#me when show references real life & history.

[callmearcturus]

hello, hi i came across your post about dottie lasso and i wanted to say FUCKING THANK YOU for articulating how i feel about her. i couldn't msg you directly so i'm sending this lol.

i constantly see people pull the "oh she's trying, she's midwestern, she doesn't know any better" excuse which is completely baseless imo. she's manipulative and henry never gave any indication that he wanted ted to move back. they spent a whole episode showing how at home henry is/could be in richmond, that he has a support system there the same way ted does. it's one of the things i hate the most about how s3 ended (and that list is long). dottie doesn't like ted and she doesn't like him building a life away from what she thinks is the right place for him.

i also think her being so dismissive about therapy and his progress was very telling that she doesn't want him to do better and move on in a way ehe never could. she wants him repressed and sad bc that's what she still is.

Can I touch on the "midwestern" thing as a midwesterner myself? Bc that one is wild.

Because... Ted is midwestern too and he's a fascinating depiction. The show makes it a core of his character to be as wide with his references and interests as possible. When classic christianity is referenced, he always makes a lil remark that is clear code for "I grew up here and I know the language but I'm not one of you anymore." He has all the tics and habits of a man from that background, and he applies all of that candor to a lot of progressive ideals that doesn't come standard.

Like, lets be real, that's the core conceit and appeal of the entire show, that specific combination.

So why the fuck do we just say "oh it's okay, dottie's midwestern" like what the fuck. Like, when Ted was dismissive of therapy, I actually did chalk that up to him being midwestern at first, and then the show went on and established no actually it has nothing to do with that, he has bad history with therapy.

I dunno, I think diminishing someone's actions based on their circumstances is actually anathema to the show, so why would Dottie get a pass?

ANYWAY i'm rambling. probably bc the thing that hooked me on the show was i was gutted by seeing myself in a piece of media so vividly. there's a fucking reason I keep listening to Josh Ritter and looking at pictures of home.

[clonerightsagenda]

Ok there is. a lot that could be said about Vi and Jinx but I'll hone in on a couple of things for the sake of this post:

We're back at it with character duos representing dueling worldviews, and Vi and Jinx are both struggling with the past. Vi wants things to go back to how they used to be. I have to keep reminding myself of this because of the show's breakneck pace, but she's been in prison for what, 6 years? And then seasons 1-2 take place over a few months. Vi stepped out of a timewarp into a nightmare. Her last clear memories of the world outside her cell were an entirely different situation; it makes sense that she's struggling to let that go. And it also makes sense that she latches onto the first real positive interaction she gets after all that (Caitlyn) and is so willing to take her back the second Caitlyn reverts to their past dynamic. Vi cannot move the fuck on. More on this later.

Jinx, on the other hand, wants to make the past go away. She changes her name, her look, her life, but of course she can't make a clean break of it. She keeps dolls of her dead siblings. She's literally haunted by figures from her past. I am not psychotic and have not done a lot of reading on psychosis, so I can't speak authoritatively on how Jinx's mental illness is portrayed (I suspect not well), but there's a noticeable shift between seasons. Part of this could be that Jinx's symptoms are intensified by stress and parts of season 2 Jinx (and AU Powder) are in a better headspace, but it also reeks of 'this character is more of a protagonist so we're going to get rid of some of the unsightlier symptoms'. Suicidal depression is prettier and more poetic, right?

So we have two sisters with two different ways of handling the past (trying to kill it versus trying to resurrect it), and while I found the whole Vander/Warwick plotline annoying, I recognize its symbolism as the undead weight of their history. What's interesting to me, though, is that despite Vi getting the more traditionally 'good' ending, Jinx is the one who escapes this mindset. Vi doesn't get through to her, but Ekko - whose powers allow him to turn back time, but only 4 seconds, a more limited engagement with the past that acknowledges you can't live in it - does. She changes her look again in a way that references multiple important people from different phases in her life. She also appears to be wearing a hoodie made out of an Ikea shark maybe. And although the finale episode starts with Jinx trying to fall to her death, her eventual "death" isn't actually caused by her issues. She did not go into that fight with the goal of a heroic sacrifice. She ends up falling with Vander because Vi refused to leave his inert body, because Vi still cannot let go. Jinx is the one who pays for it. Maybe that's why after her heavily implied survival she doesn't come back.

(Also, sidenote unrelated to the core idea being explored in this post: Both of the sisters are far more interested in personal relationships than ideology. Jinx doesn't dislike Caitlyn for being a topsider; she dislikes her for stealing her sister's attention. She never meant to be a figurehead for Zaunite liberation. So I guess her giving Vi her blessing to date their military dictator doesn't represent her betraying Zaunite ideals (she never actually cared about that and is very upfront about it) but it's still sort of annoying. Though maybe it's just another warning sign that she's given up on everything, that she no longer has the energy to fight for her sister's attention. And when Vi gets released she has jail cell sex with Caitlyn instead of running after her sister so, fair read of the situation there, Jinx.

I just finished Arcane. I have deeply mixed feelings but re: PPLN: I would be interested in hearing your thoughts about everything that went down with Vi and Jinx. Or Mel and Ambessa.

re: send me PPLN asks while I'm snowed in, the sleet has begun and so do I

This ask could probably keep me fed for my entire snowbound experience because oh my god, but let's start off with Mel and Ambessa since there's a little bit less material to work with, and I'll come back to Vi and Jinx later.

Stuck it under a cut because this got long

Arcane loves its character duos who represent dueling worldviews, and Ambessa and Mel represent hard versus soft power. In Mel's childhood flashback, Mel advocates for sparing a captive and using her as a figurehead while they become the power behind the throne, and Ambessa decapitates her instead. In the present, Ambessa is a warlord coming to Piltover looking for new shiny magitech to use against her enemies. Meanwhile, Mel is the richest woman in the city and a major political player, making alliances, swaying council votes, and backing rising stars.

We see the two of them come into conflict in season 1 and the beginning of season 2. (Although, we can note, Ambessa is using political maneuvering here by manipulating Salo and Caitlyn! She has more range than just brute force.) As viewers, we can anticipate that the characters will be used to explore these two different philosophies of power and control.

Aaaaaand then.... Mel gets kidnapped, joins a sisterhood of witches, comes back, hands over her mom to one of the witches, then decides she doesn't trust the witch after all, and then her mom dies and she gets her job. I'm. Not quite sure what philosophical statement is being made here. Which is possibly one of the reasons why Mel's sections feel so untethered from the rest of the show, beyond that it's clearly spinoff bait. Ambessa proclaims she is the wolf - is this a vindication of hard power? But Mel mostly just showed up to do some sparkly and ill defined magic and then introduce a new villain.

As I've been contemplating this ask, I've been thinking that while Mel votes for Zaunite independence and opposes the use of hextech weapons on the Undercity (she frames this to Jayce as 'I won't let them corrupt your dream', although she does seem distressed at the unnecessary violence as well) she sure didn't seem to be using her wealth and power to do much for the Undercity beforehand. Judging from Caitlyn's 'can you believe they live like this??' speech in season 1, the Undercity is literally beneath the notice of the privileged of Piltover. Plus, Mel is an immigrant, and I'm not sure how long she's been in town. To wind her deeper into the season's storylines and explore her philosophy versus her mother's more, I kind of wish she'd ended up spending some time in Zaun. Maybe she gets dropped off there after leaving the witch place (still not entirely sure how she got home from there...) I'd be interested in her trying to use her political skills in that environment, and seeing how the leadership of the Undercity responds to this wealthy outsider. Caitlyn who got vocally upset about the Undercity's treatment and then teamed up with Ambessa to oppress it versus Mel, Ambessa's daughter and privileged councilor, who now tries to do the opposite despite a distrustful reception...

We see Sevika serving as the loyal right hand woman to whoever she sees as Zaun's best figurehead (Vander, Silco, Jinx), but at the end she's taking a seat at the council. It would be interesting if she'd had some interactions with Mel, who also spoke about being a power behind the throne, as they both navigate having to stand out on their own. Maybe Mel could be the one brokering the conversation between Zaun and Piltover, which is a missing scene I would've loved to see. (It's implied the councilor with the cool necklace thingy gained respect for Sevika and advocated for her, but seeing that actually go down would've been nice.)

[marinehero]

Stares off into the distance. Garp believes in Luffy so much. Believe isn't even the right word, he knows. He knew Roger. He knows if there's anyone who's going to do it, it's Luffy. He knew it early on and it terrified him. Just as he knew Roger's sotry, he knows how this story ends. He's terrified. He loves his grandson. He knows who he works for. He knows the powers in charge. But Luffy kept proving the world wrong again and again and again and even he couldn't deny anymore that if there's anyone who can make it and survive, it's Luffy. He's so damn proud, he always has been. Luffy's going to be the one and he knows it to be a fact as given as the sea.

[autism-corner]

ART REFERENCE

[spuffybot]

Someone asked me why Buffy is my favorite show and I had to stop myself from writing more than this but this is what I said…

1. Despite its complicated history (the creator turned out to be an abusive asshole) it’s one of the first mainstream successful examples of smart feminist genre tv and it laid the groundwork for everything that has happened since.

2. The show is brilliantly written and uses metaphor so successfully they teach college classes on it. Every episode / monster / dilemma Buffy and her friends face are a parallel for the real life struggles of teenagers.

3. Sarah Michelle Gellars performance across the 7 seasons of the show is a masterclass in acting.

4. It featured one of the first truly fleshed out lesbian relationships on network tv in the US and THE first wlw kiss between committed partners on prime time network TV. I remember the news covering it right after it aired.

5. Season 6 is to date the best depiction of depression I’ve ever seen in any media ever. It’s unflinching, raw, uncomfortable and hard to watch. And having that to watch when I was 13 was really crucial.

6. The way the show built pop culture references into its DNA had such a cultural impact that it’s responsible for turning “google” into a verb.

7. The makeup, fashion, and hair was simultaneously trend setting and a deliberate part of the story telling. You know what’s happening with certain characters based on the colors they are wearing for example.

8. The musical episode was one of the most successful musical episodes of a tv show at the time and it started a trend that tv shows still follow today.

[bluemooniegif]

Soukoku's first meeting could not have been written more perfectly. Allow me to explain

A quick note on the manga panels: these are fan translations from BSD Bibliophile. At one stage they refer to Dazai as 'the youngest boss in Mafia history,' and the executive meeting as 'a meeting of five bosses.' This is just a stylistic choice! All of the panels shown here are from chapters 8 (volume 2), 10 & 11 (volume 3)

I love this scene more than life itself, because it is literally the PERFECT introduction to Chuuya, his character, and his relationship with Dazai. Let's talk about it!

First: some context. Dazai seems to be in a bit of a predicament- he's walked right into a trap set by the Port Mafia, an organisation that we don't know much about at this stage in the story. What we do know, and what we can observe, is this:

Dazai is a former executive, and appears to have walked into the trap on purpose

He is now being held in a room that Akutagawa describes very negatively- the fact of being here is dangerous

Dazai reveals that Akutagawa was once his subordinate, and that he thought very lowly of him at the time. He claims to still think of him this way. Akutagawa has a violent reaction to this.

This is a PERFECT example of 'showing, not telling' within a story. Rather than making a bunch of asides, describing what Dazai and Akutagawa are feeling and why, Asagiri & Harukawa have plopped us into the middle of a rather awkward reunion. I feel like I've walked into my friend's Christmas dinner and am now witnessing family politics unfold real time. It's like watching a car crash.

Now, we move between settings a bit, jumping around to watch Yosano DESTROY Kajii, Atsushi rescue Kyouka, and subsequently be injured and kidnapped by Akutagawa. We watch the Agency fall into disarray when Fukuzawa demands that everyone go looking for Atsushi- interesting, considering that Dazai is IN THE BASEMENT OF THE PORT MAFIA RIGHT NOW.

I've had lots of discussions and arguments about the meaning and significance of this. I won't delve too deep into it for now, but the way I see it is this: something the ADA is really REALLY good at is splitting up Mystery-Inc. style and working to solve cases etc., together, but apart. Dazai is also something of a stray dog (... cat), regularly wandering off and reappearing of his own accord. He's been with the ADA for several years at this point, and they would understand the way he operates well. Even if there's no indication whether he explicitly told anyone what he's doing or where he's going (which honestly, does that matter, when Ranpo would know immediately anyway?), we can safely assume that this is more or less a regular thing for them.

Anyway, back to the point. the Agency is not fazed by Dazai's disappearance... and neither, for some reason, is Dazai. He stands chained to the wall in the PM's basement- the same one, we discover later, where he's brutally tortured countless victims and traitors, and he's humming a little tune to himself, smiling, totally relaxed. We as the audience know he's pretty unflappable, and Akutagawa's expression when he sees him confirms this, too.

But. BUT. This doesn't last.

With the ADA descending into chaos, we switch perspectives back to Dazai again. He's bored at this stage, and thinking to himself that they must be searching for Atsushi soon (an indication that he was riling Akutagawa up earlier, btw) when he hears it: A voice that makes his resolve crack. A look of panic on his face that, at this stage, we haven't seen yet.

He turns, and we see Chuuya for the first time! He's got this strange smug look on his face, something deeply vindictive. Here's a current mafia executive, and he's so happy to see Dazai chained to the wall of their Torture Basement that you can't help but wonder... is there something that Dazai did to him, personally, that makes him feel this way? Or is this guy just so deeply involved with the PM that the fact Dazai left is like a personal slight against him?

Now, we don't really have long enough to truly panic over this predicament, because almost immediately these two fall into their old habits. Dazai isn't PLEASED, but he isn't afraid. He goes right into bantering with Chuuya, who surprisingly meets him right in the middle. Their regular dynamic shines right through: it's quick-witted quips, inside jokes, and knowing looks. It's this odd relaxation in their posture. In all of this, we have an acknowledgement of what they were, and evidence to suggest that they still are... whatever that thing is. Whatever you wanna call it: partners, boyfriends, best friends, buddies. That much is up to interpretation; the only undeniable fact is that they once knew each other better than themselves, and still do.

Then, the fight. This, to me, comes across as more of a way to display how powerful they both are individually: Chuuya punches concrete so hard it shatters in several places, Dazai snaps his fingers and breaks out of handcuffs.

We have front-row seats to what is in my opinion one of the best action sequences in early BSD, not just for what physically transpires, but what it tells us: they deeply understand each other on multiple levels. They're constantly predicting each other's moves, and they know where each other's weak spots are.

But there's also been a lot of growth. Dazai surprises Chuuya a few times, and vice-versa. Despite their apparent closeness, it's still clear that they haven't been together like this for a long, long time.

Then, they reach checkmate. It appears as though Chuuya has won, and we're fed some more Dazai lore- he was the youngest executive the PM ever saw.

This is how Chuuya remembers Dazai. Again, I want to remind you that this is the first time so far we're seeing PM-zai, and he is worlds away from the Dazai we've grown to know so far.

Though Chuuya seems to have driven Dazai into a corner, the roles are quickly reversed when Dazai claims to know something about a meeting between all five of the Mafia's executives. Chuuya quickly realises this is one of his 'predictions,' further proving the depth of their mutual understanding.

With hindsight, we know just how big a deal a meeting of this scale is, and knowing a certain stormbro (who I won't reveal just in case of spoilers) will be there makes me lose my mind, personally. It clearly affects Chuuya, as well, which was undoubtedly Dazai's goal.

With the power balance disrupted again, they quickly fall back into that same bantering dynamic. The volatile nature of their relationship is so perfectly portrayed within this short scene that it actually makes me sick, I genuinely don't think it could have been more perfect

Anyway. Chuuya has realised, at this stage, that Dazai had multiple goals when he allowed himself to be kidnapped, and one of those was to piss Chuuya off (which is something I think he could've managed even if Chuuya wasn't physically there). This, in turn, pisses Chuuya off, especially when he realises the predicament Dazai has left him in- let him escape, or the Mafia suffers. A test of loyalty, Chuuya's greatest weakness. Do you understand why I am tearing my hair out and howling at the moon??? This is fucking insanity.

And then, the final moment! The part we all know and love! Not only does Chuuya choose to err on the side of caution, allowing Dazai to escape- he also leaves with the repetition of another inside joke. And Dazai laughs- he looks genuinely happy, too.

That is all. I'm gonna go cry now ಥ_ಥ

read this original thread on twitter

[exhelluvafan]

That YouTuber ayylmaotv (who defends Vivz with his life sometimes) pointed out that Belphegor has symptoms akin to narcolepsy, a condition characterised by an overwhelming urge to sleep, as we see her exhibit in Mastermind. Belphegor is the Sin of Sloth. Labelling symptoms of narcolepsy, a condition that is an uncontrollable disability, to sloth, which is laziness and a choice, and also associating it with sin… classic Vivz L I had to point out (as someone with the same symptoms)

Once again, the Viv fandom and Viv herself show blatant disregard for any tact about real life medical conditions, being ableist in some ways by consequence, and water is wet.

And hey, Anon, remember that she also unironically excused Stolas' shitty behaviors with depression canonically speaking, so she already has a history of doing this just to make it a "quirky" trait of them while not actually addressing it like it actually is: a medical situation, and as a depressed individual myself, I find the portrayal of depression through Stolas as downright offensive and tone deaf, since he ISN'T depressed in the slightest, he's only sad that consequences are catching up to him and the fact that his rape victim doesn't reciprocate the imaginary love he created on his head.

< TW: self-harm and depressive symptoms under the cut >

Now, I'll list a few symptoms that usually follow along with patients of depression:

Do bed rotting

Not have enough energy to even move from bed.

Overfeed or underfeed himself, resulting in a changing body weight.

Practice self-harm (can be any, from cuts, burns or such, down to drug abuse, and it isn't exclusive to depressed people, but the risk is massively increased)

Have constant intrusive thoughts.

Have depressive episodes.

Self-isolate himself quite often.

Now, tell me, does Stolas display any of those symptoms? Exactly, he doesn't! The only thing that he displays is ONLY sadness, NO depression, and also, reminder, depression is different to all people, but one denominator is constant: your mind is actively attacking YOU no matter what, and with that, I can safely say that Stolas isn't really depressed, he's "depressed" whenever it's convenient for him and the plot, or straight up sad but not depressed, and the "Happy Pills" (that's how they referred to antidepressants in universe by the way, utterly baffling) are just a cheap copout to make Stolas seem depressed at first glance, when in reality, Stolas isn't depressed AT ALL.

[felikatze]

listen to me. the Emblems are living existential horror. I am just going to talk about them and you can do nothing about this.

They are. Explicitly. not the people they seem to be. Emblem Marth knows he's not the real Marth. He's aware that he is simply a simulacrum, the personified image of Marth, as seen by myth and history, reconstructed into a person.

Listen to me. Look me in the eyes. What route is Corrin? What route is Byleth?

All of them. It's ALL OF THEM. And that's why they're so vague. That's why they're nigh contradictory. They're every telling of that character, rolled together into a ball.

And in Elyos? That's fine. There is only one Marth, and one Corrin, and one whoever Emblem. But you see, in Askr... There's so many of them. And they're just Another One. Just Another Marth.

But also, now suddenly all too keenly fake.

Any given Corrin in FEH is not filled with contradiction, because FEH is not restricted to having Just the One - you can have one for BR, one for CQ, another for Rev, keep some vague... The multiplicity of the characters can be portrayed in different figures in different stages of life.

But. the Emblems are just "stories".

DOES ANY EMBLEM EVER REFERENCE POSTCANON?

My theory is. the Emblems only remember what is contained in their story, within their game.

Take for example, Emblem Lyn, and Emblem Roy. If Lyn truly is the Lyn-- how come she doesn't recognize one of her best friend's children?

And yes, Sigurd is keenly aware that he dies, but... His death is part of the story, no? It's not something that happens far off and far away, it's part of the plot. Of course he's going to know it.

Whereas Emblem Hector, who dies in a different game to his Emblem's origin, is blissfully unaware of his own fate. It's not part of his story, it's part of Roy's.

(Listen. This first crossed my mind when I read all of Emblem Hector's bond conversations. He references Serra thrice, and his own daughter not even ONCE.)

They are their games, down to the fundamental level. FEH can have a Celica be Queen of Valentia, but that's just one blurb of epilogue, so obviously Emblem Celica is not.

You cannot change my mind on this reading of them. You cannot.

And. The game of course never explores this. But how does it feel for them? To only have this nebulous sense of identity? To remember and feel iterations of you that contradict one another? FEH opens so many doors it is too cowardly to explore in depth.

How does Marth feel remembering both versions of his own past, one with Kris and one without? How does Corrin feel knowing every path she has walked? How do they feel seeing versions of themselves that are specific lived experiences, instead of just legends?

In Elyos, there is no one to contrast them. There are only the legends, only the Emblems. Nobody truly remembers exactly how their stories went, so they never need to specify and show their version of events. They just exist, as the holy, powerful, worshipped Emblems.

Does Lucina know who her mother is? Does Roy? Does Lyn know who she marries? Does Hector know he's going to die? Does Byleth see every student dead or saved?

They are their games and they are every version of their games they are every version of themselves which amounts to being NONE of them.

Which amounts to vague platitudes and allusions to other events and what is a doylist fear of spoilers and an advertisement is also a watsonian nightmare.

This isn't even the worst thing about them.

They're not just simulacra. They're also tools. Literal objects to be called upon and dismissed at will. Sure, in the Somniel, they can move around. But.

They can only affect the physical world in the arena. In combat. Because that's what they are! They are tools of war!

And sure, the divine dragons ask them nicely for their powers, and they get to keep their free will when summoned this way instead of having their souls subjugated.

or well. Do they...?

Do we ever.... see an Emblem say no...?

Of course, the divine dragons are Just and Good and Nice. Obviously the Emblems want to aid them. Obviously the Emblems would rather fight beside Alear than Sombron, saving the world they've been entrusted to. Because the Emblems are their stories, the manifestation of Good and Rightous Heroes, always ready to save the day and slay evil.

Which, of course, leaves us with something unconfirmed.

Could an Emblem say no if it wanted to?

The line between divine and fell is dangerously thin. (That is a conspiracy rant for another day.) Like, we see Alear combine prayers and incantations into one package with just prayer effects. You can use an incantation as a prayer if you put your mind to it and you can probably also do it the other way around.

The Emblems either have no choice at all, or are given a choice with one option they would never pick, which renders having a choice moot in the first place.

They are tools, and they know this. They are swords, and it's all a matter of how nice the sheath is.

And yet. All of them remember being human. All of them have loved ones that do not exist, not for them. And what strikes me about the Emblems added to FEH so far... they're all universally stoked to be able to eat.

It's like a fucking sensory deprivation chamber. Unable to touch, to eat, to decide where you go, and the only physical sensation they DO feel is when someone touches their ring. Like I'm realizing this as I write this goddamn post. An Emblem going "That spot was bothering me" when being polished is the only time they ever express physical sensation. Like feeling the dirt on the metal is all they get.

(Side note: you know you're fucked when you look up the petting minigame for Lore)

Like. They know they're fake. That they never had anything outside of this half existence. But they remember it anyways. Of course these memories are going to be precious to them, as vague and muddled and contradictory as they are.

They're tools. They're literal objects. They're alive. They just want to eat some good food again. They want to be with people they love, with people that are long dead and gone.

And this weird spirit existence has to be enough. Smell good food instead of eating it. Make friends with your wielders, enjoy the scarce scenery you get to witness after every battle.

It has to be enough. There's nothing else for them.

And when their duty is done, they can finally rest.

[piratecaptainscaptainpirates]

There's definitely a conversation to be had about the presentation of real historical figures in historical fiction, I think. As both a professional historian (PhD student 🤘🏾😔) and a man of color, I'm a bit more sensitive to this than a lot of people, and for me it always comes down to the question - what real harm is being done here?

And that's where I think OFMD does well enough for me to be comfortable. If you look at the fact that the show is based on real-life terrible people who did awful things and participated in the slave trade and you don't wanna fuck with the show, that's completely understandable, but I find it so much more palatable than (for the easy comparison) a piece of media like Black Sails (I actually like Black Sails, believe it or not, but there are a lot of things about how it treats many of these same figures that make me uncomfortable).

Now, yes, OFMD is hand-wavey with the slave trade in the Caribbean. None of our main characters own slaves or directly reference the slave trade (again, this is a romcom, I'd be shocked if they did). For me, this works alright for two big reasons. First, there are things that I think you can include in a romcom and have it still be a romcom, and a thoughtful, respectful depiction of the slave trade would take the show firmly out of romcom territory. Second, the show doesn't pretend racism doesn't exist, it treats its characters of color as three-dimensional people, and we always get the last laugh when racism is depicted. The very first episode sets the scene by having racist English Navy officers demean and call a Black character "slave" and they immediately get their asses kicked for it. Compare this to a show like Black Sails, where one of my main criticisms is how we're expected to sympathize with characters who actively participate in the slave trade and own slaves.

My other thing here is the people OFMD is working with are both heavily mythologized and not treated with any degree of historical accuracy. Many of our characters who are famous pirate names you might know are nothing like their real-world counterparts (take pirate queen Zheng Yi Sao, who wasn't even born yet when the show takes place). We know so little about any of the real people, anyway, that OFMD doesn't even bother trying to get anything right.

Like I said, I'm a professional historian and I love working with the golden age of piracy. That's a big reason I was drawn to this show in the first place! And if there's one thing I know, it's that pirates have been made into legends. We know very little about the real people, and in pop culture they're just myths.

The characters in OFMD are basically fictional characters working with the loose mythology based around the real people.

Now, back to my big thesis here: are the real, awful people benefitting in any way from OFMD taking these characters and making them into the good guys? Realistically, no, I'd argue. Most people with any critical thinking skills know that real pirates were not good people. Many people think Blackbeard is a made-up generic pirate character as it is. I've been to the real-life Stede Bonnet's grave site (NOT for the show, this was years before it aired and I was visiting the archives there to see the trial documents for a research project), and the historic marker there says he was "brought to justice." No one is wataching this show and thinking "oh those real guys must have been pretty great dudes!" because it's not about those real people.

This show isn't trying to change your perception of the real people, it's showing you fictional characters with the same names. One of our characters is runnig around in crocs, this show isn't trying to teach you about history or the real people and it's obvious.

If you're put off by the premise, I get it! But I just don't buy the idea that OFMD is putting anything harmful into the world just by existing.

[sashaisready]

This Must Be The Place: Chapter 19 - This must be the place

Biker!Bucky x Femme Reader

Back at your beloved late grandmother's home to pack up her house, you have a run-in with the town's biker gang 'The Howling Commandos' and find yourself entangled with the metal armed President.

Series Masterlist

Warnings: Some very mild references to smut, grief

Last chapter....let's goooo

(gif doesn't reflect how reader looks)

You seemed to somehow move both in slow motion and in the fastest sprint of your life as you flung yourself at Bucky. He caught you with an audible ‘oof’ as you dived between his arms.

“Thank-you,” you squeaked tearily, burying your face into his shoulder, “thank-you”.

He didn’t speak, he just moved his arms around your back and held you firmly against him. You could feel the difference between metal and flesh as both enveloped you. Being back in his embrace was like meeting an old friend after a long absence – Safe. Familiar. Home. The two of you stayed like that for a moment. You weren’t really thinking, merely reacting. Bucky was almost perfectly still, as if any movement might break the trance.

You pulled away and looked up at him. He looked right back, his blue eyes practically burning into you.

“You knew this fence was important to me…”, you began.

He nodded, his face stoic.

“You knew that Granny asked me to do this…”

He nodded again.

“And…you were right,” you hesitated, “I have been putting it off. I guess…I guess it feels very final. It was the last thing I needed to do with this place. The last thing I needed to do…for her”.

He cleared his throat as he dropped his gaze, his voice soft, “I just thought it might help…if you didn’t have to think about it, it might be easier for you. And then…easier for you to leave”.

“Thank-you…”, you sniffed, “Do…do you want me to leave?”

His face suddenly hardened, and your heart ached as you thought he might tell you that he did, but his fingers dug deeper into your waist as if he were afraid that you would let him go.

“Of course not,” he replied gruffly, as if you’d insulted him. “Losing you has already been a nightmare. I don’t even know how I’m gonna feel when you’re really gone and I won’t even be able to bump into you around town. But you need to do what’s right for you. You need to be free to make your own decisions. If this fence is holding you back, I want to help you move forward”.

He looked at you as he told you this, those blue eyes carrying a depth of intensity that overwhelmed you.

You didn’t respond, just stared back at him, your mouth slightly agape. His words had stunned you. He was putting you first – your needs, your dreams. He had done all of this – the car, the fence – not as some grand gesture to win you back and show you what a good guy he was, but because it was to help you. To make you happy.

Bucky wasn’t necessarily a man of many words, but his actions spoke louder than he ever could. You understood that now. It didn’t magically undo the hurt he’d caused back at the bar, but it showed you that he was willing to support and be there for you, for the sake of your own happiness rather than his.

“Buck…” you whispered.

You didn’t even know you’d done it until your hand found his cheek, cupping it slightly. He turned his face into your palm and closed his eyes, as if relishing the feeling of your skin on his. The two of you stayed this way for a short while. It was nice to just be with each other for a moment, not weighed down by your complex shared history.

“Can I say something?” he asked, finally breaking the silence.

You found yourself nodding.

He sighed as he moved from your hand and turned away, seemingly trying to gather the words.

“I don’t know why…I did that. Why I went through your purse that night. I’ve replayed it over and over in my mind and I wish I had a real answer for you, but I don’t. As I did it, I thought to myself ‘what the fuck is wrong with you?’ and then I found the cash…and everything just went blank. I was so hurt by the possibility that you might have done that to me…that maybe you didn’t care about me the way I cared about you…and it’s like I lost all reason. And I know I should’ve come to you privately, and apologised for doubting you, and going through your stuff. I should’ve asked to talk rather than yelling…but my temper got the best of me. It’s not excusable. And it’s not enough. But it’s the truth. And truly, I am sorry.”

You looked at your feet as your stomach felt like it was tumbling to your knees. His sincerity burned in your ears.

“I didn’t tell you this…but before that happened, I knew I was…falling in love with you,” he said quietly.

Your face flushed and everything around you went a bit blurry but you still couldn’t quite handle meeting his eye.

He cleared his throat and continued. “And maybe…I don’t know…maybe on some level I was trying to sabotage it. Because it freaked me out, how I felt…I mean, and because I knew you’d be leaving, and maybe part of me was looking for reasons to end things before I got in too deep. Before it hurt too much. And that’s cowardly…and shitty…and inexcusable, but I guess that’s me. I’m not…good at this, Sugar. I struggle with my feelings. I can’t really regulate my emotions sometimes. Which is embarrassing as a grown ass man. But I’m trying to learn and be better”.

You finally managed to look up, your heart pounding in your chest as his admission sank in.

“Thank-you Bucky…I appreciate that…” you said quietly, “I just…it broke my heart that you could think I could do something like that. To anyone…let alone you”.

He sighed heavily, his regret evident, “I know. I know that isn’t you. And I know you don’t believe me…but that wasn’t me either, or at least not who I want to be. I’m ashamed by how I acted”.

The silence hung heavily between you both until you spoke again.

“I…I was falling in love with you too,” you admitted shyly, “that night…I had planned to tell you. Before…y’know”.

“Fuck…” Bucky winced, his voice low, “…I couldn’t have fucked it up any more than I did, huh?”

He smiled crookedly at you and playfully slugged your shoulder, an attempt at levity, but you could see the tension in his face.

You smiled back. “I guess…I guess I understand why you’d be freaked out. I was freaked out too. I kept thinking about what would happen when I left and doing my best to push it to the back of my mind. Just completely avoiding it. I guess neither of us really dealt with it….”

He took your hand in his, squeezing it softly. You took a deep breath as you looked into the depths of his baby blues and everything suddenly felt a bit clearer. You decided in that moment that enough was enough. No more dancing around the hard stuff. You owed it to yourself to lead a life where you tackled the problems head on, rather than hoping they went away by themselves or that someone else found the solution for you. Because dealing with the hard stuff is living, even if you’re uncomfortable in the process. Keeping your head in the sand was merely treading water, kicking the can down the road didn’t make it go away. You owed it to you. You owed it to Granny. You wanted to make her proud. And if it didn’t work out? Hell, it didn’t work out even when you did nothing. So you should at least try to have a say in your fate, even if you’d be knocked back sometimes.

“Buck…”

“Yeah, Sug?”

“I…I don’t…” you hesitated.

“Don’t what, Sug?” he asked gently, his fingers squeezing your palm.

“I don’t…”, you exhaled, “I don’t…want to leave”.

He tilted his head as he looked back at you, a look that took you back to every morning you woke up next to him, to every kiss you’d stolen, to every moment you’d spent in your bubble – just the two of you, hidden away from the rest of the world.

He reached his hand out towards you, his finger propping up your chin.

“Are you sure?” he asked quizzically as he held your face.

“No,” you laughed nervously, “but I never am. All I truly know is…I’m not ready to go yet”.

He smiled, the corners of his eyes crinkling as the world around you disappeared, “then…don’t”.

And then he kissed you.

You weren’t sure how the kiss was somehow saccharine yet sexy, desperate yet patient, all at the same time. You pushed yourself into him as his arms wrapped around you, holding you impossibly close. The rough stubble of his beard pressing into your cheek, pleasantly scratching at your chin as you silently remembered how it had felt all those times before. His familiar scent made you giddy, all cologne and the faintest hint of motor oil, the subtle caress of his laundry soap from his white t-shirt.

It wasn’t a movie-perfect kiss by any means – teeth clashed; heads bumped – but it didn’t need to be. It said the unsaid. It was real. It felt like coming home.

He pulled away for a moment, looking at you with puzzlement as he seemed to fully take you in for the first time.

“What?” you uttered breathily, a pang of anxiety that he might be regretting what he’d done.

“Are those…my boxers?” he asked incredulously, the familiar shit-eating grin spreading across his face.

You looked down at yourself, the flush of embarrassment working its way to your cheeks as you remembered that you’d gone outside in your pyjamas, initially expecting a delivery driver.

“You left them…they’re comfy,” you sputtered with mortification, shifting your arms over your thighs in a weak attempt to cover up his stolen underwear.

“Have you…have you been wearing them this whole time?” he smirked, “Since we broke up?”

“They’re comfy! And you left them at my place…finders keepers!” you spat back, annoyed at his amusement.

“Sugar…you keep ‘em,” he smiled as he pulled you towards him, “they look better on you, anyhow”.

You rolled your eyes, batting him away as you poorly masked your smile.

“Shut up and kiss me,” you groaned.

“Gladly…”

And he did.

*

Six months later…

You waved animatedly at Wanda and Vis as they entered The Snake Pit, smiling as you began to prepare their usual drinks. Wanda beamed back at you and Vis pointed to a free table, giving you a thumbs up as they settled in and took their jackets off. ‘I’ll be right there!’ you mouthed exaggeratedly at them as you plucked a couple of glasses out from beneath the bar.

“Settle a bet for us, would ya?” Sam asked as he and Clint pulled out the stools in front of you and sat down.

“Nope…” you muttered sternly as you poured Wanda’s usual, “Nooot getting involved with your bets. Not anymore. I learned my lesson from the firecracker incident…”

“…we all did,” piped up Steve from a few stools along, glaring warningly at Sam.

Sam rolled his eyes, “ohh don’t be so dramatic…it was fine”.

“Only because we’d just upgraded our fire extinguishers,” Steve barked as he sipped from his beer glass with contempt.

You giggled with amusement as the three of them erupted into bickering, with a passing Thor and Parker also joining to pick their side of the argument.

“Business as usual, huh Sug?” came a voice from behind you, as a metal arm wrapped itself around your hips.

“You know it…” you chuckled as you turned to face Bucky, rolling your eyes good-naturedly.

He grinned and leaned over to kiss you, causing the MC members in front of you to groan.

“Shut your pieholes,” Bucky admonished with a sneer, “If I wanna give my old lady a kiss, she gets a kiss”.

“We know…” Sam sighed. “Everyone within a twenty-mile radius knows, the way you’re all over her…”

“Well, I damn well hope so,” Bucky replied as he glared over at the corner of the bar, “there’s a guy over there who was getting a bit close…”

“Oh relax…” you laughed as you finished pouring the drinks, “he just couldn’t hear me over the jukebox while he was ordering…”

Bucky scoffed, “Yeah…like I haven’t heard that one before…”

“It’s true,” Steve chimed in solemnly, “we’ve all used that one…”

The group descended into gregarious laughter and chatter, so you used the opportunity to slip away – bringing Wanda and Vis their drinks. You talked with them for a while as you transferred their glasses from the tray to their table. Their wedding planning was going well, although they still had a lot to do.

You caught Bucky’s eye from across the room and the two of you shared a smile, almost conspiratorial in its intimacy. For a minute you were transferred back to the old days, when nobody knew about your relationship, and it was just the two of you – sneaking around, the two sole holders of something clandestine, something private – just for you both.

Bucky was loud and proud about your relationship now, and sure, you were also proud to be his old lady. You weren’t a dirty secret or something to keep quiet, but that didn’t mean you didn’t sometimes long for the intimate silence of days gone by.

You’d called off the house sale as soon as you and Bucky had shared the kiss out on your lawn. Granny’s house was yours now, although you and Bucky had spent some time making it more ‘you’, helping to exorcise the ghosts and put your own little spin on it. You knew she’d approve.

You and Bucky were enjoying being together, but you still lived apart. There was no hurry to do much else, for now. You’d got your old job back, you’d spent more time with the MC, and started to build a life here in this town. It was nice to finally start to lay down roots, to finally find somewhere you felt like you belonged.

Getting to know Bucky again was part of that, you had forgiven him for what had happened – but it wasn’t a magic wand. Trust always takes time to rebuild. And what was the rush? You loved him. He loved you. Neither of you were going anywhere. Milestones would happen in time.

Although you spent most of your nights together…

And sometimes you couldn’t wait until you got home…the bar’s office had seen it’s fair share of action…

He wasn’t always great with words, but his actions said everything he needed to. He would regularly tune Sally up and fill her tank, you couldn’t remember the last time you needed to go to a gas station. He’d make you breakfast, bringing it to you in bed as you lazily rolled over and smiled at him through half open eyes. He’d take you out on his bike, encouraging you to hold him tight around his middle as he upped the speed – listening to your squeal of excitement as the wind whipped through your hair. He’d even arranged a charity donation box for the animal shelter and propped it at the end of the bar, a photograph of Granny proudly mounted behind it – every penny and dollar collected in her honour.

It felt like he was honouring you, too.

You’d often think about him sleeping out on that road for you, insisting he stay despite you pushing him to go. You thought about him fixing the fence so you could freely leave on your own terms. He was the first person (apart from Granny of course) to fight for you. Even when it got tough. You felt very lucky to be loved like that, to be seen like that.

Peter Quill had mysteriously left town a few months ago. You had interrogated Bucky, asking if it was a coincidence that he apparently got a new job out of state, but he maintained it was. You weren’t so sure, but you wouldn’t pry. You just hoped it was true. Peter had sent you one finally text apologising for his behaviour, explaining that what had happened between you had been the catalyst to get therapy. You hoped that was true, too.

Tom, the once-thief, was doing well in the rehab facility over in the city. The staff there seemed positive that he’d come a long way with his gambling and was on the right track.

As you headed back to the bar, tray tucked under your arm, you saw Amber and gave her a wave as she headed over to her new boyfriend, Eddie. He seemed nice, even if you think you caught him talking to himself over by the men’s room once. She smiled back at you as you passed.

You resumed your post, serving a round of beers to a few guys as Bucky stood behind you, his hand on your waist as he chatted with Steve. As the customer handed you a cash tip and left, Bucky leaned in and kissed your temple without even looking up. It was as if he was on auto pilot, unable to avoid it. Life was good. Maybe this ‘making decisions’ thing wasn’t so bad after all.

You placed your tip into the shelter donation box and smiled wryly at Granny’s picture as you passed, then went back to serving.

“Who’s next?”

THE END

Hiiiii! Thanks again to anyone who reblogged/left a comment for this story, it’s honestly been wonderful and I hope you enjoyed how it ended. I know a few of you didn’t think Bucky had atoned enough, and I’m sorry if that’s the case. I’m pretty satisfied with the journey he took!

If you aren’t familiar with the title, it’s my favourite Talking Heads song and I think it’s really beautiful – the lyrics partly inspired this fic, you can find them here if you’re interested.

Once again, thanks for your support. My Ko-Fi link is here if you’d like to support me further (but no pressure obv!). It’s wonderful to be in such a great community!

[babyseraphim]

1910's music: Edwin Payne style

Hi ya’ll! Friendly music teacher/opera singer here to answer a question that pretty much no one has asked (except me): what music would Edwin have listened to/enjoyed when he was alive?

I’ve separated this into three different genres (classical, jazz, and pop), so the entire thing is pretty long. I've also tried to give references for any additional information provided, but most of it is coming straight from my brain after years of music history classes, so feel free to correct me if I get anything wrong.

Classical Music

So, the first thing to know about me is that I’m a big pianist!Edwin truther, and I'm going to be talking about it a lot in this post. It was extremely common for families (especially wealthy families) to have their children train in some sort of instrument from an early age back then, so learning music was something that Edwin likely would have been forced to do.

There are some classical pieces that I have already heard mention of amongst the fandom, so I will stick them in the 'honorable mentions' section, but I want to feature some music that I haven't seen mentioned in conjunction with Edwin's character yet. 1. Erik Satie's Trios Gnosiennes (1893)

So, I've always associated the first three Gnosiennes with Edwin not only because they're so hauntingly beautiful, but also because they're rhythmically very different than a lot of other classical music of his time. The Gnosiennes are largely played in 'free time' (with no time signatures or bar lines), which is a bit unusual for the genre (though modern classical music has a lot more of it). Satie's music really pulled away from a lot of musical customs, spurning traditional forms and tonal structures in favor of more creative options, and I think Edwin would have really enjoyed it.

Edwin's possible interest in breaking musical customs will come back a lot throughout this post, but given that he is often characterized as going against the social grain (whether he was trying to or not), I think he really would have enjoyed Satie's works as a whole. However, Trios Gnosiennes just really speak to me for his character.

2. Igor Stravinsky's The Rite of Spring (premiered in 1913)

The Rite of Spring was a Russian ballet that Stravinsky was commissioned to write for the Ballet Russes company. The work was known for its dissonance and barbarity, and the dancing was described as 'jerky' and 'hedonistic'.

Now, do I think that Edwin would have particularly enjoyed the sound of the the Rite of Spring? Maybe not, but I imagine he likely would have respected its departure from the musical decorum of his time (the piece later went on to be considered one of the the earliest examples of modernism in music). The first public showing of The Rite of Spring caused the theater to break out into a riot partially due to the fact that they thought the music/dancing was a work of blasphemy, and I just think Edwin would have found that hilarious.

3. Gaetano Donizetti's Lucia di Lammermoor (1835), particularly Spargi d'amaro pianto (the famous 'mad scene' aria)

I don't think Edwin would have been a fan of opera as a whole, but I do think that this work's entertaining twists, literary origins, and technically challenging composition might have caught his eye (I even went so far as to sing through this aria a few nights ago because I was curious, and yeah, its really fucking hard).

Lucia di Lammermoor is a tragic opera based on the 1819 novel The Bride of Lammermoor by Walter Scott, which was based on the real life story of a woman named Janet Dalrymple. Lucia was performed at the Met nearly every season from 1903-1972, and I imagine that if it was doing well in America, it must have been doing numbers in Europe.

Honorable Mentions - Claude Debussy's Clair de Lune and Deux Arabesques - Frédéric Chopin's Noctures (particularly Op. 9, No. 1) and Études (particularly Op. 25, No. 11) - Erik Satie's Trios Gymonepdies

Jazz Music

So, this is where my pianist!Edwin headcanon starts to diverge from the pretty much all of the other music-related headcanons I've seen.

Technically speaking, 'jazz' as we know it didn't really exist when Edwin was alive; he died literally one the cusp of the the Golden Age of Jazz, which is a huge fucking bummer. Jass (as it would've have been referred to in the 1910's) mostly consisted of ragtime and early blues, and was considered to be a 'fringe' style of music (pretty much entirely due to racism). As far as acceptability went, being a teenager with a love for 'jass' in the 1910's would have been the social equivalent of being a teenager with a love for ska or punk music in the 80's (the parallels!!!)

I think its pretty well argued within the fandom that Edwin is a bit rebellious when it come to authority and societal standards, and even though I think he was probably less of a little shit while he was alive, there's no way he was just totally fine with living inside the lines. I posit that, as a rebellion, he would have spurned classical music and became a ragtime pianist (which was one of the main precursors to jazz as we know it today). I actually wrote a fic about this way back when I first joined the fandom, for anyone who's interested!

1. Scott Joplin's Sugar Cane Rag (1908), Fig Leaf Rag (1908), and Paragon Rag (1909)

Scott Joplin (the King of Ragtime) was the most famous ragtime pianist of all time, and one of the driving forces behind creating the jazz genre as we know it. I guarantee that you guys have heard his most famous song, The Entertainer, at least once, and have probably heard his Maple Leaf Rag as well. If Edwin was into ragtime, then its a sure thing that he would have been a big fan of Scott Joplin's rags. I picked the three that I thought suited him best.

2. James Scott's Frog Legs Rag (1906) and Sunburst Rag (1909)

James Scott was also a famous American ragtime composer, and both of the listed songs would have been released when Edwin was pretty young. He probably wouldn't have been old enough to play them for a few years, depending on his training, but thinking of a little 12 year old Edwin learning to play these (as well as Scott Joplin's rags) in his free time just fucking tickles me. I love it so much.

3. Davy Peyton and Spencer Williams' I Ain't Got Nobody, recorded by Marion Harris in 1916

I Ain't Got Nobody was an early jazz standard from 1915 that eventually developed into a multi-genre standard (meaning that it was considered a standard for multiple genres, ranging from jazz to pop to country). I don't have a lot of reasoning for this one other that I think that Edwin would have just really liked Marion Harris' voice.

Honorable Mentions - Euday L. Bowman's Twelfth Street Rag (aka the Spongebob song) - Artie Matthews' Weary Blues

Pop Music

So, a disclaimer here. My music degree required me to take jazz and classical music history classes, which did not cover pop music of the 1910's, so I have fewer historical insights to offer about this genre. However, whenever I think about these songs, I always picture Edwin listening to them through a phonograph while doing homework on his bed, like a teenage girl listening to Sabrina Carpenter or Chappell Roan while studying (I know that's silly, but I think its just such a fun visual). 1. Leo Friedman's Let Me Call You Sweetheart, recorded by the Arthur Clough in 1910

Let Me Call You Sweetheart was one of the highest charting songs throughout the early 1910's, and the most popular version was recorded by a group called the Peerless Quartet. Edwin doesn't really strike me as a quartet enjoyer, though, and this version by Arthur Clough was released the same year. I think he would have enjoyed the tonal quality of Clough's voice much more.

2. Grace Le Boy's The Good Ship Mary Anne, recorded by Nora Bayes in 1914

Nora Bayes was a very famous vaudeville performer of the 1920's, and lot of her biggest hits were recorded shortly after Edwin died (like, literally 1917-1925). I wrote a snippet for a fic that got left on the cutting room floor a while back about the song itself providing a positive association with the term 'Mary Anne', and I still stick by that. In this song, the name 'Mary Anne' only refers to a ship.

3. Irving Berlin's Alexander's Ragtime Band, recorded by Arthur Collins and Byron G. Harlan in 1911

So, this song could technically go under the jazz section, but I'm going to put it here, and I'll explain why. Jazz is an art from that was created and popularized by black musicians, which is why it was seen as such an undesirable art form for such a long time. People liked the music, but they didn't like that it was made by black artists. Alexander's Ragtime Band originated in Tin Pan Alley and was one of the top charting songs for much of 1911 (first in America, then overseas), but it was created by a white artist that was simply 'jumping a trend'. Strictly speaking, genre-wise, its not even a ragtime song—it's a march. It's just about ragtime.

I honestly don't really even like this song that much, and I'm not sure Edwin would have very strong feelings about it either. However, it was an extremely pivotal song for the time period, and likely would have been inescapable (or as inescapable as music could be back in the 1910's, given that music required either records or live performances). Think of it as the equivalent of a pop song that you could really do without, but its so popular that it keeps winning awards and playing in every Forever 21 and H&M within a ten mile radius.

Honorable Mentions - Gus Edwards' By the Light of the Silvery Moon, recorded by Ada Jones - Percy Wenrich's Moonlight Bay, recorded by Dolly Connolly

~~~~

I hope you guys enjoyed this! I also made a playlist, if you'd like to take a look (I couldn't find all the songs, and not all of them are time period accurate, but I tried my best).

If ya'll liked this, I might make one for Charles and dive into ska and Rude Boy culture a little bit. Feel free to send me any questions or ideas you have about all this stuff, too! I love talking about it.

For the people who asked to be tagged: @likemmmcookies @edwinspaynes @asnottoldbyginger @rexrevri

@l-nightmare @ricebees @aroacespacerock @haledamage

(plus i'm tagging you, @laiqualaurelote, because I feel you would appreciate this)

[qin-qin16]

Why I think Horror shouldn't be part of the Bad Sanses

[cw: Long yapping, i’m a mediocre fan of Horror and Dust, dadmare and bad sans poly fans this one isn't for you]

@howlsofbloodhounds @what-have-i-unleashed

note: If you disagree with me, feel free to discuss the matter! Just don't be rude and respect my views on this!

I might get torn apart by my mutuals for this, but... I don't think Horror should be part of the "Bad Sanses" (or the bad guys, as some people have referred to them), especially if we're talking about Nightmare as the “leader” of the group (more like a cult leader but whatever).

I'll clear up any confusion about MTT choosing to work for Nightmare – no, they wouldn't choose that. None of them would make such a foolish, dumb decision. They're all too clever to willingly serve someone as arrogant and cruel as Nightmare.

To support my point, I’d like to say that, in my opinion, it makes sense for both Killer and Dust to be manipulated by Nightmare. Killer’s situation is pretty clear – not only does his canon show that he’s forced to work for Nightmare, but his whole history with Chara makes him the perfect victim for Nightmare to shape to his own will. That being said, I won’t go into too much detail about their troubled and extremely toxic "relationship" (I’m using the word "relationship" here because there’s no better term for this situation that I can think of for now).

And what about Dust? Okay, confession time: I’ve never seen any canon facts about him. Don’t throw stones at me – I know my charm is being a mediocre fan of these multiversal skeletons.

Unlike Killer, Dust probably didn’t even realize he was being manipulated by the devil. He already knew all the possibilities of a reset, all the choices the human could make — so why not take the one time in life chance to escape that world and boost his LOVE? A little more LOVE would definitely put an end to the endless resets. With enough LOVE, the human could finally be defeated! All he needed to do was increase his LV just a bit more and then return to his world before the human reset.

But before he knew it, he was already trapped in Nightmare’s filthy claws, unable to return to his world and stop the human from advancing through their endless genocidal routes. (Shoutout to my mutual @what-have-i-unleashed and their amazing post that I can’t seem to find, about the headcanon that Nightmare is a dream eater, and that it’s by eating Dust’s dreams that they end up meeting. [I’m not sure if that’s exactly what it was, but I trust my memory.]).

However, all he did was make it easier for Nightmare's sweet words to slip into his mind, twisting his thoughts into believing that Nightmare was a friend. My headcanon is that, after recruiting Killer, Nightmare chose to take a more ““““peaceful”””” approach to "recruit" his next servants.

Now, the point that made me want to write this post: why the hell would Nightmare choose Horror? Killer and Dust's worlds are basically universes on the verge of collapse, with no real reason to keep going. But Horror? His universe isn’t even close to ending; a new chapter just began with the fall of a new human (something extremely rare when compared to other timelines). It wouldn’t make sense for Nightmare to want to recruit someone who’s so deeply rooted in a place — and someone who would never abandon his brother to follow a cheap, terrifying version of himself.

Let’s be honest, out of the three, Horror would probably be the first to turn down any deal Nightmare might offer — both of them are way too manipulative to trust each other. And unlike Killer and Dust, Horror would definitely be unpredictable for Nightmare (he literally tortures Aliza just for fun! What wouldn’t he do to pass the time and be less bored?). Plus, he has no real use for Nightmare (ouch, sorry Horror fans).

His LOVE, no matter how high it is compared to the average Sans, still doesn’t come close to the extremely high LOVE that Killer and Dust possess. And while he might be bigger than other Sanses, he definitely has the most fragile, cracked, and scarred bones — wounds that even the strongest healing magic can’t repair. For Nightmare, Horror is probably just a bucket of negative emotions — his AU is merely a smorgasbord for Nightmare, nothing more.

[mayumml]

Midori is not a good lover

The REAL Sou Hiyori relationship headcanons <3

first off, you don’t know if he genuinely likes you or not and most likely will never be sure 

Maybe you’re a piece of pawn in his stupid chess game but what can you do?

Midori manipulates and gaslights you just like with anyone else, you’re the primary victim that receives most of it though

He seems like a man that didn’t have a heart, and he literally doesn’t 

Feels like he doesn’t know how to act in a relationship or more like he doesn’t care enough to

You think he’d choose his work over you anytime 

He’s so on and off with his affection

He treats you like everyone else, particularly more strict with you sometimes and scolds you more often than the other participants

This fucker is adamant about “being fair to all participants and not letting a personal relation change that” and yet you feel like he’s being the most unfair to you

Even more passive aggressive when it comes to you, he loves to bring up the past and laugh when you get pissed

But then sometimes, he would appear out of nowhere and gives you a quick peck

You’d expect him to be open to PDA, and yet he only ever initiates (and allows) any affection when it’s just the two of you 

You’re conflicted, though, at certain times he’ll choose a timing where most of everyone is gathered in one place and approach you with the most affection you’ll ever receive from him

He makes sure everyone is looking, maybe it’s his way of showing his twisted sense of superiority?

Midori very quickly reverts back to ignoring you if he is satisfied 

You learn that he is extremely possessive

Yes, you get fed up with his shit many times and he knows it well

Does he ever apologize? Never. 

Like ever. 

You could confront him, but he’ll give you the same saccharine smile and feigns innocence

“What’s wrong with me showing my lover off to everyone? Does that upset you?” 

When you try to explain that’s not why you’re upset, he convinces you that you’re overreacting and somehow makes you seem like the bad guy for “not wanting to be seen with him.” (bitchass) 

Weirdly loves small talk 

Midori would interrogate you whenever he pleases and ask about your favorite color to wear on a rainy day 

You cant tell if he really cares about your responses at all because he just stands there and blinks with his smile and throws follow up questions at you

Kind of feels like he wants to know everything about you but also nothing at the same time 

Remembers small, itty bitty details about you

It’s endearing but also freaks you out because he remembers which angle you prefer to wear your collar

Very touchy when he wants to be, but acts like a jerk when he decides he doesn’t feel like it 

Limited use of pet names because he prefers calling you by your name 

Will call you sweetheart (mockingly most of the time), “my favorite participant,” or a shortened version of your name

Likes to receive but doesn’t give, unless he needs something

You don’t know why you’re still with him 

Midori is very good at making you feel special but also worthless

Will give you overly expensive presents that you don’t need and stare at your reaction as you open them 

(does he think this makes up for his neglect as a partner?)

Very likely to give you jewelry with his initials, he might have one with your initials but won’t wear it 

Sucks at comforting

He actually just doesn’t comfort at all

He makes things worse when you’re upset 

“You’re crying? Humans really are sentimental beings, after all. I guess crying is all that you’re capable of.” 

Let you play and style with his hair in private 

Gets defensive and change the subject when you mention Shin’s history with him

Avoids personal questions like the plague 

Actively tries to poke into every corner of your life. Boundaries? What’s that?

Not a very good partner, he’s just not a good person in general

Midori rarely mentions your relationship in front of the other participants, but when he does, he refers to you as his lover

Will pair you with him with the red light, he knows you don’t have the guts to kill him 

Urges you on to kill him way too often 

He gives you a smug knowing grin and a kiss when you can’t do it

Don’t try to physically hurt him, it turns him on (he won’t hesitate to break your arm)

Remember when I said he’s very possessive? 

Fucker treats you like an object

no one takes what belongs to him

Won’t be the type to defend you and won’t fight if someone hits on you

He would direct the conversation elsewhere and weird out whoever it is somehow (always works) 

Shows up a few days later with news that the attacker mysteriously jumped of a building (willingly?) 

His romantic side is very unconventional

“Would you love me even if I was a worm?” 

“Worms are rather dirty and invasive, are they not? I’d rather not deal with a pest, thanks.” 

[g0at0ad]

so what the hell is the protocol?

everyone in the tmagp fandom is rightfully going insane over the multitude of references to "the Protocol". given that this statement was given in 1685, it existed far before the magnus institute was ever a thing, so what gives? well here's all our information on it so far.

it was first mentioned in episode 4, "taking notes". alice. confronts sam on him looking it up. it's described as very super duper secretive, and sam could get in a lot of trouble if people found out he was looking into it. this bit is also a little strange, because alice (and seemingly ONLY alice) gets a security notification about sam looking it up. why alice? this could be another case of the computers having some sort of sentience. one od them wanted alice specifically to know what sam was up to.

in any case, the information we get about the protocol is that it involves a group called starkwall, who are apparently private military contractors. they involved in something called the "San Pedro Square Massacre", so despite how secretive they are, there is at least one event that is well known enough that sam knows about it.

starkwall doesn't get mentioned much, but (and this might be a reach) in episode 7 "give and take", a bunch of weird shit happened at hilltop centre. and i know we've all already lost our minds on the "hilltop" aspect of this, but what i'd like to point out is how the episode ends. the statement giver is saved by a bunch of seemingly military personnel, who proceed to go in guns blazing and burn the building down. the statement giver is then told they're not to talk to anyone about this group or what their identity is. sounds like starkwall to me.

and then we have this episode, where robert talks extensively about the protocol. he never explicitly says what the protocol is, but through context clues it's pretty easy to guess that it's some sort of procedure enacted to protect the world from supernatural events. in this case, isaac newton and his dog that is now a tree. robert hooke advocates for the destruction of isaac's lab and all his research.

some people have already pointed out that in real life, isaac newton did study alchemy, and most of his research on the subject was destroyed when his lab burned down. so if the tmagp universe has at least a similar history to ours (aside from all the supernatural stuff), then the protocol was enacted and they did end up destroying newton's lab.

but that's not the only use of the protocol mentioned in this episode. robert hooke also mentions the use of the protocol in london some years prior, seemingly to do with an "awful plague". again, this statement is given in 1685. in 1666 was the great fire of london.

so the protocol seems to explicitly have to do with solving supernatural problems by burning them down. we have the great fire of london, we have isaac newton's lab, and we have hilltop centre. we still don't know what exactly the san pedro square massacre was, but i'm willing to bet it ended with flames.

which brings me to the magnus institute. many notable things are different about it compared to the TMA world, the most notable being that it burned down in 1999. i'm also willing to bet that starkwall, or whatever they're employed by, was behind this. this show is called the magnus protocol after all.

[iloveelvisss]

It Hurts Me (an Elvis fic)

Pairing: 50s!Elvis x Fem!Reader

Summary: Elvis’ high school best friend, and also his crush, gets into a bad relationship, and the whole town starts to notice including Elvis. When it hits a breaking point for him, he decides he’s had enough.

Warnings/Triggers: Domestic violence, Emotional abuse, Self-loathing behavior, references to puking (Elvis), references to bruises, slight mentions of payback (Elvis), Crying. If I missed any, please lmk!

Memphis, Tennessee-

Elvis was in love with you. A broken girl in a broken relationship.

You had met a guy a year back, and you fell for him. He had impressed you with his charm, charm that would soon disappear.

**

Elvis fell in love with you the second he laid eyes on you. History class at Humes High. You came half way through the school year, embarrassed and shy.

The second you walked through the classroom door, a young Elvis felt like he had been electrocuted. He couldn't quite put his finger on what it was about you that made him feel as he did.

He loved the way you smiled, it made him smile. Your laugh was like heaven to him. He couldn't get enough of your sweet voice, even when you weren't around his mind was full of you and your voice. Every time you touched him he would get chills. It was like a flame igniting inside him.

You two were fast friends. In fact, Elvis was the only friend you had in Memphis. The best friend in the world was what you would describe him as. You spent every free second you had together. He was like a breath of fresh air, an escape from real life and all the troubles it came with.

Yet for some reason you had convinced yourself that you only saw him as a friend. He was strictly off limits intimately.

As the years went on, Elvis was finally going to find the courage to ask you out. But when you met a guy at Memphis State College Elvis felt helpless. He couldn't bring himself to tell you his feelings, so he sat by and watched the love of his life with another man. It was awful- even making him physically sick sometimes.

You seemed so happy and Elvis didn't want to change that. But as two months turned into a year, poor Elvis fell even deeper for you. It was like he had no control over it- an invisible force pulling him to you.

**

You had been hurting for months. Max had started showing his true colors.

A slight, meaningless glance at a man that wasn't him would earn a punch. Then there were the times that he put you down emotionally, he could make everything you did something to make you feel horrible about. You were either too loving or not enough. Nothing you did was right.

You felt so utterly alone. He had made you hate yourself to the point that you couldn't even look at yourself in the mirror.

Then there was him, your best friend, Elvis. The rare moments you had with him were the only times you felt loved. But even then, you didn't think you deserved to be loved. Max had screwed with you so much mentally and physically. He had broken you.

And you thought you had concealed it so well. In public you wore makeup and acted as if nothing was wrong.

But people talked and snooped. Somewhere along the way the whole town had an idea of how unwell your relationship was going.

But Elvis had it all figured out the second it began. It started with less eye contact, then you lost your ability to touch him, the flinching away from his own touch came next, his heart broke when your smile faded away. He was absolutely sure when your visits became more rare, and eventually they stopped altogether except special occasions like holidays and the such.

And when your little sister let it slip that she hadn't been hearing from you as much either, he went home and cried for hours. He couldn't believe it. It made his blood boil that you were hurting. He was hurting from just thinking about it.

His family spent every holiday with yours, something that came about from your friendship. In the process of you two getting closer, so did your families.

On Thanksgiving he locked himself in the bathroom and puked. You were hugging your mother when your sleeve rolled up the slightest bit, and he came face to face with a bruised handprint on your forearm.

**

Christmas, 1954-

Elvis had just began getting famous, it was happening so fast. You were so proud of him.

After not being able to think fast enough to get away, you were sucked into a hug by him. You were so scared, and wished you could go back in time so it wouldn't have happened.

Max had seen, and pulled you into another room. "What the hell was that, Y/N?" He snarled, pushing you into the wall forcefully. "I'm sorry! I didn't know he was going to do that," you whispered.

"I'll bet you liked it," "No, I promise!"

He obviously thought differently as he smacked you across the face, "you little slut, don't you ever pull that shit again," and then he straightened his tie and walked back into the living room.

You sank onto the floor in a crying mess.

After what felt like hours, but in reality was only two minutes, a knock came from the door. You froze, covering your mouth with your hand to silence yourself.

Your antics had been unsuccessful as the door creeped open slowly. Elvis poked his head in. At seeing you, he quickly came in and dropped down onto the floor in front of you.

He didn't even say anything at first- opening his arms to you and waiting. You realized how desperately you missed him and scooted into his embrace. You held onto him for dear life, nuzzling your head as far as you could into his chest.

He maneuvered you onto his lap and held you as you cried. Elvis stroked your hair gently and rocked you. The two of you stayed like that until you were ready to let go.

You stared into your best friend's eyes and mustered up the courage to finally tell him. You were so done with feeling this way, you missed him so badly that it hurt your stomach sometimes.

"I'm sorry, Elvis. It's just t-that Max-" you we're interrupted by his finger on your lips. "I know, honey. It's okay, you ain't gotta worry about him no more." He said gently. "What do you mean?"

The ghost of a smile flashed over his lips, "When you're ready to go back out there, I'm gonna kick his ass." He stated matter of factly. All you could do was stare back at him.

Elvis's eyes glanced to your lips, causing chills to run up your spine. And as he leaned in you didn't stop him.

When his lips connected with yours it felt like fireworks had erupted in your belly. You soon realized that you didn't ever want this to end, and that you had been wanting this since the second you met Elvis Presley.

You had been in love with him all along, just too scared to admit it.

He rested his forehead against yours as he pulled away. "It hurts me the way he treats you, honey." He whispered, breathlessly. And for the first time in a very long time you smiled a genuine smile.

"I love ya, Y/N. I have since day one," he breathed. You grabbed his face and pulled him into a passionate kiss. His tongue caressed your bottom lip, making you sigh, and in the process he slipped it into your mouth.

When you pulled away for air, you whispered, "I love you too, Elvis. I always have."

Heyyy, stopping in to give you this fic from my Wattpad that’s from 2022. Um it’s probably horrible, so bear with me. I just wanted to post something to keep my account active while I continue working on the His Annie Baker series. Enjoy🫶🏻

Tags: @queenstarlight @jhoneybees

[laceylavender]

Gale and Katniss are proof that you can grow up in the same circumstances and still learn to see the world in a different way.

Growing up in famine, abuse, violence, poverty and under control of a corrupt government gave them similar circumstances to grow up in: being the oldest sibling, their fathers dying in the mine, becoming the providers of the house at an early age, losing almost everything to said government. While Katniss developed a sense of empathy for everyone affected by this government (whether they were more privileged than her, or not), Gale developed a sense of hatred and thirst for vengeance because the people that weren’t his people had privileges that no one should have, while his family and his friends were being starved, or killed.

That’s why from an early age (pre-teen to full blown teenage years) he had always been thinking with the mindset of a hunter, only he wasn’t only hunting in the forest for prey and food, he was hunting in the real world and he was hunting his enemies, perpetrators and by-standers who did nothing to stop them, they all fit in the same category for him: the enemy. He grew up thinking of ways in which he could kill them if he could, that’s why earlier in the books he tells Katniss he would kill the Capitol citizens if he could, they were nothing to him.

When Gale sees the Capitol bomb and fire his district and kill his people, then gets evacuated to district 13 and has the opportunity to do something, to be of value and design strategies that can help kill said enemy, he does it. No second thought.

The thing is, both Katniss and Gale were right in certain aspects, especially in those they couldn’t agree on, and for me is easy to see from the perspective of both.

In war it should be common rule to offer the possibility of surrender first, but when your enemy doesn’t surrender and you see your own army lose more and more members, you attack - most of the time these are “last resort” attacks that end in lots of human life lost, but when you still give them a last chance to surrender like they did with the train in 2, it still shows a little glimpse of hope and empathy, that not everything has to be lost to war, and this is the part Gale didn’t understand, because if he paid too much thought to it, the lines would get blurred in his head, it was easier to see in black and white.

Personally, I’m in a grey zone when it comes to both of their thinking, and that’s why as a world with increasing and escalating issues we’ve created mechanisms like humanitarian law, war law, international human rights, etc, etc, we need to draw the lines, this is the playbook Katniss was referring to. What’s too much in war? A bullet to the head? Burying people in a mountain just for the sake of killing them? Where’s the line? Hijacking and manipulating people, stripping them of their consciousness and identity? Sending children into an arena to murder each other? Human trafficking? Sex trafficking? You see where I’m going? This is not about Gale, it’s about war.

Look at history, look around you. What do you see? What do you make of it? And please, use critical thinking. Is it acceptable to kill group B if they’ve killed people from group A? Do people from group B deserve a second chance, although their victims didn’t? Your opinion and reasoning depends a lot on the morals you have, and your own experience with war and abuse, which, if you’ve been lucky enough not to have a first hand experience with it, you should also take it into consideration before saying something. Just think, consider, see beyond yourself, see from different points of you, keep the definition of good and evil close to your hand and take note where they start to get blurry. What do you see?