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[prestonmonterey]

whats up guys welcome back to another episode of 'random anecdotes about prestons life'

today we have:

jesus christ i know a heck of a lot of people named nico

thats it idk what to tell you

at least some of them i just remember by their attributes

"the cool nico"

or

"the nico with an identical twin"

or

"the nico ive exclusively spoken to through tumblr asks"

or

"the nico with like 10 other names i feel really bad for forgetting--"

im really normal i think

(fun fact.. not all of them are named after nico di angelo... i think. i...actually dont know...)

[autistichalsin]

In retrospect, four years later, I feel like the Isabel Fall incident was just the biggest ignored cautionary tale modern fandom spaces have ever had. Yes, it wasn't limited to fandom, it was also a professional author/booktok type argument, but it had a lot of crossover.

Stop me if you've heard this one before: a writer, whether fan or pro, publishes a work. If one were to judge a book by its cover, something we are all taught in Kindergarten shouldn't happen but has a way of occurring regardless, one might find that there was something that seemed deeply problematic about this work. Maybe the title or summary alluded to something Wrong happening, or maybe the tags indicated there was problematic kinks or relationships. And that meant the story was Bad. So, a group of people takes to the Twittersphere to inform everyone who will listen why the work, and therefore the author, are Bad. The author, receiving an avalanche of abuse and harassment, deactivates their account, and checks into a mental health facility for monitoring for suicidal ideation. They never return to their writing space, and the harassers get a slap on the wrist (if that- usually they get praise and high-fives all around) and start waiting for their next victim to transgress.

Sounds awful familiar, doesn't it?

Isabel Fall's case, though, was even more extreme for many reasons. See, she made the terrible mistake of using a transphobic meme as the genesis to actually explore issues of gender identity.

More specifically, she used the phrase "I sexually identify as an attack helicopter" to examine how marginalized identities, when they become more accepted, become nothing more than a tool for the military-industrial complex to rebrand itself as a more personable and inclusive atrocity; a chance to pursue praise for bombing brown children while being progressive, because queer people, too, can help blow up brown children now! It also contained an examination of identity and how queerness is intrinsic to a person, etc.

But... well, if harassers ever bothered to read the things they critique, we wouldn't be here, would we? So instead, they called Isabel a transphobic monster for the title alone, even starting a misinformation campaign to claim she was, in fact, a cis male nazi using a fake identity to psyop the queer community.

A few days later, after days of horrific abuse and harassment, Isabel requested that Clarkesworld magazine pull the story. She checked in to a psych ward with suicidal thoughts. That wasn't all, though; the harassment was so bad that she was forced to out herself as trans to defend against the claims.

Only... we know this type of person, the fandom harassers, don't we? You know where this is going. Outing herself did nothing to stop the harassment. No one was willing to read the book, much less examine how her sexuality and gender might have influenced her when writing it.

So some time later, Isabel deleted her social media. She is still alive, but "Isabel Fall" is not- because the harassment was so bad that Isabel detransitioned/closeted herself, too traumatized to continue living her authentic life.

Supposed trans allies were so outraged at a fictional portrayal of transness, written by a trans woman, that they harassed a real life trans woman into detransitioning.

It's heartbreakingly familiar, isn't it? Many of us in fandom communities have been in Isabel's shoes, even if the outcome wasn't so extreme (or in some cases, when it truly was). Most especially, many of us, as marginalized writers speaking from our own experiences in some way, have found that others did not enjoy our framework for examining these things, and hurt us, members of those identities, in defense of "the community" as a nebulous undefined entity.

There's a quote that was posted in a news writeup about the whole saga that was published a year after the fact. The quote is:

The delineation between paranoid and reparative readings originated in 1995, with influential critic Eve Kosofsky Sedgwick. A paranoid reading focuses on what’s wrong or problematic about a work of art. A reparative reading seeks out what might be nourishing or healing in a work of art, even if the work is flawed. Importantly, a reparative reading also tends to consider what might be nourishing or healing in a work of art for someone who isn’t the reader. This kind of nuance gets completely worn away on Twitter, home of paranoid readings. “[You might tweet], ‘Well, they didn’t discuss X, Y, or Z, so that’s bad!’ Or, ‘They didn’t’ — in this case — ‘discuss transness in a way that felt like what I feel about transness, therefore it is bad.’ That flattens everything into this very individual, very hostile way of reading,” Mandelo says. “Part of reparative reading is trying to think about how a story cannot do everything. Nothing can do everything. If you’re reading every text, fiction, or criticism looking for it to tick a bunch of boxes — like if it represents X, Y, and Z appropriately to my definitions of appropriate, and if it’s missing any of those things, it’s not good — you’re not really seeing the close focus that it has on something else.”

A paranoid reading describes perfectly what fandom culture has become in the modern times. It is why "proship", once simply a word for common sense "don't engage with what you don't like, and don't harass people who create it either" philosophies, has become the boogeyman of fandom, a bad and dangerous word. The days of reparative readings, where you would look for things you enjoyed, are all but dead. Fiction is rarely a chance to feel joy; it's an excuse to get angry, to vitriolically attack those different from oneself while surrounded with those who are the same as oneself. It's an excuse to form in-groups and out-groups that must necessarily be in a constant state of conflict, lest it come across like This side is accepting That side's faults. In other words, fandom has become the exact sort of space as the nonfandom spaces it used to seek to define itself against.

It's not about joy. It's not about resonance with plot or characters. It's about hate. It's about finding fault. If they can't find any in the story, they will, rest assured, create it by instigating fan wars- dividing fandom into factions and mercilessly attacking the other.

And that's if they even went so far as to read the work they're critiquing. The ones they don't bother to read, as you saw above, fare even worse. If an AO3 writer tagged an abuser/victim ship, it's bad, it's fetishism, even if the story is about how the victim escapes. If a trans writer uses the title "I Sexually Identify as an Attack Helicopter" to find a framework to dissect rainbow-washing the military-industrial complex, it's unforgivable. It's a cesspool of kneejerk reactions, moralizing discomfort, treating good/evil as dichotomous categories that can never be escaped, and using that complex as an excuse to heap harassment on people who "deserve it." Because once you are Bad, there is no action against you that is too Bad for you to deserve.

Isabel Fall's story follows this so step-by-step that it's like a textbook case study on modern fandom behavior.

Isabel Fall wrote a short story with an inflammatory title, with a genesis in transphobic mockery, in the hopes of turning it into a genuine treatise on the intersection of gender and sexuality and the military-industrial complex. But because audiences are unprepared for the idea of inflammatory rhetoric as a tool to force discomfort to then force deeper introspection... they zeroed in on the discomfort. "I Sexually Identify as an Attack Helicopter"- the title phrase, not the work- made them uncomfortable. We no longer teach people how to handle discomfort; we live in a world of euphemism and glossing over, a world where people can't even type out the words "kill" and rape", instead substituting "unalive" and "grape." We don't deal with uncomfortable feelings anymore; we censor them, we transform them, we sanitize them. When you are unable to process discomfort, when you are never given self-soothing tools, your only possible conclusion is that anything Uncomfortable must be Bad, and the creator must either be censored too, or attacked into conformity so that you never again experience the horrors of being Uncomfortable.

So the masses took to Twitter, outraged. They were Uncomfortable, and that de facto meant that they had been Wronged. Because the content was related to trans identity issues, that became the accusation; it was transphobic, inherently. It couldn't be a critique of bigger and more fluid systems than gender identity alone; it was a slight against trans people. And no amount of explanations would change their minds now, because they had already been aggrieved and made to feel Uncomfortable.

Isabel Fall was now a Bad Person, and we all know what fandom spaces do to Bad People. Bad People, because they are Bad, will always be deserving of suicide bait and namecalling and threatening. Once a person is Bad, there is no way to ever become Good again. Not by refuting the accusations (because the accusations are now self-evident facts; "there is a callout thread against them" is its own tautological proof that wrongdoing has happened regardless of the veracity of the claims in the callout) and not by apologizing and changing, because if you apologize and admit you did the Bad thing, you are still Bad, and no matter what you do in future, you were once Bad and that needs to be brought up every time you are mentioned. If you are bad, you can NEVER be more than what you were at your worst (in their definition) moment. Your are now ontologically evil, and there is no action taken against you that can be immoral.

So Isabel was doomed, naturally. It didn't matter that she outed herself to explain that she personally had lived the experience of a trans woman and could speak with authority on the atrocity of rainbow-washing the military industrial complex as a proaganda tool to capture progressives. None of it mattered. She had written a work with an Uncomfortable phrase for a title, the readers were Uncomfortable, and someone had to pay for it.

And that's the key; pay for it. Punishment. Revenge. It's never about correcting behavior. Restorative justice is not in this group's vocabulary. You will, incidentally, never find one of these folks have a stance against the death penalty; if you did Bad as a verb, you are Bad as an intrinsic, inescapable adjective, and what can you do to incorrigible people but kill them to save the Normal people? This is the same principle, on a smaller scale, that underscores their fandom activities; if a Bad fan writes Bad fiction, they are a Bad person, and their fandom persona needs to die to save Normal fans the pain of feeling Uncomfortable.

And that's what happened to Isabel Fall. The person who wrote the short story is very much alive, but the pseudonym of Isabel Fall, the identity, the lived experiences coming together in concert with imagination to form a speculative work to critique deeply problematic sociopolitical structures? That is dead. Isabel Fall will never write again, even if by some miracle the person who once used the name does. Even if she ever decides to restart her transition, she will be permanently scarred by this experience, and will never again be able to share her experience with us as a way to grow our own empathy and challenge our understanding of the world. In spirit, but not body, fandom spaces murdered Isabel Fall.

And that's... fandom, anymore. That's just what is done, routinely and without question, to Bad people. Good people are Good, so they don't make mistakes, and they never go too far when dealing with Bad people. And Bad people, well, they should have thought before they did something Bad which made them Bad people.

Isabel Fall's harassment happened in early 2020, before quarantine started, but it was in so many ways a final chance for fandom to hit the breaks. A chance for fandom to think collectively about what it wanted to be, who it wanted to be for and how it wanted to do it. And fandom looked at this and said, "more, please." It continues to harass marginalized people, especially fans of color and queen fans, into suffering mental breakdowns. With gusto.

Any ideas of reparative reading is dead. Fandom runs solely on paranoid readings. And so too is restorative justice gone for fandom transgressions, real or imagined. It is now solely about punitive, vigilante justice. It's a concerted campaign to make sure oddballs conform or die (in spirit, but sometimes even physically given how often mentally ill individuals are pushed into committing suicide).

It's a deeply toxic environment and I'm sad to say that Isabel Fall's story was, in retrospect, a sort of event horizon for the fandom. The gravitational pull of these harassment campaigns is entirely too strong now and there is no escaping it. I'm sorry, I hate to say something so bleak, but thinking the last few days about the state of fandom (not just my current one but also others I watch from the outside), I just don't think we can ever go back to peaceful "for joy" engagement, not when so many people are determined to use it as an outlet for lateral aggression against other people.

[nileshpurpleturtle1]

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[satorusugurugurl]

I Think He Knows

Summary: When your novel takes off and becomes a best seller, doors of opportunities open for you. You can work on the series you have dreamed about all your life. And you’re also given the chance to stay in a tiny cottage in Europe for two years to help with inspiration! Your best friend, Geto Suguru, shatters at the news. How could he possibly tell you how he feels when you’re leaving him? His opportunity appears right before him when you confess that your editor thinks a change of scenery will help with your not-so-steamy romance scenes. They’re lacking a particular spice because you’re a virgin. So, Suguru does what any best friend would do. He offers to teach you how things work. Will you cross that line as friends? Or will you both say goodbye?

Pairing: Geto Suguru x FAB!Reader

Word Count: 4,505

Warning: Language, suggestiveness, mentions of sex, mentions of death, depression, insomina

A/N: BestFriend!Suguru series is now our Saturday special!! Let’s goooooo!!! 😈💚

Part Two Part Three Part Four Part Five Part Six Part Seven Part Eight Part Nine Part Ten Part Eleven Part Tweleve

Fifteen years ago, you and your family moved to Tokyo from the countryside due to your father’s job. You were so nervous, walking into your kindergarten class and holding your bag as your homeroom teacher introduced you to your new classmates. Everyone stared at you as you were ushered towards a table with two boys. One stuck his tongue out at you while the other colored with crayons.

“Oooh.” You said in awe, looking at the picture the dark-haired boy was coloring. “That’s pretty! Did you draw that?”

The crayon stopped moving as the dark-haired boy looked up at you for the first time. His dark eyes widened as he looked you over, a rosy flush dusting his cheeks. “I uhm,” his eyes darted back towards the paper, “yeah, I drew it.” You leaned in, your eyes sparkling in awe, as your classmate sucked in a deep breath as you got closer.

“So pretty!”

Swallowing hard, the boy continued coloring. “I-If you want it, you can have it when I’m done.” His voice is so timid that you almost don’t hear it.

“Eh?! Really!?” You smile, revealing a missing tooth. “Thank you—uhm, what’s your name?”

“G-Geto.”

“Thank you, Geto!”

“You’re welcome.”

That day marked the beginning of your friendship with Geto Suguru! You two have been inseparable ever since that day. You were having play dates and attending the same middle school, high school, and college! You even lived in the same apartment complex, just two floors separating you.

Suguru never once gave up on his passion for drawing, trading his crayons and construction paper for oil paint and canvas. You didn’t have an artistic bone in your body. You did, however, have a way with words. You were constantly losing yourself in characters you'd create and worlds you built, and you never thought of sharing them with the world until Suguru pushed you to do so.

You took his advice and submitted your novel to several writing competitions, not expecting anything to come from it. Boy, were you shocked when you won first place and were allowed to publish your novel! The publishing company loved the story, your characters, and the premise of it, so much so that they signed you on for a whole saga.

That was great! Your characters would finally be given the chance to shine. Their stories would be told! There was just one issue that you kept running into while working on the sequel. Your high-end fantasy novel was a romance between the princess of your series and her knight. You ended the first book with a very intimate kiss and confession. The whole purpose was to have readers wanting more, and they wanted more.

Your reader wanted more Ilaus and Oaklynn, more kisses, sweet whispers of nothing, and steamy smut. The readers wanted to see the lovely, innocent princess and her hot knight getting freaky. Which you were all down for! You wanted them to get to that point as much as your readers! You wanted Oaklynn to be face down getting plowed by Ilaus more than anyone else! You had written their story and made them suffer; they deserved to be happy with each other.

So why was writing sex scenes your kryptonite?!

You anxiously watched Nanami Kento, your beta reader and editor, scroll through your phone and read the latest pages you had written. His face was stoic, unreadable as his eyes glimpsed over the screen. Your leg bounced as he put your phone down, his eyes focusing on his mug before he sighed.

“Oh my god, you hate it.” Anxiety settled in your gut. “It’s terrible! I knew it sucked.”

Nanami winced, his eyes not meeting yours, and he brought his mug to his mouth and took a sip. “Why did you call his penis ‘his raging meat stick’? Like it was a slab of salami?” Your friend watched you slam your head gently against the table. “And for her, you called it her fairy cave?” This time, your friend didn't wince; no, the bastard chuckled.

“This isn't funny, Nanami!”

“I know,” he took another sip, “look, it's not bad; I just think if you're going to write a sex scene, you need to refer to the genitals as genitals and not lunch meat and damp mystical caves.”

“L-Like use the word penis?”

“Or cock, dick, not meat stick.”

“Shh!!” you reached over the table, covering his mouth with your hands. “We're out in public!!”

Nanami pulled back away from your hands. “Oh please, we know Gojo and Sukuna. They are more foul than that.” He had a point; the two could make grandmothers cry with their colorful vocabulary.

The first half of your novel was easy to write—lots of action, passionate kisses, and dialogue. The middle had hit you with a brick of writer's block. This was your first time writing anything remotely spicy other than making out with tongue. The scene you were stuck on right now wasn’t even a full-on sex scene! That made it so much worse! They were pleasing each other in a tent with just their hands! It's a simple mutual masturbation scene.

But using a meat stick and a fairy cave would not cut it. And the next couple of chapters were due to your agent in a week. If Nanami pretty much flat-out told you these scenes sucked, there was no way in hell you would be turning this in to your agent.

“Fuck, Nanami, what am I going to do?”

“Scrape it and rewrite it.” Feeling your gaze on his, Nanami breathed out a breathy huff. “Look, it's not terrible, trust me; I know you're capable of more.” Your trusted friend chuckled as you puffed out your cheeks.

“Oh yeah, scrape it; maybe I'll use a hot dog instead of a meat stick this time.” What were you going to do?! There was a week to turn the poorly excused terrible smut you'd written into something that would please Nanami, your agent, and the publisher.

Nanami patted your shoulder as he collected his stuff. “You know, sometimes our own experiences can help.” Great, now you were frustrated and a blushing mess!

“I-I can't do that!”

“Well, then read some erotic novels for inspiration if you have any questions if you don't want to use your personal sexual experiences.”

“That’s not what I me—”

“Look, let's meet on Tuesday for lunch, and you can show me what you have then. I gotta run to class; I’ll see you then.”

With a heavy heart, you watched your friend rush out of the café and return to Campus. Nanami was full of good ideas. Using one's own experiences was a good muse. It was something you would do if you had any experience. The number one reason you had so many issues writing smut seems like this was because you were a complete and total virgin.

That was the sole reason why writing sex scenes was your kryptonite. Because you had zero experience, writing about something you had no experience in was hard. So Nanami’s advice, while appreciated, was utterly useless. You had no experience, and there was no way you were hooking up with some random person to inspire you.

Oh well, you had a lovely long week to try and fix the monstrosity you had created. It wasn't like your agent would call you out of the blue! Yeah, you had a week! A week! It was all good!

A bag slammed on the table as you packed your laptop and notepad. With a squeak and a jump, you turned to see your agent staring down at you—a look of dismay and stress plastered over her face.

“U-Utahime?” Her expression remained the same as she adjusted her baseball hat. “H-Hi, what's up?”

“Meat stick?”

“Fuuuck.” you cried out, throwing your head back.

“I come in to give you good news, and I hear that Nanami is saying you're struggling with the sex scenes?” She sips her coffee anxiously, her foot tapping against the tile floor. “You told me it was a romance? And you can't write sex scenes?!”

You hushed her, standing up and putting your index finger against your lips. “Shut up! Please! I'm working on it; I'm just struggling!” Utahime laughs, crossing her arms over her chest. “I'll fix it! I promise you’ll have a super spicy mutual touching session by next week!” she gives you a skeptical look, one you're pretty sure was on your face as well. “B-But what good news do you have?” Your agent and friend relaxes as she grins.

“You know that cottage that you saw online? The one in Europe that inspired your book?”

“The one that I can't find? Yeah, I know it.”

When you graduated high school, you and Suguru had stopped at a bookstore while shopping for supplies. You were grazing through pictures of European castles when you saw this darling little cottage. It looked similar to the cottage in Sleeping Beauty. It was made of stone in the woods beside a river where a water mill ran.

The cottage was gorgeous; it got your creative juices flowing. You imagined characters living there, and it was honestly the inspiration for your book. You desperately searched for it. Wanting to learn more about the cottage that had inspired your fantasy world, you couldn't find a lick of evidence. You had been under the assumption that it was either destroyed or didn't even exist. So you had given up on finding it two years ago.

“Well, your lovely agent made a few calls and sent out some photos, and she found it.”

“Shut up bitch.” Utahime just smirked, pulling out her phone. “Oh my god, oh god! Are you serious?!” Her phone slid across the table, the screen illuminated by the cottage that inspired your novel. “Ahh! Oh my god!”

“I also got in touch with the owners of the cottage. And when I told them a best-selling novelist was in love with their cottage, which they just so happen to rent out, they offered for you to stay there.”

“Oh my god! Oh my god! Oh my god!”

“Maybe staying here will get your creativity flowing! Help you with the next few novels.”

Your body was vibrating in excitement. “Oh my god, yes! A week here would be great!” A low ‘uhm’ from across from you drew your attention from the phone to your agent. “Or a weekend?” she shook her head.

“They offered it to you for longer than that.”

“Seriously? How long are we talking?”

Utahime’s smile was wide and warm. “You’re gonna need a few bags.”

The second you left the coffee shop with a coffee in one hand and a brown paper bag in the other, you bolted down the street. Your meeting with Utahime went so well! You couldn’t wait to tell Suguru all about it. By the time you reached the apartment complex and his door on the third floor, you were panting.

Glancing at the handle, you luckily didn’t find a tie on it, meaning he didn’t bring home some chick, so it was safe for you to come in if you wanted. He did that for you after you walked in on him eating some bimbo out on the kitchen counter. Knowing it was safe, you unlocked the door with your spare key and headed inside.

The smell of paint was strong, meaning Suguru was in the zone and probably had been for hours. Meaning he hadn’t eaten. He was so lucky to have you as his best friend in the whole world, or the man would have starved.

“Suguru~!” Stepping through the apartment, you followed the sound of alternative music toward the spare room, which he’d turned into his makeshift studio. Stepping inside, you didn't find him, but his easel had a new canvas.

Quickly rushing forward, you stared at it, and your heart sank. Suguru had sketched out an aquarium, the base colors down, and a girl stood in front of the tank. The colors hadn’t been placed on her, but you knew who she was from the ruffled sun dress she wore to the braid that cascaded down her back.

“Riko.” Her name tore at your heart as you reached out to touch the sketch of the girl who had been taken far too soon.

Before you could touch the canvas, a creaking floorboard had you pulling away, rushing far for the easel. Your best friend walked in, a fresh mug of water in his hand, while he scrolled through his phone in the other.

God, how he had changed in the fifteen years you’d been together. His hair was longer, pulled in a bun; his bangs hung in his face. Suguru’s left arm was inked with a dragon; it swirled around the head of it tattooed on his shoulder. His lip was pierced along with the cartridge of his ears, and he was wearing his black gauges. That boy you met in class was now a man who was shirtless and covered in paint.

Suguru finally looked up; seeing you standing there startled him, causing him to spill water on the floor. “Fuckin’ hell!” He yelled, putting the mug down to grab the edge of his tables covered with tubes of paint. “You little fuckin’ shit.” His words held no heat as you placed his food and coffee down.

“Oh please, you’d starve without me. I tried calling you when I came in.”

“I was in the kitchen.”

“No, you weren’t.” You sat on the table inches from where Suguru stood. “I walked through there; you sneaking a girl down the fire escape? Not wanting me to catch you doing something indecent again?”

There was always a playful, teasing tone between the two of you. Especially now that you were older and he was a man whore. His dark eyes narrowed as he grinned, slotting between your legs as he sipped coffee.

His eyes trailed over you. “Why would you be jealous if I was?” You shook your head as he pushed your hair back. “Damn, I was just talking to Satoru.” Suguru rolled his eyes as you whistled. “You would like.” He ruffled the top of your head.

“Nah~ I’ve seen you go down on a girl.” He opened his mouth again. “And no, I’m not jealous; I just don’t wanna see you going at it.”

“Yeah, he said we’re all going out tonight; something about that sushi train place.” He pulled out the sandwich you brought him, taking a bite. “Said we had to celebrate.”

“Oh, we do.” Suguru swallowed the mouthful of food. “Because I got some great news today.”

“Really? Did Nanami like your new pages?” He stepped away, grabbing the mug of clean water as he stepped back in front of the canvas.

“Well, no, but that’s a whole other situation.” The excitement buzzing in your chest could no longer be held in. “Utahime found the cottage!”

Suguru perked up, knowing exactly what you were talking about. “Shut the fuck up, she did, where?!” He’d helped you search for your inspiration for hours; he knew how badly you wanted to go there.

“It’s in a wooded area in England. Super pretty! The owners have read my book and offered to let me stay there!”

“Well, that’s gre—”

“For the next two years!!”

Glass shattered, leaving both you and Suguru in stunned silence. Your best friend was pale, the color leaving his cheeks. His eyes were distant as you looked down, seeing the water spreading over the floorboard, sliding under Suguru’s bare feet.

You were the first to move, not to pick up the glass but to grab Suguru’s face gently. He was as still as a rock; he only got like that when he had flashbacks to that night. Seeing that he was painting Riko must have meant he was stuck in that moment from your second year of high school.

He shut his eyes tight, leaning into your touch, cluing you in. It wasn’t a flashback. He took a deep breath before lifting you, putting you off to the side, away from the glass. Something wasn’t right with Suguru; you knew it from his lingering touch and the lack of light in his eyes.

“What time did you get up?” You asked as you bent down, helping him pick up shards of glass.

“Are you going to leave?”

“I asked you a question first. What time did you get up?”

“Three this morning. Are you leaving?”

Peering up, you found his eyes focused solely on you. “I’m uhm—I’m waiting for Utahime to contact the owners.” He gritted his teeth, his eyes returning to the glass on the floor. “It’s not set in stone yet, Suguru.” You gently nudged his hand with yours; those words had him relaxing a bit, like relief was washing over him. “Why were you up at three?” He stood up, tossing the broken glass in the trash.

“Nightmares.”

“About Riko?”

Riko Amanai was a person Suguru didn’t like talking about. He went to therapy for what happened, but her death left a mark on him that probably would never heal. He had his good months and his bad months. Between the canvas and the nightmares, you knew he was going to have a hard time this month.

You didn’t push him; you hated to pry that part of his life. That didn’t mean you weren’t there for him, though. If he wanted to talk to you, your door was always open. There had been many nights when he would show up and ask to stay in bed with you. Those were the nights when nightmares were too much to handle when he had too much on his mind. Those were the nights you both stayed up, talking about life, your novel, or his work. They were also the nights you both fell asleep in each other‘s arms and got some of the best sleep of your lives.

“Suguru—?”

“I’m going to grab the broom. Just stay here.” Suguru grabs a white sheet and covers his newest canvas up before heading out of his room towards the kitchen.

Great, you just had to go prying into his trauma. What the hell is wrong with you? He would’ve talked about it with you if he wanted to talk about it. It was wrong to dig into what was happening in his mind. You worried so much about him, and sometimes you forgot you had no right to question him.

Despite your prying and prodding questions, Suguru was still warm to you. He wrapped an arm around you and plopped down on the couch with you while he finished eating breakfast and drinking coffee. He showed you some of the paints he wanted to get the next time he dragged you to the art store. Suguru acted like everything was normal when you both knew it wasn’t.

He was masking; he often did when he didn’t want to talk about what was going on in his mind. Or when he didn’t want to worry you. You could easily see through his façade, but you weren’t about to ruin the rest of his day with your questions. You lay there on the couch with him, listening to him talk about his paints and the commissions that he had received.

The mundane conversations lasted until four o’clock. The two of you freshened up before heading downtown to meet your other friends for your not-so-celebratory dinner. Satoru had invited almost everyone you knew. Nanami, Shoko, Sukuna, Haibara, and Yuki cheered when you two entered.

You were pulled towards the bar by Shoko and Yuki, who squealed over how lucky you were to have found your cottage. Suguru snatched a beer from the bucket on the table, chugging it as he sat beside Satoru. The white-haired man hissed out a sigh, his arm wrapping over Suguru’s shoulder as the two watched you closely.

“I can’t believe they offered her to stay there for two years.” Satoru purred out. “Like fuck, it’ll be weird not having her here.”

“Please shut the fuck up.”

Satoru pulled his dark sunglasses off, glaring at his best friend. “Who pissed in your cereal?” He paused, pursing his lips together. “Oh right, the girl you love is leaving you. I have an idea; tell her how you feel!” A handful of gyoza is shoved into Satoru’s mouth.

“I can’t. You know I can’t.” Nanami glanced at the two before him, gulping down his beer. “If I tell her, it’ll be like I’m holding her back. I can’t do that.” As he steals another glance at you, confusion, doubt, and anxiety settle in Suguru’s stomach. “If she wants to go, she can go.”

Thankfully, after his little rant, the conversation drifted from you and focused on school. The whole night, no one brought up the cottage, nor you leaving yet. As you assure them, nothing is set in stone yet, but finding out where your inspiration was was enough to drink to.

The happiness that seemed to radiate off you made Suguru feel bittersweet over the whole situation. He was happy for you. He knew how much finding that cottage. He spent his free time looking into it for you. But he could never find anything. He desperately didn’t want to go either. You were his best friend. You had been for fifteen years, and he was utterly in love with you, but he didn’t want to cross that line.

Now that there was a possibility that you would be leaving, he regretted all the chances he had to cross that line, and he never took it. That’s why he slept with so many girls who shared attributes similar to yours. Some of them had your eyes, others had your hair color, and there were just some of them that looked similar to you. It was a way to cope with being unable to tell you how he felt. But at least he didn’t ruin your friendship.

Between the lack of sleep and the new fear of losing you, Suguru needed something more potent than beer. He shimmed over to the bar, ruffling your hair as he passed you. As he leaned over the bar, waiting for his drink, Nanami squeezed in next to him.

“I think I know why she might be leaving.”

“Huh?” Suguru’s pierced brow lifted in confusion. “Why would there be a reason for her to leave? She’s always wanted to go to that cottage.”

“She offered to stay there to help with her writing. I may have called Utahime and given her a heads up about the pages I read today.” Nanami sipped his drink. “We both agreed that change of scenery might help with her writing.”

“The fuck do you mean?” A twinge of anger flashed over Suguru’s face. “Her writing is the best. There’s nothing for her to work on. She got published, for God's sake.”

Nanami chuckled nervously. “There’s no doubt that she’s a talented writer. While her dialogue and kissing scenes and her world-building are superior to other authors, I’ve read for. Her romance scenes are atrocious.” When Nanami saw the look of bewilderment on Suguru’s face, he nodded. “By romance, I mean sex scenes.”

“Well, she’s never had a boyfriend; I don’t think she’s even kissed someone.” Nanami makes a humming sound of understanding as a revelation overcomes Suguru. “Do you think if her sex scenes get better, she might now want to leave for as long as she said?”

“Maybe. But it’ll take a miracle for her sex scenes to improve.”

A miracle that Suguru was willing to provide. If he could help you, maybe, just maybe, you might consider staying if you’re given a chance to leave. And if he’s lucky, perhaps he would finally find the strength to tell you how he felt. Downing his drink, he rushed back to the table, grabbing your hand.

“Hey, can I talk to you?”

Your eyes glitter, making Suguru’s heart thunder. “Sure!” He drags you through the crowded restaurant, pulling you outside towards the alley. “What’s up?” God, you look so pretty with flushed cheeks.

“Nanami told me about the sex scenes”

“That traitor!” You pout, tilting your head back with a grumble. “Fine, go ahead and make fun of my usage of deli meat for describing genitalia.” The teasing never comes. Instead, Suguru's musky, earthy smell crowds you as he slams his hands on either side of your head. “S-Sugu?”

“I have a proposition.” His voice purrs out, making your heart race spike. “You’re struggling with the sex scenes. That’s why you’re thinking of leaving, right?”

“Y-yeah, and?”

“What if I help you? If your sex scenes get better, do you think you might not need to leave for two years?”

Heat begins to fill the tiny space between your bodies. You feel your exhaled air mingling with the others. Fuck was it the alcohol?

“I-I mean, maybe I wouldn’t need to leave for so long. Maybe just a week.” There’s a gleam in your best friend's eyes. “But how are you going to help me?” His mouth inches closer, and you can feel the heat as he leaves an inch away from your lips.

“I can teach you.”

(TBC)

Forever Tag List:

@darkstarlight82 @pandoness @nealeart @simp-plague @sugurubabe

[mariacallous]

Picture this, if you will: hundreds of grey-haired grannies ganging up to face down a group of neo-Nazi skinheads. Some of the skinheads have beer bottles in their hands. The grannies are armed with nothing more than umbrellas and hand-knitted woolly hats. It sounds like a corny sketch for a TV comedy show. But no. It’s election time in Germany’s eastern Länder (federal regions), and the grannies are out on the streets.

There’s no Granny Party. The movement, called in German Omas gegen Rechts (Grannies against the right), has grown into a national and international force since it was founded in 2017 by an Austrian psychotherapist and evangelical priest, Monika Salzer.

It is widely assumed here that apathy and low voter turnout will result in a far-right victory. But election posters showing a cartoon granny with a rainbow flag carry a simple message: “Granny says – go out and vote!” Apart from the rainbow, a symbol of tolerance, sexual liberation and diversity, there is no instruction on how to vote.

In between elections, the Grannies are busy knitting and babysitting. But they also raise funds, for example by baking and selling cakes, to finance the poster campaign and a set of beer mats that make up a pub quiz.

In Leipzig, my new home town, the Grannies have raised enough money to install three new Stumblestones (Stolpersteine). These are little brass plaques inscribed with the names of people whom the Nazis deported and murdered in the 1930s and 40s. The new plaques commemorate the Wesly family – Hermann, a Jewish publisher of music and books, his wife, Berta, and their daughter, Margot. Berta and Hermann were taken to Auschwitz and murdered in the gas chambers. Margot escaped to England – but the British authorities put her in a concentration camp too, as an enemy alien.

A violin and an accordion were played during the installation of the little plaques where the Weslys’ house once stood. The stonemason’s hammer punctuated the music with a slow beat. Then Granny Gisela read out a short account of how the family was persecuted and how we must never forget. Many spectators were in tears. The memorial is on the doorstep of the new building that now stands on the site – a kindergarten. Its head teacher joined the ceremony and promised to find a way of explaining the story to the kids “without scaring them too much”. I remarked that it was a very special moment. Granny Sylvia put me right.

“Sadly, it’s not so special. This brings the number of Stolpersteine in Leipzig to almost 800. There is one on almost every street,” she said, before inviting us all to join her for coffee and cake.

Later she shared a link to the Stolpersteine app in the Google Play store (also on Apple). It’s true – there are hundreds of Stumblestones. Many are not for Jewish victims, but for brave souls like William Zipperer who tried to stop the Nazis and save their neighbours. He was executed in January 1945 for plotting against the state. 

As a mark of respect, the Grannies regularly go out to polish the small memorials set into the pavements, to light candles and lay flowers.

There is another side to the movement. They are part of the Antifa, Germany’s radical ultra-left. Not quite as radical as Lina Engel, the antifascist activist who is serving jail time in Dresden for plotting physical attacks on neo-Nazi pubs and meetings. Nor have any Grannies been caught setting fire to building sites where executive homes are replacing the old affordable blocks of flats – a typical Antifa action. 

They upload videos to TikTok. And they are taking their campaign out of the city and into villages and suburbs where right wing parties recruit people who feel neglected or “left behind” by the Berlin government.

“Solidarity without borders instead of right wing propaganda,” says the Radical Grannies’ poster, urging supporters to join them in a mass demonstration. These are Grannies who don’t knit. 

[thebindingofpillo]

It’s been a while since I did a proper character introduction so this will be a little all over the place but MAGGY queen of my heart, best girl 2kforever is here!!!! Read all about her under the cut.

As with everyone else in the cast, Magdalene is a Normal Person trying to move through life the best way she can. While she’s aware or the existence of the supernatural, her strategy is to chug along and having a normal life in spite of all this. So who cares if the Angel of Destruction is chilling in her living room? That’s her boyfriend and he’s gonna help her with dinner, don’t be rude.

Her and Isaac are adopted siblings - you can find out about Isaac here - and they both have an artistic drive BUT while Isaac’s passion lies in figurative arts, Maggy is more of a writing type. Personality wise, I envisioned her as a really sweet, passionate girl, but also with an extremely short fuse. Quick to anger! But also very quick to calm down if people don’t respond to her anger - Judas is a master of this trick, while Isaac can get as emotional as her and their fight usually devolve into screaming matches.

This doesn’t mean she’s constantly looking for a fight, in fact she knows how to keep her cool if the situation calls for it. Her emotions only get the best of her if she’s with people she trusts and if the situation is dire enough (like discovering your beloved boyfriend killed the son of God…). She’s also a huge nerd! And a bit feral. Could either ramble for hours about her interests or eat a bell pepper like it's an apple. That's why her boys love her so much. Her and Judas met when they were in middle school and have been inseparable ever since. They bonded over their mutual interest in history and literature, so much so that they ended up pursuing a higher education in their respective fields. But while Judas had no problems getting a masters, Maggy spent years struggling to complete a base three-year degree* and ended up dropping out entirely. In the years she wasn’t studying, she focused on writing and publishing her first book, but that didn’t go so well either. She eventually ended up applying for a job at a kindergarten not too far from her home - where she met Lilith - all the while still trying her hand at writing. She’s currently working on a second book, with the help of Isaac (illustrations) and Judas (research).

*I am using my own experience with Italian university, I don’t know how American colleges work lol sorry. Anyway in Italy university is divided as such

Laurea triennale (three-year degree) - 3 years. This is the basic degree.

Laurea magistrale (masters degree) - 2 years. You can only access this after completing the three-year basic degree.

Dottorato (doctorate) - 3 years. Can only be accessed after completing the 2 year masters degree.

If you wanted to get a doctorate you’d need to go through 8 years of school. Judas has completed 5 years of studying (therefore has a masters degree) and is now taking a sabbatical before working on his doctorate. Magdalene dropped out after a couple of years and never completed the basic three-year degree. Hope this is clear enough!

Anyway, dropping out of school didn’t make Magdalene any less educated. She loves learning! And both her and Judas have amassed a huge library filled with every single book that captured their attention. She’s also very curious and has a knack for teaching herself new things, like calligraphy, cooking, and even lerning new languages. Everything that catches her attention - from mushroom growing, to crystals, to ancient religions - is free game!

Despite all this, dropping out of school and seeing her first book flop did put a damper on her overall mood. While her loved ones reassure her that her worth isn’t defined by her successes or lack of thereof, deep down she feels like a failure. Sure, she has a job, but idling away the rest of her life at a 9 to 5 isn’t really a thing she sees herself doing. At the same time, she’s afraid of putting too much hope into this new book, because another failure might push her to give up writing altogether and make her truly miserable.

As for her religious belief, she’s a born again Christian. She had a slight crisis of faith after highschool - nothing too serious, she just didn’t see the point in going to mass every week and was frustrated that this thing that was supposed to bring her joy felt more like a chore than anything. With her being a rebellious teenager at the time, she did a complete 180 and converted to satanism for a while. Her parents didn’t really support her decision, but they didn’t stop her either, as teenagers are teenagers and they just wanted their girl to be happy (and not hurt anyone or herself in the process).

During this phase of her life she dabbled a little in witchcraft, and her knowledge of tarots and crystals comes from here. She didn’t do much more than that though, as she was still a bit skeptical of the whole magic ordeal.

Eventually she met Azazel, who was nothing short of horrified to see her proudly announcing she was a satanist, since he had direct experience with the guy and could attest he was an asshole. Seeing a real demon from hell scared her half to death but since he was very sweet and knowledgeable, he managed to help her find her faith again and answer all the questions she might have had in the meantime. This does not mean that Magdalene is now the stereotypical Good Christian Girl Trademark. While her faith in God is stronger than ever, she still takes all the rules imposed by the human Church with a grain of salt. She’s not a zealot, but still goes to mass and tries to love her neighbour the best way she can (even when it’s difficult!).

More stuff (rapid fire)

She likes to joke she’s the world’s worst Catholic as she still reads tarots from time to time and stili has her pendulum and crystal collection

While she still has an interest in divination and magic, it’s from a purely cultural perspective now.

Her new book is about… the adventures of Perseus. I am getting meta with my story lol

I had the idea she was able to mend clothes and sew, but I don’t think it fits her too much anymore, so now whenever she needs something done she gives it to Isaac.

[teriri-sayes]

TCF Author Q&A (Quick Summary)

Ridi, one of the Korean publishers of TCF/LCF, released an exclusive Q&A with Yoo Ryeo Han, the author of TCF, as a special feature for the release of the Korean ebook version of TCF.

The ebook has 5 volumes, spanning chapters 1-117 of Part 1. It costs around 12,960 won. The Q&A can only be viewed if you buy the ebooks.

Since the Q&A isn't publicly available for free, I won't post a full translation of it. Just a quick summary of it.

***

Q: How do you write the entire story? A: Set the overall flow, and write the details as I write. Ending has already been decided.

Q: Easiest or most difficult character to create a setting? A: Easiest - none. Most difficult - Choi Han.

Q: Character that changed the most from the initial setting? A: Alberu. Supposed to be an insignificant villain, but changed to someone who talks well with Cale when I came up with the glib tongue trait.

Q: Writer's block solution? A: Just write. Eventually, I become immersed and get ideas.

Q: Most important focus when planning the story? A: The characters. I like them to feel alive.

Q: Cat owner? A: Sadly, I'm not a cat mom.

Q: Writing routines? A: I write in the morning.

Open previous chapter

Play a puzzle game while listening to fave entertainment program

Choose music that suits the mood

Start writing

Q: Stress relievers? A: Before, eating. Now, weight lifting in the gym.

Q: Main characters's MBTI? A: Cale is an "I." I never thought about the others.

Q: Author's MBTI? A: Between INFJ and ISFJ. A relaxed J.

Q: Character you want to be a friend? A: Beacrox - he cooks delicious food Cale - he buys good meat Not CH because I hate strenuous exercise

Q: Modern AU of characters? A:

Raon: Kindergarten student On, Hong: Elementary school students Cale: Workaholic dreaming of a slacker life Choi Han: Fencer Alberu Crossman: Young CEO of the company Cale works in Rosalyn: Youngest professor Lock: High school student Ron: Doctor Beacrox: Chef Eruhaben: Building owner who runs a convenience store in his building and buys snacks for Raon, On, and Hong every day

Q: Character that makes you feel bad and care about because they're in pain? A: Lock. Lock-centric arc soon.

Q: Similarities with Cale? A: Doing nothing while resting and lying down.

Q: Best character line? A: Not a character line, but a sentence - "But it's worth a try." (Teriri: This sentence can be found on the first chapters of both Parts 1 and 2.)

Q: Fave scene? A: Raon Miru naming scene.

Q: Happiest scene? A: Cale coughing blood... When Cale and his friends are eating and resting.

Q: Most difficult to write scene? A: The past of the characters.

Q: How many chapters from start to end? A: No comment because I always get it wrong...

Q: Work environment? A: Write alone with background music. But no public places.

Q: What songs do you listen to? A: Pop songs.

Ed Sheeran – I See Fire

Sia – Alive

Sia – Floating Through Space

Keala Settle – This Is Me

Naomi Scott – Speechless

AKMU – Chantey

Ahn Ye Eun – Sailing

Younha – Oort Cloud

Q: Most important character setting? A: Disposition, way of life, goals, and atmosphere they exude.

Q: Setting that reflects author's preference? A: The Indestructible Shield.

Q: Scene you want to write the most? A: Has not come out yet.

Q: Do you like dumplings? A: I love them to the point my family is amazed that I'm not tired of it.

Q: You like misunderstandings, so are you a misunderstood person? A: No. I'm far from it.

Q: Snacks you eat when writing? A: Lots of water. I eat food during breaks.

***

And that's all. If you want to read the full Q&A and legally support the author, you can buy the ebooks on Ridi. It's only around 10 USD if you convert Korean won. Link here: https://ridibooks.com/books/111048924

However, you can't use Google Translate or screenshot it, so your solution is to have two devices. One has the ebook (either in PC view or in Ridi app), and the other device has the Google Translate app installed so you can use the camera to translate the text... Yeah, that's what happened to me. 🥲

[sopranoentravesti]

Not directly inspired by anything except for *gestures vaguely at the surrounding shitshow* but I do think more people could stand to read this article by Dara Horn about Roald Dahl from 2021.

I’ve included text of the article as well, under the cut. And to head off the whining of those who will perceive this as an attack on their favorite children’s book writer or whatever: read the damn article. This isn’t about “cancelling,” someone for being bigoted (hell, if I boycotted books or plays because the author was virulently antisemitic, there would be precious little to read). It is about understanding a really dark part of human psychology that is at play in conspiratorial thinking— which of course is at the heart of antisemitism— that Roald Dahl capitalized on. Developing a more mature sense of morality, rather than indulging in the bloody politics of blame and vengeance is crucial.

There’s nothing quite like the realization that what you thought was an empowering work of art is actually a 200-page exercise in trolling. It took me more than 30 years to figure out that I’d been trolled by Roald Dahl.

Dahl, who dominated juvenile publishing when I was growing up, revealed himself late in his career to be a vicious antisemite, who thought “powerful American Jewish bankers” ran the US government. He told the New Statesman that “there is a trait in the Jewish character that does provoke animosity, maybe it’s a kind of lack of generosity towards non-Jews. I mean, there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason.” This was in 1983, the year in which Dahl published The Witches, his 13th novel for children.

Apparently, Dahl had been an antisemite his entire life, but it didn’t prevent him from being essentially canonized after his death in 1990, and it didn’t much affect my thoughts about him either. I had adored his books as a child, and I’ve never taken much interest in the now-obligatory grunt work of connecting artists’ personalities (often horrible) with their works (sometimes great). And although Dahl was not only an antisemite but also (and even more damningly these days) a misogynist and a racist, he hasn’t been canceled yet. Who doesn’t love Roald Dahl, or at least his stories?

Hollywood certainly does. The most recent Dahl adaptation, which began streaming on HBO Max this Halloween season, is called Roald Dahl’s The Witches (note the value of the authorial brand), directed and written by Robert Zemeckis, with the help of two younger Hollywood powerhouses, Kenya Barris and Guillermo del Toro. It stars the high wattage Octavia Spencer, perhaps best known for her Oscar-winning role in The Help, and A-lister Anne Hathaway, not to mention the voice of the comedian Chris Rock. In fact, this is the second big-budget version of The Witches, the first having been a 1990 film starring Anjelica Huston.

But The Witches was on my mind long before I’d heard about the new movie. It was one of my favorite books when I was a child, one I read repeatedly and pressed into the hands of friends. I was eager to share it with my own children and hesitated only because, as a child, I’d also found it somewhat terrifying. But when I read it aloud to my eight-year-old son last month, I discovered that it was far more terrifying than I remembered, and for entirely different reasons.

The key to Dahl’s success as a children’s author lay in how he pitted children against adults, making children into a beloved underdog class whose moral victory lay in vanquishing their powerful exploiters. His heroes are blameless boys and girls tortured by diabolically abusive adults, whom they destroy in outrageous revenge sequences of the sort even the most fortunate child occasionally fantasizes about. In James and the Giant Peach, for instance, the orphaned James, enslaved by his villainous aunts, squashes them to death with the titular fruit. In Matilda, a kindergartener uses magic powers to terrorize a school principal who routinely locks children in a nail-studded closet. In Charlie and the Chocolate Factory, the starving Charlie, living in the sort of poverty that would make Oliver Twist qualify as a one-percenter, inherits a fantastical candy factory—but only after a book-length morality play in which wealthy children and their entitled parents are absurdly tortured and maimed. In George’s Marvelous Medicine, a boy forced to care for his heartless grandmother concocts a potion that makes her shrink and disappear.

In short, Dahl is like a modern Charles Dickens, except instead of social justice and spiritual redemption, Dahl’s books offer only revenge. Kids, like all emotionally and morally stunted people, eat this stuff up. Dahl tapped into something primal and hideous in the human psyche: the desire of disenfranchised people to feel righteous precisely by demonizing others. As a kid, I bought this too. The sheer sadism of it went right over my head until I shared these books with my children and saw how I’d been punked. And The Witches was the worst.

The Witches is about a boy who is orphaned in the opening chapter—pity points are always crucial for Dahl—and then adopted by his loving Grandmamma, a kindly old lady who fills him in on a little-known scourge. Witches, she explains, are real. They are demons disguised as women, and their sole purpose is to entrap and destroy innocent children through their diabolical magic. One unfortunate boy, for example, went off with a witch and returned unharmed—but later hardened into a stone statue. After vanishing with a witch, a girl reappeared only in a landscape painting in her family’s home, changing positions whenever the family wasn’t watching and even aging as years passed. (That one haunted me for decades.) Other children are “disappeared” in ways worthy of an Argentine junta. Kids better watch out.

One summer on a beach vacation with Grandmamma, our hero wanders into a hotel conference room occupied by a group calling itself the “Royal Society for the Prevention of Cruelty to Children.” In fact, it is a coven of witches discussing their latest plan, a potion designed to turn children into mice. They discover the boy and immediately mouse-ify him, but now that our talking mouse hero knows where they keep their potions, he and Grandmamma hatch a clever plot to administer them to the witches themselves. Hijinks ensue, evil is vanquished, and although the narrator remains a mouse, he doesn’t mind. He and Grandmamma embark on a crusade to take out the witches of the world, and he never has to go to school again.

The book chimed perfectly with the stories of “stranger danger” that other 1980s children and I were constantly fed in state-mandated school curricula, but it made that threat delightfully preposterous—and manageable since all one had to do was believe that certain adults were actually demons with recognizable tells. It was a highly rewarding fantasy. After all, it was clear to me, as it was to every young reader, that even adults who didn’t molest children in shopping malls were nonetheless conspiring against us, making us do dehumanizing tasks like making beds and taking tests. The book was empowering. With its frisson of secret knowledge, it made us feel righteous and invincible. Unfortunately, revisiting it as an adult revealed that the book was cribbed from the Protocols of the Elders of Zion—and helped me understand, for perhaps the first time, antisemitism’s seductive appeal.

“Witches,” Grandmamma explains, “are not actually women at all . . . They are demons in human shape.” How do you spot one? Well, since they’re demons, they have toeless hooves instead of feet and claws instead of fingers, disguised by fashionable shoes and gloves. You can’t spot those, but you can spot their “larger nose-holes than ordinary people” (the better to smell you with, my dear). But the real tell, of course, is that witches are bald—which is why a witch always wears “a first-class wig,” which she puts “straight on her naked scalp.”

As I read this aloud to my enthralled son, it was hard to miss how much these witches resembled women in, say, Stamford Hill (the London version of Borough Park). It was also hard to miss how much they resembled caricatures from Der Stürmer or a medieval blood libel. Was I overinterpreting?

You be the judge: “Wherever you find people, you find witches,” Grandmamma tells her innocent grandchild. “There is a Secret Society of Witches in every country. . . . An English witch, for example, will know all the other witches in England.” If this was too subtle, Grandmamma clarifies: “Once a year, the witches of each separate country hold their own secret meeting. They all get together in one place to receive a lecture from The Grand High Witch of All the World.” The boy’s question about this fun fact is, at this point, predictable: “Is she rich?”

Grandmamma replies, “She’s rolling. Simply rolling in money. Rumour has it that there is a machine in her headquarters which is exactly like the machine the government uses to print the bank-notes you and I use.” The boy then asks, as any normal child would, “What about foreign money?” You already know the answer: “Those machines can make Chinese money if you want them to.” Here, the boy turns skeptical: “If nobody has ever seen the Grand High Witch, how can you be so sure she exists?” Grandmamma counters, “Nobody has seen the Devil, but we know he exists.” All of this isn’t merely true, we are told, but “the gospel truth” (the italics are Dahl’s). After all, Grandmamma “went to church every morning of the week and she said grace before every meal, and somebody who did that would never tell lies.” As Grandmamma warns her dear boy, “All you can do is cross your heart and pray to heaven.”

Alas, crossing his heart and praying to heaven doesn’t protect our hero from his encounter with the Elders of Witchdom, at which point Dahl drops all pretense. The Grand High Witch, we learn, “had a peculiar way of speaking. There was some sort of a foreign accent there, something harsh and guttural, and she seemed to have trouble pronouncing the letter w. As well as that, she did something funny with the letter r. She would roll it round and round her mouth.” The Grand High Witch, in her Yiddish accent, explains to her secret society how they will lure England’s children by buying high-end sweet shops and poisoning the candy, since “Money is not a prrroblem to us vitches as you know very well. I have brrrought with me six trrrunks stuffed full of Inklish bank-notes, all new and crrrisp” (italics mine).

Few children can resist the lure of witches. My son loved the book so much that he wanted to see the movie. Perhaps you are wondering: is the 2020 Hollywood version, whose creators unsurprisingly included plenty of Jews, antisemitic? The short answer is no, or not exactly, but that’s also the wrong question.

Adapting from a source this hideous was never going to be easy or entirely uncontroversial, and the new film has already been slammed for portraying limb differences as evil (instead of the claws mentioned in the book, the film’s witches are depicted with missing fingers). Despite that tone-deaf choice, it’s clear that the filmmakers were aware of the book’s larger problems. To their credit, they knew they had to fix something, and they went big: instead of contemporary England, Roald Dahl’s The Witches takes place in 1968 Alabama, and the protagonist and his grandmother are Black (Octavia Spencer’s Grandmamma is even a voodoo healer). Unlike the 1990 movie, the witches no longer have big noses and are, in fact, racially diverse. At first, this does seem poised to dilute some of the book’s inherent awfulness: when a Black witch attacked the protagonist in an early scene, I had high hopes for a story where “evil” was depicted solely through Marvel Universe methods of pancake makeup and special effects. But that scene proved to be half-hearted tokenism, since the rest of the film focuses almost entirely on, to use the current term, white-presenting witches—and most tellingly, what really distinguishes witches in this film is that they are rich. As we watch a flashback of the lily-white and fabulously dressed Anne Hathaway as the Grand High Witch attacking an impoverished Black child in a 1920s Alabama shantytown, Grandmamma tells us that “witches always prey on the poor.”

This class warfare idea is utterly absent from Dahl’s book, but it perhaps unintentionally provides a trendy update to his rather old-school racial antisemitism: the idea that a secret society of fantastically wealthy “global elites”—often, but not inevitably, Jews—prey on the poor. This means that bigotry against them, rather than being retrograde, is, in fact, a fresh and righteous way of “punching up.” Instead of just protecting innocent children, this new Grandmamma now also shares her truth to defend the downtrodden, like every righteous nutjob tweeting about the Rothschilds or George Soros. In the book, nothing much happens with the Grand High Witch’s counterfeit cash. But here Grandmamma commandeers it at the film’s triumphant end and hands out hundred-dollar bills to the hotel’s exploited Black employees.

If this sounds tedious, it is. Roald Dahl’s The Witches is wretched less because of the book’s wretched premise than because it is a conventionally lousy children’s movie, full of Hollywood pieties (in the climactic scene, Grandmamma actually lectures the Grand High Witch about the Power of Love), canned stereotypes and recycled animation. That doesn’t mean kids won’t love it, of course. As Hollywood knows well, everyone loves a good conspiracy theory—and that’s the problem.

My kids laughed their way through the movie’s animated mice and cookie-cutter triumphs, enjoying everything that conventional children’s stories do best—reinforce their audience’s expectations, vanquish villains, and make powerless people feel superior. Conspiracy theories make for great stories, but in an era when a nontrivial proportion of the American electorate apparently believes in the QAnon conspiracy theory that a secret cabal of satanic pedophiles preys on American children and the country, I couldn’t help feeling that this film was, at the very least, ill-timed.

It is so easy, after all, to believe in a conspiracy, so self-indulgent, so appealing—and, as I now finally understood, so much fun. Watching this mediocre and unremarkable movie left me shockingly ill at ease, precisely because it was so mediocre and unremarkable. My discomfort was compounded by the knowledge that the eight-year-old me would have loved it too, not knowing any better. Few children do. In the elaborate, magical long game of luring innocents into handing over their hearts, it turns out that the Grand High Witch was actually Roald Dahl.

[sarahlizziewrites]

Writeblr for newbies

So you joined Tumblr to talk about your writing. Maybe you're published and you want to promote your works, or maybe you're wanting a supportive community of fellow writers, or maybe you're just writing for the hell of it and want to show the world your blorbos.

Welcome!!

Being a part of the writing side of Tumblr is a little bit like being in kindergarten and all the kids are talking about their imaginary friends to each other. Except some of the kids have published stories about their imaginary friends in real books you can buy. It's so cool.

I have made some wonderful friends on Writeblr, I've ARC'd and beta'd books for people, and I've gotten a lot of warm fuzzies from sharing my snippets and my characters. It's somewhere between self-promo and group therapy, but it doesn't feel like either. It feels like a wonderful community of writers supporting each other.

The Writeblr lingo can seem a little intense at first so I thought I'd set up a guide. If I've missed anything lmk!

WIP - stands for 'work in progress' (plural: WIPs). Any piece of writing (or poetry, or any kind of art) that isn't completed yet. This might be the first draft of a story, or the nth draft of your novel, or the not-yet-posted chapter of the fanfiction you're writing. WIP is a state of mind: it might be nearly complete, or it might just be an idea with a few hundred words attached to it. Talk about it as much or as little as you want.

WIP intro - a totally optional (and honestly a lot of hard work sometimes lol) post explaining the main themes/background/plot/characters of your WIP. Something you can link people to so they good a good idea of your WIP and what it's about. Similarly, character intro, for individual characters within a WIP, often with art/picrews.

Tag game - the lifeblood of Writeblr! In its most basic form, someone tags you in a game, you play the game, then tag other people you want to play the game. Lots of people do 'open tags', which you can also pick up. These games can range from making picrews of your characters to posting a snippet or multiple snippets. A few common ones at the moment (these change often!) are: Find the Word (the tagger gives you words to find in your WIP, you post a short snippet for each word, then give the people you tag new words to find); Last Line (you post the last line(ish) you wrote, or wrote recently); 9 Lines 9 People (post 9(ish) recent lines, tag 9(ish) people). There are so many more, and new ones being created all the time.

Blorbo - your OC (original character) that lives in your mind rent-free. The one(s) you would commit war crimes for. You know the one I'm talking about. In addition, blorbo trading and sharing is encouraged in the Writeblr community.

Ask game - a post that you reblog, usually containing a list of prompts or questions, that encourages your followers to ask those questions in your ask box. It is friendly to drop an ask from the game to the person you reblogged the post from.

Weekly asks - if you've asked to take part, questions about your writing in your inbox, related to a certain day of the week. There's Worldbuilding Wednesday (WBW), which are questions about worldbuilding, Blorbo Blursday (OC questions), and Storyteller Saturday (STS), questions about writing in general. These questions can be very generic and vague, or can be about specific characters/stories.

Pinned Post - basically, an 'about' page. Talk about yourself, your WIPs, the kinds of things you like, whether you want to be involved in Writeblr games, whether your asks are open. You don't need one, but it can be a handy reference point for your followers.

Taglist - sometimes, Tumblr posts get lost on the dash. If you are interested in a particular WIP, ask the author if you can be put on their taglist, so you can get notified every time they post about it. They will love you for it, seriously!

Overall, on Writeblr, it is always encouraged:

to talk about your stories and characters as much as you like. People might not follow along at first, but they'll get on board!

to reblog others' writing/snippets/promo. We're all relying on each other for our sanity here, and a nice comment in the tags never goes amiss either!

I'm sure I've missed something - feel free to add!

[afra-blueraz]

Oh my god. I am very very happy.

One of my projects is going to become famous. Some time ago someone read a short part of my story and liked it very much and decided to introduce my project to one of the most famous publications in my country. They called me a few moments ago and a big investment is going to be made on my story series.

OMG 😭😭😭 I swear I'm gonna cry. I always dreamed to be a famous author and now my dream is coming true.

OMG OMG OMG.

It feels exactly like when I published my first book. I was 14 years old at that time and I wrote many stories for kindergarten children, which were very well received.

But this project is very valuable for me because I have been working on this for more than three years. It really has a bigger feel than my first book 🥺❤️. I really can't describe it in words. I'm very happy 😭😭🥺🥺.

[yellowbirdpublication]

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[queen-mabs-revenge]

Why Peter Parker Was Not 15 When He Was Bit: A Treatise

This was originally a twitter thread but in an effort to save the one thing I actually care about having posted there from whatever the fuck is going on, here we go!

While early on there aren't any outright 100% indisputable references to Peter's age (i.e. himself or Aunt May just saying it outright on the page), from the very beginning of publishing, there have been enough references that give a firm grounding to Peter being a senior in high school throughout the first 28 issues of Amazing Spider-Man.

ASM 8 (Jan 1964)

Right off the bat in Amazing Spider-Man 8 (a tribute to teenagers xoxo you will always be famous) we get our first definitive mention that Peter and his classmates are in their senior year of high-school at the very least from this point on in the narrative.

ASM 14 (Jul 1964); ASM Annual 1 (Oct 1964)

Peter himself states this 6 issues later trying to wheedle Aunt May into letting him go to Hollywood on assignment from JJJ to cover Spider-Man's cinematic debut in a film role offered to him by the Green Goblin (in his first comic appearance. When I say I love the Silver Age.) ASM Annual 1 confirms that the gang is in their senior year yet again.

This is already stupid long so the rest goes behind the cut!

This isn't something that's just dropped in the Silver Age and then forgotten. 26 years after those first mentions, Web of Spider-Man Annual 4 makes a call back to Amazing Spider-Man 3 and places that moment in Peter's senior year of high-school:

Left: WOS Annual 4 (Oct 1988); Right: ASM 3 (Jul 1963)

While on tour to promote the Bugle-produced book of his Spider-Man photography, WEBS, Peter states on a TV interview that a photo of his first encounter with Doc Ock was taken while he was a senior in high school.

"But Mabs," I hear you say, "so what if he's in his senior year in ASM! Even if that's true, that doesn't mean he was in his senior year in Amazing Fantasy 15, and that still doesn't establish an age! He's a super mega genius so like....he probably skipped grades, prodigy that he is! And there was a time gap btw AF15 and ASM1, right?"

Alright let's go through this. As mentioned earlier, yeah, references to Pete's age are very few and far between and are a bit wobbly but let's put them together. The first age ref we get is in ASM 16:

ASM 16 (Sep 1964)

Here our favorite public defender is "rescued" from a mugging by the webslinger. After Peter fucks off, Matt gives us the above rundown of Spidey's characteristics: about 17, 5'10" and in excellent health. So "about 17" which, granted, doesn't have to mean exactly 17 but since we've established that at this point Peter is def in senior year, based on NYS age matriculation dates, Matt's probably spot on.

New York State matriculates students based on the age they are on December 1st of a school year. A 1976 edition of school regulations lays out the process: "[a] child who attains the age of 5 by December 1 of the current school year must be admitted to the kindergarten if a district operates such a program". So this means that within the same kindergarten class, kids born from the beginning of the school year to November 30th would be turning 5, while kids born from December 1 through the end of the school year would turn 6 during the school year, and kids born over the summer would also turn 6 but wouldn't celebrate during the school year.

Following that, Sept through Nov babies would be 16-going-on-17 in the beginning of their senior year, Dec - June would be 17-going-on-18 during senior year, June - Aug would turn 18 after graduation.

Peter being 17 or 18 during the high-school run of ASM just makes sense and there's nothing in the writing up until this point to push against that! In fact, when you first start seeing the de-aging of Peter creep in, AF15 literally had to be changed to make a younger age fit!

AF 15 (Aug 1962)

ASM Annual 23 (Sep 1989)

The very first time we see 15 floated as an age when Peter becomes Spider-Man is in the Amazing Spider-Man annual 23 of 1989. The annual is trying to present itself as Peter scientifically studying his own origin story, so the direct parallels to AF15 make it really clear when it's retconning the original to make sense with the younger age.

The panel where ASMAnn23 states Peter is 15 is otherwise a near word-for-word quote of AF15. Then later, the cognate panel of Peter in science class changes AF15's "you're sure to rate a scholarship when you graduate" to "in a couple of years when you graduate, you're sure to rate a scholarship." (Gerry Conway back at it again). This is the first time there's ever a hint at his story not being centered around his senior year, and that was made explicit in this issue by changing the original dialogue in order to justify stating he was a 15 year old in this recollection of AF15!

This is also an argument against the 'skipped grades' premise. Conway could have easily just left the text of AF15 as it was which would hint that Peter was obviously very young for being a senior in high school, but instead he tried to push AF15 back in time to fit a usual high-school timeline for a 15 year old (who would be at the earliest a December baby in their freshman year and the latest a Sept-Nov baby in sophomore year, and would be 'a couple of years' away from graduating).

Plus, fr if you're gonna argue that he skipped grades, it's on you to prove that. There are literally zero references to that throughout 616 continuity so like, why tf should it be taken as given? Please.

Anyway. And so are sown the seeds for torturing the already stretched timeline to make Peter an uwu baby infant. They didn't take right away. References to age go away after this and only resurface in 1994 (as far as I could see), where we see him aged back up:

ASM 395 (Nov 1994)

'I can't believe I was only sixteen when that spider bit me' actually makes sense with all of ASM being established as fully in Peter's senior year, Matt gauging him at 'about 17' in ASM 14, the age matriculation cut off for NYS schools, and the timeframe established between AF15 and ASM Annual 1 from 1964:

ASM Annual 1 (Oct 1964)

ASM Annual 1 (which I mentioned earlier as yet another point establishing Peter as being in his senior year) also has this little timestamp. Peter is watching Aunt May mourn for Uncle Ben and mentions that Ben's death was 'months ago'. Granted, that's in no way specific but I feel like it establishes at least a rough timeframe for the intended time gap between AF15 and ASM -- and it's not years.

And to be honest, there's really only one space in the narrative that allows for a time gap at all (Stan is really attached to his 'a few minutes later!' 'later that day!' pacing let me tell you!)

AF 15 (Aug 1962) page 9, panel 1

While the narration box says 'In the days that follow' it seems like we can take that colloquially considering the stream of newspaper headlines. For all of that to take place, I feel like it's not a massive stretch to allow this panel at the very least a month or so, which gives a bit of breathing room between when Peter lets the burglar run away and when Uncle Ben is murdered. (Which if you think about it a delayed dropping of the other shoe actually makes it worse! So how about that!). But between this and ASMAnn1, I don't think you can argue for years taking place in this gap which would have to be the case for a 15-year-old bite timeframe.

So if Peter's bit his senior year, for him to be 16 when he's bit he has to be born between the beginning of the school year and November 30th (because school has to be in session when he's bit). Which fits with the official New York City 2012 declaration of his birthday being October 14:

If he's 16 when bit in his junior year (again, school has to be in sesh), you've got to decide when from December of his junior year to the end of the school year makes sense for him to be bit with the rest of the time markers and how long you're gonna give to the time skip in AF15 for it all to qualify as just 'months' up to ASMAnn1. Which definitely can be done, especially if you AF15 pages 1-8 near the end of his jr year, put the time skip over the summer between junior and senior year, and rest of pages 9-11 in his senior year. In some ways this option makes a bit more sense, to be honest!

The way I personally like to square it is to go with all of AF15 and ASM1-28 happening in Peter's senior year (which he reaches without skipping grades) interpreting the 'when you graduate' in the AF15 panel referring to the same school year. If he's 16, the bite happens sometime before his birthday which has to be before Nov. 30th and, sure, why not Oct 14 -- it fits. A month or so passes between when he gets bit and starts his show-biz stint, and when Ben gets murdered. That means the last 3 pages of AF15 (bar the first panel on pg 9) to ASM28 spans from some time in December of his senior year to the end of the school year.

(If you don't care if he was 16 or 17 when he was bit, AF15 - ASM28 can take place any time from the second half-ish of his junior year to the end of his senior year, you can decide how many 'months' the time skip is in AF15, pick his birthday out of a hat, and Matt's "about 17" could mean 18, too. Have a ball.)

But in any case whichever way you choose to spin it, this shit is dumb and wrong:

Civil War 2 (Aug 2006)

and especially deserves to be memory holed for the ridiculous de-aging of Peter Parker that has subsequently been pushed into popular memory and continues throughout current Marvel 'brand synergy'. Sad and bad!

[90ssuperheroes]

1990 Trumpet Club poster. Trumpet Club was a Dell imprint company that published books meant for the kindergarten to sixth grade market. Scholastic bought them out in 1996.

[eind-goed-al-goed]

Dutch peculiarities: Miffy/Nijntje

Since I know Tumblr absolutely loves Miffy (we call her 'Nijntje' in Dutch), I figured it would be fun to talk a bit more about the character. Like many other Dutch people of my age, I grew up watching her cartoons.

First her name 'Nijntje' is a shortening of the Dutch word for little bunny/rabbit ('konijntje'). Her age is somewhere between a baby and 4 years old.

The first Miffy book was already produced in 1955, and 4 television series and even a movie have followed. Though most Dutch people might know the character mostly through the easy read books read in kindergarten. The last book was published in 2009.

Like Miffy, most names of the other characters are literal in Dutch. Here is a short list of the other characters and their Dutch names;

Snuffie (dog, literally 'sniff')

Vader en moeder pluis (parents, literally 'fluff')

Opa en oma pluis (grandparents)

Boris en Barbara Beer (bear, friend)

Betje Big (pig, friend)

There are also children's songs made. Some of my favourites;

Titlesong - Nijntje, lief klein konijntje

Ken jij Boris Beer?

Ken jij de seizoenen?

Dans mee met Nijntje

[soaps-mohawk]

I've seen kids in kindy (kindergarten) more patient than some of these anons while waiting for candy. And children more respectful in primary school than these anons jesusss- Watch literal 5 year olds be more of a decent person than them 💀.

That anon needs to get off the internet and go seek some therapy. Maybe spend some time outside 🙄 it was giving chronically online. Content farm brainrot. Consumerism poisoning.

You're worse than a literal child, anon. Imagine getting that pressed over fanfiction. Stick to published books, anon, if you can't handle the way fanfiction works.