ages."

"Sorry," you say, averting your gaze and pulling your hand away but he stops you, grabbing your hand and holding it in his. You see how his gaze diverts to your entwined fingers but you don't say anything, opting instead to take a deep, steadying breath.

"Your hands are freezing," he observes, his fingers squeezing yours gently.

"Yours are warm," you hum in return.

Suddenly, he looks up at you again with a questioning gaze, like he's looking into your soul.

"I want to try something," he says, not glancing away. You simply nod, hardly trusting your voice in the moment as you let him adjust you however he wants.

His right hand slips around your waist, the heat from his skin penetrating yours immediately, warming your side and yourself. You can barely breathe, you're certain he's never been this close to you before. You watch as he follows his hand with his eyes, gripping your waist with his long fingers before trailing his eyes up to your entwined hands. His gaze then trails up to your face and you look at him with an expression that you hope is neutral but is probably very far from it.

He starts to spin you on the rocky shoreline of the black lake, the two of you dancing under the moonlight without any music. It's beautiful and bittersweet all at the same time.

“It was you.”

"It was you," he repeats, sounding breathless, slowing his footwork only slightly. You frown, brows knitting together at his words, completely lost at what he was accusing you of.

"That night, at the ball, it was you."

"Freddie it wasn't me," you say quietly, your emotions bubbling to the surface, finding it too hard to deny any longer under his gaze. "I wanted it to be you that I danced with, I wanted it to be me that you wanted. I looked for you but... it wasn't me Fred."

Tears begin to well up in your eyes but you don't feel upset anymore; you think this is the last step in your grief, the acceptance. You knew that with one simple lie you could have Fred Weasley for yourself, that everything you'd ever wanted was right at your fingertips but you couldn't do it. Not to yourself and especially not to Fred.

"But you were there, it could have been you," he says with determination. Did he want it to be you? You reluctantly shake your head, wishing more than anything that it was.

"The guy I danced with had black hair," you say, wanting to break the gaze but finding it impossible. You feel a pang of sadness when he chuckles, head thrown back with a humourless laugh that makes your stomach lurch. He'd realised that it wasn't you after all. He pulls away from you and your heart breaks just a little bit more.

"You mean like this?" He asks, pulling out his wand and pointing it directly at his head. You scramble to get him to stop whatever he's doing but you're rendered completely silent when you watch with wide eyes and mouth agape as he casts a spell you don't know that immediately turns his fiery locks pitch black.

A sob escapes you as you look at him, hardly recognising the boy you'd loved forever seeing him with black hair, realising that it must have been him.

It really was him.

"There's about 6 people in this school with red hair and 4 of them are Weasleys, kind of defeats the point of being anonymous doesn't it," he says with a smirk. You're gobsmacked, still doubting what's in front of you.

"It really was you? The orange waistcoat with the gold stars?" You say, trying to pull the memory of the mystery man as clearly as you can.

"If you look in my wardrobe right now I can promise you it's hanging there," he says, pocketing his wand, the boyish smile returning to his lips.

"And my dress?" You ask, waiting for the moment he'd describe it wrong and this whole dream would slip away from you.

"Could kill a man," he says with a smirk, trying to calm your apparent nerves and denial. He describes it in near perfect detail, including your mask. You're breathless, lip quivering as you realise that it's really real.

"You believe me?" He asks, slowly moving forward. You nod, unable to find your voice.

"You trust me?"

You nod with more enthusiasm, never doubting your trust in him for a second.

He smirks, moving forward and you reluctantly hold out for hand to stop him, his smirk fading from his face instantly.

"Whatever happens next isn't happening until you look like you again," you say through a laugh, your eyes lighting up as he laughs too having forgotten about the black hair. He pulls out his wand and with a single effortless flick, he's Fred again.

This time he doesn't ask for permission, it's all in your eyes, the welcoming, the love. His hand grabs yours and he slowly pulls you into him, his right hand sliding onto your waist whilst his left hand tucks it self under your chin. There's a moment that passes as you look into each other's eyes where nothing else exists outside of the two of you. His eyes flick down to your lips as his fingers lift your chin ever so slightly whilst he begins to lean down.

His lips feel like pure magic against yours. It's like finding that perfect wand at Ollivanders that has chosen you, completely in sync and connected through a force invisible to the human eye.  You give in to the kiss without a second thought, allowing him to dominate the kiss, his tongue sliding deliciously against your own, the comfort of his pillowy soft lips nearly taking your breath away. It's everything you could have ever imagined and you can't imagine for a single moment from here that you could ever be without it again.

He pulls away eventually and you look up at him with shining eyes, tears of happiness welled up in your eyes at the years of torment finally absolved. He looks at you like he never has before, it's full of love, full of adoration.

"You have no idea how long I've wanted to do that," he admits with a chuckle that makes you snort at his stupid words.

"I'd wager that I have some idea."

[caught-tumbling]

I've been hospitalized and I've worked in mental health so I have some suggestions

1) You will see things that you don't understand. That's ok. As long as the behavior isn't harmful its fine. Unusual sentence structure, unusual requests, unusual movements, unusual associations, etc are just how some people function. So if you don't understand why someone is doing something try to just take it in stride, try not to laugh, stare, or look disgusted. When I was hospitalized a patient had a compulsion (I think) to shout their full name whenever someone said their first name, then they always looked embarrassed. So the best staff members just pretended it didn't happen which didn't stop the behavior but at least the patient was more at ease because they weren't being shamed.

2) People in psych wards often have a very dark sense of humor. Gallows humor gets us through. People will casually throw out the most upsetting and traumatic anecdotes as "funny" stories. You don't have to laugh along, just don't be too surprised. One benefit to being in a psych ward is a level of understanding most people don't have outside. People can drop a joke about the most horrifying shit they've survived and no one freaks out, they just laugh and share something equally messed up. That dark comradery was a weirdly healing part of my recovery. Sometimes as a staff member you'll have to intervene if people start looking uncomfortable but in general you just gotta shrug and move on.

3) Compassion, compassion, compassion. The difference between a good stay and a bad stay is compassion. Treat every patient as if they were a loved one. My worst stay the staff treated us like dangerous cattle. They didn't speak to us except to give orders, they ignored people in pain and distress, they refused every request just because they could. My best stay the staff ate with us, they played card games with us, they offered a hand to hold when someone was scared, they treated us like human beings. Just sitting with someone for a while can be huge.

4) Please report things. PLEASE REPORT THINGS. If a patient is harassing another patient, report it. If a patient is harassing an employee, report it. If a coworker is being cruel or neglectful towards patients, report it. If your reports do nothing then escalate it. I've reported patients, nurses, doctors, teams, even organizations both as a patient and as a professional. I've called the police. I've gotten people fired. You will need to do that sometimes. It sucks and is a little nerve wracking but you need to advocate for people's safety. The reports I made as a professional were taken way more seriously than the reports I made as a patient. The system is set up to dismiss patients so employees need to be more proactive. Please be an advocate. Some of the people you'll work with don't have any support outside the hospital, those are the most vulnerable people you'll probably ever meet and you won't always know who's in that group.

5) Talk to the patients. Avoid phrases like "I understand what you're going through" and use phrases like "I know this is hard" or "I'm here to help." If someone is having a hallucination or delusion that's upsetting sometimes it's better to work with the delusion than to deny it completely. If someone is worried there's bugs in their food just saying "no, that's ridiculous" won't help. But saying "I'll check to make sure there's no bugs" can help immensely. Some people will be scared of you due to anxiety, medical trauma, other trauma, or paranoia. You can't always change their mind. But you can show signs that you are a safe person. Little stuff like getting them an extra blanket, asking how they're doing, including them in their treatment plans, etc are vital but overlooked.

Help Me Train Nurses About Psych Stuff

I do a presentation at our hospital aimed demystifying mental illness and the people who live with it. The talk is for medical-surgical nurses, so specifically staff that does NOT work psych who feel ignorant about treating that population. A lot of the people I'm talking to are also young and still developing the foundation of their nursing practice.

If you've ever been in the hospital as a psych patient (or a psych patient navigating the medical system in general), what would you want the hospital staff to know based on your experiences? What advice or insight would you give?

I'd especially love anything about positive experiences, things that helped you, what someone did that improved the situation, stuff like that. In addition to saying what not to do, I'd love to give staff actionable things they CAN do instead.

[bayetea]

there are many things about hazel's povs that have an intensely de-racialized vibe to them (read: divorced from the black girl experience) but I think any black person will tell you that the most obvious sign is the complete lack of attention paid to her hair

like firstly:

she's from the 1930s her hair was definitely getting permed and straightened (it was not acceptable to just wear your natural hair out back then. optics + cultural assimilation/you'll be hard pressed to find photos of black american girls with unstraightened hair in that time period unless they're from like..... harlem)

I do believe that marie was straightening it for her For A Time but then she became more neglectful and stopped so hazel had to do it herself. I'm almost positive that hazel wouldn't have even been permitted to set foot in her school building without straightening it because that's just how much of an expectation it was

ok she comes back from the dead. what's she doing to her hair now bc it's not just gonna be cutesy effortless curls falling over her shoulder no matter what the length is

how does she feel about living in a time period where natural black hair is more accepted (read: more, absolutely not fully)

there are no black people around her At All. in fact she's around a lot of white people on the argo (+nico) so that would probably be giving her some intense feelings of double consciousness (look this term up if you don't know what it means) and that would inform how she feels about her hair

theoretically she ought to be wearing her hair in braids for simplicity's sake but I think it's more likely that she would cling to what she knows (perming/straightening) because it's not easy for a 14 year old girl (PSA hazel is 14.5 in hoo not 13 btw 👍) to go from assimilating to deeply-ingrained white hair beauty standards to just proudly wearing a distinctly black hairstyle all by herself

mind you black women and girls can do whatever they want with their hair and straightening/perming it does not always/have to come from a place of self-hatred or whatever but in this particular case back then straightening one's hair was political And a survival tactic. it was as normal as brushing your teeth. it was enforced through dominant cultural messagings about the Absolute Necessity of conforming to white conventions of beauty. if you don't understand then think of it similarly to how you'd think of 1930s women needing to be perpetually dolled up and modestly dressed in order to be considered "good women" and anyways I'm just saying that this would be a lot to unpack for a 14 year old girl so hazel's probably just continuing to do this impractical thing (straightening her hair all the time) like 60% out of habit and 20% out of shame and 20% she doesn't know what else to do

something something about a missed potential character arc regarding all of this and in general there's so little mind paid to race in hazel's povs which is just ridiculous to me because a black girl from the jim crow era should have at least a few feelings about where she fits into modern society even if that society is camp jupiter. rick demonstrates his capacity to talk about how his characters feel about their race most notably in the kane chronicles so I don't think was too much to ask for. see this quote from an early son of neptune chapter:

^ like....... hazel's feelings of out-of-place-ness are There in the text and important to take note of when understanding her character (note that she's been there for like a year already and she still feels like she doesn't belong) but the emphasis is always put on her Being from a different time or Being undead and is never put on her out-of-place-ness regarding her race as a black girl from segregation times who is literally so out-of-place in this weird post-racial camp jupiter society. it feels like such an obvious thing to consider so its glaring absence really bugs me when I reread her povs and it bugs me when her hair is never talked about by extension because It Matters

you might be thinking "well she had a lot going on and she's not a superficial person maybe she just didn't care what was going on with her hair" and my response is simply that Black girls don't get to "not care" about their hair it is not the same thing as a white person going to school with bedhead it's not the same thing At All (if you aren't black then chances are you've never actually seen what untouched black hair looks like in the morning), especially when it's been beaten into your head for your entire life that your hair is ugly and you have to "do something to it" for it to be acceptable (and again...... she's from the 1930s so that feeling is magnified like 50x over). remember that perpetually dolled up modest 1930s woman I mentioned previously. picture her time traveling to camp jupiter of all places in 2010 and struggling to drop all of her makeup/hairstyling routines and internalized misogyny and conceptualizations of what women are "supposed" to be. this is the kind of fascinating character exploration that we really missed out on with hazel (and tbh regardless of her race she was never believably written as someone from the 1930s. I don't think rick even really tried to be honest)

you might also be wondering "how was rick supposed to know/attempt to portray any of that" and then my second answer is that If you're going to write a character who is not the same race as you then you should do some research and we have the internet now so research has never been easier 👍 this would be especially important to do if that person is a poc from the jim crow era I think! (he could have at least googled black hair 1930s)

anyways what I choose to believe (this is pure fanfiction) is that during hazel's first year at camp jupiter (remember that she was there for about a year before son started) nico would have helped her figure something out after observing her distress over her hair c: like they both secretly watched youtube videos on black hairstyles circa 2010 and then they got attacked by monsters for using a laptop (neither of them know how to use a laptop but he's trying his best for her) but then after killing them he helped her do her hair as something she likes that is easy to maintain <3 (I could also see reyna doing this because she surely knows a thing or two from her spa days)

[justinspoliticalcorner]

Michael Tomasky at The New Republic:

I’ve had a lot of conversations since Tuesday revolving around the question of why Donald Trump won. The economy and inflation. Kamala Harris didn’t do this or that. Sexism and racism. The border. That trans-inmate ad that ran a jillion times. And so on. These conversations have usually proceeded along lines where people ask incredulously how a majority of voters could have believed this or that. Weren’t they bothered that Trump is a convicted felon? An adjudicated rapist? Didn’t his invocation of violence against Liz Cheney, or 50 other examples of his disgusting imprecations, obviously disqualify him? And couldn’t they see that Harris, whatever her shortcomings, was a fundamentally smart, honest, well-meaning person who would show basic respect for the Constitution and wouldn’t do anything weird as president?

The answer is obviously no—not enough people were able to see any of those things. At which point people throw up their hands and say, “I give up.” But this line of analysis requires that we ask one more question. And it’s the crucial one: Why didn’t a majority of voters see these things? And understanding the answer to that question is how we start to dig out of this tragic mess.

The answer is the right-wing media. Today, the right-wing media—Fox News (and the entire News Corp.), Newsmax, One America News Network, the Sinclair network of radio and TV stations and newspapers, iHeart Media (formerly Clear Channel), the Bott Radio Network (Christian radio), Elon Musk’s X, the huge podcasts like Joe Rogan’s, and much more—sets the news agenda in this country. And they fed their audiences a diet of slanted and distorted information that made it possible for Trump to win. Let me say that again, in case it got lost: Today, the right-wing media sets the news agenda in this country. Not The New York Times. Not The Washington Post (which bent over backwards to exert no influence when Jeff Bezos pulled the paper’s Harris endorsement). Not CBS, NBC, and ABC. The agenda is set by all the outlets I listed in the above paragraph. Even the mighty New York Times follows in its wake, aping the tone they set disturbingly often. If you read me regularly, you know that I’ve written this before, but I’m going to keep writing it until people—specifically, rich liberals, who are the only people in the world who have the power to do something about this state of affairs—take some action.

[...]

This is the year in which it became obvious that the right-wing media has more power than the mainstream media. It’s not just that it’s bigger. It’s that it speaks with one voice, and that voice says Democrats and liberals are treasonous elitists who hate you, and Republicans and conservatives love God and country and are your last line of defense against your son coming home from school your daughter. And that is why Donald Trump won. Indeed, the right-wing media is why he exists in our political lives in the first place. Don’t believe me? Try this thought experiment. Imagine Trump coming down that escalator in 2015 with no right-wing media; no Fox News; an agenda still set, and mores still established, by staid old CBS News, the House of Murrow, and The New York Times.

That atmosphere would have denied an outrageous figure like Trump the oxygen he needed to survive and flourish. He just would not have been taken seriously at all. In that world, ruled by a traditional mainstream media, Trump would have been seen by Republicans as a liability, and they would have done what they failed to do in real life��banded together to marginalize him. But the existence of Fox changed everything. Fox hosted the early debates, which Trump won not with intelligence, but outrageousness. He tapped into the grievance culture Fox had nursed among conservatives for years. He had (most of the time) Rupert Murdoch’s personal blessing. In 2015-16, Fox made Trump possible. [...]

The fake story about Haitian residents of Springfield, Ohio eating cats and dogs, for example, started with a Facebook post citing second- and third-hand sources, Gertz told me; it then “circulated on X and was picked up by all the major right-wing influencers.” Only then did Vance, a very online dude, notice it and decide to run with it. And then Trump said it himself at the debate. But it started in the right-wing media. Likewise with the post-debate ABC “whistleblower” claims, which Gertz wrote about at the time. This was the story that ABC, which hosted the only presidential debate this election, fed Team Harris the questions in advance. This started, Gertz wrote, as a “wildly flimsy internet rumor launched by a random pro-Trump X poster.” Soon enough, the right-wing media was all over it.

Maybe that one didn’t make a huge difference (although who knows?), but this one, I believe, absolutely did: the idea that Harris and Joe Biden swiped emergency aid away from the victims of Hurricane Helene (in mostly Southern, red states) and gave it all to undocumented migrants. It did not start with Trump or his campaign or Vance or the Republican National Committee or Lindsey Graham. It started on Fox. Only then did the others pick it up. And it was key, since this was a moment when Harris’s momentum in the polling averages began to flag.

[...]

To much of America, by the way, this is not understood as one side’s view of things. It’s simply “the news.” This is what people—white people, chiefly—watch in about two-thirds of the country. I trust that you’ve seen in your travels, as I have in mine, that in red or even some purple parts of the country, when you walk into a hotel lobby or a hospital waiting room or even a bar, where the TVs ought to be offering us some peace and just showing ESPN, at least one television is tuned to Fox. That’s reach, and that’s power. And then people get in their cars to drive home and listen to an iHeart, right-wing talk radio station. And then they get home and watch their local news and it’s owned by Sinclair, and it, too, has a clear right-wing slant. And then they pick up their local paper, if it still exists, and the oped page features Cal Thomas and Ben Shapiro. Liberals, rich and otherwise, live in a bubble where they never see this stuff. I would beg them to see it. Watch some Fox. Listen to some Christian radio. Experience the news that millions of Americans are getting on a daily basis. You’ll pretty quickly come to understand what I’m saying here.

[...] The reason? The right-wing media. And it’s only growing and growing. And I haven’t even gotten to social media and Tik Tok and the other platforms from which far more people are getting their news these days. The right is way ahead on those fronts too. Liberals must wake up and understand this and do something about it before it’s too late, which it almost is.

Michael Tomasky of TNR explains it perfectly: Donald Trump won due to the right-wing media apparatus feeding lies to the voters.

[mayasaurusss]

TRANSFEM VIRGIN JACKIE TAYLOR X READER PLEASE PLEASE PLEASE PLEASE

Transfem virgin Jackie Taylor blurbs

Contains: transfem Jackie, smut, 1700 k words blurb.

A/N: I'm so sorry to have delayed this for so long anon😥. I promise that next time I'll do it quicker and also more explicit🙇‍♀️ It's not as explicit as my other recent Lucy nsfw blurb, but I hope you guys will enjoy it still! P.s i know that's Rhiannon in the photo, just pretend it's Jackie alright?

Jackie who survived the wilderness, who has come out of it scarred and traumatized. She has seen death and famine, and her personality and mental health become severely affected. She is introverted, shy and her outgoing personality has been frozen under pain and nightmares.

But she pulls through, and manages to go to college like she had wanted. She thinks that she can make a new life for herself, but as it turns out, college life isn't what she is supposed to be: making friends is hard, exams are tough and her professors are just shitty people. After all she has been through, she doesn't think that she'll be able to have any friendship ever again, not like the one she had with Shauna, anyway.

She doesn't have any roommates until you show up. One day you just barge in her room, suitcase in hand and say "I'm your new roommate!". Truth to be told, as much as she wishes for a friend, Jackie would rather have some peace and quiet. That's what she says to herself anyway, until your company starts to grow on her. She didn't really understand how lonely she was. You guys start to spend your nights together, playing card games, chit chatting, watching movies on Netflix and so on. But slowly, something happens to Jackie's heart. Nothing major, of course, but she feels...weird. Why does her heart throb when she sees you? And what about the butterflies in her stomach? Why is she jealous when other guys and girls flirt with you? And why is she so damned angry at you for not realizing their intentions?

Maybe she is just envious or jealous, but the thought of other people trying to get in your pants makes her angry. For a while, she thinks she's being unreasonable: you are her first friend after the incident; of course she'd want to gatekeep your relationship. And after all, she seems only to attract people who will hurt her and who she will hurt. She distances herself from you, thinking that maybe "I'll be a bad influence, I should just leave them alone". But then one day, she makes a connection.

You have been gone to class for half of the day, leaving her alone inside your dorm room. She needs a little bit of space, and she has been stressed for a while.

She watches as two women grind against each other's bodies on her phone, their skin sweaty and their kisses passionate. One of them pulls out a strap and ties it to her hips, sinking it inside the other's. Jackie sits underneath her covers, stroking herself, curling her fingertips downward at the base, when a thought flashes inside her mind. "Wish we could do that..." and her brain immediatley swaps the bottom's face with yours, interchanging you between the dominating and the dominated. Her heart races, thoughts of you two on her bed, together, grinding against each other... and then kissing tenderly after all is done, giggling and falling asleep together. The feeling inside Jackie's heart is warm, so good that it makes her ache. And as she comes down from her high, she puts two and two together: she has already felt this way once, long ago in the cold of the wilderness, and recalls the pain of how she felt when she had-. Jackie stops and understands, an almost guttural "Fuck!" comes out of her throat.

And as if the situation is not bad enough, you come in a few minutes after her little panic attack. She's still naked underneath the covers, goosebumps travel along her skin when she sees you coming in. She makes an effort in justifying why she was naked underneath, "I just sleep this way when I'm hot, you know?" you make no remark on how it's november and her covers aren't warm enough to sleep under unless she wears something, but oh well.

Jackie who feels embarrassed to masturbate from then on. No matter how hard she tries, you're inside her mind, constantly. She tries to muffle her moans on her covers, stroking up and down her length with you sleeping soundly on your bed. You'd be horrified, she thinks, at the images she has of you in her mind: above her bouncing and with your hands at her throat, beneath her on all fours, cuddled in her arms while she moves from behind...

Jackie who has a hard time going to her lessons because no matter what she does, you just seem to not get out of her head. She needs you to have her in your arms, kissing her. Who has to go out of class early to take care of her little problem.

Jackie, who feels bad about masturbating with you in her mind, who feels dirty and unlovable as she does so, but she can't help it, her body can't help it. And all the while, a little voice tells her that "You're not good enough" and "They won't love you, How could they love you of all people? She didn't love you, he didn't love you; why should they? ".

Jackie who steals glances of you, imagining your hands on her chest, your lips on hers. Who yearns to kiss you so bad it hurts. Who has to go to the bathroom at least once per night whenever you two are spending time together. You don't know what she is doing, but shrug off your concerns.

Jackie who finally gets caught by you. You stand outside the doom room, listening to the sounds coming from the other side. Moans, groans, wet movements and little slips of your name here and there make it obvious to you what Jackie is doing. You slip inside the room, as slowly and quietly as possible, watching how Jackie is bucking up in her hand, hips chasing upwards the feeling. You smile, deciding to approach her with a simple "Hey" but your voice gives Jackie a small heart attack and she shouts, covering her body as best as she can, leaving her chest out in the open and her legs uncovered.

"How...how long have you been there?" she asks, blood freezing with shame and mind racing, trying to understand if you've heard her say your name. "Long enough to understand what's going on" you sit on the bed, too close for her liking, giving her a knowing smirk that she already knows the meaning of. "You were thinking about me, weren't you?" her body stops, missing heartbeats and air. She can feel tears prickling at her skin, but you quickly say to her "I-No Jackie, I liked it". From then on, you tell her how you wished to do the first step, but how you were always so scared that she might've not liked you, how you yearned for her lips on yours. The moment you two are done talking about your feelings, you all but leap into each other's arms.

Jackie who can't help but get hard almost instantly. She can feel blood traveling through her veins, pooling at her crotch, warming her skin and flesh. Who will have to clench her hand around her cock to ground herself, to avoid cumming just from kissing you. She will feel so good from just kissing you that a drop of cum falls from her slit, signaling just how full she is, ready to let all of her pleasure out.

Jackie who feels so incredibly good when you ignore her cock and press two fingers beneath her balls, mimicking fingering her. She's already so hard as it is, and your actions only serve to egg her on more.

Jackie whose hands are shaky as she undresses you, full of eagerness and craving every part of you. Who, as soon as your chest is naked, will plant wet open mouth kisses on any inch of your skin, feeling your muscles harden against her ministrations.

Jackie who will climb on you, cock pressed between your and her stomachs, grinding back and forth. Who will get off like that, grinding on your stomach. Who will spend her time under your crotch, head pressed in between your hips and the mattress. Who will feel euphoric and decide to not touch herself in any way.

Jackie who's cock throbs in need, tip and balls red as she desperately tries to hold it in, wanting only your hands on her.

Jackie who confesses, as you are about to push her length in, that she is a virgin. She sweats and apologizes, already ready for you to leave her hanging, but then lets out a loud gasp when she's finally stilled inside of you.

Jackie who trembles as you ride her into oblivion, hands shaky gripping with force at your sides, short of breath and eyes rolling backwards. She has never felt this way with anyone else, not Jeff nor Shauna, just with you. It's euphoric, it's amazing, and she doesn't wish you to stop anytime soon.

Jackie who has very low stamina but a super high libido. She'll release the precum already five minutes after you start to bounce on her, staining white the condom she wore, panting like she just crossed the line in a marathon run. You haven't even cummed yet, and as you're about to hop off of her, she grabs your hips again and mumbles incoherently, grinding you back against her as she starts to harden again.

Jackie who at one point, decides to move you and fuck you from above, fingers gripping the sheet near your head. She moves erratically, gasping and panting and moaning, her hips pushing into you at a speed you didn't even know she was capable of. Her cheeks are as red as a tomato, lips coming to settle on yours as she moves back and forth, back and forth.

Jackie who, when she cums, sees stars behind her eyelids and feels like she's about to faint.

Jackie who falls asleep almost immediatley between your arms, snoozing off with the knowledge that she has finally found someone to rely on.

[bisexualchaosdemon]

Bro, you don't understand, I had no intention of writting this, I had shit to do today, but it has possessed me. Send help!!

When Stuart rescues Nathaniel from certain death, he doesn't hand him over to the feds — He hands Nathaniel over to Ichirou Moriyama.

Ichirou wants a shiny new guard dog to match his shiny new throne. Nathaniel has never had any interest in using his skills like that, but he had forgotten all of his mother's advice. He stayed too long and he grew attached. All Ichirou had to do was threaten the Foxes safety and claim to have already taken one out as a warning to get Nathaniel to fall in line. Hearing that he had gotten Andrew killed was enough to convince Nathaniel to bury the final dregs of his humanity.

The Butcher lived to kill, enjoyed it, took his time, and he became a monster with his own urban legends. But Nathaniel was the opposite. He was quick and clean, because he hated killing. He was not a cautionary tale, he was a ghost. They turn Nathaniel into a personal driver and pilot for Ichirou. The body guard is too obvious, but no one really looks twice at the driver. The only person to ever utter the nickname 'the surgeon' was Ichirou.

Nathaniel had been forced to use knives like a Wesninski was meant to and it took time for him to spill enough blood to earn the trust of the Moriyamas. But when he did, he started to dismantle their empire. He adopted his mother's weapons of choice when carrying out his vengeance, so that Ichirou would not know it was him gunning them down until Nathaniel wanted him to know.

By the time he put a bullet between Ichirou's eyes, over two years had passed. But Neil Josten was dead, and Nathaniel didn't know what to do with himself now that the family he left behind were safe from their largest threat. It's months before he works up the courage to check on his old life, and he starts small. He starts with Jean, because he doesn't think he could survive reading anything about Andrew. But slowly he starts to look in on the Foxes that have already graduated. It's not until he gets to Kevin that he finds Andrew's name mentioned.

He closes the article immediately. He had been avoiding that pain for two years, he didn't know how to address it now. It takes three articles for Nathaniel to realise that Andrew is still being referred to in the present tense. When he finds the same in articles four and five, he finally searches Andrew's name.

There is nothing about his death to be found. It's not possible, but he's still listed on the line-up, right alongside his twin and cousin; Andrew Minyard, number three, starting goalkeeper for the Palmetto State Foxes.

And Nathaniel is on a plane to South Carolina without a second thought, cluching desperately to the torn and bloodied black fabric that Ichirou Moriyama had tossed at his feet when he had refused to pick up their blades all those months ago. He had never intended on letting the Foxes see the monster he had become, but he had to know the truth. He had to see Andrew with his own eyes to believe it.

I want "Neil died in Baltimore" Andrew and "The Moriyamas killed Andrew as a warning" Neil to meet

[cloudxgears]

I like to think that the way Jinx reacts to seeing Vi in the enforcer uniform is less about what happened to their parents and more about how her Vi never would have done that and realising the Vi she understood and who was familiar and safe and recognisable to her is gone for good. Because obviously no one in the Undercity likes enforcers or their topside oppressors, but Jinx is never once shown with the same vehement hatred of enforcers that young Vi had.

I think this is just about Vi. It's about Jinx's disappointment towards the big sister she spent her life looking up to, and her shock that Vi's life experiences were that bad that they've led her to lose any character and principles she used to have.

I really don't think Jinx ever cared as much about gaining freedom for Zaun and revenge on Piltover as young-Vi and Silco did. Jinx' world was always quite insular. She focused on her special interest and developing her talent, making bombs and weapons, to enable her survival, improve her self-esteem and to try to help the ones she loves. Everything she did was about proving she could survive after coming from nothing and being the kicked puppy, and to prove herself to the ones she admires.

The whole point of the teaparty scene was about deciding who to trust and who to choose and if it had happened differently she would have gone off with Vi and done what it took to make Vi keep loving her and if that meant not using the bomb she wouldn't have done it.

She isn't exactly driven by revenge like pre-teaparty Vi and post-Cassandra Cait, or by wanting dignity and wider respect like Silco and young-Vi. She's driven by loyalty and her desire to be valued and seen by those she loves, and she has no one left to be loyal to, Silco is dead and her Vi isn't there anymore, so she's dead inside.

Having her own daughter to care for (and probably losing her) is what will make her want to become a symbol and put the fire in her to truly want revenge for the first time.

But that moment in the smog seeing Vi in uniform below her is the moment the teaparty and watching Jinx use the bomb on the council building was for Vi. It's Jinx' first moment realising Vi isn't safe for her anymore and has become a total stranger. That's when she's confronted by understanding that she'll never get her Vi back again and she doesn't have the history or connection to this new woman anymore to be able to understand her. It's the first time realising the memory of the Vi she has loved and hated and held on to all this time has been extinguished by this imposter.

And she naturally has a total panic attack at the loss.

It gives you more understanding of Vi's internal feelings about Jinx. Vi doesn't show her reactions in the same big way Jinx does. She had to be Powder's parental figure as a kid and she desired to follow in Vander's footsteps and become a leader one day, so she had to constantly maintain a positive and strong front and suppress anything else. She always made sure whenever Powder looked up at her to project, 'Everything is going to be fine, because I will make it so, don't worry :)' because she was a great big sister.

And then she was locked in prison for 7+ years where she couldn't afford to show weakness or have obvious breakdowns. Also I like how her coping mechanism is shown by her general attitude to be optimism, and even in somewhere as desolate as Stillwater it's easy to imagine her against all odds fighting to maintain a can-do attitude and having a mantra of 'It will be fine and I'll get out of this one day because I have to', and that mindset takes a lot of suppressing too.

So she implodes rather than explodes in a way that's difficult for an observer to notice or understand. Which is why her S2 actions so far look so wack to most people.

The moment in the smog and the panic attack after is the first time Jinx is having the same big realisation Vi had to her during Season 1, realising that is not her safety or the big sister she can look up to anymore. It's losing a part of herself that Jinx admits at the end of S1 has kept her alive all these years.

[madbard]

“Ford is irredeemably self-centered” this, “Ford’s a bad person” that, etc…

Alright. Tell me then.

What was he supposed to do?!?!

Be a better brother? Ford loved Stan! When they were children, Ford took care of his brother as best he could. But Ford was also a kid in a bad situation, and there were limits to what he could do. Not to mention that Stan relied so heavily on Ford that it honestly wasn’t healthy for either of them. Stan couldn’t stand by himself and he wasn’t trying. They were both struggling; maybe pin that on the parents instead of the kids.

Not be angry at Stan for messing with his experiment? Of course Ford was angry! This was his dream college; in that moment he thought his entire future was crumbling. I assure you, if my sibling had ruined my chances of getting into my dream school I would have been more than a little upset, and I’m sure the same goes for most of the people reading this. Of course, Ford did hold onto that anger for considerably longer than was justified, but in this case I would argue that Ford less “held a grudge for 10 years out of spite” and more “never got the chance to make things right with his brother and held onto that anger because it was better than the nauseating guilt over that final argument, the uncertainty at times that his brother was even alive.” (Which is not to say that Ford isn’t spiteful. Our man has plenty of spite. But him being spiteful is not the only thing going on here.) Which brings us to our next point.

Stop Stan from being kicked out? How?! That household does not appear to have been a safe place for either of the brothers. Should Ford have gotten himself kicked out too? Should he have known exactly what to say to talk his father down - the man who just violently threw his twin out of the house? Ford didn’t kick Stan out. He just wasn’t able to stop it from happening, and that’s not something any teen should be blamed for.

Behave himself when reuniting with Stan at the culmination of the worst period of his life thus far? There’s stress. And then there’s being dangerously sleep-deprived and at the mercy of a horrifying demon that betrayed you, leaving you alone in a shack in the woods with no one to call for help except your estranged brother, who’s complaining about a mullet, of all things. Yeah, I’m not going to say Ford’s behavior was anything other than atrocious here. But really. How well would you handle that?

Thanked his brother? Stan could have destroyed the universe; it makes sense that Ford’s upset! He’s also had literally decades to stew in the terror and fury he experienced in those last moments before falling through the portal (something which almost certainly would not have happened if it weren’t for Stan). Again, Ford’s not acting like the world’s best brother here, but it’s understandable.

Ford’s not perfect. He can be arrogant, spiteful, and bitter. He makes serious mistakes (often due to his own hubris) that put himself, his loved ones, and sometimes the entire universe in grave peril. Ford is, in fact, deeply flawed. That’s part of what makes him a fun character! It’s also what makes him a well-written and believable character. Yes, Ford acts like a jerk. He does so quite often.

Ford also spends nearly the entire narrative bouncing from one deeply toxic situation to another, desperately trying to survive and make life better for himself and his family and watching as his brother makes mistake after mistake - sometimes making choices with severe, negative consequences on Ford’s own life.

Ford is doing the best he can. He’d not a bad person. He tries to be good. He tries to do the right thing.

He just fails sometimes.

Don’t we all?

[bickbickbarnes]

Hello! I'm a black woman and I just wanted to say thank you to the large number of Jews who showed up for Harris. It made me feel a little less alone and a little less sad. I also wanted to say i'm sorry about the absolute nightmare levels of antisemitic bullshit going on. I don't understand how these people sat through history classes, saw the horrors that were enacted upon Jewish people time and time again, and think what they were doing is ok.

Oh god, I feel weird about being thanked for voting in like. A bare minimum of morality. And I really really don’t want what I said prior to sound like I want anyone- let alone black women- to owe/give me any thanks for that. I don’t think it’s owed. We’re all voting for our- collective- survival and benefit.

When I talk about being hopeful that other groups, especially the black creators I see talking about it, notice that Jews showed up- I really mean the second half of what you said. We shouldn’t be alone. We shouldn’t feel alone. We’ve been connected in the states since the civil rights movement (and in many cases, before- they were exiling Jews from the south prior to the civil war). The same groups hate both of us. We don’t need to have friction with eachother.

And while I could write an essay about racism in the Jewish community and antisemitism in the black community- it….really would be an essay.

So to sum up: thank you for recognizing antisemitism. Thank you for noticing it’s rising. Thanks for listening to us. Thank you for either knowing Zionism wasn’t the propagandized pure evil it was made out to be this year- or for taking a minute and rethinking that. Thanks.

[sassypotatoe1]

Oh I know this one! I'm a huge horror fan and not in the usual way I don't care for slashers or final girl survival horrors, I like the more actually spooky and less gruesome stuff, and a part of loving horror is understanding the genre.

No one in my family enjoys horror, fair enough it's not for everyone, and a lot can be said to criticize horror and various horror sub genres. Rape and vore and gore is used too often as shock factors or tactlessly handled. Platforming fucked up world views accidentally or otherwise through horror and using the fact that it's horror as an excuse? Meh not a fan but somewhat more understandable.

The thing about horror as an overarching genre is that it's not intended to scare, I mean it is but that's not the central goal. It's meant to explore the things we are most uncomfortable with. It can do that through scaring, but also through tragedy, through mystery, through thrills and chills (more lighthearted spooks), through morbid comedy, and through heavy fictionalization of very real things.

The thing is, though, horror is only effective specifically with the people whose horror it's addressing, and even then only if it addresses it correctly according to the expectations and experiences of that sub group. (I hit post before I finished oops)

A horror that is effective for me is one that rather focuses on the beauty, reverence and tragedy of the beyond, than cheap scares and shock factors. A ghost story where the ghost may or may not be real. It could be a supernatural entity doing spooky shit, or it could be a manifestation of the deepest most painful experiences of human existence. A ghost can be a malevolent entity, or a figment representing malevolent experiences that are difficult to understand and wrap your head around.

Haunting of hill house explores sudden and traumatic loss, bly explores a loss you know is coming for a long time before it arrives, the turn of the screw (another adaptation of the short story bly is based on) focuses more on how terrifying mental illness can be for those who suffer from it. Lavender (2016) explores imo csa tactfully, depicting it as a family of ghosts luring a lone survivor of a tragedy back home to take revenge on the actual killer, while also exploring how survivors of childhood trauma and especially csa can feel shame and responsibility for the things that happened to them. It even addressed suppression of traumatic memory semi effectively.

You can tell my bias for the sub genre of trauma and tragedy explored through a lense of the supernatural. This sub genre of horror isn't good to everyone. They rarely have gore, they have limited or highly artful jump scares, they favor subtlety over shock value and they make use of the set and the score to tell the story rather than any scary events overtly portrayed. They still have those, but it takes second stage to the story. People who love more traditional horror, jump scares, ghosts that are visible and vocal and violent, straightforward stories where everything is explicitly explained, that's more appealing to a lot of people.

Slashers rose to fame because of the rise in serial killers, found footage worked because we were shifting from analog to digital media and digitizing old analog media unearthed a lot of random shit and sometimes strange and unsettling shit, and people wanted to explore that concept more deeply.

In the 60s horror was a pretty new genre to my knowledge. The closest we got was snuff films (which are mostly lost to time thank god) and Gothic horror, monster films with practical effects, it was a whole new concept and they were testing the waters with godawful tech and even worse makeup, but they stood the test of time because they were the first steps to a whoooole new type of media, where people could explore the most extreme and terrible things we experience in a way that is safe, it feels safe. People like horror because you can walk away from feeling the things you're too scared to feel usually, and go right back to regular life like nothing happened, because technically nothing did.

Now I'm no film historian, the above information is pieced together from random shit I've heard and read and watched over the years, but I think I got the gist of it. Horror sucks from generation to generation, person to person even, because whatever is happening in society at the time, or to the individual in their life, will affect what themes and tropes hit hard for them.

Hill house works for me because I've experienced sudden and traumatic loss and it manages to capture how the grief actually feels over the years. Bly manor works for me because I'm queer, but also because my grandmother had Parkinsons, my grandfather had dementia, my other grandfather had esophageal cancer, and knowing what's coming didn't make a difference in any way to how intensely I've grieved them.

Lavender works for me because I was traumatized by csa and early exposure to sexual materials, and I have had to fictionalize my trauma to be able to cope with it my whole life, and my memory isn't reliable, and if I'm ever driven to it by highly extreme circumstances I would probably benefit from getting retribution for all the shit everyone in my life has put me through.

Slashers aren't good to me because it's cheap shock value, and I feel like a lot of my generation feels the same. Though they seem to be making a bit of a resurgence, and I'm curious to see what the reasons are. Older generations don't like the more subtle mindfucky horror I like, because they don't want to have to think about it. They want cheap thrills and chills and excessive gore that you have to suspend your disbelief for.

I haven't been able to figure out what about slashers are good to older generations, but I would like to know more. This is getting too long and I think I've said what I wanted anyway so yeah, the world sucks in different ways now than it did 20/30/50 years ago, and fictional media will reflect that.

"Why does Gen Z suck shit at horror?" every generation sucks shit at horror. In the 2000's they were sucking shit at found footage, in the 80's they were sucking shit at slasher flicks, in the 60's -- Jesus, in the 60's they sucked so much shit someone went and made a whole TV show where a bunch of guys watched horror movies from the 60's and made fun of how much shit they suck.

[duskdawnallen]

okok so i said that “i’ll make a man out of you” reminds me of steph and cass in different contexts (concerning bruce) and i should probably explain what i mean

special mention to my pookie whos kinda the reason im even posting this 😞💪 @ashistrashhh

i mean yeah the song can be linked to all the batkids but i think cass and steph the most. heres why

okay so steph, like her and bruce do not really get along. like at all. and shes always defying his orders and doing her own thing and hes trying to boss her around but shes not having any of it you know??

so like the stanza(?), is that the word for it idk. anyways

“Heed my every order, and you might survive

You're unsuited for the rage of war

So pack up, go home, you're through

How could I make a man out of you?”

the second and third line is him firing her from robin and telling her he doesn’t wanna see spoiler out on the street, but she doesn’t really listen. and like “how could i make a man out of you?” is him basically saying that bc robin has been boys before, he wants her to be like them. idk if that makes sense??

okay and for cass, its like canonically maybe? bruce said that cass was the only one who understood his mission the most. and the fact that when he asked her who she was loyal to, her dad, him or babs, she pointed at his bat symbol (did that happen? i cant remember) anyways point is, shes the best option to becoming the batman when bruce passes because she gets it and she follows his crusade more than the other kids ever have

You must be swift as the coursing river

(Be a man) with all the force of a great typhoon

(Be a man) with all the strength of a raging fire

Mysterious as the dark side of the moon

So it’s like her being a man (Batman), I can’t explain it but do you understand?

[happyunbday2u]

So I saw Venom and oh my god did that movie almost make me cry-

• venom liking the dogs and saying he won’t eat them was strangely cute

• “We. Are-“ “WE ARE A VENOM!” “..We. Are-“ “VENOM!” “No-“ “OH” “Yeah.” “We-“ “WE” “Are” “VENOM” “We need to work on that”

• How the fuck did Mulligan survive? I thought he was dead

• OMG THERES MORE SYMBIOTES

• I have an urge to draw the venom horse and all the other animals but the motivation to do it is so LOOOOOWW

• I understand that Dr. Payne sees the symbiotes as these amazing creatures and that her main goal is to fully understand them but ma’am when a soldier tells you he lost three people because of some other freaky ass alien you do not ask if he can collect any samples

• The Moon Family seems like the type of family I’d hang out with tho why would you name your kids Echo and Leaf and OH MY GOD RHYS IFANS IS THE DAD HOLY SHIT

• For anyone who doesn’t know actos he played Dr. Curtis Conners/Lizard in the Amazing Spider-Man with Andrew Garfield

• Venom singing along in Eddie’s head with the family is funny and cute to me

• “you would’ve been a great father, eddie”

• Guys I think Venom has a gambling addiction also he canonlly thinks that Eddie looks like someone who would win the Sexiest Man Alive award

• MRS CHEN!!!!!

• Also when did they learn to dance in sync?

• The shoe gag is so funny to me and idk if that’s cause my humor is broken or it’s actually funny

• Oh look it’s the Moon family again I sure hope nothing traumatizing happens to them 😃

• OH MY GOD MORE SYMBIOTES THEYRE SO COOL AND THEIR DESIGNS ARE SO- NOOOO WHY ARE THEY DYING

• Venom being so nice to the little kid will forever be cherished by me

• Holy Shit Dr. Payne has her own symbiote

• The fact that Venom still protected Eddie even as he was about to die was the saddest part of the movie and there’s no way it could get sadder-

• “Hey buddy, I just had a crazy dream… buddy?” "He’s not coming back." "But I need him back." "He wasn't meant for this place, you couldn't have kept him. and he couldn't have kept you."

• At least Eddie made it to New York and saw Lady Liberty just like Venom wanted and wHO THE FUCK CHOSE MEMORIES FROM MAROON 5 AS THE SONG FOR THAT SCENE?!?

This movies was amazing and now we all say thank you tom hardy for making this movie, tho I would like to see Eddie helping Payne with her symbiote