#obviously the audience knows and isn’t concerned

[gonnagobankai]

Did Erik know about Logans healing ability in dofp or was he just intending to brutally murder him with those rebars at the whitehouse?

If so that might ironically be the coldest thing he’s done on screen at that point, since his other killings are either quite justified or not successful

[mythtakens]

I haven’t said a lot about or reblogged anything really about Bobby Dying because. well I still don’t think he’s permanently dead and so I can’t really act like he is. but in the event it turns out he is in fact permanently dead forever and ever never to return alive and a decision was made that is actually that stupid and it was done in this really weird baffling way obviously my feelings on the whole matter will be completely different and I would be forced to process in a very different way. Bobby is my favorite and I still didn’t have a ~normal reaction to an emotional devastating scene because they loudly spoiled the end point weeks ago and took out all the tension of the arc. either way that messed with the viewing experience, but I would like to believe that they at least did that with a goal in mind and that it is not somehow truly just a result of incompetence concerning the biggest spoiler in the entire show. and oh we just crossed our fingers while clearly labeling the whole thing? yeah that doesn’t make sense to me.

my thing is I can deal with being messed with. I don’t love it, I don’t appreciate it, but I can deal with it! I understand and respect the people who feel done with the show regardless because it is a really careless thing to do to a dedicated audience. but well if I know anything about showrunners who think they’re clever it’s that they’re always mainly thinking of the end goal where they imagine everyone is patting them on the back for pulling it off. I just don’t see how in this instance for real killing a beloved character in a way where nobody he loves that is a paramedic or an EMT or his wife can get to him or touch him to confirm he is actually dead. on a show where people survive the most insane things time after time. fits into that type of smug narcissism. and you do it in a way that isn’t visibly permanent and you have cast members sowing doubt about it being so? personally I can get over stupid silly convoluted circumstances if they don’t actually have fatal consequences. this show is built on wild wacky circumstances but it’s also built on surviving them despite everything.

like to me it’s really not about “can showrunners/writers be this stupid”. they can they have they will continue to be. but like call it denial or delusion or whatever you want I just can’t watch everyone everywhere say it’s a bad decision nobody wanted and buy into that there was any sort of remotely willing consensus on Bobby being dead for real and everyone being really really sad but moving on eventually and it hanging over everything forever being better crazy tv than like. everyone going through that loss and still having those feelings of devastation and anger and helplessness and regret and then having the wildly complicated experience of being able to direct them at the actual guy and say all the things you wanted to say. like okay I am in my imagination here but you’re telling me real dead Bobby is better tv than like, Peter Krause gasping awake inside his own coffin after it passes through the Hall of Crucifixion-Resurrection? better than him calling 911 and Maddie answering and him saying I’m being buried alive? better than the signal being lost but her trying to call back and the absolute shock of realizing whose number it is? better than the tension of the dirt being dumped over a coffin Bobby is alive in?? better than Maddie racing to reach people who are probably not concerned with answering their phones right now because they’re standing around a grave?? better than maybe Bobby trying to call Athena and if it manages to connect seeing a missed call and then 911 calling her right after? better than a scene of Angela Bassett eating everyone up and making everyone think Athena has lost it demanding they dig up her freshly buried husband?????? better than his family jumping into action when they realize what’s happening to pull him back out of the earth after struggling to let him go??? real forever dead Bobby that everyone is really sad about is better tv than that and something to feel more smug and clever about?????????? well I don’t think so! but it’s not my circus.

[kivishipps]

x OC fics ≠ x reader fics

Okay guys, I’ve given the gentle reminder as many times as I can without seeming passive aggressive, as a result this is your not-so gentle reminder. Stop tagging your x OC works as x reader for the love of all that is divine. This isn’t a threat, it’s not some long article about how you’re a deadbeat or whatever; The simple fact of the matter is the tagging system was created to help readers find EXACTLY what they are looking for with [relative]ease, and that can’t be if YOU are making them sift through content that has fuck all to do with what they are looking for.

Now there are a couple of assumptions I’ve made seeing some of you guys’ posts. Most of them fall under the writer being insecure and thinking their work will not be seen if they don’t use the x reader tag and I am here to tell you that is simply untrue. I know plenty of people who actively seek out x OC works, and while I am not among them as being called by the name of someone I am obviously not in fiction breaks the immersion for me, this should NOT discourage you from being transparent in your posting.

“It’s called block and move on.” No, it’s called be a good human being and stop evading responsibility for a messy system that doesn’t HAVE to be messy, and thus is so only because you’re making it that way. You are not a singular. There are other people JUST like you doing the same thing further perpetuating the convoluted channels.

Overlooking how self serving it is, it’s also very inconsiderate concerning people that simply struggle to find stories in some already dead or dying fandom. You have no reason to tag it as an x reader unless it is, an x reader.

It’s obnoxious, and frankly, rude.

Again, I’ve given a couple of gentle reminders already but some of you are failing to respond so allow me to put it in words geared more for… I don’t know, hardier audiences I suppose. As always thank you for your time and I hope you have an absolutely wonderful rest of your day[genuine].

[miwiheroes]

Bylers, we need to talk about something…

I’ve been having a lot of thoughts pertaining to what will happen in season 5 relating to byler recently, as have we all, but I’ve also been wondering about the audience’s reaction to it if it happens.

Actually, i’ve been more concerned not about the GA’s reaction, but our reaction to how they handle it. I just want to say beforehand, that I might be projecting my issues with negativity and conflict (i’m a very very optimistic person it’s rough being on social media these days lmao) and I also very much believe that they will make byler canon in some way or another. It just makes sense with the narrative. But I fear we will never be happy with how they do it and we never learn from our previous mistakes lmao

Before season 4 came out, I sort of was a fan of byler, but i was very very casual, as in I didn’t interact with many fan theories, I wasn’t on twitter (still not on there because I have a phobia of negativity eek) and I wasn’t on tumblr, I would occasionally check out the edits and fanarts and I think I was just Aware of it, because I always root for the gay ship to happen ofc..

So when season 4 vol. 1 came out I was excited about the direction they were taking byler, and I could see that it was finally canon that Will was gay, rather than theorised. When season 4 vol. 2 came out, I had not been on sttwt or st tumblr during the time between the volumes because I had other fandoms prioritised around the time. I watched the Van Scene with my parents and suddenly I was acutely aware of just how gay they were (because I always get scared of watching anything queercoded around my parents lmao).

By the end of season 4, I was like YES! this season was amazing for a byler set up next season, although i was more focused on other characters too. I then kind of saw the byler script stuff but not the full extent of it, and I saw many edits and fanarts of them but that was it!

Now it’s 2024 and I have a major hyperfixation on byler, (due to the season 5 bts and the fact stranger things keeps popping up on my fyp it’s crazy) and now I’m on byler tumblr (not twt tho .. sorry) to find all the evidence I can and get all hyped up for s5! But I’ve also seen old posts from around 2022…

Literally every single one was extremely disappointed from season 4 vol. 2, and I was confused, seeing as I was very happy with it and I liked byler (my fave byler scene is from vol. 2 and no it’s not the van scene). If I’m being totally honest, and I might get some hate for this, I think we all had wildly, wildly high expectations and the disappointment was our own doing.

I personally never really judge a show before it’s finished (obviously not sitcoms and shows like that) unless it has really really terrible writing ofc, but I always choose to reserve judgement until all the character arcs are wrapped up and I can look back and see why things were made to be.

I understand the whole anger with Mike’s behaviour towards Will and how Will was treated poorly by him, but isn’t that the point? Mike loving Will back in season 5 would then be more satisfying after all that. It’s a set-up for the next season, no?

I don’t know why or how people thought that Mike would suddenly resolve all his internalised homophobia or something during that season, and I reckon if the whole season had come out at once instead of two volumes (i hate the two volumes thing sm omg) people would have been much happier because we wouldn’t have had time to create insane theories or unrealistic expectations that, let’s be real, were not in line with what we have seen so far with byler.

So, I just want to say that I’m a little afraid for season 5, because I know that byler will likely be canon, but people just won’t be happy because it won’t be in the exact way that they had theorised. Sorry to break it to you, but you, random person on tumblr, are not a screen writer. More specifically, you’re not a screen writer for stranger things.

I think it’s fun to theorise at the moment, but I just want to remind people that this pattern has happened before and we never learn? Like, none of our theories are coming true. Not one of them. Did I theorise the exact van scene? Did I theorise the part at the end where Mike grabs Will’s shoulder? No. But am I happy with those scenes? Hell yeah.

So on the build up to season 5, I just want to caution everyone to not assume that specific things are going to happen when it’s just a result of an echochamber (such as the milkvan breakup scene being right at the beginning or the painting being brought up). You’ll just be angry for no good reason.

The only reasons I’m personally going to be angry with how they handle byler is:

1. If it’s not canon and Will’s love goes unrequited/ he has another love interest somehow…

2. If either of them die after having a relationship during season 5 (bury your gays is stUPID)

3. If one of them dies before the other gets to tell them they love them/ kiss

4. If they get together without Mike apologising (it could be in literally any way, obvious or not) for his poor behaviour.

But that’s it, the rest of it is literally up to them.

Hope ur not too mad, but it just needed to be said.

[creative-robot]

I know The Founders Cut, generally, is the edited scrubbed over version of genloss from Showfall in-universe (as well as a not-8-hour-long-three-stream-binge-night whenever we want to watch it again) but something that struck me as odd and I haven’t seen anyone mention yet, is this warning

It shows up right at the junction where the third act starts, where it appears the Hero is breaking free of Showfall thanks to Hetch. But here’s the thing, while a LOT less than the previous acts the audience still played a significant role in this act, even when really only given two audience interaction choices. Which makes me wonder, how real is this warning, and who is it for? Obviously the audience involved knows what happens past this point, but the audience is also implied to be an integral part of the Social Experiments, which is part of why things start to tweak out when the Founder removes them in the Founder Cut as the Generation Loss generation loses.

My first thought, was that obviously this is another bait and switch, a way to draw the audiences attention, seeing something that’s secret, something that’s not “meant for them”, which is a tactic I could see Showfall using in universe to keep people’s attention and add an air of mystery to their shows.

But

Showfall is doing all their experiments and these shows with a LOT of help from their censors to show it off, displaying a fun silly show that is definitely not uber fucked up and that is 100% just slime don’t worry about it, it’s kid friendly if it’s green! And I don’t think they’d want to bet all their cards on this one experiment doing well enough to their audience to not question the sudden shift in tone that follows this warning. Which makes me wonder.

They did their test, they did their experiment, and the evidence of this last act? I think it was a one time run, they don’t want anyone seeing this, it isn’t for the audience. Act three is specifically to both test and play with their Hero, Hetch’s new lines add a level to this, never once does he call the Hero by their name, just refers to Ranboo as their Role, and he’s not exactly. Nice? About literally any of Ranboos concerns, which wouldn’t really seem conductive to making an audience trust him, especially with his monologue at the end. Ranboo has escaped before, possibly right before act 1 started, they tightened the security on his mask to be unremovably part of them, Hetch doesn’t like the Hero but they’re a fan favorite so he can’t just get rid of them.

Act three is the cumulation of Ranboo being punished for things they don’t remember, for daring to break free from Showfalls control, this is Hetch taking the Hero and essentially majorly fucking and manipulating them to take his frustration out on a fan favorite they can’t otherwise get rid of or give a smaller role like Slimecicle. which is exemplified by the fact that we now know Charlie most likely was never able to actually able to fully snap out of the control, that even in act three in panic and confusion there was at least still a part of him being influenced by Showfall.

So the first two acts are the usual show, they have their posters, they have Squiggles to introduce them, they have goofs and silliness and only a couple slip ups that’re quickly dealt with, the usual rose tinted curtains. Act three?

Do not watch the following material

[pommedepersephone]

Buck up, Hamlet! or how Aziraphale and Crowley's blocking helps communicate the evolution of their relationship

Can we talk about the blocking?

Specifically, I have been rewatching S1E3, one of my favorites. I love how the development of the relationship between Aziraphale and Crowley is shown through these little vignettes. There have been some great explorations of the costuming and dialogue, but what always strikes me is the BLOCKING. The way their placement and movements add such depth and tell the story of living as a queer person, having to communicate in coded language.

Through the episode, we get 4500 years of history - Eden, Mesopotamia, Golgatha, Rome and Wessex - to see Aziraphale and Crowley standing on their opposite sides. Aziraphale always on the right, Crowley always on the left. But after the Arrangement, their blocking changes drastically and becomes much more fluid and nuanced. Each scene after this is distinct but the scenes in at the Globe and the Bastille have the most development, and I find myself rewatching them A LOT. Here is what I see. 

All the World's a Stage

This is the first meeting we see that isn’t a chance encounter, though the two try to stage it as such. It takes place in a theatre - and they are acting, playing their roles as demon and angel. Even the humans are complicit in this performance, with Shakespeare stepping in to address the two "in your roles as the audience." Oh, delicious.

But once it's been firmly established for anyone watching that they AREN'T friends, they DON'T know each other (cough cough) the following moves are clearly choreographed and have been played out many times before. Crowley sashays to the right, opening the dance, and Aziraphale accepts the invitation to dance with: “What do you want?” 

“Why ever would you insinuate that I might possibly want something?” Crowley is just playing his role as cheeky demon offering up a temptation - but his position to the right of Aziraphale speaks to the fact that they are both very complicit in this performance.

“You are up to no good.”  “Obviously. And you are up to good, I take it? Lots of good deeds?” Just standard character establishment, here.

“No rest for the, well, good." Ah, this line, the inversion of the well known idiom. Because the line between good and evil (and between angel and demon) maybe aren't so distinct, and Aziraphale acknowledges this with his words. We are moving into negotiations now. "I have to be in Edinburgh at the end of the week. A couple of blessings to do, and a minor miracle to perform. Apparently, I have to ride a horse.”

“Ah hard on the buttocks, horses. Major design flaw, if you ask me. I’m meant to be headed to Edinburgh too this week. Tempting a clan leader to steal some cattle.” The way Crowley moves AROUND Aziraphale here, intimate but also careful, watching for his reactions.

“Doesn’t sound like hard work.” Said with a little sideways look, because Aziraphale can see where this is going. And he's open to suggestion temptation.

“That was why I thought we should… well, bit of a waste of effort. Both of us going all the way to Scotland.”

“You cannot actually be suggesting what I infer you are implying?” A little bit of pretense, because Aziraphale has to pretend to be tempted, right?

Crowley presses. “Which is?” Because he is willing to play the part of tempting demon, but only if it is clear this is a farce, that this is indeed mutually agreeable. He is making sure they are doing the same dance.

"That one of us goes to Edinburgh and does... both. The blessing and the tempting."

Yes, they are doing the same dance, and what is left is the formality of concluding the dance - a moment of Aziraphale expressing his concern for Crowley, the coin toss - they both know how it ends. It's a ritual, an act of give and take.

But if it were ONLY the Arrangement, a simple quid pro quo, it would have ended there. It doesn't. Instead, the two offer each other a more intimate exchange - "It'd take a miracle to get people to come and see Hamlet."

Aziraphale doesn't even have to ask with words, just a look, and Crowley happily agrees. That is the final part of the dance, a small acknowledgement that this isn't just about making their jobs easier.

A Free Man in Paris

Paris is something else. This is a HUGE step beyond making sure that audiences like a show your angel is particularly fond of. This is a stolen dangerous moment, an OUTRAGEOUS flirtation that takes place outside of time, conducted in clear view of others but beyond their understanding. Isn’t that how their entire relationship is now conducted, hidden in plain view and so clearly affectionate? 

And look, Aziraphale is BITCHY in this scene. Peak That Bitch. He's just purchased a bookshop, he's creating a very permanent place for himself here on earth - Aziraphale is feeling quite proud of himself. In fact, he's preening a bit that he has figured out how to exist, even in some small limited way, as himself within the confines of the system of Heaven. Buuuut he may have gone just a bit too far, and gotten himself in a spot of trouble. He has landed in a prison, threatened with "death" and stuck because he's already gotten a warning about being frivolous with his miracles. Oh jolly good that Crowley is here to save the day!

There is something raw being communicated here here, where both Aziraphale and Crowley are presenting themselves to the world in ways that are dangerous. Aziraphale's reaction tells us that Crowley's look is doing things to him, but also in a way that it is NOT socially appropriate. Aziraphale may have showed up in all the trappings of an English aristocrat, but here is Crowley as a French royal sympathizer. NEITHER of these are safe choices in the middle of a revolution. The costuming is so critical to fully appreciating this scene, so check out the amazing clothing overview with @cobragardens.

When Crowley arrives and stops time, he and Aziraphale find themselves situated facing one another, but angled so they aren’t facing straight on. Interestingly, from Crowley’s perspective, he is where he is supposed to be - the left of Aziraphale. But Aziraphale, from his perspective, is also to the left of Crowley. It was Aziraphale after all who initiated this situation, who put himself in danger by being too… Aziraphale. It’s dangerous to be yourself when you don’t fit into heteronormative social expectations, isn’t it? Still, the two keep up a very flirtatious banter as they discuss the situation, and Crowley maintains his very-intentionally-unbothered sitting position up until Aziraphale goes too far and thanks him for coming to his rescue.

While Crowley is also flirting with danger in the way he is dressed, he also didn't just pop over for a nibble dressed this way. And whatever he might have been up to was interrupted so he could rescue Aziraphale from the consequences of his own reckless authenticity. After removing the chains, Crowley pushes Aziraphale to reconsider his honest expression of himself in this exact place and time - for the sake of survival.

Aziraphale, willing to risk himself alone, rather quickly adopts a more acceptable appearance when it might impact Crowley. It is only after Aziraphale is safely disguised and returned to his proper place to the right of Crowley, ONLY then does Crowley restart time. They can go enjoy lunch now, with the proper precautions and masks in place.

For these two particular human-coded occult beings, this is also such an honest moment. They both showed up damn authentically - Aziraphale so fabulously ostentatious, focused on chasing down some pleasure (in this crepes) and Crowley wrapped in a clear protest against the current violence. Just as Aziraphale indicated with his "Oh good LORD" as he looked the demon up and down with obvious thirst, Crowley's request to Aziraphale to change his appearance and mask better is done in such a way that affirms that Crowley LIKES who Aziraphale is without the mask.

The scene is so playful on the surface, the body language and dialogue flirtatious. It's something so familiar to the queer experience, making light of the absolute danger that we must sometimes navigate just to exist. The more I watch it, the more obsessed I become.

A Spot of Bodysnatchin'

It is worth remembering that we didn't get this scene in S1.

I am going to go through it soon, because again they dance back and forth beautifully in this minisode, but suffice to say we all know... it didn't end well for Crowley.

No Walk in the Park

The moment in St. James Park is brief, and it wasn't until S2 and the meeting at Edinburgh that we got the full context for this meeting. But even without this, we can clearly see that things are weighing heavily on Crowley. The scene in the Bastille took place in a prison, with the threat of execution over their heads. The juxtaposition of this conversation taking place in a park - a place that is not only NOT inherently dangerous but looks lovely and welcoming - only highlights the change in Crowley's attitude. He still attempts to be playful, but he's afraid. Look at that paper, it's a bit crumpled, he's been carrying it around for a while.

They are firmly entrenched on their assigned sides for the entire conversation, both very stiff. It feels uncomfortable to watch. When Aziraphale refuses his request, and indicates whatever is between them is just "fraternizing" with the enemy, we get a glimpse of how fearful Crowley really is. In none of these flashbacks has Crowley ever spoken to Aziraphale with the anger we see here. When they part in anger, it feels wrong.

Take Me to Church

So there is a long break between meetings now. But then, ah, the church. The place Aziraphale realizes his feelings. (Look, if Michael says this is where Aziraphale realized he'd fallen in love, I am not here to argue.) What I love is that again we see Crowley and Aziraphale swapping sides. Crowley is here to save his wayward angel, AGAIN. Despite feeling the ill effects of walking on consecrated ground, Crowley is here to save his angel and defeat Nazis. It's definitely not remotely evil intentions.

It isn't like the Bastille, but some of the parallels exist - Aziraphale failing to grasp the risks of his actions. And the silliness of his little dance coupled with just how deadly serious this situation is harks back to their flirtations in the prison.

Crowley is to the right of Aziraphale from the time he arrives until the bomb drops. Then in the rubble, with the danger past, we see them on their assigned sides again. UNTIL Crowley hands Aziraphale the books he saved with a "little demonic miracle of my own." He then crosses Aziraphale, and we see the look of absolute adoration as the angel watches him walk away to the right.

Sweeeeeet baby Jesus, baby girl has it BAD.

Always Crashing in the Same Car

This extremely heartbreaking scene has been dissected, chewed over, breaking our little hearts with it's sharp pieces.

But it is purposeful that this scene took place in the Bentley. Being in the car is symbolic because Aziraphale is here making an offering to Crowley, in his space, something that he Aziraphale feels is WRONG which is highlighted by his placement to the left of Crowley. He is scared, acting against all his own desires, but he does it anyway because he cares for Crowley. It's simple, powerful placement. Need to hurt more? Yeah, thought so. Take a deeper look at the dialogue with @zionworkzs.

[girl-named-matty]

The Boys reacting to their partner crying over something silly 💛

Sebastian and Ominis reacting to their partner crying over something silly. Tags: Fluff, crying, gn!reader, overall silliness but it's cute, Sebastian x Reader, Ominis x Reader. (Not very proofread, I'm lazy sorry <33) Rating: General Audiences. ..

Summary: My HC's for how Sebastian and Ominis react to their partner crying over something silly. (We've all done it)

Sebastian:

He’s wondering why you’re crying at first. He’s really concerned and obviously wants to know what’s going on. 

I mean, you’re absolutely hysterical. How is he not supposed to be concerned? 

When he finally calms you down enough for you to speak, he definitely wasn’t expecting to hear what he did. 

You proceeded, through tears, to tell him the silliest reason why you were sad and beyond just crying at this point. 

He lets out a laugh at first, not a mean one but one purely of disbelief. 

But his attitude changes immediately once he realizes you are being absolutely one-hundred percent serious right now and that you are truly upset.

He quickly apologizes for laughing, telling you that the reason why you’re crying is completely valid–even if he doesn’t understand it. 

He tries his best to comfort you but what do you say to someone who’s crying over something so silly? He has no idea. 

But he just wants you to know he cares a lot. 

Pulls you into his arms and tries to validate how you feel. 

And after a while he gets you to calm down about it and later you two have a laugh about it. 

But overall you’re just glad he cares so much, even if it's over something silly. ..

Ominis:

Immediately, he’s a bit concerned. 

I mean certainly, if you’re this hysterical, something terrible must’ve happened. 

But he also hates prying and isn’t sure if he should talk to you until you calm down, just to make sure he doesn’t upset you more than you seemingly already are. 

Eventually, he gets himself to get up and ask you what’s wrong, expecting it to be pretty serious. 

Then you recount the silly story to him about why you’re upset and he doesn’t expect it at all. 

He’s a little surprised, that’s for sure, but he knows what it’s like to not have your feelings validated about situations or other things. 

So although it’s a little silly, he hugs you and tells you that it’s okay and that you’ll be okay. 

He just wants you to know he’s there for you. 

When you’re also upset about yourself crying over something so silly, he tells you that it’s okay to cry and be upset about things, even if they are silly.  

He really is just the sweetest. ..

A/n: Short but sweet. 🥰 Does anyone want this done with other characters? Lmk!

[cokoweee]

Ohhhh…she got set up!!!! (I mean, we already knew that) But poor random security dude Also the whole conversation is interesting between Kendra and Jason. LIke… I don’t even know which panels to capture (this was a very dialogue heavy update and I’m not complaining) It seems like even if Jason is on the “straight and narrow” he still harbors some resentment to the turtles (obviously messed all three of them up with the criminal records) and so when he discovered the bracelet was connected to Donnie, he didn’t have as many qualms about jeopardizing his safety. He was only concerned about his supers intentions, because it was all connected to his sister. He did assume the turtles (probably thinks they’re all alive too) took advantage of Kendra (but like, come on dude, do you know these guys? Better yet do you know your sister?!) and that’s why she was so dodgy (boy would be surprised she now has a thing for Don, lol) But I love how there is a shift in the tension. In the beginning it’s Kendra who is getting cut off, because Jason had a mission, while Kendra is picking up the pieces. Then after Jason (and the audience) start to get the sense that the “dead guy” isn’t the same as Kendra’s “dead guy” does he start to get cut off, with Kendra able to get her questions across. And with that final clue that Kendra has to start wondering, I wonder if the coffee barista is an agent too…they’re gonna swat the shop! (good thing…or not… Donnie isn’t too far behind) Also today was a shit show, so however you feel about posting or not, just do what you need for you!

This was DEFINITELY dialogue heavy and I for one AM complaining. Dialogue is already pretty tough but the fact that my brain was stuck didn’t help the argument I was having with myself trying to act it out lol. My brain had a lot more talking going on but limited space and brainpower kept it pretty….meh

Despite whatever intentions, motives or mission Jason he’s officially now just..no longer trusted. Jsut like that she basically lost connection to any family

I have the next update finished and I’m FIGHTING the urge to post cause I just posted today.

[ilikekidsshows]

"I wrote a thing ages ago about how Marinette doesn’t actually care that Lila lied about knowing Ladybug, she only cared that Lila lied about Ladybug to try to impress Adrien."

It's funny cause I saw salters use the argument that the excuses people give as to why Adrien gave the high road advice (like how he believed that Lila was just like a celebrity gossiper, or that their classmates would figure out on their own, etc...) are arguments that the fans came up with and that the show itself never had Adrien say those are the reasons he believe they should take the high road, which fair enough. But then these same salters turn around and try to make Marinette wanting to reveal Lila's deception as much more noble than it actually was, like making up the idea that Marinette was just concerned about Lila putting a massive target on her back by saying she was Ladybug's friend.

---

Also, like, Adrien’s “high road advice” isn’t even about taking the high road. Taking the high road means trying to be the better person in a situation, but Adrien actually tells Marinette that her method will not get her the result she wants. And to make this nitpicking about Adrien’s advice even more ridiculous, Adrien even assumes Marinette’s motivation is that she opposes Lila’s lying on principle alone, instead of her having a personal vendetta against her. Even the audience doesn’t know what Marinette’s end goal was. To get Lila to stop lying? To get her away from Adrien? To humiliate her so badly she’d transfer schools? We just don’t know because Marinette never thinks about it that far. She just sees Lila and sees red. She hears her lie about the most petty stuff and thinks that's her justification to bully her as a superhero.

“It’s enough that we know the truth,” is Adrien’s way of telling Marinette that they don’t need to care about Lila’s petty lying to get popular, because it’s not hurting anyone because it wasn’t. Lila was incredibly harmless to basically everyone when she wasn’t akumatized. Even her “threat” to Marinette was based completely on Marinette herself publicly harassing Lila and making herself look bad through no effort on Lila’s part. Pre-’Ladybug’, Lila’s lies never actually hurt anyone, the only time she actually hurt anyone was when she framed Marinette in ‘Ladybug’, which hadn’t yet happened in ‘Chameleon’.

Adrien is actually so correct about Lila in ‘Chameleon’ and that’s what pisses me off about the retool trying to turn Lila into this super evil obviously nasty person so Adrien has to apologize for giving good, solid advice that actually worked. I can’t emphasize enough that Adrien’s advice actually helped Marinette. It was the correct way to handle the situation, and no amount of retooling will change what happened in those earlier episodes. The fans don’t need to come up with reasons or defenses for Adrien because his advice worked, therefore it was the right thing to do. Meanwhile, Marinette’s methods never made any progress before the retool.

I also can’t emphasize enough that we don’t know what Marinette was trying to accomplish with her harassment campaign against Lila in the earlier seasons. Indeed, she never says anything about Lila putting herself in danger. She never says anything about how Ladybug’s reputation could somehow be harmed. She was just angry and wanted to hurt Lila for trying to get close to Adrien. The thing that makes Marinette ready to jump Lila in the library isn’t her lying about knowing Ladybug, it’s suggesting to Adrien they should meet at the park. “I just hate liars” is what Marinette said when Adrien told her she was acting weird and not like the Ladybug she should be, and even after the excuse, Adrien was left concerned that there was something wrong with her. Marinette’s actions weren’t justified even in the episode itself.

This is such a weird hill for people to choose to die on and for the show to walk itself back on. It was pretty clear in its messaging the first time around.

[oopsiedaisiesbaby]

Okay thinking about sugar baby John and rich older sugar daddy Gale- what if it’s like in the early 1900s and Gale comes from an upper class family and is a depressed tragically repressed homosexual, maybe he’s unhappily married to a woman too, or his family is putting immense pressure on him to get married, and John was the young hot masculine groundskeeper or something like a Mrs. Chatterley’s Lover type situation. And John becomes Gale’s sexual awakening.

Or Gale is a scientist or professor or something like that and quite well off or maybe still comes from money, I’m imagining this still takes place in the past and he wears cute little spectacles and he’s very nerdy looking, and John is this young attractive masculine student or intern of his maybe? But I’m thinking John isn’t much of an intellectual, he’s an athlete and a bit of a himbo so idk what he would be in this scenario all I know is that it would be very hot

Little thoughts about both await below 😈

I am LIVING for the idea of prim and proper Gale letting himself get defiled by the new, hot, young groundskeeper 😍 He’s never really been about the pomp and circumstance of his life, in fact he’s always been kind of bored by it, he wishes he could just be left alone to study all the subjects he’s interested in instead of having silly women thrown at him that he knows he’ll never marry. He wants the Cleven line to end with him.

Then John comes along and Gale doesn’t understand why, but he can’t stop looking at Bucky when he starts. He’s always unbuttoning his shirt obscenely low on spring days but it’s during the summer when Bucky starts taking his shirt off and making eye contact while drinking the water Gale brings him occasionally that he really starts to unravel.

Bucky listens and Gale knows it’s because he’s a captive audience (he’s not, Bucky loves to listen to him infodump), but he can’t stop because John can actually keep up??? Gale is shook, because Bucky can also make him laugh like no other, he’s unfailingly sweet and kind no matter how horrible Gale’s family is to him, and he really starts enjoying the way Bucky calls him Buck.

One day, while Bucky is taking care of something, Gale is rushing to hide from his father, not paying attention and he runs right into Bucky. He’s staring up at him, panting from near sprinting through the halls, and realizes he’s in love with John. He watches recognition settle on John’s face and then he’s pulling Gale into his first real kiss and John has to catch him around the waist when his knees nearly buckle underneath him. They’re looking at each other afterwards, still holding onto each other and Gale realizes this is forever.

Tee up, Gale getting a bachelor pad in the city because he wants to further his studies and insisting he needs a valet and that John would be perfect for the job. They take their time learning how to make it work in a time where it can get them killed as well as learning each other being away from the threat of Gale’s family looming over their shoulder.

Gale spoils John and at first he’s wildly uncomfortable with it but after a bit he realizes it’s the way Gale knows how to show he cares so he lets him and it makes Gale so deliriously happy that John can’t help but to be happy about it too. Maybe it’s not so bad being Gale’s kept boy for the rest of his life.

Buuuut professor Gale and student John?! You already know how much I live for that dynamic 😉 Gale with his dorky tweed suits and round glasses 😍 Bucky, in Gale’s required science class for freshman, obviously has the same reaction and starts booking as many of Gale’s after hours slots as possible because he doesn’t understand the material.

It becomes glaringly obvious that Bucky understands the material no matter how hard he tries to pretend not to. Gale can’t bring himself to care though. Bucky is hilarious, thoughtful, and incredibly fun to talk to and Gale notices how shabby his belongings are and gets a little concerned when he starts looking a little gaunt as the semester continues.

So, Gale starts bringing him little treats and drinks to their after school meetings. New notebooks and fountain pens, or shirts that didn’t fit him and he doesn’t have time to return don’t worry about it John. Except, Bucky catches on and confronts him, baldly asking if Gale wants his dick sucked for all the gifts.

Gale is horrified at first because he didn’t mean any of it like that. Bucky thinks he’s misread it all and Gale’s about to turn him in for being queer. Until Gale admits, voice barely above a whisper that he doesn’t expect Bucky to do anything for the gifts but he wouldn’t say no to head.

It’s ON from there and they end up having to have a conversation about the gifts when things start getting serious and Gale admits he really likes providing for Bucky like that. So, Bucky sucks it up and lets his man continue lavishing him whenever he feels like it even after he has a job that pays more than Gale’s. Who is he to say no to nice, thoughtful things from the person he’s madly in love with?

I completely forgot about the himbo athlete part… might just have to expand on that later lol Or just write another fic for KMITD since that’s peak himbo athlete John and nerdy teacher Gale lololol

[simplydannie]

Requested, inspired by, and written for @sillypanda3!!

Desperation begins to grow inside Velvet… What they’re doing is not enough. She needs more Troll. One night it overtakes her, leading her to take a little more than she can handle…Leaving Floyd helpless to watch.

The twins strike their final pose.

The audience cheered and roared, chanting their names. Veneer smiled looking at the crowd and hearing his name. He turned to eye his sister… that’s when the smile vanished. She was smiling, but there was something about her smile that was menacing… terrifying. He could see a hint of a pink glow in her eyes…

“THANK YOU MOUNT RAGEOUS!!” She screamed into the mic. The lights shut off leaving the twins in darkness up on the stage. Once out of view of the fans, Velvet frowned.

“Could we have been any more worse!!” She cried as she exited followed by her brother.

“Sis, relax. We did fine. They obviously loved it!” He assured her.

“You don’t know anything!!! That was WAY below perfect. We need perfect Veneer!” She yelled as she made her way into the dressing room. Velvet went straight towards the diamond where the little Troll lay… he began looking more and more exhausted.

“What the hell is going on?? Why aren’t we perfect!” She screamed looking at Floyd.

“Because it’s not really you doing all that. It’s just what my essence is making you do. If you do it on your own, coming from you, then it’ll be perfect.” Floyd told her. A hint of guilt crossed Veneers face as he saw the state Floyd was in… what they were doing to him… they were killing him…

“Velvet, maybe for the next one, we should practice??” Veneer suggested.

“Are you serious bro? Why practice when it’s being handed to us on a silver platter? We just need more Troll! This one isn’t working anymore.” A desperation sounded in her voice. Everyday she grew scarier and scarier, like she had become addicted to this. Veneer glanced at Floyd, he could see the concern on his face… Velvet was slowly loosing it.

The door opened to their dressing room. A woman Rageon with loose navy blue hair, and lighter blue skin walked in… Lapis, their agent… she was under direct orders from Mistress… their manager. She walked in with her heels clicking, her glasses reflected the interior light.

“She’s not happy.” Lapis said.

Velvet scowled, “I knew it!”

“Is the Trolls effects working or not?”

Veneer stepped in, “I mean obviously. We’re still able to absorb the essence… Our fans are still obsessed with us.”

“Somehow the fans aren’t working either for her. She wants more. We have a few ideas. But you better deliver.” Lapis warned before heading out.

Velvet pounded her fists on the desk, “If we can’t deliver Veneer! They’re going to send us straight back down there! And you know it doesn’t go well for Rageons like us! They’ll make a laughing stock of us back in Under Rageous!”

“I don’t know what more we can do! We’re doing everything they’re telling us.”

“It’s not enough! We need more Troll!”

That night back at their mansion, Velvet couldn’t sleep. She tossed, she turned…. She just could not get out of her mind that the performance today was a disaster. How off key did she sound? Was it her or her brother? She turned to her left…that side of the bed was empty. Normally Veneer would come in like he did when they were kids and ask if he could sleep over. But tonight he didn’t, he knew she was angry, and when she was angry, it was best to leave her alone.

“We can’t go back.” She told herself. Out of the many, they were the only ones to make it and be picked for this; this life of fame. There had to be something special about them that they were chosen… and Velvet didn’t want to loose that. She had to stay up on top, she just had to!

Throwing the blankets off of her, she tiptoed her way out of her room and straight to where they kept Floyd.

The little Troll was curled into a ball, sound asleep. He didn’t hear Velvet when she walked in. Gently she picked up the diamond. Velvet looked at Floyd as he slept soundly. Memories began filling her mind of the days that used to be… when they found Floyd, when he took care of them in the under-city. He became a father figure when they needed one the most. While Under Rageous saw their kind of Rageon as bad luck, he saw past it… he saw the lost kids they were in the dreaded under-city…

Her heart numbed… she couldn’t do this, she couldn’t keep hurting him. Velvet began to lower the diamond back into place, but then something else came to her mind… What if they failed and were sent back? Her and her brother only survived because of pure luck. What if their luck would run out? What if she lost her brother….the only precious thing she had in this damn place…They had a debt to owe, they had to do this, she had to…

Floyd stirred inside the diamond. He opened his tiny eyes to look up Velvet, “Vels? What are you doing here?” As he looked upon her he saw the glowing pink desperation in her eyes, “Vels?”

“I’m sorry Floyd. But we have to be perfect…. I have to be perfect. I need more Troll!!!” Taking the diamond she spritzed herself one too many times. Floyd grunted as the life drained from his body, a pain scoffing through. Velvet felt the high surge through her veins, she felt the euphoria…. She felt the power… and it felt good.

“THATS WHAT IM TALKING ABOUT!” She exclaimed, “But it’s not enough!”

Floyd tried to catch his breath as his body began to turn clear, “Velvet. Stop please.” Again she took the diamond to spray herself, absorbing Floyd’s essence. Again she felt the euphoria and energy surge through her veins, a glow coming to her body…. But something was different, because this time, it felt like it was too much. Velvet let the diamond drop to the floor with a thud as she clenched her chest..

“What the hell…” she exclaimed. Floyd stared at her wide eyed.

“Vels?”

Velvet fell to her knees, still clutching her chest, the glow still in her body and eyes…. She collapsed.

“VELVET!!!” Floyd cried as he saw her body tremble on the floor. Her eyes still glowing nearly rolled at the back of her head, her body shaking uncontrollably. “VELVET! Oh my god! VENEER! VENEER!!! “ he cried out, tears beginning to sting his eyes as he helplessly watched Velvet practically overdose on his essence. How was this possible? Was it because of their ability?… or because of his essence?

“VELVET COME ON PLEASE HEAR MY VOICE!!” Floyd banged and banged on the diamond. But it was useless. Velvets body still shook on the ground, she began to foam at the mouth…

Veneer was sound asleep. He hugged the fish plush his sister made him years ago, a little after Sparkles died. He was seventeen now, but he didn’t care, it brought him comfort. It was peaceful that night… but something kept urging him to get up. He opened his eyes and glanced around the room… something was off, something didn’t feel right. Veneer tried putting that feeling in the back of his mind as he closed his eyes…

But the feeling came again..

“Uugghhh.” He groaned as he sat up. Veneer needed to make sure, so he went to his sister’s room. When he got there he saw her bed was empty.

He shrugged, “Maybe she went to the bathroom.” Veneer yawned and was headed to bed when that feeling came again…. A feeling that something wasn’t right….That’s when he heard the noise.

“SOMEONE HELP!”

Veneer took off running towards the noise… he could hear he was getting closer…

“VELVET PLEASE!! OH MY GOD! VELVET!!”

Veneer barged into the door to see Floyd desperately banging on the diamond hoping it would break. He turned to see his sister lying motionless on the floor.

“VELS?” He ran to her side and scooped her into his arms. She was foaming at the mouth, her eyes half way closed. “VELS!!” He screamed shaking her body.

Veneer placed his ear by her chest…. He could still hear her heart, he could feel she was breathing, but just ever so slightly.

“WHAT HAPPENED?” He looked at Floyd, “WHAT HAPPENED!”

“She came… she used the diamond… took more of my essence….” Floyd could hardly speak, hardly to think… he nearly saw her die, “Veneer she took too much… She took too much.” Tears swelled in his eyes…. She over did it.

“Vels?” Veneer cried holding his sister close. She was stable now, her breathing steadied, her heartbeat felt back to normal, but she still didn’t stir… she still didn’t move. “We have to stop Vels,” He cried, “I don’t want to loose you like this….please.”

Floyd rolled his diamond near the twins… he couldn’t hug them, he couldn’t comfort them… instead he leaned the diamond in between both of them… hoping they could feel warmth… he couldn’t loose them either.

[doorhine]

I think the show does a really good job at validating and empathizing with Akemi’s concerns as a woman living under a patriarchy while also acknowledging her privileges, not just as a wealthy person, but as a literal princess. There’s a lot to be said about Akemi’s dynamic with Madame Kaji and the other sex workers but right now I’m focusing on her and Mizu as two main characters whose experiences as women contrast each other the most. I specifically want to talk about the end of episode 5 because it’s a culmination of so many things.

*SPOILERS BELOW

Mizu obviously isn’t there to personally see the misogyny Akemi experiences so from her perspective, she has no real reason to empathize with her running away. Mizu also just has her own priorities with her revenge quest. But even with the lack of context or understanding of Akemi’s situation, Mizu and the other sex workers' judgment of Akemi isn’t unfounded because she has real privilege over them. As a princess, she has an unfathomable amount of wealth that lets her live a life of comfort and luxury so far removed from other people’s experiences to the point where, Akemi herself states that being rich like that makes you forget that you’re rich. And while Akemi is clearly shown to utilize the skills sets she does have to her advantage when she runs away, it’s not an insult to her intelligence to acknowledge that getting as far as Madame Kaji’s establishment was also the result of luck because there’s so many ways that things could’ve gone wrong on the way there. 

So for Mizu to encounter Akemi

A princess who ran away from all that luxury for the sake of a failed marriage with a guy who bullied/hate crimed Mizu as a child and wants to duel and kill her for his honor/social status in the present (when social climbing was never truly possible for Mizu even when disguised as a man and because we know how her marriage ended)

A princess who tried to kill her and says she only regrets not doing it immediately 

A princess who calls her a monster just like everyone else 

A princess who has no idea Mizu’s even a woman or all the experiences that got her to this point, including the assassination of Kinuyo (who didn’t want to die) at Madam Kaji’s request because women have to be practical and think of the results (not how they get there) when it comes to revenge 

A princess who may have fought to help defend Madame Kaji and her girls but then expected a mentally, emotionally and physically exhausted Mizu (suffering from multiple puncture wounds after doing the majority of the killing/defending) to fight Akemi’s own guards like a personal attack dog when doing so would’ve more than likely killed her and Ringo while Akemi still lived and got taken back home…. *takes a deep breath*

It’s totally understandable why Mizu just lets them take Akemi. 

On Akemi’s part, she doesn’t know the context around why Mizu is the way that she is but at the end of the episode assumes that she’s not capable of love when they’ve only known each other for… not even a day and half technically speaking. Meanwhile Mizu’s assessment of Akemi’s privilege is still accurate in certain ways despite her lack of context that makes Akemi empathetic to us as the audience. Also, not that Mizu sees this happen, Akemi is able to maneuver her way around the shogun’s court and her new husband while also uplifting and hiring Madame Kaji and her girls to both their benefit. A path she chooses to continue taking at the end of the season. It’s still within the confines of the patriarchy and not without its challenges, but Akemi is taking advantage of the privileges she does have when she previously took them for granted. 

Both Mizu and Akemi are just so nuanced and well written and this scene is a perfect example of how and why they clash due to such drastically different lives shaped by their social status. I’m curious to see how their journeys will go from here and what circumstances reunite them (for better or worse) given where they left off with each other during the season finale.

[a-snapdragon-writes]

Fanfic Entry #2

An (Un)Wise Father (6329 words) by Lynlee494

Chapters: 2/6 Fandom: Batman - All Media Types, Batman (Comics), Batman: Under the Red Hood (2010) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Jason Todd & Bruce Wayne, Jason Todd & Matches Malone, Matches Malone & Bruce Wayne Characters: Jason Todd, Bruce Wayne, Matches Malone, Red Hood's Henchmen (DCU), Dick Grayson Additional Tags: Jason Todd is Red Hood, Bruce Wayne is Batman, Pre-Under the Red Hood Arc, Bruce Wayne Doesn't Know Jason Todd is Red Hood, Misunderstandings, Undercover, Undercover Missions, Jason Todd is So Done, Jason Todd Deserves Better, Hurt Jason Todd, Jason Todd Needs A Hug, accidental adoption, Except He's Already Your Son, accidental fix-it, Bruce Wayne Tries to Be a Good Parent, Protective Bruce Wayne, Protective Jason Todd, Fluff and Angst, Crack Treated Seriously, Crack and Angst, Angst and Humor, Bruce Wayne Needs a Hug, Canon-Typical Behavior, Canon-Typical Violence, Based on a Tumblr Post, In The Words of Captain America: "Language!", Angst with a Happy Ending, Good Parent Bruce Wayne, Tumblr Prompt, Hurt/Comfort, Jason Todd Takes Care of Crime Alley | Park Row, Crime Boss Jason Todd, Jumping To Conclusions Without A Parachute, Guilt, Implied/Referenced Child Abuse, Identity Reveal, Miscommunication Series: Part 2 of Your Boy That Was, Your Son That Is... Summary:

When Matches Malone strides into Red Hood’s meeting and settles in among the new recruits, Jason Todd has never been more grateful for the full face helmet. Why was dad Bruce Batman here…?

Then Jason thinks back to the gala and curses internally. Bruce had obviously figured out from their encounter at the gala who Red Hood really is, and has decided to… what? Taunt him? Anger flaring, Jason refuses to react to the persona that Jason himself had once helped Bruce to dress up as. Whatever this is, if Bruce wants to play dress up and look like a fool, who is Jason to stop him.

___________

Bruce isn’t sure what to expect when he walks into the meeting led by Red Hood. Even though his recent ‘rescue’ at the hands of Red Hood had Bruce looking at Red Hood’s activities with a new light, there was still the more pressing concern.

Red Hood had deliberately gone for and pressed the emergency beacon hidden on his belt. It could simply be that Red Hood had observed one of them using it. Or perhaps this newest criminal to Gotham just thought Batman was partial to the billionaire as some rumors suggested.

Or Red Hood knows Bruce Wayne’s secret.

My Notes: Yet another very silly one. There are Shakespere level shenanigans with all the miscommunication in the fic. It's mainly a Bruce Wayne(Matches Malone) and Red hood story

It's not finished though I think is still worth a read (Though I am biased because I am fine reading fics which aren't finished)

Written by fellow Tumblr User: @lynlee494

(I have enjoyed several other fics by them)

[kitkatopinions]

Gonna do a quick headcount of things that SHOULD happen before the end of RWBY. No I will not be leaving out things that would be consequences for stuff from seasons ago, just because it'd feel awkward and clunky at this point doesn't mean it still isn't important because it never WAS addressed. And also note that some of these are obviously more important than others, but they all still should happen.

Ruby and Blake should have preferably more than one moment focused on building their friendship.

Members of RWBYJNROQ who don't have established dynamics need at least small relationship building such as Qrow and Blake, Ren and Weiss, Weiss and Oscar, etcetera.

What happened with Pietro and Maria in V8 needs addressed.

Someone needs to talk to Pietro about Penny.

Blake and Yang need to have a conversation where Blake opens up about her past, they address what happened when Blake left, and they talk about Yang's hesitancy to be apart.

Blake and Sun need to have a conversation (if only in passing) about her being with Yang and establishing that they're still friends.

Nora and Ren need time apart and then need to figure out where their relationship is going.

Nora needs a strong character arc outside of Ren.

Emerald needs more work done in her redemption and needs to face some of what she's done and the people she should logically be emotional about leaving behind.

We need to establish the fallout of Atlas going down and the logically-must-be-there distrust that would sprout up around Hunters, the Military, etcetera.

We need to know what will happen to the Schnees and how they're adjusting to things.

Consequences of revealing the Maidens and magic to the general public.

Someone outside of Ruby and freaking Jaune should grieve Penny such as Winter and the Ace Ops.

Weiss needs to be concerned with helping and/or connecting with Whitley.

Oscar and Ozpin's merge needs to be addressed and talked about and potentially happen or they need to find a work around.

Team RWBY + J should tell their friends what happened in the Ever After.

We need to address the Ruby stuff in V9, Ruby's recovery cannot be super quick, WBY and Jaune especially should step up and admit their part in it.

We need to address what's been happening in Vale.

We need to find out where the last two Relics are and the group needs to work to protect them from Salem.

We need to get the Relics in Salem's hands out of her hands.

We need to know who the Summer Maiden is.

We need to have the group realize that Raven is the Spring Maiden and address Yang's lie.

God knows I hate when he gets focus, but we need Jaune to deal with what happened to him and specifically give some focus to him reuniting with his team and them reacting to him mentally being like forty.

We need to deal with the whole 'once the Relics are united, the gods will come back and wipe out humanity if it isn’t perfect' thing.

People still need to learn to be sympathetic to Oz and not treat him like an enemy.

We need to learn about and deal with whatever Mercury and Tyrian are doing in Vacuo.

We need to establish what's happening with the Ace Ops and Happy Huntresses.

We need to figure out what's happening with Qrow and deal with how he handled Ruby and Yang supposedly 'dying.'

We need to establish what life is like for the Atlas/Mantle refugees and what Vacuo is doing for them.

We need to establish Theodore as a character and why we the audience should trust or like him.

We still need members of Oz's inner circle to emotionally deal with what happened with Ironwood.

We need characters that should by all rights be a bit more important to get brought back in and be at least a little involved such as Glynda, Taiyang, Ilia, and Sun and Neptune.

We need to know what really happened to Summer and deal with the fallout of whatever it is.

Yang and Ruby need something to heal the rift between them.

We need people to figure out a way to defeat Salem.

We need to have people struggling to get people together to fight Salem and deal with possible conflicts surrounding that (considering the fact that having an army was considered a sign of pure evil when it was Ironwood)

We need to defeat Salem.

If CRWBY intends to bring in the Crown from the ATF/BTD books, they need to be established and dealt with as well.

This is all just off the top of my head! Yes, some of these things seem like they're going to be (badly) addressed in passing from the little promo that was originally supposed to end V9, but we don’t know how much of that will change and I personally am unsatisfied with almost everything in it and still think we need further exploring for all that stuff. (And no, I'm not considering Justice League or RWBY Beyond to be good enough if the main series doesn't make sense or have emotional payoff.)

My point here is... There is so much left to do in RWBY (arguably that should've been done AGES ago,) that I'm having a really hard believing much of it will be done. And I fear that whatever they do try to deal with will just be jam packed into the next season at the speed of light with no real payoff and it'll wind up badly done or unsatisfying because of it. Especially if they try to introduce loads more in V10 the way they did in V9.

RWBY is for sure the show with good concepts, because while I was writing out that list, I was sitting here thinking about how some of it could be pretty good and impactful in the hands of good writers. But it's also the show of no emotional payoff, and I seriously doubt that this next season is gonna deliver.

[livwritesstuff]

uhhh so i finally watched the 3rd episode of The Last of Us. that shit was unpleasant. this is also…not happy.

I’d like to think that Steve and Eddie’s daughters watch The Last of Us as it comes out and spend the entire six weeks it runs begging their dads to watch it too.

Robbie is the one leading the crusade – the one who enjoys horror and sci-fi the most. Moe, Steve’s kid through and through, tolerates the genre, though she usually spends the duration of the movie or show questioning vague world-building elements. She does appreciate a good story though, and she likes hanging out with her sister, so she ends up enjoying it.

Hazel hates horror, slashers, all things scary, so she isn’t inclined to watch the show at all, which is mostly why the older two turn to their dads when they need an audience to channel their harassing towards.

Moe and Robbie pester them for weeks and eventually, about a month after the show’s final episode airs, Hazel approaches Steve and Eddie saying she wants to start watching it but doesn’t want to watch it alone, and Hazel is the baby of the family and they’ve got less than two years left with her until she’s off to college like her older sisters, so they’re usually inclined to give in to any and all requests she makes.

(And they never find out that Hazel only asked them because Moe and Robbie bribed her to do it).

The three of them watch the first episode, Hazel curled up in an armchair while Steve and Eddie share a blanket on the couch. Hazel covers her eyes during the more disturbing scenes and makes Eddie describe them shot-for-shot as they unfold. By the time the credits are rolling, they’ve all collectively decided they don’t hate the show (Eddie actually really enjoys it).

“That shit might be worse than what we went through,” Eddie acknowledges later that night while he and Steve are getting ready for bed.

“That’s...” Steve pauses, “Yeah, that’s fair. If I had to choose between the Upside Down and that, I’d choose the Upside Down.”

“It’s always nice to know things could’a been worse.”

“Shut up,” Steve nudges him.

They all watch the second episode the next night, and it goes pretty much the same.

The following evening, Hazel goes to a sleepover and tells her dads they don’t have to wait to watch the third episode if they want, and because Moe and Robbie had repeatedly said they had to see the third one, even if they don’t end up watching any further, they curl up on the couch under that same blanket (this time with one or two more glasses of wine than they would normally have if their kids were home) and settle in to watch it.

The episode starts out normal.

“Don’t we know that guy from something?”

“Which guy?”

“Ed – the only guy on the screen. Isn't he in that show Moe showed us an episode of – the one in the office with that one from SNL?”

“The Office?”

No, not The Office. Never mind.”

They quickly realize exactly why their daughters had been so insistent that they watch it.

“Is this the good kind of queer rep?”

“I never know anymore,” Steve shakes his head, “I just let Moe tell me that kind of stuff.”

The mood sobers quickly after that, and they don’t even make it to the end of the episode before Steve says he’s done. Eddie doesn’t respond, just turns the TV off.

They sit together for a while, Steve’s hand tight on Eddie’s thigh, Eddie running his nails over the nape of Steve’s neck, until Steve finishes his wine and lets Eddie pull him off the couch (at fifty-six, his knees aren’t what they used to be).

They get ready for bed together, like they almost always do, and Steve looks at the two of them in the bathroom mirror.

They’re older.

Obviously they’re older – it’s been thirty years since they first started dating (that particular anniversary is coming up, actually), and almost forty since they won the war against Vecna and the Mind Flayer.

Steve’s hair is very decidedly greying now, as is Eddie’s, though it’s harder to tell because his hair is lighter – and frankly, Eddie is more concerned about whether or not his hairline is going to start receding like Wayne’s (though it’s always been pretty clear that his hair is from his mom’s half of the genetic pool, so he might be in the clear).

They climb into bed, immediately reaching for each other.

“Eddie,” Steve says, his voice wet, and Eddie’s breath hitches.

Steve doesn’t call him Eddie very often, not like he did when they were young.

“Hey,” Eddie replies, pulling Steve into his arms, “Love you, Stevie.”

“Love you too,” Steve says, letting his husband hold him close, pressing his face into Ed’s neck so his nose rests on the spot that jumps with his ever-persisting heartbeat and trying to not let creep back into his brain the thirty-year-old memory of what Eddie looks like when he’s nearly dead.

He doesn’t think about that stuff too much anymore. He hasn’t had to, and after all these years, it sometimes doesn’t even seem real.

It was real though, and as he slips a hand under Eddie’s shirt to rest on the raised scars that still decorate his stomach and torso, Steve begins to kick himself for not considering sooner the possibility that it could still return, for not having a gameplan ready to execute to keep their daughters safe if it did.

And he would keep them safe. He would keep them safe the way no adult had done for him.

Steve and Eddie’s oldest daughter is twenty-one. Their oldest daughter is now older than both of them had been when Eddie had nearly died, when Steve had carried him out of hell and made sure he didn’t. All three of their daughters – even Hazel – are older than Steve had been when he got sucked into that horrible mess, and they’re still so damn young. He can’t imagine looking at any one of them and seeing someone equipped to take on what had been asked of Steve when he was their same age.

He remembers how grown up he'd felt back then at the big age of nineteen. In all fairness, it was the most grown up he'd been up to that point — he’s always the most grown up he’s ever been, but now, with the privilege of hindsight and two decades of parenting under his belt, he's able to recognize just how young they’d been.

They'd been kids. They’d all been kids, kids with body counts, kids who could look at an arsenal of weapons and know which one they wielded best, kids who'd lived double lives since their teens because, despite it all, they’d still had NDA’s they could barely comprehend shoved into their hands before they could even think to seek comfort from the adults in their lives who were supposed to have been there for them, but weren’t.

Steve lifts his head, still grazing his fingertips over Eddie’s scars..

“Hey, if...if all that stuff starts up again–”

“It won’t,” Eddie interrupts.

“I know.”

“It’s been forty years.”

“I know,” Steve repeats, “But if it did–”

“It won’t,” Eddie insists.

“Ed, humor me. Please.”

Eddie pauses.

“Fine,” he sighs, because he knows that the prospect of the Upside Down and all of its horrors returning is a fear for Steve in a way that it isn’t for him.

“If all that shows up again, just…don’t let me go back, okay? Don’t let me get involved again, because I...I’ll want to. I’ll have to, but I can’t...you–I, I mean, our–the girls–”

Steve is stammering and Ed silences him with a soft kiss.

“Steve,” Eddie says against his lips, “I know.”

He clutches Steve’s face in his hands, leaning back so their eyes can meet, so Steve can see the crow’s feet that have made a home on his face (Steve loves them, loves him, loves that their life together has been happy enough to put them there), “You’re my whole fucking world, baby. There’s no way I’d let you go. No fucking chance.”

Steve manages a nod.

“It’s not gonna come back, Steve, okay?”

“Ed,” Steve shakes his head.

“No – just say okay. Please?”

“Okay.”

[zot3-flopped]

Taylor’s days are numbered in 3 ways. One, camp is really hitting with female audiences, as is music made by queer women. Taylor can’t do camp and she certainly isn’t going to be able to pull off any kind of ambiguity in her sexuality. She’s got no real rizz.

Two, she’s set herself up as a chart-rigger, and has punched down on female acts to maintain her numbers. It’s been wildly successful till now, but the press doesn’t like such behaviour, and she has quite smart fans. Those nerdy girls are growing up, they know what she’s doing, and some will quietly fall away.

Thirdly, TTPD showed once and for all she’s got nothing to contribute further in terms of songwriting or production. ‘More of the same’ won’t give her a legacy.

Obviously she has many dedicated fans, and they’ll keep her seeming successful - after all, she’s doing this for the money - but she’s reached her peak as far as getting new fans in is concerned, and I don’t think she can keep her recent fans. And the thoughtful, clever ones ageing out of their teenage/twenties obsession will enjoy her back catalogue but feel bad about seeing the cash grabs for what they are. I think the era of ‘Zzzz Taylor’s doing her cringe thing again’ isn’t far off.

She's never really appealed to lgbt fans though - her whole deal is that she's straight and conservative and unadventurous, like the majority of the population. These people are not going to abandon her for Chappell Roan.