#i know i'm bad at death scenes

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[acourtofquestions]

Rowaelin Chapter 41 Kingdom of Ash:

She'd rebuild it—what she had been.

Perhaps one last time, perhaps only for a little while, but she'd do it. If only for Terrasen.

Rowan swooped from the mast, shifting as he reached her side at the rail. He surveyed the night-black sea beyond them. "You should rest." She slid him a glance. "I'm not tired." Not a lie, not in some regards. "Want to spar?" He frowned. "Training can start tomorrow."

"Or tonight." She held his piercing stare, matched his dominance with her own.

"It can wait a few hours, Aelin."

"Every day counts." Against Erawan, even a day of training would count.

Rowan's jaw tightened. "True," he said at last. "But it can still wait. There are ... there are things we need to discuss." The silent words rose in his animal-bright eyes. About you and me.

Her mouth went dry. But Aelin nodded In silence, they strode into their spacious quarters, its only decoration the wall of windows that overlooked the churning sea behind them. A far cry from a queen's chamber, or any she might have purchased as Adarlan's assassin.

At least the bed built into the wall looked clean enough, the sheets crisp and stainless. But Aelin headed for the oak desk anchored to the floor, and leaned against it while Rowan shut the door.

In the dim lantern light, they stared at each other.

She'd endured Maeve and Cairn; she'd endured Endovier and countless other horrors and losses. She could have this conversation with him. The first step toward rebuilding herself.

Aelin knew Rowan could hear her thundering heart as the space between them went taut. She swallowed once. "Elide and Lorcan told you... told you everything that was said on that beach."

A curt nod, wariness flooding his eyes. "Everything that Maeve said." Another nod.

She braced herself. "That I'm-we're mates."

Understanding and something like relief replaced that wariness. "Yes."

"I'm your mate," she said, needing to voice it. "And you are mine."

Rowan crossed the room, but halted a few feet from the desk on which she leaned. "What of it, Aelin?" His question was low, rough.

"Don't you..." She scrubbed at her face. "You know what she did to you, to ..." She couldn't say her name. Lyria. "Because of it."

"I do know."

"And?"

"And what do you wish me to say?"

She pushed off the desk. "I wish you to tell me how you feel about it. If…"

"If what?"

"If you wish it wasn't so."

His brows narrowed. "Why would I ever wish that?"

She shook her head, unable to answer, and stared over her shoulder toward the sea.

It seemed like he would close the distance between them, but he remained where he was.

"Aelin." His voice turned hoarse. "Aelin."

She looked at him then, at the pain in his words.

"Do you know what I wish?" He exposed his palms, one tattooed, the other unmarked. "I wish that you had told me. When you realized it. I wish you had told me then."

She swallowed against the ache in her throat. "I didn't want to hurt you."

"Why would it ever hurt me to know the truth that was already in my heart? The truth I hoped for?"

"I didn't understand it. I didn't understand how it was possible. I thought maybe ... maybe you might be able to have two mates within a lifetime, but even then, I just ….." She blew out a breath. "I didn't want you to be distressed." His eyes softened. "Do I regret that Lyria was dragged into this, that the cost of Maeve's game was her life, and the life of the child we might have had? Yes. I regret that, and I wish it had never happened." He would bear the tattoo to remember it for the rest of his days. "But none of that was your fault. I will always carry some of the burden of it, always know I chose to leave her for war and glory, and that I played right into Maeve's hands."

"Maeve wanted to ensnare you to get to me, though."

"Then it is her choice, not yours."

Aelin ran a hand over the worn wood of the desk. "In those illusions she spun for me, she showed me variations on one more than all the others." The words were strained, but she forced them out. Forced herself to look at him. "She spun me one dreamscape that felt so real I could smell the wind off the Staghorns."

"What did she show you?" A breathless question.

Aelin had to swallow before she could answer. "She showed me what might have been—if there had been no Erawan, if Elena had dealt with him properly and banished him. If there had been no Lyria, none of that pain or despair you endured. She showed me Terrasen as it would have been today, with my father as king, and my childhood happy, and..." Her lips wobbled. "When I turned twenty, you came with a delegation of Fae to Terrasen, to make amends for the rift between my mother and Maeve. And you and I took one look at each other in my father's throne room, and we knew."

She didn't fight the stinging in her eyes. "I wanted to believe that was the true world. That this was the nightmare from which I'd awaken. I wanted to believe that there was a place where you and I had never known this suffering and loss, where we'd take one look at each other and know we were mates. Maeve told me she could make it so. If I gave her the keys, she'd make it all possible." She wiped at her cheek, at the tear that escaped down it. "She spun me realities where you were dead, where you'd been killed by Erawan and only in handing over the keys to her would I be able to avenge you. But those realities made me ... I stopped being useful to her when she told me you were gone. She couldn't get me to talk, to think. Yet in the ones where you and I met, where things were as they should have been ... that was when I came the closest."

His swallow was audible. "What stopped you?"

She wiped at her face again. "The male I fell in love with was you. It was you, who knew pain as I did, and who walked with me through it, back to the light. Maeve didn't understand that. That even if she could create that perfect world, it wouldn't be you with me. And I'd never trade that, trade this. Not for anything." He extended his hand. An offer and invitation.

Aelin laid hers atop his, and his callused fingers squeezed gently. "I wanted it to be you," he breathed, closing his eyes. "For months and months, even in Wendlyn, I wondered why you weren't my mate instead. It tore me up, wondering it, but I still did." He opened his eyes, and they burned like green fire. "All this time, I wanted it to be you."

She lowered her gaze, but he hooked a thumb and forefinger around her chin and lifted her face.

"I know you are tired, Fireheart. I know that the burden on your shoulders is more than anyone should endure." He took their joined hands and laid them on his heart. "But we'll face this together. Erawan, the Lock, all of it.

"We'll face it together. And when we are done, when you Settle, we will have a thousand years together. Longer."

A small sound came out of her. "Elena said the Lock requires—"

"We'll face it together," he swore again.

"And if the cost of it truly is you, then we'll pay it together. As one soul in two bodies.

Her heart strained to the point of cleaving. "Terrasen needs a king."

"I have no intention of ruling Terrasen without you. Aedion can have the job."

She scanned his face. He meant every word He brushed the hair from her face, his other hand still clasping hers to his chest, where his heart pounded a steady, unfaltering rhythm.

"Even if I had my choice of any dream-realities, any perfect illusions, I would still choose you, too."

She felt the truth of his words echo into the unbreakable thing that bound their very souls, and tilted her face up toward his. But he made no move beyond it.

She frowned. "Why aren't you kissing me?"

"I thought you might want to be asked first."

"That never stopped you before."

"This first time, I wanted to make sure you were ... ready." After Cairn and Maeve. After months of having no choices whatsoever.

She smiled despite that truth. "I'm ready to be kissed again, Prince."

He let out a dark chuckle and muttered, "Thank the gods," before he lowered his mouth to hers.

"You're my mate." Her words were a breathless rush. "And I am yours."

The world might have been burning around them for all she cared, all he cared, too.

"Together, Aelin," he promised, and she heard the rest of the words in every place their bodies joined. Together they would face this, together they would find a way.

Together we'll find a way, their mingling breaths, the crashing sea, seemed to echo.

Together.

[ehlnofay]

wip wthursday

tagged by @wispstalk and @jiubilant... thank you kindly! now that summerfest is over I'm finding myself in a bit of a slump, but here's an excerpt from a project I've been picking at every now and again for a couple months (looking at what happens after the oblivion crisis, on both a societal and personal scale, from martin's sad little aspect-of-a-sleeping-god-and-personification-of-a-magical-barrier perspective. partly an exercise in worldbuilding, partly an exercise in misery. this scene is the latter. sorry)

tagging back @everybodyknows-everybodydies @ghoulsbeard @ervona @lemon-embalmer :) hope everyone's day is going well!

[smokestarrules]

guess what I finished watching

[fyodcrs]

So the manga really is going the same as the anime, huh? Well then.

Wake me up when Fyodor is resurrected.

[magniloquent-raven]

give this man a pretty dress immediately

[daddyplasmius]

hand on my stupid heart flashbacks

this is a No One Knows AU & Full Hazmat AU where Danny ended up in the Ghost Zone & didn't go back into the human world initially because he thought he was dead. by the time he realized he is, in fact, at least half alive, he'd already been missing for at least 2 weeks. will probs never finish homsh sorry. i wrote this a couple years ago in a haze & just haven't been able to finish it because i can't replicate the style, which i find is what i love about this fic the most. it wouldn't be the same without it. posting the flashback introsーwhich are meant to be read between chapters/the actual plot, starting after chapter 1ーcuz fuck it. excuse typos & shit, i never properly edited it, as i forgot it existed immediately after i wrote it original description of homsh: Danny Fenton has officially been missing for over a year. Maddie & Jack Fenton refuse to give up on their son. Sick and tired of the police running them in circles, and the case getting colder by the day, the Fentons turn to their last resortーPhantom. 800~ words (full unfinished fic is 20k~)

-

When Danny woke up surrounded by thick, green fog, and couldn’t breathe without swallowing heavy air that was more like water than anything, he was sure he was dead. The portal glowed behind him, illuminating the pitch darkness around him in soft, yellow, warm light.

He almost went back.

Almost.

He was dead. His parents were ghost hunters. They had drilled into his head from the moment he was born that he could never, ever panic in death. That he would accept it. That he would not be scared. So he would be prepared to be brave in the face of death and would not become a ghost.

He panicked. He did not accept it. He was terrified. And so he woke up in the Ghost Zone.

-

Danny went back through the portal when he saw some ectopuses acting… strange. Like they had an idea in their heads. Like they had a plan.

Which was weird, with animal ghosts. He had only been in the Ghost Zoneーmom and dad called it that, he rememberedーfor a couple weeks. Or, he had already been there for two weeks. Or maybe time worked differently and he was there five minutes, or four years orー

The ectopuses went through the portal and, despite everything, Danny went after them.

While he was busy reeling at being home, the ectopuses immediately attacked dad. Danny was horrified. Jack was overwhelmed. Danny stepped in, in a moment fueled by sheer adrenaline and stupidity, snatching a Fenton Thermos™ off a shelf and releasing his shaky invisibility. The ectopuses didn’t stand a chance. And when they were safely in the Thermos, he slowly turned around to dad, ready for the confrontation. Ready for the “what happened to you?” and the “where have you been?” and the “we’ve missed you”.

Dad scrambled to shoot at him.

Danny fled.

His parents didn’t recognize him.

-

The Lunch Lady attacked when Danny was mourning Halloween.

He’d waited all year. He made a costume that summer. He wouldn’t get to go trick or treating with Sam and Tucker this year. Or any year. For the rest of his lifeーor existence. Whatever.

The Lunch Lady appeared in the school and demanded in straight fury, “Who changed the menu?”

Everyone pointed at Sam.

Danny hadn’t known just how powerful ghosts could be. His parents never told him the specifics. Just that they were dangerous.

This ghost grew and her aura hit him like a hurricane, almost physically pushing him back. It was so strong that the students in the Casper High cafeteria seemed to feel it too.

The Lunch Lady was a much harder opponent than the ectopuses. She levitated meat. She used it as a weapon, and seemed to bring it back to life. She created weird meat creatures that grew sharp teeth and claws out of bones. They were mindless, attacking everything that got too close to the ghost. Danny would have run away without hesitation, if Sam hadn’t been in the crossfire.

Danny fought the Lunch Lady. It was a long struggle, but he caught her in the thermos after over an hour. When he turned to Sam and Tuckerーboth of whom he had to save due to Tucker trying to jump into the fightーall three of them bloody and bruised, he cringed. But a part of him hoped. Desperately.

Surely they would know him on sight.

“Wh-what are you?” Sam gasped at him finally.

Danny flinched as if she had struck him. “J-just… your friendly neighbourhood phantom.”

-

Danny didn’t know what possessed him. Oh. Pun not intended.

He just barely caught the Fentons leaving in the GAV, dragging suitcases behind them. He couldn’t help himself. What on Earth were they doing?

They were going to Vlad Master’s mansion for their college reunion.

It was a whole thing. But something was off. Besides all the adults reminiscing about the 80’s.

Danny sensed ghosts immediately but he couldn’t see anything. Unfortunately for him, Vlad could also sense him. It was two days of Danny staying invisible, and Vladーthe halfa? Is that what Danny is?ーtrying to kill Jack. Somehow, Danny managed to fight off Vlad, not turn back, and without the Fentons getting hurt. His secret intact.

VladーPlasmius, also learned about Phantom. And Vlad hated him. The manーghostーwhatever, seemed to only care about one thingーpossession. Of money. Of things. Of people. He was more ghost than Danny had ever seen. Vlad’s obsession was overwhelming.

Danny couldn’t believe someone so much like himself could be so disturbing.

[sergeantpixie]

2023 character wrapped: 9 characters you loved in 2023! Was tagged by @frankensteinsmona

From left to right this is Rory Gilmore (Gilmore Girls), Daisy Jones (Daisy Jones & The Six), Aria Montgomery (Pretty Little Liars), Midge Maisel (The Marvelous Mrs. Maisel), Elena Gilbert (The Vampire Diaries), Riley Flynn (Midnight Mass), Erin Greene (Midnight Mass), Annabel Lee Usher (The Fall of the House of Usher), and Ilonka (The Midnight Club).

Daisy, Annabel Lee, and Ilonka are the only three I met this year but I did rewatch all of the others' shows this year so it still counts lmao.

Tagging: @woodswit, @purplesigebert, @randomestfandoms, @imperpetuallylost, and anyone who sees this and wants to participate!

[zincbot]

i gotta say, 13 hours into omori, i don't get why people call it a horror game

[daughterofhecata]

Hab Das Mädchen, das allein nach Haus geht zuende geguckt. Ganz offensichtlich ist der Grund, aus dem Nina in den nächsten Folgen nicht mehr dabei ist, der, dass sie zusammen mit Julie in den Flieger gestiegen ist und die beiden zusammen ein neues Leben angefangen haben. Ganz eindeutig. Eine andere Erklärung gibts nicht.

[julie-finlay]

Finlay Friday

13x01: "Karma to Burn", script extracts. Pt. 3/3. Unaired scenes under the cut.

[eggmeralda]

kind of wish my way of coping with morbid things wasn't to expose myself to them until I become desensitised lol

[detectivesoup]

I can't listen to the person of interest soundtrack or any songs that are on it normally. However, I do think many of the songs they use on that soundtrack are impossible to listen to normally regardless of pairing with emotion inducing scenes. Like. Find my a guy who's listened to Johnny Cash's cover of Hurt or The Violent Bear It Away by Moby and HASN'T had to go lie down in the dirt for 6 hours, or heard Sinnerman by Nina Simone and felt an overwhelming surge of energy trying to claw its way out of their ribcage

[marypsue]

not to be a horrible shipper all over your plotfic but what would the ships look like in your ageswap au?

The sample I posted does rather invite the question!

I should put out there, as a general rule, I'm not all that interested in Mike/Will and I don't have plans to write it anywhere. I don't really vibe with it, generally, and I believe I've mentioned previously (but maybe only in tags) that I really hate the way the Duffers conceived of and have been handling the possibility that Will might be gay. And many of the ways parts of the fandom have acted in response. I get that it's important to some people, and I don't want to rain on anybody's parade, but I've seen so much bad behaviour from the showrunners all the way down that it's pretty firmly put me off.

With that said, though. This fic was undertaken before I'd had much exposure to the fandom, and also, the roleswap plays...well, a role. I'm a sucker for a good triad relationship, especially the Monster Hunting Trio, and in this version of things, that's Mike and El and Will. So this is probably the only time you're ever going to see me writing reciprocated romantic feelings between Mike and Will. It's just that El is also there. And the entire context of their previous relationships with each other has changed. It feels different. I don't know. I'm operating on vibes, here.

Also because of the roleswap, this is one of those rare places where I'm not mashing Steve and Nancy and Jonathan's faces all together. Nancy and Jonathan are the Hopper and Joyce of this fic, and Steve is the Karen Wheeler. He'll be fine in his loveless marriage while the other two are off having fantastic post-saving-the-world sex. Maybe he'll have an ill-advised affair in the future. Who can say.

(Also Nancy and Barb had a brief on-again-off-again fling post-Nancy's-divorce, which has been over for some time as of the action taking place. Long enough for Barb to find a more stable relationship with the other local lesbian...)

I'm pretty sure that's it, as far as romance goes. Apart from the teen squad, it's pretty secondary to the plot in season 1, and I'm sticking with that. (Also, I need lots of time and space to fully mine the hilarity of Steve being Mike's literal actual father.)

[thedreadvampy]

I mean sure, I can understand this perspective, but I'm not sure whether most people feel less shaken to be thrust into conversations about "self-unaliving" than conversations about "suicide"

and I for one as a survivor would much rather unexpectedly encounter somebody talking about "rape" than somebody talking about how funny it is to have sex with somebody when they don't want to, a normal thing that doesn't need to be named because it's So Normal.

which is to say. this is a post about words. the words are not the distressing thing about the discussion. the distressing thing is the distressing thing about the discussion. sugarcoating, dodging or renaming the distressing thing doesn't make it less distressing but it DOES often make it harder to have a frank discussion about it or address it in serious terms.

[pinch of salt: solid probability from their blog that this person is a Literal 14 Year Old and the perspective from 30 and 14 are very different. I do stand by all the points I'm making but I think this conversation lands a lot different for people at different life stages - there is something to be said for the general issue that the internet has flattened social groups to the degree that I as a 30 year old can make a post to my audience of largely adult millennials that immediately enters the same conversational space as people half my age and still in school. that seems. ungreat. as the primary way we engage in conversation. but I don't have solutions to offer.]

you gotta be able to say "die"

you gotta be able to say "suicide"

you gotta be able to talk about "sex"

they're uncomfortable topics, YEAH for SURE

because LIFE is uncomfortable. Death and suicide and sex and pain are straight up going to happen. not having words for the way it discomforts you doesn't make it more comfortable, it just makes you less able to reach out about it.

even more vital, you gotta be able to say words like "rape", "abuse", "queer" or "racist". cause we fought fucking hard to name those experiences. to identify "rape" as distinct from "sex" and "racism" as distinct from "acceptable behaviour" and "queer" as distinct from "invert"

like the function of communication is not to minimise immediate discomfort. we gotta be able to talk about stuff that's hard or sucks or causes difficult conversations.

[tpwrtrmnky]

hindsight

[ID: A two-panel comic with crudely drawn stick figures.

Panel 1: The lime green person is talking to the leaf green person and the moss green person.

Lime: "I... have a confession to make."

Leaf: "Go ahead."

Lime: "I want to rewatch the Wizard Child movies."

Leaf: "Didn't the wizard author get incredibly chromophobic?"

Lime: "Yeah I just... It's nostalgia you know? They meant a lot to me when I was a kid."

Panel 2: The three are on the couch.

Lime: "All right, let's go."

Leaf: "It's so weird how the wizard author just turned chromophobic though. Like I remember this series being pretty good for its time. It'll be weird seeing their work contrasting with their views now."

Moss: "I'm just glad we got the movies for free through normal and legal means. Heh."

End ID.]

[ID 2: Scenes from three Wizard Child movies.

Wizard Child and the Simplistic Morality: A slightly round child with a propeller hat is talking to a child with no hat.

Round child: "I am so fucking fat and greedy I am textually shown to be fat because I am greedy and also evil."

Hatless child: "You are to infer my moral purity from juxtaposition with this fat child. Woe is me for our shared parent has deprived me of a propeller hat."

Wizard Child and the Goodness of Wealth: An adult wizard is talking to the child, who now has a wizard hat.

Wizard Adult: "Wizard child you are secretly extremely rich."

Wizard Child: "I will form biases regarding the bankers all being triangular for some reason!"

Wizard Adult: "Your wealth is deserved because your true parent was Good and therefore you are also Good."

Wizard Child: "Now we should acquire consumer goods. Buy consumer goods!"

Wizard Child and the Dark Family History: A blue-grey horse person is talking to the wizard child.

Blue-grey: "No, wizard child. You don't understand. I am one of the good ones, because unlike the bad ones I don't try to spread my curse that makes you a blue-grey horselike creature to others!"

Wizard child: "Wow uncle blue-grey you are one of the good ones! I forgive you for being a horse because I am so good I would even forgive horses. I sure hope you don't conspicuously get killed off later in this movie!"

End ID 2.]

[ID 3: Oh hell no there are even more of these.

Wizard Youth and the Tokenistic Relationship Dynamics: A square headed wizard youth is talking to the former wizard child, now a wizard youth.

Square Wizard Youth: "Wizard child, as the only person with a square head in this entire series it is my duty to inform you that you are the savior of all people with square heads, too. Let us build a one-sided relationship that only furthers your character development, after which I will immediately lose all plot relevance."

Wizard Youth: "I will do this because I am a maturing wizard youth and need disposable relationships that don't threaten the endgame!"

Wizard Youth and the Escalation of Stakes: The Dark Wizard, a sort of grey-green person with a cloak, is pointing at Wizard Youth.

Dark Wizard: "Wizard Youth, I have returned!"

Wizard Youth: "Dark Wizard! Why are you green now?"

Dark Wizard: "Evil magic made me green! I am green with envy towards all who are good!"

Wizard Youth: "I will not engage with how you are clearly based on fascist ideologies and yet this narrative plays into fascist aesthetic sensibilities!"

Wizard Youth and the Post-Hoc Revelations: The Wizard Youth is leaning over their Wizard Mentor, who is laying in a pool of blood.

Wizard Youth: "Wizard Mentor no! You can't die!"

Wizard Mentor: "It is fine, wizard youth. My death will further your character development into a wizard adult. Also, I was secretly a very very dark purple this entire time. I never brought it up so I could retain narrative approval.

End ID 3.]

[ID 4: Wizard Adult and the Overdue Conclusion. Three panels. I am sorry.

Panel 1: The dark wizard is dueling the Wizard Adult with magic beams.

Dark Wizard: "Evil green beam!"

Wizard Adult: "Good red beam! Despite the enormous variety of magic in this series this is what our final battle looks like!"

Panel 2: Wizard Adult stands victorious over the dark wizard, who is dying on the ground.

Wizard Adult: "In the end, dark wizard, you were defeated because I am morally superior to you."

Dark Wizard: "I was a product of systemic failures. There will be someone like me again someday!"

Panel 3: Zoom in on wizard adult, who says:

"Not if I can help it. Because I am going to be a wizard cop now. The moral of this story is that all systemic issues can be solved by finding a bad guy to beat."

End ID 4.]

[ID 5: Four panels.

Panel 1: Return to the green trio on their couch, watching the TV say "The End." All are are silent.

Panel 2: They are sitting on the couch. Moss is looking at their phone.

Lime: "Yeah so there were maybe a few signs we missed because we were children."

Leaf: "Yeah. A few. Some."

Panel 3: Continue conversation.

Lime: "So what did you think, Moss?"

Panel 4: Zoom in on Moss, who says: "I've been zoned out on my phone since the second movie. They lost me at the magic stuff. Wizards aren't real."

End ID 5.]

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