#i like that this isn't exactly quoting it

[ausradfem]

Hot take but I wish there was a bit more discourse on here about the complex feelings one has intersecting their radical feminism with their attraction/subsequent interest in dating men. I think there's a lot of radfems on here who live lives that are completely absent of having to interact with men and be around men (and some who just don't seem to go outside much at all, lol) who will point the hard finger at anyone who dares to talk about their nigel, and claim that separatism is the ONLY way forward. Time and time again, we know this isn't true. I fully support movements like 4b! I think its valuable and imperative that women decenter men, have their own spaces, put women first, etc.

But we also ~live in a society~ and complete separatism is not only incredibly unrealistic to strive for, but it relies so heavily on moral purantism that many just find off putting as its unobtainable for them. What moral puranitsm doesn't factor in is that people fall in love! We have feelings! We're human! And if you're OSA that means you have the possibility of finding you feel a way about a man that's out of your control.

As someone pointed out in the comments, several radical feminists that we often all quote on here had husbands, boyfriends, life partners that were men. Were those men magically better than men non-feminists date? Probably not. They might possess a certain level of respect for women that a lot of men don't, because (let's be real) most men will simply not put up with a woman who has, and practices, radical feminist beliefs. I also believe there's a lot of young women on here who don't exactly practice what they preach, and on one hand may espouse many radical feminist views while never calling out their boyfriend when he uses slurs or says things that are misogynistic. But this isn't every radfem, and it's silly to lump every radfem on here into that category.

Maybe I should be more open about my OSA, and give some more nuanced views on it (especially as I come from a background of DV), but thats for another post in the near future.

Long story short I think we gotta be a bit more..... complex? When talking about radfems who continue to date and love men. It's a much more weighty, multi-facted topic than things like beauty standards, which were created as a direct tool of oppression, and serve no value to women's lives. Males often don't, but you'd be insane to say that no women get enjoyment and fulfilment out of loving men. Lastly, I think opening up discourse about staying strong in your radical feminism encourages standards!! I know I started putting up with a lot less crap from men the more I read into radical feminism. Simply saying "don't date men" doesn't teach other women how to appropriately navigate:

- standing up for one's self in a relationship

- accurately communicating your needs, and to hold men accountable when they aren't men

- being selective with who you date, what to look for and avoid

- how to recognise signs of abuse

- how to garner healthy sexuality and pleasure for yourself

- how to centre your pleasure and fulfilment sexually, emotionally and mentally.

I could go on, but it's late here and I think I've articulated my point alright enough (:

i’ve noticed that radfems with boyfriends have this unspoken belief that they just know how to pick men and therefore they feel better than women who end up with shitty men or that they could never be a woman on the news that just got murdered by her boyfriend/husband… girl just because you haven’t caught ur man watching porn doesn’t mean he’s a good guy. It’s another level of pathetic to be in a space where the actions of men and how they treat women is a very popular topic and then believe ur man is somehow different because you don’t want to be alone……i’m so sorry to the separatists that sit and watch this shit….

[ir-abelas-vhenan]

Something Something Yeah It's Still Solavellan Hours (Mythal is kind of here, too)

I've seen a few very beautifully articulated posts talking about the conflicted responses players are finding themselves having in regards to the decision by writers* to have Solas' atonement route possible because of his conversation with one of the remaining fragments of Mythal.

(*honestly I hesitate to put the weight of bigger game events on their shoulders because of how much I know bigger players in the company were involved, so when you read 'writers' know I just mean whoever had final say on plot)

I love reading where people are at on this, and having now breathed, re-played the scene, cried, read some more theories, and then played the scene again enough times I think I'm now able to figure out where I'm at.

TLDR: in my humble opinion, the conversation Solas has with Mythal doesn't bring him any actual closure at all. It is only the version of the atonement ending that has Lavellan in which he is actually set upon a road to redemption.

This, like everything else where I lose my mind, will be long. I tried to restrain myself and here we are, unhinged as ever.

I was unhappy at first that Mythal's incredibly brief conversation with Solas where she releases him from her service seemed to be what finally allowed him to make a decision based on his wants and not hers. My concern stemmed mostly from the fact that a lot of us are trying to be active participants in a society that recognizes patterns of abuse and seeks to establish channels through which individuals can pursue healing without the approval, consent, or demise of their abuser.

But the more I look at the scene, the more I wonder what would have happened in a world where Veilguard got just a little more time in development. Could we have gotten a scene that more elegantly conveys the theme that we cannot heal every part of our loved ones, much as we might like to?

In an imperfect world it isn't always up to us how someone finds closure, which really sucks when you'd like to ensure a loved one finds it in a way that preserves their dignity and limits exposure to the individuals who have harmed them.

And while it could be left there, I'd like to actually push back on the idea that Mythal is in any way responsible for "healing" Solas in this moment.

I went on a different tirade a few days ago about how at the end of Inquisition, Mythal says words to Solas that on their surface seem well-intentioned or placating, but they actually just serve to further bind him in guilt and a position of servitude. In Veilguard's finale, she still does not take accountability for exactly how much of a role she played in the pain that Solas, a man others have revered and feared as a god, has gone through as he cowers, actually cowers before her.

Mythal's interaction with Solas conveys exactly two things to him as far as I am concerned (I'm going to botch these quotes but my laptop is dying so please accept some paraphrase as I rush to finish this before I go cry about this analysis to my uncaring dog):

"The terrible things we did, we did together." You are forever tied to me.

"I release you from my service." But what am I releasing you to?

Because up until Lavellan joins the fray here, all I take away from the physical and unwilling emotional cues Solas gives in this scene (he is a master in trickery, for goodness' sake, the thought of so many witnesses seeing him unable to hide behind a mask has to leave him feeling anguished on top of everything else) is that Mythal has once again reminded him of everything he did in her name and telling him that all that's left for him is to go back to the fade prison and, as he as always done, endure the crushing weight of his failures alone.

To me, in my interpretation, the Solas that hears this from Mythal with no Lavellan intervention may choose to willingly step down from his original plan (and yeah, that's gonna do some damage) but he is certainly not free of his past. He's going to be reminded of it every time he turns a corner and finds more blight to try and soothe, and even the moments that he rests will be filled with more manifestations of his regret. He says it himself: where he's going? It's terrible.

Enter Lavellan. Yeah, he couldn't bring himself to listen to her at her first plea (but like damn how many times are we going to have to watch her give a heartfelt speech only for him to be like 'something something beautiful elven rejection'). But I know that you know that our clever icon knows better than to take what Solas says at face value. She tells Rook plainly that he's absolute dogshit at lies of the heart, and she says it with her whole chest.

Lavellan sees the way his shoulders slump (in resignation yes, but you can't convince me there's not a little bit of relief there, too), she hears the agony in the "vhenan" that escapes his lips (which, don't even get me started on the fact that it's been like nine years and he has no hesitation at all calling her his heart, it just spills out of him). It is not the sound of a man delighting in the steps he's about to take. They're certainly not steps he does not dislike that lead to a destination he enjoys.

And then she watches Mythal (who I can't imagine she feels any sort of fondness or respect for) pull some weird nonsense on her love one final time, and she knows it's her moment to shine.

Mythal, I would argue, pushes Solas down one more time, shames him into seeking atonement, into once again being alone.

It is the romanced Lavellan that kneels so that he cannot fail to meet her eyes. It is she who invokes their connection, not to remind him of his failures but to reaffirm his greatest strength: their love and their love alone is inevitable. Not the consequences of his past, not the regret he thinks will consume him as he seeks to mend what has been broken. It has only ever been them.

"There is no fate but the love we share". We are forever tied together.

"There is no fate but the love we share." *I* am releasing you from everything else save for this love.

Put colloquially: get absolutely fucking wrecked, Mythal.

Body language comparison to chase up the dialogue one, anyone? The way Solas shrinks before Mythal as opposed to him walking off into the fade with Lavellan at his side and standing tall, and he does not flinch when she lifts a hand to his shoulder?

Ultimately, Mythal is a part of the atonement endings no matter what. But it is only Lavellan that refuses to let him walk alone. It is only Lavellan that guarantees that his dinan'shiral ends not in a prison of regret, but a place of promise.

Mythal bends Solas until he breaks one last time. Lavellan takes each piece, claims it as hers, and uses them to build the beginnings of a future.

[alexanderwales]

I'm curious why you keep calling Blake Snyder a hack writer? You said you noticed it while reading the introduction, what was it that tipped you off?

Part of it is just the ethos. He wants to make mass market stuff that appeals to the lowest common denominator. Part of it is the carnival-barker style. I think there's talent in being a successful hack, and certainly hard work, but ... let me see if I can find a quote.

I think there is something terrribly arrogant about many filmmakers who create movies to “make people think.” People can do their own thinking thanks.

(This isn't from the book, but from a response to a fan asking him why he repeatedly bashed Memento, and this is such an encapsulation of his mindset.)

There is, in the book, no sense of exploration or experimentation, it's always the cheapest, laziest way of solving the writing problem. He disdains art, and his idea of craft is this soulless application of formula. Obviously Save the Cat! is by-the-numbers, but most of the examples inside it are also by-the-numbers, the ways that he suggests to spice up a scene, the things he thinks are funny, his idea of a primal urge.

If we look at the things he's actually written, then he's only had two movies produced, and I've only seen one of them, which was Blank Check. I saw it when I was the correct age for it (a young kid), and it is almost exactly what you would picture when I tell you the logline is "a kid cashes a check for a million dollars", aside from maybe the subplot of criminals wanting their money back, and the weird part at the end where a 30-year-old FBI agent kisses an 11-year-old boy. There is nothing original in it.

And this is what Blake Snyder wants! He has a whole chapter titled "Give me the same thing ... only different!", he thinks that this is what audiences crave, and I don't think he's necessarily wrong, but his ambition starts and ends at "make money selling scripts", and his path to doing that is writing the same story.

Maybe I should sit down and watch Stop of My Mom Will Shoot!, his only other produced script, but it won a Golden Raspberry for Worst Screenplay, so I expect that to be a waste of my time.

Though I think he's a hack, I don't dispute that his methods work, and I don't think that using them precludes a good screenplay, or applied to other writing, precludes good stories. Some of the advice is advice that I've given in the past. I'm also a fan of story structures and think that they can provide a better understanding of the beats of a story and how it's flowing.

"Hack" is, I'll admit, kind of a rude thing to call someone, but if "hack writer" means anything, then Blake Snyder is a hack's hack, with no pretensions of being anything more. And he died fifteen years ago, so it's not like he can get mad about it.

[honey-bell-aint-well]

How would Fresh react if a host he possessed, who knew what he was, wasn't resisting that much because they understood his situation and couldn't blame him, I mean he has to do that to live, and instead asked him to at least not drain them whole and leave them before they become unrecoverable, like that would be fair cause both of them deserve to live, and also just being very miserable and hurting and sad and silently begging for comfort and the same understanding they gave to him while they give him the saddest kicked puppy look in the mindscape/their imagination, ideally wanting to share control or at least for Fresh to occasionally humor them and listen to music or consume fiction they like, but doubting that would ever happen, and generally just hoping for Fresh to not be unnecessarily cruel?

First of all: Thank you for asking me a question about Fresh! Now I get to ramble >:3

Second: Interesting question. For the host it would be terrible, and I question why they would be so ready to hand their life over to someone else. Do they not have family or friends, are they not invested in their own life? Why? Are they a host by force or were they manipulated into it? Or did they give themselves up willingly? If it's the latter, then why?

Fresh probably wouldn't give them acknowledgement. He doesn't have the capacity to care about them, and he thinks of hosts as just tools. He wouldn't be cruel to them, because why unnecessarily hurt a body he's using? He doesn't want to feel pain.

But he canonically does enjoy it when the person he's possessing feels pain from him feeding on their soul. A quote from CQ: "In honesty, he’s just being sadistic and enjoys gaining control over others, especially if he tricked them beforehand. Possessing a crowd of people and making them do what he wants, just makes HIM happy. And by ‘happy’ I do mean his extremely numb, limited view on it."

But if he possesses them AFTER the Loveball? If he becomes capable of guilt, I think he'd still ignore their pleas, but this time out of a sense of self-preservation rather than indifference. I think he'd start to hate himself for it, but would be unable to even comprehend giving up the safety of having a host. His drive for survival is extremely strong. I think he can survive outside of a host, but his parasite form is very weak. I think he'd consider having a host to be necessary.

I also think he'd still be sadistic and enjoy their pain, but the enjoyment would be pretty soured by all of his new negative emotions.

I think, out of guilt, he'd let the host listen to songs and read fiction [as long as it isn't inappropriate. If it is then he'd censor it]. He'd probably do it very rarely though, and he'd be mad at himself for doing so. He's not used to guilt, and he doesn't understand why he's doing these things even though it doesn't benefit him. [Clarification: He'd be confused, but he'd default to anger because he's really bad at dealing with his emotions].

Over time as he feels more, he might begin to consider them more than just a tool. At that point, I think the guilt would be so strong that he'd feel physically sick. I don't know what he would do in that case.

And then there's the whole Loveball existential crisis. That definitely factors into this, but I'm not exactly sure how. He'd definitely keep trying to appear as his usual radical self, no matter how he feels. He might not succeed sometimes though, because having your entire worldview flipped.. that has the tendency of affecting people and how they interact with the world around them.

Thank you for asking! :D

[thehutpoint]

Aaah, for me it was not "The Terror" though it did play an important part. It was "The Last Place On Earth", Titus, crawling on all fours out of the tent and it might be some time, and the lonely cairn slowly drowning in the snow out there in the white vastness of Antarctic. It premiered in Polish TV in 1986 I think, so I was what, eight at the time? But yeah, that's how it started. These pictures stuck in my mind like a shhip stucks in the pack ice.

And then, two years later I found these under the Christmas tree.

Four brochures with stories from the Arctic. Yeah, these were still the (not so) merry times of the Iron Curtain, so there were some stories about so brave and so plucky Soviet polar explorers, triumphing over Mother Nature. But the rest? The rest was pure delight. Barents, wintering in the Arctic with his crew, Dr. Kane's expedition, Hudson, De Long and his Jeannette crushed by the merciless Ice, Fritdjof Nansen and Hjalmar Johansen attempting to get to the Northern Pole, captain Cagni of Italian 1899 Stela Polaris, doing DIY amputation of his thumb, Engineer Andre and his balloon, Amundsen and Nobile flying over the Pole in the airship Norge... aaaahhh. Not appropriate for ten years old, though still heavily sanitised, for example the eye inflammation that rendered lieutenant Danenhower of Jeannette (DeLong expedition) unfit for duty was said to be caused by the snow blindness, while in reality it was a sad complication of syphilis. Sanitized or not, appropriate or not, I loved these stories and my favourite play in winter was always The Polar Explorer, that means me, trodding on my crappy plastic skis on the fields around home, dragging my kiddie sledges and pretending I am Amundsen conquering the South Pole, or Nansen trying to reach the North one.

After that I've read voraciusly everything about polar exploration I could find. I went through the school library and other resources, learning about Franklin, Nansen, Amundsen, Exploration of Antarctic and two expeditions of Scott. Somehow, though, Titus did not catch my attention, he stayed somewhere on the margin (isn't that typical of him?) . To be honest he is a tad neglected by the polar autors, who do not know what exactly to do with him, so usually render him to this guy, you know, this silent dude who was taking care of the horses, then said, you know, This Badass Sentence and then went to die This Badass Death. Still, the frosty tales carried me through the chamber of hell called My Teenage Years.

For some time the polar stuff was at the fringe of my attention, because, you know, life happened, adulting was harder than I expected and so on. But then "The Terror" revived my love for brave, starving boys, freezing their lovely arses on both unhospitable ends of the Earth and I started sniffing again for the polar lit. And so I bought "Widows of the Ice" by Anne Fletcher which made me, by one quote in the chapter, I think, about Oriana Wilson, to go back to the man, who started it all. Titus Oates. Quiet, humble Captain Oates, who helped me to survive quite shitty period of my life and became my personal Comfort Polar Man. You might say I made a full circle.

there’s a certain descent into madness one takes after watching the terror. one minute you’re watching the show with mild interest and the next minute you’re hand painting Robert Scott’s sledging flag to put on your wall

[homestuckreplay]

Stuffed Grandpa Figurine: Only $413.99!!

(page 911-918)

The color scheme of the Harley fireplace and entryway is VERY interesting. Almost all furniture in the kids' houses is shown in black and white, so a colorful fireplace in itself means we're supposed to take note - and these specific gold/yellow and purple are associated with the luminous and ominous planets, respectively. In the top left above her fireplace looks like an ogre head of the type John just killed. Where exactly is Grandpa Harley exploring? Where is he getting these decoration ideas? Has he been to these planets somehow? Does he have an advanced agenda like uniting the planets or does he just think they look cool?

Jade's grandpa also collects globes, which are reasonable, tasteful and make sense based on his career, unlike some of his other interests. Although on the ground in the dark they are a little bit of a safety hazard. Less sensible are the suit of armor, mummy wearing a pirate hat, moose and Santa Claus sat on the couch.

This sequence is definitely set up to parallel Rose and her mom - on pages 231-232, Rose sneaks past a similarly-composed hallway where her mom stands in silhouette, and on page 389 we find out Strife between them is a daily occurrence. Jade talking about how predictable her grandpa is must be a nod to the reader, like she knows we've guessed the pattern.

When Grandpa Harley appears in silhouette, it's accompanied by a Sweet Bro and Hella Jeff quote. This only works for me because it feels like Jade's thoughts - he appears, just like she predicted, and while doing important sneaking work she accidentally thinks of a silly meme her friend made. That's very good. And he does look powerful, standing there tall with mustache stiff and fun held aloft lit by the roaring fire behind.

And then we get hit with a 3x triple psycheout combo.

Jade falls asleep at the exact moment of leaping across the divide, instead of successfully escaping like Rose.

The narration on page 917 and loading screen on page 918 outright tell us we're switching to Dave's perspective, but we suddenly cut back to Jade.

We begin what seems like a typical Strife between Jade and Grandpa, with an 'Aggrieve' option, except.... he's not responding. The man has zero reaction to being pelted with bullets. He's also standing on a plinth with his name on it, which is odd but I guess not impossible for somebody decorated and self-aggrandizing, but... IS THAT A LINE OF STITCHING GOING DOWN HIS FACE??

THIS OLD MAN IS STUFFED????

This changes everything. I genuinely feel blindsided by this development. I don't think this could have been predicted, no actual hints were dropped, but something did feel off about the way Jade talked about him. Like she was always using the same words to describe him and telling the same anecdotes, the way that someone might if they were pretending to know someone much better than they actually did. But I brushed it off and assumed he was just a predictable guy.

But this? I feel like throwing out everything I've assumed about Jade and starting again. Because there's no way 'talks about a stuffed figure like he's a Real Guy' isn't a defining character trait. I don't know whether this is the corpse of an actual human, like the ultimate big game trophy, or more of an animatronic situation. I don't know if Jade was actually raised by a grandfather or if this is a complete fabrication. I don't know if there are any other people in Jade's house. I don't know if she knows that this figure isn't actually alive.

I'd like some of these questions to be answered before I think about What It All Means! But I am definitely thinking about loneliness, and comfort, and imaginary friends, and the ways people lie to themselves to cope with difficult situations. And I think what there four kids have in common is that they are the most unbelievably lonely people in existence.

That aside, page 918 functions like page 769, where pressing any keyboard button gives a different fun animation of Jade blasting her gun or playing her flute. The earlier page ended up as a 'psyche-out' as it wasn't Jade's true instrument (and therefore couldn't play a haunting refrain) so I wonder if the same is true for Grandpa not being Jade's true guardian and therefore not her true strife page. Jade is all about these sudden tricks and I can still believe that John, Rose and Dave could end up with a different fourth Sburb player.

These pages with their 30+ different keyboard-controlled animations are so cool - the amount of effort they take to make versus the amount they contribute to the story might be out of balance, but I still think they should be there. In a world where the characters are controlled by keyboards (via commands at a terminal or in the forum suggestion threads) it seems only fair that we also get a turn. Every time I have to press a key or click a button within a flash, I remember that my computer is a crucial part of the story.

> Jade: What the hell is going on.

[alienoresimagines]

Bucky: Today I realised I'm old

Buck: What happened?

Bucky: I fell on the runway and instead of laughing, Ken came running to see if I was ok

Buck:

Bucky: I saw fear in his eyes

[incorrect-hs-quotes]

GAMZEE: gIrLs LoVe My InSaNe ClOwN pE-

KARKAT: INCREDIBLY LOUD INCORRECT BUZZER!!!!!!!!!!!!

[severus-snaps]

Not to be overly pedantic on a Wednesday morning (or, it was morning when I started), but I had fun writing this and it got long, so I can only apologise for that.

But Snape being Neville's Boggart and the Trevor Incident are massively overblown by the fandom, along with the rest of Snape's actions as a professor, and I've had a lot of fun writing about why.

Firstly, Boggarts don't naturally assume the form of your greatest fear (emphasis mine):

“It’s a shape-shifter,” [Hermione] said. “It can take the shape of whatever it thinks will frighten us most.”

“Couldn’t have put it better myself,” said Professor Lupin, and Hermione glowed.

There's room for the Boggart's own interpretation there. It's Lupin who says "when I let him out, he will immediately become whatever each of us most fears" - which feels more like dramatic effect than objective fact, especially when considering that Hermione almost certainly quoted the textbook and Lupin agreed with her definition - and certainly when we consider what comes next.

Because after that (probably because of the recent toad incident, which I'll come back to, and the even more recent encounter with Snape in the staffroom), Neville throws Snape's name into the ring, and...

Nearly everyone laughed. Even Neville grinned apologetically.

It's a silly, embarrassing fear, and even Neville knows it. What follows is a series of other mostly silly fears - it also includes an eyeball, a severed hand, a rat chasing its tail, a bandaged mummy, and a giant spider. Later, in their exam, Hermione's Boggart is McGonagall.

But both Ron and Hermione have faced worse already, what with Ginny being possessed by Voldemort and Hermione facing a Basilisk. There's a literal murderer on the loose, and it's headline news, but Sirius never becomes anyone's boggart in that class. Ron seems very cold-blooded to be more afraid of spiders than Voldemort posessing and nearly killing his sister - but really, the point of the chapter isn't to explore Ron's (or god forbid, Ginny's) feelings about this. The point of the chapter is that all of the other students have "silly", childish fears which aren't that serious, like monsters they'll likely never encounter, mostly harmless animals, and scary teachers (as someone who used to be deadly and daftly afraid of the idea of zombies and also scared of just about all of my teachers, I get it loool).

But only noble protagonist Harry gets to have "real" fears like fear/dementors/Voldemort, being the protagonist; the kind of fear a more mature character, with real life experience, might have. Unlike whoever conjured the disembodied hand or eye, the banshee and the mummy, he's faced Dementors; they're at the school right now, because a murderer is out to get him, loyal to Voldemort, who also would kill him. Harry's fear is framed as real, reasonable, and mature.

But Neville? Neville's fear of Snape is set at the same level as the eyeball and other monsters under the bed, outright mocked by the narrative, by Neville, and by the class. Yes, he might be afraid of Snape - but exactly like the monsters, Snape's not actually harmed him, and almost certainly never will (unless we want to discuss the likelihood that each of the students have encountered and been traumatised by presumably dark creatures like banshees and mummies, or... a particularly dangerous eyeball. They've not even met Moody yet :P)

It's not a fear like Molly has in the later books of her family dying, nor is it a fear like Voldemort or a Dementor - it's a simple, childish fear that is easy to turn around. Neville, who so often struggles in class, has no trouble at all with the spell here, because it's just so easy for him to imagine Snape in a dress and laugh at him. He's scared of Snape in person, but it's not that deep, especially because Neville is scared of a lot of things through the earlier books - including his grandmother (who also could've easily been the Boggart), the Basilisk (despite being pureblood), Trelawney's predictions in his 3rd year exam, sneaking out at night, Malfoy, and McGonagall.

Later that same book, after "trembling from head to fluffy-slippered toes" as he confessed (very bravely, I thought) to McGonagall that he'd lost the list of passwords, allowing Sirius to break into the common room:

Professor McGonagall was so furious with him she had banned him from all future Hogsmeade visits, given him a detention, and forbidden anyone to give him the password into the tower. Poor Neville was forced to wait outside the common room every night for somebody to let him in, while the security trolls leered unpleasantly at him.

We don't hear what McGonagall's detention is I don't think, but it could be anything from polishing the trophies in the common room to sending him into a dangerous, forbidden forest in search of a suspected dark creature or wizard that kills unicorns and ultimately turns out to be Voldemort himself - but that's on top of forcing him sit outside his own common room, banning everyone else from telling him the password, and banning him from Hogsmeade. Add to that that McGonagall believes that Harry "fed Draco Malfoy some cock-and- bull story about a dragon, trying to get him out of bed and into trouble" and "Longbottom here heard the story and believed it, too" - it seems even more unfair that Neville and Draco receive the same punishment as Harry, who she believes was deliberately trying to get the others into trouble. That's all pretty harsh, but it's McGonagall, so she gets a pass. Harry feels sorry for Neville, but it's never considered a negative reflection of McGonagall or her fairness as a teacher.

And sure, Neville's a nervous wreck after Snape's detention disembowelling frogs/horned toads for a potions detention in GoF, but look at it from Snape's perspective. He gave Neville that particular detention after melting SIX cauldrons in like... the first week of term. How is Neville even doing that?

"Tell me, boy, does anything penetrate that thick skull of yours? Didn’t you hear me say, quite clearly, that only one rat spleen was needed? Didn’t I state plainly that a dash of leech juice would suffice? What do I have to do to make you understand, Longbottom?"

That's why he's so mean to Neville; he's a menace in Potions, and Snape doesn't know how to deal with the fact that he can't follow basic instructions without relying on another student to do it for him. He punishes Neville by 'threatening' Trevor not for the sake of it, but because it was Snape's version of trying to make Neville concentrate, to care more about the outcome of his potion without having someone else do half the work for him, because that won't get him anywhere in the exams. And Neville can respond to higher stakes, fear, whatever it was, by performing better; he did as part of Dumbledore's Army:

The news of his parents’ attacker’s escape had wrought a strange and even slightly alarming change in him ... he barely spoke during D.A. meetings anymore, but worked relentlessly on every new jinx and countercurse Harry taught them, his plump face screwed up in concentration, apparently indifferent to injuries or accidents, working harder than anyone else in the room. He was improving so fast it was quite unnerving and when Harry taught them the Shield Charm, a means of deflecting minor jinxes so that they rebounded upon the attacker, only Hermione mastered the charm faster than Neville. In fact Harry would have given a great deal to be making as much progress at Occlumency as Neville was making during D.A. meetings. Harry’s sessions with Snape, which had started badly enough, were not improving; on the contrary, Harry felt he was getting worse with every lesson.

I've added the second paragraph only because it was interesting to me, because Harry didn't want the dreams to stop. Under Snape's tutelage, Harry isn't really practicing, he's not applying what he's learnt, he wants to go through the door in his dreams. Snape was sort of correct when he called Harry out for that. And both Harry and Neville are guilty of something I was very guilty of as a student as well: just getting through it, doing the bare minimum, instead of actually engaging with the material, concentrating, and getting the work done well. In theory, Neville could've been excelling all along, even with his secondhand wand and memory issues. He just lacked the proper motivation - or, as McGonagall thinks:

“You cannot pass an O.W.L.,” said Professor McGonagall grimly, “without serious application, practice, and study. I see no reason why everybody in this class should not achieve an O.W.L. in Transfiguration as long as they put in the work.” Neville made a sad little disbelieving noise. “Yes, you too, Longbottom,” said Professor McGonagall. “There’s nothing wrong with your work except lack of confidence.”

To an extent, it was Neville getting in his own way - there's no wandwork we're told about in Potions, so we can't blame his wand. Everyone is intimidated by Snape in potions, Snape has a reputation for being mean and grumpy, but nobody else is quaking in their boots at his approach except for Neville, who quakes in his boots a lot. When Snape was absent from the potions exam in OotP, Neville was described as "happier than Harry had ever seen him during a Potions class" - but noticeably absent is the description of Neville doing any better because of it.

And still, every year, even Neville passes potions (unlike Crabbe and Goyle in other subjects: "If your friends Crabbe and Goyle intend to pass their Defense Against the Dark Arts O.W.L. this time around..."). Umbridge describes Snape's classes as advanced, and Snape fills his Outstanding-grade-only NEWT classes every year - so Snape can't be that bad at teaching. Neville (and Harry) just don't pay enough attention in Potions, and that endlessly annoys Snape, the prickly perfectionist potions professor.

And Hogwarts isn't a modern Muggle school, either - it's a cross between generic fantasy schools, posh schools, and old-fashioned Victorian schools. That's just a feature of the worldbuilding. There's no hand-holding here. Teachers and staff are just sometimes harsh:

“I thought we’d be copying lines or something, if my father knew I was doing this, he’d — ” “ — tell yer that’s how it is at Hogwarts,” Hagrid growled. “Copyin’ lines! What good’s that ter anyone? Yeh’ll do summat useful or yeh’ll get out. If yeh think yer father’d rather you were expelled, then get back off ter the castle an’ pack. Go on!”

Tone was rather aggressive, but the message was... fine, I guess. If he'd said this to Harry, it probably would've been represented differently - and if Snape had said it, there'd be more accusations of him being unnecessarily mean. But it's Draco, so despite Draco not really having done anything besides being out after curfew, it's totally fair in Harry's eyes to send him to the forest.

Professor Flitwick had dried himself off with a wave of his wand and set Seamus lines: “I am a wizard, not a baboon brandishing a stick.”

Played for laughs, but pretty humiliating for a simple, easily corrected mistake. Frame it as Snape doing it instead, and that angle would've been played up.

“Longbottom, kindly do not reveal that you can’t even perform a simple Switching Spell in front of anyone from Durmstrang!” Professor McGonagall barked at the end of one particularly difficult lesson, during which Neville had accidentally transplanted his own ears onto a cactus.

Pretty mean. Again, imagine if Snape had said the same - but because it's McGonagall, it's fine, and never mentioned again.

Sure, Snape is often worse than the others in terms of being mean, or at least is described as being mean most often, but he's by no means alone in it - see again McGonagall's punishments of Neville in PoA and of Harry/Hermione/Neville/Draco in PS, which are far overblown and have potentially dangerous outcomes - compared to Snape's rather tame punishments, which include fewer points being taken than when McGonagall does it, physically safe (if gross) detentions, and the infamous Trevor incident and a detention designed to punish Harry for nearly killing a fellow student (oh, the irony of making Harry's first example being James and Sirius using an "illegal hex" in that context tickles me every time - and Harry already knows that James/Sirius were capable of worse, including probable SA and attempted murder via werewolf that wasn't even an accident, just plain malice).

Anyway, just to add further context to the old-fashioned culture at Hogwarts, the staff were still using physical punishment within fairly recent living memory:

“Your father and I had been for a nighttime stroll,” [Molly] said. “[Arthur] got caught by Apollyon Pringle — he was the caretaker in those days — your father’s still got the marks.”

They only stopped sometime before Harry arrived. Filch has worked at Hogwarts for "a quarter of a century" (per McGonagall) by Harry's final year, and Filch even said in Harry's first year:

Oh yes . . . hard work and pain are the best teachers if you ask me. … It’s just a pity they let the old punishments die out . . . hang you by your wrists from the ceiling for a few days, I’ve got the chains still in my office, keep ’em well oiled in case they’re ever needed.

So they presumably had mostly faded out as punishments before or around the time Filch started in ~1973, because he still has the chains and misses using them. For reference, this is what Filch is hoping for the return of in OotP:

“I’ve been telling Dumbledore for years and years he’s too soft with you all,” said Filch, chuckling nastily. “You filthy little beasts would never have dropped Stinkpellets if you’d known I had it in my power to whip you raw, would you, now? Nobody would have thought of throwing Fanged Frisbees down the corridors if I could’ve strung you up by the ankles in my office, would they?

By comparison, preparing potions ingredients as a detention (in the form of disembowelling frogs, toads, or otherwise) doesn't feel like such a bad punishment in the school's eyes. And in a school where this sort of archaic schooling culture is the norm, it is also the norm for teachers to be mean to students who (as they see it) are not trying. So, in an ideal/Muggle/modern worldview, Neville would be identified as needing some additional support for his memory issues; Snape would be supportive and write out clearer instructions, and McGonagall would perhaps gift Neville an enchanted list of the passwords, so that only he could read it.

But that doesn't happen, because this is Hogwarts, and all of the teachers are trapped by genre convention and archaic methods of teaching and discipline that have just barely moved on from physical punishments.

Side note, you should see some of the school reports my mum found of her time in school in the 60s/70s - she was dyslexic, but the teachers didn't know that, and you'd think from their feedback that she was simply trying to annoy them. She and her friend also remember chalk and blackboard rubbers being thrown at disruptive students, canings, and dunce caps for 'stupid' students. For reference, I'm not saying any of this is good; both Hogwarts and real schools have a lot to answer for when considering student wellbeing. But it was considered... fairly normal? Unpleasant, but not surprising or unusual. Which is what Snape's behaviour was, in context - an expression of this era of teaching, wherein he's harsh to everyone, and given half a chance would probably have loved to have used a dunce cap like he possibly witnessed at his Muggle school, as a child himself:

“The general standard of this homework was abysmal. Most of you would have failed had this been your examination. I expect to see a great deal more effort for this week’s essay on the various varieties of venom antidotes, or I shall have to start handing out detentions to those dunces who get D’s.”

Further to that, Lupin tells Harry that he has "inherited an old prejudice"; Hermione often comes to Snape's defence in the books; and there's no evidence that any of the teachers really mind what Snape's doing. It's just part of the 'charm' of outdated schooling.

There's also no evidence that Snape knew that Neville was the other boy potentially referred to in the Prophecy. Sure, he might've known - but probably not, since neither Voldemort nor Dumbledore are exactly known for being open and honest with their followers. I also think it would be a bit weird if both Bellatrix and Barty Jr knew, and never once mentioned or tried to attack Neville just for the hell of it, despite having the chance - Bellatrix when she tortured Neville's parents but not Neville, and Barty Jr as Moody. If Snape knew, I wonder whether there'd have been a part of the story wherein we find out that Snape tried to convince Voldemort that Neville was the "better choice" of baby to kill, in order to save Lily.

Anyway, Snape was just annoyed that Neville was an absent-minded boy who melted cauldrons, inattentively read recipes, relied on other students, and was a walking catastrophe. He could tell by sight that Neville's potion in the Trevor incident was fine (thanks to Hermione), probably had an antidote ready, and it's not unusual at Hogwarts to test potions and spells on students, pets, and other animals. Snape punished Neville for not doing as he'd asked (concentrating on the instructions) and for disobeying him (by getting Hermione's help). This method of teaching may not be considered particularly effective, nor is it overly kind or supportive, and it absolutely wouldn't fly by modern/Muggle standards - but this is Hogwarts. Boggarts don't represent your most tragic, heart-wrenching fear, just what they think will get you in the moment - and if Snape had really wanted Trevor dead, he'd have left him as a tadpole to dry up and die rather than giving him the antidote.

And none of this matters anyway, because bringing up how Snape behaved as an adult usually only happens to dismiss Snape's suffering as a child. It adds very little to the conversation actually being had, which is that as a child himself, Snape was bullied, assaulted, and almost murdered during his time in school - by a group of boys drunk on their own self-importance who bullied and hexed anyone just because they wanted to, regularly released a dark creature into Hogsmeade and the surrounding area which risked people's lives, illegally became Animagi, and used illegal hexes on fellow students (like Snape) unprovoked - and nobody seemed to do a single thing about it. Or perhaps they did - but in the wise words of McGonagall, perhaps they were pretty useless:

“Because detentions do not appear to have any effect on you whatsoever!” said Professor McGonagall tartly. “No, not another word of complaint, Potter!”

Ah, timeless.

Unrelated, but just in case anyone made it this far - I also enjoy the idea that something similar happened to the Draco/Harry/Sectumsempra duel during the Marauders era, and James used Sectumsempra on Snape.

Okay, Severus Snape getting bullied is forgotten because he "bullied" children.

But did you guys forget what the Marauders did to Bertram Aubrey?

They used an illegal hex on him which caused his head to grow twice its original size. (I think it was Engorgio Skullus though I don't think it was ever explicitly said.)

He was likely a Slytherin, or simply didn't come from a wealthy family. Perhaps he was plain in appearance, making him an easy target for cruel jokes. Maybe he had an interest in the dark arts, which earned him the disdain of the popular crowd. Or maybe the Marauders merely disliked him for just existing.

James and Sirius were tormentors and bullies. No great transgression was needed to earn their wrath, simply breathing the same air was often enough motive for them to unleash their cruel antics upon their chosen victim.

When they finally recognize this, they concoct excuses such as, "Oh, maybe he was a future death eater in the making." Do you guys not realise that this was still bullying? It's possible that he didn't do anything wrong, much like how they unjustly targeted Severus in the train.

[enigmatic-enigmas]

[lord-squiggletits]

Wrote a scene for PPAU in which Megatron convinces the DJD to accept a peace treaty with the Autobots (that doesn't constitute rebuilding and then stabbing them in the back). And when I was outlining/brainstorming I was like, "okay Megatron is probably going to have to make an example of some DJD member who lashes out and refuses to accept it. There's gonna be a little fucked up cult violence in here"

Except no, that smooth son of a bitch gave the DJD a speech that so effortlessly tied them up in his new peacetime plans that the most opposition he got was a muttered comment by one single member. My man used the brainwashing of nationalism and patriotism to counteract the cult brainwashing. He made a rhetorical appeal so sound that any member of the DJD who tried to argue against the peace treaty would sound like they were opposed to reclaiming Cybertron, their homeland, and ensuring the well-being of their own loyal soldiers. I was like "MEGATRON THERE WAS SUPPOSED TO BE MORE CONFLICT IN THIS SCENE YOU WERE SUPPOSED TO CHOKE-LIFT A BITCH OR AT LEAST RIP OFF TARN'S MASK AS A DRAMATIC GESTURE OR SOMETHING" and the Megatron in my brain went "hahaha no" and charmed the DJD so thoroughly that there wasn't even a single raised voice. Charismatic son of a bitch

[raayllum]

They said that, sometimes, we make sacrifices so that the ones we love don’t have to. It’s part of protecting them—part of protecting you.

[the-lark-ascending69]

> be a robin buckley fan

> be lesbian

> project on robin

> look up "internalized homophobia robin buckley" on tumblr because it's cathartic

> 3/4 of the posts are about st3ddie or just about steve

[bonestrouslingbones]

did anyone else just feel 8 years of fandom papyrus growth shatter into a million pieces and fall into the void

[narmothewraith]

You're just in denial Lucius /jk

[soulfullives]

jegulily in a library ?? fluff or angst or both idm

"i'm just saying, the gargoyle strike is something that people think it's both unimportant and worthy of knowing, and i could not tell you, for the life of me, which one of the crowds is right!" lily sighed, throwing her history of magic book on the table. "it's a fascinating subject, really, we studied it last year. however i don't think an essay the size of my bloody leg is needed on it."

"my point exactly!" remus exclaimed, letting his head hit the table with a faint thump. "haven't we read about it in class? is it really needed to write essays on it?"

"hello, starshines!" james exclaimed, coming in a light jog towards them, still in his quidditch uniform. "mind if i stop by at the loo and come back to you after? we've just had practice, and i don't know if you'd like me sitting down next to you right now." he laughed. "i needa change."

"by all means," regulus started, showing him towards the small bathroom next to the restricted section, "go and never come back."

"a sweetheart you are, reg," lily snickered, placing a hand on his shoulder. "go, we'll be waiting for you here. now, as i was saying, i think these essays are stupid. if professor binns wouldn't be dead, his lessons would probably not be so... dead." she smiled at her own joke. "if he'd he would be a bit more lively during class, and not doze off, i think the essays would be unnecessary—"

"alright, i'm back!" james announced, ruffling regulus' hair with his left hand; the other boy looked irritated, but his eyes gave him away. he put his right one around lily, and kissed her cheek. "what do we have here?"

"regulus' history of magic essay that he is procrastinating from doing, because he thinks it's useless and that binns is a bloody awful thing." lily smiled. "i think he didn't pay attention in class—"

"i did!" regulus gasped, indignantly.

"—and now he doesn't know what to do. but we'll help him, right, darling?" lily asked, elongating the words, leaning agaibst her boyfriend.

"of course!" he grinned. "now, let's see, the gargoyle strike of 1911..."