#if i have to undergo that sort of thing

[m00ngbin]

I always think I'm dying cause some new awful thing will pop up and then I wait a few days and I'm not dead. Like the thing is still happening but I'm not dead and that's ok.

Most recently I've been getting like super dizzy and there's been something wrong with my brain and I get like. I want to say eye spasms? Idk what they are. It feels like I'm really tired and I've been staring at a phone screen all day like all the time. Even when I just wake up. And the top and front of my brain always feel wrong, and sometimes they hurt but it's not like PAIN pain but it is pain. Almost like a when someone puts a light in your eyes sort of feeling. Anyways the point is that I have been preparing for death or at least a significant amount of cognitive decline for two weeks and so far there has been almost nothing. Except that I struggled to read a few words I would have normally been able to read just fine but it's ok cause I can still read and walk around and I haven't started losing control of going to the bathroom

[biggest-gaudiest-patronuses]

anyone else have multiple traumatic memories associated specifically with holidays/family vacations? because that is a topic I never see discussed in all the So You Had A Shitty Childhood, Now What? self-help books i've been reading. but for me, it was a significant thing. and the more i think about it the more it seems like this would be an (unfortunately) common experience. would be grateful to hear if this matches other peoples' experiences...

[abnomi]

EVERY REASON (that i can think of) AS TO WHY TURBO/KING CANDY IS NEURODIVERGENT 💥💥

i would like to make a disclaimer first and foremost about the obvious, being that Turbo/King Candy is heavily implied to have narcissistic personality disorder (NPD) and antisocial personality disorder (ASPD). Very often, characters with these disorders are portrayed as villains, and Turbo is no exception to this. There's nothing wrong with antagonistic characters having said disorders, per se, but when the only representation available for people with these conditions are found in characters you're not supposed to root for, it can be really disheartening. i won't be erasing these parts of him because i feel it would be in poor taste to gloss over those core elements of who he is, but plz keep in mind that having any kind of personality disorder doesn't make anyone inherently evil!!!🌞 your ACTIONS make you, not your brain

Also if anyone has any suggestions or other ideas for his neurodiversity, i would love to hear them! please do share!! I LOVE PSYCHOANALYZING CHARACTERS AND HEARING OTHER PEOPLE PSYCHOANALYZE THEM !!!! YAY🎉 if u agree or disagree with any of my points I'd love to discuss them further :-]

without further ado... click read more to find out…😈 be ready for a lot of reaches

💥 ADHD 💥

STIMMING

Turbo's constantly moving around in some way; he's a very expressive character! even as King Candy, he can't seem to conceal his frequent giggling. it's a big habit of his; he seems to do it involuntarily to regulate himself, including when he's nervous or uncomfortable.

he seems to display other repetitive behaviors as well, like doing his iconic thumbs-up pose, sticking out his tongue, or hopping around gleefully. he is but a jovial court jester..

i personally like to think that his phrases, "Turbo-tastic!" and "Have some candy!" are vocal stims of his, although i equally really love the interpretation that these (and the aforementioned stims) are tics :-]

another headcanon; i think it would make a lot of sense for him to have an oral fixation of some sort (ignoring the whole sigmund freud part of the term ermm...); just lots of biting, chewing, needing to have something in his mouth. It would align with the whole idea that he smokes, too

HYPERACTIVITY

we can clearly see throughout the film that Turbo has a lot of energy, made abundantly clear by his mannerisms and general behavior. he's constantly moving, using exaggerated expressions and gestures to communicate + express himself. He's one of the most animated and bouncy characters in the movie, next to Vanellope! it's silly how a character not very grounded in reality is such a threat, but i suppose that's what makes him so threatening in the first place...

another factor in this is how he is very adrenaline-seeking, craving activities that give him a rush (sugar rush...😂😂). more on that in a bit!!

HYPERFIXATION

Turbo's fixation with winning is all-consuming for him; it's an obsession. he doesn't appear to care about much else, if anything besides it. this could be interpreted as a hyperfixation for him (or special interest if ur all about that autism lifestyle), as it overtakes all of his focus and impedes every process of his mind.

it's clear that racing is much more than a passion for him, and while that fact is due to how he was programmed, it's a major character trait of his regardless that could be correlated to neurodivergence.

HYPERFOCUS

There seems to be a big theme of "all or nothing" when it comes to Turbo. he will either be fully dedicated to something or brush it aside without a second thought. it can't be denied that he fully wraps himself up in what he wants, whether it's a conflict he can't let go of or a new pursuit he's hungrily chasing after. 

ultimately, his dedication varies depending on if it is relevant to him and his interests or not, but this aspect of him still shares patterns with neurodivergent thought processes.

INSTANT GRATIFICATION

Seeing as he has a tendency to cheat in his use of code to spawn in whatever his heart desires, it can be assumed that this could do with Turbo wanting instant gratification to fill that bitter, empty void inside of him. while this could simply be brushed aside as greed and his belief that he is obligated to have access to whatever he wants, this trait is consistent with his generally dopamine-seeking behavior and wanting to be instantly rewarded by his actions. His obsession with needing to feel good directly relates to his need for another buzz, constantly after the next rush. (a sugar rush if you will☺☺☺)

ADRENALINE-SEEKING

Closely related to the previous speculation, Turbo always seems to be chasing his next high. he loves the thrill of action and being surrounded by crowds of people below him. it's why his big thing is racing! people cheer him on, he can do whatever he wants, he can go really fast and look cool..

it's possible that a big aspect of why he does this is to distract himself from any kind of pain, because pain = vulnerability. bro does NOT know how to independently cope with his own problems.. HE MAD AS HELLLLL!!! 😂😂

STRUGGLE WITH SELF CARE

(i know this is reaching but bear with me... 🐻) going off of his appearance and tendency to make poor decisions, it can be gathered that this man lacks skill in the self care department. his yellowing teeth and sunken eyes not only serve to complement his design, but also give way to the idea that he neglects himself in favor for whatever weird scheme he's up to.

of course, Turbo does prioritize himself above everyone else, but he doesn't strike me as the type to care much about how others think he smells. him being a bother to anyone isn't a concern of his. he cares about whatever gets him the most praise and attention from as many people as possible, which is winning and racing. Who cares about how clean he is when he's up on a podium holding a shiny, golden trophy, anyway?

It's likely that he had to step his game up when he went under disguise as king candy, which is why he looks well-groomed in comparison to his more corpse-like appearance. Ugly hoe. it can also be assumed that he's had more time to focus on himself because everyone loves him without question... Well, except for Vanellope, but who cares about her, right?

also, i know he makes a condescending comment to Ralph about how bad his breath smells, but it's made abundantly clear that Turbo is a massive hypocrite. his comment doesn't erase the possibility that he has suffered from such "halitosis" as well.

💥 ANXIETY 💥

GENERAL ANXIOUS BEHAVIOR

i know, i know, this could technically be chalked up to be "Turbo is nervously giggling and shit because he's scared of getting caught," but guys. g

even in the flashback scene, we can see how easily stressed he can become in an alarmingly short period of time. he is extremely insecure, therefore i am led to believe he is not only emotionally dysregulated, but also by extension, anxiety ridden.

yes, this is purely speculative, but who's to say that he wasn't like this before? being high-strung and intense are significant facets of his personality consistently portrayed throughout the film. as long as he is getting exactly what he wants, he is happy; the moment he loses even a blip of control, however, he immediately grows extremely tense.

if Turbo wasn't anxious about his disguise as King Candy before, he was anxious about how much attention he was receiving on a given day. if not that, then he'd be anxious over how he presents himself. He hates how he can't control how other people perceive him, which is why he is constantly trying to act like he's better than he is.

its why he justifies his behavior to himself, proudly making others refer to him as the "rightful ruler" of sugar rush and relishing in the attention of his countless underlings. Any secure and stable person would NOT ACT LIKE THIS!!!!😭😭😭

FIGHT OR FLIGHT

As we can see a handful of times on screen, Turbo's instinct to protect himself is very easily activated.

 his fear manifests in anger and aggression. we can see at multiple points how easy it is to upset him or fluster him; his anger is one side of the same coin, the opposite end being his fear and paranoia.

Going off of this point, have you noticed that Turbo is either satisfied or furious without much of an in-between? how the second something isn't under his manipulation, he lashes out and fights back? I'm led to believe that this is how he responds to fear (AAUAAYAUUUUGGHHH 🐡🐡🐡🐡🐡🐡🐡). This guy is so against the idea of being vulnerable, that even when afraid, he will utilize violence to regain his dominance over the situation at hand.

CONTROL + PARANOIA

Turbo's always trying to writhe or fight his way out of uncomfortable situations, unable to exist outside of his comfort zone for seconds at a time.

his defensive, paranoid, and controlling behavior are all reflections of how deeply insecure this man is. He feels such an intense need for everything to go exactly how he expects it to go that the moment he senses any kind of threat, he instantly jumps to defend himself and what he feels that he has "earned," regardless of whether there truly is a threat or not.

this could potentially be a coping mechanism for his anxiety and sense of stability; can't forget to mention how territorial he is!! he jumps to conclusions about what others' intentions are before they even get a chance to reply, as seen with his first encounter with Ralph in the movie. 

the racer is so internally discombobulated that he seeks any sense of stability on his environment, including on those around him. his sense of self is so warped that he copes with constant distraction; being under the spotlight, being actively racing, having to be showered with attention, having others make him feel good because he doesn't know how to do it for himself. he needs to feel like everything is under control, lest everything falls apart.

"...if there's ONE thing I can't abide, it's ANYTHING out of order!"

💥 NPD 💥

INFLATED SENSE OF SELF IMPORTANCE

Turbo's most in-your-face trait above all else. It's made more than crystal clear in every scene he's in that his arrogance is a determining factor in how he interacts with others. This is exactly what drives him to desperately crave admiration, to chase after others he's envious of because he thinks he is obligated to take what they have.

he seems to genuinely think he is entitled to get whatever he wants, just because he is inherently "special" or "better" than everyone else. Why else would he have made himself a king, a step above princess?

EXCESSIVE NEED FOR ADMIRATION

Turbo's self worth is COMPLETELY dependent on the opinions of children and teenagers. I think i don't need to say any more than that, but i will. (Evil).

As cartoonishly massive as his ego is, i think that it's fair to assume that Turbo has a very unstable sense of self, distorting his perception of his own worth down with it. his near-constant flaunting and need to be the best is a dead giveaway to his deeply-ridden self-doubt. The foundation of his stability is built around how "good" he is (at racing and winning), how powerful he is, whether or not he is being prioritized above everyone else, whether or not he is the absolute best, etc. etc.

The racer outright manipulates others to shower him with admiration and undeserved appreciation. He is incapable of forming a true sense of internal value, instead heavily and codependently relying on others to form it for him. if he isn't the best, he may as well just be nothing.

INTENSE JEALOUSY

He reacts so severely to what he perceives as others taking away what is rightfully his that it only goes to solidify my previous points even further. the second someone else is getting more attention than him, Turbo will bend over backwards to rip back the praise he believes he so rightly deserves.

being extremely competitive, he will one-up against anyone he thinks of as a threat, dedicating himself to taking them down to the best of his ability, and making sure they STAY down to top it all off.

INABILITY TO HANDLE CRITICISM

if we really dissect the entire one-off joke with Turbo insisting that his stolen pink castle is actually "salmon," along with all of his other domineering behaviors, we can garner that he is very persistent in how he wants others to view him. i wholeheartedly believe that this would translate into him not only being defensive over his supposed "ownership" of Sugar Rush, but also over himself and his own insecurities.

He needs to feel good about himself or else he will die and quite literally try to kill everyone.

LACK OF EMPATHY

He appears to have a fondness for making jokes in very poor taste. Turbo has a big sense of humor, but it's always at the expense of others. Be it a pun about a "fungeon," or jumping to protect himself with a joke about "hitting a guy with glasses," he has a tendency to take serious situations very lightly. It's not that he's unaware of the weight of it; he simply doesn't take it Seriously.

its admittedly impressive how he was able to feign empathy so well for Ralph; it goes to show how he is very capable of understanding that what he's doing is wrong, but ultimately does nothing to change his behavior because it doesn't impact him personally. 

i would like to honor this part of him, because even in the possible alternate path of a redemption arc, his struggle with empathy can be explored in a variety of interesting ways :-] he can understand complicated emotions and situations on an analytical level, but he doesn't feel for them unless it has to do with him specifically. (this obviously doesn't make him inherently evil, his ACTIONS make him evil)

💥 ASPD 💥

LACK OF REMORSE/GUILT

One of Turbo's core characteristics is just how far he is willing to go for his own self-interest with lack of regard for how it impacts everyone else. he has absolutely no concern for how anyone else feels besides himself, willing to go so far as to attempt to mutilate a 9-year-old to achieve his petty goals.

Turbo is shameless when it comes to how he goes about getting his way. While I'd like to believe he isn't fully incapable of feeling regret, he doesn't showcase feeling it in the movie itself. The most regret he'll feel is when he slips up and exposes himself. anything else is the fault of everyone else; he is untouchable in his eyes.

DECEITFUL TENDENCIES + LYING

Where do i even start with this one.

well, first of all, let's acknowledge the... erm, horse? in the room? 🐎😅(Please someone help me there is a horse in my room help helphel) being that Turbo went under disguise as King Candy for at least a decade. Even before this, there's a good chance that he's already had plenty of experience with lies and manipulation. i'd be willing to bet on this!!

one of his specialties is being proficient in manipulation, be it the code of games or the minds of people. theyre basically the same thing to him, anyway... I'm sure you all know the scene where he uses 16 manipulation tactics against Ralph and wins. this was Obviously not the first time he'd done this.

REPETITION OF HARMFUL BEHAVIORS

Time and time again, Turbo can't seem to help himself when it comes to poor decision-making. he never internalizes that his bad choices aren't JUST bad for others, but also for himself, continuing to escalate further and further into very dangerous behaviors until he literally dies.

Here's a list of bad decisions he has made! (at least, that we know of)

Pinning himself above his peers

Harassment + stalking

Carelessly charging through GCS with his car, endangering countless civilians

Attempting to take over a game that isn't his x2

Vehicular manslaughter

Implied mass murder + attempted murder, attempted mutilation

Mass endangerment

Breaking and entering, theft, usurpation, plagiarism

and more!!!!!!!

AND HE LEARNS FROM ABSOLUTELY NONE OF THIS!!! with some of the items listed here, he's attempted to do multiple times! Absolute buffoon.

RECKLESS DISREGARD FOR SAFETY OF SELF AND OTHERS

Considering how he was willing to charge into a game that wasn't his own with the awareness that it could permanently kill him, going as far as to recklessly crash into another car (albeit it's possible this was unintentional), it's easy to gather that he doesn't seem to consider anyone's safety at all in the spur of the moment.

IMPULSITIVITY

his impulsivity and disregard for safety both go hand-in-hand. When it gets to a certain point, Turbo's emotions will boil over and blow up in a cold rage, thus causing him to spiral and act on impulse, becoming a detrimental force to himself as well as everyone around him.

What's interesting is how much restraint he is capable of; he typically is very strategic in how he orchestrates his plans! but once he reaches his breaking point, he snaps and leaves all of his hard work behind in favor of something that calls for his immediate attention.

💥 ETC. 💥

extra tidbits i didnt have enough energy to fully delve into :-]

BPD

Fear of abandonment

Blurry sense of identity

Feelings of emptiness

Self destructive tendencies

Emotional instability

Explosive anger

ODD (oppositional defiant disorder)

He seems so infatuated with his own autonomy that he gets to the point of being resistant and defiant

Resisting against the rules of the world that he directly caused as a result of his own actions, being that one shouldn't "go Turbo."

Enjoys upsetting/getting a rise out of others. this is more speculative as i am going off of the assumption that he thinks pissing people off is funny, based on his other behavioral patterns. (cruel sense of humor, wanting to feel above others via control & manipulation, enjoyment of inflicting pain onto others)

Forcefully defends himself and refuses any kind of criticism

Lashes out when he feels slighted

Excessive persistence despite all odds, whether it's beneficial to him or not

ok bye!! thank you if you managed to read this far ^^ peace and love take care of yourself! all in all turbo is so neurodivergent ok please Okay <3 get this thing his meds

[bonefall]

naruto as a whole is a fucking mess and i say thisas somebody whos read the entireseries 3 times over. “naruto is going to change the system! haha teehee never mind hes not doing anytning about the child soldiers and slave castes and the genocides.” “sasuke can be upset at his brother for committing a genocide but actually genocide against an oppressed bloodline is good if theyre getting uppity and its sanctioned by the government and also have a genetic predisposition to be evil so he should just get over it and be okay with it” “sakura needs to stop obsessing over a guy whos not even interested and become strong for her own sake. actually shes a housewife now”

kishimoto im going to blow you up with my mind

YOU GET IT

For real though I think what they did with Sasuke's arc was one of the most baffling fucking things I've ever seen. "Actually. Your brother who carried out a genocide loved you :( he only put you in the Torment Nexus for several days because uhhh he wanted you to hate him and not find out about the government who ordered it. Everything he ever did was actually to protect you. And Uchihas are actually kinda rotten anyway so it's good an entire GROUP OF PEOPLE died. Don't think about any babies or children who were also slaughtered btw uhh nope all of them were bad."

Sasuke: "Yes I understand. I will now rule the world through fear. Actually nvm Naruto won our fight so, my philosophy is gone now."

Thank goodness that Evil Sasuke killed the three Bad Government Officials before that point, though. We had this whole theme going about toxic structures, cycles of abuse, and how oppressive regimes can propagate themselves even when a leader is well-meaning... but, like, Naruto REALLY wants to be Hokage, so actually if you just kill these Three Bad Governors it's gonna be fine.

There is no need for systemic change. Slave castes and child soldiers are fine. It's ok as long as the president is blonde :)

[slverblood]

Ah right — Since I've seen the topic of people's approach to canon on the dash lately, I figured I'd lay out mine. I am technically canon compliant to BG3, but I am very much one to play fast and loose with canon. I never take it as the gospel. I incorporate elements from cut content, from 5E, from 1-4E, from misc books and comics, from myths and other works in the fantasy genre. Basically, from whatever I find interesting.

Here's the thing: this isn't tabletop rp, and it isn't video game rp. This is an entirely separate form of rp with its own needs and mechanics. What works for DND doesn't always work for BG doesn't always work for tumblr rp. There are certain building blocks of the setting we can't remove without sending it all tumbling down, but you have to be flexible with things, for your own enjoyment if nothing else. At the end of the day, these are all hobbies; they are all for fun. Thus I wholeheartedly support doing whatever makes it fun / interesting for you. The moment it stops being fun, it stops being worth it.

So I personally play fast and loose with canon. I try to make it work within the setting, but I tend to prioritize what's fun. There are a lot of things I'm willing to be flexible on, too, to make interactions work. It's a collaborative hobby, after all.

By that same token, I don't care if my mutuals play fast and loose with canon. I don't care if they're canon divergent or canon adjacent or canon whatever-the-fuck. Honestly? The funkier someone is willing to get with it, the more likely I am to watch with rapt wonder lmao Conversely, if being very canon compliant is what floats your boat, you have my wholehearted support. As long as you're having fun and we can play in this sandbox together, I'm here for it.

[corrose]

Mom was recounting when she traveled with me to one of my grad school interviews bc she couldn't remember which state it was in.

'You don't remember? We flew there together, we got a rental car, when you went in for the interview you dropped me off at a nearby shopping plaza, we stayed at a hotel after etc'

Me: ...

[cak31ssuperi04]

Rembering my White Day comic that I never posted. Speedran it in a day but I, I still like the art for it

[phantasmicfish]

So I saw Dune Part 2 yesterday and I was initially super crushed because of the deviation from book canon but the more I think about it the more I sorta like it…

So without further ado here’s a list of stuff I liked about Dune Part 2:

- all the scenes initially of Paul growing closer to the Fremen. You can clearly see that they become friends, accept him as a Feydakin, that they’re laughing, joking, hanging out. (And contrast that to the end of the movie, where Paul has no more Fremen friends, only followers. In the book, this is echoed, where Paul recognizes that he has lost his friends to the Muad’Dib religion. Take book Stilgar, who truly embodies this… by the end of the book, Paul says: “I have seen a friend [Stilgar] become a worshipper.”

- giving Chani explicit rejection of Paul’s messiah status was an interesting choice. Chani’s main thought over part 2 is that they don’t need religion to save them, that through Fremen power and desert power, the Fremen can save themselves. She recognizes that this fanatical worship can be a vehicle to control and enslave her people, and I sorta wish we saw Paul lean into that more… that they found a way to stay together and ‘fight’ the prophecy together based on Chani’s ideals…

- also, I love how engrained this rejection of religion and prophecy is in her character. Book Chani takes no issue with her Fremen name, Sihaya (desert spring), but movie Chani hates it “because it’s part of some prophecy.” Later, we see that despite her rejection of prophecy and religion, that the prophecy does indeed come to pass— the tears of desert spring save Him aka, Chani saving Paul after he drinks The Water of Life. (Interesting how Jessica has to force Chani to save Paul using the Voice… another example of Jessica explicitly forcing Paul to become the messiah).

- adding more depth to Fremen culture— the South being the more religious fundamentalist tribes vs the North being more secular. Early on, the movie paints this immediate divide between the tribes of Fremen who accept Paul and Jessica versus those who treat them as offworlders (who murdered Jamis). In the books everyone accepts Paul and Jessica after Paul bests Jamis and Jessica quotes some scripture, but I think it makes more logical sense that there’d be friction over these two random offworlders coming in

- I love love loved Paul speaking at the meeting of the Fremen tribe leaders in the South. He fully accepts his messiah status, exercises his power of the Voice + his prescience as a way to command all the Fremen under his name

- I’m a big fan of omitting the two-year time skip, so with that I’m glad Leto II was skipped over entirely. I always felt that Leto II was an unnecessary character addition to the book, especially when he just dies and everyone sort of goes “oh well” and moves on, so I’m glad it’s omitted.

- another interesting choice was to paint Jessica as a straight up villain in comparison to the way her book counterpart was not. The movie Jessica we see here is seemingly corrupted by the Water of Life: she walks around talking to herself (Alia) and scheming Paul’s ascent to Lisan-Al Gaib. She knows about the Holy War, which is the very thing Paul is trying to prevent, yet she expresses no concern about bringing it to fruition. (Probably because Jessica knows it’s impossible to prevent, but still.) The very last line of the movie, where Alia asks Jessica what’s going on and Jessica says “The Holy War has begun” is just total villain in my mind— explicit acceptance of the Holy War, like it’s just another stepping stone in her plan. Plus, the fact that Paul has visions of Jessica leading him into this period of great starvation totally cements her as a villian.

- going off of that, I like that we see Jessica undergoing actual agony when she takes The Water of Life. When book Jessica and Paul take The Water of Life they accept it calmly and without obvious pain (book Jessica was sitting with her eyes closed, as if sleeping), so this physical reaction that Jessica has to the poison adds to the idea that The Water of Life did change her in a negative way.

- I feel like so far we’ve been introduced to Alia as just a weird talking fetus who’s been consorting with Jessica, so Paul’s vision where Alia says “I love you” really strikes home, that she really does care for Paul which we might not have understood otherwise

[creature-wizard]

Continuing on the topic of connection being not a feeling, but a rather a set of circumstances in which you are engaging and participating, I think a lot of people out there just don't realize how dangerous the way many of us have been taught to think of feelings in relation to spirituality really is.

Like Zan pointed out, Evangelical Christians are taught that positive emotions are actually the Lord moving through them, rather than their own personal reactions to their experiences. Meanwhile, Evangelical church services are deliberately engineered to elicit these kinds of of feelings in people. It's pure emotional manipulation.

Similar ideas are found in New Age spirituality, where "spiritual discernment" is frequently boiled down to "does it make me feel good or not?" People are taught to evaluate politically charged information based on whether it, for lack of a better term, sparks joy. Now, determining whether or not something sparks joy is a wonderful way to decide whether you want to keep your old tea kettle, but here we're talking about information that people will base crucial personal and political choices on.

Meanwhile, New Age influencers do everything they can to make sure they're sparking joy for you. Let's take Paul White Gold Eagle, for example. His videos are constantly talking about things that sound exciting, like messages from archangels, dragons of light, and emerald transmissions. This type of baiting - joybaiting, I'll call it - is meant to hook you emotionally and make you think that this has to be true because it elicits that oooough, shiny reaction. Next thing you know, you've been joybaited into falling down the conspirituality pipeline and you believe some version of QAnon's conspiracy theories.

This kind of thinking is even dangerous in pagan circles. You find yourself thinking about a thing and noticing a lot? You feel an intense pull to study it? You'll find people out there telling you that you have a spiritual connection to it, like, maybe you were part of it in a past life. And maybe you go and get a past life reading, or even undergo hypnosis. And now you, the whitest gal in the surburb with zero familial connections to any Native people, feel entitled to appropriate some form of Native spirituality because you felt fascination with it, or what you thought it was, and now you're contributing to white sage decimation and spreading around some sort of Native-flavored form of neopaganism as if it's actual Native spirituality.

Or maybe you fall in with a neopagan cult leader who uses your fascination to convince you that you knew each other in a past life, and you were led to them in this life so you could continue some important work in this life, and they pull you completely into their bullshit.

Finally, it's dangerous because it encourages stalkers. A lot of stalkers are people with incredibly powerful fixations on others. These types of beliefs get them convinced that their victims are actually their soulmates or twin flames or whathaveyou, and make them feel justified in engaging in stalking behavior.

All of this is why it's important to recognize that connection is a circumstance, not a feeling. Your feelings are utterly irrelevant to whether you are actually connected. What most people take for "feeling connected" is literally just fascination or fixation, maybe reinforced by the Baader-Meinhof phenomenon. Real connection is something you cultivate and build, and it does not exist outside of your actual, physical engagement and participation.

[kazumist]

STUPID CUPID .ᐟ

✩ — in which you thought cupid was stupid for making you fall for a guy like wriothesley.

✩ — wriothesley x gn!reader. fluff. no cws. wc: 753 (woah). reader is down bad for wrio LOL theyre so me fr. reblogs are very much appreciated !!

you never found wriothesley attractive.

well, that was before, at least. now, you’re currently undergoing a love crisis because how and when did he even become so attractive in your eyes?

since when did wriothesley look so good in rolled up sleeves? (one of the rare times where you’re thankful that the uniform has long sleeves, really.) since when did wriothesley look good in fitted clothes? since when did his chuckle start replaying in your head at random times during the day? and archons, since when did you even start liking the way he says your name?

just when did wriothesley start to become your type?

a few months ago, you didn’t even spare him a glance when it wasn’t needed. yet now, here you are, most probably on the brink of losing your sanity just because of a guy who you’re 100% sure doesn’t even think of you the same way.

you don’t share that many conversations with him, but when you do, it feels like you are floating. maybe it was simply because of how good his voice sounds, or maybe it was because you’re actually talking to him—who knows?

the words that your friends had said before started to echo in your head, “you know, when you’re in love, you’ll feel like your dreaming every day.” you didn’t believe them at first, of course; it just sounded impossible for you. but the tables just had to turn on you, didn’t they?

“as i was saying, i think it’s best if we take another approach to doing this project—are you okay?”

oh shit. this just proves their point even more, you completely forgot you were in the middle of talking and planning about your project with wriothesley because you were thinking about him! 

“huh? oh yeah, don’t worry about it.”

he nods in acknowledgement and continued to voice out his thoughts and archons, you were so close to melting. no way in celestia that even you even find him attractive as he is explaining his ideas, right?

right?

-

who knew that a project could bring two people together?

you managed to find out all sorts of things about wriothesley. a few of those would be: he has a little sister named sigewinne and he lets her style his hair whenever he’s at home, he usually does morning walks during the weekends to watch the sunrise, he really likes drinking tea and doesn’t like talking too much because his throat becomes too dry for his liking, there’s also—

yep, you’re falling deeper than you initially thought.

-

stupid, stupid cupid!

cupid must’ve been stupid. there’s no other explanation for it. because why did you just have to fall for a guy like wriothesley? wriothesley, who’s way out of your league. who you’re positively sure doesn’t like you back (and has no plans on doing so). wriothesley, who wasn’t even your type yet, here you are, going crazy over him!

just why did you have to fall for wriothesley who's… currently walking towards you right now with a bouquet of tulips in hand?

“what’s with the tulips?” you asked him.

you didn’t have to be a genius to know what tulips symbolized—love and happiness is what they mostly meant.

“are you going to give them to sigewinne?” you followed up on your last question. “ah, they’re actually for you," he replies, keeping his eyes on the bouquet in his hands and refusing to look you in the eyes instead.

wait.

did he just say they were for you?

“huh? for me?”

he silently handed you the said bouquet and proceeded to put his hands in his pockets. there, you noticed a little note attached.

i love watching the sun rise, but i’ll love it more if i get to watch it with you.

“if you don’t feel the same, it’s completely fine with me. i just wanted to let you know that i hold romantic feelings for you and—" he started to ramble, which is very out of character of him since you’re well aware that he doesn’t like to talk too much.

you didn’t believe everything at first. wriothesley suddenly giving you a bouquet of tulips was already unbelievable enough for you, but to read this note that was obviously written by him? you’re probably just dreaming, right? yeah, that must be it. maybe you just fell asleep, and now you’re dreaming of this whole thing—

“i’d like to watch the sun rise with you as well.”

maybe cupid wasn’t stupid after all.

tagging: @ryuryuryuyurboat, @oveloof, and @yinyinggie <3

[regulusrules]

A very long meta explaining why the confession scene in Good Omens is the best that has ever been written and performed on screen

First of, the scene begins with two different realisations that makes each of them believe that their dynamic will significantly change (Crowley wanting to confess his love and Aziraphale wanting to break out the news about heaven). This, you can see, creates an unprecedented shift in their energy, makes them super excited (Azi) and super nervous (Crowley) to break the news to one another. And despite the two matters being drastically different, when Aziraphale begins his revelation we don't get the Miscommunication trope where Crowley listens to the offer and passively retreats back his emotions. No. He is steadfast in his resolution, in his love for Aziraphale.

And that right here is king attitude no.1, because even if Aziraphale just threw something so godforsaken on him, he won't allow himself to be cowardly or let go of the one person he loves more than eternity. Crowley still bares his heart, still lets it all out, because he will not lose Aziraphale in his naivete of still believing that Heaven is good and Hell is evil. (I write this with supreme detachment of my own beliefs lol) He tries to make Aziraphale understand that sides didn't do them any good the past 6000 years, that the only solid foundation they ever had was them, and that Crowley would rather have them than have everything.

The way you hear Tennant's voice breaking when he said “And we spent our whole existence pretending that we aren’t”, is the perfect reflection of how Crowley genuinely despairs the time they lost and wouldn't have any more of it. And even with how bare and raw he's feeling with revealing all this, he still goes on. He still tries to tell him and I would like to spend our whole existence together, but struggles and struggles because he's strung wide open. But he keeps trying.

Now you see here a moment of disbelief on Aziraphale's behalf, because he doesn't understand why Crowley would refuse going back to heaven with him when all Aziraphale remembers of Angel!Crowley was how utterly bright his eyes shone when he lit up the stars and surely Crowley must miss that too? He wants the same thing Crowley is saying, just in a different dimension. The “I can make a difference” immediately changes to “We can make a difference” because that's all what’s ever been for Aziraphale; them changing the small engines of the world according to their partnered will. He is genuinely benign and not ill-intentioned when he says “Nothing lasts forever”, because he truly wants a better life for them, a better existence. And that's when it gets better: Crowley has his walls back up, he's walking away, because he can't bear that he was never enough as he is for Aziraphale. That he was never worth reciprocation.

But Aziraphale doesn't let him leave.

And that is king attitude no.2, because he doesn't want Crowley to leave when things are strewn all over the place that they don't know where they stand. All Aziraphale ever wanted was for them to stand on the same ground. He asks him to come back to him but hides it by finishing it with “to heaven!” because the whole conversation is going too fast for him, and he's undergoing a religious crisis of sorts that does not end in 6000 years, yet even so he still doesn't want to lose Crowley because he's everything he has and he can't do it without him and “I — I need you!”

And that's when it gets reaaally interesting. Aziraphale's expression then turns from sorrowful desperation to rageful desperation, because he's baring his heart and Crowley is walking away from him. Their solid ground is completely shaken when he says “I don't think you understand what I'm offering you” because he's trying to be subtle about his love for Crowley and still direct as much as he can, but Crowley responds with a condescending “I think I understand a whole lot better than you do” and if this isn't peak human beings in their arguments, I don't know what is. Because we all think we are so misunderstood every time we get into an argument with someone we love, and we absolutely despise it when we feel patronized, so it's no wonder Aziraphale bitterly says “Then there's nothing more to say”, because if Crowley understands, truly does, then he'd see right past his fear to how much he loves the ground Crowley walks over.

And on the other hand I don't believe Crowley truly meant to be patronizing, but in a desperate last attempt he wanted to make Aziraphale understand what he is trying to say, what he spent his entire eternity feeling for Aziraphale, what Aziraphale would be giving up if he goes to heaven. What their life sounds like with no nightingales.

“You idiot, we could've been.. us” is the very culmination of love confessions. It took every single emotion and equated it. Tennant's delivery of it was unsurpassed in the way that it truly covers everything. And the way he grabbed Aziraphale, not entirely lovingly but desperately and angrily and, honest to God, awfully, is the reason why their kiss is so perfect. No queerbaiting, no beating around bushes. It is raw and sad and giving and agonising. Crowley wants to say see what you're giving up? See what we can have? And all Aziraphale thinks is how could you lay this on me now after everything, after every chance we could've been something, after me loving you from the first time I've met you. He's angry towards himself too, because nothing he can offer Crowley will be good enough that he chooses him instead of his choices. Sheen's choice in making his character grab Crowley's shoulder and let it go and then grab it once more in desperation is so unexplainably perfect of how much Aziraphale wants to hold onto Crowley.

But in the back of his mind, Crowley isn't choosing the same. Instead, Crowley's choosing to run from something that no doubt will rebound in their faces. They are angels and demons of heaven and hell, how could Crowley expect they could run and hide without being a repercussion later on? At least what Aziraphale is suggesting ensures that they will have a high position of power, enough to make them together, enough to make them happy, but instead, Crowley is walking away.

And when Crowley lets go of him, not the other way around because of course it is Crowley who must let go and detach from the utter pain that pierced his heart, you can see his expression being one of defeated longing. He sees all expressions passing across Aziraphale, sees how torn apart the other man is, too, and awaits just a semblance of anything they could work with. But instead, Aziraphale's face closes, and he tells Crowley “I forgive you”, and Crowley thinks this must be his second falling, because he's never felt more pain. “Don’t bother”, he says, yet still waits for Aziraphale outside and doesn't leave until Aziraphale has left him. Because in the end, Crowley would always be there for Aziraphale, even if he doesn’t feel worthy of it.

And that, my beloveds, is why eternity will remember this scene.

[occultwaters]

Painful placements in astrology I

💜 Sun square/conjunct/opposite/inconjunct (quincunx) Pluto. Inconjunctions should be maximum 2/3 degrees. If I see this in a natal chart it would indicate to me that the native has had issues with their father or figures with authority in general. Could also be men in their family. I have also noticed the fathers side of the family were absent, early on they could have been separated. The separation could be due to many threats. If not cultivated well, this aspect is common amongst serial killers and people notorious for being bullies.

💙 Moon square/conjunct/opposite/inconjunct (quincunx) Pluto. Inconjunctions should be maximum 2/3 degrees. Now this would indicate a person who has issues with the mother figure in their family. This could also indicate issues with the women figures in their life. These people are also very distant with their mother’s side of the family. Like harsh Pluto and Sun, they were separated early on. Which again potentially could’ve been due to threats to their safety in general. If not cultivated well, this can lead to mental health issues, especially those relating to Pluto. Dark obsessions and desires etc.

💜 Having square placements to personal planets, this alone is very hard to deal with as there is strong friction no matter which side you look at. These people need to work on the aspect and appropriately release the energy, depending on the house, sign, and degree.

💙 Pluto in 12th. These individuals harbour a lot of their trauma in the subconscious. They have probably also seen some crazy things in the spirit world. It’s like they attract that sort of attention without really meaning to aswell. These individuals may also have very disturbing dreams and sleep paralysis.

💜 Saturn/Uranus/Chiron in 11th. This is a constant cycle of feeling alienated from society. These people may feel like they never found their group of friends. They crave for a home they’ve never had. These are also the type of people who have had friends make secret group chats behind their back and never include them. Just because Uranus is at home here, doesn’t make it any easier. This is also true if these placements are in Aquarius.

💙 Harsh Venus and Saturn aspect (square, opposition, inconjunction). Or Venus in Capricorn/aquarius. These people were made to feel unworthy of love and care when they were younger. There’s a constant battle between loving oneself and self destructive behaviours. There is an imbalance with their feminine side, due to masculine/ figures of authority, making them feel like they weren’t good enough.

💜 Harsh Moon and Venus aspects (square, opposition, inconjunction). Again made to feel like they weren’t pretty enough and probably dealt with a lot of toxicity from maternal figures. There is also an imbalance with their feminine side due to issues with women, and maternal figures. These people also a lot of the times refuse to acknowledge their emotions and bottle things up a lot.

💙 Having inconjunctions/quincunx aspects. They need to be at a maximum 2/3 degree orb. This is similar to opposition. But the difference here is that two signs that have no similarity are making a harsh aspect. There’s bound to be heat and constant internal conflict. This one is about learning to balance the scale of energies from both areas.

💜 8th house placements. These people are constantly undergoing transformations in their life. They can easily leave everyone on delivered for months and when they return, they are no longer the same person. Then the cycle repeats. There’s a lot of trauma in these people’s lives, and a lot of it comes from family. But they’re also naturally talented when it comes to things like the occult. This aspect is powerful for astrologers as it gives the native the talent to deeply study and observe people for long periods of time. This also includes psychology.

💙 Saturn opposite/square/inconjunct Pluto. Again inconjunctions should be maximum 2/3 degrees to be truly felt. This is more of a generational aspect (may reflect the society more so). These individuals dad could carry some sort of deep trauma. This is a pretty heavy energy so will require a lot of work for the generation that has this. In addition, the themes of the abuse they dealt with surround feeling restricted from expressing oneself in regards to what Pluto represents. They seem like the sheep or the scape goat of the family. Also if they have siblings that don’t have a similar aspect, if they make a mistake, the punishment they receive can be harsher than if their sibling was to make the same mistake. Their dad/ authority figures in their family can also be/ may have been involved in the dark side of structured systems and have a lot of experience and knowledge regarding the world from that.

© 2024 occultwaters. All rights reserved.

💜💙💜💙💜💙💜💙💜💙💜💙

[my313]

𓈒ㅤׂㅤ𐙚 ࣪ ⭒ perv!huening kai

mdni 18+ only!

⋆ pairing: bobarista!kai & bobarista f!reader

⋆ summary: your shy and unbearably handsome new co-worker seemed normal. that is, until you catch him peeking through the back door to watch you change.

⋆ genre/themes/warnings: pervy!kai, no strong dom/sub themes, semi-public masturbation (m), getting caught (?)

⋆ word count: 1.7k

a/n: ITS TIME HE IS FINALLY HEREEEEEE. might do a pt 2 cuz im not very satisfied w this and i need them to fuck JDKDJF 😭 tysm to @boba-beom for helping me brainstorm <333 enjoy :3

kai never meant to keep this habit up.

the first time was an accident. it was the one time you both were doing the closing shift, and like the nice boy he is, he let you get changed out of your work clothes first.

by the time he finished, you still weren’t out to greet him by the counter. kai decided, he’ll just take a slight peep at the back since he needed to discard his apron and hang it up anyway. it’s like the universe set the pieces perfectly in front of him, because the locker room door seemed to creak softly until an opening formed.

there’s been a number of times where he’s tried to make his broad frame smaller, curling behind the wall while watching you take off your shirt, memorising the colours and patterns of your underwear. kai could probably recite it the same way he does the boba shop’s menu – probably even better. it’s no wonder that you’re the first thing on his mind when his fist closes in on his length, and the last when he’s hiccuping your name while spilling for the third time every other night. the guilt only catches up to him when he feels the slimy ooze of his cum sliding down his stomach, wincing at the feeling.

he says this each time, something along the lines of, “i just passed by!” or “the door was open anyway…” to his own conscience. he knows you’re not hearing anything he says to justify why he starts to stay outside the locker room five minutes longer, ten minutes more — why he urges you to change clothes first, and why he keeps signing up for shifts that line up with yours.

at first, you thought kai’s constant efforts of being around you while blushing and barely being able to look at you was a small crush. something that dissipates once you undergo the weekend rushes, but kai continues his advances.

he makes you your favourite bubble tea and watches intently as your lips latch onto the thick straw then suction out the pearls. he helps you arrange boxes of ingredients when you can’t reach the tallest shelf, always hovering behind you and says he’s just “making himself useful.”

what you don’t know is that he’s grown an odd liking to watching your lips plump up against the roundness of the straw, fueling his feverish dreams of having you on your knees and doing the same to his cock. you don’t know that when he offers to ‘make himself useful’, he’s often thinking with his dick. he’s dazed by the delicious view of your skirt riding up, inwardly cheering when he catches a glimpse of where your thigh high socks squeeze the fat of your thigh.

on other days, he goes mad from seeing your shitty tights rip from the smallest movements. he pictures ruining them entirely, your face pressed against the very same lockers where he watches you undress.

the first time the bells started to ring in your head that kai may not be as innocent as you think, you’re just a bit shocked.

you recall the door being slightly ajar, and in hopes that your co-worker was still at front, you slung your bag over and went out, only to be greeted by kai’s blushing face and obvious boner. your eyes met for a brief moment, and while you expected some sort of explanation, kai only flashed an awkward smile like always and walked past you.

“s-see you tomorrow, yn.” he said, as if the huge elephant in the room wasn’t ghosting over your skin as he made his way into the locker room. if you hadn’t looked down, you would have thought you just caught kai in his natural state – flushed pink and too shy for his own good. but that definitely changed your mind.

so, you decided to run a few experiments to test your hypothesis.

the next few weeks consist of essentially testing your potentially perverted co-worker. it should be a harder pill to swallow, finding out kai had been watching your half-naked body for a good ten minutes per day. yet, you find yourself taking pride in the way you make kai act. you don’t bother to check if the door closes fully behind you each time you go change.

kai’s on his first toilet break of the day. he blames you and your choice of outfit. lately, you’ve been coming in in mini skirts and thigh highs, and today, you’re in one of his favourite pleated skirts and another one of your flimsy tights.

he swears you’re doing it on purpose, because on restock day, you’re typically grumpy and wearing sweatpants and a hoodie. but just the other day, you were fishing out the packets of pearls from the delivery, bent over with your cute, strawberry-printed panties immediately drawing out a “g-gonna take a break real quick!” from kai.

as if masturbating to you in the privacy of his bedroom wasn’t enough, he’s developed a sick routine of jerking off in the unkempt staff toilet. kai spends more of his lunch hours with his hands enveloping his cock at the thought of you than actually taking a break.

when it’s time for you to leave, your normal routine ensues. you go into the locker room with kai not-so-discreetly following behind, acting as if he’s double checking if the stock in the back is the right amount.

today though, kai doesn’t know what overcomes him. maybe it was the fact that you wore a matching set; pretty pink lace adorning your skin, holding you in places he wishes he could get his filthy hands on. maybe it’s the fact that you’re half-naked for a good five minutes, distracted on your phone to even proceed switching to a comfy sweatshirt.

within those five minutes, kai’s palming himself over the thick material of his jeans.

in the next two, he’s fumbling over the zipper and hastily unhooking the button. his cock is very obviously staining his briefs, leaking profusely and begging to be freed.

kai is quick to fall prey to his urges; what really does it for him is the way you bend over to pick up something that fell to the floor. he doesn’t notice nor care what it is. it’s tunnel vision from here on out, eyes trained on the plushness of your ass, deliciously cradled by your panties and pushed out for his viewing.

his mind is overtaken by obscenities. everything from smothering his face in your cunt to your knees faltering from how he’s made you cum.

he pictures his leaking tip soiling the crotch of your panties, imagining how he’d rut in and out between your thighs, like some makeshift fleshlight, before pulling your underwear off. his eyebrows scrunch at the thought of your skin covered in streaks of white. he thinks that you’d look up at him with wide eyes that ask for “one more?” even when he’s given you his load over and over, grunts morphing to sensitive whimpers.

kai’s body is on overdrive; eyes threatening to shut as his mind drifts into familiar territory but not wanting to miss the sight in front of him. his teeth are digging into his bottom lip to the point of tasting blood, while his arms are starting to give out from the speed he’s stroking himself at.

when you finally snap out of your phone break, kai takes it as a sign to speed up more than he already is. his hips chase after his tight fist, desperate to finish before you find out about his little secret. his stomach caves from the spike of euphoria until it peaks and he can’t stop himself from shooting out ribbons of his cum, his bottom lip surely taking a cut from how hard his canines have sunk into the skin.

he finally releases his bottom lip and takes a quick breather, cautious about whether you’ve put your clothes on. kai scrambles to rip a tissue roll to wipe the floor when he sees you absentmindedly smiling at your phone and walking towards the door.

he leaps into the staff toilet in a rush, just before you step out of the locker room.

you’re still on your phone when you move to the front of the shop, waiting on kai before taking your leave. glancing up at the toilet door from where you’re seated, you stifle a laugh as you think back on the delectable view you caught a peek at earlier. you shake your head at your co-worker’s antics, finding it a mix of silly, pathetically weird and also… sexy? hot?

kai makes an entrance with his apron snug against his body. you try to hold back a full-blown laugh and settle for a polite smile instead, waving your hand at him. “i’m gonna head out now– oh, wait,” your eyebrows knit together upon seeing the fresh tear on his lip.

you rush to his side, pressing your chest against him as your hands reach out to his face. your thumb rests on his bottom lip but you can feel his cheeks heat up against your other fingers. you know what you’re doing, and kai knows that you do. he’s thanking his self from five minutes ago for putting on this apron, because if not, you’d be stuck feeling his awakening hard on again.

“did you get hurt today? i didn’t see this earlier.” you frown, pressing your thumb against his bottom lip. he winces slightly, trying to pull away. a breath is stuck in his throat, the closeness rendering him to just a couple of meek nods or shakes of his head.

kai finally manages to get you back in your space. he shakes his head, “o-oh.. yeah! just– just cut my lip while eating earlier..?”

“be careful next time, yeah?” you chuckle, playfully bumping into him with your hip. “that face is our best seller!”

he laughs nervously, “that’s all you..!”

you’re leaning towards him again, coy with your hands folded behind your back. just enough to have him hitching his breath and anticipating more, but not so much to touch him.

you smile mischievously, hinting at what you just saw earlier. “both of us then? we put on a good show, hm?”

he gulps, “uh– no, you’re definitely much better.”

“i dunno,” you tease, finger tapping your lip almost mockingly as if pondering. “you’re a quick thinker.”

oh shit. you knew.

[wriothesleybear]

A True Angel Amongst Us

~warnings: Some angst but ends with fluff, insecure Sunday, slight story spoilers, fem!reader, 1.9k words.

~a/n: I've been wanting to write for Sunday for a while now and the first thing I write has angst ;-; I've been having trouble coming up with ideas for him, but after the 2.1 patch, I've wanted to write fluff for him and about his insecure side because I feel like he sort of has one deep down. Angel just needs some love.

Sunday has been tenser than usual lately. The stress from the loss of his dear sister, the struggle of finding her murderer, and the stress from the possibility of a traitor being amongst The Family and the pressure from his master being the main cause of his tension. He puts on a mask and pretends that everything is fine to ensure that The Family's image isn't tarnished, but behind closed doors is different. When he's alone, he just stares off into space, lost deep in the sea of his endless thoughts. Even with you, his dear wife, he puts on a mask sometimes. He doesn't want to worry you and show you the strong leader that he is, who is capable of overcoming any obstacles and who will deliver righteousness when the day comes.

But no matter how much he tries to hide his weaknesses, you can see beyond his mask. You notice in the way his shoulders are always tense, his hands in fists, the frown that lingers on his face when he thinks you aren't looking, and the way he's less talkative during your limited time together. You hate seeing your husband this way, knowing he's bottling everything up inside. It's only a matter of time until it all bubbles up and he eventually snaps.

You decide to visit him in his dreamscape mansion office. You hadn't seen him all day due to him being busy with work. You weren't even able to see him off this morning as his side of the bed was already empty and made up. Knocking on his door, he tells you to come in. "What brings you here my dear?" He says with his masked emotions. Your eyes survey his office, noticing how it's a bit messier than usual even for Sunday's standards. He usually has everything in perfect shape given his ocd. Nothing was ever out of place for him unless something was wrong, further proving your suspicions. He notices how your eyes survey his office, the look of concern on your face is apparent. "I wanted to check in on you, my love. I wanted to make sure you were doing okay." You offer him a gentle, kind smile. "Of course I'm doing well. Why wouldn't I be? As head of The Family, it is my duty to be competent to fulfill my role." He gives you a smile, but it's not a real one. It's one of those fake smiles he puts on for show when out in the public eye.

"Sunday. I know something's bothering you. Please, just talk to me." His smile falters, his fake smile fading as he contemplates your words. You had been worried about him ever since the death of his sister. As the caring wife you are, you've been by his side, making sure that he was doing alright. Bless your soul, but with all the questions and pity stares, he couldn't help but get disgruntled. He knows you meant well, but his insecurity couldn't help but get the better of him. He thought you saw him as weak. I mean, he couldn't protect his dear sister for god's sake. It's his duty to protect those he cares about and he failed. He surveys your face while lost in his thoughts. His train of thought is broken by your calls of his name. He plasters on his fake smile.

"Dear, there's no need to worry about me. Or do you truly believe I'm just that weak?" You're taken aback from his accusation. You gather your courage and try to shut down his allegation. "Of course I don't. You're the strongest person I know, Sunday. It's just.. I can tell you're undergoing a lot of stress lately given the loss of your sister and work. I want to help you." By now his fake smile has fallen completely, replaced with a emotionless look. Turning away from you, his back faces you, making you unable to see the pain on his facial features. "I'm fine. You should leave, dear.." You could hear the coldness in his tone. The emptiness in his words sending slight shivers down your spine. You try to protest and get him to open up to you, but he cuts you off. "Don't let me tell you twice." He says in a strict voice, void of emotion. You hesitate but respect his wishes. You turn to leave without another word said. He doesn't even notice the breath he was holding until the door shut behind you.

~

Later that night, you lay wide awake in bed. Thoughts of your earlier event with Sunday replay in your head. After you left Sunday's office, you thought everything would be okay by dinnertime, but he never showed. You tried not to take it to heart too much, taking in consideration what he's going through right now, but when it got to midnight and he still hadn't arrived home, you began to feel worse. You've known Sunday for years. You knew how he was raised to become the perfect leader to represent The Family. He was a strong leader who believed in righteousness, in helping those in need, and caring for the people of Penacony. You know he's the kindest and most compassionate person with many strengths, but you also knew that he had many insecurities. He was scared that others would see him as weak and he was worried that everything he worked so hard for would be taken from him. Getting tired of wallowing in your thoughts, you finally decide to find him and try to get him to talk to you one way or another.

Arriving to his office once again, you knock on the door and patiently wait for an answer. "Sunday? It's me. Can I come in?" No answer. Maybe he was shunning you, but you weren't one to back down and walk away. You weren't going to give up on your husband. "Sunday. I'm coming in." Grabbing the door knob, you push the door open and are welcomed to a dark office. The only faint light coming from the windows in his office. Even with the limited lighting, you were able to see that Sunday's office was a bigger mess than earlier. Papers and books were thrown about the floor, the miniature display of Penacony in ruins. Worried, you continue to scan the room until your eyes land on the man slumped over his desk. Walking over to him, you observe his appearance. His clothes are in disarray, coat thrown recklessly on the chair, his wings and hair disheveled. "Sunday.." You hesitate for a second before resting a hand on his head. He tenses from your touch, causing you to withdrawal your hand. "Darling? What happened?" You ask in the most gentlest voice you could muster while trying not to push him too hard to talk. He doesn't reply to you. He keeps his head down on his desk, not willing to move an inch.

You quietly sigh. "Sunday. I understand if you don't like me pestering you with worries and questions. I'm your wife and I care about you. I'm only trying to be there to support you. I am here to support you. For anything. I'm here." Silence. You didn't expect him to reply but you wanted him to hear you out. "I'll give you your space, but just know, I'm here for you with open arms when and if you need to talk." You turn to walk away but suddenly, you're stopped in your tracks by a hand grabbing your wrist. Turning your head back, you see that Sunday is finally looking at you. You can see the pain in his eyes and by how his hand slightly shakes. Without saying anything, you turn your body to fully face him and open your arms wide, silently welcoming him into your arms.

He doesn't waste another second and wraps his arms around your waist, burying his head into your chest. Wrapping your arms around him, you feel his body slightly shaking as you hold him close. "It's okay Sunday. You don't need to hide from me. I won't judge you. Please, don't push me away. I'm here for you." You gently whisper as you stroke his hair. He doesn't speak, all that's heard is his deep, shaky breaths as he tries to control his emotions. It's taking all his willpower to not breakdown crying right there.

"Can you look at me darling?" He's hesitant, but eventually pulls his head away from your body without releasing his hold around your waist. He looks up at you. You notice the painful expression that graces his beautiful features. His golden eyes water as he tries to prevent the tears from falling. He hates showing weakness let alone looking weak in front of you. You cup his cheeks as you search his eyes, giving him a gentle smile. "It's okay to show weakness sometimes, my love. You're the strongest person I know and nothing will change the way I feel about you. I will always see you as the strongest, most caring leader and husband."

Without realizing, tears have begun to fall from Sunday's eyes as he listens to your reassuring words. Your thumbs move to wipe his tears. "I'm...I'm sorry...for pushing you away." He quietly says, his voice slightly cracking. "There's no reason to apologize, Sunday. I know you didn't mean to. I don't blame you." He feels guilty and embarrassed as he tries to move away so you don't see him cry, but you stop him. "It's okay to cry my love. Let it out if it'll help you feel better." He can feel the love through your words and the look you give him, causing more tears to fall. All you do is give him a comforting smile and continue to rub his wet cheeks as he lets his emotions out. You lean down and press a kiss to his left cheek. He gasps, surprised by your sudden action. You switch to his other cheek and continue to kiss his tears away. You leave one final kiss on his forehead and pull his face into your chest. "We can stay like this for as long as you want my angel." He buries his head further into you, wrapping his arms around your waist as you comfort him.

You can feel his body relaxing as he continues to bask in your comforting hold. "Thank you, my love. You are the true angel amongst us." You giggle and continue to hold him close for as long as he needs, occasionally giving him words of comfort and gently stroking his hair and back. You'll wait as long as it takes until he's ready to talk to you, but he understands now that he has you to catch him when he falls and he'll never push you away again.

[therainscene]

It’s blink-and-you’ll-miss-it, but the Alan Turing poster really tells us so much about Will that I consider it to be a significant piece of foreshadowing for S5.

First, let’s dissuade ourselves of the notion that Will chose Turing for his hero project for nerd reasons -- Will’s preferred flavour of nerdery is escapist fantasy, not computer science. He doesn’t know what an IP address is and the first thing he thinks of when he hears modem noises is a movie he likes.

No, he chose Turing because he admires him for being a gay man who accomplished so much in his short life.

On one hand, that’s pretty heart-warming -- the fact he’s willing to identify with other gay men and look up to them as role models shows us he’s making good progress in accepting his identity. On the other hand, it’s heart-breaking, because Turing’s story is not a happy one -- he was caught having a sexual relationship with a man and forced to choose between jail or chemical castration. He chose castration.

I remind you: Will identifies with this guy.

Will is growing up under the twin specters of AIDS and homophobia and likely assumes he’s destined to die young too. He’s been abused and bullied so much, I imagine he’s heard and internalized it all: that he deserves to die, that he’s disgusting, that he’ll never be fulfilled in life.

So when puberty begins crawling its way inside him and implants those shameful desires that make gay men so worthy of abuse... he chooses castration.

For all the sad pining he does in S4, we never really see Will express desire for Mike -- he never checks him out or shows signs of nervousness when they touch. He behaves with perfect platonic decorum at all times...

...unless we consider That One Scene With The Hose.

Sexual interpretations of this scene are controversial, and I can understand why; we’re so used to seeing Will as this innocent, immature little boy that it's shocking to catch him fantasizing so lustfully, even though these sorts of thoughts are pretty normal for a 15 year-old. But I think that’s the point. We’re supposed to feel uncomfortable about this, because Will feels uncomfortable about it too.

He’s done well in accepting his identity, but he’s an absolute repressed mess when it comes to accepting his sexuality.

So, that’s what the Turing poster tells us about Will. Here’s where the foreshadowing comes in: Will is not the only queer-coded character to have been metaphorically castrated.

Henry’s experience bears striking similarities to Turing’s: he too was caught engaging in a natural but forbidden behaviour and forced by his government to undergo a medical procedure to suppress that behaviour.

His villain speech to El in 4x07, which is ostensibly about his powers, also reads very strongly as a scathing criticism of heteronormativity, and it’s covered in rainbow motifs.

The metaphor here is obvious: Henry’s powers are a manifestation of his homosexuality.

Which implies that Will’s homosexuality can also manifest as powers. They’re repressed because he’s repressed.

It’s not a coincidence that the sexual tension was through the fucking roof in the infamous sauna scene. Every time Will’s supernatural ability to sense the Mind Flayer triggers in S3, Mike is also nearby.

What’s interesting about Mike is that his queer acceptance issues mirror Will’s: Mike has a healthy relationship with his sexuality (he casually checks guys out and plasters his bedroom walls with posters of buff dudes) but he just can’t bring himself to accept what this implies about his identity.

Always with the symmetry, these two. They complement each other perfectly; one’s hang-up is the other’s strength. They have a lot to teach each other about being queer.

And as repressed as they are, I think they want to learn from each other -- Will lets himself get flustered when Mike flirts with him in his bedroom, and Mike hangs on to every word of wisdom Will shares with him in their heart-to-hearts.

Internalized homophobia is a powerful force, but their bond is so strong that it empowers them to fight back.

Henry’s powers symbolize his anger at being mistreated and his desire to take that anger out on the world... but Will’s powers symbolize self-acceptance and love.

So he isn’t just going to defeat Vecna with his powers, and he isn’t just going to get the boy: these two things are one and the same.

[familyabolisher]

you said that you don’t take lines of questioning / thought about “romanticizing” dark topics (SA, incest, etc.) seriously. would you mind elaborating on that? what does it mean, if anything, to romanticize? i think i get why it’s a fundamentally reactionary (or just silly?) thing to be concerned about, but would you mind elaborating on why?

thanks! your posts have been very illuminating on this sort of thing.

okay so let's talk about "romanticise" as a literary discourse for a second because there are a handful of things happening with its usage:

is the assumption that there exists a state of non-'romantic' discursive matter from which something 'romantic' is being created, and the content of the text in question is the process by which that creation is happening;

is the use of 'romantic' to describe something that appears to the viewer as desirable and attractive, thus obscuring the ways in which it is harmful/abusive/violent/&c.;

is the idea that this 'romantic' state represents something morally odious due to the ideas it might impress upon the audience about the nature of the discursive matter made 'romantic' in question.

i think it's worth breaking each of these assumptions down because i don't believe that any of them actually hold water, and i find that they in fact telegraph some pretty reactionary paradigms around literary criticism.

first is the idea that there exists discursive matter that is not "romantic," here to mean suffused with cultural narratives that render it desirable, and that the matter in question only takes on these desirable qualities after undergoing this process of "romanticisation." by this logic, the matter is in fact prediscursive; the onus of constructing a “romantic” discourse lies solely with the cultural response. when in practice, normative cultural assumptions and the media that interacts with them exist in a feedback loop relative to one another, and it surely makes more productive sense to engage with the apparently objectionable material not as an object that creates or even necessarily reifies a normative cultural standard, but that interfaces with that standard in what could potentially be any number of variant forms. this widens the scope of our response as an audience—we might well say that a depiction of XYZ was tasteless, clichéd, voyeuristic, lacked interest in the interiority of its subjects, &c. &c., just as easily as we might say that it engaged with extant cultural narratives in compelling, thoughtful, meaningful ways. we're not taking the cultural object as the didactic “creation” of a social norm—we're situating it within the norms from which it already emerged.

the second is the idea that this ‘romantic,’ aesthetically desirable construction must necessarily obscure the ways in which the subject matter is harmful (however we define ‘harmful’). i find this position v condescending, towards creator and audience alike—one way of crafting horror that can be really exceptional when done right is the total sealing-off of the narrative from any didactic intervention, any suggestion that what's being depicted is morally “wrong.” the dissonance between subject matter and audience—and/or between subject matter and creator—can be brilliant when you can have faith that that dissonance exists. audiences aren't little babies who learn our morals from our media; we're prepared to critically engage with and respond to a discourse presented to us. as i said above, doing away with this whole “romantic” sheen as an obfuscator of violence opens us up to new, more precise, more compelling readings.

the third – and imo, the most damnatory – is the suggestion that the narrative itself represents a potential site of harm due to the underlying ideology that it imposes on those who engage with it. like, we're still adopting this approach whereby we construct and engage with narratives for instructive purposes; if we see a depiction of sexual abuse that renders the abuse pleasurable, aesthetically pleasing, desirable, then we absorb this idea that sexual abuse is pleasurable and aesthetically pleasing and desirable and thus covet the position of the subject in question. i don't think this is necessarily true! i'm obviously not suggesting that we don't absorb and reproduce our cultural narratives in media – as i said in the first point, there exists a feedback loop between the two – but i think we as audiences and critics ought to think more highly of ourselves than to imagine that we are incapable of seeing some fucked up shit given an aesthetic gloss without asking why the aesthetic gloss is being used, how the creator is making use of perspective, how we might respond to it, etc. and i just don't think narratives ought to be instructive or didactic; nor do i think creators bear responsibility for how their work is received to the extent that they are obliged to orient their discourse towards a presumed impressionable individual for whom every action or aesthetic contrivance is a categorical imperative. this is the oldest and honestly the most boring debate in the book; the question of "moralism" in fiction has been done half to death by now, and i don't see any use in rehashing it to any significant extent. suffice it to say that the “moralist” approach is stultified and limited and intellectually dull.

note that nowhere in this did i say that there are never narratives that ought to be called into question for their depiction of X, Y, or Z; just that i think we need better, more precise language to defer to do when we do so. simply put, i think it's possible to make a piece of art that holds these “romantic” qualities, and doesn't have a guy walk in midway through and go “by the way, abuse is Bad/age gaps are Problematic/mental illness is Unsexy,” &c., and still greatly compel me wrt its subject matter. & that is a statement which exists in straightforward contradiction to the idea that the term “romanticise” communicates anything necessarily and inherently condemnatory about a text, so, i don't use it.