#so I just like talking about this sort of stuff

[alchemistc]

Gonna be pissed as hell if Tim throws out a plotline to replace it with a three episode arc about LA on fire (what will Brad do when his house burns down?), which makes me a hypocrite and a half because here's some ripped-from-the-headlines bullshit.

Tommy's duffle lands on the bottom stair with a thump.

He glances around the space like he's seeing it for the first time - or maybe like he's just taking in the gravity of the situation. There's a quirk of his lip, an ironic shake of his head, and Buck can't quite stop himself from imagining the thought running through his mind. Despite his intentions, he'd landed here anyway.

They're both bone tired. Exhaustion seeping into their marrow, the kind of tired Buck hasn't felt like this since Texas, maybe. He wants a shower and about 48 hours of sleep.

"I'll take the couch," Tommy says, voice raspy, eyes refusing to draw towards Buck.

And the thing is.

The thing is Tommy definitely had other places to go. Other friends who would have put him up as long as he needed, people he trusted, people who cared about him. But it was Buck he'd found as things wound down, the both of them covered in soot and ash, Tommy dropping to sit beside him on the curb as they waited for relief teams to finish up at the command tent.

They'd stared at the burnt out husk of Tommy's home just long enough for the tiredness to really settle in.

"You're not taking the couch," Buck says, and flips the light switch in the downstairs bathroom. Tommy's shower gel is still under the sink, his fancy curl conditioner down to the last few dollops because he'd spent enough nights here to go through most of a bottle. They've already showered at their respective stations, but Buck knows from experience how much Tommy hates the Harbor showers ("You'd think a fire station would have better water pressure, but I'm telling you, Evan, it's about as strong as an eighty-year-old's dribbling piss.") and Buck knows he still feels like he's caked in days of grime.

"Evan," Tommy starts, and Buck can't read into that, refuses despite the way it knocks around in his chest.

"You need the rest just as much as I do," Buck argues, and Tommy's shoulders just... slump. He sighs. Nods his head. Shifts on his feet and accidentally catches Buck's eye.

The contact holds just long enough for Buck to see the tears swimming in Tommy's eyes, and he can't imagine -

It strikes Buck for maybe the first time how dumb he'd been to ask Tommy to move in here. Tommy had a life, a home, a place he'd spent a decade making his own.

He'd made a joke once about a firefighter living so close to the hills, the first time he'd had Buck over, that ironic lilt to his voice while he talked about replacing all the east facing windows the first time he experienced the Santa Ana's after moving in, and Buck had spent a good ten minutes watching the light fade from his backyard, dusk casting the hydrangea bushes in a rose-gold hue.

"If I hug you are you gonna make a break for it?" Buck asks, regretting the spiteful tone when Tommy curls further in on himself, but he ducks his head even as he's shaking it, and Buck doesn't fight the urge any longer, three long strides before Tommy's curling fists around Buck's waist and pressing his nose into the skin of Buck's neck.

("It's just stuff," he'd said, knee knocking against Buck's where they huddled together on the curb across the street, Tommy uncharacteristically fidgety as they both stared straight ahead.

"Come stay with me," Buck had responded, and felt Tommy tense so quickly he'd sort of expected him to bolt to his feet and leave.

Instead, the stillness eased out of Tommy's body all at once on an exhale, and he'd nodded out of the corner of Buck's eye. "Okay."

He hadn't quite been able to stop himself from reaching out to squeeze Tommy's knee. "Okay.")

Tommy's never been one to take more than his fair share. He breaks the hug before Buck can really get into it, sniffs once like Buck didn't notice the wetness against his neck, shifts backwards and sideways. He stops halfway through the doorframe when he catches sight of the canvas bag on the counter.

Buck just hopes Maddie actually bought the specific list Buck had sent her three hours ago. Tommy's particular about his stuff, and he'd pressed the point with his sister despite the eyebrow raise he could see in every text back she sent him. He can see Tommy doing the math - only so many people with a key to the loft, only so many people who weren't there in Tommy's neighborhood for a stretch of exhausting hours that hadn't amounted to much other than saving that purple house down on the end of the street that Tommy was always bemoaning for having a better garden than him.

"Tell Maddie thank you," Tommy says, still with that rasp to his voice that under any other circumstance would have Buck vibrating in place. When he digs through it, Buck catalogues his findings - that weird organic toothpaste Tommy swore by, the cheap electric toothbrush he refused to switch out for the better one Buck had a subscription to; a pack of briefs and socks in Tommy's preferred brand.

It's not the first time Buck has wished there wasn't a canyon between them, but he strikes the urge to quip, to smile, to reach out and try to comfort him.

His phone buzzes in his pocket and he digs it free, glances at the readout and immediately feels the ire rise in his throat again. It's from Eddie, a private response to the group message he'd sent out letting everyone know Tommy had a place to stay.

Is that a good idea?

And Buck gets the point. Understands that Eddie has his best interests in mind, but he's not here, hasn't been here, hadn't been there when they rolled down the street to find three houses already fighting the blaze.

Buck can't hold in the annoyed snort, and when he glances up it's to find Tommy's eyes on him.

"I'm gonna go shower," Buck tells him, and manages three whole steps before Tommy's hand curls around his wrist.

He doesn't seem to have the words to ask, but Buck reaches back to strip his shirt over his head anyway and shuffles them both towards the shower.

It's the least sexy thing they've ever done together, if he's being honest. Buck hasn't felt this tired in years, hasn't felt this grim in years, barely has the energy to do more than scrub at Tommy's back while he rinses his hair. Perfunctory, is a term for it, except for the way Tommy leans into the press of his fingers when he suds up Tommy's hair, except for the way Buck drops his forehead to Tommy's chest while Tommy aims the showerhead at Buck's back.

This is the kind of stupid shit Buck had meant, all those months ago, even if he'd done an extremely shitty job of expressing it. This is the kind of shit he'd pictured while Josh waxed poetic about some television show and wondered if Buck saw a future with Tommy.

By the time they're rinsed off and toweled dry Buck can barely stand, but as Tommy's footfalls echo just behind his up the stairs Buck has just enough sense left to roll open the drawer he'd never cleared out, toss Tommy a pair of clean briefs and one of his threadbare LAFD shirts.

Tommy stares at the drawer long enough for Buck to pull on his own clothes. He blinks himself out of it only when Buck stubs his toe wrestling the body pillow Tommy always pretended he wasn't going to end up curled around out from under the bed.

The drawer closes with an echoing 'snick'. Tommy tosses his own towel in the hamper and makes quick work of dressing.

His hair is gonna be a nightmare in the morning. They're both gonna be absolute messes. Buck's pretty sure the only food in this place is raw flour and approximately seventy-five chocolate croissants - he's pretty sure he used up the last of his eggs trying to perfect his meringue technique.

There's a stiff moment after they slide into bed where they both just lay on their backs and stare at the ceiling, oozing into Buck's mattress. Tommy shifts first, and Buck's sure it'll be away - no matter how often they fell asleep tangled together Tommy always ended up hugging the edge of the bed, and it's not like -

"Is this okay?" Tommy asks, even as he's shifting a leg over Buck, hands finding purchase in the cotton of Buck's sleep shirt.

It's like he's been dosed, for the way Tommy's body sliding into place next to his steals all the energy he has left in him. He blinks once, twice, manages to get a hand in Tommy's damp curls in response. The rest of it can wait for tomorrow.

"Evan?" He's sinking into it too, Buck can tell - the weight of his arm and leg pressing Buck further into the mattress, the drawl of Buck's name drifting instead of sharp.

Buck hums. Presses lips into whatever skin he can find without opening his eyes - a temple, or a cheekbone maybe. "Go to sleep, Tommy," he manages, but if Tommy responds he doesn't hear it.

[witherby]

hello! great work so far :-) im getting into batfam myself and been loving the platonic/familial works you do w littlest wayne! was wondering if you'd ever do an teen y/n or just an older one? I'd love to see you tackle the idea of a robin y/n or jaybe just some angsty kid stuff,,,,,, hope you had a good new years!

-- :33Anon

I love angst with my whole heart and soul, and I'm happy to write it with a slightly older Reader. Hope you don't mind I've commandeered your prompt to showcase the ability you guys voted on.

This one's a long read so I'm splitting it up. This part is roughly 2400+ words.

The Littlest Wayne: Uncertain Home

(Part 1/2)

Masterlist is Here!

Uncle J'onn is looking at you curiously.

He's been doing that a lot, lately. When Daddy brings you to the Watchtower to be babysat so he can go save the world, one of his co-workers that they can afford to spare gets put in charge of keeping an eye on you. Usually it's Uncle Hal, but this time it's J'onn and he's in his natural form, which you don't mind. Green is your favorite color, and his whole body is green! He's nice and calm, and tells you lots of stories and plays any game you want, even if it's hard for him not to cheat and read your mind. He says it's instinct. You don't hold it against him because you still have fun.

Lately, though, when he talks to you, he tilts his head a bit. He usually does that when he can't understand something.

You wipe your face, checking for cookie crumbs. All clean. You search your shirt for any weird marks or stains. All clean. You scrunch your nose and puff out your cheeks, pouting.

"What's wrong, uncle J'onny?" You ask him. Daddy says the way to get honest answers from someone is just to be forthcoming (Dicky told you what forthcoming meant when you asked him later), so you are. "Did I do something wrong?"

That seems to snap his train of thought. J'onn shakes his head and goes back to sorting out the jigsaw puzzle pieces for you. You're good enough at this to do 100-piece puzzles, now, and when you get really stuck you don't even cry anymore!

"Nothing is wrong, Flittermouse," he says, watching you start putting the edges together first like Dami taught you. "You are simply...changing. Differences are not inherently wrong."

"What's inherably mean?"

"Inherently. It means instinctively, or something that is "set in stone." A rule that does not change. I am stating that change is not something that is always wrong. It's not a firm rule."

You pout and try to process all of that in your brain. It was a partial answer. Daddy says that means people might want to hide something from you.

"What's changing?" You ask him. "I got older a week ago. Is that what you mean? I'm four, now. Grandpappy says I'm getting so big and growed up. He says to not do that so fast. I dunno how, though. He's silly."

J'onn hums. His eyes look away from you as he considers what to say. You put one whole edge together before he speaks again.

"You know that I am not a human, correct?"

"Yeah, I know," you say. "I don't care. I love you. And auntie Diana. And uncle Clark. And uncle Barry. And —"

"Thank you," J'onn gently interrupts. "Do you also know that, sometimes, humans are born not entirely human? That sometimes they get special abilities?"

"Yeah, I know that," you repeat.

"I suspect that —" he cuts himself off, hesitates, then starts again. "Little one. You are showing signs of being one of those humans with special abilities."

"I am?" You ask. You perk up. "Can I fly?!"

You immediately abandon the puzzle and climb onto your chair, about to jump off of it to try and fly around, but J'onn catches you by the back of your shirt before you can hit the ground.

"You cannot."

"Aww...then I don't wanna be a megahuman," you complain, stomping your foot.

"Metahuman."

"Whatever."

"I am sorry," J'onn says, "I did not mean to upset you. I do think you are developing powers, however."

"Not fly powers?" You frown.

"No, not flight powers."

"Boring," you say, blowing raspberries. J'onn cracks a smile at your antics and you giggle. "Help me do the puzzle, please!"

"Alright," he relents, sorting more pieces for you. You're both quiet for a while, and you get the whole frame done before he speaks again.

"Little one. Do you know your father's rule about metahumans?"

"Yeah," you say, grinning, because you're a great listener. You pitch your voice down and make it scratchy. It's adorable in your four-year-old tone. "No metas in Gotham. I am Nighttime. Raaahhh."

J'onn huffs in amusement. "Right. He usually means what he says, does he not?"

"Yeah," you agree, "daddy is a bad liar. He lied and said he didn't eated the last cookie once, but he did eated it. Alfie was mad, 'cause it was for Dami, but Dami didn't care. He likes brownies more than cookies. I like brownies, too."

"I figured," J'onn says. He's not looking at you again. This time he's frowning.

"Do you want brownies?" You ask, figuring that was the issue. "I don't have any. I can ask for some when Daddy comes back. I'm good at sharing, 'cause I'm a good noodle, like Jay says."

"No, but thank you for offering to share. Jason is right, you are a good noodle."

You preen. "I know!"

J'onn drops the subject again and helps you complete the puzzle. You squint at every piece in concentration and politely ask him if he can dim the lights so you can work better. He complies, and after another hour and a half, you have a completed image on the table.

"Yay! We did it!"

The sounds of chatter and footsteps appear down the hall moments later, and you spring to your feet in delight.

"Hello!!!" You shout.

A chorus of "hello!" greets you in return from multiple heroes, and the rest of the Justice League files into the room one by one. They don't look too roughed up, so the mission wasn't very dangerous. That's good. You stand by the door and offer them hugs. Everyone complies, to your endless delight.

"Daddy!" You cheer when you see him, running and hugging Batman's legs. He scoops you into his arms and you grin and point at the table. "Uncle J'onny and I dided a whole puzzle! I didn't give up!"

"Good job, Mouse," Bruce says, reaching out to adjust the light. "You did it in the dark?"

"Yeah," you grin, kicking your feet. "Did you punch bad guys?"

"I did."

"Did you win?"

"Yes."

"Can we have ice cream?"

"Maybe after dinner." He carries you down the hall and towards his temporary quarters, the place he'll stay after a particularly tough mission when he can't make it home right away, and deposits you gently on the bed. "I have to debrief with everyone, and then we can pack up and go home."

"Okay, daddy," you say, already digging through the nightstand for a toy to play with. "I stay right here!"

"Good job," he says again, kissing the top of your head, and leaves you alone with a small wave.

--

The next time you need to be at the Watchtower, it's with Uncle Clark and Auntie Diana. The mission wasn't a super dangerous one, so they both got to stay behind and entertain you.

Today, you're a cashier at your world-famous grocery store. You have the best ingredients all over the world.

"Welcome to the groshy store, what do you want stranger?" You demand, getting into character. Clark looks mildly offended.

"Whoa, hello. That's a lot of 'tude for a paying customer," he says.

"You didn't buy nothing yet! Whataya want!"

"Uh. Some carrots please."

"All out."

Clark narrows his eyes at you. "Can you check in the back?"

You turn around. You turn back.

"All out. Whataya want!"

"You barely looked!" He insists.

"FRESH OUTTA CARROTS, BUB. WHATAYA WANT."

"Oh my goodness, now there's yelling. I think I need to speak to a manager."

"Okay!" You shuffle across the room and grab Diana's hand, leading her back to Clark. "This is the manager. Auntie, tell him all the carrots are gone. He can't have any."

Diana covers her mouth to stifle her laughter. "You heard them, stranger. There are no carrots here."

"Well, aside from the blatant nepotism, auntie, I think you're hiding the carrots from me," Clark huffs, crossing his arms. "I need them for my soup. Guess I'll go to the grocery store across town. I hear they're nicer."

"No," you gasp, "wait. Okay maybe I have one secret carrot. I go get it."

You leave their giggling forms and run over to the toy box that was set up for you on the watch tower, thrusting your hands inside to dig around. You squint your eyes, but all the bright colors are hard to distinguish properly. In the dark spaces, deeper into the box, is where you cast your focus. Instinctively, you follow the trail and close your hand around a plastic carrot. You lift your hand triumphantly.

"Okay, got it!" You cry, only to startle when you find both Clark and Diana kneeling beside your toy chest. Diana picks you up around the waist and takes several steps back, and Clark's eyes turn that funny shade of blue they do when he's using x-ray vision. "Umm, I gotted the carrot already. It's in my hand."

"Are you injured?" Diana asks you, expression deadly serious. You frown and shake your head. "You're certain? I could sense something in that box with you."

"No, I'm fine," you promise. Clark stands up and his eyes go back to normal. He shrugs, brows furrowed.

"There's nothing in there but toys."

"Yeah," you nod, "toys and dark spots."

Both heroes look at you. You squirm in Diana's hold shyly.

"Um, want to pay for the carrot?" You ask, holding it up. "It's only ten dollars. Orrr one lollipop." You whisper conspiratorially. "I can be bribed."

Diana and Clark exchange glances. Clark gingerly takes the carrot from you and puts it back in the toy box.

"Sold. Let's go to the kitchen and pick out which flavor you want."

You grin, forgetting about the game, and Diana puts you on the ground so you can follow excitedly after them. With a couple "pretty please's" and your lethal puppy dog eyes, you even manage to get two lollipops. You ask to be hoisted onto the counter so you can swing your feet as you enjoy the candy, and both heroes perch on either side of you.

It's quiet for a while. It feels like that weird, anticipatory quiet you felt with Uncle J'onny, but you don't know what for, so you wait for one of them to speak. You finish off one whole sucker and open the second one when it happens.

"Mouse?" Clark eventually asks, "can you explain what you meant about your toys? That there are dark spots in there?"

"Yeah," you say, "shadows. Dark spots. Light not touching."

"And you can...feel shadows?"

You hum, thinking it over. "Um...yes. Kind of."

Clark and Diana look at each other again. They're frowning. You frown.

"Can you tell us what you mean by that?" She asks.

"Um. I wanted the carrot, for uncle Clark," you say, "so he can buy it at my groshy store. And the dark spots showed me where it was, and I grabbed it."

"Did they also help you complete the jigsaw puzzle, when you were with J'onn?" Diana asks. "It was quite dark when we got back." You nod.

"Yeah. Easier to do in the dark. It's not cheating!" You blurt. "I didn't cheated!"

"Okay, ya' didn't cheat," Clark agrees, gently patting your back. There's a slight drawl in his words which usually shows up when he's stressed out. "We're just curious, is all, darlin'. Seems you've got a... A special talent, we can call it."

"It's a power. They're a metahuman, Kal," Diana says simply, "and you know Bruce's rule."

The rule? Which one? Always brushing your teeth before bedtime? Or maybe no sweets until you finish your dinner? Hmm, but you haven't had dinner yet. That doesn't make sense.

"No metas in Gotham. I'm very aware, Diana."

"Then you see the problem."

Oh. Now you think you know why uncle J'onny was upset that day.

"Now wait a minute," Clark says. He looks genuinely angry, which confuses you. Did they not like that you could ask the dark for help? They had superpowers, too. You figured they would be happy. "They're his kid."

You are. You're Daddy's little Flittermouse, scampering around and bringing joy. That's what everyone tells you. They love you.

"You've seen how hard he works to keep us out of Gotham," Diana says. "We can be trusted to babysit, but we can't enter the city? What does that tell you?"

"That's different. He's territorial, we all know that. He's not a monster, Diana. He would never hurt them —"

"I'm not saying he is. I'm not saying he would. But I am saying that he doesn't bend his own rules. He does not make exceptions."

Oh.

You sit almost numbly on the counter and watch Clark and Diana start to argue over your place in Gotham. Over your place at home.

You think about Daddy's rule about no metas in Gotham. You think about your new ability to interact with shadows.

Oh.

The lollipop tastes like ash on your tongue and the tips of your fingers feel like tv static. When you blink, your eyes sting as they well up with tears. You've been so good about not throwing fits, about not being a crybaby, about being as strong as your super cool daddy and brothers and grandpa.

But you can't call them that anymore, can you? They don't want metas in Gotham, and that's what you are, now. You can't live with your family anymore.

Large, fat tears roll down your cheeks and your bottom lip wobbles. You whimper and both Diana and Clark whip their heads around to look at you in shock.

"No, oh no, don't cry," Diana coos, "you don't need to worry. Your father isn't —"

You bat her hands away when she reaches for you and jump off the counter, running underneath Clark's cape. They don't catch on to what you're doing in time.

Clark practically rips it off and fans it on the floor, floating above it with wide eyes. Diana kneels next to the fabric and frantically pats it, searching for you.

But there's nothing. You've fled into the shadow Clark's body cast and allowed the darkness to swallow you.

[niniwritesxo]

nsfw alphabet - nam-gyu (player 124)

(it contains things like degrading, threesomes, and nam-gyu being an asshole tbh, if you aren’t into that i wouldn’t read this x)

saw this on @cybrasigilism ‘s page, you should really check that out ! (love their writing btw)

——————————————————————————

A = Aftercare (what they’re like after sex)

- sorry to burst your bubble but his aftercare is probably none existent, he might hand you the tv remote afterwards but that’s about it.

B = Body part (their favorite body part of theirs and also their partner’s)

- 100% his hands, obviously he had to add some rings, because he knows girls like you will go crazy over it. favorite part about you is most likely your boobs or your ass (basic am i right?)

C = Cum (anything to do with cum, basically)

- he for sure has a breeding kink (who said that haha)

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

- a dirty secret about namgyu is the fact he would to have a trio with thanos and you, the thought of seeing thanos fucking you turns him on more than he would like to admit.

E = Experience (how experienced are they? do they know what they’re doing?)

- i think he has had a lot of one night stands, so he knows what he is doing.

F = Favorite position (this goes without saying)

- he loves when you are on top of him, that way he can look at your body all he wants, the way your boobs bounce when he is thrusting into you, how you are so out of breath after a few rounds, he loves it.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

- i don’t think he is very humorous in bed, he doesn’t even think about making a joke in the moment because he is so focused.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

- i don’t think he has a insane bush, but lets just say he isn’t perfectly trimmed either.

I = Intimacy (how are they during the moment? the romantic aspect)

- he sees you as a fuckbuddy, good for fucking. he isn’t looking for a relationship so he probably isn’t that romantic.

J = Jack off (masturbation headcanon)

- he looks up your (or your friends insta) and jerks off to your photos.

K = Kink (one or more of their kinks)

- i feel like he would love tying you up, seeing how you aren’t able to move while he gets to do whatever he wants. (and knife play ..anyways!)

L = Location (favorite places to do the do)

- definitely in places where you COULD get caught like, fittings rooms & public restrooms.

M = Motivation (what turns them on, gets them going)

- praise 1000%

‘Bet you’ve never been fucked like this huh?’ he says out of breath grabbing your chin, at this point it’s almost impossible for you to talk, it’s like he fucked your brains out. You decide to nod.

‘Fucking speak up’ he says glaring at you.

‘n-namgyu please, i need y-you please’ you manage to puff out.

N = No (something they wouldn’t do, turn offs)

- anal.

O = Oral (preference in giving or receiving, skill, etc.)

- he loves receiving especially when you suck him off. but he is also a munch, he loves going down on you. he could do it for hours.

P = Pace (are they fast and rough? slow and sensual? etc.)

- he is very rough and fast, it’s almost like hate fucking, nothing sensual about it.

Q = Quickie (their opinions on quickies, how often, etc.)

- he loves quickies, especially in the games he would find places where he could quickly release his stress onto you.

R = Risk (are they game to experiment? do they take risks? etc.)

- i think he has tried a lot already but will try all sorts of stuff on you.

S = Stamina (how many rounds can they go for? how long do they last?)

- depends if he is under the influence of something, if he’s taken something? he could go on for hours on end. if he is sober he’ll probably pass out after a good 40 minutes.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

- he doesn’t own or use toys, he feels like his hand are good enough to keep you satisfied.

U = Unfair (how much they like to tease)

- he is such a tease, you definitely need to wait before you can cum and he’ll make sure you beg for it.

V = Volume (how loud they are, what sounds they make, etc.)

- i don’t think he moans, he is more like a grunts guy. i feel like he talks a lot tho. (cursing and degrading you obvi)

W = Wild card (a random headcanon for the character)

- it kinda turns him on when you try to be bossy for once, telling him what to do and what he isn’t aloud to do.

X = X-ray (let’s see what’s going on under those clothes)

- he has a average body, leaning more towards a dad bod than a jacked up guy tho.

Y = Yearning (how high is their sex drive?)

- his sex drive is hiiigh, he always feels horny and is always in for a quickie.

Z = Zzz (how quickly they fall asleep afterwards)

- give him ten minutes and he is gone.

english isn’t my first language so if i made any mistakes, i apologize x

[moonstruckme]

Pookie! I need you to write me something pretty please :)

Can you write Remus comforting a reader with an anxiety disorder when someone told them "there's nothing to be anxious about. You just want attention" ??? Pretty please?? Love you pookieeeeeee

Thanks for requesting!

cw: mean girl stuff, social anxiety

Remus Lupin x fem!reader ♡ 929 words

“Shh.” Remus holds you close to his chest, his hand moving up and down your arm now that your crying has slowed. “It’s okay. It’s just us, yeah?” 

“Yeah,” you echo, croakily. You’re glad you can’t see your boyfriend’s face, for fear you’d die of embarrassment otherwise. The looming insecurity of your day stands over you like a grim reaper. 

You arrived home from a friend’s birthday dinner to find Remus sitting on the couch, already marking the page of his book as he turned to you with a soft smile. 

“Hi, sweetheart. How was it?” 

You replied, through a laugh that turned into a sob halfway through, “Not great.” 

The dinner had been an event of foreboding for you since your invite. You’d been determined to be a good friend by not bailing, but actually going had confirmed your worst fears; it was loud, crowded, filled with people you didn’t know and didn’t fit with. Your outfit wasn’t right, the menu was daunting, and conversation swirled all around you about things you weren’t a part of. The fallout was basically inevitable. 

You perhaps waited too long to excuse yourself. You were sweating buckets and breathing around a lump by the time you did, whispering an explanation to your friend before locking yourself into a bathroom stall to talk yourself down. You’re sure she didn’t mean anything by telling the people sitting closest to her why you were gone—you don’t think she’d do it to gossip, and she’s never talked down to you about that sort of thing, at least not to your face—but by the time you returned one of her friends—a stranger to you, who’s name you can’t even remember—had formulated a fairly decisive opinion and dubbed you an attention seeker. 

You stayed only a little longer after that. Just long enough to avoid attracting more attention. And you worked yourself up well enough on the way home that all it took was one innocent question from Remus to send you crumpling into his arms. 

You’ve tried to steel yourself more than once, but any attempts at stoicism have been foiled by your boyfriend’s tender looks and whispered placations, which only make you cry harder. If you’re an attention seeker, Remus is your holy grail. Self loathing sits lodged in your throat like a stone. 

“Whose friend was it, again?” Remus asks, stroking your arm gently. 

You take a breath, trying to steady your voice. “Does it matter?” 

“I don’t mean it’s your friend’s fault, sweetheart,” Remus says. He’s all softness and patience, better than you could ever deserve. “I just thought you might talk to her, if you want to. She ought to know her friend is going around saying cruel things.” 

“She was there.” Your throat tightens at the memory. 

“Oh. Then I don’t suppose you need to say anything; I’m sure she’s already very upset for you.” 

You try to laugh, frustrated with yourself when it only seems to spur another wave of tears. “Rem. You’re biased.” 

“What?” Remus sounds genuinely surprised. “You don’t think she’s angry with that other girl?”

“She’s her friend.” 

“So are you.” His arms tighten around you protectively, chin bumping your head. “I may be biased, but the other girl was clearly in the wrong. There’s no excuse for the way she acted.” 

A dozen rebuttals fly about your head, but you keep your mouth shut. You don’t have the energy to argue. Unfortunately, Remus hears your argument in the silence anyway. 

“Sweetheart,” he says softly, “no one puts themselves through what you do for attention. You don’t choose to feel that way.”

You hunch your back, tucking your head underneath his chin. “I do get attention for it, though.” 

“That doesn’t mean you want it.” 

“But I—”

“Do you want it?” You can’t see Remus, but you hear the hardened edge to his tone. “Did you like it, when that girl called attention to you in the middle of the dinner?” 

Your voice smalls. “No.” 

“Right.” The gentleness returns. Remus puts his lips to your head. “I know you didn’t, dovey. So don’t torment yourself, please. She doesn’t know anything about you.” 

You push your lips together. He lets you chew on your next words for a while, his thumb swiping softly back and forth over your upper arm, the sleeve of your top shifting slightly with the motion. 

“What if…” You gnaw the inside of your cheek. Remus waits. “What if everyone thinks that?” 

“Mm. Well, for what it’s worth, I don’t think most people would. Surely not anyone who knows you, or anyone worth being around.” He takes a breath, thinking. “You can’t always control what people think. I know you say I’m biased, but anyone who thinks something like that really isn’t worth thinking about at all. You’ve got enough going through that head of yours, yeah?” He kisses your hair fondly. 

“I guess so,” you admit. 

“Yeah,” Remus decides. He pulls away to see your face, pushing hair away from your tacky cheeks. “I’d say so.” 

You wonder if you look as horrendously in love as you feel. You think you must, because your boyfriend’s expression softens impossibly further as he turns his head to give you a proper kiss. You feel raw but comforted, and suddenly, totally exhausted. 

“Let the bullies worry about themselves.” Remus gives you a tender look. “I’ll worry about you.” 

You let a small smile tilt your lips. “And what am I left to worry about?” 

“Nothing,” he says solemnly. “Think you can manage that?” 

“Nope.” 

“Mm. Well, try.” 

[jjkbambi]

can i rec lulu dating a humanities major, specifically english/professional writing? i saw someone say that he’d love a partner who wasn’t into CS so he could learn more about their viewpoint on things, and i think with how much he likes to read, he’d find them rly special💌

luigi as your college crush ˙✧˖°📷 ༘ ⋆｡˚

<3 meeting you @ book club! he always recommends strange nonfictions (last time he suggested you all read the unabomber’s manifesto?), so it’s not too hard to get your attention.

<3 very small hi hellos at first, you think he’s too smart and he thinks you’re too pretty

<3 notices you always get iced lattes before showing up to meetings, so he starts showing up to the same cafe hoping to run into u even tho he doesn’t like coffee

<3 when you do finally run into each other he acts like it’s some sort of a huge coincidence, smiling ear-to-ear while asking you how your day is.

<3 you’re like what’d you order and he’s like “ i didn’t order anything 🤓 coffee kills! it’s overpriced and addictive and- ”

wait so why are u here???

“the ambiance!!!”🙂‍↕️🙂‍↕️🙂‍↕️🙂‍↕️

<3 walking you to meetings, insists on walking you home, and now he’s insistent on carrying your books around campus, even when it’s just a small notebook—it’s the gentlemanly thing to do

<3 and once he gets enough yes’s out of you, he’s around you all the time, texting you nonstop

<3 he’s honestly kinda weird

from luigi Are you in the humanities building right now?

to luigi no I didn’t go to class today

3 missed calls from luigi

<3 always looking over your shoulder when you pull out your phone

<3 inviting you on his morning runs so you get to see him shirtless

<3 if you can’t make it to the morning runs, he shows up to ur dorm after shirtless and SWEATY with your morning coffeee!!!

<3 god forbid you mention your ex-boyfriend or situationship. his face drops immediately and he’s immediately made a mental note to look him up later

<3 ur ex liked to cook??? all of a sudden his goodreads is flooded w an unprecedented amount of cookbooks. none of ur exes have facial hair??? he’s shaveddddd down. ur ex is in the most popular frat on campus??? luigi just joined the one across the street and pays for the most expensive djs and catering … ur ex plays for the penn football team??? the coach just found coke in his backpack :3

<3 doesn’t really use instagram but is always active after you post

<3 introducing himself to your parents on friends and family day, particularly smiley when your parents ask you if you’re dating

<3 + 1 million confidence increase once he knows your parents like him. expect a bunch of stuff like “your mom said you didn’t like seafood?!?!” when did you and my mom talk about that?!!!!

<3 obsessed with touching you. your hair your hands your waist

<3 is so scared to ask you out

<3 not too scared to tell everyone he knows that you’re already dating. and he knows a lot of people

you’re always on call with him like pep, everyone thinks we’re dating T-T and he’s just like yeah Lol super weird 🤗

<3 sometimes he can’t make plans bc hes been dealing w a lot of back pain lately so you suggest going to a korean spa downtown together!

<3 trying his best to look away from you in the sauna

<3 so fucking hard underneath his robe he has to “leave” “to take a call”

after a while you call him and ask him where he went but he doesn’t answer

from luigi Come to the showers

[jarofstyles]

The Heart Of The Woods

Hi my loves! I wanted to give you guys a peek into our grumpy mountain manrry! He’s different to some that I’ve written before but I think you’ll like him if you give him a chance

Read the series ( 9 parts ongoing) and 220+ exclusive writings on our Patreon!

WC- 1.4k

Warnings- tiny bit of rejection, asshole h

He hadn’t been sure what he was thinking.

Hiring a housekeeper had not been on his agenda, but it put his mum at ease. Being far from her, up in his large cabin in the middle of the mountain, she had said she worried a lot about not only his well being, but about him overworking himself. His days started early, working on splitting wood, emails, driving down to deliver it, and all of that. His group of employees that worked on the lot not too far from his own place up the mountain were his main source of socialization and even they knew not to bug him too much.

Harry preferred to be left alone.

So why hire a housekeeper? It sounded okay at the time. Someone to keep the fire stoked and the house warm so he could come home and not have the house be cold for him and his animals, someone to cook and clean and… another body in the house. Make it less lonely. Maple was a good companion, Ash was too, but a dog and a cat didn’t replace human connection. Perhaps that’s why he had found himself feeling more irritated lately.

Watching the car pull in, he had to wonder how she could fit her belongings into such a small vehicle. Weren't women supposed to have a lot of stuff? The question was answered as she stepped out of the car, light wash jeans clinging to her thighs and pink sweater hanging on her form as she waved up to him. "Hi!" she grinned a tad bit too brightly for his comfort, jogging up to the wraparound porch. "I’m so sorry l'm a little late. I got lost at the turn- the split in the road? and I didn't have good service to call and let you know. I usually try and do that.”

She was rambling.

He grumbled, wiping his hands on his work pants. “Late's fine. I didn’t have any plans today, just don’t make a habit of it.” Glancing at her car, then back at her, he gave her a little bit of a look. “You got everything you need?” He wasn’t the best at socializing, famously, but she wasn’t aware of that yet considering their talk had mainly consisted of emails. It would be something she quickly found out.

“Oh!” Her chuckle was nervous as the man stood tall above her on the wooden porch, making her look up a bit at him. “Uh, yeah. I.. I kinda had to get out of my place in a hurry, so this worked out.” She smiled up at him before looking back to her car. “Did you want me to grab my stuff now or did you want me to do it after you give me the run down of what you want me to do?”

He sighed, stepping aside to let her pass. “Follow me.” He led her inside, shutting the door behind her. It was weird feeling someone else in his space. It had been a long time since he’d heard footsteps other than his own or his pets in the hall, and he wasn’t quite sure how he felt about it yet. Leading her down the wooden hall, he brought her towards the main part of the house- a large step down living room he mentally referred to as the den. The stone fireplace was lit with the fire going already as he gestured to a chair by it. “Sit.”

Y/N was distracted a little by the skylight- and then the view outside. It was absolutely gorgeous. The whole place was. She had slightly underestimated it despite the size of the place when she had applied to work eyes but she would make it work. At least the view was great. She could see that there was a deck outside, the view of the mountains sprawling behind them sort of blowing her away. The awe only lasted a few moments though, when she heard him clear his throat. Oops. “Sorry.” She smiled nervously. “The view distracted me. You’ve got a beautiful home.”

He grunted, not really used to compliments. Small talk wasn’t his thing. He sat down in his recliner, stretching his legs out in front of him before resting his hands on his knees. “So, as your employer, I expect you t’keep this place clean. Cook meals, do laundry, that sort of thing.” He paused, looking at her critically. “M’not home most of the day, and when I am I’m usually in my workshop. It’s the building out to the side that you saw.” He clasped his hands together. “We don’t need to have a ton of interaction. I need you to keep the fire stoked, maybe feed Ash for me if I get back late. I don’t have a lot of rules, but I ask you to respect my space.”

“Uh, alright.” She nodded, taking out her phone to take notes. “I figured the normal house stuff. I…” Her body felt the cringe as she went to ask it. “I haven’t really stoked a fire longer than it’s taken to do a bonfire while camping so, if there’s some sort of magic you know to keep it going longer I’d love to know it.” The girl didn’t want to fuck it up. The man worked with wood. The last thing she wanted to do was waste it.

It did make her a little unsettled to hear the other part, though. “Um, and what do you mean exactly by not needing to interact? Like, you don’t want to see or hear from me?”

Harry paused, his gaze sharpening a little on the girl. He was used to being alone. He liked being alone. He didn’t want to come home to some sort of chatty roommate. “I mean exactly that.” He said gruffly.

“Oh.” She replied quietly, swallowing the lump on her throat. Her gaze averted when his sharpened on hers, looking towards her lap. He was a little intimidating and she felt embarrassed for some reason- but logically she knew she hadn’t done anything wrong. Didn’t mean her body knew that, though.

“O-Okay. I’ll make sure to give you your space.” Her head nodded, convincing herself it would be good for her. Maybe akin to rejection therapy. She had hoped for something a little different, but this was the escape she had needed- she couldn’t complain. “Can you tell me what kind of foods you like, or don’t, so I can make what you’ll eat?”

Harry grunted, his expression relaxing slightly at the mention of food. He hated being bothered with small talk, but food was something he could appreciate- it was part of her job, anyways. He could talk abojt that. “I like meat and potatoes. Steak, roast chicken, mashed potatoes, that sort of thing. Don’t bother with fancy shit. Just straightforward, hearty food.”

He paused, thinking for a moment before continuing. “And coffee. Black coffee. None of that fancy latte crap. Just straight up coffee.” He stood up, stretching his arms over his head. “That’s all you need to know for now. You can start preparing dinner and I’ll be back later.”

“Oh! I… are you sure?” She stood up too, following him. “Where should I put my things?” Part of her felt a little nervous she had fucked up with how fast he seemed to want to get out of there, but she didn’t know what she could have done to offend him. Was this just the way he was? Probably. She shouldn’t take it personally- but part of her did, just a bit. “I don’t know which room I should set my things up in.”

Harry turned around, his expression still stern. “You can set up in the spare room down the hall. It’s the first door on the right.” He pointed down the hallway before continuing. “I don’t need any help with my things. Just worry about your own shit for now.”

Her eyes fell down towards the floor, nodding at his words. It must just be the way he was, she concluded. He didn’t bother saying goodbye as she heard the door close, the ticking of the large grandfather clock in the den the only sound until the start of his pickup was muffled outside.

Who the hell was this man? And what had she gotten herself into?

[sweetheartbitesb4ck]

part one || part two || part three || this is part four

The weeks following your first 'date' with Simon were full of going on little walks together, but most of all? The pings, to say the least. He would text you so often it came as a shock to you he even had a job. You found it amusing, sure, maybe even annoying, but you hadn't anticipated the sheer silence when he was 'away with work', as he put it.

You had guessed that meant deployed or something of the sorts... and it worried you, yeah, but your feelings for him were still new and you didn't want to get hurt if anything was to happen.

You'd been excited when he'd promised to write to you a few days before he left, but as the days flew by with nothing more than some bills, bank statements and late birthday cards dropping through the letter box it occurred to you that Simon Riley had been too blown away when he first saw you in your house to remember the road name, and far to drunk when he first spoke to you to remember the number on your front door.

So Simon sat there when he wasn't fighting or in briefings and had downtime (which was rare) writing letters he knew he couldn't send away, partly because it was a risk to send stuff away and partly because he would just blank on your god damn address every single time.

He didn't even have his phone because of something to do with trackers and intel and it was all a bit of a fuzz of unconfirmed information that Simon had explained to on a walk a few days before his departure.

This is what worried you. You obviously knew the dangers, and you two weren't even 'official' yet, but you would have liked to be updated. You couldn't help but feel a bit sick when your mind travelled to the horrors his job could boast.

Prior to his deployment, you and Simon had got to know each other a little better, which only made your nerves worse now you had more of a bond, plus you had gotten to see the less flustered version of him. You'd mostly talked over the phone but had also gone on a few walks together. It felt weird; missing someone you'd so quickly fallen for. You could only hope as the days blurred into weeks then into months.

Then, two months later, Simon was back. He'd been resting and getting medical support for a day or two before he journeyed home, and his first thought? It was to retrace his steps down that one road to that house with the open window that had changed everything. He could have slept, unpacked, done anything, but all he wanted to do was to see you.

You groan as you hear a knock against the door... you'd just about drifted off after hours and hours of tossing and turning, your head reluctant to rest. Trudging downstairs, you pull on a hoodie over your pyjamas. "Who the fuck..?" You murmur, clicking on the hallway light and unbolting the door, ready to dive back into bed.

"What?" You grumble as you swing the door just a crack open, your eyes widening and breath hitching at seeing that tall frame and skull mask. You slam it shut, fumbling to unlatch the door and burst it open, flying into the bulky man's arms and screaming.

Simon grins under the balaclava, stumbling backwards slightly as you bounce onto him. "You alright?" He asks, his voice so nonchalant even as you wrap your arms around him. Probably still trying to seem cool for you.

You pull back, face still covered in shock. "Fucking alright? That's all you have to say?" You cry, voice a few pitches higher than usual. "Fuck, Simon... you said you would write!" You mumble, leaning back in to hug him. Part of you wanted to say there forever, holding him there and squeezing him as hard as you could, but you knew you should probably invite him in. So that's what you do.

His mind flicks back to Soap's so called relationship advice, the words "honesty is key" in that loud Scottish accent rattling through his mind. "Okay fine," He grunts, avoiding eye contact. "I hate tea. Can't bloody stand the stuff."

"Well," Ghost replies, shoving his hands into the big pockets of his tactical jacket as he steps inside, shutting the front door behind him and following you to the kitchen "I didn't know your address," He admits, smirking as you raise an eyebrow at him and snicker. "Oh yeah," You chuckle slightly, trying to refrain from smothering the poor bloke as he takes a seat at your table. "Tea?" You tilt your head and glance at the kettle.

"I hate t-" Simon bites the inside of his cheek and curses under his breath. Fuck... He thinks, realising him lying about loving the drink would probably wean him into having it regularly. "Tea's great," He nods, noting how you raise your eyebrows, expression sceptical.

Simon nods, rubbing his eyes sarcastically. "It's probably too late to walk home, aye," He says, eyebrows raised.

You huff with amusement, flicking the kettle off and rifling through your cabinet. "I'm out of coffee,"

You and Simon chatted for hours, sitting at the table. At first, he was jittery, but he soon relaxed, trying to stop staring at you, although this was hard as he finds you so breathtakingly perfect.

A few hours later, you tilt your head and smile at Ghost as he yawns. "You must be tired," You say softly, leaning on the counter.

"Yeah," You respond, scratching your neck with a mock confusion. "Lucky I have a double bed, eh?"

And with that, the two of you curled up on the mattress, Ghost pulling you towards him, arms firm around you as he let the gentle rise and fall of your chest guide him to sleep.

"You're sure?" Asks Ghost, his nervous expression from the coffee shop returning to his face. He was still terrified of scaring you away, but wanted nothing more than to collapse onto your bed and just hold you. You nod, smiling gently. "Come on." Taking your hand, Simon follows you upstairs to your cosy room, allowing himself to relax, stop being awkward. The decoration alone made him feel at home, probably because it shone with your personality.

Love. Simon was sure that's what that feeling was... the one that had seized his whole being since he first set eyes upon you.

Never in a million years would he have predicted this if he was asked about his future a few months ago, but here you were, two awkward and unsure people falling in love from nowhere.

thank you sm for reading! I hope you enjoyed part four..! if anyone wants a part five, I'll most likely do it, ( I just need to figure out what I'd write... probably something about the letters) but yea if u want that just let me know.... also, feel free to make any asks for fics u would like to see :)

sorry if my posting is irregular for a while! I'm back at uni and work after the Christmas break so very busy

[nostalgebraist]

Thanks for this thoughtful review!

(BTW, for others – this is probably obvious but there are spoilers below the readmore, don't click unless you've read the book)

I'm going to use this as an opportunity to talk about one specific thing that bugs me about some reader reactions to my stuff. Therefore, most of what I say below will be negative (about your review), but I want to emphasize first that that's not a reflection of what I thought of it overall.

----

What I'm here now to talk about is this kind of thing:

There are parts of all his books, where I really think that the explanation for why they are the way they are is that they are "bad on purpose", and all the bullshit [note: in context "bullshit" seems to be meant as a neutral term for non-realist elements -nost] is a way of turning these shortcomings into strengths. The self-effacing voice which whispers that the characters aren't sufficiently well-drawn, are too cartoonish—well, what if that was the point? What if there was a reason for that, in the story?

And like... okay, there is sort of a sense in which this is true, sometimes, kinda. There is a grain of truth to this; it is getting at something real.

But it pains me to say that, because I don't want to encourage this kind of reading. Interpretations like this are occasionally correct but IMO they're much more common than they should be. IMO the right intuition is that this is a galaxy-brained, contrarian sort of take, a last resort you land on when you've ruled out everything else.

And not just with my work, with everything – I'm simply more aware of the problem when it comes to my work, because I wrote it and I'm aware of why I actually did things the way I did.

I've said this before, but watching the way that people react to my own fiction has been an eye-opening experience, one that has taught me things about reader (and viewer, etc.) reactions in general. Specifically, what I've learned was:

People's tastes are way more diverse than I had realized (before I started writing and sharing fiction). And they are diverse in a very fine-grained way; even if two readers have the same preferences about 90% of stuff, or 95%, they'll still diverge on some things. While it's not literally true that "every reader is a unique snowflake with a preference set that no one else shares," that is a very good first approximation of how things are.

Readers (including me!) have been trained by a lifetime of reading book/movie/etc. reviews to frame their preferences/reactions in a pseudo-objective "this is just how it is" way, like their own tastes have some special viewpoint-independent priority, a quality of "reality" or "accuracy" lacking in everyone else's tastes (which are all different, cf. 1). And this is not just a stylistic quirk of the way people write about fiction, it actually (IMO) feeds back into the underlying opinions behind the written commentary. It degrades people's ability to understand what it is they're looking at and their ability to make accurate inferences about the process of its creation.

----

Here's a sort of cartoonish schematic of the type of experience that led me to draw these conclusions. (And I suspect this is not just a thing that happens to me, I imagine it happens with any sort of work that "contains a lot of different types of stuff" the way mine does.)

Writer makes something that has X and Y and Z in it. Writer thinks X/Y/Z are "great tastes that taste great together." Writer is very pleased with the result.

Reader 1 has similar tastes to writer, says something brief about how they loved the book and it's a new favorite for them.

Reader 2 loves X, is OK with Y, hates Z. They write a lengthy review saying that the book was a mixed bag and could have been great if the writer had stuck to X and not messed things up by doing so much Z.

Reader 3 is the reverse of their predecessor: they hate X, are OK with Y, love Z. They write a lengthy review saying that the book was a mixed bag and could have been great if the writer had stuck to Z and not messed things up by doing so much X.

Reader 4 loves X and Z – but they hate Y. They write a lengthy… you can fill in the rest. Imagine a whole bunch of these guys (readers 5, 6, etc).

Reader 17 has the same tastes as Reader 2: loves X, is OK with Y, hates Z. But their lengthy review takes a different, in some sense "more charitable" angle, speculating that the inclusion of Z was a load-bearing pillar in the overall structure, a thing that unfortunately had to be included to "unlock" all that sweet sweet X.

Reader 18 has the same tastes as Reader 3: hates X, is OK with Y, loves Z. But, they explain, X was a load-bearing pillar in the overall structure, a thing that unfortunately had to be included to "unlock" all that sweet sweet Z.

Writer reads all these reviews and feels strange, dizzy. The "nicer" reviews like 17 and 18 are actually more uncomfortable to read than the "meaner" ones like 2 and 3.

"I don't know how to convince you guys," Writer thinks, "but I... I just liked all of it? I thought it was good? That was why I wrote it? (Why else would I have written it?)"

----

Or, as I wrote in that previously linked post from 2021, w/r/t TNC specifically (and making a slightly different but closely related point):

Some people say X was the worst part of TNC, some people say X was the best part. The story was a celebration of Y; the story was about how Y is laughably futile. It’s a letdown that we were never told more about Z; the reason TNC is good is that it leaves stuff like Z to the imagination. It was obvious we were meant to believe P; it is obvious we were meant to believe not-P; the ambiguity about whether P is tiresome literary masturbation; at least the story didn’t jump the shark by spelling out whether P! The reason people like TNC is, of course, that it has A, although nostalgebraist insisted on putting B in there too because he hasn’t fully perfected his formula yet / he somehow thinks B is good even though it isn’t / he thinks it’s funny how bad B is (but the joke tires). …and then someone else has same take, but with A and B flipped.

This exact sort of thing is of course happening again before our eyes with reactions to TAoHS.

I've encountered multiple readers who disliked most of the story but felt the ending (sort of) "redeemed it," and I've also encountered multiple readers who liked the story up until the ending but disliked the ending (or at least thought it was worse than the rest) – to say nothing of the many readers who liked (or disliked) the whole thing all the way through.

And this ending-related stuff is just one particularly obvious facet of a broader diversity in the overall reader response.

By now I know not to be surprised by this stuff, and even to find it kind of fun to watch... but I have to admit, it is still a dizzying and uncomfortable experience.

----

Now, as I said, it is sometimes true that things really are "bad on purpose."

But I think the interpreter's default hypothesis – which should be maintained by default unless convincing evidence against it can be brought forth – should be:

The writer thinks that the thing they wrote is good. They think the ideas are good and they think they executed them well. And they think this more-or-less homogeneously for everything in the work – there are no "bad but unfortunately necessary" parts from the writer's POV.

(At least, this should be the default with works that aren't making the writer much/any money. Obviously things are different with lucrative commercial fiction; there are plenty of well-paid hacks who know they're hacks and do it for the money, etc.)

Why should this be the default? Multiple reasons.

First: it takes a lot of effort to produce any sort of creative work. The writer thought that effort was worthwhile, for some reason – why?

The most straightforward explanation (and a very common one IMO) is that the writer simply believed in the thing that they were making. They believed the effort was worthwhile because it would yield a good product.

Second: as a writer you have an immense amount of freedom. It's difficult to overstate the extent of it. You are playing God, you decide the way that literally everything will be.

Obviously there are some constraints, cases where one part of a story will imply the existence of another or whatever.

But it's very rare that you actually get forced into "doing a thing you know you are bad at, badly." After all: why do that? No one's forcing you! Just do something else! You're God, you control everything!

(Note that this applies also to the very act of writing anything. No one is forcing you to write at all. If you can't come up with good ideas, nothing prevents you from just not writing your bad ones.)

Third: at least in my experience, "playing God" in this way requires a certain state of mind, a certain boldness and self-assurance, which is incompatible with thinking "yeah this is gonna suck but I have to do it" – but is very compatible with thinking "I am making something excellent and every part of it is excellent, hell yes."

Fourth: because of the previously noted diversity of reader preferences, it should not be surprising to any given reader that they find some parts of the work much better than others, even if the writer thought it was all excellent.

This outcome is predictable from the X/Y/Z stuff I talked about above. No clever interpretive work is required to explain it; it arrives pre-explained; it's simply what happens by default.

And finally: because, as I noted above, I think all of us are infected with "reviewer brainworms" and we need to be mindful of this fact.

(Just to be clear, I am not accusing OP of being more infected with said brainworms than anyone else; I'm still on my soapbox, giving a generic rant about a general issue, with OP as merely a jumping-off point.)

We've grown accustomed to the casual conflation between our own tastes and some (usually hazily imagined and under-theorized) sort of "objective, ideal artistic standards."

Outside of a few edge-case eccentrics who can be ignored for my present purposes, we do not do this because we've become intellectually convinced that

(a) such objective standards make sense and really "exist" or at least really matter and

(b) they just so happen to match our own preferences.

Rather, we've fallen into this habit because it's what the pros do: there's a standard style that professional critics and reviewers write in these days, and that style implies these stances. And if one writes (and thinks, in one's inner monologue) in this style, one can easily fall over backwards into uncritically believing (a) and (b) for no better reason than "I seem to already be talking as though I believe these things, hence it would be simple and convenient if I really did believe them."

But – even if we bracket the philosophical questions of whether (a) is in fact true, and (if it is) whose tastes in particular ought to be elevated in the way (b) presumes – even if we table all that for another day, still we ought to keep in mind how weird and audacious a move this is, this simultaneous assertion-without-explanation of the (a)+(b) pair.

We've gotten used to it by exposure, because "the pros" have normalized it. But in actual fact it is a pretty wild thing to just go and assume, given the X/Y/Z/etc. diversity of actual opinion!

If (b) is true for you (general "you" not OP), then it can't be true for me, because we're both unique snowflakes to a first approximation; indeed if (b) is true for you then (to a first approx.) it is only true for you. No one else's tastes have this magical relation to reality, just yours.

Holding the belief (b) about a given reviewer is conceivable-but-wild if we're only considering them in isolation. But once we bring a 2nd reviewer (with non-identical tastes) into the picture, who also believes (b), it's literally impossible to maintain that both of these people are fully right.

And then of course in real life there are not 2 but many, many readers out there, all of them unique snowflakes. And, while it is socially normal in our social context for each one of them to write like they're the chosen one blessed with that special (b)-magic, if you read enough such writing and actually think about what you're reading, it can't help but feel like a sort of game, like playing make-believe. As with most games, it can be very entertaining (for all parties involved), but we shouldn't confuse its amusing conceits for properties of the real world.

In the real world, the writer has their tastes, and you have yours. These tastes are probably not identical. The writer may be aware of the diversity of readerly tastes, and may thus be aware that tastes like yours are out there, but they have no special reason to consider you in particular, elevating you above all the other readers who are non-identical with them (and with you). The writer is dimly and abstractly aware of you, at best, as just another one of the people who will come along later, dislike some of their choices, assume that these choices were wrong in some "objective" way the writer knew about at the time, and then speculate as to why the writer would do something they know is wrong. For every choice, and every way of making every choice, one can imagine a reviewer who responds to it in this way, and quite often these reviewers actually materialize once the work is available for consumption. If you try to reason about these guys in advance, as a writer, it'll stop you in your tracks (if nothing else because there are 2+ of them whose takes are mutually incompatible). You've gotta have some other standard of value to rely on.

So, as a reviewer, if you ask "why would someone ever make a choice I don't like?" and try to pick at this question, you are quite likely heading toward a dead end. The writer wasn't thinking about you (or people like you). They were applying their own, distinct standard of value.

Better to ask: "suppose there was a person who actually liked all of this. What would they be like? How would they be similar to me / different from me? And what, if anything, can I conclude from that?"

The Apocalypse of Herschel Schoen

My fourth novel, The Apocalypse of Herschel Schoen, is now available in full.

Merry Christmas to all, and to all a good night!

[thrashkink-coven]

I get the thing of wanting to be as harmless and uncontroversial as possible in your craft. I understand white witches trying their best not to encroach on closed practices or cultural appropriation. I understand wanting to cancel problematic occultists and generally push the witchy community away from its history with white supremacy and racism. I get it, I really do.

and I say this with love and try to come across as gently as possible.

Some of you, though your intentions may be pure, don’t seem to recognize the difference between genuine caution and concern and blatant white saviourtism. I promise you that people of color don’t need white witches to speak for them. I promise you that it is not your responsibility to be the saviour that enforces what is and isn’t problematic, especially when you yourself are so clueless about the issue at hand.

People who don’t know even the first thing about Judaism shouldn’t be trying to herd all of their white friends away from Lilith or dictate why you shouldn’t use magick with a k. It’s frustrating because the original message gets completely lost every single time.

Jew witches will say “hey guys maybe don’t work with Lilith if you don’t understand her origins because she’s not just a girl boss mother of demons but also has a lot of history in our culture as an extremely violent and chaotic energy that actively victimizes women and children”

But all that tumblr heard was “Lilith is associated with Judaism and that means she’s a religious figure and can’t be worked with by non-jews” without having even the slightest clue what her role in Judaism was and why people advise caution. Saying that Lilith is a religious figure to Judaism tells me that you’ve never even met a Jewish person in real life.

People will say “hey Crowley was actually a piece of shit and shouldn’t be idolized as a wise practitioner when he was literally just an extremely racist heroine addict who tricked a lot of women into having sex with him for rituals”

But all that tumblr hears is “Crowley bad. Anything associated with Crowley also bad. If you do anything that was associated with Crowley you are also bad.”

Indigenous witches will say “Hey white sage is an extremely sacred herb that is being heinously over harvested by corporations selling the witchcraft equivalent of fast fashion and it’s causing severe harm to indigenous businesses and communities, please stop supporting them”

but all that tumblr heard was “White sage shouldn’t be harvested. If you get white sage from anywhere, even indigenous people themselves, you are racist.”

and in retaliation to that super hard stance you have witches who have decided they don’t care about respecting closed practices in general and purposely buy from non indigenous sources out of spite

“I don’t know enough about this topic to have an intelligent stance on it” is ALSO a perfectly acceptable position. You don’t have to be opinionated about things you don’t understand. You’re more than welcome to just avoid the things you know would make you uncomfortable to participate in without pushing blatant misinformation.

Most occult spaces have some sort of historical tie to icky stuff like racism, misogyny, ablism, etc. You’re not a bad person for recognizing that and wanting to stay away from them. I’m happy you care.

But you are not an authority on things you’re uneducated about. When you pretend to be you only muddy the words of the people you’re supposed to be helping.

Saying shit like “using magick with a k is just as antisemitic as using a swastika” completely waters down what real antisemitism is, and makes the matter less serious than it actually is.

Saying “working with Lilith is just as antisemitic as working with the Tetragrammaton” is just a complete slap in the face to practicing jews, and you don’t know why because you don’t understand Judaism or the people who created it. You can’t understand it because you’re so busy talking over them that you never took the opportunity to listen.

Before you make the decision to run these mass cancelation events, take a second to consider if you’re doing this because it’s actually important and something you truly understand, or if you’re just doing so to feel morally pure and accepted by your fellow politically correct white peers.

[multifandoms27-blog]

Yoyoyo, to the bucky/ws ask,

CW!era bucky x avengers reader

Reader is good friends with Sam and Steve and is also around Bucky a lot because of that so when they find each other somewhere they always chat for a while

eventually one late night things get heated between them and they end up in one of their bedrooms but since Bucky had been the ws for 70 years he’s pent up and super sensitive, comming rlly quickly and a lot js from grinding against reader’s thigh for a bit

:3

OHHHHHHH MY GOD YES YES YES

Content: CW!Bucky x Avenger!Fem!Reader

Warnings: MINORS DNI!!! Premature ejaculation

Notes: I love cw era bucky hfhfjdhfjkhjd also first post of 2025!!

• ───────────────── •

The movie droned on and on, the plot lost on you. Instead, you cast sidelong glances at the man next to you. Bucky Barnes, one of many dreamboats in the Avengers tower. Sometimes you wondered if Tony only hired attractive people...aside from, y'know, what Bucky had done in the past.

But we don't need to talk about that.

Tonight's movie night only consisted of you, Sam, Steve and Bucky. The others were all either busy or on missions somewhere else. You looked at the other couch, where Sam and Steve sat, watching the movie intently. Sam had a habit of making some sort of joke or commentary on the bad decisions the actors made. Steve would shush him in return. Bucky said nothing, just choosing to drape his arm on the couch behind you.

Your heart began to hammer in your chest as you glanced back at Bucky, following the muscles along his right arm, the one currently resting behind you. You began to remember how those muscles flex in the gym, glistening in sweat, his breathy grunts reaching your ears. You felt your face heat up, but your brain didn't stop.

You then remember how those muscles feel wrapped around you in a tightly woven hug, one that you didn't initiate for once. Bucky had been warming up to you, albeit slowly.

Next, your mind decided to fuck with you a little bit. The image of Bucky remained, but you fantasized about him caging you in his arms against the counter, those muscles flexing slightly, his blue eyes narrowed and waiting for you to speak.

Your mind thought of how he'd look on top of you, those muscles still flexing, glistening in sweat. How his breathy grunts reaching your ears-

"I'm going to the bathroom." You announced, getting up from your spot and leaving the room, not waiting for a response.

Instead, you rushed to your room. Your face was flush, you felt hot, and your core was throbbing. You felt guilty having fantasies about your friend, but what could you do? He was handsome as fuck. It should be illegal to walk around with that lethal of a face card.

You hooked your thumbs on your waistband, about to pull your pants down, when a knock sounded at your door. Freezing, you knew it could be one of two options. Either it was Steve, trying to see if you were okay. Or it was Bucky, probably doing the same thing. Sighing, you pulled your thumbs out of your pants and opened the door. Bucky's concerned face showed on the other side.

"Are you alright?" He spoke low, not wanting to wake the few that were sleeping at this hour.

"Yeah, just have some stuff to do."

"I thought you said you were going to the bathroom." Bucky took a step closer, eyes trained on yours.

"It was an excuse, I just..."

"Just didn't like the movie?" Bucky asked. "Or were you fantasizing about someone?"

"I- what? No, I wouldn't, I mean..." You panicked.

"You don't have to lie to me. I could practically smell you it was so bad." Bucky spoke, and suddenly you were very aware of how close he was to you. "I can help...if you...want that."

And that was when your brain and heart decided to flatline.

"Bucky you don't have to force yourself to-"

"I'm not forcing anything. I want this. I want you." Bucky spoke.

You searched his eyes for anything, anything at all that indicated he didn't want this. You found nothing. "Close the door."

Bucky closed the door with his heel and leaned in to capture your lips in a heated kiss. He walked the two of you backwards to the bed, where he gently laid you down without breaking the kiss. One hand moved to cup your breast, the other held himself up as he shifted around.

He straddled one of your legs, his knee pressing against your core. He pulled away from the kiss and you two looked in each others eyes before a compulsion overcame you. You - with Bucky letting you do this - flipped him on his back, with you now straddling his leg. You leaned down to his neck and began to kiss along the side of it, your tongue poking out here and there to test the waters.

When you got to the junction between his shoulder and his neck, your tongue lapped at the sensitive nerve, causing Bucky to let out a breathy groan, his hands flying to your hips, forcing you to grind down on his leg. Moaning into his neck, one of your hands traveled down to his steadily growing cock, palming him through his pants.

You bit down on the flesh between his shoulder and neck, making his grip tighten and his groans become louder. Gyrating your hips onto his leg, the seam of your pants rubs past your panties and against your clit, giving you some form of friction.

Bucky's groans were getting louder when you switched from just palming him to stroking him the best you could through his pants. You tried to come up from his neck, but Bucky immediately grabbed you by your hair and held you there.

"Bucky, I want you to take your pants off."

Bucky didn't answer. Instead, he rutted his hips against your hand, his groans growing more desperate. Was he about to...?

Bucky stilled and let out a shaky groan, holding you close against him. You stilled as well, but only because you couldn't believe what you had just witnessed. You made Bucky Barnes prematurely cum.

He loosened his grip and allowed you to sit up. When the gravity of the situation dawned on him, he felt his own face flush. "I-I'm sorry, I'll go, I just-"

"No, no, it's okay Bucky." You put your hands on his chest. "This might be an invasive question, but...have you been with anyone since we broke you free from HYDRA?"

Bucky hesitantly shook his head no. He looked like a kicked puppy right now. He was averting his gaze, lips downcast, shoulders bunched up...you gave him a small smile.

"It happens to everybody. I think it means I treated you well. And if you would like to, we could go again." You gently turned his head back to look at you.

"After that embarrassing display, I'm not really in the mood." Bucky finally looked you in the eye. "But...I can...stay, if you want that."

Your smile grew. "Of course I want that. C'mere."

Bucky stopped you. "Uh, first I need to clean myself up."

Now your face flushed again. "Oh, right! Yeah, sorry. Come back when you're done."

You quickly got off of him and he gave you a small peck on the cheek before scurrying off to his room. Once he left you alone, you squealed into your pillow.

• ───────────────── •

Here's my Marvel Masterlist in case you wanna request something!

[kiryoutann]

i wanted to rant about simon.

what do you think so far like what are your actual headcanons for the canon simon vs this simon from this series?

my feelings about the actual simon is quite vague. i've read far more fanfictions than bothering with the actual material so my picture of his is not really...constant? idk

but with this simon, he scares me. just to think about people that can engage in such romantic and sensual acts with little to no feeling involved.

or the mc's father. her dad makes me feel such an anger and injustice that i don't know how to express it and i know we probably won't get a satisfying update on him.

you don't like your wife fine i could understand the distance between them, but how can somebody forget their child no matter if they share the same blood or not, after all the time he raised her

leaving all that behind just to start a whole new life. how can that not eat somebody alive

OHH this is actually a good question. honestly for me, simon is probably one of the hardest character to write about because he doesn't give away too much. too calm. too know-it-all.

we're just gonna talk about the romance aspects!

but based on my head-canon of the canon simon, he has those younger years where he avoids romance, but not this actively and aggressively. it's more because he has too much on his plate (anger management issues, PTSD, depression) than because he think he's not good enough for some happiness (but he also doesn't expect/hope for it.)

canon younger (probably 6-7 years after he killed Roba) Simon lives his life without the need for things to turn out in certain ways. as he gets older (yes, the 2022/2023 ghost) and better mentally, he's become a little more open to the idea, though.

he's still not actively seeking romance, settling on one-nightstands and things that don't require any strings attached. however, he's not completely closed off to the idea too. if he has someone he likes AND TRUST (this is already a high wall to get over), he might act on it. but again, not really actively pursuing it and knows he doesn't need it.

and this might come as a surprise, but he's actually the biggest flirt out there—well, at least when it's only the two of you. when in front of his taskforce, he goes back to acting like he's the calm, collected, cool, stoic, scary lieutenant that everyone knows. can't have you ruin his reputation, right?

"it's private but not secret," with him. though it's not loud PDA, sometimes he lets his hands linger in places like your waist, your hips, shoulders. his love language is act of service, gift giving, physical touch—he makes sure to always appreciate you with compliments and love affirmations, but he's never really a man who's big on words.

WHILE THIS SIMON, hmmm.. he's a bit more complicated. and a mess. at some point, you can think of him as the younger version of canon simon we just talked about to simplify it, but even that's not really accurate considering the different ways they handle "all that sappy stuff" (as simon would say). this one actively and AGGRESIVELY avoids romance.

and while they both (my ver. of canon simon and this simon) sort to flings and one-nightstands, the canon simon is more careful and actually follows the boundaries he draws himself. while this simon outlines the boundaries, follows his rules until an interesting bird enters his orbit, violates them, and destroys them himself before he goes around saying "you read that wrong, darling."

NOW, ABOUT THE FATHER. . .

RIGHT! in my opinion, it's better for them to get a divorce actually and Dad still plays a role in MC's life rather than just leaving her. like, i know it'll still hurt the MC but, at least she can still have both of her parents even though in different houses! at least she doesn't have to feel neglected in her childhood.

okay, you hate someone you thought you would love forever, but abandoning your child? whose very existence was created because of you? talk about the Dad will come up in the sequel. hell, he'll even make an appearance with his two ballet loving new daughters. imagine how MC will feel.

sadly, this happens a lot in real life. fathers leaving and starting a new life without thinking about his "old" family. how people shame single mothers but never the absent fathers. people shame many women who have "daddy issues" or call them "fatherless" yet never call out men's incapability of being a real, PRESENT father.

[noihavenosanitythanksforasking]

so i was talking to my dad about the byler, he hasnt seen the show but he started yappin about the 80s bc thats when he grew up. anyways he starts talking about how phones worked back then because i mentioned that the party uses radios

he said that the kids who messed with radios n shit were considered like the programmers of today. like they were into all sorts of techy shit and were into conspiracies and smart stuff or wtv.

so apparently area codes werent always a thing and you used to have to pay a fee if you were calling someone outside of your zip code. which is crazy to me lol. this fee was by the min and when you dialed the number it would ask u to confirm the fee and then at the end of the month your phone company would send you a bill.

apparently though, the radio kids had a bit of a thing going with the phone companies and had figured out ways to communicate with the phone through radios and tones and shit. so they figured out ways to bypass the long distance fee.

so phonegate.

maybe im mentally ill but now im loosing my mind. we know that mike called will multiple times and california is definitely a long distance call from indiana. at first i was in tears just at the fact that bro kept calling bc of the fee (which must have been expensive for that far) but now im loosing it bc what if mike got in trouble for accepting so many payments at the end of the first month. we know from lucas book that mike spent a lot of time between s3-4 hiding alone in his basement so what if he was trying to figure out how the hell to bypass the payment feature so he could keep calling will.

he could ask dustin but maybe he's embarrassed or smth idk man this is all hc but i cant rn dude

[oacest]

Hello, I am looking for Interview with Liam recs. I have watched so many of Noel (and wow does he like doing podcasts, thank god <3). But now I would like to dive into the Liam side of the lore more, I know he is not doing as many as his brother, but if you have any good ones you could recommend, that would be great!

(I also read he has this documentary from a couple years back, is it a good account?)

god love noel and his genetic predisposition to yapping <3 but yes it sure can make finding good solo liam interviews tricky, especially since he doesn't particularly like dealing w the press and it's a rare interviewer who gives him enough space and asks the right kind of questions to get him really talking. for some reason a lot of the best ones tend to be in print rather than filmed, which might be due to him feeling more relaxed without a camera around, idk. but here are a few of the ones that came to mind for us. some he says interesting things in and some are just silly/hot <3.

2018, talking quite articulately and thoughtfully about the Situation with noel (among other things)

liam & andy in 2005. what a duo

talking to chris moyles for radio x in 2017

liam & alan in '95

the right here right now documentary has a lot of good liam stuff in it, worth a watch either way

this 2013 documentary about beady eye

this one straddles the good/hot line bc he is relating heartfelt and interesting observations on fame and fatherhood but also he's in that fuckass hot villain outfit and fiercely saying things like "that's my baby" about lennon and furthermore if he and the incredibly cute interviewer didn't fuck out their crushing sexual chemistry in a closet somewhere afterwards what is even the point of anything

and a followup of sorts, edith bowman talking to him again in 2017

this one worth it for the "androgyny/feminine qualities/i'm a bird?" bit alone

the classic drunk shirtless "interview" after the australian flight incident ("i've got a tattoo me and i'll stab him" *points to tiny delicate 'patsy' script on his arm.*) (is he the funniest man alive? yes.)

"would jesus christ have been a fuckin pervert if he had a crisp packet on his head? no one knows, d'they?"

honourable mention to this one where he says quite seriously that he was a hooker at 15, with zero followup on either his or the interviewer's part

if anyone has more they'd like to add, please do, these were just off the top of our heads!!!!

also yes his propaganda doc (as it is affectionately known around here) is quite good and well worth a watch.

[howlsofbloodhounds]

I was thinking about color and killer, and beats and kin, and the idea of codependency.

The big thing with Beats and Kin is that they’re both introverted, and Beats is extremely avoidant of people they don’t know and aren’t familiar with—deeply distrustful of people, to the point they’ll run and hide if approached or have panic attacks if they can’t.

Whereas Kin just seems to be highly independent and introverted, preferring to mostly be alone with just themself and Beats, Beats has something deeper going on as well as their introversion in general.

Forcing Beats to try making friends and talk to people when they don’t want to will be very bad for their mental health and will shatter their trust in the person forcing them to do so. Kin, acting as their big brother and sort of guardian figure, isn’t afraid to set and maintain boundaries regarding how people are allowed to talk to Beats, who is allowed to, how many are allowed to, and when they’re allowed to.

Kin can be very possessive, territorial, aggressive and protective—due to their dragon stuff I’m pretty sure. But they’re like this with all of their friends and teammates, such as getting protective and defensive of V when Kin felt the other V (girl, purple hair, werewolf V), was being disrespectful and rude to their companion.

Kin isn’t controlling, however. The control they do have regarding Beats and their boundaries seems to be things that Kin, Beats and possibly Maestro (Beats’ parent), have talked about and discussed in detail before.

Kin doesn’t prevent Beats from making friends or talking to people if they want to, which they rarely do anyway. Kin doesn’t stop Beats from talking to, spending time with, and maintaining their relationships with the other few people that Beats’ feels safe with—which is basically mostly just Kin, Maestro (Underbeats Gaster/Beats’ parent), Nico (Underbeats Papyrus/Beats’ younger brother), Uncle Grillby (Underbeats Grillby and Mae’s childhood friend), Underbeats Muffet, and potentially Blindy (Kin’s master/AU’s Gaster, who Beats calls their ‘other dad.’)

Beats also seems to be on okayish terms with Abyss Team members such as Abyss (who they see around often enough to be familiar with) and Mecha (gave him a flower to cheer him up), familiar with and trusting enough of them to approach them first; even if Beats doesn’t seem to yet consider the two friends.

There was also a brief drawing where Color and Beats were drawn by another creator talking and sharing some of Beats’ favorite drink together (milk), but Beats’ creator reblogged that post joking something along the lines of how Beats would immediately get scared and magically disappear. Something like that, suggesting that Beats wasn’t yet comfortable with Color at the time.

The two were described by their creators as something like eachother’s “comfort zones,” and neither really want to leave their bubble—but when one does on occasion, the other won’t try to stop them, and eventually the one who wandered off will come back to their “comfort zone.”

Even if the two can sometimes get jealous or insecure or sad when the other seems to be making more friends and connections, the other is also usually happy for them (happy that they’re happy), and doesn’t try to prevent it or make the other feel bad about it. And the one making new friends is also quick to reassure the other.

They don’t push each other out of their comfort zones, but they also don’t stop the other from trying to wander out and grow. They just prevent other people from forcing eachother to do anything they don’t want, aren’t comfortable with, can’t handle, or aren’t ready for.

On the other side of things, Killer is introverted and Color..is not. He’s extroverted. On top of that, Color has lasting trauma regarding being almost completely and forcibly alone for reasonably two decades, whereas Killer has trauma regarding people and never being left alone (and having his want to be left alone often ignored, sending the message over and over again that what he wants doesn’t matter) for assumingely a very long time.

Of course Killer wants to be alone with the very few things, seemingly the only things, that have never used or controlled or hurt him; animals and Color. His feelings towards most other people in general can range from extreme distrust to curiosity to contempt or apathy and disinterest, to fear and terror and potentially paranoia, depending on the Stage he’s in.

Meanwhile, feeling/being completely alone, isolated, not remembered, seen, heard, replaced and without anyone has deeply traumatized Color to the point he’d even join random groups of strangers just to feel less alone and forgettable.

I believe that, if it weren’t for not only the six souls but the friendships and connections Color has outside of Killer (Epic Sanses & Abyss Team), Color very likely wouldn’t have mentally and emotionally survived everything that took place between him and Nightmare, and him and the alternate versions of Killer that all replaced the other.

Color probably would’ve even tried to kill himself or been driven to desperate extremes in an attempt to fill the emotional void inside him and kill the loneliness, willing to tolerate or invite a lot of things if it meant someone remembered him, was seeing him, and he wasn’t alone. Which isn’t a good thing if he’s trying help a version of Killer that’s more violent or manipulative, or even a lot more cold and indifferent.

Hell, given the nature of the Multiverse and Nightmare replacing Killers with alternate versions, there isn’t anything preventing something like the scenario above from having already happened before; and Color and the souls having connections outside of Killer and eachother is what saved Color from that situation.

And then of course, when Color finally manages to successfully convince one Killer to save themselves and keep him alive, all these past experiences will color the relationship he has with this current Killer—in both nostalgic and potentially even traumatizing/stressful/upsetting ways, for both Color & the souls and Killer.

For example, Justice helping Color set firm boundaries with this current Killer regarding details and the nature of Color’s past relationships with other Killers; that Killer is not allowed to try and demand more from Color than he’s willing to share, and Killer’s not allowed to go digging through Color’s things to try and figure it out.

Not exactly because remembering and talking about them is too painful for Color (it is painful, but he’d never want to forget what he had with the others, whatever that might’ve been), but because 1. he is entitled to his privacy and he & the souls should be able to share when they’re good and ready, and 2. potentially, he knows how Killers can get; having dealt with extremely possessive and potentially controlling Killers before.

Not sharing or showing information until they’re ready talk about it on their own terms, to remember and invite in old pain and memories and open old wounds, until they’re certain this Killer can be trusted to handle this information without accusing Color of only wanting a replacement, or having ulterior motives, or getting dangerously possessive like some Killers might’ve in the past is for their own mental, emotional, psychological, and physical stability and safety.

I don’t know, I just like the idea that Color and the souls learn, grow, and develop throughout their relationships with different Killers—progressing and regressing—developing and defining their rules, moral codes, boundaries—what they will and won’t do, how they are and are not allowed to treat others, how others are and are not allowed to treat them—and that Integrity and Justice help Color build and reinforce this internal framework, with consequences both internally and externally if they aren’t followed or if a rule/boundary is broken.

[thewalrusespublicist]

"Tbh I was starting to feel a bit down about my blog and what I was putting out ( the eternal crisis on how to give full answers and opinions without being stupid, boring and annoying lol)"

OMG no way! Your blog is one of the best here! What i love the most is reading the analysis and meta from the users, there's always more information and good takes, and yours are always quite deep and insightful.

I would love if you share your opinions about Stuart as well. I feel like he is obviously more sanctified that he should be since he died young (like that insane quote from his mom saying that Brian told her that Stuart could have been the Beatles' manager, no way lol) and i feel his memory has been used to attack Paul, sometimes in a very unfair way. Like, i don't deny the teenage drama and jealousy that Paul felt about him but he *was* a shitty bass player and the band was Paul's future, he was allowed to criticized him not only for being John's new bestie. I also think John played with them both but i lack of your eloquence so i will love to read your take about it.

Hi anon! And the other anons!

Thank you again and to all the other messages I got, they were extremely sweet and really made my day. :)

From my inbox, it's clear you guys want to know about Stu and his role in the Beatles legacy. Well you asked for it and a novel you shall have. Be warned this might be the longest post I've done so grab like a drink or something.

A few disclaimers: I wish and had intended for this to be more of a deep dive into Stu as a whole person rather than just his relationship with John and Paul. Unfortunately I just didn't have the space to do it. If you want to know more about Stu I would highly recommend @eppysboys' blog which is the source for all things Stu Sutcliffe and where I got a lot of this info. Please check their stuff out. Also, I'm going to be a bit blunter on this than maybe I usually am because this topic has been irritating me for some time. Oh also I’m trying my best to answer a lot of asks in one post so please forgive if I don’t fully answer your specific ask about this!

Stu in a perfect world should be a fandom darling: an exciting cipher, a handsome artistic talent that died way too soon who had a major influence in the early Beatles style. It's like there’s this secret other James Dean looking mf Beatle hidden away to uncover, that's cool and he is cool! The problem is that he’s sort of becomes radioactive to talk about in a normal way due to how he's been portrayed and utilised in some biographies and fandom spaces, particularly those that have been infected by John Lennon aspirational boy bestie syndrome. As those types of spaces cannot seem to exist without tearing down Paul to prop John up as their special lil guy, Stu as John's other best friend has become the ideal heavy object to hit Paul McCartney over the head with. It's like a corrosive element, the minute Stu hits a Beatles bio, the biographer suddenly loses all training in objectivity and source work and starts waxing lyrical about 100 percent reliable never biased or wrong Saint Stu of Hamburg who died for our condom arson sins and that Paul McCartney should feel bad about every day of his life for not worshipping Stu and not accepting his own ‘place’ in life as John's just-some-guy placeholder best friend. I’ve personally seen so many posts and forums where Stu being mentioned leads to a legion of comments about how Paul could never have been Stu (correct both ways) and how John would never have even glanced at Paul for much longer if Stu had been alive. Sidenote: If you seriously think that the musical savant from down the road whom John went on to produce the most prolific song writing partnership in history with couldnt have kept his attention for long then I'm begging you on hands and knees to get your head out of the arse of your John Lennon body pillow and be serious. But anyway…

This boy bestie battle royale approach has in turn lead to a reflex reaction where Stu gets studiously ignored by other sections of the fandom as a precedent has been set that shining a light on him diminishes Paul and John's relationship with Paul. It's frustrating because if people weren't so keen to cut Paul out of his own story then we would get a much better nuanced view of every single person involved.

So let's put aside all of our defenses, cut the John Lennon loved one ranking system bullshit and lets look at the actual question here which is what was John and Stu's relationship really like and what did he mean to John?

John and Stu met at art college a year or so after Paul and John met. Up to that point John and Paul had their fun little codependant thing going on but Stu quickly became a huge fixture in John's life. Stu had things that Paul couldn't really offer at that point in time. John was at his heart a musician who aspired to be seen as an artist (he would later express surprise that he didn't become an artist). Stu was the passionate artist who knew tons about the art of the period that could teach and inspire John. Their creative leanings meant they could work on projects together and share art notebooks and poetry. (Including yes the one with anti-semitic story which I mention again as I believe it's an important thing to remember when it comes to both John and Stu and the culture of the time.) Stuart by the sounds of it was even writing a novel about John at the time of his death. They were fascinated and inspired by each other.

So, creatively they fired each other up but more importantly perhaps, Stu and John were peers. It's funny to think about when you see the Beatles later but at the time Paul and George were the kids in their school uniform coming to see their cool older friend at art school. That's an important divide. When Paul and George's parents insisted their kids do their homework and go to bed, John and Stu could stay up and talk all hours of the night, which they did. They also could rent a place together and spend long hours chatting (despite John moving out later after realising electricity cost money lol.) There's a different dynamic that the age similarity offered as well. Whilst Paul would later somewhat grow into this role, Stu could act as an authority figure to John as well as open up to John in a way you can really only do with your peers. Stu was the person John opened up to throughout Stu's life:

How long can one go on writing and writing like you. I now don’t really know who I’m writing to or why it’s quiet peculiar. I usually write like this and forget about it but if I put it in a little part of my [almost?] secret self in the hands of someone miles away who will wonder what the hell is going on or just pass it off as toilet paper. Anyway I don’t care really what happens because when I think about it, it’s so bloody unimportant – but what is important who has the right to say that this letter is not important and this is a something any way – anyway – anyway – yeah! I wonder what it would be like to be a cretin or something. I bet it’s gear. & how are you keepin Stuart old chap are you as ok – is life as good – bad shite, great – wonderful as it was or is it just a thousand years of nothing and coolness on and on and on. I think this is it Goodbye Stu don’t write out of – er what is it? well not because you think you ought to write when you feel like So goodbye (from John you know the one with glasses) ANYWAY BYE BYE see you soon I don’t know why I said that I remember a time when everyone I loved hated me because I hated them so what so what so fucking what I remember a time when belly buttons were knee high when only shitting was dirty and everything else clean + beautiful I can’t remember anything without a sadness So deep that it hardly becomes known to me so deep that its tears leave me a spectator of my own STUPIDITY + so I go rambling on with a hey nonny nonny nonny no

Extract from a letter to Stuart Sutcliffe from John Lennon, 1961

By lots of accounts Stu was gentle but firm when it came to telling John he'd gone too far. John references this aspect of Stu to Hunter Davies:

"I looked up to Stu. I depended on him to tell me the truth. Stu would tell me if something was good and I'd believe him."

The Beatles: The Authorised Biography (Hunter Davies)

In this way I kind of see Stu as a proto-Yoko. John was so insecure and uncertain about his grip on the world and reality that he relied on Stu to be his point of reference and guide. Paul did this too later and I think in Hunter Davies John mentions this, but not at this time period and not as much due to their competitiveness. This may be why some people saw Stu as the person that really understood John at this time period:

"During the turbulent adolescence that prefaced a turbulent manhood, hardly anyone knew Lennon as intimately as Stuart Sutcliffe. If they weren't exactly David and Jonathan, June Furlong, one of the life models at Liverpool's Regional College of Art, had "never seen two teenagers as close as those two."

The Gospel According To Lennon by Alan Clayson

Now this person likely never met John and Paul together but this is only one of many similar quotes and even Julia captain of John and Paul's friendship boat seems to agree there was a period where Stu dominated and Paul 'kept his distance' from the John-Cyn-Stu 'menage-a-trois'. But the friendship wasn't perfect and his position as John's ultimate best friend was never iron clad. This is best outlined by the shit they pulled when John convinced him to join on Bass for the Beatles.

Despite being John's best friend, Stu was teased and bullied:

"They argued as usual amongst themselves, but most of all they picked on Stu, the newest member of the group. John, George and Paul had been with each other long enough to know that rows and arguments and criticism didn't mean much. If it did, you just argued back. "We were terrible," says John. "We'd tell Stu he couldn't sit with us, or eat with us. We'd tell him to go away, and he did." At one hotel they stayed at, a variety show had just left. There had been a dwarf in the show and they found out which bed he had slept in and said that would have to be Stu's. They certainly weren't going to sleep in it. So Stu had to. "That was how he learned to be with us," says John. "It was all stupid, but that was what we were like."

The Beatles: The Authorised Biography (Hunter Davies)

Why John encouraged this I have no idea, maybe jealousy over Stu's looks and wanting to play people off each other? Things were tense in both Scotland and Hamburg, especially between Stu and Paul. As I said in my last post, the girls were fighting and it was mutual. Paul was mad for both fair and immature teenage-boy reasons. Stu could not be bothered with the bass most of the time and couldn't really play well and was only there as he was '(John's) best friend' (ouch for Paul). Paul conversely had given up higher education to be there and was sending lots of money back home. He also was dating the girl Paul fancied. Stu was popular with the new group and also did mean things like help John steal Paul's money when money was really tight for him. Paul in turn was a passive aggressive, jealous and mean. It all came to ahead in the punch up onstage which according to Spitz came about from Paul wanting money back and saying that Stu could borrow some from Astrid. Stu goes for him and reports vary from full-on bust up to embarrassing scuffle. Stu then goes to where Astrid and Paul's gf Dot are, demands Dot leaves and goes on a rant about Paul. Now all of this must be framed in the context of Stu receiving increasing brain damage from his condition that seemingly lead to mood swings and anger. Nevertheless, the mutual needling and anger, as well as John's refusal to do/say fuck all about it, especially given how protective John was of Stu, suggests that it wasn’t straightforward and/or John may have been playing some games to make both feel threatened. This would also make sense as to why we hear conflicting accounts of John and Stu being the centre of everything and everyone else in orbit AND John and Paul being the centre and everyone else playing catch-up, as well as John giving Paul the lead to take him round the Reeperbahn when John got dressed in the gorilla costume. (I know Paul may have just been the closest there but that always gave off bestie behaviour to me.)

(I did get an ask about how John and Paul's friendship survived it, I think it was damaged by Hamburg. When Paul got back home he got a job at a construction site and there's just a vibe of everything being a bit on tenterhooks. John also acts a bit weird at the period, not talking to anyone for a few weeks then making a lot of weird demands from Paul. I'm really not sure what to make of it.)

Even when he's back in Liverpool, John still writes long letters to Stu and vice-versa. I can't find it at all but I’ve read a really sad interview with John saying he missed his best mate and it's a shame that he's not with them. He had no idea at that point that Stu had already died of a brain hemorrhage at 21.

John is said to have gone into hysterics when he found out Stu had died. A lot of people who've spoken about this time (Aunt Mimi, his sister Julia, the Exsis) concur that at this point Stu was his best friend and the death shattered him. He even told Astrid he wished he could give his life for Stu’s. This is backed up by the fact that John never forgot Stu and his shadow lingered for the rest of John's life:

Stu was recalled in In My Life

Years later, after John composed the first of his truly poignant and heartfelt Beatles songs, "In My Life"—with its lines about "friends I still can recall/some are dead and some are living"—he revealed to me that the two people he had had uppermost in mind were myself and Stuart Sutcliffe. And then he stunned me with a statement that I'd never heard him address to anyone—least of all to another man. "You know, Pete," he said softly, "I do love you. But," he quickly added, "I loved Stuart as well."

Weird that Paul isn't mentioned surely you think that he would be mentioned if Pete was there too okay, okay my tin hat is going away this isn't the time

Pete Shotton, Nicholas Schaffner, John Lennon: In My Life

In 1965 John drew Stu on a postcard

He apparently said this about Stu prior to sending the postcard, prompted by an article about Stuart.

The card had been sent from Genoa mid-way through the Beatles' Italian tour. [...] But the conversation had become maudlin when I reminded him that he was going to talk to me for an article about Stuart. [...] In that sad telephone conversation before they set off for Milan, I asked him if he was happy: 'I'd be a lot happier if Stuart was still part of us,' he said, 'The Beatles would be complete.' And before he rang off he said 'Ill send you something.'

He also appears on the cover of Sgt Pepper

As mentioned, Stu gets mentioned in Hunter Davies in terms of wistfulness and guilt AND he gets a mention in John's insane 'if I were a homosexual' ramblings in early 70s. According to Yoko, John also wanted Yoko to write letters to him and didn't think it would be strange because Stu wrote letters to him.

I have a pet theory that as with a lot of things for John, his unresolved grief over Stu really came to the fore in the late 60s now that he had actually had a chance to sit down and think about things. I believe it was partially why he wanted Yoko to write letters and why he gets mentioned in the early 70s as a collaborator/best friend and not in 1980 where John only gives that credit to Paul and Yoko. I think with the cracks with Paul, John had started to think back on his old friend and guide and what advice he would give.

Stuarts presence is still felt throughout the seventies:

“He told me everything. He loved to talk about Hamburg. There were no secrets. It was the kind of life I never knew…. It meant total freedom. At his side always was Stuart, sweet Stuart. There wasn’t a time in John’s life when he didn’t think about Stuart. He spoke always of his love and respect for Stuart.”

Yoko discussing Stu in When They Were Boys: The True Story of the Beatles’ Rise to the Top by Larry Kane

Coming to grips with his death is also present in Skywriting

SEAN O’HAIRE: What happened to Stuart Cliff? DR. FISCHY: What happened was a full exchange of energy where it was not needed within the expression of your own self or in the energies involved around and about you. We cannot call it a happening. We’ll say it is an awakening, for in that way it has served an expression from the past to the present and to the future to where there shall be more of that incomplete vibration expressed to you in a more fuller understanding.

Skywriting by Word of Mouth, John Lennon

This isn't exhaustive but I think from all this it's pretty clear that John adored Stu, John grieved Stu and kept grieving Stu. Stu had a specific place in his life as a confidant that he tried to recreate with Yoko. At the time of Stu's death, he was John's best friend, probably slightly over Paul. Stuart had been able to be both a friend and paternal presence, a confidant and an artistic collaborator. His presence and loss was one of the foundational points in John's life.

But as we've been asked to play this stupid game and so many bios like to make a hoopla about it, were they at their closest ever as close as John and Paul were at their height?

No.

How do we know? Because John told us so:

" He [Paul] still is the closest friend I've ever had, except for Yoko, so I'm still close to him whatever goes on."

John Lennon to an interviewer, 1971

But Walrus! John just says shit! How do we know he isn't leaving out Stu because the press don't know Stu. Well true John does just say shit but this is at a time where John isn't the most glowing about Paul and he's had no problem mentioning Stu in this time period ('one of my best friends ever' would have made a similar point).

But Walrus again! If John picked Stu over Paul when they were young why wouldn't he be the boy bestie of all time, and why would John say that he was closer to Paul? Well, because of the environment and timings. Stu's death happened near the beginning of John and Paul's major bonding moments. If you look at their personal timeline, Paris, the Nerk twins, and getting signed happened just before Stu died. That's missing the major years of Beatlemania, Key West, LSD, Paul growing more into being John's peer and a load of other huge moments in their lives. It's like how John writes to Cyn in 1962 about wanting the house to themselves and not have Paul around all the time. Would you say because he feels closer to Cyn then that John in his overall lifetime loved Cyn more than Paul? No, because relationships change over time and theirs were no exception. (One thing to consider as well is that we don't yet have many letters between John and Paul during their Beatles years and earlier, probably because they were spending so much time with each other. We know a couple exist that Paul considers too personal for publication but I'm sure there are others. It's easy to understand what John felt for Stu as we have the letters, I think we would also have an easier time understanding what John felt for Paul if we had the equivalent of those.)

At the end of the day Paul was the man he believed he had a psychic bond with, the man he couldn’t shut up about, the man whom he’d conquered the world with with their endless collaboration, the man with a twin personality to him and according to John spent more time with throughout the 60s than he had with Yoko ever. To be frank if Paul had died in 67' I don't think this would have been a conversation.

As mentioned early, in early 1970s John elevates his partnership with Stu to his collaborations with Paul and Yoko but by 1980 he’s pretty clear that Paul and Yoko are their own category.

"I was saying to somebody the other day, “There’s only two artists I’ve ever worked with for more than a one night stand, as it were. That’s Paul McCartney, and Yoko Ono.” And I think that’s a pretty damned good choice!!"

John Lennon interview with DJ Dave Sholin, 1980

There are of course the what ifs. Would Stu still being alive mean that John was not as close with Paul? Maybe, highly doubtful though as the Beatles experience was so intense. If Stu remained a Beatle would John be as close with Paul? If Stu remained a Beatle he wouldn't be Stu so no. At the same time who knows what it would have been like if Paul and John were peers from the off? I said this to @the62ndbugsfan when it comes to Stu vs Paul (hi girl sorry i've made our chat a whole ass post lol) but to go a bit Wuthering Heights, soulmates are made as much from the earth as they are of the stars. What binds us is our experiences just as much as our personalities. There may be a universe where Stu and John took on the art world together or became inseparable bffs again after the Beatles disbanded, but it is not our universe. In this universe Stu tragically died and John and Paul chose to become Lennon/McCartney and artistically unite themselves forever.

Even going back to Stu's lifetime, I've said it before and I'll say it again I find it interesting that not only did John choose to go to Paris with Paul rather than pay to meet up with Stu somewhere but that they arranged to meet up with Juergen and nobody told Stu until they'd already gone. Stu was shocked and didn't know if it meant the end of the Beatles which is a pretty big thing for him not to know about. Why didn't John tell him if they're apparently still writing long letters? Was it because he really wanted to do this with Paul and didn't want to hurt Stu's feelings? And that's really the point I want to make here. Due to his trauma John was preoccupied with reinforcing ranking of relationships within his life. But the thing is friendship rankings are made up guidelines and the reality is far more complicated. You can have a designated best friend but feel closer to another friend at times, you can want to do one thing specifically with one friend and not the other for various reasons. You can (as I do) have more than one equal best friend. Friendship as with most relationships are in a constant state of flux and each friendship you have will give and mean a different thing, even if they are of similar value to you.

Paul may have ended up closer to John than Stu had been, but that doesen't make John's relationship with Stu any less special. Nor does Stu negate the significance of Paul. Whilst both fit into John's pattern of intense relationships and demands related to that, both had unique positions and meaning to him. Considering what I've gone into about John's closeness to Stu, it actually says something deeply, borderline unnervingly, intense about John and Paul that Paul pipped Stu to the post. Maybe it's time Beatles bios accept the fact that John Lennon just wouldn't be into them like that, stop using a tragically prematurely deceased young man as a prop in their jealous psychological warfare against Paul McCartney, stop perpetuating one of the most damaging games that John did to his loved ones and allow both relationships the space to shine and showcase the amazing talent that was the Beatles and those that surrounded them.

[magpiemirroring]

I feel like now is a really good time for a Stepford Wives.....not exactly remake.....but like.....reimagining. We won't even call it Stepford Wives.

We've got a lot of influencers preaching very traditional women's roles (while not truly living what they preach a lot of the time) and a lot of grifters preying on very specific ideas of a purer, better kind of Femaleness that you can get in touch with if you just buy into their diet/crystals/tea/supplements/yoga/radical political beliefs.

And certain types of dudes are being very loud and disagreeable about wanting control over women's lives and bodies.

So, instead of "woman moves to Stepford with her husband who joins a Men's Club while she tries to make new friends and retain her identity and watches cool ladies suddenly become weird idealized stereotypes (and also robots)"....Let's start with a woman who is an influencer.

Maybe that's been her goal, maybe it's something she stumbled into with a bit of viral success but friends are encouraging her to network and make it like a Thing. Capitalize on the accidental success. Her particular thing is a little offbeat and quirky and needs all the help she can get to find an audience! So she starts connecting with others and decides to go to a convention or seminar (in stepford maybe, lmao) for influencers and other folks making a career out of an online presence, not only for like advice and networking opportunities but to meet up with some of the folks she's made friends with.

At the same hotel is a convention for developers of next generation AI software. Cue joke about men not even needing women these days because they have their AI girlfriends with their perfect AI generated faces and voices and who can be shaped with prompts into exactly what men want with no real inner lives or needs of their own.

The convention is a little depressing for our MC gal as some of the talks she attends advise leaping on trends and playing it safe to appeal to a wider audience. And like, she doesn't want to be a soft-spoken trad-feminine beauty blogger making "delicious" health food for her family. (She has a cat and maybe she'd prefer a girlfriend.) She just wants to know how to make it easier for people who would like her content to find her.

She goes out for drinks with her pals that night and one of them is acting a little off, different than she did earlier, but she puts that down to the same sort of "authentic identity vs brand" issues she herself is working through.

But when she's back at home struggling with her next update and sees this friend's next post or video, she is shocked to see that her friend has gone very tradwife-y all of a sudden. She reaches out to her friend to be like "oh new direction. kinda a sharp pivot....? you know you don't HAVE to change up what you're doing just because someone at the convention said so, right?" and gets back a chipper note that this friend is just SO HAPPY with her new content. She didn't realize how unhappy....how unconnected to her inner goddess she had been. Plus, like, the stuff she was doing before was hurting her husband's chances at a real political career and she real wants to live in such a way that their lives and values are perfectly aligned, a team!

Okay, a little strange, but this was a new friend and maybe our MC just never really knew the real her. That's a risk with folks you meet online.

But then more and more of her fellow quirkier influencers start shifting their content to the same sort of bland, safe feminine content that reiterates a sort of second-to-your-man (and you DO have a MAN, right?) ideology. Their videos look very polished, but sort of wrong at the same time....and they all have new sponsors.

Desperately digging for info into those sponsorships (she knows how controlling those can be), she discovers they are all linked back to one guy, a venture capitalist whose put a lot of money into shady pyramid scheme type companies and has recently also starting investing in an AI company that sounds familiar. Our MC realizes she saw a lot of their banners at the AI conference sharing the hotel with her influencer conferences and realizes that it's possible someone hacked the hotel's data for the names, addresses, phone numbers, and credit cards of all the women at the influencer conference and has been using that information to target popular women whose content he doesn't like.

He's also been donating a lot to a campaign for a guy going for a house of reps seat on a platform with a lot of Traditional Values dogwhistles.

Digging further, reaching out to more people (neglecting her update schedule!) she's found worrying signs that the women whose content has suddenly changed haven't been seen out and about in person in awhile and she can't get any of them to agree to going out for a coffee or even an in-person collab for their instas! She even finds some Missing Person reports.

The idea that someone has maybe killed these women and replaced them with AI-generated versions that are increasingly unsubtle shills for a trad-femme/anti-feminist ideology (and a bunch of bogus products) is too ridiculous to be true! But also...increasingly too plausible to deny.

Our MC gathers her evidence. She doesn't think she can trust the cops with this. She's not really in the habit of trusting them, though if these women really are missing she'll have to talk to them eventually. But not until she can convince them she's not just some crazy. Not until she's built up some outcry and support for her suspicions. So she sets up her camera and prepares to record a True Crime style video on what she's uncovered.

In the artfully blurred background of her video we see movement. A person dressed in dark clothes. They go off camera while, uneasy, but unaware, the MC continues to narrate her video, gesturing in the air to where she will edit in graphics later. Just as she starts in on her sponsorship bit, a figure in black with surgical-gloved hands steps into the frame and kills her.

Cut to black. Credits roll, interspersed with clips from her new video! Which is a safer, tamer, more male-gaze-y take on whatever she did before. Other clips also play during the credits. Slight glitchy tradfemme videos. A few short reaction video clips to same. Short clip about the politician winning his seat. His wife is so proud of him and would be here by his side if she wasn't recovering from a recent medical procedure. But she'll be back at his side soon! More unsettlingly off clips, ending with a bit from the MC's sponsor moment that just straight up advertises for a perfect AI Assistant who is just like a friend who can help you keep track of all your responsibilities and help you so you have more time for You! (tho "more time for you" is paired with an image of the MC getting a chaste embrace from a handsome man in a soft sweater, as if "you time" is not complete without a man.) We should walk away with the sense that this helpful AI assistant is gonna use a lot of personal info about you to build up a profile of users, ostensibly to personalize your New Friend, but also so it has a base on which to learn and function as a replacement for the female users eventually...

Cottagecore beauty blogger video called "How to get the Stepford Wife aesthetic!" but in between talking about where to find Gunne Saxe dresses online and how to do that 70s mascara look, there's something...off. She keeps jerking and repeating lines, like she's stuck in a loop. By the end of it, she's holding a knife to cut up heirloom tomatoes for a summery afternoon snack, but her hand is twitching and she's turning the tomato into paste with all those slices and even when she's moving on to asking you to like and subscribe she's still making slicing motions on the table.