#or rather terms discourse I suppose

[starrbar]

The word "proship" is about as descriptive as "mutt" nowadays.

Lil disclaimer: This is only about me and my personal experiences. Call yourself whatever you like. It's your actions I will judge, not your label.

There are two reasons why I try to avoid directly labeling myself as "proship" or even "profiction" despite sharing many, if not all, of the views those terms are supposed to stand for.

I wrote about the first reason here.

This is the second reason:

I have seen the terms proship/proshipper/profiction used by real people in the following ways, NOT counting the things antis claim it means:

"Ship and let ship" / "Your kink is not my kink (and that's okay)"

"Not caring what other people like"

"Minding your own business"

"Curating your experience"

"Scrolling when your see something you dislike instead of making a fuss over it"

"Being into taboo subjects"

"Supporting all ships, including pedophilic or incestuous ones"

"Being against thought crimes"

"Anti-harassment over fiction"

"Anti-censorship"

"Fiction doesn't equal reality" / "Fiction isn't reality"

"Fiction doesn't affect reality at all"

"Being able to tell the difference between fiction and reality"

And then on top of that, a lot of neutral people are lead to believe it just means "pedophile / incest supporter", or someone who genuinely thinks minor/adult 'relationships' are healthy and fine.

➛ It's worth a brief note that it didn't originally mean literally any of these things (as documented on the Anti-shipper and Anti-anti Fanlore pages), but you didn't come here for a history lesson.

I've also seen the following behaviors from people who used being "proship" as a shield or justification for them:

Defending MAPs

Defending or participating in invasive RPF

Defending bigotry

Supporting real life incest

Doing "problematic shipping" with child characters played by actual minors

Making lust posts about characters played by child actors

Creating, consuming, or supporting uncomfortably realistic "lolicon"

Getting way too defensive against ANY criticism of a story, even when it's not framed in an aggressive, moralizing way.

And my favorite: Fucking harassing people for perceived "anti" views. -_-

I'm certainly not writing this with the intention of making all proshippers as a whole look bad, but I've had to come to terms with what that word has evolved into and what it means to people. It's gone out of my control despite how desperately I had wanted it to just mean what I think it should mean—what it did mean originally.

When one of my core identity labels can conjure up the image of any one of these things, especially when many of them are god awful, I feel a lot less comfortable using it for myself.

I use "anti-anti" comfortably enough because it doesn't refer to my potential stance on paraphilias, what ships I'm into, censorship or ""censorship"" (the bullshit right-wing boogie man version), or even simply the way fiction affects reality. It instead only refers to my stance against what antis stand for and what they do.

And we all know what they do.

I used to have this explained on my Carrd as a mere supplement to a long, long list of my specific beliefs regarding fiction vs. reality, kinks, and all that jazz. Then I realized how futile and silly it is to preemptively explain my entire moral compass on my literal central hub of Me-ness, because who am I really convincing of anything by having a BYF page that huge? It had a bunch of claims about what I believe, but no further essays linked that might back up how thoroughly I do believe those things. So it would end up just... kind of hollow.

So whenever I'm feeling spicy, I might just write more essays about various aspects of the discourse and keep those in a totally optional directory of sorts, probably still linked on my Carrd. I have a burning need to share my thoughts and writing with the world, but I certainly don't think someone needs to know all of that just to click Like on my art.

(Also some day I might make dedicated posts to each of the links I shared, but for now I just want some level of backup to my words in this post.)

[bigskydreaming]

The thing that kills me about the Star Wars prequel trilogy and why I will die on my hill that my problem is not that Star Wars is a tragedy, its that its a badly written tragedy, is that Anakin Skywalker was at his closest to being a good Jedi when he was ten years old.

[neil-gaiman]

hello! recently i've been thinking about stuff and thought it might be good to send those thoughts somewhere (even if the chance of you seeing this is slim to none) I've seen quite a few people say that they see your insistence that Crowley and zira aren't gay in human terms (b.c. they're not cis men or whatever) or because they're sexless is homophobic as it implies a certain level of disgust with straight up gayness (these characters can be queer but not gay, they're the "good" type of queer because they aren't sexual, etc.). as an example, asking "why did you think it was sexual?" as a response to a Sara McCullar on Twitter about the season 2 kiss was rather tasteless as it pretty boldly implied that sex would ruin or dirty the moment.

obviously gayness is no more inherently sexual than straightness, but I am rather uncomfortable with the idea that gay sexuality is somehow dirty or would ruin a&c if included. especially when there are scenes (the ox scene for example) that feel very much like they are meant to be sexual in nature. it definitely comes across as queerbaity to put in sexual themes and then attempt to retcon them away.

It is rather confusing as a viewer to see your position on this jump from "we put in the kiss because we wanted it to be unambiguous" to "what did you see that was sexual". I suppose the crux of the issue is that you seem to want to include queerness in your story while still holding topics like sexuality at arms length.

anyway. mostly wrote this to get the situation straight in my head, though I would be curious to know if you were aware of this discourse at all.

Not aware of it. Not interested in it. If anyone seriously thinks Good Omens is homophobic I'm not sure what they think they watched, but I know I'm not making a story for them.

But no, I don't think of that kiss as being "sexual". I think of it as a last-ditch desperate attempt to communicate, not as a prelude to or part of lovemaking. (I've written kisses I would classify as sexual and kisses I wouldn't. That's not a sexy times kiss nor was it meant to be one.)

[sweaterkittensahoy]

Stop misappropriating the abuse and trauma cults use through purity culture for your stupid fucking shipping discourse? Holy fuck no wonder everyone hates this whole discourse.

Since when is "priests getting shuffled around after raping kids and kids being told they're sinful because they had bodily reactions to being SAd" comparable to "Bobo the clown said my ship was cringe"

I'm not gonna answer this with The Aristocrats, as a I threatened, because I want to make a very serious point to this anon:

Purity culture isn't just religious abuse. It is most widely connected to religious abuse. Including actions in the Catholic Church and all fundamentalist Christianity. It's entire existence is about terrifying and indoctrinating people into being fearful of their own actions and bodies so that they feel certain that moving out from the "umbrella of safety" (to use a fundamentalist term) will result in them being harmed in ways they can't imagine. This is generally happening at the same time as they are being harmed by those who are supposed to be keeping them safe from all those terrible, worldly evils. Like speaking up when you're being abused. Believing you are not responsible for the actions of a rapist, and many, many other things that any person with an ounce of self-worth and good sense (two things not allowed in fundamentalist circles) knows are true in abuse situations.

But the point of the purity culture as identity in the above-mentioned circles is to teach people from birth that they aren't to have their own feelings, ideas, or instincts. They are only to follow the feelings, ideas, and instincts on the approved list in order to stay within the structures they know and feel safe in even as they feel very unsafe.

That being said:

Purity culture can also exist WITHOUT a religious structure while still being about controlling the thoughts, feelings, and actions of everyone within it. In terms of fandom, purity culture is groups of people stating that if you write something uncomfortable or gross or immoral, then YOU must be uncomfortable or gross or immoral and therefore, not worthy of the safety and moral superiority of the group.

Purity culture without religion teaches black and white thinking, encourages thought policing, and shames anyone who steps outside of a very narrow definition of good and bad by turning an entire group of people against them for being "bad".

Just like in religious circles.

Just like in the cult of fundamentalism.

Purity culture is a term taken by fundamentalists and turned into a whole way of life because the goal of fundamentalism is to make people too scared to leave. Purity culture in fandom does the same thing. It uses fear and threats of abandonment/harassment to control the way people act because a group of people decided they didn't like something, so they must try and wipe it out rather than simply ignore it.

I am not mis-using the term because "Bobo the clown said my ship was cringe." My use of the term is intentional and precise because what is happening in fandom spaces now is non-religious purity culture cult thinking. My use of the term does not invalidate or water down the use of it in conversations about religious abuse and trauma. With or without religion, purity culture is a dangerous cult of "us vs them" that is built to demoralize and eradicate those deemed unworthy.

[shadowtriovibes]

fever (what a lovely way to burn)

Pairing: Sebastian Sallow x f!MC

Word Count: 4.8k

Rating: M

Warnings: 18+, aged-up characters, friends to lovers, character with fever/illness, mild sensual content

Summary: request: "since you saved Sebastian from Azkaban, he has met you in the common room every morning and you have gone to breakfast together. One morning he isn't there so you go to his room looking for him to find him in bed, poorly."

“I’m disgusting,” he groans. “I can’t stop coughing, I’m sweating everywhere, I feel like I’m going to be sick but there’s nothing to–” He cuts himself off with several dry, pathetic coughs. “Here’s what we’re going to do,” you tell him firmly. “Ominis is going to go to class and come back this afternoon with some Muggle medicinals. In the meantime, I’m going to help you eat a bit of food and have a bath.” “N-no, absolutely not,” he stammers. “You think I want you seeing me like this any more than you already have?”

Monday, October 5, 1891

Even a month after the start of term, it’s unseasonably warm in the Highlands. The heat from the dog days of summer persists well into the arrival of autumn, permeating the ancient stone walls of the castle and settling like a thin layer of fog across Hogwarts’ students.

Professor Sharp’s N.E.W.T.s-level Potions class meets promptly at nine o’clock every morning. Despite the early time slot, the dungeon-level classroom starts to become warm rather quickly thanks to the heat of two dozen bodies and six potion stations, each with their flickering flames preheating the students’ pewter cauldrons.

Your little trio is usually the last to arrive from breakfast. Sebastian sidles up to the doorway just as Professor Sharp is preparing to close it, gallantly offering to hold it open for you and Ominis as you take your time sauntering down the hall, arms linked together and chatting happily about the latest gossip to have surfaced in the Great Hall.

Then you settle in at the potions table squarely in the middle of the classroom, which you’d unabashedly claimed at the start of term. (Ominis can hear Professor Sharp most clearly here, and Sebastian, as always, gets to remain the center of attention.)

Finally, with Ominis’ dictation quill hovering over his parchment, Professor Sharp begins his daily discourse.

“Dittany, as you’ll recall, is one of the most useful herbs for creating a wide range of healing draughts,” he explains, showing off a tendril of the fiercely pink plant clipped from Professor Garlick’s greenhouse just that morning. “Can anyone give me an example of one?”

“Wiggenweld Potion, sir,” Amit chimes in.

“Very good, Mister Thakkar,” Sharp replies with an approving nod. “Another?”

Adelaide Oakes timidly raises her hand. “Essence of Dittany, sir?”

“Well done, Miss Oakes,” he murmurs. “Though not as effective as a properly-brewed bottle of Wiggenweld, dittany on its own can be used to craft a powerful restorative tonic – especially useful in preventing the occurrence of scars. Five points to Hufflepuff.”

Then Professor Sharp glances around the room expectantly. “One more, perhaps?”

“Moustache paste, sir?” Sebastian mumbles under his breath, and you quickly elbow him in the side.

“What was that, Mister Sallow?” Professor Sharp drawls.

Sebastian bites the inside of his cheek. “Er, the Antidote to Common Poisons, perhaps?”

Professor Sharp levels Sebastian with a dubious look. “I’m afraid not. While dittany is a broadly useful herb, its powers are generally limited to healing, not curing. When considering its uses, think ‘paper cut,’ not ‘influenza.’”

You raise your hand and ask, “Sir, are there any potions that do cure illnesses?”

“Yes, in fact,” Professor Sharp answers. “The Pepperup Potion will quickly resolve any common colds or cases of the flu, with the enigmatic side effect of generating steam that will pour from your ears for hours on end.”

You wince a bit. “I suppose that’s worth being over a cold in a day.”

“I should think so,” he replies with a slight grin. “So has the majority of the wizarding world since the twelfth century.”

As Professor Sharp segues into a lecture on the history of healing potions, you pull out a piece of parchment and start to take down some notes.

“Sebastian,” you hiss. “What does Pepperup Potion taste like?”

“I wouldn’t know,” he says. “I’ve only had it once, and it was a decade ago.”

You frown. “Why’s that?”

“I can’t drink it,” Sebastian says simply. “I’m allergic to bicorn horn.”

You blink, surprised. “You’re… allergic? How did you even discover that about yourself?”

“Oh, it was gruesome,” Ominis chimes in gleefully.

Sebastian rolls his eyes. “Well, I had my suspicions as a child when my parents gave me Pepperup Potion and steam poured out of my ears, nose, and mouth for a full week. Simply suffering through the cold would have been better.”

“And then?” you prompt.

“Well… in our third year, Anne and I made some Polyjuice Potion,” Sebastian admits, glancing around furtively. “We wanted to see if we could attend our classes all day as each other without anyone noticing the difference.”

“And Polyjuice Potion has bicorn horn,” you surmise.

Ominis looks delighted. “They were both in the Hospital Wing for three days, stuck as half-formed versions of each other.”

You gasp in disbelief. “That sounds awful!”

“It was the one and only time in their lives they were truly identical!” Ominis crows. “‘Sebastianne,’ we called them.”

You can’t help but giggle at Ominis’ delight while Sebastian sulks.

“In any case,” Sebastian grumbles, “I can’t take Pepperup Potion anymore, but luckily I never get sick.”

“Really?” you ask skeptically. “Everyone gets a common cold once in a while.”

“Not me,” he says proudly. “I haven’t been sick since I was a child. At the very least, if I have been sick, it must have been so mild that I wasn’t slowed down in the slightest – no need for Pepperup, thanks.”

“I’d be careful, Sebastian,” Ominis demurs. “Wouldn’t want to tempt fate, would we?”

With a lazy shrug, Sebastian turns to his potions station and begins to roughly chop some dittany leaves for a new healing potion Sharp intends to teach that afternoon. He glances up surreptitiously while you tie your hair back with one of those green ribbons you like to keep around your wrist for when the Potions classroom becomes especially humid with cauldron steam.

Though it’s unwise to lose focus while holding a knife, Sebastian has become quite skilled at multitasking while tending to his lovesick heart with stolen glances and half-formed daydreams.

He becomes so distracted staring at the column of your neck that when he suddenly feels a bit dizzy, he merely attributes it to the thick, heavy air in the room.

—

Tuesday, October 6, 1891

“You look dreadful,” you tell Sebastian cheerfully as you take a seat at breakfast.

Across from you, Sebastian looks a sight. His generally unruly hair is sticking up in every direction, and his face, which until this morning had still been sun-kissed and freckled from his time carrying out summer chores in Feldcroft, is ghostly pale.

“Cheers,” he grumbles, his head in his hands as he stares down at a plate full of untouched tattie scones.

You know for a fact they’re his favorite. In fact, you’ve stolen countless scones from the Great Hall on weekends when he treats himself to a bit of a lie-in just to make sure there are some left for when he finally emerges, hair rumpled and cheeks creased with pillow lines.

“Late night?” you ask him as you pour yourself some juice.

“The opposite, actually,” Ominis explains. “Sebastian was asleep before I even finished my Runes assignment last night, and I practically had to drag him out of bed this morning.”

“That doesn’t sound like you,” you comment, frowning. “You’re usually up half the night reading. Are you sure you’re alright?”

Sebastian shrugs weakly. “I’m fine, I just… It’s dreadfully warm in the castle, and my head is aching.”

Without thinking, you reach across the table and press the back of your hand against his forehead.

“You’re quite hot,” you mumble.

“Wh-what?” Sebastian stammers, his eyes going wide. “What did you do that for?”

“You have a fever,” you explain to him. “Old Muggle trick. And your eyes are quite glassy. I think you might be coming down with something.”

Ominis unsubtly slides further down the bench.

“I’m not sick,” Sebastian protests. “It’s just the heat, it’s making me tired.”

You eye him warily, and as if to prove that he’s not ill, Sebastian lifts one of his hoarded scones to his mouth and takes a bite.

“See?” he asks with his mouth full. “M’fine.”

You grimace. “Lovely.”

Sebastian determinedly joins you and Ominis for Potions and manages to remain upright until the very end of class. He sways just a bit as he gathers up his belongings, and you offer him your shoulder while you make your way toward the stairs to Divination.

He balks when he sees the twisting spiral steps.

“On second thought,” he mumbles, “I think I’ll skive off today and get some rest.”

“Will you be alright?” you ask him concernedly. “I can come with you…”

“No, it’s fine,” he insists. “I’ll just lie down for a bit and then I’ll be grand, I promise. Save a seat for me at dinner, will you?”

Later that evening you linger in the Great Hall until the last of dinner melts through the tables down to the kitchens below, but Sebastian never shows up.

—

Wednesday, October 7, 1891

“You do not want to go in there,” Ominis tells you warningly. “Trust me, he’s a mess.”

You scoff. “Don’t be ridiculous.”

Sebastian still hasn’t emerged from his dormitory in nearly eighteen hours, and you’re starting to worry for him. Ominis had brought him back some food from dinner the night before, but according to him, it had gone untouched.

When he’d failed to show his face at breakfast, you knew you had to step in.

“He wouldn’t want you to see him like this,” Ominis tries. “Sebastian is hardly a gentleman, but some things are sacred.”

“He’s our best friend,” you remind Ominis. “I really don’t care if he’s not entirely put together.”

Ominis opens his mouth as if to say more, and then seemingly changes his mind.

“Fine,” he sighs. “I’ll tell Professor Sharp you’re tending to Sebastian, and I’ll ask Amit if you can borrow his notes.”

“You’re a lifesaver, Ominis,” you breathe, quickly pulling him in for a hug. “What would we do without you?”

“Rot in Azkaban, most likely,” he grumbles, which… is fair.

Once Ominis leaves for class, you gently knock on the seventh-year boys’ dormitory door. “Sebastian? Can I come in?”

Through the door, you hear him whine, “Go ‘way.”

“Sebastian,” you call out patiently. “Ominis told me you’re sick, and you haven’t gotten out of bed in too long. I’m coming in.”

He protests weakly from his bed as you open the door and slip inside, carefully pressing it closed behind you. As you’d expected, his other roommates have all gone for the day. Only Sebastian remains – or at least, you think it’s Sebastian.

All you can see sticking out from underneath the pile of pilfered blankets on his bed is a mess of curly, brown hair.

“Oh, dear,” you sigh.

“Jus’ leave me alone,” he mumbles from beneath the covers. “...I think I’m sick.”

“Finally facing the music, are you?” you tease him, taking a seat at the foot of his bed. “How are you feeling?”

“Like death warmed over,” he groans. “I’ve never been this ill before.”

“Should I take you to see Nurse Blainey?” you ask him. “I know you can’t have Pepperup Potion, but perhaps she has something else that would help.”

“No,” he sighs. “Ominis already sent for her, she said I’m a dafty and I’ll be fine in a coupl’a days.”

You bite back a laugh at Sebastian’s deteriorating accent; for how posh he usually sounds, apparently that rougher Feldcroft vernacular tends to slip out when he’s feeling poorly.

“Poor lamb,” you croon. “Can I do anything for you? Have you eaten?”

“M’not hungry,” he sulks. “Ominis made me drink some water before he left.”

You hum softly as you start to slowly pull his piles of blankets down low enough that you can see his face. Quickly you realize that Ominis had been exaggerating – Sebastian doesn’t look entirely a mess.

His eyes are a bit wet and glassy, you observe, and his nose is bright red from persistent rubbing with a handkerchief abandoned on his bedside table. He looks a little swollen beneath his jaw, but otherwise, he looks like he’d merely stayed awake all night, and you’ve seen a sleepless Sebastian countless times throughout your friendship.

There’s a bit of stubble along his jaw that you’ve never noticed before; it’s the same rich brown color as his wild, unkempt hair.

(Honestly, how dare he still look handsome even when he’s ill.)

“Hello, you,” you tease him in a voice just above a whisper. “Was beginning to wonder if you were even there under all those blankets.”

“I’m cold,” he complains.

“That’s the fever talking,” you tell him. “You should probably–”

But before you can tell him that he’d be better off with less covers, the blankets shift lower and you realize he’s not wearing a pajama shirt.

(Your disobedient mind immediately raises the question of whether he’s wearing anything at all, and subsequently, if you could get away with having a look. Immediately you scold that particular thought away.)

“Er, you should… don’t overheat yourself,” you finish lamely.

He’s flushed down to his chest, fever-pale skin burning red where the blankets had been piled on top of him. You discover that he’s got a thin smattering of hair here, too; he’s grown into the body of a man much sooner than many of your classmates, you imagine.

Sebastian watches as you swallow, your own eyes raking down his body.

“You’re missing class,” he observes. “You never miss class.”

“It’ll be alright, just this once,” you say softly.

For a moment you aren’t sure if you’re talking about missing class or being in Sebastian’s bed.

Then Sebastian suddenly starts to cough and hastily reaches for his handkerchief. He sounds utterly pathetic as he coughs and groans in discomfort, rolling onto his side and looking for all the world like a kicked puppy.

“My chest hurts,” he whimpers. “I’ve been coughing all night.”

You reach across him and gently stroke the backs of your fingers down the middle of his chest. His skin is noticeably hot to the touch and damp with sweat.

“I can put some Muggle herbs in a warm compress for your chest,” you offer. “I know they’re not as effective as a potion would be, but it always helped me feel better when I was a child.”

“Alright, I suppose that’d be nice,” he mumbles.

But when you move to stand, he quickly snags your wrist.

“Wait,” he says. “Er… where would you go? For how long?”

“Well, I’ll have to go see if Nurse Blainey has any, and if not I can go look at the edge of the Forbidden Forest,” you explain. “It might take a bit of time, I’m afraid.”

“Then, just… stay,” he whines. “Keep me company? That’s better than some plain old herbs.”

You shift onto the bed, curling up on your side behind Sebastian. It’s a tight fit, and you’re dangerously close to falling off the edge, but you’re able to leave enough space between your bodies that you can make the argument that it’s friendly, and it’s fine.

“Can I rub your back?” you ask him softly. “It might help with the soreness.”

You have no idea if it will help his aching body, but you’re eager to try it nonetheless.

“Go on,” Sebastian rasps. “I… I might fall asleep.”

“You should,” you croon. “Your body’s telling you that you need to rest.”

“S’pathetic,” he grumbles. “I never get sick.”

“You had a good run,” you tease him. “But the common cold comes for us all eventually.”

He falls silent after that, his leanly muscled arms curled around a pillow while you stroke your hand up and down the length of his back. He’s so warm, and you’re a bit anxious about letting him ride out a fever as long as he has, but soon he drifts off to sleep.

You learn two things while he rests: he snores when he’s on his back, and he frowns whenever you take your hands off of him.

—

Thursday, October 8, 1891

Ominis had managed to talk you into returning to your own dormitory for the night, promising to look after Sebastian while you got some rest. When you return the following morning, you find him in even worse condition.

His sheets are bunched down to his hips, and he’s still bare from the waist up. His entire body is covered in a thin layer of sweat, and the bags underneath his eyes have worsened – despite how much rest he’s getting, he seems more fatigued than ever.

“What happened?!” you ask Ominis.

“He’s had a fever all night,” Ominis says grimly, looking just as worn out as Sebastian. “He hasn’t eaten a thing, and I’ve barely been able to get him to drink some water.”

“Oh, Seb,” you sigh, taking his clammy hand and resting it in your lap as you sit on the edge of the bed. “You poor thing.”

“I think I’m dying,” he rasps. “This is it, right?”

“Hush now, there’s no need to be so dramatic,” you gently scold him, pressing your hand to his forehead. “You’re quite warm, but I’m not worried about your imminent demise.”

“I’m disgusting,” he groans. “I can’t stop coughing, I’m sweating everywhere, I feel like I’m going to be sick but there’s nothing to–”

He cuts himself off with several dry, pathetic coughs.

“Here’s what we’re going to do,” you tell him firmly. “Ominis is going to go to class and come back this afternoon with some Muggle medicinals. In the meantime, I’m going to help you eat a bit of food and have a bath.”

“N-no, absolutely not,” he stammers. “You think I want you seeing me like this any more than you already have?”

“You’ll feel better,” you promise him. “And I swear I won’t, er… look, if that’s what you’re worried about.”

You argue back and forth until Sebastian, utterly depleted of his typical stubbornness, loses energy and gives in. Ominis promises to stop by J. Pippin’s to see if the shopkeeper has any draughts suitable for Sebastian’s allergies before leaving to go to class, and you help Sebastian get out of bed with his arm around your shoulders and your own around his waist.

(He’s got pants on, thank Merlin, but you have to help him into a pair of pajamas to make the walk to the Slytherin baths.)

Sebastian balks when you enter the boys’ baths, but you both quickly learn there are no enchantments in place to keep you from joining him. You offer him an arm to lean on while he takes off his pajamas and coughs – this time pointedly – for you to turn around while he sinks into the lukewarm bath you’d drawn.

“This does feel nice,” he finally says once he’s settled in the opaque, murlap-scented water.

“Good,” you say, hoping he doesn’t notice how your voice has gone up a bit higher than usual. “I’ll be back in a few moments with some fresh pajamas for you.”

“I’ll try not to drown while you’re gone,” he drawls, and even though he still sounds exhausted, you smile to yourself knowing that the bath is already helping him feel more like his usual self.

Hogwarts’ house elves were exceptionally fast in tidying up the boys’ dormitory while the two of you were out, so when you finally lead a clean, dry Sebastian back to his room, you’re thrilled to find freshly laundered sheets and a new pair of pillows waiting for him.

“Gods, I love magic,” he groans as he collapses into bed.

You stay all afternoon and into the evening. Ominis returns shortly before dinner with a brew from Parry Pippin himself, similar to the Pepperup Potion but with cinnamon instead of powdered bicorn horn.

(Sebastian seems to emit thin tendrils of steam straight from the top of his head after he drinks it, but he perks up all the same.)

Feenky herself brings a tray of soup and some leftover scones from breakfast once Sebastian regains his appetite. While he eats, he tells you about how he used to sit with Anne during the summers when she was particularly ill from her curse.

“At the time, I wondered if my being there was more of a help or a hindrance,” he says ruefully. “She was… hard to read, then. I couldn’t tell if she was annoyed by me or appreciated me staying.”

You pause before shyly asking, “Am I helping? By being here?”

“Of course,” he says without thinking.

“Then I’m sure you were helping Anne, even when she was annoyed,” you tell him reassuringly. “That’s all we ever want to do really, isn’t it? Help the ones we love?”

Sebastian glances up at his tray with an inscrutable expression on his face. His eyes are still glassy and he’s a bit peaky, but the cinnamon-laced, not-quite-Pepperup Potion has restored some of the usual warmth in his gaze.

“Right,” he echoes. “Help the ones we love.”

You end up staying the night in the boys’ dormitory. Only Ominis knows you’re there, as he draws the curtains around the both of you before the boys’ other roommates return from the common room. Given that Sebastian seems to be feeling better already, it’s not strictly necessary.

But it feels nice all the same.

—

Friday, October 9, 1891

Sebastian’s fever finally broke during the night.

When you wake up he’s wrapped around you from behind, one of his legs jammed between yours with his arm curled possessively around your waist.

You’re sweltering, but he’s cool to the touch.

“Sebastian,” you whisper, but he doesn’t answer.

Judging by the way sunlight pours over the top of Sebastian’s bed curtains, it’s well past when you’d usually wake up during the school week. You can’t hear any other snoring boys around you, either.

“Sebastian,” you hiss. “Wake up.”

He groans tiredly into your hair as his arm tightens around your waist. “No.”

“N-no?!” you sputter. “It’s morning! We… we should, er.”

You trail off when you realize you aren’t quite sure what you should be doing. Evidently you’ve missed breakfast, and you’ve likely missed the start of Potions for the third day in a row. Professor Sharp will have no choice but to give you a detention; just as well, you suppose, as you can use the time to make up what you’ve missed.

But now that the damage is done…

“How are you feeling?” you ask him softly, your eyes still fixed on the green curtains in front of your face.

“Loads better,” he says, only this time his lips are pressed against the sensitive spot behind your ear.

You gasp as he rolls more of his weight toward you, pressing you more firmly into the mattress.

“Sebastian…” you sigh.

“I had a dream about you last night,” he confesses, his voice barely above a whisper beneath your ear. “I’ve heard Pepperup Potion can give one strange dreams.”

“St-strange?” you whisper back. “Why was it a strange dream?”

“I suppose it wasn’t really ‘strange,’” he acquiesces. “But it was nice. Really nice.”

“Tell me about it?” you ask breathlessly.

“Perhaps I’ll show you instead,” he asks, and when you nod, he slides his hand down to your hip and turns you onto your back.

Then quite suddenly he’s leaning over you, one knee still between your thighs. He rests on his elbows so his face is just centimeters from yours, and it’s the first time you’ve gotten a good look at him since the boys put out last night’s fire.

Sebastian looks so much better. His cheeks are flushed, his eyes are clear and bright, and the sickly sheen of sweat he’d worn for days is entirely gone. (His hair is still a bird’s nest, but that’s to be expected.)

“We were like this,” he tells you.

“Were we just talking?” you ask him, but you’re met with only silence.

After a beat, he asks you, “Why have you been so kind to me this week?”

“You’re my best friend,” you tell him softly. “I – I wanted to help you feel better.”

“Is that all I am?” he asks. “Am I simply your friend?”

You bite your lip hesitantly and his gaze dips down to your mouth, his brown eyes nearly black in the soft morning light.

“Do you want to kiss me, Sebastian?” you ask.

Rather than answering, he surprises you by leaning down and pressing a sweet kiss to the corner of your mouth. Then he lifts one of his hands to gently tip your face toward his, cradling your jaw while he deepens the kiss into one that’s hardly sweet at all.

It feels like it’s perhaps the first time in days that Sebastian has felt hunger.

You gasp his name into his mouth and then he’s the one biting your lip, just a quick graze of his teeth before he soothes your ensuing whine with another slow kiss. He shifts his weight onto his hip to rest on the mattress beside you, using that leg between yours to coax you into lying next to him. He rewards your body’s assent with a filthy kiss – the kind you’ve only read about in those Muggle romance novels you hide under your pillow, the kind where the hero kisses the girl with his tongue in her mouth and his hand in her blouse.

“Seb,” you moan.

“I didn’t know,” he confesses against your lips.

“Didn’t know what?” you whine.

“I didn’t know you loved me until last night,” he says, pressing his forehead against yours.

You’re so distracted by how red and swollen his lips look that you nearly miss him saying, “You stayed with me all week, you held me, practically healed me, and I still didn’t know.”

“Of course I love you,” you tell him.

“You love Ominis, you love Poppy,” he counters. “This – us – is different. Right?”

And the truth is, you would have done anything you’d done for Sebastian for any one of your friends. You would have helped Poppy into a warm bath and back into bed, and you would have sat at Ominis’ bedside all day and torn up pieces of scone to float on the surface of his soup.

But you would not have let them press you into their bedsheets and trace their lips along your neck, and right now Sebastian is eagerly doing both.

“Yes,” you whimper, both in answer to his question and as a plea for more.

“I love you, too,” he sighs against your jaw. “I have for ages, and I didn’t want you to see me all pathetic and poorly, but you still love me anyway.”

“I’ve loved you through worse,” you quietly remind him.

He nips at your throat for that remark; you’ve both agreed to speak of your fifth year as little as possible. Truly, the only reason you’d ever bring it up now is to remind Sebastian that you’ve long since made your choice – him, over duty and the law and perhaps even reason.

“Stay with me,” he pleads. “We have all morning, we have the dormitory to ourselves. Let me take care of you now.”

He pulls your thigh across his own and tangles his fingers in your sleep-mussed hair, holding you against his warm, bare chest.

“That’s tempting,” you breathe. “B-but perhaps we should check with Nurse Blainey, to see if you’re ready to return to–”

You cut yourself off with a gasp as he grinds his hips against yours. There’s no mistaking that he’s aroused, and that alone convinces you that he must be feeling well – you’re positive that he would’ve been too weak for this type of debauchery yesterday morning even if you’d gotten fully nude before him and begged.

“Trust me, I feel excellent,” he moans into your mouth. “Love, please.”

You don’t come up for air for a long while after that. By the time Ominis stops by during lunchtime to check on Sebastian, he nearly trips over your skirt, hastily tossed near the doorway.

“I take it you’re feeling better,” he deadpans.

“That potion of yours worked like a charm, Ominis,” Sebastian drawls. “Cinnamon, who would have thought?”

“I don’t suppose I mentioned that Muggles find cinnamon to be an organic aphrodisiac?” Ominis says innocently. “At least, that’s what Mister Pippin said. He told me you might have some rather amorous dreams while you recover.”

“No, I think you forgot to mention that,” Sebastian replies just as innocently.

Ominis simply hums and says, “Well, now that you’ve been made aware, I’ll be off to Herbology. I’d recommend locking the door if our dear friend is going to be keeping you company this afternoon, Sebastian.”

You’re too embarrassed to say a word, but Sebastian cheerfully thanks him as he pulls the door shut and reaches for his wand on his bedside table to magically lock it behind him.

“We’ve become menaces,” you whine as he rolls on top of you once more.

Sebastian grins wickedly down at you. “Not yet we haven’t, but thank Merlin we’ve got all afternoon.”

[burst-of-iridescent]

The Choice of Compassion: A Scene Analysis of Aang vs Zuko

should aang have killed ozai?

the age old question. the discourse secondary only to the infamous kat.aang vs zutara ship war. the argument that's been raging for sixteen long, long years and inspired dozens upon dozens of thinkpieces on either side.

so naturally, i'm here to add one more that no one asked for.

now, this debate keeps getting mischaracterized as The Side That Respects Pacifism vs The Side That Wants A Preteen To Commit Brutal Murder when, for the most part, i don't think anyone is really staking their life on the homicide hill. the real issue most people take with aang's arc in the finale isn't him sparing ozai, but rather the deus ex-machina mechanism through which he's able to do so. i agree with that, but i would also take it further to argue that the real problem is that aang's ending is not thematically and narratively consistent with the rest of his arc as set up in the show.

to illustrate this, let's take a look at another scene that plays with similar themes: zuko choosing to save zhao in the siege of the north.

the basics of both scenes are the same: both boys choose, against all logic and common sense, to spare someone who would never show them the same mercy. when it comes down to compassion versus violence, they choose compassion, even at risk to themselves.

but where the siege of the north differs from sozin's comet is that zuko choosing to save zhao is thematically consistent with his arc in season 1, and aligns with where it will go in seasons 2 and 3.

zuko's journey throughout the show is one of rediscovery. he has to find his way back to who he used to be, before his family and his nation warped his perception of right and wrong, and forced him into believing he had to become someone he didn't want to be. it's clear as early as the storm episode that zuko is fundamentally kind, and the person he is now is as a result of being indoctrinated in a culture that perverted violence and cruelty into honour and strength.

in trying to save zhao, the personification of the fire nation's worst qualities and most twisted teachings, zuko turns against the values he's been raised with most of his life and instead chooses to remain true to himself and what he believes is right. it's a triumphant moment because it's zuko returning to the heart of who he is, and who he's truly supposed to be.

and even though his decision may be logically unsound (why risk yourself trying to save someone who tried to kill you?) you don't see anyone complaining that zuko shouldn't have tried at all, because his choice here is a direct - even if brief - resolution to the internal conflict the show has previously established for his character. the narrative consistency of the set-up and payoff allows the audience to recognize the thematic cohesion of this moment in zuko's arc - which is what makes it so powerful and satisfying.

so, the question is: does the same apply to aang's choice not to kill ozai?

the argument supporting aang's decision is usually something as follows: "aang sparing ozai is his way of remaining true to his people and making sure they aren't forgotten. it's a powerful symbol of how he's keeping their culture and beliefs alive even though the fire nation tried to wipe them out."

now that's not a bad argument, in theory. the problem, though, is that if this is the resolution of aang's arc, it has to be a direct response to a conflict established in said arc... and remaining true to air nomad values is not a struggle the show ever set up for aang until the finale.

not once in any of the previous seasons does aang seem to be forgetting his people's ideals, or losing his identity through assimilation, or struggling to reconcile his air nomad beliefs with the ideas he's encountering in this new, changed world. there isn't a long-term, sustained arc about him being worried or concerned about air nomad culture dying out completely, or about taking on the burden of keeping it alive. in fact, the only episode that does reckon with this theme in any capacity - the northern air temple - seems to push the opposite message: that aang should move on and adapt to this changing world instead of remaining mired in the past, and protecting the culture of a people long gone.

(note: i don't like how the NAT episode handled this theme, but for the purposes of this post, we will take it as it was written.)

both zuko and aang are characters whose arcs revolve around change, but if zuko's arc is about moving back to who he truly is, then aang's arc is about moving forward. it's about going from the last airbender to the avatar - about drawing wisdom from different places, about immersing himself in the practices, beliefs and cultures of the other nations, and learning to value them as he values his own.

it's the classic want vs need: what aang wants is to be nothing more than a goofy, peaceful airbender but what he needs is to become a fully-realized avatar, the embodiment of four nations in one. and this conflict is established and re-established repeatedly over three seasons, most especially in his struggle to learn earthbending and firebending, both of which called for him to adopt new perspectives and beliefs contrary to his own.

this is why aang refusing to kill ozai feels so narratively unfulfilling, because it's the complete antithesis of what the show established for aang's narrative over three seasons. the plot point of his absolute pacifism not only comes out of left field (where was this problem when he was going to battle ozai during the eclipse?), it's also incongruous with the depiction of other air nomads in the series (both yangchen and gyatso don't seem to practice absolute pacifism) and with where aang's own arc appeared to be leading.

additionally, it also conflicts with the thematic clash that the aang vs ozai fight is supposed to represent: what was meant to be balance and harmony vs dominance and supremacy now turns into... air nomad beliefs vs fire nation beliefs, which runs contrary to the fundamental message of the entire show. not exactly what you want for the final battle between your protagonist and antagonist!

all of this is not to say that aang should have gone turbo avatar state on ozai and singlehandedly yeeted him into the spirit world. but there were a dozen other ways to handle ozai's end: give him a disney death, let aang learn energybending of his own accord and incapacitate him the way katara took down azula, or - my personal favourite - bring in the spirits in a neat parallel to the book 1 finale, and have ozai's death be a consequence of the imbalance he propagated in the world (i've always felt the avatar being the spirit bridge was a plotline that kinda got shafted in book three, and bringing back someone like koh, for instance, would've slapped).

the point is that for the resolution of aang's arc to be thematically consistent with the established narrative (the validity of this narrative, and whether it should have been different, is another point entirely, but it cannot be denied that this is what the show chose to go with), he needed to place the values and beliefs of the other nations on equal footing with his own, and win because of this willingness to draw from all nations instead of relying solely on his own.

ultimately, remaining true to his compassionate, peaceful nature is not a struggle in aang's narrative the way that it is in zuko's, which is why him choosing to spare ozai doesn't have anywhere near the emotional resonance or satisfaction of zuko reaching out to zhao. meanwhile, the conflict that does characterize aang's arc - being forced to become the avatar - never comes to a meaningful resolution the way that zuko's does. rather, it's thrown out the window in favour of a last minute plot point that robs aang of both agency and development, and destroys the thematic cohesion of his narrative for nothing.

[darcytaylor]

Luke Newton & social media/instagram

I've seen some people be pretty upset about Luke Newton's social media activity and his lack of posting/liking/commenting.

While I do think that he could be using his social media in a more productive way. I think that there are valid reasons as to why he is doing what he is doing.

Luke has mentioned that he wants to use his social media for work related things, rather than for his personal life. I think this is a good approach for any actor, they can showcase their work and passion, and I believe this would probably help with their mental health. Social media is not for the weak!

(there is a reason why so many influencers need to take time offline for their mental health, online environments can be toxic and just a downright scary place to be)

So when you have an actor, who is famous for their acting and not an influencer where you need to be online constantly for your job. I'd say making your online profile work related rather than personal makes complete sense.

(I think that when Luke decided to do it, it was a decision that was made a little too late. Making his profile more professional right before the promo tour didn't give the fans time to adapt to his new normal of posting)

Social media can be a stressful and an overwhelming place (even with my small amount of followers, I can be overwhelmed, I don't know how I would ever deal with millions of people).

This brings me to Luke consistently bringing up how overwhelming season 3 and him being the lead is.

It's actually somewhat sad to take a look at past interviews and see how many times he brings it up. He is already trying to cope with his rising fame, and it is obviously effecting him in a stressful way. Any normal person would try to take away any unnecessary areas in their life that would cause more stress. I think Luke is choosing social media.

Unlike Nicola, who I have commented on multiple occasions how good she is at her job, in all areas including social media. But not everybody has the ability to do that. Not everybody can fully take on millions of people, a career, a private life, a social life with the grace she does.

Nicola is not the standard of how most people can handle things. She is an anomaly. This is also why I think that comparing Luke and Nicola in regards to posting BTS and farewell posts is kind of cruel to Luke.

Luke is also credited as being empathetic, sensitive, introverted, and a people pleaser (all of which tie into his anxiety).

I think because of this it is normal that he would shield himself off from the world. Disconnect from the outside world to protect himself.

I also believe that this could make someone throw caution at every post and comment made on their socials. Anxiety makes you second guess every action, every thought. You want to make everybody happy, but you could be damned if you do and damned if you don't, so you just don't. It's not worth it.

Then there is the issue of Luke making those questionable PR moves a few weeks ago. I think Luke is trying to regroup and come to terms with the fact that he messed up in that regard. His career took a step back because of his actions that were brought forward through social media. I think he believes that the best way forward is to distance himself from it while he figures out his surroundings, especially since he had already mentioned that's what he was going to do.

(I know some people think he made zero mistakes, but this is an area I strongly believe some mistakes were made)

I also believe that because of the bad discourse going around about him online and through professionals, Luke must be scared to make the wrong move and/or the wrong choice.

Luke has wanted to be on stage/act at a very young age. I can see that he is very passionate about it. I think he saw that slipping away from him slightly. Especially since Bridgerton and being a lead was supposed to do the opposite. He's probably going to do most things with a bit more caution and social media is on that list.

Let's try not to hold much thought into how Luke's social media is presented.

Should he maybe hand his social media over to somebody else to manage? I think that could be a smart move.

Do I think that if he did post something completely endearing about Bridgerton and Nicola he would appease a lot of fans? Also yes, but like I stated above, I believe there are multiple things holding him back currently.

It's okay to be disappointed that Luke doesn't upload or comment regularly. You can also be disappointed in the content he is posting. But it's only social media. Most of the time social media is fake anyway.

[familyabolisher]

Would you elaborate on why you don't really believe in addictive personalities? I find that a useful descriptor for myself that reminds me how easy it is for me to get into unhealthy behavior patterns. I have to fully stay away from tiktok and gacha games(I will never go gambling) because I know I can't trust myself with them. I also have to be REALLY careful with alcohol, etc. I have adhd and bi-polar, and I like having a phrase that describes my experience without being too over-medicalized and relating everything to diagnoses. I'm curious why you don't like it as a construct/whatever your opinion is!

personal explanatory power is one thing and i wouldn’t begrudge you that but i don’t really see how it has any materialist usage; and ultimately, like, i’m a marxist, any way in which i evaluate a framework that’s supposed to explain something in the world has to come from the assumption that the world is best explained through historical materialism. ‘addictive personality’ with no further elaboration is an idealist claim which obfuscates crucial points of discourse around addiction and the conditions that give rise to it—and indeed the conditions which cause us to name one substance or action as ‘addictive’ over another in the first place. addiction is materially punished; through social stigma, but also through housing discrimination, workplace discrimination, policing & incarceration, psychiatry, the sorts of forces that add up to eventually facilitate the conditions of social murder. we only have to look as far as the war on drugs to understand how ‘addiction,’ the consumption and circulation of substances regarded as ‘addictive,’ is not a prediscursive state but one that can be leveraged to violently enforce conditions of hegemony and quell insurgence through carceralism and social murder. i also just heavily distrust psychology as a field and certainly don’t buy these appeals to an essential self as a self who ‘has’ xyz tendencies as though xyz tendencies (such as the traits given in the five-factor model which is applied to ‘explain’ a predisposition to addiction) are anything other than postdiscursive descriptors we’ve imbued with meaning relative to a postdiscursive normalcy. i think psychological theorising around personality tends to obfuscate materialist frameworks in favour of methodologies which presume and reify normativity (eg. the claim that those more vulnerable to ‘addictive personalities’ have a stronger tendency towards ‘social alienation’ and ‘nonconformity’ without defining what constitutes ‘alienation’ and ‘conformity’ in the first place—as though personality traits simply appear out of thin air).

as we’ve seen dozens of times, “addiction” is a slippery term easily wielded towards reactionary ends. “porn addiction” is a line taken by anti-sex work radfems; “food addiction” is infamously unscientific and preying on cultural predispositions towards fatphobia; “internet addiction” is similarly flimsy and frequently deployed in theories of cultural degeneration. this doesn’t mean that the clusters of behaviours we term “addiction” aren’t “real” in the sense that some people do develop dependencies on particular substances, but that the term can be used to draw connections between the reactionary attitude held towards addiction & its attendant connotations (of infantilisation, justified removal of autonomy, incarceration, psychiatric intervention, and so on) and whatever the wielder wants to malign (porn, food, using the internet). if we reify the idea of there being an ontological state within ourselves by which we are more or less prone to “addiction,” we by implication act against the necessity of interrogating what is meant by “addiction” and why it is being invoked in the first place; we also place all our explanatory eggs, so to speak, in the basket of the individual cast as “addicted,” rather than turning our attention towards the source of the “addictive” substance or object and its material origins + usage.

so it bears asking what we’re obscuring and what we’re facilitating when we give legitimacy to the idea of an ‘addictive personality’ in the public discourse, which is what i meant when i said that the term has no materialist explanatory power for me—casting someone in the role of an addict, even if only in the hypothetical, allows others to enforce the stigmas that such a role entails, through, for example, infantilisation, denial of autonomy, and reluctance to treat the individual’s behaviour as worthy of respect, compassion, and mature response. it creates a telos out of addiction under conditions wherein addiction means incarceration (literal or psychiatric), discrimination, ostracisation, everything i just laid out in the first paragraph. it makes addiction into a fundamentally individualist discourse which must therefore have individualist solutions, rather than a complex nexus of social conditions and discourses that we can describe and then fight against.

[utilitycaster]

Can I get your opinion, since you seem to be a pretty straight shooter ?

Do you think that Orym is lying to himself when he says he doesn’t want the sword for revenge or isn’t motivated by revenge? In the same way that Laudna was lying to herself and the others about why she wanted the sword?

I’ve seen a lot of ~discourse~ over whether or not orym is being truthful here and tbh I don’t know what to make of it.

My short answer: I suppose it's possible revenge might be among the many factors motivating him, but I don't believe it's his primary motivator.

My real answer? Who fucking cares.

There has been a pretty consistent pattern in which a lot of people who defend Laudna (and Imogen, for that matter) are so laser-focused on their motivations that they utterly ignore the actual consequences of their actions. Because that's the thing, right? You can make speculative claims about motivations; there is no true way to prove that Orym has absolutely no vengeful bones in his body since there's a myriad of reasons to go after the Vanguard and its leadership of which revenge absolutely is one. But you can't deny actions without someone inconveniently pointing out the truth that the action was, in fact, performed by a particular character. So it's a popular focus for people who don't actually have any evidence of their points.

Intent and motivation is, obviously, useful in understanding what a character might do. It's useful in understanding whether they could perhaps be swayed one way or another (eg: Liliana's intentions are in fact of vital importance for that reason, because if they understand what drives her, they might be able to change her path). But it's useless in judging harm done to other people. If someone kills a pedestrian in a crosswalk because they fell asleep driving because they'd stayed up all night for a charitable cause, or if they kill them because they were drunk driving, someone's still dead because of their actions. (For that matter, and I said this in an earlier post, the pedestrian is also equally dead if the driver were drunk driving because they are a well-intentioned alcoholic who fell off the wagon vs. an asshole who doesn't think the rules apply to them.) I don't blame the victim's family for hating the driver in any of the scenarios, even though I think that the some of the above drivers are far more likely to be people who will attempt to rehabilitate themselves and for whom I as a person more removed from the situation may have more pity.

Ultimately, how others see a character in-world is going to be a measure of their actions. So, for example, it does not actually matter if Imogen floats allying with the Vanguard because she wants to connect with her deadbeat mom; Orym is still justified in being hurt and offended because she said something insensitive in front of him. It's better that Imogen is doing this out of an idealized desire rather than malice; I think far better of her as a character and believe there is room for growth; but that doesn't change what she did and that it was, in fact, insensitive. It speaks well to her that Laudna's pressure point is "this sword could hurt your friend" and not "hey what if you could have a sick evil sword of your own", but she did still attack her friend in the middle of the night even with good intentions.

If Orym wants to kill Ludinus out of vengeance for the deaths of his family or if he wants to do so because Ludinus has done immeasurable harm already and very well might destroy the world (and I certainly do believe Orym is motivated by the latter, even if the former plays a role), Ludinus still ends up dead. Sure, if he's motivated only by revenge it might change how you interact with him, the way how Bells Hells treat Keyleth quite differently than they do Ira, but in terms of analyzing whether any specific action was helpful or harmful? Utterly fucking irrelevant.

Anyone making the argument that Orym might not have the purest motives either, as a means to defend Laudna, is either too dumb to even find the correct questions to ask or deliberately throwing up a smoke screen, and as this post indicates, doesn't fucking matter if they're stupid or malicious - they're a waste of your time. Don't even bother.

[olderthannetfic]

I hate to revive DNI discourse when it just ended on this blog but I often don’t think it’s as deep as people make it out to be and there’s a lot of, for lack of a better word, ~valid~ reasons someone may have a DNI. Like there’s absolutely contexts of “Kink Blogs DNI” disclaimers having an anti, swerf, etc undertone but sometimes I get it — for example I follow a couple of disability activists who post A LOT about incontinence, needing a caregiver, ETC who have stuff like “ABDL/DDLG/Devotee Blogs DNI.” Oftentimes that is not an indicator on their moral stance of those kinks, but rather them just being like “hey this is an activism-based journal where I post about incredibly personal things in regards to my own life, and while anyone has the right to read or reblog from me, if you’re clearly getting off to my medical needs or even if I get the vague impression you are, you WILL be blocked.”

Obviously that is an incredibly extreme and personal example, but I don’t think having a DNI boundary in your bio is ALWAYS a morality/discourse stance. On a much lighter note, I’m pretty active on Kpop Twitter, and there’s a lot of “RPF DNI” accounts there, and I think that’s more of a “I just want to post about my favorite band without shippers quote retweeting/replying to make it about their ship, and if you do so, I’ll block you. They’ve made public statements against these ships or about their real relationships and I am uncomfortable with people trying to dispute that.”

Oh yes there’s absolutely antis who hate RPF communities and all they stand for. But there’s also people who just straight up don’t want that on their account.

And like. As someone casually involved with RPF (i gossip about potential relationships with close friends and will reblog joke posts about it and will read it, but I’m not a writer for it and I’m definitely not someone who actually tries to speculate just how heavy the “fiction” part of an RPF ship might be), whether or not I choose to follow a person with such DNI depends on context. I keep my RPF ships/opinions off my main account, and even if I DO see a post that I would otherwise interpret as possibly shippy, I just won’t bring it up on said person’s posts, you know?

Damn this made me remember I have a DNI myself on one my accounts, 🤣 I have a minors DNI on one of my sideblogs. But I know I can’t prevent minors from seeing my posts or lying about their age or reblogging to a private sideblog or doing anything else that would go unnoticed. But once I do notice you interacting, if you’re clearly underage I’ll block you, just cuz I don’t feel comfortable with minors following my smutty fanart account even if I know minors look at smutty fanart, as someone who did look at smutty fanart as a minor. . .🎶Maybe I’m the problem it’s me. 🎶

--

No.

It's a stupid phrasing and no amount of validity in the criteria will make it less stupid.

No one here thinks they're always deep and meaningful. What we all say every time this comes up is that it's bad to conflate "I will block you if..." and "It is your job to research my boundaries ahead of time".

I'm not interested in people crying about how they like using an inaccurate term and everyone is supposed to understand what they mean. In practice, many people do mean that it's other people's job to enforce their boundaries for them. Validating this garbage terminology just encourages them.

It's a stupid, shitty term and we should move away from it.

[communistkenobi]

I’m reading Late Fascism by Alberto Toscano. I’m still on the first chapter, where he discusses various definitions of fascism and their usefulness for highlighting specific components of fascist rhetoric and organising. And I particularly like this section where he critiques and dismisses the “white-working-class” argument, ie, that the modern bases of fascism can be found in the white working class, who express this fascist consciousness through voting for right-wing politicians (and he is of course talking about the US, addressing this formation re: the Trump base):

This is why it is incumbent on a critical (or indeed anti-fascist) left to stop indulging in the ambient rhetoric of the white working-class voter as the subject-supposed-to-have-voted for the fascist-populist option. This is not only because of the sociological dubiousness of the electoral argument, or the enormous pass it gives to the middle and upper classes, or because of the tawdry forms of self-satisfied condescension it allows a certain academic or journalistic commentator or reader, or even the way it leads a certain left to indulge the fantasies 'if only we could mobilise them' and 'if only we had the right slogan'. Politically speaking, the working class as a collective body, rather than as a manipulated seriality, does not (yet) exist. To impute the subjectivity of a historical agency to a false political totality is not only to unwittingly repeat the unity trick of fascistic propaganda but also to suppose that emancipatory political forms and energies lie latent in social life. By way of provocation, we could adapt Adorno's statement, quoted earlier, to read: 'We may at least venture the hypothesis that the class identity of the contemporary Trump voter in a way presupposes the end of class itself.' A sign of this is the stickiness of the racial qualifier white in white working class. Alain Badiou once noted about the phraseology of ‘Islamic terrorism’ that when a predicate is attributed to a formal substance… it has no other consistency than that of giving an ostensible content to that form. In ‘Islamic terrorism’, the predicate ‘Islamic’ has no other function except that of supplying an apparent content to the word ‘terrorism’ which is itself devoid of all content (in this instance, political). Here whiteness is - not just at the level of discourse, but, I would argue, at the level of political experience - the supplement to a politically void or spectral notion of the working class; it is what allows a pseudo-collective agency to be imbued with a (toxic) psychosocial content. This is all the more patent if we note how, in both public debate and psephological [electoral] 'expertise', whiteness seems to be indispensable in order to belong to this ‘working class’, while any determinate relation to the means of production is optional at best. (pp 19-20)

His critique of the white-working-class argument, that ‘The Left’ has insufficiently persuaded this group and left them to be duped by ‘The Right’, is that in order to conceptualise the white working class as a coherent political group that has become aware of itself as a political group through right-wing (fascist) consciousness-raising, is to argue that fascist consciousness is a form of proletarian class consciousness. As he says, it’s not only incorrect in practical and factual terms, but makes an analytical error in assuming that fascists are primarily mobilising people with regard to their class position. This argument accepts the validity of the “populist” label as a horseshoe catch-all, that left-wing articulations of proletarian class consciousness are equivalent to right-wing articulations of a national/racial pseudo-consciousness.

And as he says, this is also not an argument about class at all - working class means nothing in this formulation, its primary function is to ground ‘white’ and give it apparent meaning. This is how he arrives at Adorno’s adapted formulation of ‘presupposing the end of class itself,’ as class holds no explanatory power and makes little reference to reality (it is only a ‘spectral notion’). In effect, it collapses ‘white’ into ‘working class’, making whiteness a prerequisite of belonging to the working class. This is a hilarious trick given that the white qualifier is at least partially meant to save the journalist or academic from accusations of assuming all working class people are white, but by emphasising whiteness with no regard to the class position that the white-working-class supposedly occupies, race is flattened into working class, reducing class to (the white) race.  

Of course, this conclusion is not derived from any serious analysis of racial histories and economic processes such as colonialism, where this race/class intertwining helps to explain and understand the lineage of race itself. I’m pulling now from Aníbal Quijano’s Coloniality of Power and Eurocentrism in Latin America, who argues that race functions as the organisational system of class in settler-colonial contexts; race refers to and gives shape to the class position in the means of production in settler-colonial societies, where positions such as “slave” and “slaveowner” as classes are enforced and systematised on the basis of race, naturalising class to the supposed “biological reality” of race.

Through this analysis of colonialism and race we see how even more absurd this white-working-class argument becomes, that it concludes that whiteness is a racial barrier of entry to the proletariat; in effect, very roughly inverting the racial logic of colonial capitalism in order to argue that poor whites are the base of fascism. Noticeably, this accepts the basic fascist argument that whites are an underclass being oppressed by a non-white ‘misfit’ bourgeoisie, who achieved their position through social manipulation, trickery, and liberal social justice programs like affirmative action. Where liberals depart from this formulation is merely to argue that a diverse ruling class is the result of meritocracy as opposed to social engineering.

This is a liberal articulation of fascism: an adoption of the fascist logic that races can be activated as a class, that race is a dormant social energy that can be activated in the minds of a white class, but this argument is used as a means of obscuring white supremacy as a tool of right-wing reaction and mobilisation by tacking on the qualifier of ‘working class’ at the end. In this way, working class becomes the qualifier to white, not the other way around, positioning fascism as a purely lower class phenomenon, something that afflicts only the poor whites, the stupid whites, the uneducated whites. This allows for the obfuscation of the bourgeois character of fascism, and provides fuel for “the tawdry forms of self-satisfied condescension it allows a certain academic or journalistic commentator,” many of whom are themselves white.

[snaxle]

just saw someone say the reason bi lesbians are problematic is because they're inclusive of radfems, and that bi lesbians spew terf rhetoric. i dont know what kinda secret alternate universe you're living in where terfs are supportive of mspec identities but im begging you to turn on your brain cells for longer than 5 seconds at a time and then go outside instead of wallowing in queer twitter discourse made by 15 year olds 10 hours every day you fucking idiots.

terfs dont fucking like bi lesbians. terfs would rather watch us either kill ourselves than ever support our identities.

"i hate mspec lesbians because they tell people who hate men that they're sharing terf beliefs, which is exactly what terfs want!!" have you literally never seen a terf's account before in your life? they fucking hate men and want everyone in the world to know that every single man in the world no matter how old they are that they're gross ugly creatures who all hate women and want nothing more than to prey on the downfall of all women. yea, even those 6 and 12 year old boys that live next door to you. so yea, while you're posting your quirky little "i hate all men they're disgusting 🙄" posts every three days for your 400 twitter followers, you're 100% spewing terf rhetoric!! no that doesnt mean you're a fucking terf but you're sharing into their beliefs and spreading their agenda every time you do this shit which is what they want!!!!

"the term lesbian is already inclusive of trans and nonbinary people, so using the term bi/mspec lesbian is problematic because you dont think trans people can be lesbians!" look me in the eyes. do you genuinely, honest to god think that terfs care about that. do you genuinely think terfs are okay with trans people calling themselves a lesbian. terfs dont fucking care, they still want you to either detransition and realize how "evil" being trans is and follow in their beliefs, or they want you dead. a nonbinary trans man who uses he/him pronouns calling himself a bi lesbian is literally the least of your fucking worries.

i am trans and bigender. even if i just called myself solely a lesbian without the extra labels, terfs still wont fucking accept me because i am not a pure innocent 100% woman. they will not accept me even when i tell them i feel more like a woman most days than i do a man because i am not their definition of what a woman should be. "it doesnt matter what terfs say, lesbian is still inclusive of trans people!" no, it's only inclusive of trans people that you deem are good and women enough to use the label.

people love going around talking about how they're so so supportive of any and all identities and then immediately turn around and be like "hmmm but not Yours." i could be the most perfect woman in the world, but the second i so much as mention i think a man looks attractive, then i am not being a lesbian the Right way.

so who the fuck cares anymore. who cares if i use the term bisexual lesbian to identify myself? im already doing it all wrong supposedly, so who cares if im more of a problem than i already am? the queer people im supposed to share a community with would rather side on the side of terfs because im not being a lesbian in the supposedly Correct way, and no matter what i say to try defending myself I'll never be seen as a true and proper lesbian because random strangers on the internet i will never meet ever in my life has already dictated that I'm not good enough. that my existence is problematic and harmful to everyone else, completely ignorant of the fact that they're unwillingly sharing in the beliefs of transphobes, homophobes and conservatives who would like nothing more than to wipe us all out instead of standing together as a community.

but you know, putting bi lesbians on your dni or whatever is more important.

[barkhoffman]

rest in peace tumblr user barkhoffman 🕊🕊

I'm gonna use this ask I got to springboard an explanation as to why I've gone silent and stopped updating, so! here it is! the Discourse no one asked for!

it was brought to my attention recently that some people on twitter (a site which I no longer use and have not used for years because it is a cesspool) have been vaguing/insulting SLAP, which! sure! fine, that's your right! not everyone has to like what I create, I don't mind that at all! that's not why I vanished, though.

my issue with these "criticisms" is that they ended up insulting who I am as a person. accusations of fatphobia, transphobia, and ableism (among other things) have been leveled at me, and that's where I personally draw the line.

you don't have to like me. you don't have to like what I write. but when you call my moral character into question, I get a little bothered.

an example: some of the accusations include calling me transphobic for using the word "vagina" to refer to a transmasc character's genitals. for those of you who don't know (not that I should have to disclose this information), I am not cis. trans people are not, in fact, a hivemind, and the idea that we should all be ashamed or uncomfortable or whatever the fuck with our anatomy unless we couch it in different terms is actually rather more transphobic than using a medically accurate term to refer to a person's genitals during a smut scene -- a scene which is written from the third-person limited perspective of a 48-year-old cis man who is unfamiliar with transgender issues, so even if it WAS universally offensive to call a vagina a vagina, it would still be in-character.

the thing is, in-character observations, speech, and thoughts are not actually a universal indicator of the author's identity or beliefs. things that you dislike or that make you feel uncomfortable are not automatically morally impure, and you don't have to reach for reasons to say the creator is a bigot because you don't agree with how they portrayed things.

(there's also something to be said about the inherent colonialist racism in the transmed viewpoints that lend to "transmascs shouldn't ever have vagina used to refer to their genitals," dismissing nonwhite cultures with a rich history of third/other genders and gender euphoria. DYSphoria is not the only trans experience. furthermore, calling the word vagina "female-gendered" is a slap in the face to all of us who are NOT female who have no problem referring to our genitals in that way. idk man, are the arguably more gendered terms "pussy" and "cunt" REALLY more appropriate here? should I have used "bonus hole" instead? not sure what the solution is supposed to be.

anyway.)

I could go on and on and get into every little accusation thrown at me and how insulting and ridiculous they are, but I don't want to invite that level of discourse. this is bad enough. it is absolutely batshit bonkers that I, as a nearly 30 year old person, am sitting here typing this right now. it is even more wild to me that at least some of the people involved in this drama are apparently in their 30s as well.

listen to me. look me in the eyes. if those of you who have a problem with my fics expended even half that energy into helping actual real life people instead of defending the nonexistent honor of fictional ones, the world might actually get better.

I know, I know. it feels good to vague on twitter and pretend you're doing activism when you're trashing a small creator's work in a way that's very likely to get back to them. it feels nice to know you've "saved the world from some evil" when you discourage people like me from continuing their projects. it feels like you're making a difference, right?

unfortunately, you are not. I would advise those of you involved in all this to get well soon and mature a little bit past wrongly deducing someone's viewpoints via the fictional works that they create. there are happier and more productive ways to spend your time, I swear.

I'm not mad, honestly. I'm just sort of tired. tired of getting messages asking where I am and what happened. tired of feeling like I have all this bottled up inside. tired of fandoms that would rather stoke fake moral outrage like Republicans than, idk, go to a protest or give a homeless person a dollar or defend POC from your racist uncle at the neighborhood barbecue.

I don't think we as an internet "society" really understand the mental toll it can take on someone to be called things like fatphobic, ableist, and transphobic -- particularly when, in my case, I am fat, disabled, and trans. of course, being a member of a group doesn't absolve you from bigotry against that group. however, when these accusations are leveled based entirely on someone's body of work and not on their actual character, it makes us far less likely to create works, what with the likelihood that they'll continue to be looked at in bad faith by those who have some sort of weird moral high ground point to prove.

I really didn't want to have to post about this and bring the people who like my work down, but I think you guys are owed an explanation rather than silence. not sure if I'll post anything after this, because I'm really too old to be engaging in internet slapfights over torture porn movie fanfics, of all things (I guess I really spoke too soon when I called this fandom nice, drama-free, and welcoming). if my ask box gets too messy, I'll turn it off. idk. just wanted you guys to know where I've gone.

now stop telling everyone I'm dead

[ultfreakme]

On Geto and 'femininity'

Okay so I saw bunch of discussions and discourse over Geto being presented as 'feminine' and female-coded and there are people who use that to headcanon a variety of things for Geto as a character.

I think Geto has been assigned a lot of tropes in-story that are associated with female characters. Some of it in good ways.....others in bad ways. But I will say, I don't think Geto on his own represents any kind of female struggle but is rather a gateway to explore and use tropes that are generally assigned to female characters.

The predominant tropes I think Geto fits are the Disposable Woman and the I Can Change My Beloved trope.

The first one is really obvious. The Disposable Woman exists to give a male character an emotional motive to go forward with a goal and the character serves no other greater purpose than that (I'll get back to the last part later). Hidden Inventory is a Gojo backstory, Geto's fall is a part of explaining Gojo's future entrapment and his motivation for becoming a teacher. We see Geto's downward spiral but at the end of the day this is primarily about Gojo.

more under the cut

Geto also literally gets used as an accessory for Gojo's character motivation by Kenjaku. It is blatantly stated in-text the only reason Geto's body is around again is to fuck with Gojo.

The second trope, is also pretty on the nose. The Hidden Inventory arc starts with Geto talking about how Gojo should protect the weak, he's always telling Gojo to do this or do that, speak more politely, don't look down on others, take care of yourself, let me help you, etc. And it works! He does change his 'beloved'.

But it's not just this.

In terms of character design, Geto is meant to be a pretty boy. He's more popular than Gojo, his attractiveness is what gets Manami and Larue interested in his ideology, his beauty and charm convinces even skeptics and it's to the point Gege constantly points it out in-text. His design also somewhat reflects that in a twisted way. His long hair, earrings and robes are actually supposed to be a false imitation of Buddha but they also serve to make him more stereotypically feminine.

He's also associated with the figure of a 'mother' through Nanako and Mimiko. In the anime, the scene where he's getting his hair combed is done so....delicately. You get lingering shots of his hair, his eyes, his hands and the way he sits. An untouchable, loving dream. Gojo also remembers him in this untouchable manner. Then there's the obvious, the worm inventory curse calling Geto mom and asking for a hug.

There's this amazing thread on twitter that goes into a lot of detail about how Geto's design and motives take a lot of inspiration from Kannon, who is the bodhisattva of compassion and mercy and is most often depicted as a woman.

And.....okay this third one is an exploitative, sensitiv trope but it exists nonetheless and can be applied to Geto. I don't know the exact name for it, but a lot of female characters get put through torturous, traumatic situations to fuel the male characters' anger. This violence is portrayed in a very indulgent manner, where the point of showing or depicting the assault/violence is not to show the extent of evil but to revel and take enjoyment in the suffering.

Kenjaku taking over Geto's body falls into that. It's not as gross and demeaning as it is with female characters(the aforementioned violence is prominently shown through sexual assault and taking away bodily autonomy), but Kenjaku openly flaunts his possession.

He rips off Geto's head, plays with his skull, uses all the skills and connections that come with his body in a flippant manner. It's clear he takes some kinda pleasure in possessing Geto's body(the way he's posing in the volume 16 cover is a pretty good example of that). NanaMimi point out how horrific it is when arguing with the cult family. Gojo's need to give Geto a proper burial and his horrified reaction also emphasizes this. Geto's possession and the hijacking of his body is violent and invasive.

Kenjaku's possessions are associated with assault and targeted violence against women. He experimented on a woman for the Death Paintings, he took over Yuji's mom and used her body, assaulting both Yuji's mom and his dad(yes yes it's possible he knew but still, the consent isn't there and as many jokes as the fandom makes about back shots or whatever, this is still sexual assault). Kenjaku specifically is a villain who exploits bodies and Geto is one of them.

This specific kind of deprivation of physical autonomy is experienced primarily by female characters.

So put that all together and you get what many assign as femininity or female-coding.

The problem is, Geto is given all the decidely BAD tropes associated with female characters. If Geto's character was a woman in JJK, I'd be appalled because this is just, so misogynistic to assign to a female character.

But this repulsion doesn't happen because of one very important thing; Geto's still written as a man and therefore has all the default privileges that come with it. Both in-story through character motivation and through Gege as a writer. Remember how I said the Disposable Woman serves no other purpose but to be the man's motive? Well this is where Geto diverges. Geto's given the trope but he is written with the defaults and privileges of a man.

We HAVE multiple other Disposable Women tropes in JJK! Tsumiki, Rika, Yuji's mom and most importantly, Megumi's mom.

MEGUMI'S MOM DOESN'T EVEN HAVE A NAME! Literally everyone calls her 'Mamaguro'. We know jack shit about her other than she was pretty, Toji loved her and she fixed Toji or something. There is all the chances in the world to give all of these characters more back story and motives but none of them get that. Hell, even alive female characters don't get nearly the same amount of exploration(Shoko was right there with Gojo and Geto but the focus on her is so little).

Geto got a whole five-episode arc half dedicated to him. There's also his attitude which is decidedly coming from an entitled place. He's absolutely sure of his strength, he doesn't even examine who or how he's assigning 'weakness'.

The women in JJK are a lot more 'selfish', and it's best explained by Nobara. There's only so much you can give of yourself, only so many people that you can let in because if you do more, you're dead. Itadori doesn't fully get this kinda thinking, he's trying to save and love everybody under the sun because he thinks he can afford to do that. Shoko also keeps a distance from Gojo and Geto. Women can't affor to overextend themselves and do whatever the fuck they want only because they have power because they're navigating the oppressiveness of the jujutsu society along with regular old patriarchy.

The women of JJK know that the patriarchal nature of the system is also responsible for how corrupt everything is. But Geto doesn't. He doesn't examine the system of jujutsu sorcerers in a nuanced manner and skips right to the curses.

Geto's femininity comes from a lot of tropes assigned to women but there isn't anything crucially feminine about any of the tropes. they're all overdone and often offensive, reductive stereotypes. But they're only reductive when employed with women because female characters who go through experiences like assault or parenthood are never given the time to be explored well.

For female characters, assault is considered a characteristic rather than a plot event that deeply affects them. On top of that, female characters are never anything beyond their traumas and the motives the provide for male characters.

Geto gets to skip all the bad parts and actually gets characterization, personal motives and is deeply flawed while being treated kindly by the writer. Which is why the things he does go through doesn't come off as offensive and ill thought-out. I think it's also why people assign him femininity and consider him to represent a female experience. Because he's the one character who is used to explore frequently awful female-assigned tropes in a somewhat respectful manner.

Again, the tropes do not define actual femininity. Being feminine or masculine is on a spectrum that is largely undefined and unclear. Geto's assignations are all happening in terms of fiction and in fiction, these tropes and appearances are assigned to the idea of a 'female' character.

Anyways that's my two cents, bye bye.

[holdoncallfailed]

i get the argument you're making with the aro spectrum, but what do you mean you abhor the idea of aromantic as an identity?

i just don't think you can have a cogent identity based on the lack of something...i have blond hair, therefore i am blond. if someone asked me what color hair i have, i would never say "i'm a non-brunette". dumb analogy i guess but it really is that silly to me. i also think splitting hairs (ha!) about romantic vs. sexual attraction (and/or whether being in a relationship with someone counts as "feeling attraction" toward them) is pointless at the end of the day. i don't think 'a person with a capacity for romance' is a thing you ARE on a fundamental identity level and i don't think having a term for it as if it's an immutable identity marker is useful, like, sociologically speaking really. but that conclusion is informed by my own neuroses and also a resentment toward 'ace discourse' as a social movement (?!), which isn't really any individual person's responsibility i suppose. i've bitched about this at length before though.

basically i would like for "i'm not really interested in a relationship" to be a fully-formed and acceptable explanation for what a person's got going on if they're single rather than needing an IDENTITY to justify it.

and an anon once had a much more nuanced and pleasant way of looking at it to which i tried to respond in kind. i think what i said there applies to this as well for the most part.

[mochifiction]

Am I back with more Transformers Bloodborne designs? Yes! I would also like to say that, in terms of the structure of Cybertron in this continuity, I have made some adjustments that are different from the posts I’ve previously made. However, I think that they were done in the continuity’s best interests! So, please meet Elita One: The Prime Minister of Carcer! Elita is not of noble blood. Rather, she was an attendant for the previous Prime Minister’s conjunx endura. She learned early on that, if she was not part of the upper class, most importantly if they did not see her as worthy of their time, she and others like her were no better than cogs in a machine. So, she remained calculating, playing her part. However, she was quick to learn in her work that the Prime Minister had exported Carcer’s resources without any intent of advocating for aid on behalf of Carcer to the Cybertronian Senate. Elita understood that things could stand as they were no longer, instead working on unifying Carcer’s people in secret. She used her privilege and knowledge to provide aid, setting up hidden libraries of literature and energon. She taught what she learned in a world they deemed so impossible to engage with. The people loved her, stood by her, and had great faith in her. Elita was a vessel for the people, determined to bring justice and independence to Carcer as their own intergalactic state. Revolution didn’t come overnight. It took quite some time, but by the power of the people, Elita took the role of Prime Minister and made it very clear upon her first appearance to the Senate that she did not yield to any banner, flag, government, or man unless they were of Carcer. She surprised senators with how she saw through false promises. She even called out the abuse some senators inflicted on their own attendants. It was through this she developed friendships with Soundwave, the attendant of Senator Ratbat with supposed “magical” properties. Her open criticism of the Senate also earned her a deep kinship with Senator Shockwave, who invited her to his charity galas and discourse meetings with those under his reign. He was a genuine man, a GOOD man. Elita saw early on they had the same interests, and they corresponded frequently, even if she was not on Cybertron. It was through him she met the darling scholar Orion Pax, Alpha Trion’s best student. It was the two of them that sparked the embers of reform and resistance when Shockwave was murdered. She refused to let the Senate forget it. Senator Shockwave was their last thought before the end.