#just enjoy the experience in fiction

[eddiemunson-reader-shame]

Good morning Hawkins this is your daily reminder from a fellow plus size person that if you are plus size, Eddie Munson would still date the hell out of you and marry you. And since he’s fictional it’s 100% acceptable to write him as being able to lift you up because in my head he can do whatever the hell he wants and I’m not denying myself the pleasure of having the princess carry experience just because I am fat irl.

Self care is allowing yourself to have good experiences in fiction and not worrying about bullshit semantics.

[irisfixation]

it is generally understood within the adventuring community that some sort of contract should be preemptively made in order to protect oneself from an untimely death.

[original hypnosis fic, second-person narration from perspective of the subject. gender-neutral, little to no sexual content. please read accordingly, and enjoy.]

now, the act of seeking out such a contract, let alone the fact of its normalization, would have been taboo a few decades past. "we don't negotiate with pact-entities", the old elders crow; anti-demon and anti-fae rhetoric was accepted as the norm.

it only took looking at the rate of mortality, the expenditures of the local church, and getting over themselves to at last shake up the in-culture of heroics.

of course, that didn't mean they weren't diligent with their new protocols; information on prospective patrons was inscribed down in ledgers half phone book and half grimoire, noting the terms of agreement, the trustworthiness of pact-entity after pact-entity, any bargain a little too faustian struck through in red.

you'd watch your peers peer through the book, discussing the pros and cons of each. was an unlucky fate too much to pay? were compulsions too obstructive, did the bodily changes contrast too much with one's self-identity?

of course, they all ended up choosing sooner or another. better that than dying young and alone.

it was under this sort of necessity that you went to the house.

-------

it was closer to home than you expected, really - you anticipated some kind of ominous manor on the cliffs, or secluded cabin by the forest's edge, so the three minute walk from the town square came as a welcome surprise. its residence looked the same as any other lodging - you'd no doubt walked past it on your regular commutes countless times without batting an eye.

you knocked, and the door fell open, as if it had been awaiting your arrival; afternoon sunlight bouncing off the gossamer-thin threads adorning the hallway.

make yourself at home, she says. i'll be upstairs when you're ready to talk. you nod and ask if there's any consequences for eating any food or drink. i promise you this; all food i've set out here is yours to eat and drink without consequence comes the reply; perhaps a little verbose from anyone else, but necessary caveats for a pact-entity's trust. you oblige.

with throat wet and stomach sated, you ascend the stairs. the bedroom is small, humble even; you've seen more expensive homes by far from some of your more show-off rivals. more fit for a pauper than the-

"than Her Lady of Marionettes?"

yeah.

"i never cared all too much for the trappings of nobility. i'm satisfied simply living in peace here."

then why the contracts?

"it's mutually beneficial, no? i quench my thirst for control for a time, and you don't meet any horrible, lonely fates. it's no different from any other line of work."

more reasonable than any would-be evil queen you've ever met, let alone one considered an enemy to the hero's guild not so long ago.

"please. i never cared all too much for that arrangement."

she rolls in her bed to face you. despite her role, she looks little different from your sister or partner; eyes still closed, hands still set upon her crosses.

-------

you discuss business. she will string you up, she says; and then, if she were to find yourself in an otherwise fatal scenario, she will pull your body back, mend you, even clear your mind from any hostile entities trying to take it over.

what do each of you get out of this?

"i get to observe the world through your eyes. i get the joy of commanding a body beyond my own. you cede a small, negotiated amount of control, and in return you are freed from tragedy's grasp forevermore."

it sounded like a hell of a better deal than half of the faustian bargains you saw other contract-entities propose.

"if you'd like, we can provide a demonstration here and now. no permanent alterations, and you can back out any time you wish. is that amenable?"

it does indeed sound amenable.

-------

you're sitting by her side on the bed. she's set her crosses down in place of a needle she holds deftly between thumb and forefinger, pinched together like a bee ready to sting. "hold your left arm out, please? we'll begin now."

you do so, and she passes the needle through skin. you feel it travel up across the veins in your wrist, her other hand steadying you in place with the tenderness of lily-petals. your elbow twitches as it passes through; the nerves firing once in shock, but no more. up through bicep, then shoulder; and then out, a release in pressure from within as the needle finally leaves your insides, leaving a trail of silken fibres behind it.

she plucks the taut string left in its wake, and your arm twitches with it, pulled from within. "see? no pain at all."

next is the right arm, then the legs. she flutters around you like a sprite alighting upon forest blossoms, soft fingers and steel-precise nails moving you, adjusting your wrist or shoulders or rotation with studious diligence. the intimacy of being studied and guided like this is almost palpable.

"...and, done." she declares, finishing a line of thread across the shoulders and through the nape of the neck. "well, how is it? comfortable, right?"

"yes, miss", you are made to say; and then, immediately, recall the strings through your upper and lower lip alike, a third running through the seam in your tongue. right. you move your eyes to meet hers; she's smiling brightly, but it's more the naive smile of a child than the former evil queen's smirk you expected. the effect is equal amounts unsettling and genuinely cute.

"well, let's begin." she picks up her crosses again, and with one subtle rotation of a hand's balance, she guides you.

it's easy to follow through. your right arm raises with a poise and natural nature that shocks you, outstretched to one side. she returns her hand to neutral, and your arm falls back once again, more sudden and limp than you were expecting.

("excellent", she says.)

with that first test done, she guides you down the stairs. your eyes are still your own, so some reflexive part of you fidgets as your body glides down each flight of steps; you have no control over if you fall or not. she could throw you down the stairs now, and you'd be helpless; passenger in your own tumbling body.

but she doesn't. your hand remains firmly upon the balustrade, and your every footstep is delivered with care. by the time you reach the landing, your heart may be pounding, but you're just glad to have made it through.

("well done," crows her voice.)

the near-invisible threads all throughout your body continue to urge you forward - sometimes single strings tugging suddenly, but other times shifting in a steady unison, almost imperceptible from your body's natural movements save that no thought of your own guides it. you're in the kitchen, before too long - a rack of dried dishes shows that she, too, has been here recently. your fingers and palm grasp onto each bowl and glass, one by one, filing them away in procedure through the unfamiliar house.

with your body outside of your control, you'd think your mind would wander to idle thoughts; to the birdsong from beyond the window, perhaps, or to thoughts of how your companions are faring in their own attempts to find their own contracts. but all thoughts seem to be silenced by each consequent string's plucking, a resonance within yourself that numbs your brain under its force.

before you know it, the rack of dishes is clear, and you are ascending the stairs again. it's less scary going up, and she knows it; she takes each step faster now, with a fluidity of movement that your legs accept graciously. there is no joint pain, no hesitation - each step is placed with pinpoint precision, each movement following the next.

a puppet's dance, you think; then dismiss the idea just as quickly. you're just here to obtain insurance from danger, not to humor thoughts like that.

she's lying back down on the bed when you arrive - exposing her back to you, vulnerable. but her hands are still outstretched, each one holding those crosses linked to the many strings pulled taut across, within, and around you. "welcome back", she tells you. "i trust it wasn't too uncomfortable?"

"no," you say, "it was fine."

"i'm glad to hear it!" she says, turning to smile at you. "and you took to it so well, too! good doll."

there's something about meeting her eyes as she says those last two words that feels different from everything prior. something deeper, like the strings are mycelial network growing their own nerves to entangle around yours, setting them alight in a microcosm dance, your whole body twitching just subtly as you are affixed within her gaze, burning up from the inside out-

"oh, my apologies. old habits die hard it would seem."

she doesn't gesture you to sit next to her, but your body does so, so you can assume it was her will all the same. she turns to you and explains that the demonstration has concluded; that the act of forming a pact with her is something you can now think of on your own, that you can return to her any time you need and in fact she'll completely understand if she never sees you again. she snips off the strings, one by one, with a pair of ornate scissors - the ones within will dissolve organically, she notes, metabolized by your own body. nothing to worry about.

you're not worrying. you're not thinking much at all, in the aftermath of everything that's happened. but she is patient, and you have all the time you need to recover.

-------

she walks you to the door and waves you out with a flourish. you're reminded of how mundane the house is, and now you can see that same mundanity in the Lady's face; no different from any number of passers-by through the town square.

"safe travels~!" she says, and you walk out the door; your steps faltering just a little as you once more acclimate to control over your own body.

well, for a contract patron, that wasn't so bad. and she seems well-meaning enough. maybe you'll go back there sometime again, you think to yourself, and shrug as you make your way home.

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[leoreadss]

Hi lovely humans!

As it is too quiet around here and I do not like it even if I absolutely get it, I thought of sharing some GO GIFs and asking you

What are you currently reading?

drop the title in the comment and let's talk about books!

no fic titles cause we already know that each one of us is currently reading at least three to four titles lol

EDITED WHILE WRITING THE POST: as always my brain likes to wonder and I'm nobody to tell them not to so I present to you the GIF-fiction. Enjoy!

Title: I forgot all the books - A GIFs minisode

Characters: Aziraphale, Crowley, All the books

Where: Somewhere in my head

*Crowley* 'Angel! Where do you want me to put the books?'

*Aziraphale thoughts* 'Exactly. Oh darling, I want you.. to carry me as you're carrying my books, would you?'

*Crowley reading Aziraphale's thoughts since The Beginning* 'You what?'

*Aziraphale* 'But you understood me! Let's go!'

*Crowley* 'Like that?'

*Aziraphale* 'Quite right. Now give me a kiss..'

*Crowley* 'I thought you'd never ask'

*they proceed to kiss while the entire fandom faints on the floor*

*Aziraphele* 'Very nice!'

*Crowley* 'What are you in the mood for now, Angel?'

*Aziraphale* Follow me. 'I'll show you.'

[sunshine-and-her-ikevil-stuff]

*reads ch 1 TL after reading EN*

"They’re right! They did tone down the dubcon!

"I feel cheated."

[altschmerzes]

every time a post/poll goes around about being aspec and fandom shipping enjoyment/engagement/whatever im like. NOW can we stop acting like being an aromantic person who enjoys shipping is some kind of Weird Outlier Situation? can we stop acting like this is an Unpopular Opinion or even Persecuted Outcast Take rather than idk, the default standard, just like everywhere else? idk romance repulsed aromantics Yes Including Fiction aren’t the default or even a significant majority and it really drives me nuts when people act like aros who enjoy shipping are somehow Not exactly that.

[kryptonbabe]

It's funny how fiction has this power to transport you to moments of your own life and make you feel like you completely get what the characters are going through, even though their circumstances are so (sometimes literally) alien

This scene of Amok Time took me back to my early teens when my parents used to send me on church summer camps and holiday events to make my queer punk ass behave, I was very rebellious as a kid. At the same time I was very shy and it was hard making friends with people with whom I had so little in common in those places... until in one of these summer camps I met this boy, he was a drummer at the church, and this was way before his transition, so he was afab and treated like a girl by everyone, although very androgynous looking

I knew I was attracted to boys already and was not bothered by it, but it was a surprise to feel myself drawn to a person who "presented as female" (which I think he had to). He would not say he was a boy and I don't even know if thought about it in these terms, it's been a while. I just know we used to talk for hours, however the camp had strict rules about "boys and girls" proximity and would forbid longer conversations or touches so we would talk with our hands behind us and with a huge space between us, other teens used to mock us because we would basically exaggerate the rules and be even more restrict, I don't think we ever touch, but we were always together and constantly yapping, obviously attracted to each other and obviously queer

I always hated most, if not all, of those compulsory christian days in summer camps, but I'll always remember fondly of this drummer boy and our confusing attraction for each other and our restrained behavior together. It's funny because for most people we would look like a "straight couple", but we knew it was more complicated than that so we would look exactly like Kirk and Spock in that scene above. When we're going through some complex emotional stuff our body will behave like that

Scene from Star Trek TOS S2E1 Amok Time (1967)

[aprilblossomgirl]

# mood 1 + mood 2 (basically)

[emeryleewho]

I actually find it really sad that people's response to missing some allusion in fiction is to say the story did a bad job of explaining it rather than to think "maybe I should read closer next time" or "maybe the target audience for this piece has some context that I don't and it's worth my time to gain some of that context before reading more stories like these". And I mean sad, not in a condescending way, but in an "it genuinely hurts my heart and I wish I could help" way.

[joblessquinoa]

Stories are so fun when you don't have a lil bitch voice whispering in your ear that something is problematic

[gothteddiesdotcom]

I think that part of what like. kills me about the whole media literacy and critical thinking aspect of enjoying media these days is that people refuse to like. contextualize that

A. Bad media can still hold significant meaning to people

B. Media made for a demographic you aren’t apart of is not inherently bad media

C. Media made for and consumed by the opposite demographic is not inherently shallow or flawed nor is it above criticism for its media tropes either.

[anarchne]

i wish i could remove the word “adopt” from kept peoples’ vernacular lol

[bylertruther]

some of you never grew up in a small conservative town as a (gay) nerd that was bullied, harassed, and excluded for years on end for not fitting in and for visibly and enthusiastically liking geek things—geek things that then branded you a satanist in everyone's eyes and as something Other, Lesser, and Undoubtedly Unworthy of Basic Human Decency even though you were literally just an actual child with harmless interests and not a satanist or an evil disgusting subhuman thing, and it shows.

you cannot apply modern views and beliefs to a show that is set in the eighties, especially not when it's set in conservative midwest eighties which is a whole other beast. being a socially awkward and nonconforming geek is something that people STILL get bullied for if you don't do it in a way that the majority deems "acceptable", especially if you live in a conservative, religious area.

your experiences are not universal and your inability to relate to a certain motif or story does not make it "lesser" or "bad writing."

[homerjacksons]

Why do you only write romance and ship fics if you’re aroace

Bc being aroace doesn’t stop me being a sappy little romantic fool???

[jinxpologist]

the amount of people into bloodweave who are in their late 20s-30s-40s and have said they haven't been in fandom spaces for a long time but have decided to take the plunge again bc of these two makes me so happy. even at 21 i'm really worried about not being able to interact with fandom anymore when i grow a bit older, or worrying that i'm "too old" (crazy, i know) to be involved with this kind of thing anymore. it seriously warms my heart to see people who are fully grown with fulfilling lives still enjoying being silly in fandom.

with the advent of the internet and modern social media, fandom has slowly grown more and more centered around children. and it's not a bad thing that a lot of kids have fandom spaces for themselves! i think spaces for kids are really important, especially with how much fandom can lend itself to 18+ content. but being a fan of something and being told by other kids around you that once you're an adult, it'll be not only cringe but predatory to be a fan, is pretty damaging.

fandom was made by mostly middle-aged women, and every time i see that legacy continued on despite changing demographics i get really happy! no matter how much the actual interest changes, fandom in general has been my home for a long time (like 8 years now), and i'm happy to see evidence that i can be here for a long time yet. i love it here and it's so fun. i'm less afraid of getting older when i see that i can still be the autistic nerd i've always been no matter how many years go by.

[wytchsbrew]

Happy One Year Anniversary to the Thing That Changed My Life.

Writing Starfall has been the single best experience of my entire life. I've had dreams come true doing this, met amazing people who really enjoyed the story, and saw fanart of my ideas for the first time. All this came at a point in my life where I was at the lowest I had ever been, and this single piece of writing, this experience, kept me going, and kept me alive.

This single piece of writing made me realize I am really a writer, the thing I dreamed of being my entire life, and made me believe I can write everything I want, anything I want, made me expand my horizons and no longer fear people reading my work.

Though things have changed in the last year, and the faithful readers have dropped to just a few, I'm still in it for the long haul, Starfall, and I can't wait to see you until the end. I can deeply and very much say Starfall and GLTAS changed my life for the better, and I owe them so much.

If you talk to me about Starfall, if you have stuck in there this long, if you are still a fan, just know, I love you, and I would not be here if it weren't for you guys helping me push through in the beginning. You guys are flat out fucking AMAZING, and I love every single one of you into the depths of my soul, new readers and older readers, those that stuck around, and those that left.

I owe you, and Starfall, everything.