#or engage in anyway if she doesn't have to

[pathologicalreid]

central nervous system | s.r.

in which you are drugged on what should've been a routine case

margovember

who? spencer reid x fem!reader category: angst; hurt/comfort content warnings: being drugged, threatened sexual assault, season 10, blood, broken glass, in a bar but reader doesn't drink, jareau!reader. word count: 1.7k a/n: oh dear. this week was so eternally long. work was crazy busy i worked overtime and almost ended up in the hospital which all led up to me taking the lsat today. crazy shit, but margovember will prevail. also! i'm hoping to get masterlists updated tomorrow if that's something you've been waiting on.

“I don’t think I’ve seen you around here before,” an unfamiliar voice intrudes on your private thoughts, looking around the bar that you had been planted in to see if you could catch your UnSub before he had the chance to attack someone else.

He sets a glass in front of you, and you drop some cash on the wooden surface, you shrug, “I’m in town on business.”

The bartender laughs heartily at your response before shaking his head, “Sorry. I’m sorry. It’s just—that’s a line I hear a lot.”

Your face warms at the recognition that the bartender was flirting with you, but this is a man who gets paid to be nice. You take his words at face value and sip at your drink, “Well, I have no reason to lie to you,” you squint at his name tag, “Jackson.”

He wipes down a spill, hooking the rag over the sink, and smiling at you, “Well, it’s nice to meet an honest woman.”

Following him with your eyes as he walks away, that last comment rubs you the wrong way, but Jackson Gleason was the bar manager, and Garcia had already cleared him from the suspect list.

You find yourself wishing Hotch had sent you into the bar with an earbud to communicate with the team, but instead, you were handed a phone, preprogrammed to alert the team if you hit the power button. There was a plainclothes officer somewhere in a corner to keep an eye on you, and the rest of the team was at the precinct or in an unmarked van outside.

Kate had coached you to the best of her abilities, but this wasn’t your first time going undercover. Catching serial rapists was more her speed, but she was pregnant, which immediately took her out of the running. Sipping from the thin straw in your glass, you let your eyes wander around the bar, antique posters and advertisements are littered across the walls, and someone just started playing Radiohead on the jukebox.

Eyeing the phone in your purse, you sigh, stirring the ice in your cup listlessly.

“Can I get you another? Maybe something stronger?” The manager offers, returning from the employees-only door with a new package of straws to restock the bar.

You shake your head, holding your empty glass out of him to take, “The same thing is fine.” Ignoring the fact that you don’t drink—you couldn’t drink on the job; all you’d been given was a coke.

He raises his eyebrows at that, “Suit yourself,” he says, ignoring the fact that you were trying to hand off your already dirtied glass to him and filling a clean cup with ice and coke.

Brushing it off as company policy, you thank him for the drink, placing another few dollars on the bar and smiling at him. Over your shoulder, you glance at the plainclothes officer, engaging in an animated conversation with another patron over whatever sports game is playing on the TV. You suspect he’s a little too good at pretending to be off the clock.

You make a face at the straw in your glass, and the bartender notices, “Sorry, just ran out of plastic.”

Taken aback, you use the paper straw anyway, sipping at your drink while you still can—knowing the straw will inevitably disintegrate.

It doesn’t take long for you to notice something wrong, a dull ache in your chest exacerbated by a slight rise in your body temperature. Your fingertips feel hot like they would after coming inside from the cold. You look down to find the emergency phone in your purse, but your head droops with your eyes, every controlled movement before a struggle.

“Hey,” Gleason says, jutting his chin in your direction, “You don’t look so great.”

A different version of yourself would’ve given him snark in return, but that different version of yourself would’ve been able to feel her extremities. “Woah,” You breathe, trying to swing your legs off of the stool only to find that you’re much higher from the ground than you initially thought.

When you lift your head again, whipping it back so hard you’re afraid it might fly off, he’s standing directly in front of you, “Why don’t I take you out back? You can get some fresh air,” the offer is innocent enough, but it rubs you the wrong way. His hand is on your waist, at the very least you know that’s wrong—you have a boyfriend, and it’s not this guy.

No, your boyfriend is outside of the bar in a van, waiting for your signal because you’re… oh. “No,” you whisper, trying to get your breathing under control. “I’m— Where’s my phone?” You’re digging through your purse as he stands you up and guides you to the back of the bar, closer to a large exit sign.

Sirens are going off in your head, but even they sound separated from your situation. “I can call a cab for you,” he assures you, leading you by your arm and closer to the back door.

“No,” you say again, “I really need my phone…” his grip tightens on your wrist, practically dragging you out of the bar while you use your free hand to find your phone, pushing the power button before it slips out of your hand, clattering to the ground. “That really hurts,” you tell him, now able to give more of your focus to evading the man who was most decidedly not Jackson Gleason.

Pulling your arm back, you manage to break free from him, the momentum from your struggle sends your hand flying into a picture frame, shattering the glass and causing the UnSub to spin on his heel. “Look at what you did,” he seethes, gripping your hair at the back of your head and forcing you to look at the shattered glass.

Your mouth gapes at the sensation of your hair being pulled until there’s a rush of cold air and he pushes you forward, into the waiting arms of someone else, “Woah, hey, I’ve got you,” Spencer says, keeping you off of the floor and, with the help of someone else, carrying your dead weight over to one of the booths.

Spencer clambers into the booth seat first, seating you in front of him so that your back is pressing against his chest. You let out a low groan when he wraps an arm around your waist, keeping your body from flopping onto the sticky hardwood.

“Do you know what you took?” He asks, pressing his face into your hair so that the two of you can keep your voices down.

Vaguely aware of the way his fingers are pressing into the pulse point on your wrist, you shake your head, “I didn’t take anything.”

He hums in response, “You were drugged. I— I’m so sorry we didn’t realize who it was sooner. By the time we realized there was a discrepancy in Jackson Gleason’s file, you had already pushed the alert button,” he tells you, being careful not to move around too much. “Can you lift your head for me? It’ll help your breathing.”

With tremendous effort—and some help from Spencer—you lift your head, letting it rest on him. Now, you can see that the majority of the bar has cleared out, Rossi watches you nervously from the bar, telling Spencer something about paramedics. You huff, “Where’s JJ?”

“She’ll meet us at the hospital, love,” he answers you, pressing a gentle kiss to the side of your head.

Trying to adjust yourself, you shake your head indeterminably, “No, it��s… I need my sister. I need my sister.” Somewhere—a past version of yourself, perhaps—you knew that JJ was at the hospital, speaking with one of the survivors.

Spencer speaks with someone that you can’t see, they’re standing in your periphery, a mangled blur of a person. Moments later, something cold is pressed to your face, and the sensation makes you jump, “Ow,” you whine, though it doesn’t hurt.

“Ducky?” Your sister’s voice rings through the phone, and you’re surprised to hear her using your nickname. Although, your status as JJ’s little sister tends to come through when you’re hurt.

You hum into the receiver, “Hi, J,” you greet wearily.

A sigh of relief is her next response, “Hey, Derek said you’re waiting for the paramedics to take you to the hospital, and I’ll be here to greet you when you arrive. Does that sound alright?”

“It’s cold in here,” you mumble, wondering if Derek is the blurry shape remaining in your periphery.

There’s a pause on her end before she speaks up again, “I’m sorry, Ducky.” There it was again. “You’ll be okay though; you just have to wait it out.”

You nod as a jacket is laid out on your lap; Spencer must’ve heard you mention being cold to your sister. Your boyfriend whispers something to you, “Spencer says the paramedics are here and I can’t talk to you anymore.”

JJ laughs slightly on the phone, “I’ll see you when you get here, okay?”

“Yeah, J,” you whisper, letting someone take the phone from you. You frown at Spencer, “I don’t feel quite right.”

Helping you get on the gurney, Spencer holds your hand while an EMT wraps a blood pressure cuff around your arm, “He likely gave you a central nervous system inhibitor.”

You nod slowly, wrinkling your nose when the other paramedic shines a light in your eyes, “I am nervous,” you answer. Trying to listen to the medical personnel as they explain what’s going on, but it all goes in one ear and out the other. One of them crudely wraps a cut on your hand to staunch the bleeding, but you couldn’t even remember when it started to bleed.

Anxiously, you pull your bottom lip between your teeth. “Don’t bite down on your lip,” Spencer instructs, “You could bite right through it and not even realize.”

Releasing your lip, your eyes widen at him while he pulls a blanket over your shoulders. “That’s scary,” you whisper.

“I agree,” he says, leaning forward and pressing a soft kiss to your forehead, “It is scary.”

[branwinged]

so, someone called cersei a white feminist on one of my posts (not putting them on blast, don't seek them out), and i feel compelled to point out that contemporary comparisons like this don't always work well.

westeros is a pseudo medieval world with no history of a feminist movement and where all women are systemically barred from possessing political authority in their own right. power is derived from their male relations, specifically fathers and husbands. see, the way catelyn has to rally the men in her father's name when she tries to arrest tyrion in agot. in such a world, when characters like cersei and rhaenyra desire to gain the same social and legal benefits afforded to men, to denigrate their efforts right out of hand (which is often what labels such as 'girlboss' and 'white feminist' are accomplishing), is on some level, refusing to engage the premise.

i don't feel it's insightful to call these characters white feminists because their political reality is very different from ours. this doesn't even work as a criticism of the way they're written by the author, because the text certainly isn't neglecting racial and class issues in order to simply tell a story centred around the personal empowerment of two highly privileged women. they are both royalty who still enjoy power derived from an unjust feudal hierarchy, power which they have exercised to maintain their positions in said hierarchy. but at the same time, the desire for meaningful participation in the politics of the realm is not being condemned. nowhere is the implication that they shouldn't have tried to resist their socially ordained marginalisation at all. and we know the feudal patriarchy of westeros won't allow a woman to possess political power in her own right without the constant threat of hegemonic violence. this is the tragedy of both characters. westeros doesn't respect their authority and in order to command that respect they must go to war, but their support of patriarchal institutions and methods of violence eventually makes them tyrants. and the miserable end that rhaenyra meets (one that cersei will likely share) is critiquing both the hegemonic violence required to ascend and keep hold of the iron throne and the misogyny inherent in the system.

asoiaf is historical fantasy, the thing about stories set in the past is that you're being invited to consider a world with different models than ours. not everything is going to have a 1:1 contemporary equivalent, especially not in a fantasy series. and when readers try to force comparisons anyway, they ignore the actual social systems that influence and explain the motivations of these characters, and also often end up creating dishonest, far less sympathetic versions of them (see, alicent being seriously labelled a tradwife). and finally, these characters are narrative tools in service to the story. cersei and rhaenyra are not a moral lesson in the "right" or "wrong" way to resist gendered oppression, but simply one aspect of asoiaf's exploration of women navigating power in westeros. catelyn and alicent are another.

[thereareeyesinsidethetrees]

ae don't see the point in engaging in a fandom if you don't even really like the characters

like, yeah, folks get ford wrong, and they get mabel wrong too. but they also get stan wrong. like. a lot? just as much as they get ford wrong, even? is. is there a chance the only reason folks talk about ford's mischaracterization more is because he's made out to seem worse than he is and stan is made out to be flawless and people like flawlessness and perfection and more attracted to characters deemed as having no negative traits because they feel better projecting themselves onto said character

anyway, ae can't say anything on dipper cause ae don't even really know his character that well (was always more interested in the others unfortunately) so ae have no clue if like. folks are mischaracterizing the main character too

but the point is: you have a main cast of like four characters. maybe five, if you count bill. and three out of those four (maybe four out of those five, considering the. what would we call that. 'wet kitten'-ifing of bill, especially recently), a large chunk of the fandom violently mischaracterizes. do you get us here? like, it's one thing to throw some headcanons into the ring, tweak some bits of a character, etc.

what the fandom does with ford and stan is not that. ford is not ford, and stan is certainly not stan. and mabel? we all know how she's treated

aey don't want to say like. all the folks here are doing it for this reason. but ae'm willing to bet this is due to 1. not interacting with the actual material for a long while and 2. not being able to let go of the series due to nostalgia

and ae get that, ae do. it's hard to let things go that are important to you. but you're not the only one. gravity falls praises weirdness, the differences in beings. lots of folks are attached to the show due to this, especially neurodivergent or just generally outcast folks. it says you will find your place, where you will find community and safety. it says that things get messy, but they can always get better

1: erasing stan's mistakes and flaws and making him a perfect can-do-no-wrong was coerced into every bad thing he's ever done character fucks that up (and the stan in our head personally likes to have his gremlin shenanigans acknowledged). it means stan didn't have to work for his happy ending, he didn't have to better himself, he just had to sit and wait for ford to drop it in his lap. this means it is not equal. it's not fair to ford, if he's the only one that had to put effort into it (especially after the thirty years of being in a completely alien place??). this also becomes an issue when you take into account that a large amount of people still give stan all his canonical trauma. you are not your trauma, you are not responsible for it, but you do need to work with it. it can't get better by itself, you need to help it get to that point. and this is speaking as someone with ptsd. it will always be there, but you can ease the pain. thus, treating stan in this way yields the opposite meaning: he doesn't struggle with it. he doesn't make mistakes. he never lashes out because of the suffering as commonly occurs. he doesn't have to try. making him messy makes him real, and making him real means he can be used as a device to help those hurting to heal. his experiences are relatable for a lot: and thus making him have to work for his good ending instead of just waiting for it to fall into his hold is important. if he can do it, you can, too! you don't get that if he doesn't have to try

2: ford is a very neurodivergent-coded character. this does not mean he is canonically neurodivergent; it does, however, mean that when you demonize him, make his character worse than it is, it is very difficult to avoid spewing out ableism. saying x trait of ford is bad for y reason means you are bound to fall into a pit trap of hurting beings who don't deserve it. most folks think of autism, of course, but this also applies to a lot of other things. personality disorders, paranoia and anxiety, ocd, and a whole host of other things folks have no control over. he has a lot of hurt he was never able to process properly, and that adds to him being a messy character. this is good! he works hard to pry his life from his abuser, and he works even harder to better himself and get his happy ending with his family! and yet. the fandom does not acknowledge any of that. he is demonized for things stan does, too, and ae have never such horrific victim blaming as in the fandom. again, this hurts people. he is not irredeemable, and he is not responsible for what his manipulative abuser did to him. implying or outright saying he is harms beings that are trying to heal from similar experiences. furthermore: the emphasis on him being arrogant, having an ego. stop that. if he has a little bit of arrogance to him, so what? that's normal, that doesn't make him a bad guy. especially when folks dig so hard to find any scraps that prove this apparent trait of his. everything is scrutinized. learning to love yourself is important, and gaining a little bit of an ego is part of that. building confidence and pride in your accomplishments is good! being able to genuinely say you're cool or amazing or smart or beautiful or strong is good! building all of this up is an important part of healing, especially from trauma, and demonizing ford for it is actively working against this

pointing these things out isn't hating on stan or defending ford, either. the characters have personalities, and it's better in the end to let them keep them, as messy as they may be. stan has flaws, ford does too. but they're good people, they have good intentions, and they work to better themselves and repair relationships. they're not all the way there, yet, but they will be. you just won't get to see it (that's what fics and fan art and headcanons and discussions are for)

this turned out so much longer than ae meant it to be, but like. idk, needed to get our thoughts out ae guess

[autisticjoshrusso]

ok ok ok. a post about josh, buck, and maddie at dispatch as promised. (and because i dont feel like writing a whole separate post or repeating myself etc, if im pointing something out as evidence for my autistic josh headcanon, it'll be in parenthesis like this) also this is long because im going basically line by line in some places so just be prepared for that and such.

the first thing i wanna say before anything else is that like... as far as how this conversation fits into the larger narrative, i was fairly disappointed, due to the way that including this scene like this is kinda implying that the racism was fine because of being closeted etc. HOWEVER. luckily for my sanity it is pretty clear that from a character perspective, that's not at all what's being said by josh himself here, and we can be pretty certain that he is not aware of tommy's past behaviors. in fact he has almost no facts or context about the situation, which i'll get into later.

now that the disclaimer is out of the way, im gonna move onto character analysis and will not be touching on what i think the narrative might have meant etc. any further. like this is going to be purely talking about character dynamics and dissecting the dialogue etc.

we start out right away by skipping all the exposition right into a hard cut of maddie reacting to the news that tommy and abby were engaged. LOVE this set up we get right into the important part quickly and we as the audience only have to hear information that is new to us, not the information being repeated back to the character for whom the information is new.

and oh maddie. i love you so bad. she's like DAMN thats crazy, and then makes the obvious turning people gay joke. her energy here is sooo like it didn't make sense until looking at it in retrospect, but she's shocked and invested yet not taking it very seriously as a concern for buck, because well, she's having a baby and this is objectively not that serious comparatively <3 but i do love that she sees buck's reaction and quickly reins it in and is like woah im kidding im not actually being homophobic holy smokes. which. it kinda still is a little. but i think she's allowed <3

and then... josh enters the scene. he apparently only walked in as buck was saying "-kissed a boy" so of course he had to be like huh? gay shit? something gay? boys?? what's going on over here? and i love that for him. and i love that maddie immediately is like oh hi bestie i catch u up to speed on the tea <3 the maddiejosh bestieism is so back we never lose <3 and that fact that she's like. feeding in the facts in a way to dramatically amp up the tale i love it. she really said man the things my baby brother gets himself caught up in are wild.... anyway <3 true sibling behavior is finding the perfect balance between being supportive and being so so annoying <3

and she is supportive still. like when it becomes clear that there's something deeper going on here she does try to help him work through it. and its so interesting to me the way she is sort of seriously contemplating his words and is shocked when josh not only speaks up but is being very serious and equally focused on the problem at hand. it's like... she's trying so hard to figure out how to help her brother with something she doesn't fully understand that having someone else speak up to help them kind of shocks her and boy does that say something about their lives and the buckley sibling dynamic!

side note, the way josh is jokingly like "she didn't bring her personal life to work, unlike SOME people" and maddie's little look of mock offense?? they're so cute i cant handle it.

i also really love how the shots are framed during this conversation. at first, even when she's not talking and is just listening to josh talk, maddie is still in frame, we're still getting her reaction, she's an active participant in what's going on. and then there is the one shot where she's talking and josh is out of frame, hidden by buck, because whatever reaction he might be having isn't important, it's a buckley sibling moment. (he's not an active participant at that point; he's entirely observing and reacting and gathering information, not dictating the direction of the conversation whatsoever.)

it's only when josh gets very serious and it starts to turn into a heart to heart moment just between him and buck that maddie is allowed to leave the frame. it still goes back to her in very brief cuts when her reaction is relevant, but she steps back out of focus and let's josh handle the conversation. and i love that so much. thank GOD someone else is helping buck sort out his problems that isn't his parentified sister or just generally someone more marginalized than him. it was kind of getting irritating to watch, as much as i love buck so much. like dude... the emotional labor. watch it.

and man. this conversation guys. everything about it makes me an insane crazy person. ive already mentioned this in the tags of some other posts but like... its so fascinating because on the surface it is such a cohesive conversation, but when you really break it down and analyze both of their expressions and body language alongside what they're saying, you can start to see the cracks in it. what one of them is saying is not what the other one is hearing, in both directions. they are having two different conversations and i think it's critical to analyze both of those conversations and how they are interacting with each other. what josh says, what josh hears, what buck says, and what buck hears are four entirely separate things happening alongside each other.

the first part is josh trying to get a sense for how serious this relationship is to buck. when buck falters at the question of "do you love him?", he elaborates with follow-up questions that, to josh, define "love" or close enough to it. answering "yes" to those questions is close enough to a "yes" to the question of "do you love him?".

(which. ok. the particular choice of questions makes me insane because they do essentially boil down to "do you prefer this person to solitude and grant them an equal or greater importance to yourself?" which is sooo... it's said from the point of view of someone who greatly values their solitude and would not easily grant someone that level of importance.)

unfortunately, well, buck is NOT someone who greatly values his solitude, and puts other people before himself quite easily. buck would answer "yes" to those questions for basically anyone. josh does not know or understand this about buck and takes buck's answers at face value, while buck is taking this as sort of... it's hard to explain, and i think others have done a better job of capturing buck's perspective already tbh. he's convincing himself that he loves tommy here because josh is unknowingly handing him that information and expectation, and buck loves to mold himself to fit an expectation etc.

and then comes the second part, which... i think this is where it is most critical to realize that josh has none of the context about tommy, abby, and buck and those respective relationships. by his own admission, he didn't really know much about abby or about her breakup with tommy beyond the fact that it was upsetting. he didn't hear the way tommy talked about abby to buck at dinner, and he definitely didn't get to see any of the real fallout and damage to her psyche that tommy leaving her caused.

but buck did! im not inclined to rewatch s1 to get any exact quotes or anything but from what i remember, she either outright said or implied that she was so heartbroken because tommy left her because of her mother's illness. buck is understandably very upset because he understands exactly what she went through and how, unless abby was lying to not out him, he didn't exactly come clean with the breakup, and left her feeling like it was her fault, like there was something wrong with her or she was being weighed down by caring for her mother. he calls tommy's behavior exactly what it is: dishonest and cruel.

but josh doesn't know this. all he is hearing is a young, freshly out bisexual calling a gay man "dishonest and cruel" for having been engaged to a woman for his own protection. and he responds exactly how you'd expect! he reminds him of queer history and the fact that he doesn't really have a right to judge the people who grew up and had to survive in a world that was much less safe to come out in.

(and i said in my other post that's still doing numbers that "pre-Glee/post-Glee" is an actual queer discourse talking point and makes sense that it'd be used here, as awkward and cheesy as it seems, but it's also a win for my television/film/popular media/hollywood culture/etc. as a special interest headcanon. <3 we love to see it)

and it kills me because of course buck is just going to take this at face value and decide he needs to stop feeling the discomfort he's feeling, leading to the subsequent doubling down and over committing that is typical of his unhealthy relationship patterns.

(and then at the end of the speech josh has to literally announce that he's leaving DSJFHJKDSKJ. because walking away/ending conversations is so awkward and difficult and the easiest way to mitigate that is to lean into the Dramatic Homosexual Stereotype mask or whatever <3 i've long been of the opinion that josh is someone who uses the behaviors associated with queer men and queer masculinity as the blueprint for his neurotypical mask, which is why he often comes across as being just a little bit off from the Funny and Bitchy Gay vibes that it seems like he's going for. and boy did his exit from this scene just reinforce that headcanon so hard!)

they wrap the scene with a little bit more levity too which is kind of nice to like. move on from that. because it got kind of heavy there for a second.

overall i do like what this scene accomplished, but like i said at the start, i think it has some really unfortunate implications that weigh it down for me. still, always nice to get more josh content, especially when it's pretty consistent with his character as established AND not at all related to doing his job. we got to see him and maddie being goofy and maddie being allowed to let someone else deal with buck's problems for a second. and the whole thing was very well shot! excellent camera work going on throughout.

i don't actually know how to end this post so yknow. im gonna make a dramatic exit now or whatever <3

[laikuh]

im going crazy with no one to talk to about iwtv.

[kazoosandfannypacks]

Fendra wedding, anyone?

[commsroom]

an underrated aspect of eiffel and lovelace's dynamic is that she is the one person who can speak his language, she's just not happy about it. "we're bootlegging the opening band to figure out what kind of anvil the headliner is going to drop on our heads." / "oh! why didn't you just say that?" or saying "there is no try" to him in the live show, or trying to explain her time loop predicament with the one pop culture reference he doesn't actually get, etc.

lovelace is also a pretty quippy and pop culture savvy person, and, unlike hera and minkowski, lovelace has definitely seen star wars. she has referenced star wars. there had to have been a moment where eiffel realized he was finally, after so long, occupying the same space as another person who has seen star wars. this absolutely does not mean eiffel can talk to lovelace about star wars, but you know he tried.

[weaponizedmoth]

If requests are still open it would be awesome to see you doodle Christine or Roul, your style is gorgeous!

Thank you! Here you go:

[agirlinthegalaxy]

It's been rolling around in my brain the last few days for some reason, but I still hate the family backstory reveals for Sophie and Eliot. I've seen some of the meta for it, but quite frankly, it still makes no sense. If it had been something actually thought of and intentional in the original, I think it could have been so fascinating. I mean, Sophie's willing abandonment of Astrid to contrast with Nate's loss of Sam or Eliot's adoption in contrast with Hardison's and Parker's? Could have been excellent! But they came out of nowhere in Redemption and don't work with these characters.

Sophie was still actively using the fucking alias that she met Astrid under! She met with someone from her past on the show! Like. Quite frankly, that one is unequivocally bullshit that they made up and threw in and pretended could fit with the established canon. (And I'm sorry, but the idea of Sophie abandoning Astrid and never telling Nate about her just... So much of Nate's trauma was rooted in the loss of Sam, and I think that introducing this element after he's gone and unable to respond to it taints Sophie and Nate's relationship in a way bc I'm not exactly sure how Nate would've responded to learning about this but I think that it's something he'd have needed to know. I don't know how to fully express my thoughts on that but yeah.)

As for Eliot, I don't like the adoption aspect literally at all. The way that he would interact with his family and the memory of his family would be different, and I think that it's flat out ridiculous to think that he'd have never mentioned it to the team in the original show, especially when dealing with the kid cases. (I also dislike the biracial adoption as its own element because if Eliot was actually raised by Black parents in the... idk what 80s/90s? That just. doesn't feel congruent with how they write Eliot interacting with PoC, not necessarily in a bad way, but babe, he's written like a white southern man raised in a specific kind of culture that does not jell with that. It also makes Eliot look... really bad that he was apparently raised with the knowledge of how fucked up the military was and his parents' history and made the choices that he did.) Like the show may not have explicitly stated it but the implication of that relationship was vastly fucking different throughout the original show.

Just. These were not backstories that were congruent with their depiction and characters in the original show, and they're also just moves that I don't particularly like or find interesting directions for those characters. There's also something to be said about how it was apparently unacceptable for a woman to not have kids or someone not reconciling with their biological family when that was something that the original show handled a lot better. Out of all the directions to take Sophie and Eliot's stories, that's just not really one that I think was a good idea.

[aroaessidhe]

2023 reads

The Girls Are Never Gone

a girl does a summer internship with the historical society cleaning up an old estate where a girl died 30 years ago, so she can investigate it for her ghost-hunting podcast

she’s a skeptic who privately thinks she’ll be able to find evidence of non-supernatural, but weird things start happening to her and the other two girls in the house

spooky lake & creepy dolls

bisexual diabetic MC with a service dog, f/f

[vmures]

Highly recommend reading this essay about grappling with art and the creator's bad acts/monsterousness:

I've struggled to put much of this into words myself. It's a hard thing to grapple with and I think the point being made in the article is incredibly valuable. When we work so hard to claim we only take in unharmful art, we willingly blind ourselves to the truth that we too are capable of great harm, which in turn can perpetuate abusive systems. It can create this mindset: If I am not capable of harming others, because I am a righteous and "good" person, then any harm caused must have been the fault of someone else. You are essentially gaslighting yourself, which leads to gaslighting others.

If you asked my mother, she would tell you that she was a great mother. She gave up so much for her kids and sacrificed all her own wants and needs. She'd tell you that I was a fragile, overly emotional child. That I was difficult and over imaginative. She'd express confusion about how I went from the perfect, quiet baby to the angry, depressed teen, to an adult who no longer spoke with her.

She'd never mention the thrown objects, the rages, the climbing into my bed (not just to comfort me after a nightmare), the belittling, the emotional manipulation, the times she told me I must be mistaken and played off my observations as imagination (gaslighting me), the constantly changing expectations and rules. Because she was incapable (and probably still is incapable) of acknowledging that she herself had the capacity to do the same things her father did to her. In her head she was a victim and a good person, and she used those ideas to shield herself from her own monsterous behavior.

It is important to acknowledge that you can and will fuck up. That no one is purely good or purely evil. That we all contain the potential for both helpful and harmful acts and that if we are not mindful of others actual needs our helpful acts can be harmful.

When it comes to art, I do think it is important to not just shun, without thought or contemplation, art when we find out something awful about the creator. What we learn will change the way we see the art, but that goes from learning anything about the creator--good or bad.

[irritablepoe]

Little rant about my friend and consuming media lmao

Ok how do you consume media and still have NO IDEA who even the main character's name is? I recommended tma and bsd to a friend - well he started both. I ask him about it - like who his favourite character is or what he thinks of it - and he's so.... Confused almost? Like he just shrugged and said that he actually had no idea what was going on - which ok is kinda fair with bsd but like. you know the characters at least. Each one of them is introduced in some dramatic way, you can't MISS any of that and surely there's at least one character that gets your attention/that you relate to/that you find interesting. I mean ok maybe you forget the name or sth, but you at least remember the characters when I describe them to you, right? But no, my friend had no idea who for example Dazai was - DAZAI?! Like. What???? Or Atsushi.. the fucking main character???? Or chuuya???? Or - anyone??? I was so perplexed. How can you watch something and still have no idea about what you're watching?

The same happened with tma. I recommended it, he listened to the first few episodes. I asked him what he thought of Jon. HE DIDN'T KNOW WHO JON WAS I MEAN WHAT???? Oh idk he's just the guy reading the fucking statements. Before every statement he says "audio recording by Jonathan Sims" like how can you... miss that?

Idk, am I just consuming media so intensely or is he just... I don't even know.... Disinterested in engaging with the media one is consuming? It's not even that he doesn't like it. I asked him and he said it was good. But what exactly does he find good when he has no idea about. like. anything.

[born-to-lose]

I love being the always single person in my family, mad respect to my sister for constantly dating guys for the last 8 years, I would have shot myself

[dreamedfyre-a]

hel loves jae.haerys sm her little boy her precious prince but she loves jae.haera sm her little girl her little princess so cherished and treasured and the one who's most like her and the one she gets to keep the closest the only girl the one who will have so little say on her life but for who hel would fight fiercely if it meant giving her a chance to choose and mae.lor is the babiest her little princeling the one she got to enjoy the most the light of her life the second son destined to receive less than his brother.

she loves them all so much and she loves jae.haerys so much but she would make such an effort for jae.haera and mae.lor to grow up knowing they are no less important than the firstborn son, that they are loved and cherished and enough

[heroicallynude]

Actually the most obvious proof that my mother in law has never really taken the time to get to know me as a person, is the fact that they were just on a vacation to Italy, and the souvenir they got me as a bucket hat and a salad bowl

[feralattentionwhore]

Dreaming about that second when they first push in. It hurts so good and it's so easy to get overwhelmed not knowing if I want it to stop or never end