#i hate seeing fans argue over theories

[physalian]

What No One Tells you about Writing #3

Opening this up to writing as a whole, because it turns out I have a lot more to say!

Part 1

Part 2

1. You don’t fall in love with your characters immediately

But when you do, it’s a hit of serotonin like no other. I’d been writing a tight cast of characters for my sci-fi series since 2016 and switched over in a bout of writer’s block this year to my new fantasy book. I made it about ⅓ through writing the book going through the motions, unable to visualize what these new characters look like, sound like, or would behave like without a ‘camera’ on them.

Then, all of a sudden, I opened my document to keep on chugging with the first draft, and it clicked. They were no longer faceless elements of my plot, they were my characters and I was excited to see what they could accomplish, rooting for them to succeed. Sometimes, it takes a while, but it does come.

2. Sometimes a smaller edit is better than a massive rewrite

Unless you’re changing the trajectory of your entire plot, or a character’s arc really is unrecoverable, sometimes even a single line of dialogue, a single paragraph of introspection, or a quick exchange between two characters can change everything. If something isn’t working, or your beta readers consistently aren’t jiving with a character you yourself love, try taking a step back, looking at who they are as a person, and boil down what your feedback is telling you and it might demand a simpler fix than you expect.

Tiny details inserted at the right moment can move mountains. Fan theories stand on the backs of these minutiae. One sentence can turn a platonic relationship romantic. One sentence can unravel a fair and just argument. One sentence can fill or open a massive plot hole.

3. Outline? What outline?

Not every book demands weeks upon weeks of prep and worldbuilding. I would argue that jumping right in with only a vague direction in mind gives you a massive advantage: You can’t infodump research you haven’t done. Exposition is forced to come as the plot demands it, because you haven’t designed it yet.

Not every story is simple and straightforward, but even penning the first draft with your vague plan, *then* going back and adding in deeper worldbuilding elements, more thematic details, richer character development, can get you over the writer’s block hurdle and make it far less intimidating to just shut up and write the book.

4. It’s okay to let your characters take the wheel

I’ve seen writing advice that chastises authors who let their characters run wild, off the plan the story has for them. Yeah, doing this can harm your pacing and muddy a strong and consistent arc, but refusing to leave the box of your outline greatly limits your creativity. I do this particularly when writing romantic relationships (and end up like Captain Crunch going Oops! All Gays!).

Did I plan for these two to get together? No, it just happened organically as I wrote them talking, getting closer, getting to know each other better in the circumstances they find themselves in. Was this character meant to be gay? Well, he wasn’t meant to be straight, but you know what, he’d work really well with this other boy over here. None of that would have happened if I was bound and determined to follow my original plan, because my original plan didn’t account for how the story that I want to tell evolves. You aren’t clairvoyant—it’s okay if it didn’t end up where you thought it would.

5. Fight. Scenes. Suck.

Which is crazy because I love fantasy and sci-fi, the actiony-est genres. Some authors love battle scenes and fistfights. It comes naturally to them and I will forever be jealous. I hate fight scenes. I hate blocking and choreographing them. I hate how it doesn’t read like I’m watching a movie. I hate how it could take me hours to write a scene I can read in 5 minutes. I hate that there’s no way around it except to just not write them, or put in the elbow grease and practice.

Whatever your writing kryptonite is, don’t be too hard on yourself. It won’t ever replicate the movie in your head, but our audience isn’t privy to that movie and will be none the wiser of how this didn’t fit your expectations, because it’s probably awesome on its own. It could be a fight scene, sex scene, epic battle, cavalry charge, courtroom argument, car chase—whatever. Be patient, and kind to yourself and it will all come together.

6. Write the scenes you want to write first

And then be prepared to never use them. It can be mighty difficult working backwards from a climax and figuring out how to write the story around it, but if you’re sitting at your laptop staring at your cursor and watching it blink, stuck on a tedious moment that’s necessary but frustrating, go write something exciting. Even if that amazing scene ends up no longer working in the book your story becomes, you still get practice by writing it. Particularly if you hate beginnings or the pressure of a perfect first page is too high, you’re allowed to write any other moment in the book first.

And with that, be prepared to kill your darlings. Not your characters, I mean that one badass line of dialogue living rent free in your head. That epic monologue. That whump scenario for your favorite character. Sometimes it just doesn’t work out anymore, but even if it ends up in the trash, you can always salvage something from it, even if that’s only the knowledge of what not to do in the future.

7. “This is clearly an author insert.” … Yes. It is. Point?

No one likes Mary Sues, because a character who doesn’t struggle or learn to get everything they want in life is uncompelling. The most flagrant author inserts I see aren’t Mary Sues, they’re nerdy, awkward, boring white guys whose world changes to fit their perspective, instead of the other way around—they don’t have anything to say. I’m not the intended audience to relate to these characters and I accept that, but I don’t empathize with the so-called “strong female character” who also doesn’t have flaws or an arc either.

A good author insert? When the author gives their characters pieces of themselves. When the “author insert” struggles and learns and grows and it’s a therapeutic experience just writing these characters thrown into such horrible situations. They feel human when they’re given pieces of a human’s soul. They have real human flaws and idiosyncrasies. I don’t care if the author wrote themselves as the protagonist. I care that this protagonist is entertaining. So if you want to make yourself the hero of your book, go for it! But make sure you look in the mirror and write in your flaws, as much as your strengths.

[leclsrc]

wait and see ✴︎ cl16

genre: enemies to lovers, fluff, angst barely, other drivers appear

word count: 2.5k

The grid recounts the evolution, nature, and many ups and downs of your and Charles' vague relationship.

auds here... req'd, this was p fun to write i hope u guys like it! :) short bec if it was any longer it wouldnt have been as nice to read i think? anyway... i love u guys. title from this.

Lando takes a seat. “Is this the thingy for…? Yeah? Okay. What am I supposed to do again?”

“Just describe the two of them.”

“Easy. She was always pissing him off.” He rubs his chin, lost in thought. “But… in a good way?”

—

“I told you a hundred times I didn’t want this to be the soundbite you published.” Charles chases after you, his footsteps quickening like a lost puppy as you wrestle your way into the media pen. “A hundred times, and you said okay, and you still published it. Che succede?”

You turn, crossing your arms over your torso. “Look. I said yes, but when I looked it over, nothing else you said was really worth it. It was all just repetitions of the same PR bullshit that makes you look good on camera.”

He rakes a hand through his hair, exhaling with frustration, watching his biting comment on Iñaki rack up hundreds of thousands of views. “This was not a good idea!” He repeats, the same sentiment he’s been telling you in the half-hour he’s known of this video’s publicity.

“But it happened.” You adjust your mic and gesture to Lando, who’s awkwardly waiting for the cameras to roll so you can start the post-FP2 interview and he can talk about his shit car. “I’m busy, so deal with it. Your fans will appreciate you not riding Ferrari’s dick all the time.”

Charles opens his mouth to argue, but shuts it, shoving his way back outside and into the motorhome so he can cooperate in damage control. He doesn’t admit it—to you, to Carlos, to anyone—but the PR that comes of it is more good than it is bad in the end. He doesn’t admit it because it means admitting you’re right, and God if that’s the last thing he’ll ever do.

—

“They were always butting heads,” George says, laughing as he soaks in the memories of it. “Always fighting over something. Anything. Whatever there was that could be disagreed on—they’d be disagreeing.”

—

It started harmlessly enough. Seb walked in with two swatches of color—a blue and a purple—and addressed the room with a light tone, asking what color would best suit the tablecloths at his wedding. And then, as it always did with you and Charles, chaos ensued.

“Blue suits green better.” You wave the blue in his face. “You’re busy thinking of red all the time so you don’t understand color theory.”

“It’s not about coordination! It’s about creating a highlight!” He gestures with his hands, aggressively gesticulating to try and get his point across. “Highlight!”

“Oh, bullshit! Blue!”

“Purple!”

“Are you crazy?!”

Across the room, Seb and George watch in mild horror at the two figures caught in a needlessly intense argument over colors at a wedding that isn’t even theirs.

An AlphaTauri engineer comes in to refill his coffee for the third time, finds the two of you still fighting and is genuinely stupefied. He turns to the two onlookers, asks, “Bridezilla, huh? Happened to me once, too. I swear the grooms always try to weasel their way in to seem more involved but their choices never make sense.”

“Oh, no. They, uh, they’re not together.” George clarifies quickly.

“They’re not?!” The engineer and Seb ask at the same time.

They all watch the argument, bemused, but secretly they all wonder just how correct George is.

—

“We have a saying in Spanish. Del amor al odio hay un paso. Neither of them will understand it—it’s in Spanish, obviously—but I think that applies to them. One minute you think they hate each other, and the next…” Carlos lets himself taper into silence, smiling softly.

—

Being around Charles feels like karmic retribution, a constant eternal push and pull. But it makes the both of you better, even if neither of you admit it in the end. You can’t really grasp why, or how it started—it might take ages if you do so much as try—but you’re content with letting things happen the way they do.

Or maybe you’re not. “You ruined my fucking broadcast, dickhead!”

You toss your earpiece at his chest, body welling up with annoyance. Your segment was being casted live until Charles insisted he take up your airtime to do whatever-the-fuck, you honestly don’t care. And yeah, sure, he’s way more relevant, but the less airtime you get, the less easily you get the exposure you need.

“It happened one time.” He sounds amused, and it patronizes you, sets you on fire. He clutches your earpiece to his chest and hands it back to you.

“Fuck you.” You tug it toward yourself, and suddenly you’re closer, noses almost touching. You step back, but it’s not enough. “You have no idea how much that mattered to me.”

His eyes flit toward your lips, your bodies melting together. “If it really did…” he says, inhaling, “you would’ve just ignored me.” And damn, he’s right.

Charles does not like you. He just knows you well. But then one might argue—isn’t that the same thing?

—

“They have trouble not calling the shots, is the thing,” Lewis offers. “So put them in a team, in a room together, and boom.”

—

“…We didn’t agree on this script.” You underline the problematic lines and toss it onto Charles’ lap from where you stand in front of the sofa. “You want your fans to hate you?”

“The questions were clumsy. I asked you to reword them, but you didn’t.”

“You didn’t ask, to be clear. You demanded.” You click your tongue.

Lewis is in the middle of posting on Roscoe’s Instagram account and manually making typos, but he looks up, interest piqued by the increasingly heated conversation.

“I asked,” Charles insists stubbornly. “Plus, this is a Ferrari segment. You get hired to write on Ferrari, you follow Ferrari.” He points to the yellow logo on his shirt. Ferrari, he mouths. Lewis stifles a chuckle at the sarcastic exchange.

“Jesus.” You reread the script. “Fine. I’ll reword this and this.”

“And that.” He points, tapping the paper.

“Only if you edit this and this. Oh, God, and this.”

“Fine. Wait, that?”

“Are you serious? It’s the corniest statement ever. Edit that or I edit nothing.”

“Okay, bossy.”

Lewis exits Instagram in favor of texting Seb to ask if you two are dating. The response he receives is equally unhelpful: Nobody knows mate.

—

“You know, for all the disagreeing they did, they actually agreed on so much of the same stuff. If they stopped fighting for two seconds they would agree on most things.” Alex muses. “But they never did, so. Or maybe a few times.”

—

Media is a tricky thing. It’s either on your side, or it isn’t.

And this weekend, Charles has drawn the short straw, subjected to bouts of backhanded journalists and tweets for his strategy during quali. You know this especially well—you’re media, for Christ’s sake—and you’ve seen your colleagues hound Charles for how he chose to tackle the session.

Alex is in the middle of a FaceTime call with Lily when he hears it. “Wait—I think they’re talking,” he says to his girlfriend when he hears you approach him, carefully maneuvering himself into optimal eavesdropping position.

“Is this the right thing to do?” Lily’s voice comes through like static.

“I know it’s wrong,” Alex confesses. “But—”

“No, I meant I can’t hear properly. Move the phone closer, you dick.”

So he does, and the two of them listen intently to your talk. You go first, a few shuffling footsteps and an adjustment of your media pass, then. “Will’s been all over you today.”

“Yeah,” comes Charles’ voice, tired if anything. “I, uh… I just hope I can understand where I went wrong and, uh. Well, uh.”

“No, I…” There’s heavy silence. “I think you did the right thing. You didn’t get pole, but it was a good strategy. Better than what was being proposed, anyway. I think that would’ve landed you at the back of the grid, to be honest.”

You both laugh. “Thanks,” he croaks.

“You did great. Don’t, um… don’t let them tell you otherwise. I’m proud of you.”

Alex never tells anybody what he heard. But it inspires many long-winded conversations with Lily about the nature of your relationship. Each time, though, they never arrive to a solid answer.

—

“Hey, listen. I always knew something was there with those two. They had the kind of dynamic you only find once in, like, a million instances.” Daniel says firmly. “But I also kept thinking… poor Charlotte.”

—

You’re half-sure Pierre was the one who bought you all shots. Or a quarter-sure. Okay, you’re not sure at all. Your mind’s cloudy, your inhibitions lowered, tongue loose and laugh contagious. Around the table everyone is laughing, some others have gotten up to dance, but you, Daniel, Lewis, and Charles are all conversing about work, albeit while drunk.

“Is… tequila… plant-based?” Lewis grimaces as he throws another shot back and you all laugh mindlessly.

“Danny,” you say, tapping his shoulder. “Any plans once you’re out of the paddock next season?”

“Ah,” he hums. “Self-discovery and a shit ton of shrooms.”

You all cheers to the epiphany, shots once again entering your system. “And a party again tomorrow!” Daniel adds half-jokingly, much to your delight. Charles, right beside you, throws an arm over your shoulder as he laughs. You’re unfazed.

Daniel’s gaze lingers on his arm a little too long, especially because your own hand reaches upward to wrap around his wrist, to make sure he doesn’t pull away. But you’re both drunk, he reasons. And plus, you can’t usually stand each other’s guts.

“I’ll pass, mate, if it happens,” Charles says, his tone clearly inebriated.

“You’re no fun,” you say lightly, laughing and turning to him. Your eyes are on the other’s, dark, lips almost touching as if you’ve forgotten Daniel and Lewis are even around (though the latter is as good as dead, honestly.)

“Invite Charlotte instead,” Daniel says with a smile, to try and test your reactions. “How long, now? Three months?”

You clear your throat, looking away with a faux smile.

“Oh. We’re not doing so well, to be honest.” Charles smiles, tight-lipped. He hopes Daniel doesn’t ask why. He can’t think of a lie quickly enough to cover how Charlotte told him I love you, Charles, but this is over. I hope you end up with her someday.

—

Seb takes some time to think about it. “Those two always fought. Everyone said that, didn’t they? All the time, disagreeing.” He hums. “I could tell very early, though, that they were also the only two who could truly understand the other. Figuratively, obviously—but as a result, also literally.”

“Elaborate?”

“When you understand someone that well, inside and out, you end up understanding everything they say.” Seb smiles. “That was them, I think.”

—

“It’s impossible to transcribe your interviews,” Will says to Charles. It’s that hour on the paddock where everyone’s waiting for the pre-race bustle to start, so small talk is what’s keeping them busy.

You’re reviewing a few clips from practice on your phone and Seb is chipping into the conversation, which has moved from Mick’s future to F1 into Sky Sports into this.

“What do you mean?” Charles asks.

“You’re always sliding in and out of your three languages!” The Englishman laughs. “I have to consult a native speaker of both Italian and French each time. And you’re always going I, I, I, or we, we, we… but hey, the fans dig it, innit?”

“I think I sound perfectly understandable.” Charles smiles. You’re still busy, unfocused on the conversation at present.

“Like, okay. Look at this.” Will retrieves his phone, opens his voice memos app, and plays one of the audio recordings there. It’s a scratchy one of Charles describing his quali session, and sure enough, even if he’s speaking straight English, the adrenaline and exhaustion have him sounding totally indecipherable.

We—we had gasjdhfhs and I, I, I… I think we need to rejshdhs and thijsjsh about the hsfhdh, yeah? And, and, uh, we ajhshajs. And

Will closes it. “Sebastian, can you tell me that said?”

He shrugs, amused. “Sorry, Charles. I genuinely can’t.”

“See?!” Will makes a voila motion. “Nobody understands this.”

“He said we had good traction and I think we need to recalibrate and think about the boxing strategy, yeah? And we need that mindset.” You’re still going over your phone, busy and not 100% invested. “You two just aren’t listening.”

Charles doesn’t take his eyes off you, or the smile off his face, the whole hour.

—

Pierre comes last, clearing his throat. He’s ready. He knows exactly what to say, so he says it. “Those two are fucking soulmates.”

—

It’s three-thirty when somebody knocks on your hotel room.

But your body still feels like it’s five in the evening, your brain’s stuck at two in the afternoon, and your sleep schedule thinks it’s nine in the morning, so you’re not asleep but instead rewriting notes from the weekend prior.

You’re horribly disoriented when you grab your pepper spray and unlatch the door, and even more disoriented when you see Charles on the other side of it.

“Am I crazy?” He asks, breathless, like he’s been waiting for you all his life. Maybe he has.

“You’re at my hotel room at three a.m., so… a bit.” You rub sleepiness and jetlag out of your eyes. “Charles, what’s going on?”

“I love you.” There it is. “It sounds so stupid. But I love you. And it’s almost—I can’t bear it. I woke up this morning? You, on my mind. Lights go off after a race? You. I go to sleep? You. It’s always you. And I know, I know it’s—I know, with Charlotte, and—but it’s true. I, I, I—I think about you every minute. And usually this happens accidentally. Nous sommes tous des idiots quand il s’agit d’amour... moi y compris.

“But this was… I knew I was falling in love and I let it happen. And so I thought, why keep waiting? Why let it drag on and on and fight over and over when I can just come and tell you how much I—and maybe, hopefully, see if you feel the same?”

He pants, tired from his clearly rambled and unplanned confession.

“I love you, too,” you say, struck. Oh God.

“Can I kiss you, then?”

“It’s may,” you breathe. “May I kiss you.”

“You may,” he whispers.

“Right now?”

“Anytime.”

“So now.”

“It’s now or next Tuesday,” he jokes.

“Now is… the best. Now would do.”

“Now would do.” So you cross the threshold and let him scoop you into his arms so he can well and truly kiss you.

—

“Is that all?” The interviewer asks Pierre. “Just… those words? We need a bit more for the article on this event.”

“Oh, yeah.” He gets up, straightens his tie. “Don’t worry. You’ll hear the rest during my best man speech.”

Del amor al odio hay un paso – From love to hate, there is one step.

Nous sommes tous des idiots quand il s'agit d'amour... moi y compris – We are all fools in love... me included.

[roo-bastmoon]

De-platform, Co-opt, En-joy

Roo's Guide to Handling Haters

Disclaimer: Not telling you guys how to run your blogs. Just sharing some tips on how to deprive narcissists of supply and live your best life online.

You're gonna see a LOT of hate, lies, and bullshit over Are You Sure? It's already started.

And everyone has their own way of dealing with that--whether it's to take a step back from the internet, or get into a dog fight in the comments, or compose thoughtful essays deconstructing ideas. I'm not here to pressure you into any one particular strategy--your blog, your rules.

But I've been in various online fandoms for 25 years now, on tumblr for 14, in ARMY for three, and I do have some wisdom I can share, if you want it.

Here are my three tips:

De-platform

It's well past time Jikookers de-center Taekookers and antis from our spaces, our narratives--and our minds. They live in a separate reality, they do not debate in good faith, and they get vicious when they don't get their way.

Consider carefully if you want to repost, or reblog, or reply to anyone casting doubt, slinging insults, or spouting conspiracy theories, especially over the next few months.

Would you buy them ad space? No? Then don't give them an inch in your space. Quietly report and block.

Mocking them often feeds into their victim complex. Don't feed them anything. Don't bring trash in this house.

They get nothing. Nothing.

Co-opt

If you just can't completely ignore or remove them, then don't waste precious energy arguing every little point with them. Their goal is to sap your energy.

Take a page out of an aikido self-defense handbook and use their own momentum against them.

Attacks are now an opportunity to spam the shit out of that hateful post with loving hashtags and links to playlists and fundraisers.

They just gave us free promo; go full-tilt Wunseidel on their asses.

En-joy

The best revenge is to live well.

Deeply, deeply enjoy and savor the content you do want to see. Leave no crumbs. Smack your lips and hum in satisfaction with every delicious bite.

The Jikook tag should be one big non-stop party-party-yeah extravaganza from now until well past September 19th.

Antis should be just sick to death of trying to come online for fear of seeing people ecstatically celebrating everything we get, and totally ignoring the ruiners.

Our boys are happy. They want us to be happy for them. So be happy.

Do. NOT. let the ruiners. RUIN it.

Above all, don't become the kind of fan that Jimin or Jungkook would be ashamed of.

You don't have to defend or resist a damned thing.

They shared all these amazing moments with us, and that is the best testament to the truth there is. So sit back, relax, enjoy.

Be sure.

Love, Roo <3

[hungerhutch]

PURPLE

Clapton Davis X Best friend!GN Reader

Summary: Red + Blue = Purple 😉 (literally the title)

Tags: fluff, making out, best friends to..?, no uses of Y/N, my first fan fic!!

wc: 2.498k

Notes: ahhhh my first time writing! tips are appreciated<33

-------------------------༶•┈┈୨♡୧┈┈•༶------------------------------

You were with your friend Clapton and his friends, Sander, Riley and Ione, bowling.

Riley and Ione, as always, were arguing.

“Cinderhella wants to kill me more. I’m hot. Your house sucks. You lose.” Ione argues and scoffs. Riley just rolls her eyes and scowls.

“Why do you both always feel the need to argue? There’s a literal killer on the loose and you two are fighting over who's gonna die first! You’re totally wrecking my vibe!” you groan and walk away to refill your slushy.

You hear Ione call you a bitch but you just ignore her and walk over to the concession stand.

You take your cup and place it under the bright red cherry flavor, pushing the button down to fill it up with the artificial, cold goodness. When you’re done filling it, you turn around to walk back to the group when you see Clapton right behind you. He grins at you and reaches for the blue raspberry flavor.

“Hey.” you smile back at him and put the lid back on your cup.

“Hey to yourself.” he chuckles and fills his own slushy up.

“God, have they finally stopped arguing yet?” you roll your eyes playfully and glance back at Ione and Riley.

“Nope. Still going at it about Cinderhella.” he groans and sticks his straw into the round lid.

“Damn. I really can’t stand their arguing sometimes.” you shake your head and take a sip of it. It's so sweet that you almost grimace.

“Too sweet?” Clapton laughs and raises his eyebrow.

“Yeah.” you laugh with him and smack your lips together.

He takes a sip of his own and sticks his tongue out playfully. “It’s not that bad.”

“Yeah, minus your blue tongue.��� you giggle and point at it.

He snickers and slips it back into his mouth. You take another sip and stick your tongue out.

“What about mine? Is it red?” you ask, slightly muffled from your tongue sticking out your mouth.

“A little.” He laughs again before continuing. “Hey, wanna try a science experiment?” he smirks mischievously and raises his eyebrow.

“Since when have you been into science?” you tease and laugh.

He rolls his eyes and pouts playfully. “Pleaseee? Just one experiment!”

You sigh and nod hesitantly. He rests his hand on the back of your head and pulls you into a kiss. You gasp in surprise before slowly kissing him back. He tugs your bottom lip with his teeth and slithers his tongue into your mouth. He intertwined his tongue with yours before pulling away breathlessly.

“What was that for?” you breathe and raise an eyebrow.

“I was testing color mathematics!” he grins and wiggles his eyebrows playfully.

“You mean color theory?” you laugh and shake your head.

“I don’t care what it's called! I just wanted an excuse to kiss you.” he rolls his eyes playfully and flicks you on the forehead.

“Ow! Why didn’t you, I don't know, just ask?”

“Cause that was more fun.”

You laugh again and walk away to sit back down with the rest of the group.

You sit down and they look at you.

“What's with the.. Purple lips? I thought you hated grape flavor..?” Sander points at your lips and raises an eyebrow.

“Uh-” You glance at Clapton and then back at them. “Whoops!”

---------------------------༶•┈┈୨♡୧┈┈•༶-------------------------------

[jmagnabo92]

So I saw a post on Instagram, and it said:

‘Isn't it funny how James Potter decided to bully and harass a malnourished little boy from an abusive family just for existing, and years later, James' son became a malnourished little boy from an abusive family that bullies him just for existing’ 

And all the comments were agreeing and saying things like, ‘Karma’, ‘Glad I’m a James Potter hater’, ‘Don’t understand how he has even one fan’

And I was like… what??? Was so tempted to write a whole thing about it but decided the hate I’d get wasn’t worth it. What are your opinions about this? 

WHAT THE ACTUAL FUCK??!!!

That's my initial reaction.

Don't these people know that the sins of the father shall not be visited upon the son?

It's not karma for Harry to suffer for James' mistakes. It's bullshit and I hope that no one that believes that has ever done anything wrong in their lives or their kids shall suffer. AND THERE"S NOTHING FUNNY ABOUT THIS BS.

Now, let's point out how else they're wrong.

First of all, I had to re-read the Prince's Tale - and mind you, I did skim it so I could've missed things, but there is NO WHERE that says he was 'malnourished' as a boy. Not a single description said anything was physically wrong with Snape like malnourishment. It talks about his mismatched clothes, and his parents arguing. There's a line about James having an 'air of well-cared for - ness that Snape lacked' but there's NOTHING that he states he was malnourished or even abused.

So that's utter BS. I won't argue about the abuse, but there was no evidence that he was malnourished.

As for the about "just for existing" - I think a lot of people forget that SWM canonically happens *after* James saves Snape's life from Werewolf Remus. The reason that it's easy to figure that out is there is a scene with Snape/Lily arguing about the MM thing and she literally mentions James saving him the other night.

The next scene is SWM.

Now, before get into that importance - I want to point out that in the scene about MM & the saving of Snape, Lily asks, "Why are you so obsessed with them?" and if it was a relentlessly unfair bullying situation there's two obvious answers:

A) he's been bullying me for years

B) I have to obsess so I can get one over on them.

He doesn't say either of those things - you know what he *does* say - he says "Potter fancies you"... and more about 'how great he thinks he is'.... isn't that rather suspicious?

You know what's also suspicious? If Snape's being relentlessly bullied than WHY DOESN"T HIS BEST FRIEND KNOW THE OBVIOUS? Maybe because it wasn't a situation of bully/victim - maybe it was a rivalry like Dumbledore suggested in the first book.

Now, back to the timeline:

So James saves his life and yet says "it's the fact that he exists" - which sounds terrible, right?

Of course it does, but here's the thing - Snape had literally as recently possibly two weeks previously (we don't know *exactly* when but sometime between Nov of 5th year and OWLs) had attempted to (at best) OUT Remus (at worst) KILL Remus - who is ONE of James' BFFs. Now - on top of that - we know that Snape has been obsessed with a theory for ages about Remus. We see this in the MM & Saving conversation - Lily says "I know your theory" with the air of someone that has heard his theories before. Given that he only found out *for sure* within a few days of that conversation that suggests that he has been going after Remus for a while.

So, here we have Snape's attempt to get Remus out or killed and James has every reason to hate him - he's a loyal guy. He believes in his friendships so much it cost his life and literally learned something that could put him behind bars *just to help his friend*. Whatever happened, however it happened, that doesn't matter to James.

What *does* matter is that Snape tried to detrimentally hurt his friend. So he has a reason, but in SWM, he literally *can't* say that. He would be outing Remus and he's not going to do that.

Which means he NEVER did anything *just because he exists* - he had a reason, he just couldn't say it.

Now, why does James have fans?

Because he's a good man. This is the man that did stupid shit when he was a teen, sometimes for good, sometimes for bad, but nothing he did was ever on par with the things that Snape was doing - I've got a while post on that.

After he grows up, he joins the Order - to do good for people that he doesn't have to care about, yet does. He does so much good, he becomes a target. In that, he then goes on to give his life for wife and son. And they think this man doesn't deserve fans? What Bullshit is this??

***

ANYWAY, my longass point here is that: They're idiots, and I kind of wish that some people had more thought into the situation. James deserves better.

[correlance]

Remember that one fan theory I wrote about Alastor having a rivalry with Thomas Edison in the 1920s? Well, I decided to do a bit more research; it turns out that, not only was I right, but Edison really hated radio. He loathed it so much that he wrote not one, but several articles railing against the "radio fad" in 1926, to the point where an anonymous person wrote "letters to the editor" to argue with Edison.

Gee, I wonder who it could be doing that in the Hazbin-verse? /s

GIF and art originally by karumkin on Twitter/X (2019).

There was also a slew of increasingly aggressive telegrams sent back-and-forth between Edison and radio proponents, with Edison penning thinly-veiled insults that offended even mild critics of the "Wizard":

"The radio is a commercial failure, and its popularity with the public is waning. Radio is impractical commercially, and ethically distorted, and is is losing its grip rapidly in the market and in the home. There is not 10% of the interest in the radio that there was last year.

Radio is a highly-complicated machine in the hands of people who know nothing about it. No dealers have made any money out of it. It is not a commercial machine, because it is too complicated. Reports from 4,000 Edison dealers who have handled radio sets show that they are rapidly abandoning it; and, as for its music, it is awful.

I don't see how they can listen to it. Thousands of people have signed a petition asking that sopranos be kept off the air. Of course, most of them don't know that the soprano voice distorts the radio. The phonograph is coming into its own because people want good music. The fact is that the radio never had a high peak of popularity.

In towns where 25 or 30 dealers were handling radio sets, only one or two are now handling them. A farmer 5 miles from town buys a radio, perhaps on the installment plan. A wire becomes loose. The dealer has to arrange to fix it. This happens time and time again. The business becomes unprofitable for the dealer to engage in. He does not make any money out of it. None of them has. They are giving it up as fast as they can. It is not a commercially successful machine, because it is too complicated.

Static is awful, and the difficulties of tuning out--and now, they're stealing each other's wavelengths! It is too bad that the radio has to be too complicated. It was a big and interesting thing, and the people responded to it, but they want good music, and they found it is not to be had on the radio. That is why the phonograph is reclaiming its own."

Quote from "Edison and Radio", Radio News, December 1926, "in which the Editor takes issue with Mr. Edison's claim that radio is a failure; yet it is pointed out that the radio industry owes Edison a great debt; wherein facts are figures are given to show that radio is on a steady increase; granting that neither radio, nor the phonograph, is yet perfect; how the interest in radio is steadily increasing, and radio dealers are now making good money":

"Since the publication of the famous interview with Mr. Edison, the press, and particularly the radio press across the entire country, has been more or less agitated...I do believe that Mr. Edison has not been recently in-touch with radio sufficiently to appreciate fully the tremendous advances that have been made. Mr. Edison is a busy man, and a tremendously busy inventor. It would be well-nigh impossible for him to be in-touch with all of the various commercial phases of radio all over the country; and, like other executives, he obtains his reports from his subordinates, and such reports often as not may be highly colorful, and even wrong...[thus, the radio industry is unwilling to accord Mr. Edison anything]...as to Mr. Edison's remarks, the statements that follow are facts, which can be checked up by anyone who is unbiased."

Imagine Alastor and Vox with "Stayed Gone" in Episode 2, and Alastor and Lucifer with "Hell's Greatest Dad" in Episode 5, but happening entirely over letters and telegrams, because mass media and television didn't exist yet. The closest musical numbers would likely be "Farmer Refuted" and "Your Obedient Servant" from Hamilton.

Per the book The Wizard of Menlo Park: How Thomas Alva Edison Invented the Modern World by Randall E. Stross:

Page 276: "[Edison's] phonograph business faced a challenge in the 1920s unlike any that had come before: the advent of commercial radio stations, and the wide availability of free music broadcasts and other entertainment. By the end of 1921, an estimated 1 million listeners had access to radios, and listened to programs broadcast from the Eastern seaboard. A single station in Roselle, New Jersey, which offered the voices of operatic stars among its musical programs, had a broadcast range of a thousand miles, covering New England and the mid-Atlantic states, and reaching as far west as Missouri. A contemporary newspaper account explained to readers not yet acquainted with the phenomenon that those who owned radio sets could enjoy entertainment that was 'literally as free as the air'. Charles and Theodore Edison [proposed a combination phonograph-radio]...their father need not feel slighted because the vacuum tube, a key component of the radio set, was a modern descendant of Edison's experimental work on the incandescent lightbulb. Edison did feel slighted, however; such, at least, was the opinion of Thomas Cowan, a former Westinghouse employee...[who conducted experiments in radio broadcasts with the aid of a phonograph Edison was willing to loan him in 1921]. Cowan had several conversations about radio with Edison, who became upset and recalled the loaner when he heard the Westinghouse broadcasts...[Edison's sons were embarrassed, humiliated]."

"Edison calls radio a 'failure for music', thinks phonograph will regain its own": The New York Times, 23 September 1926. Underlining the usefulness of radio for purposes other than musical programs, Edison did tune in to a radio broadcast of the Dempsey-Tunney fight in 1926, which he was too deaf to hear. He had to rely on family members [usually his wife, Mina] to summarize what had transpired at the end of each round.

"Radio satisfactory on bout, Edison says": The New York Times, 24 September 1926. Defending the quality of musical broadcasts, the radio industry offered expert testimony to rebut Edison's claims [in the next week's newspaper]. See: "Broadcasters disagree with electrical wizard", The New York Times, 3 October 1926.

The "radio fad": A few months later, [after much outcry from the radio industry], Edison was willing to grant that radio might not disappear, but he had a new criticism: listeners' aesthetic sense would be damaged. "Undistorted music, in time, will sound strange to those brought up on radio music," he predicted, "and they will not like the real thing." See: "Thomas A. Edison sees a menace for music in the radio", Musician, January 1927.

"Edison's fears [about the Edison Company not succeeding in the radio business] were realized, though it had been Edison's intransigence (refusal to change one's views) that put the company at such a great disadvantage as a late entrant...on 9 October 1929, Charles Edison prepared a report for his father that showed a loss of $1.3 million due to start-up costs for the [Edison] radio...he could not know that, two weeks later, the stock sell-off would begin with Black Thursday, on 24 October, followed by Black Monday and Black Tuesday...a few days later, Thomas A. Edison, Inc., announced that it would cease producing [music] records [altogether], and refit the factory for the production of radios. The announcement was accompanied by a mention of regret, as the phonograph was 'one of Mr. Edison's favorite inventions'."

"An employee reported observing Harvey Firestone tearfully explaining to Edison that the collapse of business due to the stock market crash of 1929, and the Great Depression, meant that he could no longer continue to financially support Edison's laboratory. Edison was heard, sneering, 'He's a Goddamned lightweight.'" ("I saw your fiasco on the picture show, and I just couldn't resist. What a performance! Why, I haven't been that entertained since the stock market crash of 1929, hahaha! ...so many orphans.")

Edison's death at the age of 84 on 18 October 1931 was also, ironically, commemorated through radio broadcasts: "[The next] night, two radio networks, the National Broadcasting Company (NBC) and the Columbia Broadcasting Company (CBC), jointly broadcast an 8-minute tribute that ended on the hour, when listeners were asked to turn out the lights. The White House did so, and much of the nation followed, more or less together, some a minute before the hour, others on the hour. On Broadway, 75% of the electrified signs were turned off briefly. Movie theaters went dark for a moment. Everything seemed connected to Edison: the indoor lights, the traffic lights, the electric advertising, everyone connected via radio, which Edison now received credit for helping to 'perfect'. In the simple narrative that provided inspiration for posterity, one man had done it all..."

Some numbers provided for how much radio was making:

1922: $46.5 million (~$860 million in 2024)

1923: $120 million (~$2.2 billion in 2024) (156% increase)

1924: $350 million (~$6.3 billion in 2024) (186% increase)

1925: $449 million (~$8 billion in 2024) (27% increase)

1926: $520 million (~$9.1 billion in 2024) (14% increase)

Overall, per another source:

1922: $60 million (a little more than the previous statistic)

1929: $842.6 million

From here, we can tell the biggest gain was in 1923-1924. Per another source: "Total cost was about $120.00 to buy a new radio in 1926; in today's money, that is about $1,500 to own a radio." That would mean that 7.6 million radios were sold by 1926; an impressive feat, considering that the United States only had a population of a little over 117 million people at the time.

Percentages of United States households with radios:

1925: 19% (5 million households)

1929: 35-40% (200% increase)

1930: 12 million households

1939: 28 million households

The number of licensed broadcast stations surged from just 5 in 1921 to 500 by 1924, per yet another source. In the early years, household radio ownership was highest in the Northeast and on the West Coast. In large sections of the South, Midwest and Great Plains, stations and radio sets were scarce. However, there were notable exceptions.

There were 732 radio stations total across the country by 1927, and the average radio was on 2 hours and 25 minutes per day. People who couldn't afford radios purchased them on installment loans, through which the full price of a new radio could be paid over time. Radios had even more advertisements for washers, dryers, and refrigerators, causing people to use even more merchant credit and installment loans to purchase these shiny, new technological devices.

However, radio sales also took a hit with the Great Depression, as average income levels fell from $3,270 per year in 1920 ($53,300 in 2024), to $2,300 per year by 1929 ($41,500 in 2024), then to $1,500 per year by 1932 ($35,500 in 2024). However, buying a radio also became cheaper, dropping from a costly $200 ($3,200 in 2024) in the early 1920s, to just $35 ($630 in 2024) by 1929-1930.

By the time Alastor died in 1933, 3.6 million radio sets were sold that year alone. By the mid-1930s, 67% of American households had radio sets, and by 1939, about 80% of Americans—over 100 million people—owned radios. Radios were in almost every house, and some Americans even had radios in their cars. The Golden Age of Radio lasted from the 1930s to the 1940s, before being eclipsed by television in the 1950s. Radio hosts went from being paid $10 per broadcast in 1921 ($180-200, 1-2 hours per night, 3-4 nights a week, for a weekly salary of $720-800; monthly salary, $2,900-$3,200; annual salary, $34,800-$38,400; modern-day annual salary range for a radio show host is $30,000-100,000, depending) to making triple-figure salaries in the later 1930s.

Another source lists the following salary ranges for radio hosts:

$2,500-2,700 a year to be an announcer in 1927* (~$45,000-$48,000 range in 2024)

$2,400 a year to be a dramatic director (~$43,000 in 2024)

$4,000 a year to be a program director (~$72,000 in 2024)

New Orleans' first radio broadcast was on 31 March 1922, with WWL. The station wasn't started as a commercial one; but rather, "more of an experiment, started as an interest in wireless communication picked up nationally". The station did not go commercial until 1929, meaning that Alastor also probably had at least one other side job.

Also see:

"Early Radio Announcers Invented Their Profession in the 1920s"

"The History of the Radio Industry in the United States to 1940"

"'A Godlike Presence': The Impact of Radio on the 1920s and 1930s" by Tom Lewis

American Babel: Rogue Radio Broadcasters of the Jazz Age by Clifford John Doerksen (see excerpt here)

Race and Radio: Pioneering Black Broadcasters in New Orleans by Bala James Baptiste (Note: The earliest Black broadcast in New Orleans was in 1945, meaning Alastor was white-passing.)

"Golden Age of Black Radio - Part 1: The Early Years" (Note: The first Black radio announcer, Jack L. Cooper, hosted in 1929.)

"How African Americans Entered Mainstream Radio" by Bala James Baptiste, the author of Race and Radio: Pioneering...

[drawnfamiliarfaces]

I’ve been wondering, how do you think that First died? Do you think it was natural causes (i.e. old age or sickness)? Or maybe died while fighting a monster? Or something else?

Oh, I always was a great fan of the whole 'First was absorbed/hosted by Nomicon' theory aka First didn't die die, but his mortal body and soul became a founding/essential part of Nomicon and he joined with it, sorta like what we see happen to Plop Plop, but more epic!

Many people seem to believe that First's spirit being in Nomicon happened because Randy changed the future (at least according to wikias it seem to be a leading theory for many), and that before Randy intervened, First just wiped his memory like it was implied/used as demonstration in Ninja Identity/Supremacy and just continued his life without his memory as a Ninja, but that kinda doesn't make sense to me at all???

First was born into Ninja Clan, his Clan created the mask, heck his Clan (seemed to have) founded Norrisville all the way away from Japan and on Americas continent! - did he just wipe his whole life and stumbled around confused how people knew him??

Amnesiac/Mind wiped First is an interesting thought (damn, it actually would make such a cool angsty AU lol) but its personally not my favorite headcanon for First.

Though of course we can argue that First did get mind wiped but it doesn't stick. So there would be a copy of First's memories in Ninjanomicon and First with his memories but like...without his mask and title? Which also doesnt' make much sense to me?? Does he just.... continues on without his mask but still fighting? (Likely - but also ??? why not just continue it in the mask??) Does he just grows older and watches as the new ninja bounces around? (Less likely - So in that case what's the point of giving NinjaNomicon to Messenger if he is still around???) It seems to me as a sad sort of end to his legacy.

(Would make a banger sad and angsty Retired!AU too tho lol)

I feel like First is too passionate/determined to end that sort of way. So to me it would make much more sense that he would try to keep fighting/protecting in any way possible and leaving his spirit behind would be one of the most sure ways. Also makes sense to me that to create NinjaNomicon a sort of 'sacrifice' was needed, and since First is the, well, First - he is the building block upon which the Ninjanomicon started to grow and "live". (and yes i am completely ignoring the whole time paradox with Nomicon because I love it as a funy haha episode joke but absolutely hate it for lore and it gives me a headache xD).

So, my personal headcanon is that after defeating/capturing the Sorcerer, First spent at least a decade meticulously writing down his Clan's history and all the knowledge they ever possesed (and basically pouring his soul into Nomicon thru writing ;) ), settling his affairs and making insurances/plans/backups and etc. all the while also still keeping Norrisville safe, before he finally handed over the Nomicon to the Messenger, stepped into it for one last Ultimate Lesson and just went poof. And no one ever saw him again.

[venus-haze]

Girls on Film (Mickey Altieri x Reader)

Summary: As a film studies major at Windsor College, your junior year is proving to be an eventful one as the eponymous Ghostface begins targeting fellow students, some who you consider friends. You try to focus on your classes, mainly the short film project you’re working on with Mickey Altieri, who your professor inexplicably paired you up with despite the two of you having almost polar opposite views on the medium. 

Note: Female reader, but no other descriptors are used. You’re also into gross out movies because I wanted a strong contrast to Mickey’s “blame the movies” thing and also irony…as you’ll see. This is an extremely dark fic, so look at the warnings before deciding whether to read this. Also, you know and I know that Mickey didn’t kill Randy, but in the context of the fic, the reader-character doesn’t know that. Do not interact if you are under 18 or post thinspo/ED content.

Word count: 4k

Warnings: One-sided rivalry (Mickey hates your guts). Discussions of “gross” movies and themes. Descriptions of violence. Major character deaths. Sexually explicit content which involves non/dubcon, knifeplay, bloodplay, sadism (slight masochism). Do not interact if you are under 18.

Film Theory went from okay to off the walls when Mickey Altieri decided to make the argument that movies could be responsible for people’s actions. Using the brutal murders at the early Stab screening in town as an example was in poor taste when it had just happened the night before. It wasn’t even that you disliked Mickey, having met him in your Introduction to Film History course. He was pretty funny, and the two of you had a lot of the same classes together, moved in the same social circles. 

He’d expressed similar views before, but never so egregiously. You couldn’t believe a fellow film student would have such a regressive view of cinema. It was asinine to even entertain the idea, but you couldn’t let the conversation go on without giving your two-cents to your peers. 

“CiCi’s right. That exact thinking is what led to the Hays Code.”

“Bonnie and Clyde was one of the first post-Code movies to make it big. It showed there’s profit in glorifying crime and violence,” Mickey said. “The decade after it came out was the golden age of serial killers.”

“Oh sure, I watched one too many John Waters movies, and now I’m having sex in confession booths,” you said, earning snickers from your classmates. 

“Thank you,” Randy said. “I don’t think anyone was eating dog shit after watching Pink Flamingos.”

“Maybe Ghostface got the idea for the phone calls from Serial Mom,” one of your classmates quipped.

“Kathleen Turner’s character in that was inspired by serial killers. She read true crime books and collected paraphernalia,” Mickey argued.

“I’ll do you one better and raise you John Waters himself,” you said. “The guy has a morbid fascination with the Manson Family to the point where he incorporates references to them in almost all of his movies. He hasn’t committed any mass murders.”

“No, he just makes movies that make people wanna puke,” another classmate said.

Mickey opened his mouth to speak again, but was interrupted by Sidney and Hallie rushing to the classroom door, looking for Randy. Unable to keep the class’s attention after that, your professor dismissed everyone. 

CiCi made her way over to you, giving you an exasperated look. “Reagan-era politics have really poisoned some of these people’s critical thinking skills.”

“Tell me about it,” you agreed.

CiCi had been in a lot of the same classes as you your freshman year, and the two of you became fast friends over your similar taste in movies and distaste for closed-minded people. She was a big Lee Grant fan, wanting to make candid documentaries about tough social issues too.

You had some time to kill before your next class, so the two of you made your way to one of the empty picnic tables outside and continued the discussion, which had quickly turned into mutual ranting. Her point about the Slumber Party Massacre movies being directed by women was cut short when you realized you’d have to book it across campus to make it to Film Production II in time.

It was one of the higher level courses for film students who were looking to make feature films rather than focus on screenwriting or making documentaries. Among the prerequisites for Film Production II were Screenwriting I and II. In theory, everyone in the class would have two or three short film scripts ready to be adapted for an advanced Film Studies class. Few films were ever solo projects, so you weren’t surprised when your professor told everyone on the first day of class to prepare to be partnered up for the project, which would count for most of the course’s grade.

When you walked into the classroom, your professor handed you a slip of paper with two names on it. Yours and–of course. You almost had to laugh at the irony. Mickey. His attitude toward you could be unpredictable. Some days would be fine, and others it was like the two of you were about to bite each other’s heads off. 

Speak of the devil. You watched his reaction to the slip of paper when he walked in. Unreadable, even when his attention turned to you.

“Is Sidney okay?” you asked when Mickey sat next to you.

“As okay as anyone can be in this situation. That cop from Woodsboro’s here—Dewey, he’s keeping an eye on her.”

“That’s good.”

“So, let’s get started on this thing I guess. Any ideas?”

“Okay cool. I’ve been thinking about it for a while, and my strongest script is ‘The Tongue Remembers’.”

He scoffed. “The one about the cannibal girl who gets lobotomized?”

“Well, we could take the easy route and make a porno,” you snapped. “Not that it’d be very long.”

“Knowing you it’d be snuff.”

“Whatever. We’ll do one of yours, but I get to do casting and set design.”

“Easy enough, ‘Stakeout’ has four characters,” he said, digging through his backpack for a copy of the script.

You flipped through the script, scanning the first few pages to jog your memory. An action-comedy about a group of criminals who knew that they were being staked-out by undercover cops, unaware that one was within their midst. Mickey’s comedy writing was fast-paced and genuinely funny. You’d told him so in your peer review of his script in Screenwriting II. The reviews were anonymous, but the effort was still there.

Most of the reviews for ‘The Tongue Remembers’ were positive, with criticisms of some minor plot points that helped you make the whole script stronger in the long run. The review you appreciated most tore the damn thing apart, but gave detailed explanations for the suggestions given, all of which were so good you almost wanted to seek out who the source was. A handful of people didn’t care for your script at all, objecting to the plot altogether. You quietly suspected Mickey was one of them. 

You tried to shake the tension that had settled over you and Mickey following the exchange just a few moments prior. At least it’d be good experience for dealing with inevitable assholes as you worked your way up in the film industry. It was tough to make it without connections, and even tougher for women.

By the end of class, the two of you agreed to meet in the library the next day and start planning casting and a general production schedule. Mickey had more editing experience than you did, but you wanted to sit in on the process after initial production of the short film was over. He begrudgingly agreed, and you left the classroom for the dining hall in a sour mood. 

When you walked into the crowded dining hall for dinner, you spotted Randy and rushed over to join him. More often than you’d like, he’d have to be the mediator when you and Mickey would really get into it. At least he seemed to find it amusing.

“Hey, is everything alright?” you asked.

He handed you a plate that already had two slices of pizza on it and grabbed one for himself. “Besides the whole ‘Ghostface is back and people are being murdered’ thing? Can’t complain. How about you? Get your partner for Production II yet?”

“Yeah. Mickey.”

Randy laughed. “Nice. I’m sure that won’t be a disaster.”

“I don’t want it to be! I even said we could do one of his scripts.”

“Which one?”

“That action-comedy he wrote, ‘Stakeout’,” you said as the two of you sat at an empty table. “It’s a good script. He’s a great comedy writer. I’m just pissed he wouldn’t even consider ‘The Tongue Remembers’.”

Randy nodded in acknowledgement. “I liked that one. You did a good job of making the cannibals sympathetic. Strong ending too. I’m not so sure it’d go over well at Windsor’s student film fest. Lotta weak stomachs.”

“Last year’s winner was a fucking romcom.”

“So you give the cannibal a love interest. Go a little further than Texas Chainsaw 2.”

“I’m not trying to win awards. I wanna make art.”

“You gotta sell out before you can make art. That’s the industry, kid,” he said, patting your shoulder sympathetically. “Are you gonna be at the Delta Zeta whatever party tonight?”

“Delta Lambda Zeta? I don’t think so,” you said. “I gotta find people to be in this movie.”

It turned out to be one of the best decisions you could have made, because you ended up with a list of people interested in a role in ‘Stakeout’. More pressing, however, was the news that Ghostface had made an appearance at the party, after killing CiCi in the Omega Beta Zeta house. Your stomach dropped at the news. Just a few hours before her death you’d been talking to her. It didn’t matter that she wasn’t connected to anyone from the original Woodsboro killings, the students who were killed at the Stab premiere hadn’t been either.

In a small college like Windsor, news traveled fast, and by the time you finished eating breakfast, you’d heard that Sidney, Randy, Hallie, Derek, and Mickey had all spent the night at the police station following the attack. 

You didn’t want to ask Randy if you were a suspect. Your film taste alone would put you at the top of the list by default. As much as you understood the reasoning considering the last Ghostface duo’s obsession with horror movies, it didn’t mean everyone who watched them would be inclined to commit murder, despite what Mickey thought. Besides, who would your accomplice even be? Derek or Hallie would be too obvious. Gale Weathers was cutthroat, but not in the literal sense. Randy or Dewey would be a devastating twist if the goal was to mess with Sidney that much more. You felt bad. This type of thing was fun in the movies. You couldn’t imagine it being your life. 

Making your way to the library, you weren’t sure whether or not Mickey would actually show up after spending all night in a police station, but it didn’t hurt to go anyway and get other work done.

To your surprise, he sat down across from you a few minutes after you’d agreed to meet. He was wearing the same clothes as the day before, dark circles under his eyes.

“Jesus have you even slept? We can do this another day.”

“Spare me your concern.”

“Look, I don’t want this project to be miserable for either of us,” you said. “Between Film Theory and Production, I was kind of being a bitch yesterday.”

“It was really that porno comment that hit me deep. I’m no two-pump chump,” he said with a smile.

“Alright, alright. I’m sorry,” you laughed. “Oh, I have some people interested in three of the four roles for ‘Stakeout’.”

“Already?”

“I wanted to make it up to you.”

He was silent for a moment, placing a hand on your arm and squeezing gently. “I’m sorry about CiCi. I know she was your friend.”

“Thanks,” you whispered, trying to keep it together. The last thing you wanted was to break down in the middle of the library.

The two of you planned to do a test shoot in one of the theater’s empty practice auditoriums over the weekend. The main stage was being used for the theater department’s annual play, but Mickey pointed out that ‘Stakeout’ mostly took place in one room anyway. You went ahead and booked the auditorium on the library computer for about three hours, just to give enough time to work out any kinks and not worry about being interrupted.

While Mickey was going to spend the following couple of days getting props together and making any last minute changes to the script, you would finalize the cast since he approved of your choices, surprisingly. At least, you were going to, until Randy ended up dead not long after CiCi. 

You spent a day locked in your dorm room, partially out of paranoia and also in the depression of losing two of your close friends within days of each other. It was getting serious. Randy had survived Woodsboro. If he wasn’t off limits to Ghostface, no one was. 

By Saturday, you’d debated bailing on Mickey and not bothering to show up for the test shoot. You decided against it. Moping wouldn’t do you any good.

He looked shocked to see you when you walked into the auditorium. You felt bad your progress on casting stalled. His friend had died too, but he had his shit together enough to bring a box of props and the camera.

“Are you sure you’re good to shoot today?” Mickey asked from behind the camera, set a few feet from the stage.

“Yeah, I’m fine,” you said, your voice cracking a bit. “Really, it’s all good.” 

“We don’t have to–”

You shook your head. “Let’s do this.”

“Alright,” he said, though he didn’t sound convinced. “You mind locking the door?”

“Okay.” You walked back to the door, locking it. “I got two of the leads for ‘Stakeout’ down, Frank and Alex. I know Frank wasn’t our first choice, but Greg backed out.”

“No problem–shit, I forgot something in the props box over there,” he said, adjusting the settings on the camera. “Could you get it while I finish setting this up? You can’t miss it.”

“Sure,” you said, making your way over to the cardboard box Mickey had brought with him. It took a lot to rattle you, but as soon as you looked in the box, your skin crawled. The Ghostface mask stared back at you, eyes empty black holes. The same ones your friends saw before they died. “Mickey? This better be some kind of stupid joke.”

You turned around to find him less than a foot behind you. Camera set to record. Knife in his hand. Dangerous gleam in his eye as he took a step toward you.

“Last minute change—unprofessional, I know—but I decided to go in a different direction for our short film,” he said, a sadistic grin spread across his face. “You’re gonna be the star. Too bad you won’t be able to see it.”

Just as you began to scream, he put his hand over your mouth, holding the knife to your throat. “Don’t be a diva on me now. You just say what I tell you, okay?”

You nodded frantically, vision blurred by the tears that flowed freely from your eyes. In your desperation, you accidentally nicked your own skin against the knife, whimpering at the small cut you’d self-induced. Mickey snickered, his gaze shifting from you to the camera lens.

He moved his hand from your mouth, though his thumb rested on your lower lip. Slowly, he pushed it between your lips. Fuck this. Fuck him. You bit down until you tasted copper, earning a sloppy slash across your chest that made you cry out in pain, releasing his thumb. 

He looked at his hand in disbelief and then at you, a grin spreading across his face. “You’re gonna fight back, huh? You wanna play that game?” he said, an unnerving laugh escaping his lips.

Feeling bold, you spit his own blood in his face. In his moment of distraction you grabbed the knife, managing to pull it from his hand. You stumbled back, holding out the knife with a shaky hand. 

Despite you having the weapon, he still seemed smug, amusement in his eyes as he lunged toward you. You wildly swung the knife, cutting his abdomen as you crashed to the ground. He climbed on you, grabbing at your flailing arms as you tried to keep him away with the threat of being cut again.

“I’ll kill you! Fucking bastard!” you screamed. “You killed my fucking friends!”

“Do it!” he taunted. “C’mon, I wanna see you try.”

In your struggle to stab him, you lost your grip on the knife, and it slid across the stage. The both of you froze. You used this moment to push him off of you, scrambling to retrieve it. He threw a punch to your back. The wind knocked out of you, violent coughs clawing their way out of your lungs. He took the opportunity to stand up as you lay on the ground in pain.

Still, with the adrenaline pumping through your veins, you grabbed for the knife, hissing as your fingers wrapped around the blade and cut deep into your skin. It didn’t matter. You had to do the most with it while you had it in your grasp.

You held the knife up in a weak defense as he kicked your stomach. When he moved to kick you again, you slashed his leg, pulling the blade from his flesh and watching as blood quickly stained his pants. 

The wild look in his eye intensified, and he dropped down, his hips straddling yours. You could feel his hard cock press against your core as he shifted. And he said you got off to fucked up shit. 

With one hand, he applied pressure to your throat as the other held down the arm you were holding the knife with. You released your grip on the knife as black spots clouded your vision. You could vaguely hear it fall to the ground when his hand released your throat, and you sucked in a much-needed breath. He picked up the weapon, a triumphant grin on his face. You were fucked.

He sat up, lazily dragging the knife down from your chest to your hips. “You probably should’ve killed me.”

“You think I wasn’t trying?” you wheezed.

“You put up a good fight. I’ll give you that.”

“Don’t act like you don’t love it.”

“And you don’t? I saw the thrill in your eyes every time you raised this at me.”

“It’s self-defense!”

“You tell yourself that, babe,” he said, leaning down to kiss you, only for him to stop to whisper, “Try something, and I swear to god I’ll knock your teeth out.”

You were having trouble breathing. He probably crushed part of your trachea. At least you put up a good fight. You lay still as he kissed you, not making an effort to kiss him back until he pressed the blade against your throat. Even then, you let him take the lead, your lips passively responding to his as he deepened the kiss, slipping his tongue into your mouth. He wasn’t a bad kisser. Shame he was a serial killer. It took everything in you not to bite down on it like you had his thumb. You didn’t have the energy to fight back. Knew he wasn’t bluffing about your teeth either.

He pulled away from you, a string of bloody saliva hanging from your lips that he swiped with his injured thumb. Bringing the digit to his mouth, he licked it. You grimaced at the sight.

“C’mon, babe, I thought you were into this kinda thing,” he teased.

“That’s all pretend. It’s not real,” you argued softly.

You gasped as he cut through your top and bra, digging the blade into your abdomen. He traced the tip of the knife around your breasts, watching in amusement as you began to cry. The cool air in the room and metal brushing your nipples made them hard. He used his free hand to pinch and pull at one, eliciting pained whines from you. Your teary gaze was fixed on the knife, though.

“Why don’t you give me a big smile for the camera and tell me how bad you want me to fuck you?”

“Screw you!” you shouted hoarsely.

He scoffed, pulling the knife away from your breasts and holding the blunt side between his teeth as he unzipped your jeans. You squeezed your eyes shut as he pulled the denim down your limp legs, leaving you in only your panties. His index and middle finger pressed against the cotton, rubbing a bit at the wet spot in the fabric.

A pleased noise came from his throat. “So you are into this kinda thing.”

He snapped the elastic waistband against your hips. You moaned. Your eyes shot open, face heating up in embarrassment. 

The knife was back in his hand, though the gleam of the blade lowered, down, down, until you felt it pressed against your inner thigh. He dragged the blade across your sensitive skin until the only thing between it and your pussy was the thin fabric of your panties. You felt like your heart was going to explode from your chest.

“Stop. Mickey, please don’t—oh my god—“ you babbled. “Please—Mickey, I’m sorry—“

“You gonna do what I say?”

“Please fuck me, Mickey. I want you to fuck me so bad.”

“That’s better, baby,” he cooed mockingly.

You heaved a sob of relief as you felt him pull the knife from your panties. Closing your eyes again, you reckoned your impending doom with yourself, trying to ignore the sound of his zipper. The rustling of fabric. The air on your bare pussy.

“Time for the real show.”

Mickey played with your clit while he leaned down to kiss you again, devouring your involuntary moans with a triumphant smugness. 

“The rest of them were messy and painful, just like in the movies,” he said softly, confusing you for a moment before you realized he was talking about his other victims. “I didn’t hate them, though, so I’ll blame this one on violent porn.”

“Mickey, I won’t tell anyone,” you tried. “This can be our secret. I—I like it, really.”

He groaned, pushing his hard cock between your folds. A pained cry escaped your lips as his length filled you. He hardly gave you any time to get used to him inside you as he began thrusting at a brutal pace.

“Keep going,” he hissed through gritted teeth.

“You feel so good, Mickey. Your cock is so—fuck—I don’t want anyone else.” You struggled to get words out, your brain overrun by the pain and pleasure that competed to cloud your senses. 

“You’re not getting anyone else.”

Your eyes drifted to the knife in his hand as he pounded into you, nervous about what he was going to do with it next.

“Look at me, baby,” he ordered. 

Your fearful gaze snapped to his, cruel and unforgiving. He kept rubbing circles on your clit, so fast it was almost too painful. That’s what he wanted, though. For you to hurt. Made him feel better, get off quicker if you hurt. It was almost too easy for him, the way your body betrayed you so quickly, wet with slick so he hardly had to do a thing before claiming your cunt. 

Your pussy squeezed his cock, a silent encouragement with each thrust against your will. His breathing was heavy, sweat dripping from his forehead, yet he showed no signs of letting up on you. Bleeding, aching, you weren’t sure how much longer you could take the abuse. 

“I want you to ruin me, Mickey.” You meant it. If this was how you were going to meet your end, it might as well be as brutal as the dark scenarios your mind sometimes wandered to after watching a particularly bloody film. Maybe he was right. Maybe the movies were to blame. “Fucking wreck me.”

He shuddered, his thrusts getting sloppy. “Fuck–Jesus fucking–”

His grip around the knife handle tightened as he came, knuckles white as he stabbed it into the floor, mere inches away from your face. You jolted, fear and adrenaline sending you over the edge. Your orgasm wracked through your body, muscles tensing, the sensation pulsing through your wounds, making them feel like they were on fire.

You nearly blacked out, but you held on long enough to feel him bottom out inside you. His head hung over yours as he caught his breath. Tilting your head up a bit, you kissed him. Softer, more intimate, hopefully enough to throw him off.

You reached for the knife next to you, but he pulled it out of the floor before you could.

“Nice try,” he said, breaking the kiss.

He stood up and walked away. For a moment, you thought he was going to just leave you there. You weren’t so lucky. He returned with Ghostface regalia in hand, looking down at your bloody body beneath him with a grin.

Mickey brought the voice modifier to his mouth. “Now, who wants to die for art?”

[kermahillway]

Thoughts on Vector x Bratt?

I am really glad you asked this because I've been looking for an excuse to talk about this. I generally don't particularly like Vector ships because I am someone who stands by the first DM movie which implies he is WAY younger than Gru (In his early twenties) and Gru having been 11-12 in Rise of Gru which was set in 1976. It's an entire plot device to get Gru to hate Vector and make him the villain of the first DM movie. I'm not the biggest fan of large age gaps, 10 is already excessive. But I'd like to acknowledge that the DM timeline is all kinds of fucked and my DC server have been trying to piece it together several times. (Which btw if you want to rant/argue in a diplomatic way about this kind of stuff you should totally join our dc server--)

Either you see his first movie appearance as canon or you see the Rise of Gru cameo as canon. OR you can be based and see Schaffrillas' theory as canon where he's just been cloned over and over and over.

I also can't see him getting into a relationship at all. Vector seems like the kind of goof to think relationships are gross and or too much work. Then he proceeds to play his Wii for the rest of the week uninterupted.

But to answer your question, I don't mind it. :)

[werywrenniethoughts]

Let's Talk About Sun and Moon

I've been itching to share all my thoughts & theories on the Daycare Attendant ever since I first played SB. With MattPat's latest video reacting to Fuhnaff's recent Ruin theory, I could no longer contain my silence. It's obvious Steel Wool is pointing us back to Sister Location, or more specifically Circus Baby's Pizzaria. I think we'll find that the daycare attendant has been here all along. Below are a few key things I want to open discussions with the DCA fandom. Buckle up friends, and grab a snack or 3, because this is a long one. Let me know your likes, let me know your dislikes. (FYI general disclaimer that I bummed all these pictures from Google and that spoilers ARE contained below)

Personally, my theory is the DCA is an old funtime/toy animatronic from Cirus Baby's Pizzaria that was repurposed for one reason or another and brought to the PizzaPlex. Let's go over some of the reasons why:

Does the Daycare attendant fit with the Glamrock animatronics?

No. Not even a little. The Glamrocks are synonymous with neon signs, rock n roll, and 80s-early 90s vibes. Sun and Moon are based off of the naturally occurring satellites we see in the sky on the daily. Most FNAF theorist tends to unanimously state they simply "don't know what to do with the daycare attendant." It's understandable. They don't really flow with the rest of the SB cast animatronics.

You know who I think they do mesh with though? Circus Baby, Funtime Freddy, and Bellora. While one could argue they are not an exact fit, they certainly fit the circus designs far better than the Glamrocks. Sun with his striped pants, bells, ribbons, and poofy collar certainly give him more of a clown-like look (dare I even suggest, they look like a jester, Mimic fans?)

I've also always felt that Moon's speech patterns model Funtime Freddy's more than the Glamrocks or even Suns. They sound like preselected lines he's been programmed to say, rather than cohesive sentences most of the time with limited vocabulary usage, not unlike the lines delivered by the withered, Funtime, and Toy animatronics in Ultimate Custom Night. Phrases that sound innocent, but with the given inflection, they're obvious threats. Kellen Goff, the overly amazing voice actor for both the DCA, and Funtime Freddy stated once in an interview that the audition description for FF was "a voice that children would love, but adults would hate/fear." He nails that with Freddy, but, I think his performance with Moon warrants that description somewhat as well.

Another circus link I want to point out is this little devil right here:

Ballon Boy. He too blends in with the circus theme. It's also worth mentioning the arcade machine hidden within the DCA's room is Balloon World. Where in-game versions of Sun and Moon watch over any poor soul attempting to complete this flappy bird ripoff. Has anyone ever noticed that the arcade cabinet, and the game's home screen you start on, display a carnival tent?

Further, Kids Cove is linked to the daycare- the floor map shows us the shore of Kids Cove flows into the daycare, which flows to a flowery hilltop where the DCA's castle room sits. A pirate version of Foxy is the featured animatronic of Kid's Cove. In fact, every character cut-out you need to flash with the FazCam to access the DCA's room is a member of the original four: Freddy, Chica, Bonnie, and Foxy.

The DCA lore from Bobbiedots states the DCA was "an old stage animatronic" NOT specifically from the FazBear theater. Of course, no one can deny the FazBear theater is absolutely pointing us toward them being meant to be performing there. The artwork of the daycare has the FazTheater in the "sky" per the scenery, there's a sun framing the entrance banner, and Moon's patterns decorate the door. Additionally, both the comedy and tragedy masks line the banner.

Could it be they are older animatronics meant to be retrofitted and added to the lineup but were instead reprogrammed as the Daycare Attendant last minute or, were they performing an old throwback routine from their original pizzeria for a time before they were reprogrammeed? Or was it always the FazBear Theater from the get-go? I feel all these scenarios are somewhat plausible.

Sun/Moon make more rudimentary machine sounds than the other animatronics in SB. It's hard to describe the glamrocks and the endos just sound smoother, like well-oiled machines. While Sun's movements are fluid and the sounds he produces are rhythmic, he sounds more like a clock or wind-up toy than anything else. Moon flat-out squeaks- a LOT. Like he hasn't been oiled in years. (Admittedly, this could just be a subtle attempt by Steel Wool to help you deal with Moon during the generator section. It's dark as crap, and you CAN hear Moon coming far sooner than you see him.) You can listen to isolated sounds of Sun's mechanisms on the FNAF Wiki and you can hear Moon on any SB playthrough. I think their cable might also be considered rudimentary compared to the glamrocks as well, but, this is also a personal opinion that doesn't really have any evidence to back it up.

I could probably add a few more minor things, but I think I've given us all quite enough to chew on for now. I know I've failed to mention Eclipse this entire time. Without any additional lore, it's hard for me to decide whether he's the original version of Sun and Moon, or a brand new addition. Obviously, a lot of my theories here are either supported or thrown out the window based on which one is true. I'm okay with letting that lie for now until we (hopefully) get a more concrete answer from Scott or Steel Wool.

It seems like we'll be getting a Sun-based story in Tales #8 so I'm eagerly awaiting to see if that completely disproves my ideas, or gives them any merit. I certainly don't think I have them 100% figured out, but, I think the limited amount of lore regarding the origins of the DCA means Steel Wool's hiding something. I'm eager to hear everyone's thoughts! Thanks for coming to my Sun/Moon TED talk.

[sherl-grey]

dangerous words I fear but I’m craving some OFMD critical but civil discourse… s2 finale spoilers included below the cut. this is incredibly long FYI bc I’m truly desperate to get all my thoughts out

I want to preface by saying I loved S2. I think I loved it more than s1, I think there were some absolute GENIUS moments this season (the entire Calypso episode was *chef’s kiss* my favorite), and I think the cast, crew, and DJ deserve a lot of love and, of course, a renewal for another season.

I know there’s been a lot of anti-finale-critiquing posts out there (and yeah, I also don’t want to see baseless hate or, god forbid, people trying to interact with the cast/crew with anything less than love and respect) but personally, I think the biggest sign that I love a show is me wanting to pick it apart. I think digging into the writing and decision-making and characters of a show means you really appreciate the choices that were made even if you don’t agree with them, because you’re working to understand the story on a level most people only dive to if they’re forced to in an English class. No story is going to be perfect. No story is going to be written specifically for me unless it’s literally by me. But sometimes I still want to study it like a bug under a microscope, you know?

So here we go: I didn’t like the finale, and I didn’t think it fit very well with the rest of the season/show. Weirdly enough I didn’t feel a need to discuss online until I started reading the interviews DJ has been giving about the finale (specifically the choice to kill Izzy and Ed/Stede’s ending) and I’m so curious as to whether others interpreted things the same way. (Yes, they’re DJ’s characters. No, I don’t think all viewers are obligated to interpret things the same way as writers did—that’s half the beauty of storytelling and media consumption.)

Izzy’s Death

Let’s unpack the big one first. I think a lot of what DJ/finale defenders (if I may respectfully call fans who enjoyed s2e8 that) have mentioned is that Izzy’s arc was over and he’d served his narrative purpose. I’ve got a few different issues with this:

1. Part of what I love(d?) about this show is that I did not think this was a show that kills characters once they’ve served their narrative purpose, or a show that kills characters as punishment/retribution for mistakes/earlier actions. To me, OFMD symbolizes the idea that everyone is deserving of love, forgiveness, and second chances. I truly trusted that no one on the Revenge crew would die in this show, and to be proven wrong was a bit disheartening, to say the least. Will talk more on the suicide notion in the next bit because I think it was symbolic, but Izzy also now represents a suicidal character who finds the will to live again. I’d argue that a “full arc” for a character like that should be ending in happiness, not death (and especially not with a line like “I want to go” or whatever the specific words were).

2. DJ seems to describe Izzy’s role as being a mentor to Blackbeard, which I personally struggle to see at all. Despite the Captain/First Mate status difference, I think most signs have pointed towards them being roughly equals—the unrequited love Izzy feels for Ed, the way the two of them stand right up to each other when everyone else would be afraid to, the clear shared history and longevity of their friendship/companionship. (If anything, I’d argue Izzy takes on the mentor mantle for Stede in s2, though it’s a bit glossed over because of how crunched for time everything was.) I certainly have trouble seeing the “father figure” relationship that DJ mentions in interviews, because I think Izzy is the one crew member that puts himself on even ground with his captains.

But even humoring that, Ed’s story has been about shedding Blackbeard. And DJ has a great quote in the Entertainment Weekly interview where he says that Izzy and Ed are both Blackbeard, that the two of them together are what makes Blackbeard “happen.” So in theory, if we’re killing Izzy off to further Ed’s storyline, it’s to ultimately kill Blackbeard, right? Especially since his line at the end is to “just be Ed.”

Except we already have metaphorically killed Blackbeard, several times. I think S2E3 is a really interesting episode because in season 1, it can be argued (and is, by Chauncey Badminton) that Stede kills Blackbeard in his own pirate-y way—with kindness. The crew is also somewhat a part of this, as they all accept and love Ed for who he is and not only because he’s Blackbeard; the crew follows the example of their captain and it changes who Ed is as a person. S2E3 is a crew under Blackbeard, and they also kill Blackbeard following the method of their current captain—violence. And this “death” is, in my mind, the death of Blackbeard while Stede symbolically saves the part of him that is just Ed. (Bonus: we also get Ed trying to sink his leathers, and while it might just be because he’s on a damn boat, it’s interesting that Blackbeard’s clothes are drowned/sunk while Ed’s metaphorical comeback was being saved from drowning by Mer!Stede.)

So Ed’s half of Blackbeard is dead. If we stand by DJ’s idea that Blackbeard is half Izzy, we’ve still got half of Blackbeard left, right? Well, that would’ve been right immediately post-S1, but then they gave Izzy a beautiful arc that seems to be a shadow of Ed’s S1 track. Ed and Izzy are very similar characters, but in S1 Ed is on the receiving end of love, acceptance, and admiration—namely from Stede, but also from the crew. Meanwhile, Izzy is subject to contempt and hostility… once again, namely from Stede, and also from the crew. Ed blossoms under the love during S1 until that’s taken away; Izzy simply moves in the reverse direction. He continues to be an antagonist while being treated like one, but once others start treating him with kindness (Fang hugging him, Jim and Archie amputating his leg while Frenchie lies for him, the whole crew making him the unicorn leg), he too becomes a part of the family. And wouldn’t you know it—Izzy has a near death scene as well, a suicide no less. Izzy is the one who is responsible in S1 for “bringing back Blackbeard,” so the symbolism of him pulling the trigger on himself is huge. This is Izzy killing his half of Blackbeard! Because Izzy Hands continues to live, even if it takes him some time to remember how to live without Blackbeard at first, and his relationship with Ed effectively dies here.

(As a side note, this growth arc and the way Izzy fully transforms into a member of the Revenge crew afterwards—whittling Lucius a shark and talking to him about forgiveness, dressing up in drag and singing to the crew, cracking silly jokes about Ed and Stede’s relationship—are also why I find the “Izzy Hands is the symbol of traditional piracy and his death is symbolic of traditional piracy dying” argument to be weak. In season 1, he was that definition, but we’ve literally watched him grow out of it. He’s no longer symbolic of something stagnant that will remain the same or be destroyed—he’s symbolic of something that grows and adapts to the new situations, that survives when all of the rules change on him.)

And then we have the return of Blackbeard: Pop-Pop pushing Ed to go back to doing “what he’s good at,” Ed fishing his leathers out of the ocean, Ed killing a ton of people because he thinks Stede is likely dead or at minimum in captivity/grave danger. This bit seems to go against everything the season was building towards; Blackbeard was almost entirely gone, but Ed is now the one who brings him back because he thinks Blackbeard is the one who can save Stede. And that’s fair, but what does that have to do with Izzy at this point? Why does he need to die for Ed to put that part of him away again? While we’re not owed a main character having a death that serves a narrative purpose, I’d hope for that to be the case, and I struggle to interpret what happens to Izzy as beneficial to either plot or character.

3. I think the actual core arcs of the show are character arcs and not plots. I get that they might’ve been trying to wrap plots with Zheng and the British in case they aren’t renewed, but I don’t think it was necessary—the pirating has always been secondary to the rom com and the found family, IMO. In S1, we had two main characters, but I’d argue Izzy got enough focus and attention to be a third this season. Which left us with a great character-driven story: we’re watching all 3 of them come into their own and discover who they are individually, while also discovering that the changes in themselves are causing friction between them now that they’re growing into new people. Which is an amazing story to tell, if you ask me, but the fulfillment of that story requires all three characters to be there. The conflict to be resolved is how these characters can become the people they want to be and still coexist together, because on some level they’re family now. Notably each pair combination of these characters grows together or apart (or in Stede/Ed’s case, both) during this season. Ed and Izzy are growing apart because they hold each other back from becoming the person they want/need to be; to complete this narratively, I would’ve expected the next challenge to be finding a way to become friends again as their new selves while letting go of the fact that they used to have a toxic relationship when they used to be different people.

Ed and Stede’s S2 Ending

So Izzy’s death is the big talking point, but I also think DJ’s take on Ed and Stede was interesting. He said that they deserved a happy ending for the work they put in this season. I agree with him in theory, but I’m curious as to whether others agree that they put in a lot of work. I think Stede followed through with his goal to come back and tell Ed how he feels, and to stay instead of running away from his problems. I think Ed followed through with trying to understand who he is and what his needs are while also trying to find the courage to open himself up to love again. But critically, they never talk. E7 makes a point to highlight the miscommunication/lack of communication between them, and then in E8 they still aren’t shown talking.

(I realize part of the issue is the limited amount of time and the amount of plot shoved into episode 8. I get it; personally, I think the plot should’ve been sacrificed for the characters. At this point, we were 7 episodes into a very character/relationship-heavy season. Plot could’ve waited for a potential S3.)

What’s more—there’s a huge, glaring gap between where they left off and where they end up. Ed left in S2E7 after he begins panicking and realizing Stede is becoming deeper entrenched in pirate life just as he’s finally finding his way out of it. Not once do they talk about this, but suddenly they’re retiring together? And right after Ed says Izzy was his only family and Izzy calls the crew his family (which… is also an unearned line, as Ed and the crew have almost no bonding or forgiveness this season, since we focused mainly on Izzy with the crew and Ed with Stede), they leave the crew to do their own thing? They’re all relatively minor things that could be fairly easily addressed by dialogue, but they fact that they’re not only serves to underscore the way that Ed and Stede really aren’t on the same page.

I want them to get their happy ending. They deserve it. I’m just not sure that I agree that they earned it to the degree that it was received, with retirement alone together without their crew, if that makes sense.

Positivity Tax: Calypso Love 😊

I’ve probably got more to say but those were the big ones on my mind after reading the Vanity Fair and Entertainment Weekly interviews. Just to counterbalance some of the more critical things I’ve said, I wanted to share some loving analysis of the Calypso episode:

1. It’s a minor thing, but the way this episode shows that Ed’s actions as Blackbeard had consequences is amazing. Despite him arguably committing the more grievous wrongs in S1, he’s the one we get the least redemption for in this season (his apology to the crew wasn’t great, and most of his screen time is spent repairing his relationship with Stede), so for him to have to face something that happened because of his past actions is cool, especially because it was done in a way that doesn’t further damage his standing with the crew.

2. The way Stede saves the day is incredible. Competent Stede this season has been an absolute joy to watch, and his success in this episode is twofold: first he wins his way, with signature Gentleman Pirate flair. He listens to Ned’s crew, helps facilitate communication between them, and encourages them to stand up for themselves and demand better treatment. That’s a very classic Stede win. But then he wins in the traditional pirate way, and it’s absolutely glorious; he’s been working towards becoming a better pirate, both in terms of stomaching violence and building up the necessary skills. Ned’s crew can be taken down with kindness, but Ned himself is a pirate and will only be matched by another. I genuinely cannot think of a more perfect way to show that Stede is still himself while also showcasing the newer side of him that he’s been working towards this whole time.

3. Speaking of that newer side of him, the way this episode starts to open up Ed’s insecurities? The combination of seeing his least favorite parts of himself reflected in Stede as well as watching Stede grow into the career that he’s trying to leave? Amazing conflict development.

4. I’ve already talked so much about Izzy but the way this truly caps off the crew’s acceptance of him as part of the family is gorgeous. He’s an entirely new man at this point and there’s no jokes made, no friendly ribbing… just love and acceptance. It highlights both his newfound comfort and familiarity with the others as well as the extent to which they care about him.

5. Less analytical, but it’s also just a really pretty episode.

Considering the fact that I have zero OFMD mutuals and this was a whole essay (I’m on mobile and can’t see how long this is but I’m honestly scared), I would be shocked if someone made it down this far, but if somehow people are here and open to civil discussion… I’d love to know how you felt about this, if you thought DJ was right, if you were a little more on my wavelength and thinking things weren’t adding up, etc. Realistically I’m not sure if anything could change my mind as I’ve done a lot of stewing, particularly about Izzy arc, but new perspectives are always refreshing. Much love to the fandom and of course the creators, who hopefully never see this and get their s3 renewal 🤞🏼

[hawkinsschoolcounselor]

Regarding queerbaiting: Sherlock is one of the more famous examples, and the tumblr drama surrounding it is an... interesting story that I think is worth knowing if you want to understand the queerbait allegations.

The show, made and set in the 2010s, liked to poke fun at John Watson for being a straight man shacking up with another single dude. The show's creators -- one of whom is a gay man himself -- were born in 60s, so I see these jokes as two guys who were adults during the height of AIDS and Thatcherism taking delight in the fact they're now living in a world where queerness is largely accepted and somewhat normalized. A straight guy being forced to constantly defend himself from nonchalant assumptions that the man he's living with is his gay lover is funny when he's not in any danger of being hate-crimed over it, right?

(I'm not a fan of the joke personally, but I get it.)

They really liked this stupid joke though, so they used it again and again and again, to the point that young fans started to become convinced it was hinting at something. I can't blame them: there was even a lesbian character who fell for Sherlock and explicitly compared herself to John as someone who wasn't into men and yet was just so spellbound by this one special detective boi.

It was pretty lesbophobic imo, which should have been a massive red flag as to how the showrunners really felt about queer characters...

...But where the show went from annoying to actively hostile was the mystery of how Sherlock survived his apparent death at the end of season 2. The showrunners swore up and down it was solvable... and then when the next season aired, the "solution" was "lol who cares how he did it, this is a ~*character driven story*~ and only stupid obsessed idiots would want to solve the mystery. 🤣🤣🤣"

Make no mistake, they singled out the mlm shippers specifically for mockery -- there's a group of Sherlock Holmes conspiracy theorists in the show who argue over a theory that Holmes and Moriarty staged the death together and then kissed about it. (The viewer is clearly meant to laugh at this.)

Some of the Johnlockers on tumblr refused to believe this was happening to them and doubled down and convinced themselves there was going to be an amazing Johnlock plot twist at the end of season 4. My understanding (which might be wrong, I wasn't in the fandom) is that this contingent was largely composed of naive queer teenagers who blindly trusted a handful of influential adults who insisted that the show was deep and clever and didn't hate its fans.

So I can definitely sympathize with the folks who fear Byler is just queerbait. This too is a mlm fandom made up of naive teenagers trusting the adults who swear that the secret gay plot twist is totally gonna happen this time, trust me bro it's not called Surface Things.

And, look. I think it's very sensible to be skeptical of random strangers on the internet who insist they have the answers, no matter how authoritative they might sound. Keep on doing that, folks. 👍

But I think that principle applies just as much to the "this is just like Sherlock" doomers as it does to the "anyone who thinks Byler won't happen has no media literacy" lot. Yes, it's always possible that the Duffers were queerbaiting us all along... but the way Sherlock and Stranger Things approach queerness truly is like night and day.

Huh, well, if what you say is accurate, then it sounds like the Holmes writers were just jerks overall. I can see the joke, as you explain it. I may not think it appropriate to make it a running gag, but it's good for a chuckle or two. If it was truly presented as a joke, then it would be on the fans for misinterpreting it, but I don't know enough about how it was presented to know how easy it would be for fans to make that conclusion.

To me, it only makes it more apparent that things on Stranger Things are "night and day," as you put it. Will's feelings, and Robin's, for that matter, are not treated as jokes. They're treated as dramatic, emotional parts of their individual arcs. In Will's case, his happiness is linked to his relationship with Mike, which is complicated by the fact that he doesn't think he'll get to have a romantic relationship with him, or at all really.

I prefer to think the Duffers are better than whoever was responsible for what you described. While it all remains to be seen, they deserve the benefit of the doubt, for now.

[the-cat-and-the-birdie]

Small fun fact about me:

My mom is neurodivergent too! And not only that, but

Me and my mom share a special interest.

[A short post about me, my mom, hyperfixations, and how acceptance can help you grow]

For the last ten years, both me and my mother have had a hyperfixation on Marvel movies and Superhero movies in general.

And if anything, she's more fixated than I am.

This started at the same time, despite my mother never picking up a comic in her life. It happened when we first saw the Avengers in theatres in 2012.

Since then me and my mother have seen every Marvel movie on the day of release, or even a day before release.

When I was in high school, I remember her specifically pulling me out of school early to take me to the marathon premiere of Thor 2 and The Winter Soldier.

She's seen every Marvel media to date outside of the Netflix series. She's already finished Secret Invasion.

In recent years, we've gotten Unlimited movie memberships, and because we live in NY we can often see movies the Thursday before the Friday release, so we go to the movies almost twice a month, and we see movies repeatedly.

I saw ATSV three times in theatres while she saw it twice, and saw GOTG a second or third time. We recently saw Blue Beetle the day or two after release. She keeps me CONSISTENT.

The reason why I theorize about Marvel media and Spider-man media is largely because of her.

For years she was the one I theorized with. I've spoken to her about whether or not Peter set Miles up (she isn't convinced), or argue with her about whether or not Khonsu from Moon Knight is cool (he is).

She watches more Marvel fan content than me and inhales all the essays, reacts, and Easter egg videos on YouTube.

She's the same with recent Star Wars, she's seen Andor and Boba Fett and the Mandalorian, and currently working her way through Asoka.

And she knew about my past fixation on Loki in specific. She even knows about Hobie and Diane.

I told her I want to go to NY ComicCon as my spidersona and she was like "... You'd have to work on your roller skating" and I was SHOOK she remembered that about Diane because she's right.

But yeah, we've always been REALLY REALLY close over marvel stuff, and it's amazing having a parent who has the same fixation as you. It's like a natural thing, and I can speak openly about my theories or interests and she'll be like 'Oh yeah I noticed that incredibly niche moment where Hobie did that one specific thing, what of it'

I'm never treated weird for my fixation. Cause hers is stronger. I told her I didn't want to see GOTG again and she was like HUH and I was so heartbroken that I went and saw it anyway 😭😭

Some of my favorite moments with my mom are in movies theatres. And because we share this niche interest and neurodivergency, we're able to have these in-depth conversations about these characters we've formed bonds to together.

When Loki the show came out we'd been waiting literal years for it - like literally since 2013 talking about it. And I had a lot of mixed feelings about it.

But I could talk about those feelings and thoughts and characterizations with someone I know wouldn't ostracize me, knows the material as well as I do - if not more, and cares about these characters.

Because of that, my theorizing skills were able to grow all throughout my teenage years.

Because my hyperfixation was nurtured instead of demonized.

And I just think that's SO COOL.

Just wanted to share. Here's a photo of Miguel because I hate consistency [this is a hobie household]

Bye.

[rainbowsky]

Hello Rainbowsky,

Is Rocco using the 227 kadian a coincidence? If not, I really can’t understand why on earth did he choose that time to post.

I was happy to know that he defended WYB but I really felt bad when I saw the time.

Rainbowsky, what do you think?

With all due respect, Anon - and everyone else who has messaged me about this...

I am deeply disappointed by BXG these past couple days - more so than I've been maybe even in YEARS. Y'all are behaving like a bunch of toxic solos, many of you being blindly instigated by toxic solos who are manipulating your feelings for their own ends.

DD went to an event and had a good time, looked amazing - one of the rare occasions where he's not wearing a plain black suit - posted multiple amazing videos and photo sets, was the guest of honor and the most anticipated face of the evening...

And all anyone GAF about is this petty drama bullshit.

I've gotten so many messages about Rocco and the various toxic and often deeply homophobic rumors going around about him, about GQ and their supposed rift with GG, about this stupid F'n kadian, and I've had only ONE message about DD and how great he looked and how great it was to see him in such a casual feeling setting, looking relaxed and happy.

This is toxic fandom, in a nutshell. This is toxic fandom.

I had thought y'all were above all that. I really had. But it seems Tumblr really is no less toxic than Twitter. At least, that's what it feels like these past couple days.

What do I think of this kadian moment? I think that it was likely intentional, and I find myself laughing at how sassy he is. That's what I think. GG's fans were pushing a hateful lie about DD - which it seems like all they're good for these days - and flooding his photo post with comments about DD supposedly lying about his height, and his response was to slap them with the facts.

If the kadian was intentional - and I suspect it probably was - it was a slap on XFX, not on GG. Because fuck them, seriously. Fuck them for constantly dogging DD's every step with hate hs on Weibo. You've probably heard about so many of the attacks on DD over the last while. "Desperate illiterate", his height, etc. What you might not know is that every single one of them is orchestrated and pushed by XFX.

2/27 is XFX's shame (that sadly they have no shame about). It is NOT GG's shame. He did no wrong, and everyone knows it. His fans haven't learned a thing, and keep doing this kind of garbage, which might one day lead to GG's downfall or to another period of having to lie low in obscurity, etc.

The kadian shows the post to be directed squarely at XFX, where it belongs. Nothing more. The only people who will notice or care about it are the assholes in the comments arguing. Bystanders won't notice or care. It does absolutely NOTHING to harm GG. It just embarrasses and calls out XFX.

If DD can go hang out with and be the guest of honor for an event that is a huge feather in Rocco's cap, making Rocco look good in China and internationally - the man is getting a lot of accolades for the event - if he can walk the red carpet with him and be friendly with and have an obviously good relationship with him (Edit: and can hug him like a good friend), then no fan has any excuse for holding any kind of grudge against him.

There is no one closer to GG than DD, so if Rocco is OK with DD, he's OK with me. End of fucking story.

People who are reading into this all kinds of conspiracy theory BS need to go touch some grass. Seriously.

This is a fandom of GG and DD, not of Rocco Liu. Stop focusing on stupid shit, people.

[cruyuu]

I agree being a Sukuna fan is pretty hard since a lot of G fans are too toxic. I also feel bad for Gege since G fandom always downplay other characters and arcs Gege made for other characters

Reminds me of Homer with Poochie who wanted EVERYTHING to be about Poochie lol

Being a fan of any character in this fandom that isn't a popular one is an experience, anon, I'll tell you that. Finding people who are more open-minded towards discussing those less-talked about characters or that share your opinions is even harder, lol.

Still, this is the first fandom I've been in where I have a hard time connecting with it at all because man, this fandom really struggles with objectivity and being at peace with where the story currently is. I had to walk away from the bird app because of the way I was tired (and frustrated) about people continually making theories about a dead character's comeback with 0 evidence and being dismissive of the current plot. Like outside of Yuuji and Sukuna, Higuruma is also one of my favorite characters, and even though I don't talk about him much, I'm at peace when it comes to his death. I don't consider it a waste nor do I consider that he could've been more developed. I accept canon and the role he played in the story, because I realize he is just a side character and this is not a story about him. If I want to see a story about him, I could just write one.

I genuinely have no problem with people loving characters nor being insane over their faves (I do that too) but it becomes tiring when you're met with 487283737 posts of the same thing over and over and over again while looking for analyses related to the current going-ons in the plot. Like Gojo had been dead for some time to the narrative yet the fandom still refuses to let him rest even though he found peace in death and I find that ironic because they won't accept his actual characterization, paint the author as a hater (even tho he created him so that argument makes no sense) and believe they know him best, even better than the author. Do they? Are they truly his fans if they can't accept what canon is telling them or fans of a version of him which never existed in the first place? Like real fans accept the fact that he's dead and are not arguing everything in the story is about him. I know that because one of my friends loves him a lot (he's his #1) yet he doesn't belittle anyone, nor does he hate Sukuna and is still keeping up with the story. Normal fans do still exist, even though they are a rarity in this fandom.

I also feel bad for Gege because people are still hating on him simply because he doesn't do what is common in shonen works. If those people are dissatisfied with his writing, then why not just read a work which will satisfy their cravings or write a story they wish to read? Why not read Naruto, a classic shonen where nobody ever dies, everybody gets to shine and has about half a story dedicated to the side-characters and gives them development? It's everything they've been looking for in jjk, and yet they're still reading jjk, expecting it to deliver these tropes which exist in other shonen and then get disappointed when it doesn't. Just because it is marketed at such, it doesn't mean it'll be a copy or a ripoff, or for that matter, that it will follow certain rules or tropes applied to shonen. Every story has its own rules and deserves to be treated as such.

As somebody who had started reading jjk with 0 expectations, I am actually quite enjoying the wild ride that is jjk.

[triforce-of-mischief]

For the fantheories, I have a couple I‘m curious about so I‘m just gonna rattle them of 😁

-Four is Wind‘s ancestor (same wooden shield)

-Hylia is the most hated god in the Chain- Especially by Wild and Legend

-Twilight is trying to keep Time alive will be a self-fulfilling prophecy

-The controversial 'Four is a System'

-Malon is pregnant as off the last chapter

-Time knows someone will die

-Warriors knew Time and Wind from before

-Hyrule can‘t JUST transform into a fairy, he has some fae ancestry

I‘m kinda blending Headcanons and Theories together 😅

Though there are some headcanons that where so universal they made as well have been adopted as canon by the fandom

*Side-eyes the older Wild headcanons that hopefully won’t make a return

Wild being so traumatized he would fly off the handle and attack the rest of the chain at the drop of a hat

Wild umm… activating Miphas grace instead of drinking a potion

GOODNESS anon /pos, charts above the cut and explanations below

four is wind's ancestor: very plausible and very fun, but it could simply be jojo keeping it accurate to their games as they do indeed have the same shield

Hylia is the most hated god in the Chain- Especially by Wild and Legend: ive written before how hylia is messed up in wild's context, and i can argue for sky not being sure about her as well. but they're the only ones who know her canonically, and legend and the others know other gods. we do polytheism here, sir, you can have your accuracy and your religious trauma too

twilight and time's prophecy: i havent heard much about this one, nor do i care

four is a system: i dont like to call this one controversial, as the nastiness came exclusively from ableists. this is a good headcanon that youll know i use if you read any of my fics. im glad jojo chose to not portray something she doesnt know, even if she stumbled over the wording

malon is pregnant: you can really see the christian cishet fans shining through in this one. not impossible seeing as its in their future, but time wouldntve reacted like this to that sort of announcement. if anything, time is the one expecting

warriors knew time and wind from before: absolutely not canon, but fun though i dont play with it

time knows someone will die: i dont really care enough to have an opinion

hyrule has fae ancestry: definitely not canon, i could go either way

wild is so traumatized that he might attack the chain at any moment: nope. just nope. this is the boy who ran into the forest and monologued rather than escalating to violence with the colors. hes not as feral as you think, guys

wild activates mipha's grace instead of using a potion: in both canons, wild doesnt have mipha's grace anymore. let the angst happen naturally and let him be responsible for once