#not 2000s but 2010 is close enough

[2000smusicvideoproductplacements]

Like A G6 (2010) - Far East Movement

[mostlysignssomeportents]

What the fuck is a PBM?

TOMORROW (Sept 24), I'll be speaking IN PERSON at the BOSTON PUBLIC LIBRARY!

Terminal-stage capitalism owes its long senescence to its many defensive mechanisms, and it's only by defeating these that we can put it out of its misery. "The Shield of Boringness" is one of the necrocapitalist's most effective defenses, so it behooves us to attack it head-on.

The Shield of Boringness is Dana Claire's extremely useful term for anything so dull that you simply can't hold any conception of it in your mind for any length of time. In the finance sector, they call this "MEGO," which stands for "My Eyes Glaze Over," a term of art for financial arrangements made so performatively complex that only the most exquisitely melted brain-geniuses can hope to unravel their spaghetti logic. The rest of us are meant to simply heft those thick, dense prospectuses in two hands, shrug, and assume, "a pile of shit this big must have a pony under it."

MEGO and its Shield of Boringness are key to all of terminal-stage capitalism's stupidest scams. Cloaking obvious swindles in a lot of complex language and Byzantine payment schemes can make them seem respectable just long enough for the scammers to relieve you of all your inconvenient cash and assets, though, eventually, you're bound to notice that something is missing.

If you spent the years leading up to the Great Financial Crisis baffled by "CDOs," "synthetic CDOs," "ARMs" and other swindler nonsense, you experienced the Shield of Boringness. If you bet your house and/or your retirement savings on these things, you experienced MEGO. If, after the bubble popped, you finally came to understand that these "exotic financial instruments" were just scams, you experienced Stein's Law ("anything that can't go forever eventually stops"). If today you no longer remember what a CDO is, you are once again experiencing the Shield of Boringness.

As bad as 2008 was, it wasn't even close to the end of terminal stage capitalism. The market has soldiered on, with complex swindles like carbon offset trading, metaverse, cryptocurrency, financialized solar installation, and (of course) AI. In addition to these new swindles, we're still playing the hits, finding new ways to make the worst scams of the 2000s even worse.

That brings me to the American health industry, and the absurdly complex, ridiculously corrupt Pharmacy Benefit Managers (PBMs), a pathology that has only metastasized since 2008.

On at least 20 separate occasions, I have taken it upon myself to figure out how the PBM swindle works, and nevertheless, every time they come up, I have to go back and figure it out again, because PBMs have the most powerful Shield of Boringness out of the whole Monster Manual of terminal-stage capitalism's trash mobs.

PBMs are back in the news because the FTC is now suing the largest of these for their role in ripping off diabetics with sky-high insulin prices. This has kicked off a fresh round of "what the fuck is a PBM, anyway?" explainers of extremely variable quality. Unsurprisingly, the best of these comes from Matt Stoller:

https://www.thebignewsletter.com/p/monopoly-round-up-lina-khan-pharma

Stoller starts by pointing out that Americans have a proud tradition of getting phucked by pharma companies. As far back as the 1950s, Tennessee Senator Estes Kefauver was holding hearings on the scams that pharma companies were using to ensure that Americans paid more for their pills than virtually anyone else in the world.

But since the 2010s, Americans have found themselves paying eye-popping, sky-high, ridiculous drug prices. Eli Lilly's Humolog insulin sold for $21 in 1999; by 2017, the price was $274 – a 1,200% increase! This isn't your grampa's price gouging!

Where do these absurd prices come from? The story starts in the 2000s, when the GW Bush administration encouraged health insurers to create "high deductible" plans, where patients were expected to pay out of pocket for receiving care, until they hit a multi-thousand-dollar threshold, and then their insurance would kick in. Along with "co-pays" and other junk fees, these deductibles were called "cost sharing," and they were sold as a way to prevent the "abuse" of the health care system.

The economists who crafted terminal-stage capitalism's intellectual rationalizations claimed the reason Americans paid so much more for health care than their socialized-medicine using cousins in the rest of the world had nothing to do with the fact that America treats health as a source of profits, while the rest of the world treats health as a human right.

No, the actual root of America's health industry's problems was the moral defects of Americans. Because insured Americans could just go see the doctor whenever they felt like it, they had no incentive to minimize their use of the system. Any time one of these unhinged hypochondriacs got a little sniffle, they could treat themselves to a doctor's visit, enjoying those waiting-room magazines and the pleasure of arranging a sick day with HR, without bearing any of the true costs:

https://pluralistic.net/2021/06/27/the-doctrine-of-moral-hazard/

"Cost sharing" was supposed to create "skin in the game" for every insured American, creating a little pain-point that stung you every time you thought about treating yourself to a luxurious doctor's visit. Now, these payments bit hardest on the poorest workers, because if you're making minimum wage, at $10 co-pay hurts a lot more than it does if you're making six figures. What's more, VPs and the C-suite were offered "gold-plated" plans with low/no deductibles or co-pays, because executives understand the value of a dollar in the way that mere working slobs can't ever hope to comprehend. They can be trusted to only use the doctor when it's truly warranted.

So now you have these high-deductible plans creeping into every workplace. Then along comes Obama and the Affordable Care Act, a compromise that maintains health care as a for-profit enterprise (still not a human right!) but seeks to create universal coverage by requiring every American to buy a plan, requiring insurers to offer plans to every American, and uses public money to subsidize the for-profit health industry to glue it together.

Predictably, the cheapest insurance offered on the Obamacare exchanges – and ultimately, by employers – had sky-high deductibles and co-pays. That way, insurers could pocket a fat public subsidy, offer an "insurance" plan that was cheap enough for even the most marginally employed people to afford, but still offer no coverage until their customers had spent thousands of dollars out-of-pocket in a given year.

That's the background: GWB created high-deductible plans, Obama supercharged them. Keep that in your mind as we go through the MEGO procedures of the PBM sector.

Your insurer has a list of drugs they'll cover, called the "formulary." The formulary also specifies how much the insurance company is willing to pay your pharmacist for these drugs. Creating the formulary and paying pharmacies for dispensing drugs is a lot of tedious work, and insurance outsources this to third parties, called – wait for it – Pharmacy Benefits Managers.

The prices in the formulary the PBM prepares for your insurance company are called the "list prices." These are meant to represent the "sticker price" of the drug, what a pharmacist would charge you if you wandered in off the street with no insurance, but somehow in possession of a valid prescription.

But, as Stoller writes, these "list prices" aren't actually ever charged to anyone. The list price is like the "full price" on the pricetags at a discount furniture place where everything is always "on sale" at 50% off – and whose semi-disposable sofas and balsa-wood dining room chairs are never actually sold at full price.

One theoretical advantage of a PBM is that it can get lower prices because it bargains for all the people in a given insurer's plan. If you're the pharma giant Sanofi and you want your Lantus insulin to be available to any of the people who must use OptumRX's formulary, you have to convince OptumRX to include you in that formulary.

OptumRX – like all PBMs – demands "rebates" from pharma companies if they want to be included in the formulary. On its face, this is similar to the practices of, say, NICE – the UK agency that bargains for medicine on behalf of the NHS, which also bargains with pharma companies for access to everyone in the UK and gets very good deals as a result.

But OptumRX doesn't bargain for a lower list price. They bargain for a bigger rebate. That means that the "price" is still very high, but OptumRX ends up paying a tiny fraction of it, thanks to that rebate. In the OptumRX formulary, Lantus insulin lists for $403. But Sanofi, who make Lantus, rebate $339 of that to OptumRX, leaving just $64 for Lantus.

Here's where the scam hits. Your insurer charges you a deductible based on the list price – $404 – not on the $64 that OptumRX actually pays for your insulin. If you're in a high-deductible plan and you haven't met your cap yet, you're going to pay $404 for your insulin, even though the actual price for it is $64.

Now, you'd think that your insurer would put a stop to this. They chose the PBM, the PBM is ripping off their customers, so it's their job to smack the PBM around and make it cut this shit out. So why would the insurers tolerate this nonsense?

Here's why: the PBMs are divisions of the big health insurance companies. Unitedhealth owns OptumRx; Aetna owns Caremark, and Cigna owns Expressscripts. So it's not the PBM that's ripping you off, it's your own insurance company. They're not just making you pay for drugs that you're supposedly covered for – they're pocketing the deductible you pay for those drugs.

Now, there's one more entity with power over the PBM that you'd hope would step in on your behalf: your boss. After all, your employer is the entity that actually chooses the insurer and negotiates with them on your behalf. Your boss is in the driver's seat; you're just along for the ride.

It would be pretty funny if the answer to this was that the health insurance company bought your employer, too, and so your boss, the PBM and the insurer were all the same guy, busily swapping hats, paying for a call center full of tormented drones who each have three phones on their desks: one labeled "insurer"; the second, "PBM" and the final one "HR."

But no, the insurers haven't bought out the company you work for (yet). Rather, they've bought off your boss – they're sharing kickbacks with your employer for all the deductibles and co-pays you're being suckered into paying. There's so much money (your money) sloshing around in the PBM scamoverse that anytime someone might get in the way of you being ripped off, they just get cut in for a share of the loot.

That is how the PBM scam works: they're fronts for health insurers who exploit the existence of high-deductible plans in order to get huge kickbacks from pharma makers, and massive fees from you. They split the loot with your boss, whose payout goes up when you get screwed harder.

But wait, there's more! After all, Big Pharma isn't some kind of easily pushed-around weakling. They're big. Why don't they push back against these massive rebates? Because they can afford to pay bribes and smaller companies making cheaper drugs can't. Whether it's a little biotech upstart with a cheaper molecule, or a generics maker who's producing drugs at a fraction of the list price, they just don't have the giant cash reserves it takes to buy their way into the PBMs' formularies. Doubtless, the Big Pharma companies would prefer to pay smaller kickbacks, but from Big Pharma's perspective, the optimum amount of bribes extracted by a PBM isn't zero – far from it. For Big Pharma, the optimal number is one cent higher than "the maximum amount of bribes that a smaller company can afford."

The purpose of a system is what it does. The PBM system makes sure that Americans only have access to the most expensive drugs, and that they pay the highest possible prices for them, and this enriches both insurance companies and employers, while protecting the Big Pharma cartel from upstarts.

Which is why the FTC is suing the PBMs for price-fixing. As Stoller points out, they're using their powers under Section 5 of the FTC Act here, which allows them to shut down "unfair methods of competition":

https://pluralistic.net/2023/01/10/the-courage-to-govern/#whos-in-charge

The case will be adjudicated by an administrative law judge, in a process that's much faster than a federal court case. Once the FTC proves that the PBM scam is illegal when applied to insulin, they'll have a much easier time attacking the scam when it comes to every other drug (the insulin scam has just about run its course, with federally mandated $35 insulin coming online, just as a generation of post-insulin diabetes treatments hit the market).

Obviously the PBMs aren't taking this lying down. Cigna/Expressscripts has actually sued the FTC for libel over the market study it conducted, in which the agency described in pitiless, factual detail how Cigna was ripping us all off. The case is being fought by a low-level Reagan-era monster named Rick Rule, whom Stoller characterizes as a guy who "hangs around in bars and picks up lonely multi-national corporations" (!!).

The libel claim is a nonstarter, but it's still wild. It's like one of those movies where they want to show you how bad the cockroaches are, so there's a bit where the exterminator shows up and the roaches form a chorus line and do a kind of Busby Berkeley number:

https://www.46brooklyn.com/news/2024-09-20-the-carlton-report

So here we are: the FTC has set out to euthanize some rentiers, ridding the world of a layer of useless economic middlemen whose sole reason for existing is to make pharmaceuticals as expensive as possible, by colluding with the pharma cartel, the insurance cartel and your boss. This conspiracy exists in plain sight, hidden by the Shield of Boringness. If I've done my job, you now understand how this MEGO scam works – and if you forget all that ten minutes later (as is likely, given the nature of MEGO), that's OK: just remember that this thing is a giant fucking scam, and if you ever need to refresh yourself on the details, you can always re-read this post.

The paperback edition of The Lost Cause, my nationally bestselling, hopeful solarpunk novel is out this month!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/09/23/shield-of-boringness/#some-men-rob-you-with-a-fountain-pen

Image: Flying Logos (modified) https://commons.wikimedia.org/wiki/File:Over_$1,000,000_dollars_in_USD_$100_bill_stacks.png

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[wayslidecool]

arabic numerals ranked from worst to best by their potential as the lens in new year's glasses

#10: Seven (7)

seven is a very awkward number for a lot of things, and new year's glasses are no exception. its weird angular shape leaves no opening to put a lens in, and unlike the next entry, it's too wide to comfortably squeeze between lens in the second and fourth digits. and the impressive thing about 7 is that this is a number with plenty of writing variations, and yet i can't think of a single one that makes it an efficient lens! sorry 7. i think you're the best number for a rating scale, but that's about it.

#9: One (1)

the 2010s were a rough time for new year's glasses, huh? coming off the high of the 1990s and 2000s, people were determined to make the 2010s work, but that's a tall fucking order. the saving grace of 1, and the reason it's above 7, is that it's skinny enough that you can slide it between numbers and use the fourth digit of the year as the lens, but the fact you have to resort to that is only further evidence of how much 1 sucks at being the lens.

#8: Two (2)

two is definitely a tier above the previous two entries. it's an interesting and versatile enough shape that you can mess with it to try and make a viable spot for a lens, what with the upper loop and lower angle, but i feel no matter what you try, you always gotta make some concessions. like, you have enough to work with that a talented enough designer can make something that works, but usually the result is more "functional" than "good".

#7: Four (4)

now we're getting into numbers that could actually make for passable lenses. i mean, check it out! we have a closed loop here and everything, that has GOT to count for something! what makes me put four relatively low on the list is that with its right-triangle shape, i can't imagine it being a very comfortable shape for a lens, especially with how much ends up sticking out and downwards. still, a vast improvement over the previous three entries, even if it's basically just a worse 9.

#6: Five (5)

i feel like depending on what you prioritize in new year's glasses, these next two entries could end up going below the previous one, but personally, i think the not-closed round loop feels like a more practical spot for a lens than 4's closed-but-angular loop, y'know? so what if the loop isn't closed, it still mostly surrounds your eye, and feels generally passable to me. this is a number that wouldn't inspire the idea for new year's glasses, but certainly works now that the idea has been established.

#5: Three (3)

three is basically the same thing as 5, and i could even see some people putting it below 5, since 5's loop is a bit closer to being closed than either of 3's loops. that being said, 3's dual-loop is ultimately what gives it the edge to me. it ends up feeling more versatile to me. i feel the bottom loop is generally the correct choice, but just having the option of the top loop as well really helps it out. either way, after suffering through the 2010s and 2020s, i expect the 2030s to be a welcome breath of fresh air.

#4: Nine (9)

now we're getting to the really good ones. i mean, the 1990s are when the trend of new year's glasses started! if this number was good enough to kickstart the trend, then clearly it's a good number to put the lens in. having a closed round loop really goes a long way, it turns out! what puts 9 below the next three entries is the tail. having that swoop down towards your face feels like it'd be a bit uncomfortable, and this issue doesn't crop up with the next three entries. still, 9 is a trailblazer and its place in the New Year's Glasses Metagame needs to be respected.

#3: Six (6)

if 9's only issue is the tail getting all up in your face, then what better way to solve that then just turning it upside-down? it might just be me, put having it brush up against your forehead feels much, much less intrusive than having it brush up against your face. and plus, it can give the impression of a raised eyebrow! bonus! the 2030s-2050s are going to be a refreshing breath of fresh air following the awful new year's glasses of the 2010s and 2020s, but the 2060s are going to be a true new year's glasses renaissance.

#2: Eight (8)

hey, so remember how i put 3 above 5 since i felt the double loop made it a bit more versatile? well now imagine that, but both loops are closed. 8 makes for such a good lens, it's a little surprising we didn't see new year's glasses in the 1980s (i'm guessing having two of the same number is more inspiring than two different numbers?) either way, eight isn't content to give you just one closed loop. it'll give you a second closed loop right above. (or below!) 8 is a versatile number with many options, and i hope i can live to see the day we see it in new year's glasses. a true stand out in its field.

#1: Zero (0)

still, even with all the good years ahead, it's hard to ignore the fact that the best years are sadly behind us, with the 2000s being the absolute pinnacle of new year's glasses design. i mean, come on. a single loop with no frills is basically what glasses designs default to already, so using the middle two zeroes as the lens for glasses? impeccable design. the 1990s were good enough to kickstart the trend, but the 2000s were good enough to make us want to brute force the 2010s and 2020s. if that's not the mark of a good design, i don't know what is.

sadly, it's likely we'll never see design this good again. the next year with the middle two digits being two zeroes is 3000, and while we might be able to execute double-zero designs at the turn of each century, they'll end up looking weirdly lopsided in the process. i believe humans are hubristic enough to try and brute-force bad decades, but multiple bad centuries? forget about it.

oh well. happy new year

[blorbocedes]

BLONDE TWINK BARES IT ALL! GETS A MASSAGE ;)

williams!era nico gets a massage by dr.dot for RTL in a video that looks like a casting couch bad porn intro. 1/2/2009

below i explain the lengths i went to find this 👇 its v long

so our story starts a few months ago when i began frantically dming my oldest nicologist friend @colors-of-feeling if she remembered this video. I had only half remembered recollections at this point, and i really only remembered the video because it looks so much like a casting couch porn intro. I know I screenshot it but I went through my gallery and couldn't find it. i knew I had seen it a very long time ago and care is one of my first mutuals, so anything nico I've seen she's seen. she doesn't rmbr 😓

now im like holy shit did i make it up. still i plead care to turn her archive public so i can go through it. no luck. i went through my own archive, even though i know I didn't reblog it because it had been a youtube link instead of the video. and i regretted it so bad, because i know that low quality few hundred or thousand views videos from 2000s is basically lost footage because youtubes search is basically incomprehensible. I also went through the archives of other blogs that nico posted back in 2021 for any sign that I didn't just project and Imagine it. no luck.

feeling defeated i go to my final hope, the nicologist of all nicologists @distantlaughter... with only half baked and increasingly hysterical descriptors "umm its like a casting couch video! a boat! but the boat is parked 🤔 maybe the masseuse had pigtails" i rambled, normally like a normal person.

ren the absolute darling immediately pops up with a video of shirtless nico get massaged. its not.

and another one. not that either 😓 we underestimated just how much nico posted getting a shirtless massage.

finally. FINALLY. ren dms me like 10 seconds of this video hidden in a nico rosberg compilation fan video that is even in worse quality. but it's this video!!!!!! it EXISTS!!! im not crazy....... but that 3 pixel collage was proof that it was real, but alas not post worthy. There was an RTL logo in the corner so in one final futile search, we searched RTL archives which unfortunately did not go far enough. We were doing literal detective work like from the 10 seconds of the fanvid we concluded it was like, probably an RTL monaco promo video hence the coastline and the boat, and given nico's hair length it must be williams (or 2010 merc). but nothing further than that. still ren is the absolute goat nicologist who figured it out from just my descriptions alone 🙏🙏🙏

with that I ended my search, knowing it was real at least, even if it wasn't the full video.

today i got a storage full notification. so I started frantically deleting random videos I had on my phone from years. and buried in august 9, 2022 almost exactly TWO years ago . was 5 seconds of this video and the when the screen recording closed you could see it was from a video called Dr. Dot.

this time im posting the video, im also going to ask @argentinagp to gif it so this buried, almost lost footage less than 1k youtube video can get a second life again, and so we can all enjoy weird late 2000s whoring drivers out. ❤️

all of this could be avoided if simply 2 years ago I had reblogged and tagged the original link. archival work is often thankless and pointless but wow, sometimes it can feel so rewarding. so enjoy!

which brings me to the most important part. doesn't he totally look like a twink in a bad porno here?

[marzipanandminutiae]

I've gotten some interesting responses to my post wondering if Um Actually 3 AM Is The REAL Time For Supernatural Occurrences was a traditional thing before I first noticed it in the creepypasta boom of the late 00s-2010s, as many of those creepypastas claimed. some of them along "guys. please. reading comprehension" lines, I admit

"Lots of cultures have a Witching Hour!" yes, true, but that's not 3 AM specifically. for a long time it was usually midnight, or an unspecified late night/wee hours of the morning period

"This author says 3 AM feels like depression or vice versa!" that is not about Spooky Things Happening; try again

"early Christian beliefs say-" "well, in traditional Japanese folklore-" sources??? (also from what I've seen while looking into this, the Hour of the Ox in historical Japanese timekeeping was between 1 AM and 3 AM- 3 AM specifically was the end of it, not the beginning. but it was a traditional time for curses)

A mention of 3 AM as a particularly bad time of night re: health, sleep, nightmares, etc. in Ray Bradbury's Something Wicked This Way Comes (1962), which DOES seem reliable and close enough to what I'm talking about

Apparently the 1974 Amityville murders happened at 3 AM, and of course that house had a highly public (probably faked) haunting. So that could have contributed

I haven't yet found anything earlier than that Bradbury reference that SPECIFICALLY mentions 3 AM as a time when scary and/or supernatural things happen, WITH ACTUAL SOURCES

Interestingly, the Bradbury quote doesn't seem to refer back to an existing cultural belief in the idea of Evil 3 AM(TM). rather it's framed as the narrator's personal feelings around that particular time of night:

"Oh God, midnight’s not bad, you wake and go back to sleep, one or two’s not bad, you toss but sleep again. Five or six in the morning, there’s hope, for dawn’s just under the horizon. But three, now, Christ, three A.M.! Doctors say the body’s at low tide then. The soul is out. The blood moves slow. You’re the nearest to dead you’ll ever be save dying. Sleep is a patch of death, but three in the morn, full wide-eyed staring, is living death! You dream with your eyes open. God, if you had strength to rouse up, you’d slaughter your half-dreams ... And wasn’t it true, had he read somewhere, more people in hospitals die at 3 A.M. than at any other time." [I can't find any credible studies of this, for the record]

so it seems like the seeds of the idea were floating around in the cultural consciousness for a long time, between unspecified Witching Hours and the Hour of the Ox curses and this probably erroneous but popular belief that most people who die in hospitals do so at 3 AM. but as for the very strictly-defined notion that Supernatural Things Are Most Likely To Happen At 3 AM...the earliest anecdotal reference I saw to someone having heard that was from the 1980s, and it doesn't seem to have really entered the zeitgeist with force until the late 2000s, earliest

unless someone shows me a source on something earlier, that's what I'm going with

which leaves my takeaway, as a paranormal believer, being: there's nothing supernaturally special about 3 AM, unless it has individual significance to a specific entity or haunting (ie residual apparition of an event that took place at that time). it's something people came up with for interesting fiction, as a fresh take on the longstanding western idea that the Witching Hour is midnight, and not even that long ago

[txttletale]

Hi! Do you think you could link me to some resources about the problems/ evils of the EU? Would love to find some but it's hard to know what's reliable when I have no base knowledge in this area + you seem very well informed :)

sure. let's start with what the EU does to its own member states--in 2009, the EU bailed the greek government out of severe debt on the condition that they establish brutal austerity measures, cutting public spending and welfare. these measures served to immiserate and destroy the lives of thousands of greek people:

Greek mortality has worsened significantly since the beginning of the century. In 2000, the death rate per 100,000 people was 944.5. By 2016, it had risen to 1174.9, with most of the increase taking place from 2010 onwards.

[forbes]

Since the implementation of the austerity programme, Greece has reduced its ratio of health-care expenditure to GDP to one of the lowest within the EU, with 50% less public hospital funding in 2015 than in 2009. This reduction has left hospitals with a deficit in basic supplies, while consumers are challenged by transient drug shortages.

[the lancet]

The homeless population is thought to have grown by 25 per cent since 2009, now numbering 20,000 people.

[oxfam]

the most brutal treatment, however, the EU of course reserves for migrants from the global south. the EU sets strict migration quotas and uses its member states as weapons against desperate people fleeing across the mediterranean. boats are prevented from landing, migrants that do make it to land are repelled with brutal violence, and refugees are deported back to countries where their lives are in lethal danger. these policies have led to many, many deaths--and the refugees and migrants who do survive are treating fucking inhumanely.

After a perilous journey across the desert, Abdulaziz was locked up in Triq al-Sikka, a grim prison in Tripoli, Libya. Why? Because the EU pays Libyan militias millions of euros to detain anyone deemed a possible migrant to Europe [...] A leaked EU internal memorandum in 2020 acknowledged that capturing migrants was now “a profitable business model” [...] in Triq al-Sikka and other detention centres, “acts of murder, enslavement, torture, rape and other inhumane acts are committed against migrants”, observed a damning UN report.

[the guardian]

Volunteers have logged more than 27,000 deaths by drowning since 1993, often hundreds at a time when large ships capsize. These account for nearly 80% of all the entries.

[the guardian]

Refugees and asylum seekers were punched, slapped, beaten with truncheons, weapons, sticks or branches, by police or border guards who often removed their ID tags or badges, the committee said in its annual report. People on the move were subject to pushbacks, expulsion from European states, either by land or sea, without having asylum claims heard. Victims were also subject to “inhuman and degrading treatment”, such as having bullets fired close to their bodies while they lay on the ground, being pushed into rivers, sometimes with hands tied, or being forced to walk barefoot or even naked across a border.

[the guardian]

In September, Greece opened a refugee camp on the island of Samos that has been described as prison-like. The €38m (£32m) facility for 3,000 asylum seekers has military-grade fencing and CCTV to track people’s movements. Access is controlled by fingerprint, turnstiles and X-rays. A private security company and 50 uniformed officers monitor the camp. It is the first of five that Greece has planned; two more opened in November.

[the guardian]

i could go on. i could cite dozens more similarly brutal news stories about horrific mistreatment, or any of the dozens of people who have killed themselves in the custody of border police under horrific conditions. the EU is a murderous institution that does not care about the lives of refugees and migrants or about the lives of the citizens of any member state that is not pursuing a vicious enough neoliberal political program

[leo-fie]

I'm currently beginning my surely lifelong obsession with Terry Pratchett novels, two novels in, halfway through a third. All bangers.

So here's an observation that's probably not new to anyone:

Pratchett is a damn good writer very in conversation with tropes of the genres and his audience. He's ironic without being irony-poisoned.

Example: Monsterous Regiment. Amazing book, enjoyed every second of it. No fat on this one. The story and especially the characters move so fast that I often had to go back an read a page again to follow the train of thought. Pratchett doesn't spend a lot of time explaining how Character A came to Conclusion B, but he leaves enough bits of information that he can lead the reader to the conclusion exactly the moment he wants to. He has to have an extremely good grasp of how people read novels to pull this off. It worked on me and I'm not that attuned to his style yet.

I noticed that Pratchett uses a lot of ironic humour, but it feels different than the irony-poisoning that so plagued the 2000s and 2010s. Nowadays mainstream media has come back around to sincerity a bit, which is great, but Pratchett does both. How? For him, the irony is the starting point.

Monsterous Regiment has a girl disguising herself as a boy to join the military. She does this literally the moment we meet her. No preamble. The usual shenanigans one expects from this type of story are handled soon and serve additional purposes, like introducing the motive of the socks and the mystery of who gave them to Polly. Or the recurring bit about shaving that also does characterisation for Jackrum and Blouse. Etc. The actual plot is about the war. And where a lesser story might have have the climax be the reveal of the protagonist's actual sex, Pratchett does a bunch of interesting things in his climax, including the reveal, but he also ties it in with a dozen other plot threads into an amazing, complicated, messy scene of people talking.

And then again, because he knows where the audience is at, the last two reveals (Paul’s whereabouts and Maladikta) are handled rather quickly, but still appropriately. And for good measure, here’s a bit about Jackrum, in case you were thinking of reading the ending even a little bit less closely.

But Pratchett has been doing this since the beginning. Guards! Guards! Starts with a meeting of a secret society, and quite a lot of fun is made of the silly code phrases and dramatics, which are half the point of a secret society, and about the type of guy who would join. But it’s the beginning of the book, literally the set up. The irony is the starting point.

But it’s not like the ironic bits and the actual story are separated. Rather they work in tandem. In Monsterous Regiment there is so much gender going on, and it is very funny, and it explains the inherently performative nature of gender rather succinctly, but it’s also the cause of the war the brutality of which is present the whole time. It’s socks all the way down.

Also: Pratchett manages to say so much with so little words. The brutality of war stated with nothing but a bunch of guys on the road and a count of their limbs. Holy shit!

Yeah, I get why Pratchett is held in such high esteem. And I’m only reading translations.

[agaypanic]

Could you do fic for Carlisle Cullen with wife reader? It was his day off and they were just doing domestic things. Like, taking a walk in the park, having a date. It was rare that he was taking a break but he felt that he was not spending enough time with his mate and he missed her. Add anything you want. Just something fluff and cute. Lots of kisses and hugs. Bonus : The Cullen's kids appearance. Thanks!! :))

A Day Off (Carlisle Cullen X Vampire!Wife!Reader)

Masterlist

Request Something!

Summary: Feeling like he hasn’t spent enough time with you lately, your husband Carlisle takes a day off of work to do his favorite things with you. 

A/N: i have a fic kinda like this, but carlisle’s hot so im ok with writing another similar one lol. For silly plot reasons, pretend twilight takes place in the 2010s instead of the 2000s

***

“Emmett, get down here! You’re gonna be late for school!”

“Don’t worry, Y/n,” Alice said. “We’ll get there on time.”

“Sorry.” Emmett rolled his eyes as he ran down the stairs. “I slept in late.”

“How could you sleep in late? You don’t even sleep.”

Carlisle laughed at the conversation between you and Emmett. You were rounding up the kids, ready to send them on their way to school, while he was up in his office finishing up some last-minute things before he had to go to work. He listened as you said goodbye to the five vampires, getting responses in return before the door to the garage shut. Then, you made your way up to Carlisle’s office.

“Come in.” He said before you even had to knock. He looked up to see you leaning against the open door’s frame, smiling at him fondly. “Hi.”

“Hi.” You pushed off the doorframe and walked around the desk. Carlisle turned his chair so he’d keep facing you. “Shouldn’t you be heading off to work?”

He sighed. “I suppose.” You stood between your husband’s open legs, taking his face into your hands. He relaxed into your touch and closed his eyes.

It had been a while since you and Carlisle had been alone together during the day. Sunny days were rare in Forks, and being the best doctor around from centuries of experience, his presence was always needed at the hospital. Especially with the recent ‘bear’ attacks.

“See you tonight?” Your voice brought Carlisle out of the trance that you had put him in. Despite both of you being ice cold, you always made him feel so warm. 

Carlisle nodded. “Of course.” You looked at each other for a moment, reveling in the silence and privacy you rarely had. “I love you.”

You grinned, leaning down to kiss him. “Forever and eternity?”

“Forever and eternity.”

Soon after that, you left his office and went back downstairs. Carlisle leaned back in his chair, tapping a simple rhythm on his desk. God, how he missed you.

Suddenly, he grabbed his phone. He quickly dialed a number and put the device to his ear.

“Hi, Denise. It’s Dr. Cullen.” He said. “I’m afraid I’m going to have to call out of work for today. Family things.”

After the quick conversation, Carlisle hung up the phone and headed downstairs. He found you curled up on the couch with a book.

“What are you reading?”

“One of Edward’s books.” You answer, looking up to see Carlisle looking at you curiously and lovingly, a look he always had for you. “Don’t worry, it was mine first. Heading off to work?”

“Actually…” Carlisle rounded the couch, and you sat up to make some room for him. “I decided to take a day off.”

You looked at him with some shock. As far as you could recall, Carlisle only took time off work when the sun came out so you and your family wouldn’t expose yourselves to the humans. “Really?”

As Carlisle settled on the couch, he gently pulled you to lean against him. “I’ve realized we haven’t been able to spend much time together lately. And I missed you.”

“Aw, I’ve missed you too, darling.” You gave Carlisle a peck on the lips, but when you pulled away, he cupped the back of your neck to kiss you deeper and longer. You wrapped your arms around his neck, keeping your thumb between the pages of your book so you wouldn’t lose your place. Carlisle’s cold but firm hands held you close to him. You only pulled away when you felt breathless, which really meant something, considering you didn’t need to breathe. “I missed that too.” You said with a giggle.

“Well, there’s more where that came from.”

Carlisle spent the next few hours reading your book to you while you lay in between his legs and on his chest. You loved the sound of his soothing voice as he absentmindedly stroked your arm. Every now and then, he kissed your head, cheek, hand, really anywhere he could reach. 

When he finished the book, he set it on the coffee table and wrapped his arms around you. “What would you like to do now?” He asked.

“Hmm…” You hummed, trying to think. “Well, usually around this time, I put on a show.”

Carlisle reached for the TV remote and handed it to you with a kiss on your cheek. You turned the television on and scrolled through until you found a show that you had been wanting to watch. 

“Pretty Little Liars.” Carlisle read the title. “Sounds interesting.”

***

“We’re home!” Emmett yelled as he and his siblings exited the garage, even though you and Carlisle could hear their cars pulling in. He jumped onto the other end of the couch, bouncing you and Carlisle slightly. “What are we watching?”

“Pretty Little Liars,” Carlisle answered. “It’s… interesting, to say the least.”

“Who’s she making out with?” Emmett asked, pointing at the screen.

“Oh, that’s her teacher.” You respond nonchalantly.

“Her what?!”

***

Twilight Taglist: @in-my-hoe-era

[tanadrin]

Every single licensed piece of LOTR media after the original Peter Jackson trilogy has been absolute dogshit, and I am rather glad about that—it means that as the years go by, the odds of having to endure a remake are pretty low, and the original cultural place of the books will never quite be displaced. I think it also keeps the churn of Extruded Lord of the Rings Product down—unlike Star Wars, where everybody is hoping to make the next Andor or Rogue One, hopefully nobody has any illusions their LOTR project doesn’t fucking suck. And it’s only 20 years until LOTR enters the public domain, and people can do whatever they want with it.

Also helps that the bar is quite high—not only were the Jackson films pretty darn good, the books are genuinely terrific. Star Wars, Star Trek, Game of Thrones, and a lot of other stabs at the Next Big IP are fundamentally medium-to-bad in a way that establishes the bar for a “good” entry in the series pretty low. I like the original Star Trek a lot, for instance, but it’s not exactly one of the all time best written and produced TV shows! Whereas the LOTR books are well written enough there’s a noticeable disjunction in quality even just between bits of the movies that quote them or adapt them closely and bits Jackson made up—and that gulf becomes titanic in the hands of writers and directors who are even worse at Tolkien pastiche than 2000s Jackson (like, say, 2010s Jackson).

[shadyvoxtruth]

How ShadyVox Threatened Myself & Others For Years

My name is Martin Billany but I am also known as LittleKuriboh in the YouTube sphere/Yu-Gi-Oh fandom.

I am posting this here for posterity in case all of my other posts elsewhere about it are removed. Also because there has never been a single unified place to find all of this information presented in sequence.

Patrick, also known by his pseudonyms of ShadyVox or Scratch21's Matt Robinson or Blake Swift, spent the better part of 2019-2023 both threatening me and manipulating a group of real victims.

A brief history - for those who don't know, Patrick/ShadyVox and myself were heavily involved in the "abridged series" world in the late 2000s/mid 2010s. I myself started the whole abridged parody nonsense with Yu-Gi-Oh Abridged, and Patrick would follow suit by doing a Yu-Gi-Oh GX Abridged. We met through content creation and formed a friendship through it. Not best friends or anything, but friendly enough.

Patrick would later leave the abridged series stuff behind and start over making music, working in original animation for popular internet channels, etc. Stuff he was genuinely very good at. It was a strong choice to move away from parody content, as it likely would have held him back at some point.

At a certain point in 2018, I received a communication from him that requested I remove certain YouTube comments on my videos that featured him. These comments were demanding to know why Patrick was following various right wing channels and were calling him alt-right, etc.

I agreed to remove the comments because I considered him a friend and automatically assumed there was some big misunderstanding. As it turned out, he was subscribed to a few channels that caused me to confront him.

I was emotional and upset, admittedly. Things politically were at a fever pitch and I had been swept up by it. I have included screencaps of our conversation.

Later I would apologize to him for my outburst and try to make amends. You're probably wondering why I would include this since it doesn't seem to involve Patrick threatening me, and it seems if anything to suggest I got upset at him.

That is because I truly believe this is the moment Patrick decided he was going to find some way to come after me. I believe that Patrick had spent a lot of time creating a mask for himself, and had worn it very well, and the moment someone saw through it for even a moment he decided I had to be dealt with somehow.

At this point - mid 2018 - Patrick and I were not close. We hadn't worked on anything together in half a decade. We really only kept in touch in a cursory fashion. So I imagine this interaction stuck in Patrick's craw something awful.

I was, however, closer with the person Patrick had worked in conjunction with on his abridged series, X. These days X is my best friend. Back then, I don't know how close we were. But definitely closer than either of us were with Patrick.

One day in 2019, entirely out of the blue, Patrick messages me privately to inform me that X once slept with a girl who was 17 when he was in his early 20s.

My own spouse was sexually assaulted before I met them, and as a result I have a no tolerance policy on anything that even could resemble assault. So I immediately ended my friendship with X.

And as I was doing so, Patrick told me repeatedly that I was overreacting.

As you can see, by Patrick/Shady's own words, this was a long time ago. Just under a decade or so, by my count.

And most importantly, Patrick had been aware of this for the whole decade or so and chose this very moment to tell me that this happened.

I want you to keep that in mind, especially the fact that when I said I was ending my friendship with X, Patrick's actual response was "it was a long time ago, he's gotten better."

It was painful to end my friendship with X, but I did. I told him that if he could provide satisfactory proof that what Patrick had said didn't represent the facts of the situation, I could be his friend again. Until then, I cut off all communication from X.

A week or so later I received specific evidence that pointed to a situation wherein Patrick was intentionally misrepresenting what happened, or the alleged victim's story. The alleged victim VERY specifically disagreed with Patrick.

You'll note that I'm not including screen caps of these conversations - that is because the alleged victim, and other involved parties, DO NOT WANT to be part of any of this and have needed actual therapy because of Patrick's behavior in the past. Not just here.

Anyway.

I returned to Patrick/Shady and told him there had been a misunderstanding. I wanted to clear the air and give him a chance to say something along the lines of "oh okay, obviously I had my facts wrong." I mean, as you yourself have just read - he said himself that this was a long time ago. Maybe he got some wires crossed.

This is how Patrick actually responded:

The screenshots were taken on different dates, hence why his twitter icon looks different suddenly.

But yes. His response to me explaining that the alleged victim disagreed with his stance, was to insist that the alleged victim must be lying and that I should be absolutely infuriated.

After he'd tried to tell me that there was no point in being upset about this information that he had sat on for the better part of a decade.

Patrick continued to scream at me via dm, repeatedly requesting that I give him my phone number so we could talk about this. I assume this is because he didn't want any kind of text evidence of what he was going to say to me, or what he was doing.

He would later, mid-conversation, tell me that he was deleting all of his dms to me. Not sure why. It doesn't remove them from my side of the conversation, so I still have access to all of them. I have not shared the entire private message thread yet, because it's sensitive and involves people beyond just myself. But if the dms ever do need to be made public entirely, I have them.

I ended up blocking Patrick during this very conversation because he had begun screaming at me, behaving extremely unhinged and in a frightening manner. I honestly think he had hoped that I would initially try to defend my friend from his accusation, in which case he was going to fly off the handle then. But because I had genuinely believed him and removed my friend from my life, only to then learn Patrick's story didn't hold water, he had no choice but to lash out now. When it didn't make any sense to suddenly be irate about a thing he had told me about, and had literally just said "it was a long time ago."

Within 24 hours, Patrick had sent me a threatening email saying he was going to expose me for everything I was doing. I have attached the highlights of the email, parts that don't involve other people's names.

Some of the references in this email - specifically about how I've associated with others and ignored people calling me out for it - are related to a podcast I was on, alongside Patrick. Until recently I had indeed tried to move on with my life after a number of the people involved had revealed themselves to be toxic. I had made efforts to separate myself from those people. It had been years since I'd really had any direct connection to any of them.

I do indeed regret not speaking out about it sooner.

Having said this, Patrick himself was equally as guilty for not speaking out - and had in fact spent a significantly larger amount of time talking to/working with the people in question.

As such, I believe a lot of this is some form of bizarre projection on his part.

I ignored the email because I was a) worried that he had suddenly snapped, and b) I didn't think any of the content warranted a response.

A day later, I received this email from Patrick where his tone has changed entirely:

As you can see, this is more in line with the reality of the situation. He is apologizing profusely and insisting I didn't actually do anything wrong, and that he was the one in the wrong.

You'll also note that he signs this particular email "Patrick." That is because it is his real name, and I believe he was possibly appealing to my humanity and the part of me that might still have seen a friendship worth salvaging. Otherwise I could not tell you why he signed his real name - he typically hates using it.

I still did not reply because at this point I was confused and scared and wanted him to leave me alone. And to that point, he had specifically stated at the end of his email that he was the problem and he would not "involve himself in my life any longer."

The police were contacted and they told him to stop. I had hoped that my part in all of this was over.

Later that very month, Patrick announced on his ShadyVox twitter account that a new GX Abridged was coming out for April Fools.

When it is posted on April 1st - less than a month after he had sent his email saying he would remove himself from my life, and not long after the police have visited him - the video contains many references to our conversations, and specifically the fact that the police got involved.

Yes, after being told by the police to stop - and after writing an email that insisted he knew he was the real problem and would be getting help - he decides to make a mockery of the situation publicly, in a manner that nobody else will understand. Except the people it is targeting.

The tweets about this video are the only thing remaining on Patrick's twitter account, as he had purged it some time ago.

(An aside - I do recall someone attempting to call Patrick out for being toxic previously on twitter, and his response was to spam them with the words "PROVE IT. PROVE IT. PROVE IT." until they gave up. I would include screenshots of this, but like I said - he purged his entire twitter except for this specific GX Abridged video he'd thrown together in a week to respond to the fact that the authorities had intervened to get him to stop)

One other important element of this video - which is where, I believe, this whole thing veers into genuinely disturbing territory - is that it is interspersed with garbled footage intended to look like some sort of creepypasta/vhs effect. At the end of the GX Abridged video, it is clear that Patrick is using this video to allude to some upcoming song tracks he is producing.

Songs that are tailored to threaten me in cryptic, indirect ways that very few people pick up on.

But I'll get to those later.

During 2019, Patrick reaches out to actual victims of the toxic individuals from the podcast I used to be on more than half a decade before any of the stuff chronologized in this post. He tells them lies, and demonizes me to the point that it convinces them that I am still both defending/supporting the toxic individuals, and actively mocking their victims in private.

I am aware of this because Patrick tweets about it - before deleting the tweets entirely. He even attempts to throw popular abridging group TeamFourStar under the bus, which I assume was merely out of spite because they had absolutely nothing to do with any of this.

I wish I had screengrabbed the tweets when they were still up, but there is still remaining evidence that they did exist.

Here is someone posting on Reddit about it - he only references one tweet, but this was around the time Patrick was posting and then immediately deleting what he'd said. I honestly can only assume - but I think he was fishing for people to latch on to what he was saying and contact him privately.

Not to mention the fact that the police had specifically told him to stop, so that was likely in the back of his mind also.

Here is someone replying to a since suspended twitter account that was discussing what Patrick was saying about TeamFourStar. Obviously I have no clear way to prove it, but please know that I have no reason to make that much up and point to a random ass tweet.

I imagine Patrick (not the suspended person in the above screencap) realized the best way to not seem directly to blame or involved at all was to remove any and all posts he'd made. Admittedly it would have worked if I didn't have the dms and these emails.

Speaking of emails, I received a third one in late 2019 - as you can see, Patrick's promise of leaving me alone forever didn't even last a year.

You'll note that he's speaking as though the second email never even happened. He's also just plain lying through his teeth for a significant part of it, but I think it's most important to note that this email requires you to assume the second email never got written.

He has gone from pages and pages of "of course it wasn't your fault, I'm the problem, you're good, I'm bad" to "I told you..."

Also, I think the words "You tried to damage me" should be highlighted here as it reinforces my theory that all of this was about me insulting him for all the right wing channels he'd subscribed to. Which, to me, was barely even a thought in my mind at this point.

So I choose to ignore this email also. Because y'know, why would I even humor responding to the guy at this point? I decide that I will only speak on any of this if it becomes public conversation. Until then, anything that happens would be because of Patrick's actions.

I do let my friends know about all of this - including TeamFourStar, who through this entire thing have been blameless and didn't even do anything to Patrick to begin with. And every time Patrick does something, I make sure people in my circle are aware and to be cautious.

Meanwhile Patrick alludes to all of this indirectly in the songs he posts to his YouTube channel. Yes, a situation that involves actual victims and one alleged victim that Patrick hadn't spoken to in years. He chose to make reference to all of this in videos where he raps, amongst other things.

There are a number of songs that feature references to this, it's mainly these two that I want to focus on

Birdy Boy is a song that is explicitly referencing Patrick's issues with me, without actually going into any details about what the issue is.

It is so clearly about me that people pick up on it - and rather than confront the issue or have a dialogue, Patrick decides to pin the comment about it to the top of the comments page.

Of course, if Patrick made any attempt to directly describe the issue or explain himself, it would likely result in the police becoming involved once again.

So he sticks to singing about the whole thing.

This next song is the most upsetting one.

Patrick/Shady writes a song called "Joker" about a psychotic individual murdering someone who "used to be funny." This is, specifically, the song that he teases at the end of the GX Abridged Episode 21 video he posted earlier in 2019 for april fools.

He has teased it multiple times on his twitter, and elsewhere, with the words "Coming Soon." The very same words he used to title his third threatening email.

Here is the email, placed next to some lyrics from the song Joker.

He is seemingly very specifically trying to threaten me without anyone noticing, in plain sight. I was unable to watch the video in full until after all of this stuff came out into the public. It was only through reading people's responses and the lyrics that I realized what he was doing.

Again, at this point I am doing and saying nothing publicly. Just watching this behavior and waiting.

Meanwhile in 2021, a videogame based on the web series TOME gets fully funded and Christopher Niosi - the creator of TOME - reaches out to the voice cast to see if they'll return. I myself was the voice of Nylocke, one of the main characters, and Patrick was the voice of THE main character.

As such, I told Christopher no and explained my reasons.

And here is Christopher's response.

Please pay careful attention to the fact that Christopher Niosi flat out says he already knew Patrick was doing this stuff - it isn't just me imagining it.

As a result of this interaction, I do not reprise my role as Nylocke and Christopher Niosi chooses to just recast every single character. Please note that he could have just recast Patrick, but did not. As a result, I feel responsible for all of the original cast losing out on work. It hurts to think about. But at least I feel like I did the right thing.

One member of the TOME production staff takes it upon themselves to reach out to Patrick personally. They discover that he is planning to write more songs/raps that target me. They ask him nicely to stop. He insists that he has to do this. Y'know, make vague allusions to extremely sensitive topics that he lied about in the form of song. Has to do it.

The member of production staff tells Patrick he should seek professional help.

Patrick ignores them.

Patrick continues to engage in behavior that, while not openly hostile or even specifically targeting anyone, is very clearly intended as mockery at best and a threat at worst until 2023 when all of this comes to a head.

In August of 2023, the real victims that Patrick has manipulated make a callout post aimed at myself and TeamFourStar. It specifically cites Patrick's testimony and the songs he has posted. They have been misled, but their anger is understandable.

Within a week, it becomes apparent to all sides that this is Patrick's fault. The person who posted the callout takes it down and apologizes to everyone. Not just me. They apologize to TeamFourStar, and to X.

And only then do I speak publicly about what Patrick has been doing.

I share all of the screencaps I've posted here, and give context. It's all a little muddled as at the time, my cat was dying of terminal cancer and so all of my posts are somewhat scatterbrained and aren't in chronological order. But it's still remarkably clear to everyone that Patrick has manipulated this whole thing, starting in 2019.

And that's only the stuff I feel comfortable sharing.

Since the callout post first dropped in 2023 and I began pointing people's attention toward Patrick, Patrick himself has been entirely silent. He has dropped off the internet with nary a word in defense. Not a single person directly associated with what happened has attempted to dispute my description of events.

This isn't my word versus his. It is my word versus silence.

I have it on good authority that Patrick is alive and well. I am grateful for that much. My attempts have not been to hurt him, but to defend myself. My efforts have not been to hunt him down and crucify him, but to make people aware of what transpired - and what could have easily been undone by Patrick/Shady just choosing to stop.

Instead a number of victims, and people who never did a thing, experienced a considerable amount of trauma as a result of his thoughtless and spiteful actions.

Patrick is a remarkably talented individual, and it makes me sad I have to be the one to show people who he is. I genuinely think all of this could have been avoided. It's so meaningless. It's just pain on top of pain.

And Patrick stood in the center of it all, not just pulling people's strings but practically uprooting them and then acting like he didn't do a thing.

I'm not expecting an apology, and I'm not asking for his cancelation, whatever shape that would take. But I do think it's important that people know this happened, that he chose this.

He did this for almost no reason to a person he considered a friend, who worked on videos with him.

It just seems like the responsible thing, to make sure people are somewhat aware that he could do this to them if they aren't cautious and careful and super aware.

I'm sorry to anyone disappointed and hurt by all of this information.

Believe me, I understand.

[ghxstlike]

i love loving you

leon kennedy x reader content/warnings: petnames (baby), leon being awkward, leon antics, awkward flirting, teasing, cigarette mention, leon’s music taste, anxiety mention, nightmare mention. authors note: i am down bad for this man. he is rotting my brain and i am very okay with it. these are personal headcanons :)

leon's smile always starts out as a smirk. it's very cute.

always has a hand on you. around your shoulders, holding your hand, lightly gripping your thigh. he wants other people to know that you're taken- you're his.

he is a slightly possessive and jealous man. if someone is flirting with you, his eyes are narrowed at the person who is way too close to you, and his leg is bouncing with anxiety.

sooner or later, he saunters over to the two of you and wraps an arm around your shoulders.

"hey, baby," he whispers in your ear, but it was loud enough for the person in front of you to hear. you shiver, slightly leaning into leon's embrace.

when you first met leon, you were immediately attracted to him. so, of course, you started to flirt with him.

though, he isn't dumb. he knew you were flirting with him (he was flirting back, after all). he teased you for it, obviously.

"are you flirting with me?" he says with a smirk. leon leaned down to get closer to your face, tilting his head.

people say that leon is a flirting machine and is good with women. no he is not.

i mean, yes, he does flirt a lot, but he is not good with women at all.

you found it very charming and cute when he asked you out. a huge smile was plastered on your face, staring at the nervous man in front of you.

“i- hm, i was just- fuck. i was wondering if you, i dunno,” he clears his throat. his face is slightly pink, but he thinks that his face is a deep red by how hot his body feels. “do you want to go get dinner with me sometime?” he manages to get out. he sighs out of relief- he did it. he feels a drop of sweat roll down his temple onto his cheek, shoving his clammy hands into his jean pockets.

of course, you said yes. i mean, who wouldn’t?

y’all aren’t gonna like this, but he definitely smokes cigarettes.

i mean c’mon, he was born in 1977. though, he didn’t willingly start smoking. his friends in high-school peer pressured him.

he tried to stop smoking before his first day at rpd, but it failed miserably. he felt antsy and he was more on edge- angry. he hated that he got easily frustrated with people. he’ll try again someday.

he smells like cigarette smoke and leather. occasionally he smells like coconut & patchouli (his cologne).

always has a stress toy with him. i like to think he wears a fidget ring on his middle finger or thumb. playing with a stress ball or twirling a pen makes him more focused and calm.

bites the inside of his cheek when he’s deep in thought. he doesn’t even notice that he’s doing it, it just happens.

his music taste is decent!

he doesn’t listen to the radio, thinks 2010 music is trash and it’s annoying.

it’s mostly a combination between 90s alt & grunge and early 2000’s rock. his favorite band is radiohead.

always gives eye contact. never looks away when you're talking, especially when you're talking about your long day at work or something you're passionate about.

as we all may know, he's bad at communicating his feelings. you can tell he's getting better with it, but it's still a challenge for him.

he never talks about raccoon city. you only found out about this from overhearing a conversation he had with claire. you brought it up one time, but he fell silent and never looked up at you. ever since then, you never talked about it with him.

mans suffers with frequent nightmares, so obviously he never sleeps. when he's with you though, he doesn't have any nightmares. so, he stays up until you're ready for bed.

when you're out late, he's waiting for you in bed.

leon loves to get his hair played with. he loves the feeling of your nails lightly scratching his scalp.

if you take meds, he always reminds you to take them. he also watches you take them, just in case.

leon always wants the best for you. he just loves you, so so much.

[louisupdates]

Louis Tomlinson - does it ring with this name? As a singer of the British boy group One Direction, he was successful in the years 2010-2015. Together, the band decided to take a break. It has remained so to this day. In 2016, however, Louis began to take his own path. On his solo paths, the singer-songwriter has developed a style that takes up influences from British rock, alternative and indie pop. His music is often melodic, with catchy guitar riffs and a rather down-to-earth sound reminiscent of British bands of the 2000s. Already his first single Just Hold On sold 1.8 million copies. In 2020 and 2022, he released his two albums Walls and Faith In The Future. This was followed by two incredible world tours with over 170 concerts in 47 countries on 5 continents.

For this, an idea matured - a live album should be created, but a very special one. Thus, individual songs were recorded during the tour. On the 25th In April, the result was surprisingly published digitally. 14 songs have been released. Each of them was recorded in a different city. So the listener at home can also mentally go on a small trip around the world while enjoying the individual songs. Now the physical versions of the live album also followed, which make the concert feeling in the living room perfect. These include four more, exclusive tracks. In addition to the double CD, a double picture vinyl edition is available and it has it all!

The vinyl edition contains a special tour book. Fans were able to submit personal impressions about their concert experiences. And these are now included in this extra booklet. Louis decorated the recordings with individual hearts, smileys or crosses and handwritten the first names of the respective fans. This recorded, mutual appreciation is truly a magical highlight. The 28-page, regular booklet is no less lovingly designed. In addition to the lyrics, you will encounter the London set list, high-quality backstage photos and touching recordings made during the concerts.

Louis is happy about this release: "I have been lucky enough to tour the world twice in the last 3 years. The feeling I get when sharing these live moments will accompany me forever. The opportunity to record these songs anywhere in the world and release them as an album is something very special and a real tribute to the fans, who make every single show a unique and incredible experience. Thank you! Enjoy!"

Right at the opener The Greatest, you seem to be in the middle of the action with your eyes closed. In addition to the live sound, the fans can also be heard clearly. Louis invites them to tune in with him: "Sing it with me!" And they do! The spirited mood comes across clearly. In the meantime, the fans also get the space to sing alone. You get used to the choruses and the delighted shouts from the audience very quickly. In Bigger Than Me, the British singer gives space for personal growth and self-reflection. In the song, Louis describes how he deals with the changes in his life and realizes that life is bigger than himself. He talks about taking responsibility for his actions and decisions, especially with regard to his career and the people who support him. The song contains a powerful perspective on growing up and taking responsibility.

Holding On To Heartache puts the fans in great excitement. screams welcome the gentle song. This is about how difficult it is to let go of the pain after a breakup. It's about holding on to grief because it's connected with the memories of lost love, and it's not easy to finally finish with the past. The single We Made It is powerful. In the booklet, the single was translated into Filipino - after all, the recording comes from the concert in the Philippines. Although Louis sings the title in English, this hidden greeting is really adorable. By the way, this approach can be found several times in the booklet. For example, All This Time/She Is Beauty We Are World Class, the titles played in Munich, were also translated into German, for example.

High In California, for example, can only be found on the physical editions of the album. This lightness that the song contains is clearly noticeable. This is about escaping everyday life and getting lost in a state of freedom and lightheartedness. The lifestyle and atmosphere of California make you forget your worries and problems for a moment - just as is the case with Louis' concerts. Here you feel protected and can escape all negative thoughts.

Common People is about the appreciation of ordinary people and their experiences. The song deals with life in everyday life and how important it is to connect with the "ordinary" people and understand their perspectives. Challenges and struggles that many people experience should be taken seriously instead of romanticizing them. It is his tribute to the authenticity and reality of life. It therefore becomes gently rocking with All This Time/She Is Beauty We Are World Class. Here you rock with real fun from the sofa. The groovy guitars do the rest:

In Walls, delicate strings underline the song about emotional barriers and the struggle to show themselves vulnerable. Louis addresses the need to dismantle one's own walls in order to enable real connections with other people. It is an honest and personal song about vulnerability, love and the desire for closeness, despite the difficulties that can be associated with it. Louis calls on his fans: "Here we go! Scream" and together the fans sing with their idol: "But these high walls, they came up short. Now I stand taller than them all. These high walls never broke my soul. And I, I watched them all come fallin' down. I watched them all come fallin' down for you."

Out Of My System is then reached harder into the guitar strings. The drums are also picking up speed. With the fast track, the good mood is at a peak. This is about the internal conflicts and the difficulties of freeing yourself from the emotional burdens, while at the same time trying to find yourself and your identity. Overall, it is an energetic track about the process of leaving the past behind and starting over. In Paris, Louis is impressed by his crowd: "This looks fucking amazing!" With a warm voice, he performs Saturdays - a song that clearly reminds you of Oasis.

Silver Tongues is accompanied by a lively piano playing and you can really imagine how the euphoric fans on site shine with shere joy and rock them together again. "Krakow, you have been absolutety incredible tonight. Thank you, thank you, thank you! Sing this next one with me, here we go... as loud as you can!” And the crowd settles in: "You and me until the end. Wakin' up to start again. You and me until the end. Wakin' up to start again. There's nowhere else that I would rather be."

The record ends with Kill My Mind from Santiano. Louis sings of a roller coaster of emotions in a passionate, but also chaotic relationship. It's about the challenge of letting yourself be overwhelmed by the feelings and the inner struggle that arises when you are trapped in a relationship that is both exciting and stressful.

Louis Tomlinson and his crew have succeeded in a truly remarkable work. What is actually the advantage of a live album? You are not terribly sweaty, the way home is not imminent and you do not fall into the aftershow blues like a real gig afterwards, but can simply start all over again. 🙂

Louis Tomlinson's album Live was released on 23.08.2024 as a CD and vinyl via the label BMG.

Tracklist LOUIS TOMLINSON - Live (Vinyl Edition)

A

01. The Greatest - Live from London, 17.11.2023

02. Face The Music - Live from Nashville, 07/18/2023

03. Bigger Than Me - Live from Vancouver, 26.06.2023

04. Holding On To Heartache - Live from Barcelona, 06.10.2023

05. We Made It - Live from Manila, 16.07.2022

B

06. Chicago - Live from Chicago, 15.06.2023

07. High In California , Live from Amsterdam, 15.10.2023

08. Fearless, Live from Rio, 27.05.2022

09. Common People, Live from Sheffield, 10.11.2023

C

10. All This Time/She Is Beauty We Are World Class, Live from Munich, 22.10.2023

11. Walls, Live from Buenos Aires, 21.05.2022

12. Only The Brave, Live from Milan, 03.09.2022

13. Written All Over Your Face, Live from Budapest, 15.09.2023

D

14. Out Of My System, Live from Brisbane, 30.01.2024

15. Saturdays, Live from Paris, 14.10.2023

16. Silver Tongues, Live from Krakow, 10.09.2023

17. Kill My Mind, Live from Santiago, 15.05.2022

Tracklist LOUIS TOMLINSON - Live (2CD Edition)

Disk 1

01. The Greatest, Live from London, 17.11.2023

02. Face The Music - Live from Nashville, 07/18/2023

03. Bigger Than Me - Live from Vancouver, 26.06.2023

04. Holding On To Heartache - Live from Barcelona, 06.10.2023

05. We Made It - Live from Manila, 16.07.2022

06. Chicago - Live from Chicago, 15.06.2023

07. High In California , Live from Amsterdam, 15.10.2023

08. Fearless, Live from Rio, 27.05.2022

09. Common People, Live from Sheffield, 10.11.2023

Disk 2

01. All This Time/She Is Beauty We Are World Class, Live from Munich, 22.10.2023

02. Walls, Live from Buenos Aires, 21.05.2022

03. Written All Over Your Face, Live from Budapest, 15.09.2023

04. Out Of My System, Live from Brisbane, 30.01.2024

05. Saturdays, Live from Paris, 14.10.2023

06. Where Do Broken Hearts Go, Live from Tallinn, 05.09.2023

07. Silver Tongues, Live from Krakow, 10.09.2023

[rallamajoop]

The Baker Incident Report and the Resident Evil 7 Guidebook

While I’m talking obscure sources of RE7 lore, there's a couple more I’ve been poking through lately: the Baker Incident Report file (only available with the RE8 Trauma Pack DLC), and the BIOHAZARD 7 resident evil kaitaishinsho or RE7 guidebook (only available in Japanese, though some translations have made their way online).

I’m not the biggest fan of these kinds of ‘canon’ – fans shouldn’t have to go pouring through pages of DLC-exclusive-text-dumps or untranslated supplements to find out WTF was supposed to be going on – and both of these have other problems I’ll get into below. All that said, here's some of the more interesting new info they give us.

From the BIR, the Winters were moved to ‘Eastern Europe’, as witness protection from the Connections. That's still frustratingly unspecific, but more than we’re ever explicitly told in the game.

The lab that created Eveline is in Munich, Germany, per the BIR. This one does add up: close enough to Eastern Europe for Miranda to be involved, but not so close that it would necessarily ring alarm bells for Mia when the BSAA wanted to move them right to Miranda’s doorstep. Mia’s obviously been to the Munich lab, but presumably didn’t know exactly where the mould comes from (something redacted out even in their own reports). The guidebook also places the lab in Europe, but doesn't give a city. The BIR adds that the Connections are active in Eastern Europe, and we know they have facilities in Central America. Presumably there are offices in Texas too ‒ Mia can't be commuting cross continents to get to work every day.

Eveline was shipped to Central America due to an attempted raid by the BSAA, which is far more we learn from the "Orders" file from the game. The BIR goes so far as to imply that this botched operation was indirectly responsible for the whole Baker Incident, with Chris and his team leaving due to their frustration with the BSAA's attempts to cover the incident up. The guidebook, however, tells us Chris Redfield was actually the guy leading the team behind the failed raid. I assume we’re meant to take it that the mission failed because of an info leak, but I’m still amused by just how ineffectual this franchise keeps making Chris out to be.

Post RE7, Zoe is working as a reporter for a small paper in New Orleans. We don't know if she too went through witness protection but her name was listed among the dead at the Baker mansion.

Ethan is called a systems engineer in both the guide book and the BIR (this one does seem to have been spread around fandom more widely).

Eveline was created in the early 2000s, according to the guidebook. This one really doesn't add up for me: if the project started in 2000 and had already advanced through the A-E series by the early 2000s, why did it stagnate there for the next 10 years without further progress? Did Miranda leaving the project set it back so far? They can't have been waiting for Eveline to grow up, she can age 25x faster than usual, and is being deliberately maintained at the age of a 10yo girl. IDEK, I'd be inclined to ignore this one.

The guidebook states that Mia told people she worked for a "trading company," and was often away from home for work, something which had already strained the Winters’ marriage. I'd guess she told people she spent a lot of time accompanying shipments of goods when she was really smuggling materials or taking part in covert operations for the Connections.

The guidebook gives 2010 as the year she started working for the Connections (a year before her marriage to Ethan in 2011, though it doesn’t mention when they met, which may well have been 2010 or earlier). Mind you, this is also the one bit that randomly calls her "a researcher", so take it as you will (more on this below).

Of Mia's involvement with the project that created Eveline, it says only that the Connections' Special Agents Alan and Mia were assigned to transport Eveline to America. No real indication Mia was ever involved before then.

Of Mia's relationship to Eveline, it says that Mia "found Eveline creepy, but felt sympathy for her lonely situation." You and the rest of us, Mia.

Eveline forced Mia to lure Ethan to the Bakers' property in hope that adding Ethan to their family would make Mia more compliant, according to the guidebook. Eveline was especially fixated on Mia, having known her longer than the Bakers, and was frustrated with Mia's continued resistance to her control. Mia seems to have tried to keep Ethan's existence secret from Eveline to protect him, but somehow let it slip. All this is already implied in-game, of course, but it's nice to have it spelt out.

The Bakers feed people infected food because “oral and mucosal infections” are supposedly better for mould-powered mind-control. Ethan is obviously already infected AF well before their attempts to feed him 'dinner' (there's no way his severed hand would be usable otherwise), but IDK, maybe ingesting some extra mould would have made it easier for Eveline to control him? I'm sure a 10yo girl and a family of hillbillies do not have this down to an exact science, and I wouldn't even be surprised if feeding people mould was counter-productive somehow, given their success rate.

So why did none of those infected prisoners join Eveline's "family" alongside the Bakers? The guide book tells us simply that all were "deemed unfit" as family members, and were thus killed, and converted into molded instead.

We get official names for all the molded types we meet in the game (Moulded, Blade Moulded, Quick Moulded and Fat Moulded – pretty self-explanatory).

As a side-note, Ethan himself gets referred to as a ‘molded’ around this fandom a lot, which really isn’t correct. Ethan’s infected by the mold in the same manner as the Baker family, whereas ‘molded’ is a term coined to describe what amounts to mutamycete zombies (see above): the unintelligent, inhuman monsters that made up the generic enemy types of RE7, whose whole bodies are simply “superorganisms formed of countless mycelia.”

The guide book also implies that Jack’s final, mutated form reflects that he’s starting to become a moulded himself, which is a very interesting little detail.

Notes attached to concept art suggest that most moulded are created from dead bodies, covered by mould in bathtubs to convert them. Eveline is also seen spontaneously converting people to shapeless mould though, and clearly converted much of the ship’s crew into moulded-creatures in a very short time after her escape. It’s not super-consistent, but it is all horror-logic at its best (read: the rules are whatever will make this scene scarier).

There’s a bunch of additional stuff in the BIR naming the Connections’ founder as Brandon Bailey, someone who naturally has ties to Umbrella, blah, blah, blah ‒ I’m sure it all means more to fans of some of the older games. I can't pretend to have much interest in this part myself.

So with all that interesting info, what's my big problem with these sources? Well, for one thing, you don’t have to look far into the guidebook to find info that contradicts what we already know – and sometimes even itself. One page clearly describes Mia as a special agent working for the Connections ‒ a description that matches the wording used in the Orders document, and everything we see Mia doing in the game. But then another page randomly tells us Mia was hired as "a researcher" ‒ a description that matches nothing else we know about her (though it's an irritatingly common misconception, and this book may be the reason why). No-one's checking any of this stuff for consistency.

The guidebook also features such other gems as telling us Ethan currently lives and works in Los Angeles, when both Mia’s driver’s license and all geographical logic tell us they’re from Texas. Then there's that weird bit about Eveline being created in the early 2000s... and realistically, I can only assume a lot of what made it into the book may have come from earlier concept notes that were never updated as the story developed ‒ and if you read anything else on the production of this game, you'd know that concepts changed massively as development went on.

But more frustrating is everything the book doesn’t tell us. There isn’t a word said about the oh-so-mysterious "imprinting protocol" that Mia references in the game. How does it work? Is it, as the ending text spiel seems to imply, merely something that can be implemented in a hurry when Eveline needs to be transported across the globe? Can she be imprinted on more than one person at once? Has she ever been imprinted on anyone else? That seems likely, given that the lab’s in Munich while Mia lives in Texas (and if she's really been around since the early 2000s and Mia joined the company only in 2010, she logically must have been), but we don’t find out. Does Eveline get similarly obsessed with everyone she’s imprinted on, or is Mia special? Not a clue.

Since the guidebook was released in March 2017, long before the Not a Hero and End of Zoe DLCs, neither expansion is mentioned in the text. And since we don’t even learn the name ‘The Connections’ until the Not A Hero DLC, the group that created Eveline is referred to simply as the “mysterious organisation” (with quotes) whenever it comes up.

Nothing is said in the guidebook about the new incarnation of Umbrella which was so prominently involved at the end of RE7 either. Possibly, this too was to avoid spoilers for Not A Hero, which does at least give us some info on them – but then, the Baker Incident Report doesn’t mention the new Umbrella at all either, and it doesn’t have that excuse. That omission is all the stranger, considering that Zoe’s whole purpose in writing it is supposedly to expose the cover-up after the Baker Incident – doesn’t Umbrella factor into that at all? It’s like their whole role in RE7 has just wiped clean.

It's also obvious there was so much more lore written for this game that the guide book doesn’t share. Early versions of collectable documents that can still be found in the game files give the D-series head and arm some fascinating backstory, but there’s nothing about them in the guide book, which is a real shame.

Mia especially stands out as a character who must have so much backstory we never hear anything about. How did she get involved with a company as evil as the Connections? How did she justify it to herself for so long – what excuses did she make to herself? Did she genuinely believe they were finding ways to win wars without losing soldiers? Was she gathering evidence against them, was she scared they’d kill her if she left? Not one single word in either the guidebook or the BIR to explain.

Even more annoying to me, though, is just what a wasted opportunity the Baker Incident Report is to add more to Zoe’s story, when she’s one of my favourite RE characters. Included in the text is a letter she received from Mia, giving what should have been the perfect opportunity to flesh out the relationship Zoe and Mia must have built in the three years they spent trapped in the Baker property, the only two (semi-)sane people present – and what does the letter do? Imply they hardly knew each other at all. It’s the most boring possible answer, it contradicts hints from the actual game (Marguerite outright tells us they've been working together, even!), and GDI, you do not get to tell me that my girls didn’t know each other! ;_;

Ethan and Mia similarly get the short shrift. Throughout RE7 their every interaction is building to a big scene that never actually happens where Ethan finds out the truth – Ethan knows Mia’s been keeping secrets, he never stops asking questions about it, and Mia says outright that she wants to come clean. So what does the BIR tell us? Well, post RE7, Mia mentions in an interview that she doesn’t want anyone telling Ethan. Not a word about what changed her mind. Not a word about why Ethan would just stop asking. Total cop-out.

And there’s so much more it could have covered too. There's nothing about Ethan’s ‘military training’. Nothing about the Winters' relationship with Chris. Mia’s conversation with him in RE8 suggests he was personally involved in relocating them to Eastern Europe, but the BIR doesn’t mention that either. The BIR at large is basically just an extended lore dump, and it doesn’t even sound like Zoe’s voice.

So this is about where I finish up with both of these sources: frustrating, inaccessible, inconsistent, and more missed opportunities than real material. There’s a lot in both I’ll happily go on ignoring. But I’ll still pour through them for every last interesting detail, because I am that obsessed with this canon right now, and they’re what we’ve got.

[spider-gem]

Alright so there’s been something that’s been driving me CRAZY in Hazbin Hotel, and I haven’t seen a lot of people address it, so I’m going to. What is it? THIS:

I know it’s obvious to some, but I don’t think that enough people grasp the likelihood that Alastor and Vox used to be FRIENDS. Like, close enough friends that Alastor let Vox take a PICTURE with him. We’re talking about the same radio demon that never lets anyone take a clear photo/video of him.

So, if they were so close, what made them fall apart? Again, stating the obvious, but it probably (most definitely) had to do with Vox’s need to stay with the times vs. Alastor loyalty to his chosen media from the past. Here’s how I think their relationship developed and fell apart, which I’m hoping we’ll get to see in the show:

Alastor died in the 1930’s and Vox died about twenty years later, sometime in the 1950’s. We know that Alastor rose to power at an alarming rate, according to Mimzy. So when Vox died and went to hell, it’s likely that Alastor already had a strong reputation. Being new in hell, a good way to rise to power is to ally oneself with those already in power, right? Maybe Vox even idolized Alastor, seeing that both are some type of media demons. Maybe Alastor saw potential in him. So it’s very likely that Vox allied himself with Alastor, even forming some type of bond, and began to rise as a fellow overlord.

I think it’s also important to point out that Vox didn’t start out as a modern flatscreen tv in hell. He died in the 1950’s, remember? And we’ve seen in an old photo with Valentino (which I will come back to), he seems to regularly update himself to whatever modern advancement there is. So his head probably looked like one of these:

Now, Alastor likely still had his radio-is-superior mindset, but was still willing to ally himself with the new media demon. They’re both really similar, after all. We’ve seen the parallels. They probably bonded over their ambition and use of media to manipulate others. While they likely jokingly jabbed at each other on whether tv or radio is better, it was never anything to serious. That is, until Vox started to change himself. That’s where that photo with Valentino comes in.

This let’s us know that Vox consistently made updates to himself whenever there was an advancement in television. These changes didn’t sit well with Alastor, which is where the riff began. While Vox was determined to change with the times, Alastor was committed to his past. And as Vox changed, he likely wanted his closest friend in hell to change with him.

Now, in Stayed Gone, Alastor says that Vox asked him to “join his team”. This team, the Vee’s, couldn’t have started until Valentino was introduced to hell after his death in the 1970’s. And Velvette died much later, approximately around the early 2000’s to 2010’s. So, I see this playing out as Vox befriending Valentino, who showed some potential, shortly after his death. And there’s no way in hell (hehe get it) that Alastor liked Vox’s new ally. Vox and Valentino keep updating to stay with the times while Alastor stays the same.

After forming some sort of team with Val, which will expand and lead to the powers that the Vee’s now have, Vox wants Alastor to join them as well. After all, Alastor is his oldest ally and friend in hell, so of course he wants him by his side. However, there is a condition. If Alastor is to join this team, he would have to make changes to himself as well. If this team is going to stay fresh to the eyes of hell, an old timey radio demon on the team wouldn’t be a good look. So when Vox asks Alastor to do this, our favorite radio demon is undoubtedly pissed.

He’s looked the other way while Vox has made updates to himself. He hated it, which occasionally stirred up an argument, but nothing past that. But now? Vox has the nerve to tell him to do the same? And not only that, but to also join a TEAM? We know how prideful the radio demon is, he has an ego that puts the entire Pride Ring to shame. To be asked to join a TEAM is an insult to him and his power. He doesn’t need anyone (bullshit, but okay). And for Vox to just ask him to not only join this team, but also change for it? It’s almost like a betrayal, and he feels like his friend is attempting to use him. So, as we know, he turns down the offer. And that pisses Vox off.

Vox also feels betrayed and hurt. He thought they had each other’s back. They TRUSTED each other. How could Alastor turn him down so quickly, without a second thought? If they worked together, they could become the most powerful force in hell! There are sinners left and right that would kill for this offer! Had that trust been a lie? Was Vox just misguided in thinking that they were actually friends? So, to Vox, this decline is a massive “FUCK YOU” and a slap to the face. They get into an argument that leads to a huge, ugly fight between two petty media overlords who would rather hurt each other even more than talk about their feelings.

This is where the rivalry is born. Years pass and the rift between them grows. Vox and his team gains more power, especially after Velvette joins him and Val. The Vee’s now terrorize and control large portions of hell, having almost if not equal impact as that radio demon that broadcasts sinner’s screams. Through the years, Alastor and Vox have more back and forth battles, whether in banter between their broadcasts or in combat in real life.

The rivalry becomes an obsession for Vox. He wants Alastor to see him and his power, and see that he was wrong to turn him down. Deep down, he wants Alastor to change his mind. Val and Velvette don’t understand why the radio demon has such a hold on their partner, but support Vox’s desire to take him down. After all, the radio demon does currently hold more power than them. The more overlord’s they take down or control, the more power they gain.

We all know that prior to the seven years Alastor went missing, he and Vox had some sort of huge fights. And, according to Val, Alastor “almost beat” Vox. We don’t know what this fight entailed, but the word “almost” is interesting. This implies that either Vox barely beat Alastor or there was some sort of stalemate. I like to think the later, because it suggests that they are equals in a way, which is something that the would rather die than admit. Nevertheless, they are equals in power and in pride, which makes their parallels more impactful. These two idiots are trying to prove who is better, but they can’t. Because, in many ways, they are the same.

To wrap up this analysis, which ended up longer than I thought it would, I would like to go full circle and return to that ripped photo of Alastor and Vox. The photo that got torn in half by Vox in a that I like to imagine went down like that one scene from Mean Girl’s. You know which one. Not only did Vox tear it up in a fit of rage, but he KEPT IT. After all these years, he held onto that photo. The photo that is a reminder of a friendship now torn apart. A reminder that the radio demon once trusted him enough to let a photo be taken of him by his side. A reminder of what he lost.

Anyway, these two pathetic and petty losers are driving me insane, so it’s nice to finally get this out of my head and onto a post. I can’t wait to see more of them in season two and get more context behind their rivalry. I’ve got a good feeling that most of what I theorize will be proven true.

[linkspooky]

ON MADELYNE PRYOR

Shout out to all the comic book stans who follow my blog.

So X-Men 97 inspired me to do a re-read of X-Men from the beginning. My previous read of X-Men jumped all over the place, it was basically X-Men up to Dark Phoenix and then I jumped all the way to the 2000s to 2010s. In my current read I just got to Inferno and holy fuck mom, I never thought I'd like an X-Men arc more than Dark Phoenix but here we are.

This is an entirely personal opinion which I'm not as good at expressing because I prefer over-intellectualizing my feelings, but Inferno is the only other comic book arc to make me feel the way that Judas Cotract did in how tightly and perfectly written as a tragedy it is especially for the female at its center.

Are there any women in all of fiction more doomed by the narrative than Terra Markov and Madelyne Pryor?

I mean I've written about Judas Contract before but what makes that arc so special to me is how it's about a character, a victim, a girl named Terra who by all rights should have been saved by the heroes, but not only fails every step of the way but at every point in her life really. Terra is someone how manifests her victimhood in completely unsympathetic ways but the fact that she basically had no chance in life makes her sympathetic nonetheless.

This comes from the decision that Perez and Wolfram made right from the start to kill her off and never offer her any redemption, which while incredibly callous on the author's part just makes the tragedy even stronger. That's what tragedy is, it's meat to reflect the cruelty and unfairness of life, it's kind of like reality bleeding into fiction.

George’s strength was he also understood the characters 100 percent as I did so there was never any question. He knew. We had talked enough about the characters to know we were exactly on the same page with them. So I said, “Everyone keeps complaining that we’re like the X-Men” and the X-Men had just gotten Kitty Pryde. I said, “Why don’t we really screw around with them completely?” — this is the fans — “…and make them think we’re stealing Kitty Pryde only she’s gonna be bad from Day One.” You always had characters pop up, certainly at Marvel, who were bad that get redeemed. But this character would never get redeemed. She was insane. In fact, she was the catalyst for everything. She wasn’t working for Deathstroke. He was working for her in many ways and she was leading him because she’s crazy. She’s a total psychopath… and she’d be 15. 

Terra's a total psychopath and she's fifteen and that's the tragedy. Was there really any other way that Terra could have turned out? A girl who has been abandoned, who was given incredible powers but no love, support, or nurturing and clearly doesn't have a home or any stability in her life if she's working as a mercenary at that young. A girl who thinks herself a villain and a player in the game but is clearly being manipulated by a fifty plus year old man who is smarter, more mature, and a serial user and abuser of people.

Terra's not just the villain, she's the protagonist of the tragedy walking through the play unknowing that her every single decision will lead to her inevitable end.

Judas Cotract and Inferno are two arcs that most evoke the feel of the Tower in Tarot to me. The Tower is just, ruin and destruction, a complete loss of control, the realization that everything you thought was wrong and in fact the world doesn't care much about what you think. It's a reminder that life isn't even cruel, it's nothing, it's random.

However, first you have to build up the tower before you start pulling the jenga blocks out one by one. Terra spends several arcs with the Teen Titans showing disturbing unchildlike behavior, but one of the so-called Heroes even notice that there's something wrong. When she does get close to blowing her cover, a violent incident where she nearly badly hurts Beast Boy after he comes onto her way too hard which is an understandable reaction as a victim of SA that gets brushed under the rug too.

It makes the heroes look worse as well. If they were heroes dedicated to saving people at all costs shouldn't they have noticed the trouble of someone right next to them? Yet, they all kind of collectively remain oblivious the same way that most victims in real life especially of Terra's kind of trauma are left to suffer in silence. Not to say the Teen Titans are bad, they are kids, and therefore it makes sense they don't have the emotional maturity to notice - it just makes them look more human.

So to summarize my point above what makes Judas Contract is a good tragedy and why Inferno makes me feel the same way narrows down to two reasons.

Madelyne and Terra are both doomed by the narrative, there was no saving them right from the beginning.

However, the fact that the heroes failed to save them reflects poorly on them.

Finally, Madelyne Pryor.

Oh Madelyne the world did you so dirty. I'm partially to blame because I skipped right to the 2000s in my first read, but before this point I'd known nothing about Madelyne other than that she was a clone of Jean Grey who died.

My first impressions of her when she was introduced shortly after Dark Phoenix weren't all that great either. Chris Claremont writes good female characters, that's not really a hot take. I'm sure you've heard of Storm, Rogue, Mystique, Kitty Pryde, Emma Frost etc.

However, I've noticed there are like two tiers of female characters he tends to write. There are the first stringers which are your storms, your rogues, these are characters who are meant to be independent and have arcs. Then there are the second stringers who are just meat to serve a role in the story. This isn't a criticism on the way Claremont writes women, I mean all stories have major and minor characters.

Madelyne Pryor was never meant to be a main character. There wasn't anything about her character that I disliked per se, she is independent, she seemed to have a life outside of Cyclops, she tries really hard to separate herself from the image of Jean Grey. However, she was clearly written to give Cyclops a wife and child in the aftermath of Jean's death and a reason to retire.

While the editorial mandate that made Claremont pull Cyclops out of his happy ending so he could rejoin a team with the original five x-men for the sake of nostalgia sucks, it is also the best thing to happen to Madelyne's character.

Madelyne before that point was a perfectly functional character for her role but she wasn't all that dynamic, she liked planes, she didn't like Jean's ghost hanging over her, she's pretty spunky and headstrong but she was at most a good supporting character but that's all she was. Claremont just decided to double down on that, Scott actually treats his wife like she exists to do nothing but support him and his emotional issues. Madelyne gives all the support that she can give and then Scott just up and leaves anyway. The woman who only existed to be a love interest to give Scott a happy ending, now has no other reason to exist without the man she's supposed to love and her happy ending turns to ash in her mouth.

This is the same feeling I was talking about with Terra, this is a person who was basically failed at every step of the way. A person who has no family. no support, it's almost worse in this case because Madelyne thought she did only for that person to toss her aside.

There's no saving Madelyne, and the fact that Scott didn't save her, that he didn't both trying until he was too late makes him the villain.

If anything Inferno is better than Judas Contract at dragging the heroes down to their lowest points, because The Teen Titans failing to save Terra is understandable because of how young they are but there's no excusing Scott's actions. Madelyne may run around in a skimpy outfit calling herself the goblin queen but the villain of this story is named Scott Summers. He had a responsibility and obligation towards Madelyne to save her and he failed, and it makes him a bad hero and an even worse person.

One of the key components of a tragedy is also agency. Agency is basically the freedom a character has to choose and how much their choices matter in the grand scheme of things and impact their narratives.

Tragedies are often defined by how little agency the characters are shown to have, and how limited their range of choices are. One of the biggest themes of tragedy is fate and inevitability at all. For example one of my favorite tragedies antigone is about a girl with very little power in the ancient greek city of Thebes who still makes a choice to give her brother a proper burial even though she knows she'll be executed for it.

Dark Phoenix is all about agency. Jean Grey is dealing with three different forces trying to take her mind, her agency. There's the corrupting influence of Phoenix, there's the Hellfire Club who wants to make her into a puppet, and then there's Charles Xavier who wants to put a lid on her tremendous powers. Everyone trying to take agency away from Jean eventually leads her to snap and try to take all of that agency back by embracing godhood because who has more agency, more control than a god? Even Jean's act of killing herself at the end was reclaiming her agency, it's her choice to die as a human rather than be executed, or to lose herself to the phoenix.

What breaks Madelyne is not Scott leaving her. Which made me like her character a lot, like the moment Scott left Madelyne was shown just how stubborn and determined she was. Madelyne stood out as the only normal human amongst the x-men who still held her own like Moira did (i guess Moira is a mutant now but I'm still in the 80s so w/e).

What breaks her is the revelation that she never had any agency in her life to begin with. Scott was always meant to fall in love with her, he was always meant to leave her, because she was nothing more than a womb for Sinister's breeding project. Once again it's masterful how Scott looks equally as villainous as Sinister in this scenario in how neither of them regards Madelyne as a person, just an object to project their desires upon.

(Honestly Jean Grey doesn't come out looking all that great either considering how little sympathy she has for Madelyne because she just sees her as an obstacle to getting back together with Scott. If anyone Jean should sympathize with Madelyne the most because they've both been toyed with cosmic forces out of their control, but I guess it goes to show how selfish and destructive Jean and Scott's love for each can be).

Is there any sequence more tragic in all of comics than this series of panels?

The symbolism in these panels too and how it relates to the themes of agency with Madelyne's character. Madelyne was a free and self-driven woman (or at least she thought she was) living out her dream of being a pilot which to her the ability to fly her wings represents her freedom and indepedence. The only thing she thought that could make her happier was Scott, but in the end not only did Scott take her wings away, he took away her everything and gave it to someone else.

"Time to lose those wings, Maddie. You can't really fly, anyway. You're not special like us."

If there's any words to express the inherent tragedy of Maddie's character is this, she's a person who thought she was free to fly, that she was real, that her life mattered only to have all that taken away from her. Maddie like Terra thinks she has agency that she's making decisions but she had no real choices from the beginning.

That's also a good way to express what makes tragedies hit as hard as they do. Tragedies slap you with the realization that you're not special. The hero is not a hero, they don't have plot armor, they're not immune to consequences, they're human and just like all humans they fail.

Even the act that Madelyne thinks is reclaiming her agency by gaining power as the Goblin Queen is in fact, not her choice. She doesn't choose to sell her soul, she's tricked into doing it by a rebellious demon that wants to kick Illyana out and reclaim limbo for himself. In Madelyne's one act of trying to steal back her power and freedom she is still just a pawn in another person's scheme.

There's also Madelyne going through literal hell itself to reclaim her son, only to make the decision to sacrifice him along with several other infants which seems to make her usympathetic but ironically makes her more sympathetic to me.

There's the obvious reference to Medea there. If all the parallels aren't obvious enough already, Jason and the Argonauts gets namedropped during the arc.

One of my favorite things about Medea the tragedy by Euripedes is that Medea is not just a girlboss who gets revenge on Jason and then walks away. Straightforward revenge narratives are bad because revenge is... bad actually. The decision to inflict more pain and suffering in the world doesn't break the chain of suffering.

Medea kills her children to show that Jason is not entirely in the wrong, and Medea is not entirely in the right. They are two human beings who's relationship is blowing up in the worst way possible. I mean Jason himself does have some points in the play, he's making a political marriage to save both of them, the only reason he's exiling Medea is because Medea made loud death threats at Jason's new bride. It's not just the heartbreak of being abandoned that drives Medea, it's her pride, the whole play started because Medea didn't want to settle for being a side chick.

Medea wants revenge against Jason but she doesn't take her revenge on Jason, she takes revenge on everyone around him for the purpose of making him feel as alone and lost as he did her. She'll kill her own children, even if it kills her to do so, just to spite him a little more.

Which leads to one of my favorite scenes in all of fiction, Medea holding the knife over her own child's throat, bargaining with herself trying to convince herself to do something she objectively knows is wrong.

MEDEA I’ve made up my mind, my friends. I’ll do it—kill my children now, without delay, and flee this land. I must not hesitate. That would hand them over to someone else to be slaughtered by a hand less loving.                                      No matter what, the children have to die. Since that’s the case, then I, who gave them life,                                will kill them. Arm yourself for this, my heart. Why do I put off doing this dreadful act, since it must be done? Come, pick up the sword, wretched hand of mine. Pick up the sword, move to where your life of misery begins. Don’t play the coward. Don’t remember now how much you love them, how you gave them life. For this short day forget they are your children                          and mourn them later. Although you kill them, still you loved them. As a woman, I’m so sad.     

Why would Madelyne after going through all that trouble to find her son, instead choose to give him to the fire? It's because for a person who was given so little choice over her own life, the choice to self-destruct is still a choice. The choice to destroy something with your own hands rather than let it be destroyed for someone else is still a choice.

That would hand them over to someone else to be slaughtered by a hand less loving.                                      No matter what, the children have to die. Since that’s the case, then I, who gave them life,                                will kill them.

I think I may like Madelyne more than Jean at this point?

The same way I like Terra more than Raven. They're very similiar characters, but it takes possession by Trigon to get Raven to attack the titans. Terra just tries to kill them by her own free will. She's willing to bury herself if it gives her one last chance at burying the titans to too. Madelyne on the other hand is willing to walk barefoot into hell, if it means she can drag Scott and the X-Men with her. Jean does things under the influence of the Phoenix, but she chose to die as a human being at the end of Dark Phoenix. Madelyne however made the opposite choice, throwing all her humanity away she gave herself wholly and unreservedly to the fire.

Also damn, x-men 97 did this arc so dirty by speedrunning through it in one episode. This is also one of the most well set-up arcs in the X-Men comics with so many threads like X-Factor, X-Men and New Mutants all coming together. It really deserved its own season not like 2 episodes, and then Madelyne dying halfway through this season.

[itsbubbleteataro]

Like we're gonna die young

Warnings; drink and alcohol abuse (getting clean) angel dust being angel dust, the Vs

Parings; Alastor x fem reader

Part one of ?

(I blasted so much early 2000s/2010s pop with a sprinkling of punk, playlist here

You didn't think you were a big deal. You were just some pop star from the early 2000s who ended up in hell. You just liked to keep the party going. When you showed up in hell you found yourself with animalistic features.

Your already wild multi-colored hair be wilder and longer. Your legs now looked something akin to a wolf's. You have two large wold ears. Shrugging you did the only thing you knew how, party. You walked into the nearest club, got too drunk and broke out into a Kesha song. Next thing you know, your a social media hit.

It's been a few years since you came to hell and became an overnight hit. You went to the same bar, acting as some kind of unpaid performer if you were on enough drugs or drunk enough.

You were in a booth, sipping on something someone handed you a while ago, scratching your arm. You were withdrawing, trying to go clean on your own. You knew that you couldn't do alcohol on your own, you would need to get medical help for that one, but drugs? You figured you could do it.

You were three days, you found that scratching your arm seemed to work for now, but it wouldn't quench the hunger that was there. It's been two days and you already wanted to relapse.

You were irritated, only made worse by a new presence at the club, the Vs. All three of them, sitting in the vip section. You gulped as you watched them all take a seat, and the owner of the club, Rina walked over.

Rina had animalistic traits just like you did, only instead of wolf like, she's more fox like. Rina has skin that's more akin to fur, cunning jade colored eyes and long well kept black hair. Rina looked at you with sympathy. She's the only one who knew you were at least trying to get clean.

"(Y/n) I hate to ask, but do you think you could preform tonight? I know you don't work here but the Vs are hear and I'm panicking!"

You nodded agreeing and standing up. You quickly swallowed the rest of your drink while Rina looked at you thankful. The two of you were close, friends. Yet you refused to work under her. You were thinking leaving your empty glass on the bar as you leaned against it.

You snapped your clawed fingers as you knew what song you wanted to do, your fluffy tail waving back and forth to the sound of the music that was already playing.

Before you could even start a second familiar face walked up to you. You recognized her. Cassidy had short black hair cut in a bob. Her eyes inky pools of black with white. She dressed as if she fit into the club crowd, but you knew her better and knew she would much rather wear something else. She snaked an arm around your shoulder and pulled you close,

"(Y/n) I need a favor~ I promise I'll get you whatever ya want if you do it"

Cassidy asked quite straight forward. You nodded your head so she continued,

"Get Vox to talk about himself for me, I've got a hunch he's been up to something"

"Cassie, you know he already does that-"

"Yeah yeah I know but I hear he's been doing a little cheating~"

You raised an eyebrow. Now this was interesting. You always thought Vox and Valentino were an item, apparently they weren't exclusive if they were. You had no idea Vox had even gotten himself into a relationship, let alone knew anyone who would openly date him. You felt bad for whoever he was with, that is if what Cassidy was saying was true.

"Ya got proof?"

You know Cassidy usually doesn't talk to you about things like this unless she has proof. Both you and Rina gasped as the picture Cassie held up with a smirk.

Sure enough it was Vox with a man, making out in a back alley. You smirked, having just the song to push his buttons the way Cassie wanted you too.

As the three of you conversed on a little plan, Angel Dust, Husk, Cheri bomb, Nifty and Sir Pentious walked in the club. Charlie and Vaggie were in Heaven for a meeting about the extermination and Alastor was out for an overlord meeting. Charlie had asked Cheri bomb to take them all out on an outing while the three were away and they ended up at the very same club you were.

The bunch took their seats, Angel Dust making sure to keep an eye on Nifty and making sure she wasn't drinking too much, ending up placing her in Husk's care as she played with his feline like ears.

The music in the club was quickly replaced by yours. (Link here to song) people started cheering as they realized they you were finally singing for the night.

Your foot thumped against the ground as the song started, tail wagging with excitement. As you opened your mouth to sing you cringed, you sounded tipsy. Shaking the thought from your head, the show went on.

Angel Dust and Cherri Bomb realized right away who you were from the start of your performance.

"Holy shite it's (y/n) she's here tonight? Fuck yeah!"

Cheered Cherri Bomb as the group now watched you. While everyone but Nifty, she was busy playing with Husk's wings. Husk raised an eyebrow as Angel Dust pulled out his phone to record the performance.

Meanwhile Rina had taken the picture from Cassie and use her abilities to shift her appearance. Her usual fox like features turned to a more hellborn like one, choosing to look like an imp from lust as that would fit in more. She took the picture from Cassie and set off behind you.

You sang and made your way over to the Vs. you smirked, wanting to get under their skin, but not enough to the point where they would kill you.

As you placed your finger under what you would consider to be Vox's chin, the firm flat metallic edge of his flat screen tv face, Rina walked up, setting down the picture Cassie took.

You take your leave, hips swaying as Angel Dust watches closely, eyebrow lifted. Rina leans over the table and slides the picture to Vox and also takes her leave.

Angel dust focuses his camera on Vox, whose screen glitches for a moment as Val raises an eyebrow before moving it to Rina who shape shifts back into her regular form, before locating your form once more.

You're dancing on the bar, shaking your hips, hands in your hair, enjoying the rush of the show. Angel stops his recording and turns to the group, motioning for them to head back.

The group makes its way to the hotel where Angel makes the mistake of leaving his phone open, with the video up and playing on the main table, having been called over by Charlie for something.

Alastor comes waltzing in after his Overlord meeting, looking over at the miniature picture box he so detested. He raised his staff, about to break it, when he watched your interaction with Vox. The way you looked at him with a slight smirk on your features followed by the picture being slid over almost made him feel something.

Was it admiration? Was it respect? He didn't really care to find out quite yet, all he knew is that he found you quite interesting. He paused the video as it zoomed in on you, smile wide on your face, clearly drunk, but enjoying yourself.

Yes he didn't quite enjoy seeing how drunk you were, but it still didn't change the fact that you had managed to get under Vox's skin with nothing more than what seemed just like a photograph.

He may not have knew how he was feeling but he did know

He just positively had to get his claws on that photograph

---------------------------------------

@slytherin4ever @iheartpieck @luzzbuzz