#or say it is from fanfiction like it is a bad thing

[jesncin]

listen. as a black person who cares deeply about punk culture and superboy, i could not care less for whatever narrative you are trying to create with kon & the afro punk scene & the merry band of heartlessly racebent black characters (including lex luthor: the xenophobic piece of shit & paul westfield: the eugenist) you are playing with. but, to each their own. however. However. making knockout, a character who WAS NOT queer until years and years after her creation (bc kesel didn’t write her to be bi, that was gail simone!!), her creation in which she was an actual CHILD PREDATOR, a fat black woman is beyond disgusting. do you know nothing of the history of how black women are fetishized in american culture (and globally) or do you just not care? how we are seen as exotic, inherently sexual for our curves? are you aware of the jezebel stereotype and how harmful it is? that black women have gotten and still get terrorized, and raped, and killed over it?

look, i understand that you (for whatever reason) do not care to engage with the narrative of grooming in sb94, but that doesn’t erase the fact that it happened, and that a (at the time) cishet white woman was one of those groomers. were aspects of knockout’s character misogyny? absolutely! the idea that a woman cannot be a sexual predator is misogynistic within itself. the entirety of her background as a sex worker feeding into her being (unintentionally! bc kesel thought this was a male fantasy!) a sexual predator is frankly disgusting. and yet, she still groomed a child, and losin’ it is still meant to represent kon, a 15 year old, losing his virginity to a grown ass woman who manipulated him.

narratives are three dimensional, and shaving down kay’s existence to be nothing but a victim is doing a disservice to that idea. you making her a fat black woman is racist, the same way that simone making her queer was homophobic. full stop. i get this probably won’t change your minds, but i felt that you needed to hear it from a black person.

Okay it's clear if you're getting this heated over my fanfiction, you need to leave. Do not send another ask. Just block and move on. This space is clearly not good for you because you are getting so upset at a fan interpretation that simply introduced a re-imagining of a character you don't like and you're making a whole ton of moralistic assumptions based on her canon version. I never brought up that my version of Kay is "nothing but a victim"- you are projecting. I am aware that women are allowed to be messy, bad and even predatory characters because predatory women exist and that's important to talk about. But if I want to do something different (and I have my reasons that I constantly explain that you continue to dismiss) then surely I'm allowed to in my fanfiction.

I'm aware of all these things you've brought up as I'm reinterpreting Knockout and to assume otherwise this early in on is simply bad faith (calling me "heartless", very classy and mature). There's nothing I can say if you're this glued in to the canon version. It's clear that other creatives (including DC creatives) re-interpreting or re-claiming this character is a sore spot for you, because you're not giving any of them a chance to do something different. It took 70 years for Alan Scott to be canonized as gay, that's just how cape comics are- and it's an aspect I personally enjoy.

You've bought into the events of SB94 like they're historical events that actually happened, and that's just not the case. It's a fictional story written by a white man with his biases in full display. Grooming didn't actually happen to an irl kryptonian. Fans embrace or ignore aspects of canon all the time. How are fans of color like me, not allowed to play and do something different? Why do we have to play by the white man's rules? The Losin' It arc isn't about grooming to Kesel. It's about Knockout, being a sexy bad lady because she kills people. We're getting into semantics about interpretations at this point, which I don't care to discuss if you're being this heated about it.

Also when you say "I felt that you needed to hear it from a black person" you imply that I'm not in discussions or listen in on media conversations by and with Black fans. Your opinion isn't absolute here, and I know plenty of Black critics would disagree with what you're saying (Black Lex Luthor is such a beloved hc among Black fans- and you watering him down to just "xenophobe" reveals a lack of critical examination of his character). You're entitled to your opinion, but I'm not here to suddenly believe in a monolith of Black perspectives based on a series of bad faith asks from you.

Lastly, considering the very vile things you're comfortable with saying about my work, I am reminded that skin folk ain't kinfolk. You're doing a great job making fandom spaces hostile for artists like me and your white peers would rejoice in your actions. Do not talk to me again, if I see another ask that I clock as you I am deleting it.

[betty-fran]

I think the main problem with any sequels/prequels/reboots/adaptations/etc. is that they don't just rework the text of the original, they rework its perception. You can stay as close to the original as possible, but completely twist the very idea of ​​the work (which, for example, happened with Tarkovsky's adaptation of Lem's Solaris). Honestly, I've rarely come across really good adaptations. Post-TOS films start with the words based on Star Trek because it's still an interpretation, one way or another, and the filmmakers are well aware of this. But it seems to me that this understanding is lost outside the fandom (and sometimes even within the fandom itself) because Star Trek is positioned as a franchise, and the events of the films are perceived as a continuation of the original series. That is, for me, for example, as a person who only watched AOS during my university years (and before that I only heard about Star Trek in The Big Bang Theory), and who even from fanfiction had an idea about "one way or another, the events of the series lead to the events of the films", TOS became an absolute revelation.

Unfortunately, my generation on forward mostly got to know the characters first from the movies. TOS was a little dated and slow paced, but the movies hold up better for a younger audience, so a lot more of us watched those first.

It's really interesting to know. I had a slightly different situation considering the conditions in which I grew up. I'm pretty sure TOS wasn't shown in the Soviet Union; the films might have been shown after the collapse in 90s, but my parents never watched them, and I also don't remember them from my childhood... It's actually hard for me to say that Star Trek was ever really popular in the post-Soviet space, well, in Ukraine anyway, among my (mostly artistic/literary/cultural) circle in which I grew up, were popular Star Wars, or Marvel, or LOTR, or HP (in my childhood) but not ST, and even AOS I watched completely by accident years after Beyond was released. So I watched TOS for the first time only this spring, and watching the films now, they really feel fundamentally different from the original.

TMP and TWOK, besides being very bad at reading the characters, are firstly poorly filmed, and because I'm a production designer (by education), it's kind of painful to watch. So I'm pretty critical of them (but I don't want to offend anyone who likes them, they're still quite romantic, and I find it charming). I really like The Search for Spock and The Voyage Home (we finally watched them with my sister). And Nimoy was an objectively good director, I would be really interested to see how he would have directed the first two films if he had the chance. That is, these are still separate things from TOS, but they are good.

I completely agree that TOS Kirk would never accept the admiral's position and lock himself up like that in an office on Earth; it completely contradicts his very essence, and since it makes up the main plot of the films, it makes them so "out of character" in the first place. And I completely agree about Spock, and that his reset as a character deserves a separate post (it's obviously harder for me to write about him), I also believe that TOS Spock, after all the development of his character throughout the series, after season 3 and especially Turnabout Intruder, would never have decided to leave Jim and go to Kolinahr. And although this is generally explained by "he was scared of the power of his own feelings etc. something happened between him and Jim etc.", but this actually contradicts TOS, so it's perceived as some kind of absolute alternative branch of events. And Spock actually experiences more than one reset as a character, because after seemingly accepting his own feelings in TMP, he is again quite constrained in TWOK, and then he dies and loses his memory, and oh my god, it's so in the style of those 80s melodramas, Idk. Therefore, all this is really very difficult to perceive in connection with TOS.

But when I write TOS fic, I write within a canon that ends with Turnabout Intruder.

And I especially, especially agree with this.

Thank you very much for your reply, it's always very interesting to read what you write!

Being in the process of watching post-TOS films right now, and having rather mixed feelings about it, there is something that probably surprises me the most about all of this. We talk a lot about AOS Kirk and even SNW Kirk (which Paramount tries to show us as the canon young Kirk) as being non-TOS-canon, very different readings of Kirk as a character, but we never really talk about the fact that Film!Kirk is an equally non-TOS-canon reading of the character.

ETA: this is going to be a very long post that I wanted to finish earlier, but my latest meltdown obviously didn't let me finish anything I had planned this week.

[there will be a bit of film criticism now, you can skip that right away and move on to criticizing Kirk's characterization… this really sounds bad, but don't get me wrong, I like post-TOS films, but they're so damn different and I want to talk about it]

The post-TOS films certainly lose all the noir and theatricality of TOS, all its épater la bourgeoisie, this legacy of old cinema (TOS, strangely enough, is completely a child of the golden age of Hollywod, and is much closer to "Casablanca" than to "Star Wars") by completely projecting itself into science fiction (which, to be honest, was the last thing TOS did at all, like they flew in space, of course, but it was such an obviously special transcendent type of space, where you would rather meet Socrates than Xenomorph) and outright militarism.

Perhaps the most shocking moment in "The Motion Picture", and my personal point of no return in the sequels, was one of the opening scenes in the Enterprise's transporter room. The ship wasn't ready to leave yet, and the transporter wasn't working properly, but two crew members were sent out of the Starfleet transporter room, and they… just died in the process (why?). This wasn't negligence on the part of the ship or the crew; it was clearly blatant negligence on the part of Starfleet, and it was presented so quickly and dryly as if it were a fairly routine situation for everyone. They were a little upset, shook their heads, and went off to more pressing matters. It was an absolutely unnecessary scene for the plot (the only thing it affects is the appearance of a vacant science officer position on the ship, which, like, could’ve been vacant anyway? these scene is generally never mentioned again, you could just not add it at all), meaningless and cruel in its absurdity, which perfectly highlights the changes in the approach to the display of violence between the 60s and 80s.

[Enterprise transporter room] RAND: Do you read me Starfleet? Override us. Pull them back! STARFLEET [OC]: Unable to receive their pattern, Enterprise. KIRK: Give it to me. Starfleet, boost your matter gain, we need more signal! ...More signal! SCOTT: We're losing their pattern. RAND: Oh, no! They're forming! WOMAN: (a scream) SONAK: (a moan) KIRK: Starfleet, do you have them? STARFLEET [OC]: Enterprise, ...what we got back didn't live long, ...fortunately. KIRK: Starfleet, ...Kirk. Please ...express my condolences to their families. Commander Sonak's can be reached through the Vulcan Embassy. There was nothing you could have done, Rand. It wasn't your fault.

All of these things were the result, in political and cultural changes, the growth of noticeable gloom in science fiction, and mostly changes that the film industry experienced after the 1960s (the rapid development of technology, the expansion of the audience, and the attempt to move away from the theatrical relic of the past to spectacular films) and in the sequels this is felt not only in the script, which emphasizes dynamic scenes and is much more simplified in literary terms, but also in the acting, which is already much more static and tied to the camera (the acting is one of the reasons why TMP is so difficult to watch, apart from the frankly weak direction and editing, and despite the pretty good [still very Roddenberry-esque with all this love is a touch but not a touch] plot, which is quite funny, because the fact that this is happening against the background of the character of Ilia, who really plays a non-human /a body/ that uses a computer, doesn’tt improve the situation in any way, because none of the actors look noticeably more alive than her, and the only glimpse of emotion in the entire film is the scenes between K/S, which is of course very sweet, but���).

First of all, this concerns Shatner, who is actually a very good theatrical actor (and criticism of his performance in TOS is completely incomprehensible to me). Where he is absolutely alive, natural, and sincere in the noir, theatrical TOS, he is exhausted, stiff, and (I'll be honest) repulsively arrogant in the films’ blockbusterness and their efforts to be dramatic. I partly attribute this to the fact that, like me, he is completely unsuited to dark hair and it turns our lives into a Nietzschean abyss, but more likely the combination of his ego and inability to realize himself played a bad joke on him, and he lost something real, really important in the pursuit of attention. But that's why the K/S interaction scenes in the films (and all the Kirk scenes that involve Spock in any way) are so surprising to me, because they're the only scenes where Shatner suddenly sheds all of his ego, arrogance, and discontent, becoming again... sweet, alive, and natural in his acting, and sincere in his absolute admiration and warm love for the one important person in Kirk's life, and it's such a contrast to his acting at other times that I'm just, I don't know, Bill, what are you doing? He just sees Spock, and bang, he becomes a completely different person. In any case, Shatner's changes and internal conflicts have their impact on the character's formation and perception in the films, but they are only part of the bigger picture.

[end of films criticism, let's move on]

"The Motion Picture", our ground zero in Kirk drift, generally sets this emphasized masculine tone in Kirk's portrayal from the very beginning, clearly departing from both his gender-ambivalence and his noir femme fatale, and becoming quite constrained even in his nature of utopian humanism. In my conversation with my sister, I joked that it was quite funny that they were trying to convince us that TOS Kirk, who had survived genocide (famine, mass murder, psychological/physical abuse, and clearly read SA) at 13, and then went through a mass massacre on a ship he served in his 20s, for which he blamed himself, had become this in a few years of paperwork. The midlife crisis had apparently erased even his traumatic experiences. I generally understand the idea they were trying to show - a real captain who is tired on solid ground and more than anything in the world wants to return to space, and even more - to his ship, the only place where he was truly happy + (this is of course not so obvious, but it's damn visible in Shatner's acting and in subsequent K/S scenes) this existing gap between him and Spock is a tangible trauma and Spock's absence in his life breaks him to pieces. But, even with this idea of growing up/(literally) returning from heaven to earth, Kirk's behavior in TMP frankly doesn't align well with his characterization in TOS.

We see several consecutive scenes of his conflict with Decker, the acting captain of the Enterprise, whom he removes from his post by order of Starfleet, and although Decker himself is a rather static character, in whose development not much effort was put, in all these scenes, he is clearly... right.

KIRK: I'm taking over the center seat, Will. DECKER: You're what? KIRK: I'm replacing you as Captain of the Enterprise. You'll stay on as Executive Officer. Temporary grade reduction to Commander. DECKER: You personally, are assuming command? KIRK: Yeah. DECKER: May I ask? Why? KIRK: My experience, five years out there dealing with unknowns like this, my familiarity with the Enterprise, this crew. DECKER: Admiral, this is an almost totally new Enterprise. You don't know her a tenth as well as I do. KIRK: That's why you're staying aboard. I'm sorry, DECKER: No, Admiral. I don't think you are, not one damn bit. I remember when you recommended me for this command. You told me how envious you were, and how much you hoped you'd find a way to get a starship command again. Well, it looks like you found a way.

KIRK: All right, explanation? Why was my phaser order countermanded? DECKER: Sir, the Enterprise redesign increases phaser power by channelling it through the main engines. When they went into anti-matter imbalance, the phasers were automatically cut off. KIRK: Then you acted properly, of course. DECKER: Thank you, sir. ...I'm sorry if I embarrassed you. KIRK: You saved the ship. DECKER: I'm aware of that, sir. KIRK: Stop ...competing with me, Decker! DECKER: Permission to speak freely, sir? KIRK: Granted. DECKER: Sir, you haven't logged a single star hour in two and a half years. That, plus your unfamiliarity with the ship's redesign, in my opinion, sir, seriously jeopardises this mission.

We are also given an emphasis on how Kirk puts pressure on his crew:

KIRK: Programming ready? DECKER: Programme set for standard warp entry, Captain, ...but I still recommend further simulation study. KIRK: Mister Decker, every minute brings that object closer to Earth! Engineering! Stand by for warp drive. SCOTT (on intercom): We need further warp simulation on the flow sensors. KIRK: Engineer, we need warp speed now! McCOY: Jim, you're pushing. Your people know their jobs.

It's not that he's never done it before, but there's a literally physically palpable difference in how and when it happened in TOS and how it happens in TMP, and how truly unjustified (apart from wanting to seem significant and controlling again) Kirk's behavior in TMP is.

He also, not particularly justified, takes a risk by allowing that weird electric thing onto the bridge, which leads to further tragic events.

KIRK: Mister Decker? DECKER: I advise caution, Captain, we can't withstand another attack. KIRK: That thing is twenty hours away from Earth. We know nothing about it yet. DECKER: That's precisely the point. We don't know it will do. Moving into that Cloud, at this time, is an unwarranted gamble. KIRK: How do you define 'unwarranted'? DECKER: You asked my opinion, sir. ... DECKER: Ilia! ...Ilia! (the probe with Ilia disappears) DECKER: This is how I define unwarranted!

In fact, this whole Kirk vs Decker situation is an obvious paraphrase of "The Doomsday Machine", where the same Kirk vs Decker conflict is played out (god, it's not even funny), but with the roles reversed. Kirk now finds himself in the role of an older, more experienced man, but it’s his self-confidence, obsession with an idea, fear of being rejected, and his apparent conflict as an authority figure against the younger and more brilliant captain (ok, it's not about TMP Decker, but you get the idea) that prevents him from being truly flexible and leads to abuse of power. Of course, TMP Kirk handles this situation better than TOS Decker (but he was also not in a state of traumatic shock after the death of his team at the time of the events).

I understand what they meant by this (ok, again), but it's such a blatant misreading of TOS Kirk as a character that I'm starting to think that even AOS Kirk at some points was read much closer to TOS Kirk (maybe not really, but even in the face of the obvious opposition between the two, AOS Kirk got his clearly existing psychological trauma/unhealthy coping patterns and (coincidentally, this was definitely not planned in the heteronormativity of the reboot) his sexual ambivalence) than Film!Kirk. Now I understand much better where this concept of the Golden Boy of Starfleet, the lucky guy who easily gets out of any situation, a kind of exemplary good young man who has had no real difficulties in life, or terrible PTSD or anything shameful, disgusting, dirty, that you want to forget, in his past, came from. The 2009 film (thank's aos) gave new life to this, clearly emphasizing the key difference between AOS/TOS Kirk - the presence of parental support (although it's not like Kirk's parents were ever actually mentioned in TOS, which makes this concept pretty meaningless in light of TOS):

KIRK: Wait. Where you came from, did I know my father? SPOCK PRIME: Yes. You often spoke of him as being your inspiration for joining Starfleet. He proudly lived to see you become Captain of the Enterprise.

And of course, there's that important line between Kirk and David in TWOK, which is obviously easy to read as "the loss of Spock has become such an all-encompassing and overwhelming grief for Kirk that nothing can compare to it" (the films unexpectedly turned out to be even more romantic than the series, which is partly exacerbated by the fact that they lose TOS in the plot and K/S becomes just the only palpably real thing on which it’s based at all), but it actually works very strangely with the TOS Kirk’s death experience, by crossing out the very existence of this:

DAVID: Lieutenant Saavik was right. You never have faced a death. KIRK: No, not like this. I haven't faced death. I've cheated death. I tricked my way out of death ...and patted myself on the back for my ingenuity. ...I know nothing.

I patted myself on the back for my ingenuity. I honestly think about these words in the context of Kirk's words in Obsession /No man achieves Starfleet command without relying on intuition, but have I made a rational decision? Am I letting the horrors of the past distort my judgment of the present?/ and it somehow doesn't fit together at all. How can a man who has lived for over 10 years with a constant paranoid sense of guilt for the deaths of about 200 people through his own mistake consider a survival experience as cheating death and commendable ingenuity? And of course, another obvious thing that doesn't fit together is his Tarsus IV experience. Even if we imagine that somehow Kirk managed to escape a truly horrific experience and that he could’ve saved his own life through trickery and ingenuity, this absolutely contradicts his characterization in TOS. He was a child (at that borderline age when traumatic experience is particularly merciless in its memories), he saw four thousand people die, he experienced a terrible famine (which is hinted at repeatedly in TOS), violence, and experiences of violation of personal physical/psychological space (which is hinted at even more in TOS). "The Conscience of the King" is a beautiful episode in its complexity, which actually gives us enough to understand how fundamentally traumatic these events are, and how much they have influenced Kirk's increasingly (humanistic) worldview:

KIRK: What were you twenty years ago? KARIDIAN: Younger, Captain. Much younger. KIRK: So was I. But I remember. Let's see if you do. Read this into that communicator on the wall. It will be recorded and compared to a piece of Kodos' voice film we have in our files... ... KARIDIAN: (reading) The revolution is successful, but survival depends on drastic measures. Your continued existence represents a threat to the well-being of society. (stops looking at the paper) Your lives means slow death to the more valued members of the colony. Therefore I have no alternative but to sentence you to death. Your execution is so ordered. Signed, Kodos, governor of Tarsus Four. KIRK: I remember the words. I wrote them down. You said them like you knew them. You hardly glanced at the paper. KARIDIAN: I learn my parts very quickly. KIRK: Are you sure? Are you sure you didn't act this role out in front of a captive audience whom you blasted out of existence without mercy? … KARIDIAN: Or is. Kodos made a decision of life and death. Some had to die that others might live. You're a man of decision, Captain. You ought to understand that. KIRK: All I understand is that four thousand people were needlessly butchered.

It honestly surprises me how a character who was written as someone who had more than one experience of mass slaughter, which he witnessed at a young age, suddenly begins to be interpreted as someone who never really encountered death, but only trickery and ingenuity avoided it. TOS Kirk is obviously a player, an actor, a pirate, and a seductress, a person who is really capable of using all available methods to survive/to save others, but all of these actions of TOS Kirk are, and this is actually well written and consistently shown to us, the result of the fact that he has really faced death, and is very well aware of what it is. This is not empty /I don’t believe in no-win scenarios/ this is a clear awareness of what price you have to pay to survive things like genocide. A person who pays that price, who goes through something like that, will never say that they have ingeniously escaped death or that they are lucky.

This reminded me of a very stupid conversation I had with my coworker about Dostoevsky, he's obviously one of my least favorite writers, and talking about him on a special level means just ruin the day, but in this conversation we touched on the topic that Dostoevsky was supposed to be executed, but at the last moment, literally before the shooting, he was pardoned, such an inhumanly cruel experience that forever broke his psyche and affected all his subsequent work, to which my coworker just said, "Exactly, he's such a lucky guy.” I thought for a long time about what to answer him, and I realized that it wasn't like I really had the words for it. Some experiences are the exact opposite of winning a lottery ticket, and living with the memories of them can be more unbearable than death itself, sometimes the price of survival is too high, but even if you get through it, it stays with you forever, and TOS actually talks a lot about these things, but it was hardly something that was really thought about in the 80s.

Spock's death would undoubtedly be the most terrifying and personally difficult experience in TOS Kirk's life, but it wouldn't be the first. It wouldn't be that first terrifying shattering, first shock of a great loss, but it would be the last straw, that point in the chain of all these endless losses and loneliness and pain, after which there would hardly be anything else. It would read much closer to the quiet absolute doom of Yanagihara's "A Little Life" ending than to what we see in TWOK. And while this scene is particularly touching for understanding the K/S relationship, it would have had much more meaning if this confession /No, not like this/ had occurred against the backdrop of Kirk's already existing horrific death experience, the reminder of which is a constant line in TOS, rather than against the backdrop of completely erasing this experience from the plot, reducing it to a simple /I cheated death because I don't believe in no-win scenarios/ simplifying both Kirk as a character and Spock's true significance in his life.

[hehehereliesmysanity]

Smart of Wille to wear sunglasses because Simon’s smile is so blinding. ☀️

[tyracaterinagrant]

genuinely hilarious btw how people on twt want soo bad to make matteo a villain in jannik's story or some shit like it's a disney movie. less than a month ago he said they'd talked recently and he's never had anything but good things to say about jannik but to some people it'll never be enough because he made a decision for his career that i understand is hard to digest but it has nothing to do with his relationship with jannik, jannik himself said it doesn't bother him, they both have never indicated they weren't on good terms. like yeah we can't ever really know the truth behind what they say in public, but i think we should stick with what we can see and read, yeah? because making wild assumptions based on nothing doesn't lead to anything good, it's just speculation and i don't see what anyone gains from it?? i think maybe some people need to grow up and accept that they don't know these people. they don't know jannik and what he thinks or feels or who he talks to or who avoids him or whatever. we know what he shows and tells us and that has to be enough because otherwise we go down dangerous paths

[twilight-deviant]

[DDBA S1/S2 Spoiler]

Seeing this S2 bts photo of a missing poster for Matt and first off, I'm given to fanciful thinking that Fisk is behind these posters.

Since hotlines are his new thing?

If so, I'm certain his motivation for finding Matt is not wholesome. Duh. What I'm interested in (besides what Fisk would do to him if someone "found" Matt 👀) is the little blurb in the corner.

Obviously a spoiler for BA S1.

LAST SEEN: Matt Murdock attended the Mayor's recent gala at Gracie Mansion where he heroically saved the Mayor Fisk's life by blocking an assassin's bullet, but was himself critically injured.

I am already so impatient for this. I want the "assassin" to be Dex (get a little 3x13 reprisal), but I also think it could be Frank so that Fisk can justify ramping up anti-vigilante measures. (And they do have that "let's kill each other when next we meet" agreement.) Granted, I don't think Jon was on that one leaked call sheet for 1x08 gala.

Obviously, we already know Matt is fine and in hiding for S2. No telling how much of the "Last Seen" is true. But I wanna see Matt take a bullet for Fisk. For whatever reason. I wanna see it. Maybe Fisk has something he needs. Or typical Matt doesn't want anyone killed. I wanna see it. I'm so dang curious. I wanna see it.

I love the unrealistic vision in my head where Matt is hit and almost falls down when Fisk reflexively catches him. *★°*:.☆(￣▽￣)*°.★* 。

Manifesting: give me this shot, give me this shot, give me this shot.

Show me Fisk's white suit stained in Matt's blood. SHOW IT TO ME OR I SWEAR TO GOD! Also have the next episode start and Fisk still hasn't changed and he's still wearing Matt's blood. ლ(￣ڡ￣ლ)

More realistically, Matt would probably do a stupid dramatic jump in the air, get shot, fall in the floor. And since Fisk is an important figure, security will be on them in an instant dragging Fisk away. Maybe. Depends if Dex has already killed them all. lol.

I think I deserve something ridiculously dramatic though. We all do. We deserve Fisk watching Matt bleed out and he can't decide if he wants to apply pressure to the wound or not. Maybe he does but only because people are watching so... optics, ya know.

I'm also curious how injured Matt really is from the gunshot. "Critically injured" but that supposedly happens in 1x08 and we still have a finale episode. Granted, it is Matt "dead on his feet" Murdock, and one of the many things BA is missing is him killing himself by fighting while gravely injured. We need that. Need it bad.

[chicago-geniza]

oh my fucking gd i knew the phrase "diffuse and light-reflective" that i used in the Vampire IFS post was private-language echolalia but i couldn't remember where it came from and just now remembered it was hobbit cast RPF about richard armitage and graham mctavish. why is the shadow of my most embarrassing transfixions so stubbornly long and embedded in my idiolect lmao

[several-ravens]

i've had enough of martin getting bullied for no reason and i'm happy that jonathan is too preoccupied by gertrude's laptop to do so

[trickstersaint]

hey hi hello! first of all i'd like to say i took your patron saint uquiz and it. Changed my life unironically it's so good. i follow you now because every line in that quiz was a gut punch and i loved it. top tier hurt honestly

my question is this - i am a fanauthor. on the side i also write my own original fiction but i specialize in fanfic. Am I allowed to use your poetry for a reference folder? I wouldn't use your poetry in a fic without explicit permission and without linking back here of course, and I'd never use it for commercial work outside of maybe taking inspiration without copying, but I wanna have a ref folder of Things That Made Me Feel Things about a character. It's not planned to be public as of yet, it's just supposed to be a bunch of screenshots in my drafts, but I'd like to maybe one day make it public once the fic was complete. (I already have your blog linked in my drafts actually, so if it goes public I'm not gonna forget.) I just want to make sure you're comfortable with me using your poetry for fanfic of all things

It's cool if not and have a great day! I still think your poetry is great and evocative and all

hi, anon! you're all good, i prommy. so glad you like the quiz + the poetry, and i would always prefer people come and ask questions if they're uncertain! no trouble at all.

my general stance is that as long as it's clearly credited, i am totally cool with my work being used in personal projects. like you said, i've got a tag for the things that people make! i love to see what people create. if it's for a noncommercial creative project then i would say there's no need to ask beforehand (unless it would make you more comfortable to ask, in which case go ahead and i'll almost certainly say yes <3). my only thing is that if you post it, please tag me in it/send it to me so that i can reblog it here for people to see!

if there are any questions about using my work that anyone has, feel free to ask. i don't think i've got anything particular going on outside of common practice! same way you'd treat, like, a richard siken poem or smth: you wanna credit it so that people can find the source material, and make sure you're not using it for profit unless you have an understanding with that author. i trust you all to be decent about it <3 kiss kiss go out and make your cool little things so that i can be delighted and amazed with them

[chocoholicbec]

Delacy has a question. The adults don't answer what he's really asking. Mostly, at least. Set between Running Them Down and Dead Man's Worth.

Canon-compliant, lightly angsty genfic, rated T.

[yang4ever]

disappointed and surprised about taeil.

[keptoabysmal]

I have a friend who tells me about her friend who writes emotionally devastating cars fanfiction apparently. Anyways I’ve never met the cars fanfic author but a while back I learned she’s apparently the cousin of one of my longtime favorite ccs which is wild -

But anyways sometimes when I see something of that cc I get hit with this paralyzing wave of self awareness. Mortifying to read fanfic about someone’s cubito and then be struck with a reminder that I’ve seen like two of his family Christmas photos

[inactiveshrine]

gonna be real bud if your fic relies so heavily on intense triggering themes and shock value that you're averse to putting warnings on it to "maintain surprise" and "avoid spoilers", then you act like you did nothing wrong when people are upset that you didn't make any effort to turn them away and allow them to protect themselves, while also telling them it's their fault that they read something that upset them when they could have never known it contained specific things that will upset them, i think you are a tar pit

[mediaconsumeme]

Sorry to be late to the party but oh my god the Doctor and Donna reuniting and Donna having a daughter named Rose whos trans I CAN'T. I dislike the phrase "inner child" because I would strangle myself as a child if I could but MY INNER CHILD IS HEALING

[mbat]

before i pass out for the night. since my brain is back on dan and phil as if its 2016 or something i need to put this out into the world. this isnt some sort of important life changing post, just a personal funny thing

so when i was 13 and fixating on dan and phil, i read a lot of fanfics. like, i guarantee that even after all these years that, if i had the statistics, that fandom was the one i read the most fanfics for and constantly. i couldnt tell you what nearly any of them were about, and i have a feeling that many of them are probably lost to time by now. i also dont know if i need to mention that yeah, a lot of them were shipping, and yes ive long grown out of that. (the dnp fandom is actually what made me grow out of that)

anyway all this to say that over the last 6 years after i stopped fixating on dan and phil, one fanfic stuck with me and i just. i think about it every once in a while. its been over half a decade. it wasnt a groundbreaking fic, i dont remember any quotes or specifics, just the premise as of at least the first few chapters. idk why it stuck with me

it was literally a fic about. if the world had gotten to a point where almost every child was born as like, a science baby instead of a natural baby, and phil was a science baby, but dan was a natural baby. and there was somehow this like, thing where the science babies would bully the natural babies for some reason idek, and this was a highschool setting and i think dan was a new kid in school. and what gets me about the fic is that dan was some small shy scared kid and phil was some mean jerk bully. and how wild that is compared to how they are in real life

this isnt me trying to find the fic or the person who wrote it or any of that, this is literally just. i remember this fic at least once every few months and i needed to get it out of my brain somewhere

[drolta]

"funny how feminization is only an issue when it happens to louis" There are people in this fandom who insist that Samstat is hypermasculine and reading him as anything other than a Stanley Kowalski pastiche is stupidity and projection. The same people who insist that female-coded Louis is the only right interpretation of the character, and they already imply that Assad's Armand is hypermasculine as well. It's the side of the same coin as the problem with a dainty, feminine Louis. They're not about subverting the gender norms, but upholding them in a twisted way

Gonna be honest, I can’t articulate a proper response to this because I just woke up and I’m about to go back to sleep because…no.

[avaantares]

Yet another AO3 bot situation - please spread the word!

Hi, it's me again, the person who wrote that viral post about fanfiction plagiarism! Today I'm here to warn you about abuse perpetrated by bots who have stolen AO3 usernames.

There's currently an epidemic of bots going around leaving (apparently random) horrible, hateful comments on people's fics. This isn't the first time bots have invaded AO3, but the big problem with this wave is that they're using real AO3 usernames to do it.

I learned about this when another writer contacted me after receiving the following comment on their story:

Now, while that is my username, I DEFINITELY did not leave this comment (and anyone who would leave something like that on a fic should be slapped! What an awful thing to post). This fic is in a completely unrelated fandom that I have never participated in, nor has that author participated in any of my fandoms, so the probability of it being some intentional fandom drama thing to make me look bad is also low.

The writer whose fic the comment was left on enlisted the aid of some friends and tracked down other guest comments with unrelated usernames attached, which is pretty strong evidence that they are being left by bots at random.

The TL;DR: If you receive a cruel comment from a (Guest) with an actual AO3 username attached, it's most likely from a bot. Please do not lash out at or dogpile the AO3 user who owns that name, and who in all likelihood has no idea that their name has been hijacked for evil.

If finding this kind of comment on a fic, even left by a bot, is likely to upset you, I would recommend changing your comment settings so that only users who are logged in can leave comments. To do this, edit your story settings, and under "Privacy," select the radio button that says "Only registered users can comment," as shown below.

Please spread the word to other AO3 users! And if you see mean guest comments on other fics, maybe let the author know that it's probably from a bot and not a real person who thinks their writing is bad.