#just characters from an already existing show

[darkficsyouneveraskedfor]

Get Lost

No tag lists. Do not send asks or DMs about updates. Review my pinned post for guidelines, masterlist, etc.

Warnings: this fic will include dark content such as dubcon/noncon and other possible triggers. My warnings are not exhaustive, enter at your own risk.

This is a dark!fic and explicit. 18+ only. Your media consumption is your own responsibility. Warnings have been given. DO NOT PROCEED if these matters upset you.

Summary: You get caught in the corn maze after dark but you don’t think those footsteps belong to someone trying to help you find your way out.

Characters: Lloyd Hansen

Note: this is the fifth and final of my autumn fics as decided by all of you!

As per usual, I humbly request your thoughts! Reblogs are always appreciated and welcomed, not only do I see them easier but it lets other people see my work. I will do my best to answer all I can. I’m trying to get better at keeping up so thanks everyone for staying with me <3

Your feedback will help in this and future works (and WiPs, I haven’t forgotten those!) Asking for more or putting ‘part 2?’ is not feedback.

Love you all. You are appreciated and your are worthy. Treat yourself with care. 💖

Jaden points across the dash, receiving a swat from Alexandria as she tries not to veer. 

“Hey,” she cries out, “don’t do that. I can’t see over your ugly sweater.” 

“Oh, whatever, Lex,” he snips, “I was just trying to show you that.” He points again, this time without blocking her view, “you see that sign ahead?” 

“Sure, I see it,” she leans over the wheel as your nail taps across your phone screen. You huff. You wish they’d stop arguing for one moment. “A maze?” 

“A corn maze. Doesn’t that sound fun? I haven’t been to one since I was a kid.” 

“Of course, you haven’t,” you scoff and let your phone hang carelessly in your hand. “We’ve all seen that movie with the evil kids. Who wants to go running through a field?” 

“I do,” Ashton says, “better than driving around looking for those shoes that don’t exist.” 

His girlfriend, Samira, laughs and leans into him. You blow a raspberry. 

“It’s all the way out in the middle of nowhere,” you sneer. 

“Well, Mrs. Xanny, you never want to do anything so your vote counts for nothing,” Jaden retorts. 

“Excuse me,” you roll your eyes. 

“I’m up for it,” Ashton raises his hand. 

“Me too,” Samira mimics him. 

“Me three,” Jaden declares. “So looks like you two are outvoted.” 

“Whatever,” you mutter and Alexandria sighs. 

“Fine, but nobody better leave me behind. I’m not getting lost because of you idiots,” she growls. 

“Don’t worry, Lexi, I’ll hold your wittle hand,” Jaden teases. 

The others laugh and you go back to your phone. You’re more interested in the new heels at your favourite boutique than some dirty and scarecrows. Alexandria steers on as she continues to snap at Jaden to stop distracting her. Her driving is a lot scarier than anything that might be hiding in the maze. 

You swipe and tap and tune out the world around you, especially the two lovebirds exchanging not so subtle touches beside you. Jaden had to insist on sitting in the front. Finally, the car rolls, the axle jostled by the lumpy ground, and you look up at the gray sky. You hate daylight savings. 

When the wheels are still, you’re reluctant to get out. You could offer to watch the car until they get back. It’s cold and you don’t feel like slogging through soil and seed. 

“Hey, Lex,” you begin. 

“If I’m going, you’re going,” she snips as she undoes her seatbelt. 

You curl your lip and make a face at her back. The others are already out of the car. Jaden’s bouncing eagerly, Ashton’s staring at the gate to the maze, and Samira is draped off her boyfriend’s arm. They probably just want to find a dark corner so they can makeout. They are so high school. 

“Fifteen bucks?” You read the sign above the table, “blech. I could put that towards my hair appointment tomorrow.” 

“Oh, boo hoo,” Jaden snorts. 

“Don’t act like you don’t have the money,” Samira jeers. 

You call these people ‘friends’ lightly. You all just kind of stick together out of familiarity. Most people you’ve met aren’t much better so why risk downgrading. 

You take a step and feel your tall heel sink into the mud. Ew. 

“Oh, my boots,” you whine as you lift your sole, the muck dripping off of it. 

“Wash em after,” Ashton says. 

“These are Louis’,” you snarl. 

“And you have at least three identical pairs at home. Lighten up,” he barks back. 

You cross your arms and seal your lips with a wry smile. You’re not arguing with him. He’s been a jerk ever since you turned him down at his sister’s twenty-fifth. You suppose it was his birthday two, them being twins and all. Not that he looks very much like Alexandria. 

You trod after the four others, trying not to step too deep in the mud. You growl at the ground. You know what’s not dirty, a salon or a store. 

“Nice boots,” a deep voice rolls over you as you join the queue for tickets.  

You lift your head and look over at the man nearby. He steps up next to you as you eye his bristly upper lip. It’s a look, not a good one. 

“Brave girl going in alone,” he comments. 

You frown, “I’m not,” you step closer to your friends and they chatter. 

“Oh, coulda fooled me,” he remarks as he reaches into his jacket. “So, those Louis boots... those are last year’s...” 

“How would you know?” 

He shows the lining of his jacket. Also Louis. He pokes his fingers into the interior pocket and slides out a pack of gum. He pushes out a piece and pops it in his mouth. He tucks the pack back into his pocket and drops his hands to his hip. 

“So,” he chews the gum loudly. “You’re not really dressed for a maze.” 

“And you are?” You scowl, looking him up and down. He copies your posture and does the same to you. 

“I’m not here for the maze, baby girl,” he winks and snaps the gum. “But you have fun.” 

He turns and struts away before you can respond. Your lips open in confusion. What could he mean? You blink and shut your mouth, stepping up between Alexandria and Ashton. 

“So, how long are we going to have to stand around?” You ask. 

🌾

You hold your phone up in irritation. Your bars are totally gone. Great. This maze thing is so fucking boring. What are you supposed to do now? 

You sniff and shake your head. You sigh and put your phone in your jacket pocket, keeping your hand in the fleecy insert as the chill creeps up your leggings. You guess you’ll have to help or whatever. 

“Alex--” you look ahead then back, and side to side. Your heart leaps and you rush forward as fast as you can on your six-inch heels, “Alexandria? Ashton?” You look around the next corner and the opposite way along the other pathway. “Samira?” 

You spin again, your ankles tangling together. You blink as the tall corner adds to the dimness setting over the horizon. You gulp as your heart pounds in your throat. You slip your phone free once more and turn on the flashlight. 

You aim it ahead and listen for voices. You don’t hear much past the dense wall of stalks. As you brush a bit too close, you cry out and back away from the hanging husk. You shake of the crawling sensation and turn back and forth again. You lost your sense of direction. 

You look up at the sky. The clouds are thick, you can see neither moon or sun. You stop and pull your phone closer. You bring up your maps but it’s just a blank screen. Still no signal. 

Fuck it. Just walk, you’ll find the way. 

You shine the light ahead of you, your heels sinking into the mulch of footsteps, husks, and stones. You walk unevenly over the soft ground. You mumble obscenities as your arches start to bemoan the height. If you had known about this special excursion, you could’ve worn your Uggs. 

There’s a scuff, a strange echo of your own steps. You stop but it keeps going. You squint and twirl around, the light glinting off the corner and slicing through shadows. “Hello?” You call out. 

The footsteps continue but no one answers. You can’t tell if they’re ahead of you or behind you. Or to the left. Or right. You sway back and forth. This is getting weird. 

You take a breath and set your feet. You nearly trip as your heels dig in once more. You grunt and pull them out. You’re about to just scream for help. 

A sudden rumble makes you squeal. What the hell was that? You twist around and it happens again. It’s laughter? Someone’s laughing at you? 

You look at the tall stalks of corn, searching between the tight rows. 

“Alright, not very funny. Ashton....” you holler. 

The laughter gets louder. 

“Jaden,” you hiss. 

The laughter stops. 

“I really am not amused, okay? I want out. I never even wanted to do this stupid thing--” 

“Those boys are long gone, sweet peach,” the voice drawls around you like the wind, “I’m all man.” 

“Where are you? Who are you?” You ask. 

“I’m right behind you, baby, and I’m your knight in shining armour,” he purrs. 

You gasp and turn around. You beam the flashlight of the phone in the man’s face. You only get a glimpse of that short brown mustache before the cell is knocked from your grasp. 

“What are you tryna do? Blind me?” He snarls as your phone disappears between the corn. 

“What-- What do you want?” You step back, dragging your heels from the mud. 

“I wanna help, baby,” he slithers. “You seem lost.” 

You blink at him. He’s a dark silhouette against the greyness trapped in the maze. You bristle and look over at the corn. 

“Sure, I’ll just grab my phone, thanks--” 

“Ah, ah,” he comes up to meet you, blocking you with his arm. “I don’t work for free, honey pot.” 

“Fine, then go away,” you spit. 

“Woah, ho, you haven’t even asked what I want in return, sweetie,” he brings his other hand up to touch your cheek and you flinch away. 

“You’re not getting it, dude,” you back up. 

“Just a little suck. Hell, you give the little guy a nice kiss and I won’t even make you finish the job--” 

“Ew, no way,” you smack his hand down as he reaches for you again. “Fuck off--” 

He’s quick. He grabs you by your jaw and snarls as he looms over you, “for such a pretty mouth it sure is fucking filthy. Won’t matter what I put in it--” 

“Hey,” you grunt and writhe in his grasp, twisting your hands around his thick forearms, “get off--” 

“I’m trying, trust me--” 

You ram your knee up and feel the crunch in his pants. He wheezes and lets you go. You shove him and stagger backwards. You look at the corn one last time. Your phone is somewhere in there. 

As he cradles his crotch and snarls, the urgency of the moment slaps you across the face. Fuck your phone. You need to get away from this creep. 

Thank god you got insurance on your cell plan. You turn and lift your knees. You land on your toes, keeping your heels off the ground as much as you can. You’re not going very fast and you know you look ridiculous but you don’t care. You want to go home. 

You pump your arms as you breath hitches. You hear groans and another set of steps, just like before. You get to a corner and turn before you crash through the corn. You heave as you race away, ankles threatening to bend. At what point do you just ditch the Louis’ and mourn them with your phone. 

You cough and slow down. Shit. You’re in terrible shape. You look over your shoulder, your breath foggy in the plummeting temperature. You don’t see him. You don’t hear him either. Good. 

You turn-- 

“Boo!” The man startles you so you shriek. 

You stagger back as he cackles and you hurl yourself forward. Your feet catch as your heels stab the ground and you stumble with your arms flailing away from him. Your shallow breaths thunder around you as you charge through the maze only to find yourself trapped at a dead end. 

You stop and waver, lungs filled with fire. Fuck, fuck, fuck! You stomp with each internal proclamation. 

“Look, sugar tits, you can keep running and I’ll keep chasing,” the man struts up behind you as you spin to face him. “But it all ends the same way.” He sets his feet wide and cracks his knuckles. “And since you bruised my left nut,” he snarls, “you can kiss that better first.” 

“Uh, like why are you doing this?” You ask. 

He chortles, “like because I can.”  

You snarl and cross your arms, “you’re a loser. And you’re old. Like, can’t you find someone your own age to creep on?” 

He laughs louder but there’s not much humour in it. He stalks closer and your defiance glimmers, just a little. You don’t know where he gets off. Does he really think he can just tell you what to do? 

“So, I knew you were gonna be a handful,” he grabs you by the neck and you wince. You slap his wrist and he tuts, bringing his other hand up to grope your chest, “in more ways than one.” 

“Hey, fuck--” you grit out. “Hey!” 

“Look, sweetie, it’s a simple transaction. I pull my pants down, you keep those teeth to yourself, and be real nice to me,” he glares down at you. “The way you crushed my balls, you’re lucky I don’t make you lick my boots.” 

“What is wrong with you?” You growl. 

“Oh, a lot,” he smirks. “Now, those boots must kill your feet so...” he jerks you roughly, “on your knees.” 

Your eyes tinge just a little but you won’t cry. Not because of him. You gnash your teeth and grimace at him as he peels his hand away. 

“You got one thing going for you, baby, and that’s that pretty face. I can change that, trust me,” he warns. You swallow avert your eyes. He chuckles again, “god, I love that pout.” 

You bat your lash and fight to keep the litany of insults inside. You caterpillar faced fuck. You viagra powered moron. You overgrown frat boy. 

“The next time you open your mouth, it better be to gobble my cock,” he sneers, “so don’t even say it.” 

You look at him again. You set your eyes and your jaw. You step closer and he lifts his chin just slightly as he stares you down. 

You grab his belt and he twitches. You unbuckle it and whip the ends aside. You pop the button open and yank the zipper apart. He watches you, his eyebrow tweaking. You push his fly wide and roll your eyes as you feel his naked pelvis beneath your fingertips. Of course, this weirdo is hanging loose. 

You reach under his pants and angle his hard dick through the teeth of the zipper. You stroke him up and down with a dry, tight grip. He hisses and shifts his weight. 

“Careful, like sandpaper,” he rasps. 

You tut and look down. You huff. You move one foot back and bend your leg. You put one knee to the ground then the other. You make a face as you come level to his tip. Ugh. 

“Don’t look so fucking enticed,” he barks. You roll your eyes again and he swats your head. “Keep doing that and your eyes are getting stuck.” 

Old. Man. 

You pump him again and slowly, inch by inch, lean in. 

“Ah, I said kiss the left one first, then you can get to the main dish,” he puts his hand on his hip. 

You swallow and push down a tide of disgust. You lift him and lean your head to the side. You crane around and pucker, pressing your lips to his left ball. He twitches and groan. 

“Damn, those lips are soft. Do the other one.” 

With bile brewing in your stomach, you obey. You pull back and put his tip to your lips. You narrow your gaze at his pelvis and spread your mouth around him. You wet his swollen head then work your way down his length. He might be a desperate loser but he’s not small. 

You bob up and down as you take more and more of him. He curls his fingers into his hip as his other hand goes to the back of your head. He urges you on and you bat his hand with yours. You push back against him and flick your eyes up. 

“You are a stubborn one,” he rebukes. 

Your lips meet your hand and you pump him emphatically with both, popping off his tip so he whimpers. He clutches a wad of your hair as his eyes gleam desperately. 

“I kissed it better,” you wipe your mouth, “you show me the way out, and you might just finish, old man.” 

He stares down at you. Agitation and amusement battle across his expression. He takes a breath and lets it out. 

“One last kiss and I’ll get you out,” he says, “And then you’ll get me off.” 

The cold air swirls around you and the darkness floods through the corn. You squeeze him slightly and put a sloppy kiss on his tip with a loud muah. You let go and tickle along his length. You grab onto his arm and pull yourself to your feet. 

“I want out. Now.” 

“Alright, princess,” he snickers. “Don’t you worry, I got a throne you can sit on when we’re home free.” 

[franki-lew-yo]

Mouthwashing and fandom discourse as a whole.

So I recently explored the tag for Mouthwashing after watching two no-commentary lets plays of the entire game. I'm seeing a lot of posts pointing out how annoying it is that this game has a fandom and that this fandom is doing fandom things and stanning/"uwu-ing" characters from this incredibly nuanced, raw and not-fandom friendly piece of art. To paraphrase someone I just saw "you don't want mouthwashing; you want Among Us ocs but darker". And

for a moment I wanna talk a bit about how I absolutely agree with this statement while also talk for a moment about how and why fandom and catharsis fan fics exist and shouldn't be shamed inherently. Or, I guess, not in theory.

The "come on! Stop trying to make everything shippable/cutsey/memey/have a happy AU and face unpleasant emotions someone's trying to tell you about!" is SUCH a vibe with me. I felt this way in the 9 fandom a lot as a kid and that was just 9. Mouthwashing is like 9 on bathsalts emotions and theme-wise. It's a game where you play as both the flawed but caring captain of a doomed ship who's life becomes a Johnny Got His Gun-nightmare, and also a deplorable, hateful piece of garbage who got himself and his friend in that nightmare situation to begin with. Both characters, moreso Jimmy but Curly too, are the causes of their own misery. They're complex dealing with one of the two committing SA and doing nothing really about it/dodging the responsibility and humanity needed to support the victim whom they've wronged.

I fully admit it's groan-inducing seeing people be shipped up Anya with anyone on the ship considering what happens to her. On a pure pr level I think it would be illegal even since romance between coworkers in a workplace is considered conflict of interest/harassment as it so often is. (NOT that what Jimmy did to Anya is 'romance'. I'm talking about the shipping of Anya with the other three guys. I know there's people out there who do ship Jimmy/Anya; you don't have to tell or show me I believe you and also I already hate it.) It's ALSO groan inducing to see people ship Curly and Jimmy considering all Curly does to him- and just the fact that this incredibly tragic, toxic one-way-gone array friendship is reduced to "toxic yaoi teehee". It's annoying AT BEST.

I get the hostility towards fandom-tastic stanning and fandom behavior in general...the issue is it's still hostility and I wish some of you guys got that. Like it or not (you don't have to like it) fandom culture is inevitable to some degree. You can and should complain about your hangups but that's all you can do besides avoiding tags and just not engaging with that side of the fandom at some point. Save your call-outs and rage for when you see active deplorable bs being committed that people are excusing for dumb fandom reasons, like lolicon, hatespeech or harassment. I'm sorry but you can not actively go after and try and take down the innocent people involved in your trigger that aren't directly hurting you by liking the thing that triggers you; ie. people who get all shipping and fandom-brained about Mouthwashing's characters which you find offensive to do at all.

This type of convo is the crux of most 'antifandom' v profandom discourse in general; for Antis I think there ought to be a difference between the people that set you off bcuz of fandom nonsense vs sociopathic 'got mine'-creepiness. There's a difference between someone who draws r34 v Shadbase. For profandom types you out to face the fact that yes- maybe NOT EVERYTHING is meant to be shippable/memed. Maybe try practicing that a bit. Yeah it's most harmless and makes you feel happy, but considering how people outside of your hyperfixation-of-a-hyperfixation is a thing. The thing about the "don't like, don't read" argument is it goes both ways. If you're truly a "good fan" like you say you are than you have to realize that people will not like your problematicisms. Learn to interact with characters and stories without the possibility of shipping sometimes- or at least understand that that's the crux of what makes a story like Mouthwashing engaging, even if you also partake in the fandumb and AUs on the side. You can call Curly your babygirl and ship him or make him happy all you want but PLEASE acoknowledge that the game doesn't woobify him or excuse what he did to Anya as well. You can make some kind of AU scenario where Jimmy gets out somehow and becomes/is a slightly better person for all I care...so long as you PLEASE remember that he is canonically a r@pist and awful. Also, even if I'm okay with your fan decisions, note that myself and others are still going to be critical and be upset that you wrote it at all because of what kind of character Jimmy is. 'Critical' =/= declaring something evil.

Fandom behaviors are not souly a destructive parasocial outcome of brainrot; they're also a natural reaction to what happens canonically and the emotions you have to experiencing a story. It's normal and rational to sympathize and love Curly and despise and hate Jimmy. You can love/like/enjoy a problematic-to-DEEPLY DISTURBED-character based on their complexity in canon. They are fiction. They are not real. The reason you are so invested with them is because of that complexity and yes because they are fiction they are your 'toy' and you can doll them up in any kind of speculative AU crap you make. That's fanfiction, baby. Make yourself a fixit fic if you really want

BUT-

remember: it stays as a fixit fic. DO NOT cross the streams, or insist that your active misreading of the text is the same as the text itself. EVER. You should care about your special interest's escapism as a means of self-care. What you shouldn't do is demand that EVERYONE ELSE LOVE your coping mechanism and that any complaints by people on their own terms on their own blogs is #badfaith or an inherent attack against you. It isn't. You'll know when it is an attack against you and that's when you, the profandom-type, need to be prepared and save your call-out posts and blocklist for.

To me that's the fragility to fandom debates and fandom as a whole. You can not/should not police or control an entire group of people and how they perceive or interact with media. That's not fair and it's definitely not sporting or decent of you in a community. You have to share your community -your fandom- with people who hate ur fav and people who love your least fav. Agreeing to disagree means not tagging your nOTP as their shipname or by tagging your shipname loud and clear. It means filtering out posts with those topics but enjoying and/or reblogging the fandom takes you do share with your fellow fandom-mite that obviously posts abt those topics.

When schmit REALLY goes down and some assface reviewer/fan/SOMETHING is being an assface or doing something amoral under the guise of fandom-ing, that's where you out to put your foot down. Callouts and complaints are for people who did an egregious thing and refuse to take responsibility(lol) for it. They're not for "soandso likes the thing that triggers me, kill them"/"so and so is hating on the thing I'm kinning because it triggers them, kill them". Be an adult.

Your DNI lists should consist of "lolicon defenders" not "proshippers", as those ARE NOT one in the same. Same goes the other way around. List off "bigots, purity culture bs", not "antis and critics". These positions ARE NOT interchangeable. If you make them interchangeable than you're making things a lot harder for yourself.

-sincerely, a message from autistic ADHD/OCD woman who likes horror and media analysis as much as she loves popcorn fanfic schlock.

We don't all have to be friends and buddybuds. I just hate us hurting each other over being different kind of fandom-folk rather than for when someone sincerely mucks up and does something bad. Can't we all stick to our guns and just boycott Harry Potter like god intended?

[maul-of-shame]

[ABOUT "THE RINGS OF POWER" RUMOURS GOING AROUND:]

Sooooooooo, I’ve been seeing this swirling storm of chaos over on Twitter and Tumblr, and it seems like shippers (and non-shippers alike) are whipping themselves into a frenzy over this “Amazon Preview program” post. People are panicking, spinning theories, and already mourning the show as if the Valar themselves have announced its doom.

First of all—breathe, besties. Lemme grab those reins before y’all ride headfirst into Mount Doom on a horse named Speculation. Let’s take a step back, re-saddle our ponies of reason, and navigate this mess with a clear head. Because honestly? This panic spiral isn’t doing anyone any good, and it’s time we address it properly.

This post claiming to be from someone in the Amazon Preview program has thrown out the idea that The Rings of Power might get canceled, based on one alleged survey question asking how viewers would feel about such a possibility.

Naturally and obviously, that one sentence has snowballed into chaos: shippers blaming each other, Haladriels claiming to be the sole saviors of the show, and everyone else clutching their lembas bread wondering if this truly spells the end of Amazon’s multi-billion-dollar endeavor.

Spoiler alert: It doesn’t.

But before we dive into why, let’s lay this out clearly. Speculation without evidence is just that—speculation. Right now, this rumor has the same credibility as Gollum’s “juicy fish” promises. So, let’s chill out for a second, untangle the web of panic, and address this mess calmly, because trust me, The Rings of Power is not about to vanish into the West just yet.

1. No proof = no panic. While the original poster claims to be part of the Amazon Preview program, we have no concrete evidence that this survey or its specific question even exists. I'm sorry that's not me being mean, that's a fact. Until Amazon makes an official statement, take this with a grain of salt. Let’s not give ourselves heart palpitations over unverified claims. We don’t need to borrow worry from the future.

2. Viewership ≠ Haladriels alone. I’m sorry (not really), but this idea that Haladriels are the "main audience" and thus the show’s sole reason for survival? Nope. Stop right there. While the Haladriel fandom is vocal and sizable, they are not the entire viewership. Millions of people around the world are tuning in for the larger story of Middle-earth, the intricate lore, the stunning visuals, and their own favorite characters and dynamics—whether that’s Elrond & Galadriel, Durin & Disa, the Harfoots, or even Arondir's badass moments. Amazon didn’t pour half a billion dollars into a single ship.

Haladriels, who are you? The dwarves showing up at the last minute to the Siege of Eregion, claiming to be the sole saviors of the battle? Let’s pump the brakes on this idea, because while your contributions to the fandom are visible and often loud, you are not the entire viewer base. You’re part of the tapestry of fans, not the whole thing.

Yes, you’re passionate. Yes, you create fan art, fanfics, and engage actively in discussions. And yes, maybe you’re a good chunk of the audience (you are).

But—and I cannot stress this enough—you are not the majority of viewers Amazon is depending on for the show’s success.

The show has millions of viewers globally, and a good number of them don’t EVEN engage with shipping.

They’re here for the lore, the spectacle, the drama, or maybe just to see an elf and a dwarf bicker their way into a beautiful friendship.

Amazon’s decisions about the show—renewals, budgets, story arcs—aren’t hinging on one ship. They’re analyzing data from a massive, global audience across dozens of countries, not just the trending tags on Twitter or Tumblr. And even if Haladriels make up a decent slice of the pie, it’s not the whole bakery. This is Middle-earth, not a kingdom under one banner.

While the ship is part of the fandom's flavor, it is not the main course. This isn’t me throwing shade—it’s me asking for a reality check, from one passionate fan to another.

And just so we’re clear—this isn’t me throwing shade because I ship Elrondriel (Elrond/Galadriel). Trust me, I know my ship isn’t the entire audience either. Elrondriel shippers are a passionate, creative, and dedicated part of the fandom, but we’re also just one piece of the puzzle, just like Haladriels are. Believe me, we’re in the same fandom boat here—just sailing with different banners.

I understand the urge to feel like your ship carries the weight of the fandom. When you’re surrounded by incredible art, fic, metas, and headcanons that fuel your love for a pairing, it’s easy to think, "We’re the backbone of this fandom!" But the truth? We’re all in this together, and none of us—not Haladriels, not Elrondriels, not any ship—can claim to be the be-all and end-all of The Rings of Power audience.

We might feel strongly about our pairings, but the reality is that shipping communities are just one part of the much larger audience Amazon considers when making decisions. There are fans who aren’t on Tumblr, Twitter, or AO3, fans who aren’t debating ships, and fans who might not even care about romance in the show at all (I know, wild concept, but they exist!). They’re here for the epic battles, the exploration of Middle-earth, and the overarching story.

So, no, this isn’t a case of “my ship is better” or “your ship doesn’t matter.” It’s about perspective. I care about fandom health and fandom spaces, no matter the ship. I’m here advocating for all of us to recognize that we’re not the sole audience Amazon is catering to—and that’s okay. We’re all contributing to the fandom in different ways, and that’s something worth celebrating.

So to Haladriels feeling like the show’s fate rests on your shoulders, let me reassure you, that you have to produce and produce and produce: it doesn’t.

The show’s survival isn’t riding on Elrondriel either, nor on any single faction of fans.

We’re all part of the audience, but none of us are the entire audience.

The fellowship of fans is vast and diverse, and while we might be rowing in different directions sometimes, we’re still in the same boat when it comes to loving this world and wanting the best for it.

We might not ship the same thing, but we share the same love for this story and the passion to see it thrive. So let’s focus on that instead of spiraling into ship-centric fearmongering. Let’s celebrate what we love, stay creative, and keep contributing to this incredible fandom in ways that uplift us all.

3. Bezos isn’t walking away. The Rings of Power is Jeff Bezos’s lovechild. He and his family are reportedly huge fans of the Tolkien franchise. Love him or hate him, Bezos is not the kind of person to let a project this massive—one of the most expensive shows ever made—flounder without giving it every possible chance to succeed. The man is prideful, and he’s not just going to bow out because of mixed reception in its first season or something. If anything, he’ll double down, exert even more control, and pump the breaks on creative risks to bring the show in line with mainstream expectations.

You can even check this right here, which is from a trusted source:

You can also see this article and passage here:

As part of that investment Amazon MGM Studios recently acquired Bray Studios, where “Rings of Power” is filmed. Can we take that as indication that the show, which shot its first season in New Zealand, is staying in the U.K.?

JS: I think you can. Why not? No plans to move it. Very excited about it.

How have you found the reaction to Season 2?

JS: Obviously very different marketing levels and all of that [to Season 1]. But that being said, over 55 million people at this point have engaged since Season 2 launched. And if you look at the long-term trajectory, which is how this company looks at an asset like that, this is a long-term investment in that franchise. […] There’s well over 150 million viewers watching and engaging with the show. So I feel really good. I think we all do.

Is there any change to the 50-episode commitment?

JS: I don’t think so. [That] commitment is never the thing that’s driving what we’re doing. We’ll continue to make the show as long as we see global customers loving it and watching it to the point where — it is a business. Obviously, we need a large amount of people showing up. And there are a large amount of people, so there’s no debate about whether or not the show will continue.

4. "Cancelled" doesn’t mean what people think it does. Even if Amazon is “mulling over” decisions for Season 3, this doesn’t mean the show is on the chopping block. It’s standard practice for large-scale productions to reassess budgets, strategies, and audience reception to refine their approach. It doesn’t spell doom; it spells adjustments. Given the scope of The Rings of Power, Amazon likely planned for this to be a long-term investment and would have accounted for a slower start. Building trust and an audience takes time—just ask any successful franchise.

5. Let’s calm the Fellowship down. Worrying about every rumor floating around is exhausting. It’s like trying to outrun a Nazgûl while barefoot in Mordor. We don’t need that energy in our fandom right now. Yes, we can be critical of the show. Yes, we can hope for improvements. But the speculation about the series getting canned before Season 3 even airs is unnecessary noise that only feeds negativity and add worries to already existing conflicts.

TL;DR:

I’m not here to sound like your mom or anything—but if it helps, think of me as your friendly neighborhood Gandalf (minus the fireworks but with plenty of snacks). I’m just here to calm things down before we all start marching out of Hobbiton over a rumor that has absolutely no solid ground to stand on. This whole situation is snowballing—and let’s be honest, it’s not even winter yet.

This post that everyone’s spiraling over? The one about surveys and cancellation questions? It comes with exactly zero proof.

No screenshots, no corroboration, nothing to confirm it’s legit beyond someone’s words on the internet.

I’m not saying it’s impossible, but without evidence, it’s like claiming to have the One Ring but refusing to show even a glimpse of it. Sounds a little sus, right?

Look, I get it. The wording is scary. “How would you feel about cancellation?” is enough to make anyone who loves the show clutch their lembas in fear. But panicking and spreading unverified claims like wildfire isn’t helping anyone. It’s like rallying the Rohirrim before you even know what you’re riding to face—take a breath, assess, and then make decisions.

Until we hear something concrete, let’s not let this post stir the pot unnecessarily. The show is far too big to just disappear overnight, and Bezos’s pride alone will probably ensure we at least get to see this through. Let’s focus on enjoying what we have, continuing to provide feedback where we can, and sharing the love of this sprawling, beautiful world Tolkien inspired.

It’s a single claim from an unverified source with no screenshots, no corroboration, and no concrete evidence. Until we see something legitimate, this is just another shadow in the Misty Mountains of Fandom Panic™.

With everything I’ve mentioned—the insane budget, Bezos’s personal attachment, and the fact that Amazon has already made long-term commitments to the show—there’s little reason to think it’s on the chopping block. Is it possible they’re retooling it or adjusting things? Sure, that happens with every major series. But outright canceling the biggest, most ambitious project in their streaming history? That’s a huge leap, and frankly, it doesn’t line up with what we know about how Amazon operates (or how Bezos’s ego works).

So let’s not get sucked into the Eye of Sauron-level drama without solid proof.

I get that the idea of the show being in jeopardy is unsettling—Rings of Power means a lot to so many of us for so many different reasons. But until there’s something concrete, let’s not fall prey to baseless fear. Hold fast, steer your boats true, and don’t let panic steer you off course. Keep your lembas close, your theories reasonable, and your hearts hopeful. After all, not all rumors that spread doom are gold.

Bezos and his family love this series. The man isn’t going to let his shiny billion-dollar baby get canceled quietly.

Let’s channel some hobbit energy—grab a snack, take a deep breath, and wait for actual confirmation before we assume doom and gloom. We’ve weathered plenty of storms in this fandom, and this? This is just a passing cloud until we know otherwise. Stay calm, my friends. Middle-earth wasn’t built in a day, and neither are Amazon’s decisions. 🌿

[eerna]

When I think about arcane arc 2, I’m just really :/ that it feels like they dropped the ball on their generational trauma theme. Like, we didn’t properly explore Ambessa and Cait’s new dynamic and Caitlyn had no reflection on her mother’s death anymore, Ambessa forgot about Mel??, Jinx was “fixed” by Isha, we have once again sidelined Ekko and his revolutionaries plot, and Vi and Jinx, who were trying to Kill each other two eps ago, are chill now (listen the catty fight was fun but ya know. besides that.) Like what about revolution eating up innocence and your sons and daughters and toxic coping strategies being passed down! Idk, I guess has someone who is a bit of a tragedy enjoyer (tho I like optimistic/happy endings lol) and someone who really likes toxic nuanced relationship (and arcane really focused on familial too!! which I love) I feel they really lost themselves trying to go the fluff route. This just isn’t that type of show. This is also why I think Vander’s character kinda threw a wrench in season 2; was there really a point to be made in bringing him back? Kinda thought he had already served his purpose but Idk! There’s other things to critique, and even things I enjoyed too, but I think if I had to boil down the main sentiment why I didn’t like arc two, it would be losing this character thread. So much of season 1 hinged on it, so many great scenes came out of it, feels bizarre fumbling it so bad in arc 2…

Yeah T.T The Vander one hits especially hard, because like. He really is done here. There is no reason for him to exist in the story anymore. The show even agrees with us, they brought him back ONLY to take him away from the girls again, and that is just stupid and boring. Sure, Warwick has to exist bc LoL, but there was no need to introduce him into the plot - the hints in s1 were plenty enough to give him a backstory.

And the most important part: WHAT ABOUT REVOLUTION EATING UP INNOCENCE AND YOUR SONS AND DAUGHTERS AND TOXIC COPING STRATEGIES BEING PASSED DOWN!!! HELLO???? THE MAIN THEME OF SEASON 1???????? It was about a bunch of revolutionaries trying to do good for their families, and how good intentions don't mean good results. Vi learned the passive rejection of a revolution from Vander, Jinx learned individualistic toxic obsession from Silco, Mel rejected her mother's "kill before you get killed" policy. None of this is important in s2 anymore!! I thought Isha would die in an act of revolution, bringing home the "is revolution worth risking the people you are doing it for in the first place" theme, but no. No! Because we are abandoning that line of thought! And you're right, the reason for that is the dumb family fluff they suddenly pivoted into. I adore family stories and relationships, but I'm not buying the Vander-Jinx-Vi-Isha unit for a moment. Jinx-Isha-Sevika, which had good setups, was abandoned and for WHAT!!!! CHEAP FLUFF???? Augh. Sad.

[honeydewdonutgirl]

I don't think the Buck/Tommy break up was bad writing.

Finally got to the Buck/Tommy break up after hearing about it since it happened and without going into some of my major icks into some peoples reactions to it (I will never understand the Tommy haters), that was honestly really sad. But I don't think it was bad writing. I get it. That hurt like a sonofabitch, and I do think it sucks that Tommy is like gone gone now. Especially because I think in just about any other show this would usually be the time to actually explore Tommy's character even more, delve into his history, explore who he is outside of his relationship to Buck. But we're not getting that, which sucks. (Lou's going off to another show, which possibly played a hand in this decision to have Tommy exit.) But I also think that in shipping, we sometimes forget that characters exist as their own individuals outside of the ship dynamic. As Lou himself stated, Tommy breaking up with Buck was about Tommy, not Buck. It was about Tommy's fears. He essentially said "I already like you so much that when (not if, when) you break my heart, I will not be able to handle it."

As much as Buck believes Tommy to be this fully confident and unapologetic gay man... he is still a man with his own insecurities and his own fears and feelings.

I think finding out Buck also dated Abby scared Tommy. Not just because they both dated the same person but because dating Abby meant something to Buck. Buck is going on and on about how Abby was so important to him. How she changed his life and helped him grow as a person. But Buck's not with Abby anymore. And Tommy doesn't really know they're history, he just sees Buck comparing their relationship to the one he had with Abby. A relationship that did not last. And I think Tommy suddenly comes face to face with the possibility that him and Buck won't work, and he's thinking about how much he already likes Buck, maybe even loves Buck. And if... no "when", they don't work out..... that's going to destroy him.

So Tommy does the only thing that will keep him safe from that. He ends things with Buck now, before it REALLY has the ability to hurt him.

And as much as it sucks that... THAT is where it ends. Sometimes that happens. We as the audience knows that Buck would never do what Tommy is thinking, but Tommy doesn't. Tommy just knows that he could get really hurt if this doesn't work out. I kind of hope that perhaps Lou will come back for a small Cameo appearance to have one final conversation with Buck, to give Buck (and hopefully even Tommy) closure, similar to what we got with Abby. But also.... sometimes we don't get closure. And we just have to figure out how to move on from there. Either way, I don't think this is the end of Buck's queer journey, and I think it's worth it to stay tuned in to see where he goes from here. He still has a lot of self exploration left, and I'm excited to see it.

Also, big shout out to Lou Ferrigno Jr. for giving such a nuanced and honest portrayal to Tommy. I am sad we won't be getting more of him, he was absolutely amazing while he lasted.

[myersesque]

ok. so. viktor is my favourite character in arcane. i am also physically disabled and hate the Magical Miracle Eugenics Disability Cure trope with a fiery passion. naturally i have a lot of opinions about where his character is going, but for now, here's a relatively simple one:

internalised ableism has always been part of viktor's character. he describes himself as "a poor cripple from the undercity" (yes, quoting how other people speak about him, but still); he shies away from the spotlight even when jayce encourages him; as a child, he directly acknowledges his disability as the reason other children don't associate with him.

i watched a video essay recently ("how arcane writes men" by schnee) that identified viktor's tendency to just suck it up and push through his problems rather than dwelling on them as a stereotypically masculine trait, which he is written to both subvert and lean into. whilst i agree with that to some extent, i think for viktor specifically it's more of an insight into a very common mindset for disabled people to have; a lot of us do not want to be pitied, and understand that acknowledging our hardships will often unfortunately lead to being treated as attention seeking. he doesn't dwell on things because he can't, unless he wants to be looked down on more than he already is; he's already had to fight to even be acknowledged as more than somebody's assistant, or respected as a zaunite living and working in piltover. i can't imagine he's keen to show any further "weakness"; he only ever cries when he's alone. it makes sense that he'd want to save himself rather than relying on anybody else.

the dangerous thought process of "fixing" people with the hexcore begins with that desire to save himself. at first he's just trying to stop his illness from killing him, but then he progresses to carving runes into his leg, seemingly in the interest of fixing his limp - which works, albeit temporarily. he seems aware enough of the implications of what he's doing to be somewhat ashamed of it (or, at the very least, enough to hide it from jayce). i've seen a lot of (mostly able bodied) people interpret the scene of him running down the pier as victorious, but it always felt bittersweet and scary to me; the dark, painful fantasy of "fixing" the thing the world has always looked down on you for, and the unsettling knowledge that you were never supposed to exist that way. a man experiencing a moment of joy only when he has detached himself from a core aspect of his being; self hatred disguised as progress. he only seems to register the horror of what he's doing when it kills sky.

it's not a leap to say that, with the hexcore dulling his emotions and blurring the lines of his ethical code, he would turn this externally. self loathing so insidious that he mistakes it for kindness and mercy and points the blade of it at the people he swore he'd help. before merging with the hexcore, he was desperate to destroy it and rid himself of its influence, hindered only by his physical inability to do so; under its control, he's seemingly lost all those inhibitions, wiped clean of his understanding of its danger. no longer "clouded by emotion", no longer human enough to know better, no longer suspicious of the arcane.

what viktor becomes in season 2 is, i believe, a hellish mix of his own internalised ableism and the hexcore's desperation to spread and survive. his genuine desire to help people has been warped into stripping people of their individualism, forcing them into some predetermined ideal in the name of healing (very "the empty child" from doctor who). it's his own character flaws mixed with the inhuman apathy of the hexcore. the road to hell is paved with good intentions, and also dressed up so nicely that you don't even realise you're headed downwards.

this is not what viktor stood for, but rather a perversion of his own insecurities, with a fresh coat of hexcore paint to stop him (or his followers) from scrutinising it too closely. they took the guy who dedicated his life to bettering humanity, and warped him into something doomed to destroy it.

(or something like that. idk. i haven't slept.)

[moonspirit]

Why do people hate Annie? Is it because she’s a complex character, or do they lack understanding? Do you think Annie tried to manipulate Mikasa in episode 83 or 84? If so, what did she hope to gain from it?

Hello again!

I think the bulk of the reason has already been covered by @annawayne in her excellent answer to you here, so I thought I'd just simplify mine and instead elaborate a bit more on the role Annie reprised before she crystallised.

The very thing that made Annie such a formidable shifter was in the fact that she expressed quite a bit of "sadism" (for lack of a better word) in her killing of the Vet Scouts - and that pissed off a lot of people. Zeke wasn't a known character at the time (and who, by all means, was far worse, with even the intent to show for it) so there was no measure for comparison. But it's easy for a first time watcher to go through this scene and think Annie enjoyed that, when in fact, she very much didn't, and was just playing her role of being a dangerous enemy.

She was taught to be this.

I honestly think that the effect of Annie's upbringing that translates into why she is the way she is, is missed by many people. All of the warriors had terrible childhoods with shitty parents, but Annie's father is a special case. I'll deal with that in another post, but it's very important to keep in mind that no child is "like that" just because. Annie's father made her into the kind of person she believes herself to be in large part. She has not known love. She has not known what it means to be held gently. She has not known genuine connection. She has not known compassion. In her time in Paradis she experiences many of these for the first time, including the chance to express these to other people, but it is not enough to undo the years of abuse she went through as a child.

Like Anna said, she is a child soldier sent to war as a tool just like Reiner and Bertholdt, but unlike Reiner, who had substantial screentime to reveal his past, and unlike Bertholdt who was rather meek and more a "follower" than a leader, Annie disappeared for a long time, and even when she came back, her cold pragmatism didn't really serve to help public perception swing to her favour.

But her cold pragmatism has a reason to exist - and that, imo, is because of why she is the way she is.

She's a genuinely amazing character, and her motivation to live is also very simple, i.e return to her father, which is, honestly, far far more realistic than something grand and larger than life, for example. Is it selfish? Yes. But can we relate to it? Also yes.

Coming to Mikasa, do you mean the scene around the fire in Night of the End? I don't believe Annie was manipulating Mikasa there. Mikasa is an emotional person, far more prone to being reckless than Annie for example; if either Armin or Eren is at risk, we've seen her lose her marbles. Annie isn't like that. Annie prioritizes what's important, distances her feelings and actions from each other, she's more calculating and realistic than Mikasa is. Imo in that scene she was just pushing Mikasa to consider the possibility that negotiations with Eren might fail, considering the Rumbling that he'd already initiated at that point, and on a much larger scale than Armin had believed he'd do.

[cpvnksabm]

Please stop trying to "fix" RTC's disability rep without doing prior research, especially if you are able-bodied.

I'm not just saying this because, on principle, I think it's important to centre & uplift disabled voices in discussions of disability representation. I'm saying it because in practice, I've noticed that when people take the "canon sucked so I'm just going to change it" approach to Ricky's depiction in RTC, they frequently end up erasing the parts of canon's representation that were valuable and important to me, sometimes doing things that are worse than canon.

It's important for a fandom to be able to recognise canon's flaws, especially in its depictions of serious topics. But I often feel that the discussion of criticising RTC's disability rep is dominated by people who haven't done a lot of research or don't understand the issue.

I've found that most of the things I actually consider objective flaws in RTC's disability representation are incredibly underdiscussed. Instead, criticism tends to focus on a few specific points, most of which are things I don't agree with or things that are just objectively wrong. For example - it was not ableist to remove the scene where Ricky concedes the competition. At all. I could even argue that this was a positive change, but it gets lumped in with the more ableist script changes (the 2022 rewrites removing Ricky's disability) simply because both happened after the most popular proshot was released in 2016.

Another criticism I see frequently is the idea that canon should have named Ricky's specific disability and was bad rep for not doing so. I understand the idea behind this and somewhat agree with it, but I also think it's more complicated than most people give it credit for - Ricky specifically has a rare disease, meaning most of RTC's audience would not be familiar with it, and when the musical was written, the intended "official" watching experience was for people to see it live, in a dark room with their phone turned off. While the majority of the fandom (who got into RTC through bootlegs) would benefit from Ricky's condition having a known name that can be easily googled, I think it makes sense for the the writers to avoid using terms the average audience member wouldn't be familiar with, given they wouldn't be able to Google it unless they remembered it after the show.

This wouldn't be an issue, if not for the fact that fans frequently use "canon wasn't clear enough" as an excuse to erase the things that canon was clear about. There is a big difference between a character having some sort of "blank slate mystery disease", leaving it entirely up to the fandom to decide what disability he has, and a character who is explicitly said to have a rare degenerative disease with a clearly shown set of symptoms, without the exact name of the disease being mentioned.

I think part of the issue here is a lack of awareness. Many people don't understand how one disease would cause both Ricky's inability to speak and his need for mobility aids, and so they assume canon must have just chosen these symptoms at random. And since "choosing symptoms at random" isn't exactly a great approach to disability depiction, these fans then try to "fix" canon by coming up with separate plausible explanations for Ricky's symptoms.

But the fact is that Ricky's symptoms were not chosen at random - they are in line with symptoms that are caused by real-world neuromuscular disorders. This is heavily implied to be the type of disability Ricky has (I've made a post explaining why, check it out on my account if you want).

Seeing erasure of Ricky's disability is always upsetting, but it's even more upsetting when it comes from people who think they are "fixing" canon by removing "unrealistic" depictions of disability. A person being unable to talk and a mobility aid user due to neuromuscular disability is not unrealistic. Just because you aren't already aware of how something can exist, doesn't mean it is unrealistic.

And there are other issues too, such as whether the "feed him through a tube" meant anything with regard to ricky actually having a feeding tube or generally how well canon handled ocean's ableism, where I feel like people are too quick to jump to "I don't know why canon did that, must be bad representation, I'll fix it" without fully understanding the issue. And if you try to "fix" canon without understanding where it went wrong, you might just make it worse.

I just think it's time for everyone to step back a bit and remember that it's okay to not know everything. Ricky is a character with an underrepresented disability, and it makes sense that some things about him might not be things you've seen before or things you understand well. It's okay to be confused. It only becomes a problem when people make assumptions and then spread these assumptions without fact-checking.

It's very easy for misinformation to get spread online. One person makes a claim in a post, and other people just believe it without fact-checking, because they don't see why the OP would lie about it. And often OP isn't lying at all, but they may be misunderstanding something. A lot of the time, complex subjects like disability representation can be accidentally stripped of important nuance in a game of telephone, when a discussion aimed at one group of people gets taken out of context. And the 2017/2018 RTC scripts frequently get lumped in with the ableist post-2022 script, purely because they both come after the most popular version (the 2016 proshot bootleg).

So before you try to "fix" RTC's disability representation, I think it's important to take a step back and think about what you think RTC originally did wrong. What makes you think these parts were wrong? If it's simply because you don't understand it, or because other people have called it bad representation but you don't understand why, it's time to do some more research to figure out how to best fix it. Otherwise, you might do something that is also bad representation, or plain erasure - and you might do this in an attempt to "fix" one of the things that RTC actually did a good job of originally.

My asks are always open if you're interested in hearing one disabled person's perspective on how RTC handled a specific topic. Please do not assume you don't need to ask because you already know what my perspective will be, and please don't feel like you're bothering me by sending an ask. I am much less bothered by good-faith questions than by people speaking over me, even unintentionally, or taking it for granted that i'll agree with their views.

I think getting a disabled perspective is incredibly important if you're planning on changing any aspect of ricky's disabilty in fanworks - there is a fine line between genuinely improving on canon's flawed rep, and just erasing canon's rep (including the good parts) and excusing it with "well it was bad representation anyway". Remember, disability erasure isn't only when a disabled character is made completely abled - it is possible to erase an aspect of ricky's disability even if he is still disabled.

This is a little more blunt than my usual posts, but it is very important. Thank you so much for reading.

[fragilefirstchance]

I actually have thoughts about this! I think Ford is a specific type of character.

First of all: Let's talk about fanon!

Something I think that a lot of us forget when we're doing fan analysis is just how caricaturized all blorbos are in canon. This is true of any work of media: the characters aren't real people, they're figments who only exist as we see them on-screen.

Fanon is kind of like those AI image sharpeners that take a blurred photo and make it look like a person's face: yeah, technically that is an accurate way you can interpret the blur, but there are hundreds of faces that would be just as accurate, and not only are they all very different from each other, they don't even agree on the most basic and obvious traits. The same blurry headshot could be a scowling white woman with a square jaw or a smiling black man with sharp features. In a similar way, when we see a character become stressed because they just saw a mouse in a cage, we could say they're scared of mice, or morally opposed to pets, or that they have cage-based trauma - any option that works is plausible.

I think that there are characters who are good characters, characters who are uniquely good subjects for fanon, and a ven diagram between the two. For example, a lot of kids' shows from the nineties are bad, but they managed to produce a really fun and rich fandom. Meanwhile, some really beautiful and culturally important stories don't leave a lot of room for fan works because they've already said what they need to say. I think the absolute best works for fandom are the ones that are objectively good stories, but have really simplified characters: Undertale might be the best example of this, because every single character suggests a rich and beautiful personality while only being on screen for a relatively short time.

So that leads me to part two: Ford!

I think Ford fills a particular fandom niche that was empty for a lot of us.

He's extremely traumatized, and the more we learn about him, the more traumatized he is. He's kind of pushing the limits of what's acceptable from a kids' show, to be honest.

He canonically has a lot of difficulty making friends; this is partly because he's quirky and seemingly neurodivergent, but partly because he has poor social skills. He's not a cartoony, Eeyore-style "has trouble making friends but we love him anyway" character, either; there are tangible, in-story examples of him failing to make friends.

He behaves badly sometimes. This is actually my favorite trait of his - anyone who reads my fanfiction knows how much I love giving people with real flaws a chance to find love and be treated with respect. Most characters have a flaw to overcome, but in his worst moments, Ford actually lashes out and hurts others in a tangible way and not just a child-friendly way. Showrunners don't always like to show that sort of thing.

It is very, very easy to read some severe mental health symptoms into his behavior. Bill is a literal character, but he's also a pretty good metaphor: you can use him to explain hallucinations, dissociative fugues, sudden mood swings, manic episodes, severe depression, paranoia - the list goes on and on.

(That last one is really important. There's a pretty damn big difference between a good metaphor for mental illness and a thoughtful portrayal of that mental illness in a story. It's kind of like how many of us were so starved for queer representation growing up that we read queer metaphors into everything. Well, there still isn't good mental illness representation in most media, so we'll take the metaphors we can get. Ford is a really good metaphor even as he's presented, and there are a lot of holes in his narrative where personality disorder symptoms, manic episodes, delusions, etc. can slot in easily.)

None of those traits make a good Disney character. They only really work because he spends so little time on-screen; the books were only possible because of Gravity Falls's massive commercial success. So, he's a very rare example of a character who's from a light-hearted, positive, optimistic show aimed at children, but who has all of the template features necessary for us to read him as deeply broken in some ways that aren't sanitized or socially acceptable.

So, there are dozens and dozens of Ford AUs in which we project very specific experiences, traumas, and symptom sets into this one man.

How many Ford AUs out there are reflections of our own insecurities, traumas, and just general unresolved issues? Is that, like, his whole purpose in the wider multiverse of alternate Gravity Falls characters? 'Cause I KNOW it isn't just me

[ronanlynchbf]

tshirt that says NO LIVE ORGANISM CAN CONTINUE FOR LONG TO EXIST SANELY UNDER CONDITIONS OF ABSOLUTE REALITY

[tiffanybluesclues]

Every week someone makes a post about how annoying it is that Dick Grayson fans don't acknowledge his flaws, and every week someone replies with an explanation that the flaws OP listed are entirely fanon and inconsistent with canon as it actually happened and at this point I have to assume that none of those explanations are ever going to stick because clearly some people just want the fanon to be true.

Anyway, I'm just putting this here for me to edit and add relevant-to-the-topic links later so I'll have them nicely at hand to read and sooth my frustrations when it gets real bad out there. (Echo chambers are good when we use them to drown out character mischaracterizing fanon.)

[teeny-tiny-revenge]

*puts on Weird Random Interests hat* So, etymologically the "ruth" in "ruthless" comes from the same root as modern "rue" (of "you'll rue this day" fame). "Rue" by itself means and meant everything from remorse/regret over sympathy/compassion to grief, so someone who is ruthless has no regrets, feels no remorse, lacks sympathy and compassion and doesn't grieve his past actions. For the course of most of the show, the character this is most true for is Izzy.

Izzy is the character who shows zero remorse and compassion faced with things like killing Stede, selling everyone out to the British, having Stede shot in front of Ed for Ed's own good, etc. Even later, after he turns nicer, we never really see Izzy grapple with any remorse over his actions. The closest we get is the deathbed admission that he Blackbeard was bad for Ed but that he kept pushing Ed into this role because Izzy needed Blackbeard.

Ed's feelings of guilt over various past actions are intensely addressed, Ed is full of remorse and guilt, and also Stede definitely regrets his "ruthless" actions.

Ruthless is just a bad word to describe either of them IMO. I stand by Izzy being ruthless, especially in season one. One could argue Zheng to be ruthless, what with the "join me or die" situations (although we don't learn enough about her motivations and feelings to be really sure). Ed isn't ruthless, but rather he is calculated in his usage of violence. He doesn't lack understanding or empathy for what happens to other people. Stede just has, like, a short fuse (and a completely out of whack moral compass). Some of Stede's violence is vengeance, after a lifetime of being bullied and being the victim he's not going to take this anymore and if you hurt him or his people he will make you regret it. (He named his ship The Revenge!) Stede is done rolling over and turning the other cheek. Stede is, after a lifetime of being stepped on, finally letting himself be angry and act in this anger. (Which is not necessarily a fault, anger exists to protect us, it's, evolutionarily, the fight back and survive emotion.)

Ed on the other hand doesn't even act in anger. Ed is super hard to even make angry, and even then he usually takes a moment or two of deciding his actions before he reacts. Ed takes a step back, evaluates the situation after the initial anger has already passed and then decides what he has to do, considering exactly what he needs the other person's reaction to be. And when his calculated decision is something that hurts the other person, he regrets it and feels bad about it even if the other person had it coming. (His dad for example really had it coming, but the guilt over little Ed's calculated decision of "it's either you or me/us" sticks with Ed all his life.)

See, y'know, I don't think "ruthless" is really an appropriate word to describe Ed. I mean, yeah, there's the pirate of it all, but OFMD doesn't operate with irl standards towards this stuff. If anything, Ed's got the opposite of ruthlessness going on (he is full of ruths?). There are certainly times when you could make the argument he's behaving cruelly, but that's not his base state and it's always informed by extreme emotional turmoil where he's feeling forced to behave that way. If anything, Ed is extremely prone to just rolling over, not getting his way, and letting people treat him like shit.

Stede, though. STEDE. I adore my guy Stede, but he's where I think we run into some real potential for unchecked anger issues and ruthlessness. Stede is the kind of guy who feels like he has a lot to prove, and even when he's perfectly capable of resolving things with his own style, we see him resort to violence purely out of seeking social approval or just because he wants to. We're talking about a guy who easily manipulated a boat full of assholes into setting themselves on fire (not just because Ed was hurt, either, but clearly also because he's getting personal satisfaction out of it). I think killing Ned Low is the perfect example - Stede has already won, and in the real world I'm sure it would be dangerous to let Ned live, but if that was a genuine concern in this world, someone would've mentioned it (not least of all Ed, who is the one to directly say to Stede that he doesn't have to kill Ned). Stede kills Ned not because he has to but because he wants to, because Ned hurt Ed and the crew and (not least of all) because Ned insulted Stede by calling him a pet, someone who can't take care of himself or hold his own as a man.

Basically. We need more fics where Stede is allowed to be angry and violent in response to shit, where Ed gets captured and Stede burns cities to the ground to save him, where they get through the bad shit and Stede's still struggling with feeling like he has to bite people in the throat for being rude to Ed.

[commsroom]

i think there's something to be said about what exactly it means to be "non-human" in a story that is as much about humanity as wolf 359 is, where even the dear listeners are defined less by their own perspective and more by what they fail to understand and therefore reflect about the human perspective - to the point that they don't even have their own voices or faces or identities that aren't either given to them or taken from humans. they speak to humanity as a mirror.

even pryce and cutter are "very much humans" - pryce defined by her resentment of and desire to transcend its limitations, and cutter by his aspirations to redefine and create a "better" type of human - and find the idea that they might not be human laughable. it's interesting that they have distinctly transhumanist aspirations when their goal is the narrative opposite of common science fiction fears: that we will expand the definition of humanity so much that we'll lose whatever it is that makes us human. pryce and cutter's transhumanism narrows the definition of humanity to the worthy and the useful, as defined by them; "there will still be a humanity; it'll just be our humanity."

in direct opposition to that, i think it's meaningful that the show instead expands the definition of humanity in ways that include lovelace and hera, who in another show with different themes might be considered (in the descriptive, non-moralistic sense) non-human. i will always make a point of saying that personhood and humanity are two often-related but meaningfully distinct concepts, especially when talking about sci-fi and fantasy. i am talking about humanity.

the question of how hera identifies, and what social pressures influence that, is a complicated one. i've talked about it before and i will talk about again. what's important for the purposes of this post is that i think the show considers her fundamentally human. think about her role in shut up and listen - consider jacobi's lion example and the concept of different paradigms - that even things that are close to humans, comparatively speaking, understand the world in different ways. whatever differences hera may have from the others, it's primarily in experience, not fundamental understanding. she shares their emotions, their concerns, their values, their thought patterns. she has an appreciation for music, which the show considers a hallmark of humanity. she fits within the framework of humanity as the show defines and is, in her own words, left feeling "uneasy" about how difficult it might be to communicate with beings who don't. and it's significant that this takes place in shut up and listen, of all episodes, specifically because the way she is clearly and unambiguously included in the show's understanding of what it means to be human highlights the ways she and lovelace are othered by eiffel's careless comments that suggest otherwise.

(i don't want to get too into these details for this particular post, but it's worth noting that hera will refer to 'humans' as a category, often when she is upset and feeling isolated, but has never said that she 'isn't human' - she has never been upset that people are treating her 'too' human. i've seen it said about the line "you need to get it through your heads that what goes for you doesn't always go for me", but that's a frustration related to ability and safety, not identity. far more often, she will refer to herself in 'human' terms - referring idiomatically to experiences or body parts etc. that she doesn't literally have - and is upset primarily with comments referring to her status as an AI. it does not diminish how being an AI influences her perspective and experience, but again, so much of that is in terms of ability that it feels almost inseparable from a discussion about disability.)

lovelace's humanity and hera's humanity are so interlinked and directly paralleled in the text that i think it's impossible to really argue one of them is "not" human without making implications about the other. in desperate measures, lovelace tells kepler he's "not human" and he responds "you're hilarious. on a multitude of levels." later, defending lovelace against kepler's repeated dehumanization, hera very pointedly uses the phrase "that woman." in out of the loop, hera says she's never met anyone who "worked so hard at being inhuman" as jacobi, who says "what do you know about being human?" hera very emphatically responds, "i know plenty." later, defending hera against jacobi's repeated dehumanization, minkowski pointedly uses the phrase "that woman." with the care taken towards language and the way scenes and turns of phrase will parallel each other, that's not a coincidence. it might seem strange to have the "non-human" characters be the ones to express criticisms based on perceived "humanity" (something hera will do in other contexts as well - "we don't have funerals for animals" etc.) but in the broader context of the show, i think it's the point.

so, whether hera would ever call herself human, or be comfortable with that, is a complicated question for another time and depends on a lot of other factors. but wolf 359 is a show about humanity, it includes her within its definition of what it means to be human, and i wouldn't be comfortable definitively saying she's not human because of that. it can't be a neutral statement within the particular context of this show.

[sysig]

The brainworms are winning, clearly (Patreon)

[camellia-salazar]

HOLY CAT, THIS IS AWESOME!! 😆🌟✨️

Craft Foam Fanart

These aren't my OC's they Belong to @camellia-salazar.

They are Ed Edd and Eddy as Warrior Cats. Their Warrior names are Mudpelt(Ed), Beetleshine(Edd), and Stoneheart(Eddy). I saw their designs and really liked them. And I wanted to get some practice in on following references in case I want to do commissions in the future.

Thought I did off center Ed's pupal a little more then I was intending. I also interrupted Ed as having two bigger fang in the front of his upper jaw (kind of like how Moonkitti draws Tigerheart-star). Due to their colors they didn't have a craft foam color for most their coat colors. So I had to paint the foam more then I usually do. But I think they turned out good.

[peak-dumbass]

The statements “Larry Butz is much more interesting and important than fans give him credit for, especially at the end of AA1 as Phoenix and Miles’ childhood best friend & with his witness testimony saving Miles from a guilty verdict as well as at the end of AA3 where he is shown genuinely trying to improve himself as a person as Laurice Deauxnim” and “Larry Butz is hard for most people to stand because of his consistent weird moments in AA3 which, along with his constant failing-to-get-with-woman jokes throughout both games, can get annoying and borderline intolerable for some people” are not mutually exclusive.

I really am interested in Larry as a character but god it’s impossible for me to see him as anything other than comedic-relief-that-isn’t-comedic-nor-relieving, I really don’t feel bad when Phoenix is slightly rude towards him cuz I would act the same, if not worse