#it lacks some parts but otherwise is a good structure

[honehonn3honey]

A protection that becomes more creepy

Azul in my heart. You can see the original art here and read the monster list here @lustlovehart

[Alt under the cut]

My first concept, since my style could not simulate the texture of slime in its purest state

It is quite thick so water can not enter or wet. Only small puddles where you can accumulate

It is a monster and that, magic, but I can imagine that it can only reach a height by the pressure, it can come out expelled sometimes

[utilitycaster]

Whenever people are like "well LIAM'S characters never faced any backlash when HE played characters in the spotlight" and "no one will let WOMEN have negative qualities" when Caleb and Vax and Orym have received pretty constant hate for main character/sadboy/scene stealing and when meta writers outright stopped talking about Imogen because a particularly mindless set of hit dogs are still hollering about how she is so good and kind and how dare you call her selfish, it's really like...in the service of trying to make your failure of a point you've just said something that literally anyone with a memory lasting longer than the apocryphal goldfish length can immediately debunk, which in turn absolutely shreds your credibility going forward, if you had it.

More generally there's something very vile here, because on the surface this statement does look like an attempt, if one ignorant of pretty much any fandom conversation, to defend women. The thing is it's come from a place of defending Dorian and Ashton's plan - a man, and a nb person who would not identify as a woman - that requires a particularly great deal of sacrifice from the women of the party. So of course they just switch tactics. Instead of "how dare the fandom not think women are always best" it's "how dare the fandom disrespect a disabled nb person and a person played by an indigenous actor." And I'm sure they'll switch again. Because pretty much every character in this campaign is on some axis of oppression, and there's a few people in this fandom who, instead of considering these things as important details that inform these characters, seem to largely treat their minority statuses as ammunition. Feminism and antiracism and queer advocacy are all just part of a shell game to them - accuse everyone who disagrees with them of being a bigot, say that their opinions are inviolate because they match that of literally any character who isn't a cis het white man, of which Bells Hells has none. Unsurprisingly, it's that social media purity culture that's just the evangelical church with a gay hat: they are always the victim, and everyone who disagrees is the devil, and being a good person always happens to line up with what you already wanted.

There are several posts from the past day or so accusing people of liking Campaign 3 less than the two previous ones which refused to accept that this might be due to the hurry-up-and-receive-an-infodump pacing, the singular focus without much time spent on backstory, the gaps in party composition, and the fact that the plot manages to combine the weakest elements of each campaign - the fetch quest/NPC guidance heavy nature of C1, and the meandering/slow start of C2. No, it must be the awful, sinful fandom unable to handle the lack of a major M/M ship (false; Dorian and Orym aren't canon, but neither were Vax and Gilmore, and the latter was sunk far sooner) and the fact that a female character is at the center of the story (see above re: how hostile the same people making these accusations have been to anyone who actually wants to discuss Imogen in a way that doesn't fit their specifications). Just to repeat this: many fans have outlined a number of purely narrative and structural reasons why C3 isn't working for them. These people have assumed this is all a lie, because assuming otherwise that would require either addressing these critiques, which in turn would require admitting other people can have valid opinions that oppose their own without being horrible bigots - in favor of throwing out whatever random accusations they think might stick. It doesn't matter what's actually being said; they're not actually listening, and for all they might talk about fans of color they sure all seem to be white; for all they talk about misogyny and queerphobia they sure won't hesitate to immediately assume the worst of queer people and women who say things they don't like. And rarely do they address any of the actual ongoing bigotry that does exist in the fandom; it's all random accusations because you agreed with the white woman instead of the brown man or vice versa; or it's the constant dredging of years past discourse that, as the first paragraph indicates, they will then ignore whenever convenient.

These are all pretty transparent signs of a bad faith actor spreading misinformation. To be clear I don't think this is any kind of conspiracy or has any organization to it. I think it's a just handful of deeply self-absorbed people who either refuse or literally cannot comprehend that someone could disagree with them without being a bad person and who will gleefully cry wolf with these accusations of bigotry. But it's been going on for quite some time and it's been a problem this campaign in a way I at least do not recall it in past ones, and it's had an absolutely devastating effect on the fandom conversation. Ironically, by trying to boost Imogen and Campaign 3 by shutting down any criticism of them, they've shut down far more of the conversation, hopefully not irreversibly, and I think it's time to point that out.

[hardlyinteresting]

Any Other Way

Tyler Owens x Reader

As voted on by you the people. Relationships aren’t too unlike Tornadoes when you really think about it.

Warnings: The reader is referred to as she/her, passing mentions of childhood injuries and bull riding accidents (nothing detailed or graphic), depictions of storms and tornadoes. (please let me know if you want me to tag anything else).

Word count: 1.3K

Masterlist | Talk to me about Tyler and Jake

The first time he ever saw a tornado touch down it was only a couple miles outside his home town. it's the same town he met her in. A force of nature; upending his life in ways neither of the two of them would have been able to anticipate in that bar all those months ago. 

He thinks now that nature and fate must be much the same, dictated by some higher power he's always believed in but never truly understood. As terrifying as it is mesmerizing, he finds him head over heels for her and it scares the shit out of him. 

Life moves faster when he's just falling into it. He's fallen out of trees as a kid, and been thrown from horses; an adrenaline rush halted only by a sudden and painful meeting with the ground. Love feels somewhat the same. He'd heard the phrase whirlwind romance, but he never expected it to be so life-altering. 

She rides shotgun in his truck and wears his favourite flannels, she changes the radio station while they are driving and he doesn't even flinch. As terrifying as it all is he chooses to look for the beauty in all of it. Tucked safely in his truck harnesses as the world spins around them he's certain he's finally found a safe place to land. 

The sound of the tornado passing right over the top of them echoes in his ears, and his eyes after all these years of chasing are still never quite sure where to focus. At a distance he's practiced at identifying precipitation patterns, analyzing the structures and collapses of storms; he's made a living doing it. But, in the centre of the storm, it's the pounding of his own heart rate that grabs his attention. Riding out a fear isn't the same as ignoring it, so he chooses to let it ground him. He focuses his mind on the science and the still unfathomable pulchritude of the natural world. 

Unrestrained and blithesome, laughter escapes him as the dust settles and they climb out of the truck. Her smile is as big as he's ever seen, it as she jokes along with Boone who clambers out of the backseat camera in hand. With an excited prompt from his friend, and the camera pointed in his direction, Tyler is quick to explain some of the science to their viewers breaking down their tornado experience into layman's terms. It's one of his favourite parts of the job; spreading joy and wonder. 

A few feet away he watches her grinning as she observes first-hand the soft purpling of the sky above in the wake of the storm. These are the good days. 

On the bad days; hours in the truck, and nights spent on bad mattresses havoc on everyone's bodies. A lack of promising storms on the radars leaves them pacing gas station parking lots, and sitting around the motel rooms they swore they didn't want to spend time in except to sleep. 

The air conditioner buzzes, humming an air of uneasiness into the already tense room. The room is silent otherwise and Tyler wishes one of the two of them would say something, but after 12 hours of nothing but waiting there doesn't seem to be much conversation left to have. She sprawls out on the bed, her arm draped over her eyes blocking out the yellow incandescent lamp light. He scrolls on his laptop, wading through radars and projections, searching for a new destination and a new objective, his fingers tapping an untimed beat against the bedside table. It's the calm before the storm. 

He can't pinpoint when the tension began to grow though in hindsight he's sure he should've seen it coming. But next thing he's in a shouting match, his own behaviour thrown at him as a heavy insult, he knows he's saying things he doesn't mean. In the middle of it all his heart races, waiting for the calm once more so he might be able to understand what happened. The door slams behind her when she leaves, and the brown shag carpet is scratchy against the palms of his hands as he lowers himself to sit next to the bed. Defeated he tries to analyze her actions and his own, accessing the potential damage as he goes. 

Who's to blame? who's at fault? He doesn't care as he replays the events of the day in his head. The bigger questions rattle around his skull begging for his attention, where did she go? Should he go after her? The aftermath is always the hardest part of a storm. 

A sudden flash of red illuminating his laptop screen has him on his feet and across the room again in a heartbeat. An unexpected, oncoming storm. His stomach feels lead-lined as he taps her contact on his phone; gutted when he hears the rhythmic vibration on the nightstand. Her phone lit up with his contact photo. 

There's a hopeless in it, the wind howling through the small town, whipping around the tiny motel. He hopes they're not in the direct path of the storm, but he doesn't take the time to check. Texts from Boone and Dani confirm they're sheltering with Lily and Dexter. Tyler texts back: looking for her. 

His breath rattles in his chest, and he ignores the way his hands shake as he calls out her name, hoping beyond hope that she's near by. Surely she noticed the shift in the weather and found somewhere safe. Surely this isn't how he loses her, on the back of a stupid fight. 

He thinks his knees might buckle if he lets himself stand still for too long, a foolish brand of restlessness stirs him into moving. The thought of what he stands to lose pounding in the back of his mind. The air is thick, and the rain that's now falling makes it hard for him to see the ground in front of him. He fights his way forward without a thought of himself, it's not the storm that scares him, but rather what it might take that strikes the chord of fear he's wrestled his whole life. 

He manages to make his way across the parking lot of the eerie quiet town, the echo of a storm siren blaring in the near distance. The window of the motel office has been shattered by some kind of debris and he has to shield himself from the wind even indoors, crouching low as he moves. He calls her name again, he voice cracking in a desperate plea. 

“Tyler?” A tear filled voice calls from behind the counter. 

He finds her curled on the floor under the large front desk, the sweet motel owner Doris holding tightly to her. He slips himself beneath the desk taking note of where it's bolted into the ground, a good distance from the windows; she's a clever girl. “I'm sorry,” she gasps out quickly, her eyes locking onto his own, “me too, darlin’,” he swears, “but we'll have time to talk about it later”. 

The world grows quiet again, pounding rain, and vicious winds slowing before stopping, air pressure releasing its heavy hold. He helps Doris out from under their hiding place, the gray haired older woman patting his hand in thanks as she catches her breath. He helps his girl up next not at all shocked when she throws herself against his chest. The familiar smell of her shampoo, and the feeling of his own flannel shirt on her frame ground him. 

“We're okay, baby,” he promises. 

“I got you these,” she says holding out a now crushed packet of milk duds. “I just wanted to clear my mind and I saw them in the vending machine. I was on my way back to the room--but the storm. I didn't mean to scare you”. 

His smile is wide despite the weight of tears behind his eyes, “honey, you scare the hell out of me and I wouldn't want it any other way”. 

[arrowmance]

[ ♥ ] 𝐃𝐀𝐘 𝟐, 𝟐𝐍𝐃 𝐋𝐄𝐓𝐓𝐄𝐑

This letter is directed to... Mammon, the Avatar of Greed. To the demon who I'd always cross the fragile bridge of cards for.

❥ back to the masterlist : upcoming, 3rd letter

Dear Mammon,

Happy Holidays! Or so was it by the time I'm no longer writing this letter, which is months before Christmas. Do demons ever celebrate the actual tradition? As my self-esteemed first demon, it only makes sense that I'd ask you.

And it's not a sort of joke, I've always loved coming up to you first.

You don't mind the lack of formalities, right? Not that I want to consider these letters like a sort of journal, but I 100% hoped you never minded it at all. Too bad, you have to read through all of this. (do ignore the erasures, I ran out of good paper because of a certain someone)

Although yeah. The thin cardboard lining of the deck felt familiar along your palm. It was instinct to shuffle it and lay it flat across the table: poker or blackjack, place your bets. The perfect mastery of manipulating the deck was expected, but you ought to see these cards of sin used for something else.

See, that's the thing. You turned a simple what-be boring project into a life lesson. I mean the cards were too expensive for a crafts projects, I mean 150 grimm a pack? Such a scam.

"I ain't wasting a couple million grimm on this 'passion project' of yers" and I quote from you. But you still stuck with me throughout that evening. How nice of you.

Nevertheless, when you speak the words "ya sure you're doing this pearl?"

It clicked.

This feels so weird to write about but I’ve loved you since the first few moments I’ve stepped foot into the Devildom. What is it about you that caught my attention? It was complicated at least. I admit, you're hot.

No debate. Is it even worth debating on.

You have one of the most gorgeous blue eyes that touched reality, sun-kissed tan skin and white hair. I wasn't surprised when I learned you were a model, though I was jealous that a lot appreciated your handsomeness. Like, oh my Diavolo, and you make me feel like some sort of model not that I mind.

Other than that, you are just so..

So..

I can't really describe it and now I'm screaming into this letter because there are so many great things about you that you don't even realize that it hurts. You're greedy but you care for your loved ones. You're annoying but you have a sweet soft spot. You're a coward but still the second strongest of your family when needed be.

You're so fucking hot and a really, really nice guy.

Honestly I could go on and about on how you're very lesson of "Cross your Bridge of Cards" stuck to me. Like with a pathway made of luxury, it's still a fragile structure. And yet, with the right mindset, that otherwise useless thing paved the way for newer, better opportunities- had I just took the risk.

When I also talked about the dream of the falling bridge, you didn't ridicule me.

So... I was wondering, perhaps we should both be honest at this point of the year. Look, I admit, I wasn't very sly when I was trying to measure your ring finger with the paper bond, but you know that while I like shiny things—

I'd always marry you with paper rings.

Remember that? Good. And while a part of me hopes that you never find this letter, I also wish that, for a moment, you go easy on yourself.

The world doesn't owe you anything, my disco. Nothing. The only debt anyone has for you is the love and care that no one wishes to admit. And I want to change that.

I love you Mammon, and I hoped that paid my debt.

That those cards guide me, like how no matter what happens, I'd always place my bet on you.

With love, Your Most Treasured Pearl

© 𝐀𝐑𝐑𝐎𝐖𝐌𝐀𝐍𝐂𝐄 2024. do not copy, modify, or repost any work as your own.

december 2nd, 2024 | wave dividers by cafekitsune

[reco-obsessed]

thinking about alice's and reko's deaths as metaphors for their emotions for each other over the years.... when alice is offered to have his memories wiped by safalin, he takes the offer, because reko takes so much of his life that he can remember that her death makes his entire being hurt. hes practically structured his identity around her- in trying to be a good big brother, one he felt she deserved. hes been willing to put himself aside for her own goals and desires, always accepted being sidelined to try and support her. so to lose her is to lose so much of himself- leave him a huge, gaping hole that cant possibly be recovered from even as he just barely clings onto whatever life he has left.

reko doesnt see the amount of grief coming after alice goes to prison, or when he dies. its a betrayal of herself, to feel so much for the person she resented and tried to ignore this whole time. the wound isnt that big, but then why does the blood keep coming, and why cant she stop it? why is she still crying, even though she refuses to sob? it runs so deep her hearts probably torn clean in half, but youd never see that from the outside. or at least she'll try her best to keep that in- her lack of last words wont make up for the pool of blood on the floor. this one, "small" thing breaks her as she knows it. should she live, and safalin offer to remove her memories instead, she rejects it. she spent almost her whole life trying to push alice's presence out of her mind, that weakness of having someone who mattered so much to her, the person who cared most for her, who she cared for most for, who she resented for it- for wanting her to be successful in a way she hated, but she'd do it, even if she cant stomach to look at him anymore. and, maybe, in some way, she got what she wanted. alice went to prison, removing him from her life almost absolutely, and for that small of time when they were reunited in the death game, they barely acknowledged each other directly- rekos last words she can probably remember to him were something along the lines of 'pretend you dont know me. we're strangers at this point, and i dont want people thinking we have any connection'. between her explicit rejection and the fake reko receiving the bongos, theres the chance she might not even realize alice wants otherwise. but somehow, even though she brought this upon herself, it hurts so so much more than she was expecting it to.

and she cant help but feel like its her fault that things went the way they did. that maybe if shed been a better sister, alice wouldnt have ever killed someone, or had died here, or maybe there wouldve at least been something to remember besides the hurt of him being gone. but reko also knows that she had her second chance- and she cant imagine doing anything different with what she knew. she protected herself, but at what cost? she could try to fight back now, if she really tried, but maybe deep down, she doesnt feel she deserves to, when she was the cause. it happens quicker than she imagined, and all she knows how to do at this point is lie down and take it. its just like the first time alice left, in a way. she was always about movement and action- his leaving was the only thing that could give her pause. even though she grew as a person when he was gone, she really did lose a part of herself, and it nearly killed her the first time, let alone the second.

[gallifreyinstituteforlearning]

The Doctor is a pretty controversial figure on Gallifrey I would imagine. He’s done good things, but he’s also done some things that are crimes. What would you say is the general public opinion of them on Gallifrey right now?

The Doctor: Hero, Rebel, or Nuisance?

So here's the thing: Gallifreyan society is highly stratified, so potential opinions vary depending on class, role, and personal experience. It also depends when you’re asking. Since GIL exists in a delightfully timeless state where the Time War has both happened and not happened, we can't pin down a single 'current' opinion. But we can throw out a few general likelihoods:

🌟 Admirers and Aspiring Rebels

For some Gallifreyans, especially younger Time Lords or those disillusioned with tradition, the Doctor represents freedom and individuality. They probably see the Doctor as a pioneer—someone who broke away from the Capitol's rigid rules and rejects the weight of Time Lord society. To these admirers, the Doctor is a hero, or at least someone to aspire to emulate.

😤 Traditionalists and Bureaucrats

On the flip side, traditionalists—particularly within the High Council and the elite Houses—probably find the Doctor infuriating. Rejecting the Presidency, being disowned from their House, and that time they nicked a TARDIS are not exactly behaviours that earn respect in bureaucratic circles. To this group, the Doctor is probably less a hero and more an exasperating rogue who tarnishes the otherwise shiny veneer of Time Lord society.

😨 Fearful Critics

Then there are those who outright fear the Doctor. For these Gallifreyans, the Doctor's willingness to wield immense power (see: that time they kinda destroyed Gallifrey and then unkilled it, then killed it, then unkilled it again, etc.) is deeply unsettling. They view the Doctor as a dangerous wildcard whose actions, however well-intentioned, often have catastrophic consequences for everyone involved.

🤔 Begrudging Admirers

Finally, some may simultaneously respect and resent the Doctor. These Gallifreyans might dislike their lack of tradition, the chaotic meddling, and their penchant for breaking all the rules—but grudgingly admit that the Doctor's actions have often made the universe a better place. 'They're insufferable,' these critics might say, 'but annoyingly effective.'

🏫 So ...

Hero or nuisance? It depends on who you ask—and when. One thing's for certain, though: whether admired, feared, or begrudgingly tolerated, the Doctor is impossible to ignore. They've left an indelible mark not just on Gallifrey but across time and space itself—and that's bound to ruffle a few collars.

Related:

📺|🧑‍⚕️💥The Doctor and the Baanjxx

💬|🧸🏫What were the Doctor and the Master’s school days like?: Overview of the general structure of Gallifreyan education, and how badly these two handled it.

📺|🧑‍⚕🍬 Five Weird Facts About Jelly Babies and the Doctor

Hope that helped! 😃

Any orange text is educated guesswork or theoretical. More content ... →📫Got a question? | 📚Complete list of Q+A and factoids →📢Announcements |🩻Biology |🗨️Language |🕰️Throwbacks |🤓Facts → Features: ⭐Guest Posts | 🍜Chomp Chomp with Myishu →🫀Gallifreyan Anatomy and Physiology Guide (pending) →⚕️Gallifreyan Emergency Medicine Guides →📝Source list (WIP) →📜Masterpost If you're finding your happy place in this part of the internet, feel free to buy a coffee to help keep our exhausted human conscious. She works full-time in medicine and is so very tired 😴

[melleonis]

list of worm characters and how good they would be at force fem

beware spoilers

UNDERSIDERS Taylor (Skitter): unless there's an estrogen spider somewhere in the world, no shot Taylor (Khepri): unfortunately, unlimited power comes at the cost of a rapidly-dwindling understanding of gender Grue: lacks both the ability and the inclination. his fragile masculinity makes him a fine target, however. Tattletale: you'd think she'd be good at it, or at the very least sufficiently-advanced egg detection, but she also believes everyone on the team is straight, so this is gonna be a blind spot for her. Bitch: shockingly good at it if the end goal is puppygirl, stone useless otherwise. Regent: i mean. he could, but what's in it for him? easily bored, no patience for process. at best he could manage getting someone into a tutu for a lark before losing interest. Imp: gaslight girlboss of course she's gonna be great at this. what's this? all the contents of your underwear drawer replaced? you didn't do that... did you? who else could have? so you must have wanted this...right? Parian: if you will not wear the dress, the dress will have to come to you. Foil: nah

EVERYONE ELSE Accord: ugh who wants a tidy feminization? Bakuda: hey maybe you'll get hit with the fem grenade! probably you'll just die, or worse. Bonesaw: oh now we're talkin. unparalleled biomech horror force fem game. the mechanical spider tapped into your spinal column decides when it's time to get you prettied up for a tea party. Canary: shania twain karaoke incident feminizes twelve, birdcage for sure. Cherish: trivially easy to set up an emotional conditioning system. wearing skirt? dopamine hit! wearing pants? kill yourself - whoops. well, she'll have a lot of time at the bottom of the ocean to figure out correct feedback intensities. Clockblocker: in theory one should be able to get up to some mischief while someone is frozen in time, but i'm not sure dennis has the ability to freeze someone without also freezing their clothes, which means this has limited utility. could play a support role for someone else. Contessa: effortlessly trips you into a chain reaction that completely reshapes your life as part of a twelve-thousand step plan to improve humanity's long-term odds of survival by a fraction of a percent. thank you for your service. Echidna: all your evil monster clones are girls for some reason. whether this works depends entirely on how you respond to awkward post-incident questions your friends have about it. Eidolon: yeah i mean he could. but it doesn't make him feel globally, historically important so he's not gonna. Gallant: is "feminine" an emotion he can inflict? girl feelings beam attack? shame we'll never know, RIP. Gregor the Snail: nothing in canon says he can't secrete a mildly acidic ooze that turns you into a slime girl. Jack Slash: broadcast shard should in theory mean he can easily manipulate other capes into getting feminized, but that's less time spent on self-aggrandizing mass murder, so. Marquis: bone structure matters less than you'd think in the grand scheme of things, but yes he can reshape your jawline and cheek bones, give you those child-bearing hips. pros: he doesn't kill women, so you're that much safer. cons: it is going to hurt like a motherfucker. Number Man: oh no your company has fallen on hard times and you've been laid off! and how peculiar that the only business hiring anywhere near you is the maid cafe. it says they're very strict about their dress code but that's probably fine. and food's gotten so expensive but wait these odd imported protein shakes are absurdly cheap... Panacea: you know what the joke is already, come on. Scion: has Path to Victory and would never in a billion years think of using it for anything fun.

and finally,

the Simurgh: best in show. sure, it'll take four years for the triggers and conditioning to work their way through your subconscious but when they do...

BONUS Simurgh/Dragon double-team: Defiant probably never spent enough time close to the Simurgh to get affected, plus he had those high-tech earplugs he designed himself, so surely he's fine. nevertheless, his focus wanders during a critical moment while editing Dragon's source code, and now she's bossier, maybe even a little meaner, and the prosthetic parts she's making for colin's cyborg body are... different. curvier, softer. and every time he tries to find the problem in her code he gets distracted, and she gets more and more imperious. can he find a way out of the Simurgh's conditioning and his AI lover's domination? will he have to seek help from Saint - or worse, Teacher? surely they wouldn't take advantage of him in his vulnerable cyberdoll state?

[avelera]

So this is a bit random but:

Dream as the hero in a Greek tragedy and Hob as an Arthurian knight.

Thoughts?

(You obviously don’t have to answer if this is stupid or you don't want to)

If I may riff a bit on this, since I don't exactly have a pre-made answer (it's not a line of inquiry I've really considered), I'd say this:

Dream is absolutely a Greek tragedy protagonist. He thinks of himself that way, he's written that way. A major, indeed central, characteristic of Greek tragic heroes is that their virtues in some situations become their ultimate downfall. No one is dying in a Greek tragedy because they're inherently bad or failed people. It is the essence of that Picard line, "It's possible to do everything right and still lose. That's not failure, that's life."

Dream's dedication to his duty is an incredibly familiar virtue for a Greek tragic figure. It is also the virtue that will lead to his eventual end (in this incarnation). At least, in the comic. We'll see in the show if that's the case, and I have my suspicions based on the story's structure that we'll be seeing some deviation or, at the very least, a more optimistic spin on Dream's end.

Neil certainly wrote Dream to be a figure from a Greek Tragedy too, ironic considering he's also the "deus ex machina" in other situations, being literally a creature of godlike (or superior) power.

As for Hob as an Arthurian figure.... I'm less convinced. And I have a lot of reasons why because I think a lot about Hob's relationship, or lack thereof, with the tropes of knighthood as explored in both canon and fanon.

Let me quickly say that for fanon, sure, absolutely. I've seen incredible, complex, lovely takes on Hob as a Questing Knight or suffering the throes of textbook courtly love (more on that in a second, because I do find that part at least plausible) or otherwise being a gallant and heroic figure.

However, this is fanon. Canon Hob is certainly made more romantic, and I mean much more romantic by the show with the whole missed 1989 meeting and Ferdie's inherent and overwhelming charm. But comic Hob is... hmm, let's say he also has his charm but he's deliberately quite rough, quite crass, more than a bit dim at times, and the furthest thing from protagonist let alone romantic hero material. I think comic Hob would laugh, perhaps a bit wistfully, at the very idea of being an Arthurian figure. Certainly the Hob of "Sunday Mournings" (the Ren Faire comic issue) would be outright derisive of the notion of himself as a romantic figure or a questing knight.

Hob bought his knighthood. I think it's something that bears remembering: he bought it.

(Let me very briefly aside say, as a grubby Yankee myself, I actually find his audacity and sort of "Ha! I got away with it!" humor in that moment incredibly charming. Fuck yeah, stick it to the nobility! Fuck aristocracy, fuck nobility, and fuck aristocratic mythology like Arthuriana that reinforces those power structures. Good for Hob being a peasant who bought his knighthood, something that would be all but unthinkable in the grand sweep of Arthuriana, which for all its romanticism is still pretty definitive about everyone belonging in their social place.)

Anyway, Hob bought his knighthood with money he made getting into early English shipping and with money made from being on the right side of Henry VIII dissolving the monasteries (which were corrupt but were also one of the only forms of social services available to common people at the time, it's an incredibly complex issue) and Hob is as unbothered by the moral quandaries of this as he was the moral quandaries of being a soldier or a bandit. Hob is the furthest thing from being a Galahad. I'm not sure he could even aspire to Lancelot at his lowest on Hob's very best of days. He's just not built like that that we see.

At least, until 1989.

Now, as I've noted elsewhere, Hob's story is fundamentally altered by this ever so minor change in the show of making him still in England in 2022, still presumably waiting for Dream about a block away from the White Horse! Now, this is some courtly love shit right there! My jaw dropped when I began to map out the implications, not just of his waiting but of his becoming a history teacher.

Comic Hob never became a history teacher. Comic Hob seems all but allergic to romanticism and nostalgia. Comic Hob's highest moment of romanticism is wondering what exists in the depths of the ocean and thinking that maybe reincarnation possibly exists.

1989 changes everything. Actually, we even have evidence that in the comic timeline, Hob wasn't even in England by, what, 1992 when Dream passes away? He's in America with Gwen and they've been dating for a bit when she takes him to the Ren Faire, which is the day after Dream died. This implies that Hob doesn't usually stick around England like he does in the show timeline. If that wasn't already clear from the fact that most of his professions throughout the glimpses we see seem to involve maritime trade (sometimes of the very worst sort). The guy is constantly on the move but he stayed in England for Dream for over 30 years.

So there, at least, I think we have the first tendrils of something for fandom to grip onto that Hob does have the potential within him to go on a 30 year quest for his lost love, which is very Arthurian. I think even Hob would be perhaps shocked at himself for this, perhaps alongside becoming a history professor, finally coming to grips perhaps with the history he's seen, learning to care about it, learning that there's more to himself than he thought.

Because Hob is a weird immortal. He doesn't do the things we expect immortals to do, like learn from his mistakes and become some sort of avenging superhero, or even accumulate enough money to not need to have a day job any more, to just utterly detached from normal human life. Instead, he seems to stay grounded in a normal middle class life for whatever era he's in (barring disaster or windfall) and just happen to stick at it longer than anyone else by virtue of his immortality. It's so bizarre in the most fascinating way, it's why I'm obsessed with him, because he stays so grounded in his time period and not in any sort of special superhero way.

But 1989 really brings into sharp relief that there is an element of courtly love to how he interacts with Dream, the Beatrice to his Dante, this figure who inspires him, whom he waits for, whom he changes for (even when Dream himself perhaps doesn't believe himself capable of change?).

There I think there's something to the notion of Hob as, perhaps, a budding figure of courtly love, if not full Arthuriana knighthood.

But more intriguing and, if I may presume, what I think you're perhaps getting at with all of this is: could Hob's Questing Knight perhaps in some way disrupt Dream's Greek Tragic fate?

Well, it's not really possible in either of those genres played straight but, in the original canon, Hob didn't wait 33 years for Dream to come home to him.

So really, in the most optimistic way I'd say, anything is possible.

[velvetvexations]

The fact that Junior Year didn't at all challenge the way ANY system is set up is insane to me.

In the first half of the season I kept telling people the solution to Adaine's money problems wouldn't be Fabian buying her shit for her, because Brennan - DECOLONIAL PHILOSOPHER THAT HE IS - would never construct a scenario in which the solution to a ruinous lack of funds would be to get your rich friend to pay it off for you. This was just the foundation of my argument that Fabian literally, in-universe, did not have access to enough money to do that, because BLeeM usually plugs those holes and that seemed to be essentially the point of kicking Hilarial and Gilear off-screen for most of the season, but put that aside. The point is, it was clearly a critique of the system.

Right?

Because I assumed the solution would in some way be either changing the system or breaking free of it. Part of Adaine's problem is capitalism in general, but most immediately it's the financial demands the school system makes of her.

And then...the solution is not that. The solution is that she yells at her bosses to start paying her for being the Oracle, and Fabian beats someone in a dance contest so they do it. Problem solved. It's fine that Aguefort, which prides itself to an insane degree about what an anarchic madhouse it is for all the real freaks who want to just reach out and take life by the horns, requires you buy literal barrels of diamonds to be a wizard. That's fine.

The problem was that Adaine didn't have a fortune, not that she needed a fortune in the first place.

And it's wild because exactly that's something I liked about A Starstruck Odyssey. Obviously, Starstruck is an existing IP, and there wasn't a lot of room to just revolutionize galactic society overnight, but thematically it only enhanced the season's thrust to have everyone's problems be tied to money and for them to get past them by inventively striking a fortune. It was essentially taking this mildly grimdark capitalist hellhole and being like "okay, we'll play by your rules, assholes" and by the end it felt like there was a heavy tone of irony to the celebration of The Ball Rolling Up. Like you were meant to notice and be aware that the crew of the Wurst basking in their newfound riches was good for them personally but also a fucked-up reflection on how the setting operates.

And there was little tiny baby steps towards acknowledgement of systemic issues in JY that seemed promising, but all ultimately fizzled out.

Fig being overwhelmed by her responsibilities as a working musician and owner of a part of Hell? She orders her demonic underlings and indentured souls to help her put on a hella sweet concert and she goes quintuple platinum and her old agent is totally seething.

Gorgug is being failed by an educational structure that won't allow and doesn't even want him to succeed in the way he aspires to? Zac rolls insanely well so no he isn't, he's doing great, everyone should take four times the coursework.

Riz has to do a ton of shit to get into college because as a poor person he has to run to where others walk? Jokes are occasionally made about him being in a lot of clubs but that's never once examined or otherwise touched on between the the third and final episode, with the resolution in the epilogue being his mom going "hey kiddo wherever you end up you'll do great, just as long as you get enough sleep and take regular breaks to eat ice cream!".

Fabian trying to live up to the pressure of his legacy and maintaining his social status at school? Bill has a genuinely moving conversation with Fabian in the finale, indisputably one of the highlights of the season and a moment that in spite of everything I found incredibly powerful, where he tells him that he would love him even if he weren't a Maximum Legend, but it ends on "maybe we can have both" because as Brennan himself noted Lou was rolling so well that it was actively strangling the theme of his arc so that it ended up just being Fabian occasionally feeling a bit frustrated about the pressure while effortlessly succeeding to the point that not even Fig's catastrophic bardic put a dent in his popularity could have been an interesting exploration of tragic imposter syndrome, but it felt more like they were trying to stick to an expected "Fabian has to struggle with fluctuating popularity" plotline without really examining the contradiction.

Kristen failing cleric class? Kristen deserved to fail cleric class.

The issues with Fabian and Gorgug's arc was just luck and a flaw in the downtime mechanic. The others went deeper and man I really wish more had been done there.

[where-dreams-dwell]

There are so many missed opportunities in Part 1 of Bridgerton Season 3 its frustrating to behold.

As one half of the season is out it’s possible that some of these will be fixed in the second half however having to wait until then (not just in terms of release date but also narratively) is not good planning. Having to wait for Part 2 to have most of the interesting things happen with our supposed 'main characters' makes the structure of the season feel unbalanced, and annoys the audience trying to root for the main couple. And a lack of attention to our romantic leads leaves the audience feeling uninvested and unconvinced in their love.

Spoilers below.

....................................................................

1. No flashbacks: by the end of Episode 4 in S1 we knew all of Simons backstory, why he didn’t want children or marriage, and his key character motivations. This helped us understand why Antony was so against the match (he knew of Simon’s vow), why Simon duelling him instead of agreeing to marry Daphne was actually a sign of love, and helped the audience understand his struggle to accept love. Similarly by Ep 4 of S2 we have had Anthony’s tragic past with his father revealed, explaining his fear of love impacting on those around him and explaining why he is fighting the clear feelings he has for Kate. For both of these romantic leads we (the audience) now know why they are refusing their clear and obvious feelings for the heroine, what internal struggles they are going to need to overcome this season, and by proxy have been reassured that they must truly love the heroine otherwise they wouldn’t be tormented.

This explanation and fleshing out of key character-beats reveals the internal motivations which are governing these characters; this knowledge is essential for future scenes where their actions will appear dismissive or unloving and the audience needs to know that they are operating under their own internal world view in which those actions make perfect sense.

Simon rejecting Daphne's hand? He’s not being cruel, he doesn’t want to deprive her of children as he has foresworn having them. Anthony rejecting his feelings for Kate and continuing to pursue her sister? He’s not unfeeling, he’s actually feeling too much and trying to run from it. This knowledge helps us forgive actions that could make us doubt their ‘true feelings’ and is essential to the audience rooting for the couple. When the romantic lead is being an ass it helps for us to know what may be making them act that way.

No Colin flashbacks means we have no idea what motivates him, what his internal journey for this season is, or any reassurance that his love to Penelope is true. What might have been motivating Colin to act like an ass, not just to Penelope but to other people, and what m ight be be grappling with now which is impacting him either realizing his feelings or coming to terms with them? We have no idea, so his journey to love is a little less compelling.

2. Colin didn’t get humbled: through season 1 + 2 we’ve seen Penelope pine after Colin while he bumbles happily along seeing her as a cherished friend but ignoring her for other romantic options. We finished season 2 with a Colin deeply hurting Penelope and implying to the audience that he actually doesn’t respect her even as a friend - what friend would imply their fiend is unattractive or unmarriable to others, especially in that time and society?

As the audience has been following this one sided romance from Penelope’s perspective we’re predisposed to be on ‘her side’, hence wanting Colon to be humbled and have to properly apologise. We want to see Colin chasing Penelope (in a role reversal from the previous two seasons) and be made to eat his own worlds.

Instead we get one scene of Penelope revealing her hurt over Colin’s actions, and then their next scene together Colin is all but forgiven. He apologises but immediately move the conversation on, asking to atone for his actions by offering help and then bam! For all intents and purposes it’s business as usual between the two again. Penelope is happy to chat and banter with him, smile at him lovingly, and agree to a secret (and scandalous) partnership.

Whats even more concerning is that they’ve set up Colin to property hate Lady Whistledown so when Penelope reveals herself she may even have to humble herself before Colin for his forgiveness. Having started the season (with two years to dwell on Colin’s actions) wanting Colin to have to beg Penelope for forgiveness, it feels disappointing that not only do we not get that but we may get significantly more scenes of her begging for his.

3. Penelope and Colin together: this may be more personal preference but I’m not feeling the same for this couple as I did for Daphne+Simon or Kate+Anthony, or even Charlotte+George. Some of it is line delivery (Anthony felt like Brooding Fuckboy, or Fuckboy who’s fighting their inner demons, whereas Colin just feels sleezy), some of it is script (Colin hasn’t been given nearly as much dialogue and little of it is noteworthy), and some is just preference in that this lead doesn’t feel mysterious or challenging or interesting. He’s really just there.

Simon and Daphne, Kate and Anthony, Charlotte and George they all had this tension when they were on screen together that you could feel through the screen. Maybe it’s the lack of anger or hatred or antagonism between the two of them and due to them being a friends to lovers storyline but the tension just doesn’t feel like it’s there.

4. Time with the main couple: It doesn't feel like the 'main couple' this season has had as much time or scenes to help us understand why they are meant to be together.

This is an ensemble show and as season continue and characters develop or are added this will become a bigger issue; there are more named characters and players than S1 to juggle, plus some characters need time this season to set themselves up for future plot lines.

But Season 1 felt like Daphne and Simons season. Season two felt like Kate and Anthony's season. This doesn't feel like Colin and Penelope's season. Its more like this is a drama-filled season, and one aspect of it is Colin and Penelope.

5. Colin's Character: This is actually a much bigger problem so lets break it down further

5.1 Why Colin? In a friends to lovers plot (a childhood friends to lovers plot too) we really need to see why our heroine is fixated on this man; why is he better than all her other options, why did she originally fall and then remain in love with them for all these years, and why should we want him to realise his own feelings? Crucially what is so special about him?

As Colin hasn't yet been fleshed out, really at all, we don't know why he is this great love for Penelope and why we should root for him to fall in love with her in turn. So Penelope's pining for him comes across as less understandable and more 'I don't get what you see in him but okay'. And that's bad, especially for a show which wants you to go feral over their central couple; fewer members of the audience falling in love with the lead means fewer people understanding Penelope maintaining this crush (especially when its detrimental to her future) which means fewer people rooting for the main couple.

5.2 Colin’s character dissonance: this is kind of a show don’t tell issue but we keep being told all these things about Colin’s character, instead of seeing examples of this behavior ourselves, and on top of that what we are told doesn’t match with what we are shown.

Violet tells Colin he’s ’always putting others first’ but we have never seen this in 2 1/2 seasons of this show. Colin has left to travel in every off season, a very self centred action focused solely on what he wants to do and not what others may want. We’ve seen Benedict put people first more than Colin (being the shoulder for Eloise, helping her out in ballrooms, being Anthony’s second for his duel and his sounding board with Sharma issues) so that character assessment feels untrue.

Violet also calls Colin her ‘most sensitive child’ but we have not one scene of Colin showing this sensitive side. There’s no scene of him comforting Daphne about her failed season or Anthony about his problem with the Sharmas; no moment showing him helping out anyone outlet out of the kindness of his heart, or reacting to another’s pain or worry or problems so again this feels like Violet is describing a totally different character.

Penelope says Colin’s eyes are more beautiful ‘when you’re being kind’ but we haven’t seen Colin be overly kind to anyone. He told Marina in S1 he would have still married her if she had told him of her pregnancy, but this is stated when he’s angry so he’s probably not feeling or looking very kind right then, and it isn’t him actually doing this action, it’s just him claiming what he would have done. When he’s goes to visit Marina in S2 his actions come off more desperate and clingy than anything close to kind. If you argue that his tutoring if Penelope is kind, it’s actually self serving as he offered to do this to atone for him being decidedly not kind at the end of last season. He’s helping her out but he offered this to make up for hurting her before so I don’t think you can view this as a selfless act.

When he reveals Jacks scheme in S2 and demands he pay back money while preserving the Featherington Ladies good name he is undoubtably doing a good act but ‘kind’ isn’t the way he’s portrayed: he’s shown as decisive, protective, angry, courageous, bold, etc.. all very good things but still not that ‘kind’ Penelope talks about.

The last time Colin did something entirely kind may have been Season 1 asking Penelope to dance after Cressida ruined her dress. If that's it, that's very little to go on and a very long time ago.

It feels like people are trying to tell us that Colin is a good guy, without showing us moments where he actually is good. It comes off as clunky and doesn’t match the character we have seen, so these claims have little impact on our assessment of him as a person and as a lead.

5.3 Colins Writing; Stop trying to make Colin's Great Writing happen. Its not going to happen.

At least not when the only snippet you give us is basically porn.

I haven't read the books but I've heard that Colins writing snippet that Penelope finds, while starting as porn, eventually turns into a rumination on how unfulfilled and alone these actions make Colin feel and how he feels lost. That would have been an amazing moment to have in the show, giving us honesty and a secret from the romantic lead and adding depth to Colins actions (which are a little jarring to watch while we actively want him to be falling for Penelope).

If Colin is this great writer then have him writing more. In the back of conversations at breakfast, have him reading his travel journals or scribbling in a notebook. In the hot air balloon scene have Colin seek out an adventure novelist to talk about his experiences. Maybe he gets a letter from Sir Phillip asking about his travels since they enjoyed speaking so much last season, and Colin sends long and detailed responses people joke are like novels (also great for future seasons).

Right now it feels like window dressing and a throw away comment that he's 'an incredibly talented writer' and doesn't match what we've seen of him.

(Side note: it is objectively hilarious that Penelope reads one page of smut about a naked woman the author is sleeping with, then later describes this page of writing as 'incredible' while claiming she 'would love to read more'. You sure you're 100% interested in Colin there Penelope...?)

5.4 How is Colin a Tragic Hero?: This figure always works best for romatic stories and all other Bridgerton Seasons have followed the formula. Simon had a negligent and abusive father and no good examples of marriage or family, Anthony had traumatically had his beloved father die in front of him and been parentified at a young age, and George had the weight of the crown destroying his mental health. All of these leads had a demon they were wrestling with and it gave them intrigue and interest.

Colin has no demons; at least none we've been made aware of.

There's a vague allusion (from Eloise, Lady Whistedown and Violet) that Colin is in some way 'putting on a front' this season. What would have been amazing for the audience would have been a scene or two showing Colin struggling to fit in (in his family, in the Ton, etc) and him feeling alone or isolated because of it. Maybe traveling was his attempt to have interesting stories to tell, or something to distinguish himself with but upon his return (Season 2) no one had an interest in listening and groaned when he tried to share his stories, and so he turned to writing them down instead and decided to shut himself off from trying to relate to everyone as 'himself' and instead to become 'The Traveler' character and pretend so he can fit in.

This would not only give Colin a Secret or a Demon that he needed to work through, but offer us (the audience) a way in which he would be able to understand and support Penelope; another person feeling isolated and unheard who turned to writing to express themself.

While there are the bones of a great love story here the little work put in to flesh out Colin as an individual, giving us no idea of what experiences made him and what he is currently grappling with, means the audience doesn't have much to go on when Penelope professes to love him. Who is this man, as descriptions of him don't match his actions and those actions he does have are both seemingly self serving (travel) and not fully fleshed out (writing); and both annoyingly happen largely off screen. And as the current structure pits Penelope as likely the one needing to beg forgiveness by the end of the season, while we entered it expecting Colin to begging for her forgiveness, their current relationship doesn't feel as salifying or as earned as we could have hoped.

Here's to Part 2 doing some very heavy lifting.

[arduennas]

i saw wicked!! 8/10 movie very good. i also have many thoughts head full. i fully acknowledge that these thoughts could only belong to the diseased mind of a person who has thought too much about wicked for the last 7+ years. anyway spoilers and general ambivalent thoughts ahead etc

good things first:

cynthia erivo slay!! she was like an average good elphaba imo which means she was incredible by normal standards

set design and choreography ATE. munchkinland? the emerald city? the clockography? ate ate ate

overall the movie was just visually beautiful. it was colorful and sparkly and looked soooo expensive. whenever a new location appeared for the first time i literally gasped. i loved it

elphaba’s party dress was GORGINA 😍😍😍

michelle yeoh and jeff goldblum my beloved evil parents… they can’t sing but idc they were so cunty

they sort of kept the hammerheads in one short day which is all i wanted from that song. wicked is not wicked without the egg puppet freaks

they didn’t add anything from the book thank fucking god

ari was funny and pretty good! will expand on her later. i think they did popular the best they could in a movie format given that the song relies so much on improv, physical comedy, audience response, etc.

neutral to bad things:

ok so ariana. very eyebrow-heavy performance. not bad vocally! it was foul to make her sing with cheno during osd though, the difference in quality was so clear lmao. i’m interested to see how she’ll deal with act 2 both vocally and acting-wise

i didn’t like how light ariana sang throughout the whole movie. idk if she was directed to do this though—i could see them telling her to do glinda less obnoxious or tone down the comedy which i understand for a movie. but come on girl it won’t kill you to do a full belt in the studio ONCE

ariana and cynthia’s voices do not blend well. you can tell cynthia was trying to tone herself down to match ari and ari was just not giving in return

the mixing was weirdly unbalanced in a lot of the duety portions and i couldn’t tell whether it was the fault of the sound design or the actors just not being able to sound good together lol

it fucking DRAGGED. there is a 90-minute edit of this movie that could easily have existed. none of us needed to hear something bad or a sentimental man. they took every small pause in the music and stretched it out to the point where it interrupted the flow of the song AND became patently obvious that they were trying to pad for time. the new part of one short day with idina and kristin was not good and also too long. the added chase scene before defying gravity started out fun but then went on way longer than it should have. the ozdust dance was SO LONG my god. i could write up a whole list of shit that went on pointlessly for way too long but we would be here all day

there are some elphabas who can carry i’m not that girl. cynthia is not one of them and this is my only complaint about her performance. she divafied a song that is not meant to be divafied

dancing though life was arranged and directed badly. for lack of a better term it’s meant to be a stoner song and it was way too punchy. also if you’re going to insist on casting a white fiyero at least make him good #notmyfiyero

the lighting was often not good??? i think because a lot of it was filmed outside and the sun washed out the set or created a glare. some odd color grading choices as well. really weird because otherwise visually the movie was stunning as i said before

this is a criticism of many modern movies, definitely not wicked-specific, but a lot of the the costumes looked cheap and it’s because of productions cutting corners when it comes to materials and tailoring. especially compared to the show costumes which are so intricate and structurally well-made because they’ve had to last for literally 20 years. we need to ban polyester from film sets i’m so serious

glinda and elphaba should have kissed each other on the mouth

[thebirdandhersong]

Okay so this year I watched a total of six dramas (seven if I manage to finish Run On before the new year, which might sound unlikely, but let's be for real: I have no plans, no friends living nearby, and no willpower to do anything drastically festive)! and these are some of the things I learned about writing from Love Next Door, Lovely Runner, Brewing Romance, Twinkling Watermelon, Knight Flower, and Summer Strike:

You don't need to reveal everything at the same time. The fondness Korean scriptwriters have for nonlinear storytelling (or the careful omitting of information for future revelatory purposes) is so interesting to me, and the way they reveal information you didn't realise they didn't tell you, especially in Lovely Runner, Twinkling Watermelon, and Summer Strike, makes the experience SO much fun.

Value of shared laughter. This is true especially in Brewing Romance, Knight Flower, and Summer Strike, where laughter is a key piece in the development of romantic relationships. What can I say? It gets me every time.

A good story creates expectations for the person listening to the story. If you set it up well, the reader/watcher will have a vague idea of what's to come that starts to form in their mind, and what you do with those expectations is then up to your own creativity. But the worst thing you can do for your narrative setup to go absolutely nowhere (see: Love Next Door and the complete lack of emotional depth and complexity in the relationship in the last few episodes. The setup for this relationship was so promising and it turned out rather flat at the end. The second leads became so much more interesting, but that also fell a bit flat in the end due to the writing. In a similar vein, you can take a look at Lovely Runner, which almost hits the biggest emotional beat in the story perfectly. You know that the truth about the time travelling WILL come out at some point, but the amount of time given to the reveal is so short and not as weighty as it should have been, compared to all the weight of the time travelling and the choices that build throughout the story. ALSO! You KNOW that Eungyeol is going to develop an even stronger bond with his parents in Twinkling Watermelon, both in the past and in the future. The fun of it is seeing how that comes about).

When you're writing historical fiction, societal norms (especially courtly manners, laws, curfews, and limitations) actually provide you an opportunity to play around and get creative. Knight Flower is set in the Joseon dynasty, and the writers do SUCH a good job exploring neo-Confucian ideas about women's role in society. Yeohwa's whole Robin Hood thing develops BECAUSE it is so restrictive for her as a widow, and the story gets to explore certain social situations in depth because those social norms are being observed by the characters (it's like having worldbuilding rules in a fantasy story). If you honour the structure you're working with, you can come up with quite a lot of plot points and scenarios that otherwise might not hold the same kind of weight.

The importance of inter-generational mentorship (i.e. Yeoreum and Bom's grandma in Summer Strike, Yongju and her grandma + Yongju and her old boss + Minju and the old ladies + in Brewing Love, the music store owner and Eungyeol in Twinkling Watermelon, etc.), which is a relationship that is deeply under-appreciated in individualistic cultures, and systems of honour according to age and experience. In my country, the communal part of life is and is treated as an integral part of society, and is even deeply embedded in the language. You would, in fact, call someone Mr. Manager or Ms. Librarian or Mrs. Teacher or Mr. Dentist. And you would, generally, treat those older than you with respect and deference, and consider those younger than you your duty to care for and teach. Tangentially, this is really lacking in the church right now and it bothers me very deeply that people simply don't care about bringing up the next generation and actually having a HAND in that, i.e. taking time to do that, making sacrifices for that, being inconvenienced in that, etc..... it is a rather detached approach that does no one any good whatsoever.

The importance of those quiet moments when you're sharing silence with someone. Summer Strike does this particularly well.

The importance of acknowledging and learning about the past so that you can navigate the present wisely. This shows up well in Love Next Door when Seokryu's past illness is revealed (and then the abrupt tone shift from that moment forward simply ruins the effect, in my opinion, but anyways) and in Summer Strike (at least in the first three quarters of the story). And it's practically the whole point of Twinkling Watermelon -- Eungyeol's main purpose becomes learning the past and changing the narrative. Anyway, side-eyeing Brewing Romance again for Yongju's complete lack of interest in Minju's past. That bothers me greatly. (She's willing to fantasize about what high school would've been like if Minju were there with her, but not willing to ask and hear him out about what ACTUALLY happened? Anyway.)

[thatphantomtroupelady]

Random HCs for some Phantom Troupe members~ (Part 2)

Part 1

Nobunaga would be an absolute foodie. Would consider himself the harshest food critic ever but would actually love most of the food he'd try (the lack of pickiness is partly due to his rough childhood but it's his nature in general as well).

He'd occasionally comment on Uvo's lack of pickiness and then they'd just (playfully) argue over it for an annoying amount of some time. (They just need an excuse y'all)

Feitan would be a bug enthusiast (ofc that'd include spiders too). You may find him staring at a bug crawling up his sleeve with zero expression on his face because he's just that lost. You'd probably find it dissected with its guts out in a bit but... okay yea there's no but.

He's mostly fascinated by how they can function with such a tiny body but he'd also love how they can scare so many people with their mere existence.

Would definitely *cough cough* torture people with them too, especially the ones with the spider/bug phobias.

He could name like every single bug in existence and might even get in arguments with Shalnark over the right name.

Because Shalnark would love playing the 'know it all'; even though he mostly knows he's not. Sometimes he'd make up facts just to mess with people's nerves. He'd so be the type to screw up the Wikipedia page to prove a point.

The annoying brat of the troupe but he's proud of it so there's nothing you could really do about it.

Bonolenov would be good with kids. Not saying he won't kill them when ordered by the boss, but he'd be pretty nice to them otherwise.

Occasionally he'd find a kid who wouldn't find him so scary but would just go wowowowow and start asking soo many questions. But the kid would be so respectfully sweet that Bono wouldn't feel the slightest offence.

Like we know how he grew up in a tribe so he did have a probably healthy environment with children due to the most likely familial structure of their society.

Chrollo would definitely have an emo poetry writing phase as a teen. Like look at him. How could he not.

He'd be super duper shy about others reading his poetry. Probably killed a bunch of people who tried to read it/make fun of him for it. But he'd occasionally open up a bit and let Pakunoda read some of it he'd deem decent.

[ahigherdestiny]

Headcanon: Kais/Shinjin/Glinds and gender + sex

Disclaimer: I just wanna state my own view on this point based on Shins line in the newest episode of Daima. These are my opinions on this topic and absolutely not canon or true or anything! Please consider this before reading. You are always welcome to discuss things with me or others but please stay constructive and friendly.

TL;DR: Do I see Shin and the Glinds as genderless/sexless? No. Will I keep Shins and Bontos gender and sex as well as the activity of sex for me, my stories, my art and my blog in general? Yes.

And here is why!

First of there are many reasons for me to keep things like they are on this blog. The most important for me is that I like it that way. Simple as that.

But wait, there is more!

Glinds don’t have a gender:

As you can see Shin said it himself. This should obviously be the main proof and close the case for me, right? Well, I have some issue with this because of two things: language/translation and gender representation.

I don’t speak japanese, so I will take my time to do some research later. Though I take this statement with a pint of salt, simply because he says “gender”, not “sex”. In english there are massive differences between these two words. Sex refers to the genitals and bodily function of reproduction while gender is the overall appearance and recognition as feminine, masculine or otherwise. In my native tongue there are no two separate words for these interpretations, but just a single one (which can be heckin confusing). If it is the same in japanese I have to find out later. I don’t deny that today, in such a connected and open world, the studio or translators put this wording with the right idea and intention into this place. Could totally be! But at first I will stay skeptical of that statement, simply I still lack some very important background here.

The fact that Shin says “gender” in the english translation simply implies for me, that all glinds are non-binary representing, which I personally don’t really see as fitting comparing this to the first episode and character sheets from Toei. Shin is always referred to with masculine pronouns and stated as a brother, same with Degesu. Their sister Dr. Arisu is referred to with feminine pronouns, praised for her beauty (a social structure amongst us humans mostly used with feminine presenting individuals) as well shown with an obvious feminine body structure and clothes to show it pretty good. Seeing the other inhabitants of the Demon Realm we can definitely say that Glinds know what gender and sexes are and mean to the individual. So, there is stuff showing us that this statement cant be correct, right?

The Glinds totally can still be non-binary! Yes, I don’t deny that. Though this usually depends on an individual themselves and not on an entire race. Saying ALL Glinds are non-binary is very strange for me and that’s why I cant really believe it.

So, as long as there are no new statements on these two parts of the conversation, I stay with a he/him for Shin and Bonto. If Im wrong with the series, then I don’t really care, simply because I prefer them like this on my blog.

Fruits don’t have (a) sex:

This is something that haunts me for years now and the new series doesn’t make it any better. If Shin isn’t talking about gender then is he talking about sex? But, even Goku mentioned that Shin must be a fruit or plant, which obviously don’t need a sex or sexual intercourse, right?

Well, if we really want to compare the Glinds with regular earth fruit or plants... then yes. Earth fruits are simply a baby-plant covered in nutritious material that helps the sapling to grow in the beginning of their lives. Many fruits are also delicious for animals so that they can carry the seeds far away to new grounds. Comparing that to Glinds its kinda similar. They hang from their mother tree as babies und walk around. We don’t know yet what happens when a Glind dies and/or if they can transform into a Glind tree, but it’s a possibility.

But fruits don’t need a sex, right? Wrong again, simply because this is how earth plants work. Plants and similar individuals like fungi have sexes! And not even two of them, but many many more and so many different variants! That’s how they mix their DNA and prevent inbreeding. That’s how we humans changed some of their DNA and breed different species together to new plants we use now (our first apples were tiny and rare compared to the big monsters we now know). And that’s why I also see that Glinds can be born with sexes. Depending on the things they need to do with their DNA-like information later on in their life having a sex and genitals for mixing might be necessary.

(Yes, Im fully aware that they can be totally build bonkers with DNA and genitalia and bodily functions, since Glinds are just not the same like earthlings in any way! But I wanna keep things smooth here and I think Toriyama liked the simplicity of just putting earth-like structures onto aliens. I mean, Goku and Vegeta can mix their alien DNA with humans!)

Last point: do Glinds have to have sex? Yes. Even if they are simply a fruit and not a tree, which does all the pollinating stuff here on earth while the fruit is just the offspring, I can totally see it being a thing. For one, their bodies might just easily be built like this during all their generations. They grow and mature from a baby stage to adulthood, just like humans do. Its not a big thing for nature to involve something onto their bodies to make reproduction easier, right? That would also be a reason for the gender dimorphism Shin and his siblings show.

Even if Dr. Arisu can artificially or magically modify her body to simply look “female”, it would still be a hint for my second point here: social benefit. Sex for us humans isn’t just for the babymaking. We crave sex for its intimacy, its fun, its power, its releasing magic and many more reasons. It bonds us and I think its also something a race like Glinds would be using, too. Even if they really don’t need something for reproduction, I can absolutely see sex as a part of their social and cultural life as a group. For me, there is no way they wouldn’t other than they don’t want to.

And that’s why I will keep going with Shin and Bonto having sexes and sexual intercourse.

Thats all I have. Thanks for reading and have a nice day! :)

[horizon-verizon]

Note after writing: so I poke my head up into Tumblr now that I've finished my cross-country move and can soon again indulge in essays and all the replies/drafts I've been putting off. I innocently engage in some passive scrolling until your Dany-Westeros comment tempts me into a quick ask comment, and THIS comes out? On my phone where I hate to edit/cut asks for later? Oops. Let this be an example of how for some reason you're very good at steering my rant interests. (And to think I started this one because I thought I didn't have time for the twilight one. We'll get there ;)

Thank-you for pointing out that Westeros needs Dany far more than she needs Westeros. I'm so tired of people acting like Westeros is the centre of that world when not even Dany sees it that way. Honestly, I don't think she's compatible with Westeros because I don't even really think the Targaryens (or general human health and happiness) were. We're hit over and over again with how Westeros will continually ostracize and blame the Other for their own problems (Rego Draz, Larra Rogare, Lady Serala who loves to prove that team smallfolk don't actually pay attention to the riverlands chapters or twoiaf over the wiki otherwise they'd question how F&B presents Mysaria and Rhaenyra. Actually all examples make a point about how F&B and team small folk treat Rhaenyra, that's why she's my current obsession). We're hit with all the other ways in how (ironically) "backwards" and xenophobic Westeros is. Not just in a "period accurate" way, but also in a way that seems excessive compared to the realms that surround them. Omens aside, I don't think that the Valyrians and pre-Conquest Targs having little interest aside from possibly wanting a certain kind of imperial influence via trade is supposed to mean nothing. (And i find it interesting how those "Westeros is the beacon of civilization and enlightment - no don't ask me how the Enlightment happened" stans are so quick to claim that the very slow-moving Freehold would have uber-colonized Westeros if not for their superstitions or possible knowledge and wariness of the weird magic of Westeros like the Others, BUT of course Aegon was definitely not motivated to conquer Westeros for that reason and definitely didnt believe that deeply in the forces that apparently were the one thing that kept the uber-dragon-reich from immediately invading...) because the Targaryen's biggest failure is their lack of connection to historic Valyria unless we're talking about how singularly evil they are in which case they are a direct continuation of all the bad parts and only the bad parts of the institution they only SEEMED alienated from. Also this is a trait that skips over certain good men to bad women and has concentrated in Dany because 1. These traits actually get stronger over time as they're passed like how pesticides build up more in owls than in their prey and 2. because men DO culture but women EMBODY culture and bad woman embody the bad parts.

Right. Westeros's relative irrelevance outside of the Long Night. GRRM himself has pointed out how the Freehold resembled the EARLY Roman Republic and their contract system. Valyrians tended to conquer preexisting power structures, leave it relatively intact, and extract tribute, rather than (with exceptions of course) going full Andal (Or Rome to Celtic Europe) settler-colonial assimilation mode. Because I won't stop pointing out that the Valyria/Essos parallels to Rome are limited to the early days and then solely to the "Oriental" half and subsequent conquests by other empires like the Ottomans - especially the Ottomans you can't change my mind - and that any parallel to later Occidental Rome and the Western Roman settler-colonialism-to-slave-plantation-to-feudalism pipeline belongs to Westeros. Especially since the one "off" part of this division, Valyrian fuctioning like Latin across Essos, can be explained by GRRM outright admitting that linguistics is a weak spot of his and he didn't give it much thought.

That the Conquerors took Westeros with three dragons while the Freehold showed no interest for millennia should say something about Westeros's relevance and desirability. That the snooty blood-purist Valyrians (whose far flung survivors' ideologies around their blood and current attitudes towards it were definitely not altered by the destruction of their mother civilization and decimation of population, nor was there any possible practical or pragmatic aspect relating to magic because all civilizations are like whi- Andals but in ways that are recognizably worse than whi- Andals who embody those traits in healthy and/or invisible forms) apparently were willing enough to form bonds with other powerful realms/empires without the (overwhelming) desire to conquer (eg a dragonrider wedding an emperor of YiTi, the fact that Sarnor was right there yet never taken, and fell so soon to Dothraki after Valyria suggesting they were entwined enough that the Doom destabilized them) yet did not do so with Westeros... should also mean something.

What would the Ottomans, or any of the powers around them, want with a giant England that's also way over there? With North-west Europe in general? One that exists in a nasty middle where the diverse cultures and knowledge have already been colonized and replaced with a single knowledge/culture system that makes the Latinized sliver of Roman utilitarianism look downright sophisticated, BUT it also doesn't come along with all that wealth stolen from other lands? Especially without an equivalent to Islam/Christianity to add an ideological, competitive motivation?

Not much.

Problem is... as much as i would love if it could be framed in a way that makes Westeros's relative irrelevance clear, I also don't like the message it sends that you should just let xenophobes be xenophobes, that Dany should come in, fix all of Westeros's problems and then leave (or worse, die) because she nor her family ever really belonged there and yet all those generations of women suffered through all misogyny just so Dany can save the root of that misogyny while also probably being subjected to it. But I also don't like a lot of the alternatives. She can't rule Westeros without dramatically restructuring it and getting called a "tyrant," because I'll maintain that while it's both problematic and bad writing to thematically link Dany+House Targaryen to Valyria as a whole TOO MUCH, I do think the one "parallel" that the Targs and Valyria share, that Dany BREAKS on the third round, is that joining, maintaining and assimilating into preexisting exploitative systems according to THEIR rules, even if war and violence ARE the rules but only if used in a way that follows the rules, isn't just a bad idea when magic is the source of your power, but it's also not a more "ethical" choice than using your magic advantage to break said system. A stance I'm sure the "anti-colonial" irl maesters would LOVE.

But... I've always been convinced that much like Rhaenyra, Dany's story is very much a sociological story, even compared to the other characters around her. She's very much a product of the world around her and the state of that world, and more importantly, the way the world responds to her and her actions is a statement about the world around her.

I'll die on the hill that, because we never get her pov, because GRRM hammers it in that anything relating to her is the most ambiguous part of F&B, Rhaenyra simply cannot be judged for the choices she makes (and all the ones she possibly makes) as an individual. Because aside from kind of forming a dual warning with Nettles for Dany (that raw power from dragons alone leaves her a target and incredibly vulnerable, which Dany learns herself pretty quickly, but that working with a system that won't work with her will never work, that it will ultimately rob you of even the raw power you bring in to it, which she takes a bit longer to learn) Rhaenyra's not meant to function as an individual who is tested. Because she IS the test. A test (most) the men of House Targaryen fail as they chose "The Realm". Because the Realm fails, Gyldayn fails, Stannis (Mr. "The Law" & "Right makes Right") fails... HotD and a good portion of the internet fail...

Which is why however Dany's Westeros arc is resolved is going to be more of a statement on Westeros and the charcters established there (and on GRRM, because I'll also maintain that the themes around Rhaenyra and Dany, that link Rhaenyra and Dany, make them the most "meta") than it is on her. In fact, even GoT fell into this by accident, in that anything even tangential to Dany in those last seasons is incredibly revealing - of the ugly underbelly of the Westeros they had adapted, of the writers, of the "ideal audience" they were appealing to, and the actual audience that still managed to swallow it and was only uncomfortable with how the clumsy writing made it... that much more revealing - of THEM.

I think I started with a conclusion and question about Dany inevitably losing certain forms of agency while becoming a bit of a mirror, on multiple levels, the moment she sets foot in Westeros and meets other pov characters from the "normal" culture, and how I do wonder if/how GRRM struggles with that... and the urge i worry he has and hopefully fights to pull an hbo by (hbo)Targaryen Woman-ing her and essentially withdrawing from her pov or from directing reader empathy and identification towards her, the outsider, and away from the "normies." I like to hope he's a better writer than that. But he's also a white liberal. But... good writing, especially set in a world that the author doesn't live in, often is more "progressive" than the author themselves. For reasons I'm cutting off here before an essay emerges.

Oh wow I really did that to you 😂, you brave warrior of ask culture.

Rhaenin, there is a special hell just for you, just you wait. (THIS is the ask rhaenin-time talks abt when they say "your Dany-Westeros comment" and "Thank-you for pointing out that Westeros needs Dany far more than she needs Westeros").

I think that there would be some confusion over why one wouldn't look at the Targs landing in Westeros through Daenys as them not trying to establish an outpost for future conquest from other Valyrians. But Daenys' father had no intention of settling on Dragonstone before the vision of the Doom and thr other dragonslords sincerely thought he was running away scared, showing us that they may not have been really "interested" in colonizing Westeros. A bit weird to think about Westeros' "desireability" for conquest.

As for GRRM, I can only say we just will have to hope for how he's going to have Dany after the destruction of the Others. As for her meeting others before then, I imagine it will be a very mixed reception and she'd grow a sense of resentment due to how they'd treat her, but nothing "mad" wise like some people say.

But... I've always been convinced that much like Rhaenyra, Dany's story is very much a sociological story, even compared to the other characters around her. She's very much a product of the world around her and the state of that world, and more importantly, the way the world responds to her and her actions is a statement about the world around her. I'll die on the hill that, because we never get her pov, because GRRM hammers it in that anything relating to her is the most ambiguous part of F&B, Rhaenyra simply cannot be judged for the choices she makes (and all the ones she possibly makes) as an individual. Because aside from kind of forming a dual warning with Nettles for Dany (that raw power from dragons alone leaves her a target and incredibly vulnerable, which Dany learns herself pretty quickly, but that working with a system that won't work with her will never work, that it will ultimately rob you of even the raw power you bring in to it, which she takes a bit longer to learn) Rhaenyra's not meant to function as an individual who is tested. Because she IS the test. A test (most) the men of House Targaryen fail as they chose "The Realm". Because the Realm fails, Gyldayn fails, Stannis (Mr. "The Law" & "Right makes Right") fails... HotD and a good portion of the internet fail... Which is why however Dany's Westeros arc is resolved is going to be more of a statement on Westeros and the charcters established there (and on GRRM, because I'll also maintain that the themes around Rhaenyra and Dany, that link Rhaenyra and Dany, make them the most "meta") than it is on her. In fact, even GoT fell into this by accident, in that anything even tangential to Dany in those last seasons is incredibly revealing - of the ugly underbelly of the Westeros they had adapted, of the writers, of the "ideal audience" they were appealing to, and the actual audience that still managed to swallow it and was only uncomfortable with how the clumsy writing made it... that much more revealing - of THEM.

So I pretty much agree here, but perhaps you could also explain more about Rhaenyra's ambiguity. I get more of the sense that she is a test, but not so much here aside from her not being given as much independent words like Otto/Daemon. And i understand that her "silence" is meant to make others (in world and reading) form their own conclusions based on how they percieve what she is, should be, etc. as well as those biases that come forth when they do so.

[pvnktimez]

On speaking

Autonomy and control over selfhood, that's the dream, baby! Isn't it? Have you ever wondered who the first person to come up with words is? Why do we use the speech patterns and vocabulary that we do? What do the subtleties of our speaking habits reveal about our underlying perspectives and attitudes towards the world, ourselves, our fellow humans, and all the other organisms and spirits who share the world with us. For example, that we differentiate between humans as people and nonhumans as animals shows a lot about how we unconsciously separate ourselves from other living creatures, justly or otherwise. 

Noam Chomsky is a well known social theorist and political commentator who got a big name first for his work in linguistics. Language is everything - it defines perception - a powerful, magically artistic and diplomatic tool to influence ourselves and the world at large. Being able to speak at all is an amazing gift our ancestors have blessed us with - to understand language and use it intentionally is, in my view, the mark of a powerful craftsman. It is intangible, yet has the capability to bend, twist, and transform reality when handled with skill, for good or bad. 

Consider gender - not only have members of the trasngender community been doing groundbreaking philosophical linguistic work for the better part of a century by developing new language to expand our collective perception and acceptance of gender diversity, many languages have already been using gender neutral pronouns since inception! I started dipping my toes into Turkish on Duolingo this year and learned that they do not use gendered pronouns - he/she/it are all wrapped up into the singular 'o' and the plural 'onlar'. Elegant, no? 

Back to animals, the capacity for symbolic speech is a uniquely human trait. While many animals have the capacity for auditory/vocal communication, none exhibit the same capacity for "hierarchical syntactic structure" as humans have. This involves traits like symbolism, abstraction, and creative grammatical construction. While it is true that some nonhuman animals, such as some birds, dogs, and monkeys can mimic language (a process called "phonological syntax"), use tools to construct basic sentences to communicate needs (like those button pads with pre-recorded words such as "treat" or "walk"), or even learn sign language effectively, they notably lack the biological faculties which would allow for the complex, creative combining of vocabulary and syntax to organically generate new sentence structures, speech or otherwise. This field of study is called Comparative Linguistics - it deals with the material, biological circumstances that result in the variety of language capacities across different species (Bolhuis, et. al.).

In an interview on the podcast "Conversations with Tyler", Chomsky describes the spectacularity of language in humans as follows: 

"The fundamental property of human language is this unique capacity to create, unboundedly, many new thoughts in our minds, and even to be able to convey to others who have no access to our minds their innermost workings. Galileo himself thought the alphabet was the most spectacular of human inventions because it provided a means to carry out this miracle" (Cowan).

Communication fosters connection and empathy, so it makes sense that many people feel disconnected from animals because communication between different languages is damn hard. It seems to me that when one group of people who are already deficit in empathy (such as the white colonizers who founded the current American empire) meets another group who does not share the same language (such as the indigenous peoples of Turtle Island and abroad), grounds for dehumanization are very easy to justify, particularly so within the cultural context of religious superiority. I even see that within a common language, people still manage to ignore the conversational partners, whether in casual or professional settings, by refusing to listen and using language to dominate and self-affirm, therefore separating themselves from the harmonious community. 

I would also note that I believe the chronic lack of empathy we're observing is, at least partially, on account of numerous types of trauma and repression from systems such as white supremacy, patriarchy, capitalism, and religious extremism that modern science has barely begun to understand in the last century. We have a lot of healing to do, folks :) 

Moving onto the state and its monopoly on violence, it's well known that if someone can control the language a group of people use, they have control over that group's perception of reality and the consequent decisions made thereafter. George Orwell explores this theme in his notorious novel "1984". Even if you haven't read it, I trust the reader understands its premise primarily warns against government totalitarianism and censorship. I say this because I have not read it, but have listened to enough people talk about it that I feel like I get it. One notable comment I remember hearing went something along the lines of "1984 was not a prediction of the future, but a description of the author's present day environment", as is much of the sci-fi genre. We have to remember "1984" was published in 1949, not even a decade after WWII.

In the same interview mentioned above, Chomsky outlines more subtle ways the United States government has implemented this tactic. "Manufacturing Consent" may be one of his most well known books, written in 1988. This term was coined from Walter Lippman in the early 20th century, a member of Woodrow Wilson's propaganda committee. Despite campaigning on a platform for pacifism, Wilson decided the U.S. should enter WWI and was faced with changing public opinion from one of peace towards war to gain support for this decision. This is what the Committee of Public Information was charged with - dealing misinformation. Sound familiar?

Lippman developed the techniques to manufacture consent which “could control the public, shape opinion, completely turn them into, in this case, fanatic anti-German people who wanted to kill everything German. Can’t say frankfurter; you have to say hotdog. You have to change your name if you’re German to something else" (Cowan). This "new art in the practice of democracy" benefitted the private sector as well as the war by accusing labor unions of anti-patriotism. This rhetoric is remarkably similar to actions taken by the the House on Un-American Activities Committee, which was active from 1938 (eleven years before "1984" was published) until 1975. 

Chomsky explains that these tactics come from the liberal perspective that the public doesn't know what's good for them - we're dumby and should only be allowed to "spectate" public affairs, never to participate, so they lie to us to make think that everythings is fine <insert dog drinking coffee in a burning house meme>

Thanks, Dad. I'll just hang out underneath the bleachers doing fent while the forests burn down in the west and hurricanes ravage the east while telling myself that the economy is actually doing SO well. Here we wonder how misinformation has become such a huge issue today on the internet, the news, and media at large, but it doesn’t seem to be anything new. Rather, only recently is the public becoming increasingly aware of the nature of government deception as access to information and source checking becomes more widespread and accessible thanks to the internet itself. 

So now what? What do we do when we realize that our voice is not our own? That we've been told what to care about, what to talk about, so that powerful people can do terrifying things. I'm done sitting under the bleachers. In fact, I'd like to flip them on their side. There is no carrying on like usual anymore, not when social breakdown, environmental collapse, and nuclear war are on the line. Like every Jew before me, I ask, "How do we keep going?" 

If I've learned anything in my short, stupid life, it's that big change requires small, consistent actions. And to act effectively, we must maintain awareness. Awareness is so trendy right now - awareness in the media, the news! Spread awareness! Every other month is dedicated to spreading awareness about some major issue, be it black history or pride. But this is not the kind of awareness I'm talking about right now.

No, this is a linguistics column, and hopefully you come out of it thinking about things a little bit differently than when you started. I am talking about awareness over your speech - the kinds of language you use when you're making observations, judgements or demands. Do you use different speech patterns when talking to people of different backgrounds? Do you meet other people with a lot of resistance, countering anything they offer in conversation with "No", or "uhm, actually..."? Or maybe you people please, letting folks say whatever they want, even if it's harmful? 

This column will be a recurring segment where Underground readers can join me in exploring how we can harness speech to change the world. How can we programmatically create change with the world? It all starts with us, here and now. There's a lot of fear about the future and anger in our hearts, but holdfast readers, there's a whole world worth protecting in our hands. Take care out there, and tell your friends you love them.