#sorry for the length of this one

[micahthemoon]

August 23 2023 This will be another one where I’ll let myself just rant. Be warned. It’s probably just the period brain talking but I really need somebody to tell me that they’d still like me if I put on weight. Even more importantly, I need them to be sincere when they say it.

I find it so hard not to obsess over my body these days. How a part of me really wants to weight myself all the time to figure out if the dread I’m feeling is rational and if I actively must do more to keep my weight lowish or not. At the same time, I fear losing myself to constantly feeling the need to lose more bodyweight because in the end this is not what I want my life to be about. I want to live a life when I don’t have to care about my looks and just be happy and feel loved and supported. But…

It seems that only after making a conscious decision to lose weight, I have had people complimented my looks (emphasizing the weight loss in the most cases) and I only started to not risk losing my chance at top surgery. This high emphasis on my weight has only made me more afraid of putting it on again because will people then stop caring about me? Will I be left to rot by the healthcare system? If nobody is around to support me, will I have enough strength to love and support myself?

And that is why I need to know that all this love won’t go away if I put on weight again: if I become chubby or get a tummy or “let myself go” or whatever you’d like to call it. I want to know I’m lovable despite my looks. Because I know it’s possible for a Finnish cisman rapper with a bowl cut to have tons of fans that love him and adore him despite (or in some cases somewhat because of) his beer belly. But how will I know that that also applies to me: a transmasculine nonbinary person bound to follow the rules of a healthcare system that won’t offer t or surgeries to people over a specific body weight?

[chloesimaginationthings]

FNAF Michael refuses to be gaslit on “THE BITE OF 83”

[ylangelegy]

After MAMA awards I'M VERY PROUD OF MY BOYS and seeing Woozi crying, nooooo my mannnnn

So can I request Woozi or anyone after awards, all members celebrating with their partners hehe LOVE YOUUU!!!

PLEASE PLEASE 🛐🛐

🍑 i will really live the rest of my life repaying you.

you don't see seungcheol until the next day. such is the life of the general leader, it seems— the never-ending heralding, the non-stop worrying. he deals with his boys, first, then the fans, then the staff. but once that's all done, he's at your front door, collapsing into your arms before he's even past through the entryway. it doesn't matter how many awards its been. he is still overwhelmed by it every single time, and you are a soft place to land. he comes home to you and whispers the sweetest nothings in your hair. i'm so proud of them and they did so well and they're so happy. as he holds you tight— like you're the only thing keeping him upright— it's your turn to let him hear those words. i'm so proud of you. you did so well. you get to be happy, too.

the jeonghan on the other end of the video call has been quiet for the most part of the past half-hour. you'd be more worried if you hadn't already predicted where his solemness was coming from. "hannie? still with me?" you prompt gently, and he finally tears his gaze away from the ceiling to look back at you. "yeah. yeah, i'm with you," he answers. a beat. there are some things you no longer have to say out loud. how he wishes he was there. how he misses them and tries not to let it show. instead, you give him a reminder that's quiet and firm. "this is yours, too," you say. this award. this moment. these boys. all still his. there's a ghost of a smile on his face as he mumbles, "right. of course. how could i forget."

joshua likes keeping lists. a running one he has with you is that of gratitude, where the two of you try to end each day with acknowledgements of what you're grateful for. you're expecting a whole essay for him after tonight. he surprises you by keeping it short, sweet, and straight to the point. in no particular order, he types out into your shared note. music, the boys, you. hours later, he adds a footnote like it'd occurred to him as an afterthought: i'm always grateful for those three, but especially so today.

"look at them!" jun shrieks. his video call pixelates, either from spotty connection or his sudden burst of enthusiasm. you have half a mind to warn him that he may get a noise complaint again, but this time it'd be completely warranted. he's positively vibrating with excitement, his eyes glued to the livestream of his twelve brothers ascending the stage for their second award of the night. "look at them," he repeats, and this time his voice is more reverent than anything. you could comply, could do as he's asking, but your eyes are trained elsewhere. and look at you, too, you want to say. look at you and all that you've done to get this far.

even though it's been an exceptionally long day, soonyoung comes home brimming with adrenaline. he does dance routines in your living room. he jogs around your block until you beg him to just come back. he sings in the shower before collapsing onto the bed next to you, where he suddenly becomes boneless. the glow of pride stays even as the exhaustion hits. he pulls you against him and cuddles right into you. to soonyoung, this is as good as any trophy: the peace that comes with falling asleep next to you.

wonwoo has no destination in mind. he has a car with a full tank, and a playlist of all his favorite songs, and you in the passenger seat. that's more than enough. you pass through tunnels with warm lighting; expressways where he keeps the windows down so the wind will whip at your hair. occasionally, you'll stop to grab a snack or take a photo of something interesting on the side of the street. after hours of just going in circles, he'll ask, "should we keep driving?" even though he knows you'd never deny him this. this. his little celebration in the form of getting 'lost' with you.

nobody hears from jihoon for the next couple of days. the managers are worried, but the boys all just shake their heads and say that he's in good hands. which means: he's wherever you are. the two of you don't talk about his speech, about his public breakdown, because both things make him want to hide forever. instead— he sleeps in. he watches movies from months ago that he promised he'd get to. the two of you go on walks at night, and have breakfast at lunch time. the vicious cycle will soon have to begin again. jihoon knows that. but for a few, precious moments, his heart is not a heavy burden because it's safe and sound in your capable hands.

seokmin takes you on the textbook definition of your perfect date. a shopping spree? here's his black card. an amusement park? he'll rent out lotte world for the day, if he must. you're understandably baffled. he's the one who just won big, and yet you're the one being treated like royalty. try to resist and he'll only push back on you. seokmin already spoils you enough as is, but this is just a little more over-the-top than the day-to-day stuff. at the end of it all, his rationale is as sweet as it gets. "you keep me going," he tells you. "and so you deserve just as much credit as i do."

mingyu has always liked to celebrate with a meal. you'd expected his usual fare of some swanky restaurant or high-end café, but, this time, he asks for only free reign of your kitchen. he props his phone up against the salt shaker and pulls up a youtube video before flashing you his best 'just-trust-me' grin. your trust is not misplaced; the two of you do manage to bake the celebratory cake, though whether it's any good is an entirely different story. the end result doesn't matter as much as the process. mingyu is happiest about the flour marks on your cheeks, about the kisses he steals while you whisk eggs. it's not a birthday cake, but you light up a candle for him anyway. just for the hell of it. "make a wish," you tease. he's looking straight at you as he blows at the flame.

minghao asks for a beach day. the two of you set out for the nearest one. maybe the sand is a bit rocky; the shore, lacking in shells. he doesn't care. he only seeks out the sun beating on his back, the saltwater clinging to his skin, the first punch of air after emerging from the water. as the stolen weekend winds to a close, the two of you sit at the point where the water lap at your toes. neither of you have to speak. here, minghao lets the tide wash away the ache of homesickness. here, minghao redefines 'home' as a future with the boys of his youth, with the music that is as constant as the waves— and with you, of course.

the ferry ride to jeju is about four or so hours long, but seungkwan doesn't mind. there's just something so right about getting on the first vessel that will take him back where he has family waiting with a homecooked meal and a play-by-play of the award show. besides, the ferry means having four hours of uninterrupted leisure time with you. the pair of you literally have nowhere else to be except this boat and this point in time, which seungkwan is a little guilty to be so happy about. he's a glutton for your time and attention, and these ferry rides— these trips home— remind him just how much he likes taking the scenic route.

vernon treats it almost like it's just another day. almost. you're thrown off by his initial nonchalance, by the lack of utter fanfare in the way he asks you out to lunch and the two of you barely discuss the recent accolades. when you prompt him about it, you realize it's not because of arrogance or ignorance. "we're just doing what we always do," he says with an expression of mild confusion. winning?, you almost inquire half-jokingly, but that's only part of it. he elaborates, "we were just ourselves, y'know?"

when chan suggests a rage room, you're understandably confused. the wrath-based activity doesn't seem like the most optimal celebration, but you're not about to cramp his style. the two of you queue the angriest songs known to man before smashing some defunct appliances and throwing empty bottles against a wall. once your time is up, chan looks at you with that familiar spark of fire in his eyes. that dedication you fell in love with, that passion that has always burned bright. "again?" he asks, and you know it's not just the rage room that he's asking for.

[kevjeanyves]

i just got here (and by that i mean i binged the whole show while studying for finals between november and december), but buddie can’t NOT go canon. not at this point. not with everything they’ve set up

bucks canonically bisexual. that’s a massive key component. the queerBAIT is now lying entirely on eddie’s shoulders. and in terms of bucks storyline, the horrible guy he dated was given a barebones personality…that resembles eddie (military, likes sports, had a serious relationship with a woman). almost every trait they gave That Guy resembles eddie (except eddie isn’t racist). they did that on purpose. buck, bothered, bewildered, bisexual or whatever it’s called was so centred on bucks relationship with eddie

plus the whole confessions “i’m not your last” moment, only for the LAST shot of that episode to be buck and eddie sitting side by side. confessions as a whole is such insane proof of impending buddie canon too…the whole focus on eddie finding joy, on eddie’s catholic guilt and guilt in general, on eddie not wanting to See himself both figuratively and literally because he’s scared of what he’ll find…josh’s speech applying to eddie but making no sense regarding that Other Guy (the glee thing made no sense regardless)

and THAT focus is so obviously pointing towards eddie being gay. eddie’s entire everything has always pointed towards him being gay, i can’t lie, but it’s getting so much more obvious. they’ve reached a point where nothing about eddie’s personal arc or journey makes any fucking sense UNLESS he’s gay, and every storyline is making it more obvious that they’ve realized it

his catholic guilt being brought up. not wanting to be intimate with a woman who represents god in his mind. sex, god, and shame all coming together in that episode, AND bobby bringing up that eddie does this thing in relationships where he makes excuses instead of examining how he really feels towards them…now im sure bobby doesn’t know eddie’s gay, but it invites the audience and eddie to examine his past behaviour towards female romantic partners. and every single thing about that priest/juice scene in confessions. catholicism guilt tied into sexuality again (“uh…n-no offence…i-im straight” to a priest like cmon)

and speaking of past relationships, eddie’s grief is at the forefront of his storyline too now. his main most pressing storyline being chris’s running away. eddie’s grief and complicated emotions towards shannon have always been something he struggles with, and in s7 we learn that chris has complicated feelings around his mom too. and at the end of s7…well. what a stupid fucking storyline, but grief is the driving force of the chasm between eddie and chris. this addresses the most important romantic relationship eddie had with a woman (obviously shannon), and hopefully the relationship he has with his son, and both of those people are excuses eddie might be making in his own head to justify not even questioning his sexuality. eddie and shannon had chris when they were teenagers, eddie’s been a dad literally his entire adult life. does he know he can be gay if he’s been married? if he has a kid? does he know he’s allowed to even question his own sexuality? it’s probably what michael felt, but more complicated

AND michael stayed with athena thinking she could “fix” him. eddie said in s7 that he thinks he’s broken and can’t be fixed, to a woman he’d been unadvisedly pursuing, a woman who looked just like his own wife…

then, the “you think being a cheerleader makes your son weak?” storyline. cheerleading is seen as feminine and there are a lot of stereotypes about male cheerleaders and feminine men. both cheerleading and being gay are seen as feminine. the cheerleader called eddie “dad” and hen pointed out to chim that it his emergency is difficult for eddie because he misses his own kid AND the conversation with the cheerleaders dad where he relates it to his own current situation, which connects the storyline to eddie and chris. but the “you think [stereotypically feminine thing] makes your son weak?” brings eddie and ramon to mind. because eddie was raised to be hypermasculine and Not Weak, never weak. what would ramon think if eddie comes out as gay?

and, finally, the focus on eddie finding joy. on eddie doing any introspection at all. on eddie Seeing himself and understanding himself and being kinder to himself. on eddie realizing he deserves to be happy. on eddie realizing he doesn’t have to hide behind his (ridiculously adorable) moustache, that he doesn’t have to hide who he is

s7 was for bi buck. s8 is for gay eddie AND likely for buddie. eddie’s currently trying to see Himself and make amends with his past (and because that went badly, making amends with chris…the child he sorta partially legally gave to buck, in a way…). buck’s trying to not lose hope over the future, wondering who’ll be the last to love him (or wondering if he’s loveable at all). eddie’s true self AND bucks endgame are called into question at the same time…now maybe i just got here But

[gailynovelry]

I don’t like getting intense over petty things, but why are people calling large paragraphs “bad formatting” now. It’s just formatting. Sometimes, a larger paragraph serves its text well, and sometimes it doesn’t, and there is a LOT more that goes into making a text block readable than length alone.

Please please please fucking please stop inventing all-encompassing arbitrary rules about what features define “good” art and “bad” art.

[bookshopbentley]

i have the angel and demon on my shoulders except it’s aziraphale and crowley and instead of one telling me to do something good and the other telling me to do something bad theyre both telling me to do something gay

[lotte-s-web]

OH MY GOD I ACCIDENTALLY DELETED UR ASK 🫧ANON IM SO SORRY BUT PLS I KNOW I SAW IT😭😭 ur so right though about hobie having a thing for loser nerds its augh

₊✩‧ ❝hobie x loser!reader❞ headcanons ✩‧₊

₊˚⭑ warnings: nsfw, gn!reader, teasing, penetrative sex

He’s such a sucker for loser nerds, such a sucker for you. He’s addicted to the way the simplest of things get you riled up so easily, how he can do so little and watch it affect you so much.

He loves flustering you, loves teasing you by interrupting your rambling and asking you to repeat yourself, leaning in closer to “hear ya bett'r.” He just finds it so cute when you stutter over yourself, losing your train of thought ‘cause of how close his face is to yours. he loves the way you have to grip at yourself to keep your composure from faltering. He knows he’s being mean, he knows he’s being an ass, but god, he can’t help it that you’re so pretty when you’re a bit embarrassed.

He loves touching you, loves knowing how it ignites an uncomfortable warmth at your core that you desperately try to ignore. It’s never a big gesture either, just an arm draped around your shoulder, his knees knocking against yours. he pretends he doesn’t notice how your breath hitches, how your thighs rub together as you try to carry on with the conversation without thinking of the way his skin was brushing against yours. 

To both of your surprise, it’s you who makes the first move. It’d be a bold move on your part, but in reality, the teasing had just gotten too much for you to bear. you couldn’t go on like this anymore, your heart thumping wildly at having him brush against you lightly, having his breath tickle your ear whenever to confide in you what he thought of your outfit today. It was really the little things that had your chest feeling like it was about to burst, you couldn’t do it anymore.

He watches you stumble over yourself as you try to get out how you like him, wringing your hands together in an attempt to channel the panic thrumming through your mind. He’s patient, waiting for you to say what you need to say before taking your chin in his hand and tilting your head up to kiss you, sealing the deal before you can go back on your confession. He presses his tongue to the seam of your lips and you melt, making him smile as he slips his tongue past your eager lips.

Being with him doesn’t make him any less teasing though, if anything, it just makes him more intense. he’s meaner, more teasing, his hands growing more brazen in their attempts to rile you up. 

He’ll rest his head on the junction of your neck and shoulders, murmuring in your ear about how good you look as his hands go to hold your waist. He’ll toy with your clothing when you’re out with your friends, pulling you against his side and continuing on with the conversation as you try to keep yourself from molding into his warmth. You both know he’s doing it on purpose, know he likes seeing you cave into him, and as much as you’d want to detest it, he knows you like it too.  And he’s not above using it in the bedroom, not above taking advantage of the way you’re so willing to please him no matter how embarrassed you were about it.

He loves seeing your eyes when he’s fucking you, loves the way it’s in your most ruined state that he gets to see just how much you admired him, how much you worshipped him.

He holds your cheeks to keep your eyes on him when he’s fucking you in missionary, watching as they look up at him as if he had hung the stars in the sky. he almost laughs at you, close to calling your devotion pathetic.

He has you on your knees in front of a mirror as he gives you backshots, watching your face contort at each calculated thrust of his hips as his tip hits just right against your sweet spot. He holds your face up by the neck, applying just the right amount of pleasure to make you dizzy. He tells you to keep eye contact with him as he wrecks you.

You watch him in the mirror as he uses his free hand to pull your hips back against him with each thrust, your whines growing in volume. He has you absolutely cock-drunk, going cross-eyed and shuddering violently as you cum around him with a loud cry. 

You catch your breath together once everything has subsided, his cock still sheathed within you as you both pant like dogs. He brushes his lips against your cheek and sighs, wrapping his arms around your torso. 

“Ya’d do anythin’ f’me, wouldn’ ya?” He asks, turning your head with a gentle grip on your chin, moving you to face him. The look in your eyes tells him everything he needs to know, anything.

a/n: 🫧anon IM SO SORRY I DELETED UR ASK MY BADD AGHHGSHDSH HOPE U LIKED IT THO😭😭 ๋࣭ ⭑ tag/s: @eyesxxyou

[god-of-this-new-blog]

What if the two worst guys in the whole world were madly in love with each other?

[essektheylyss]

One thing that I feel is really interesting and often forgotten about Essek is that fundamentally, his characterization has been from the start based upon his desperation for external perspectives and connection, which, along with much of his narrative and mechanical positioning, means that he actually has an extraordinary and almost (but not actually, as I'll show) counterintuitive capacity for both growth and trust.

(Buckle in. This is a long one.)

In particular, I would argue, knowing now that many places where the plot touches Ludinus have long been marked for connecting back into the current plot, that he was quite possibly built as a prime candidate for radicalization by the Ruby Vanguard. He felt isolated from his culture, he was desperate for other connection, and he was certainly of the type to believe he was too smart to be drawn into such a thing, given his initial belief that he could control the situation and the fallout. If things had gone any other way, he easily could've been on the other side by now.

As such, he has been hallmarked by being fairly open to suggestion, perhaps for this reason, but the thing about that kind of trait is that it is both how people are radicalized and deradicalized. This is certainly true of Essek, who experienced genuine kindness and quite frankly strangeness from the Nein and was able to move from the isolation the Assembly had engendered to meaningful and genuine connection, largely propelled by his own internal reflection. By the time Nein are aware of his crimes, he's already begun to express regret to an extent and, furthermore, doubt in the Assembly, including explicitly drawing a line against Ludinus, even in a position where he was on his own and probably quite vulnerable.

Similarly, when the Nein reach the Vurmas Outpost some weeks later, he has moved from regret for the position he's ended up carrying a heavy remorse. This makes sense! He's fairly introspective, seems used to spending a lot of time in his own head, and was left with plenty to mull over. It's not some kind of retcon for him to have progressed well past where the Nein left him; it just means he's an active participant in the world who has done his own work in the meantime.

This is another interesting aspect to him. I've talked about this a bit before but I cannot find the post so I'll recap here: antagonists in D&D have significantly more agency than allied NPCs. Antagonists are active forces, against which the party is meant to struggle; allies are meant to support the PCs, which means they tend to be more passive in both their actions and their character growth. Essek was both built as an antagonist, in a position that gives him significant agency, and also was then given significant opportunity to grow specifically to act as a narrative mirror for Caleb's arc. Even when he becomes a more traditional D&D ally, he still retains much of that, though he occupies a supporting role.

I believe that this is especially true because of the nature of Caleb's arc, which I've already written on; the tl;dr of this post is that Caleb is both convinced that he is permanently ruined and also desperate to prove that change is possible. Essek is that proof, because he is simply the character in a position to do so. But this also means that his propensity for introspection and openness is accentuated! He has to do the legwork on his own, for the most part, because that's where he is in the meantime.

But he still ends the campaign necessarily constricted; he is under significant scrutiny, he's at risk from the Assembly, and he goes on the run fairly soon after the story ends. He spends most of the final arc anxious and paranoid, which is valid given the crushing reality of his situation. It would be very easy to extrapolate that seven years into this reality, he would be insular, closed off, and suspicious of strangers, even in spite of the lessons he's learned from the Nein and their long term exposure.

So seeing his openness and lightness now is surprising, but at the same time, given this combination of factors in his position in the narrative over time and his defining traits, it's not by any means unreasonable.

But one thing that I found so delightful is how much trust he exhibits, which is obviously a wild thing to say about Essek in particular, given much of what he learns is both earning and offering trust, which was something he says explicitly in 2x124 that he's never really experienced: "I've never really been trusted and so I did not trust." It makes up much of the progression of his relationship with Caleb, and the trust that he is offered by the Nein in walking off the ship is the impetus he needs to grow.

But I think it's easy to talk about trust when it comes to people who have proven themselves to you or to whom you've ingratiated yourself, and that's really the most we can say about Essek by the time he leaves the Blooming Grove. There is this sense in a lot of discussion of trust (not solely in this fandom) that it is only related to either naivete or love, but there's far more to it. Trust at its best is deliberate—cultivating an openness to the world at large is a great way to combat cynicism and beget connection instead. It allows a person to maintain curiosity and be open to experience, but it can be incredibly difficult to hold onto.

It is clear that the Essek we meet now is a very pointedly and intentionally trusting individual. He trusts Caleb and by extension Caleb's trust in Keyleth, as he shows up and picks up a group of strangers from a foreign military encampment and walks in without issue. He trusts the Hells to follow his lead moving through Zadash and to exhibit enough discretion so as to avoid bringing suspicion upon all of them. He trusts that Astrid will respond well to his entrance, but he also trusts himself and the Hells enough to execute a back-up plan in the case that she doesn't. In the end, he even trusts them enough to give them his name and identity.

He doesn't scan as someone who has spent half a dozen years living like a prey animal, afraid of any shadow he runs across in an alley, withdrawn into himself and an insular family, which would've been an easy route for him to take. He scans as someone who has learned the kind of trust borne of learned confidence and a trained eye for good will and kindness, which are crucial weapons one would need for staving off cynicism in his circumstances—as if he has survived thanks more to connection and kindness than paranoia and isolation. (If we want to be saccharine about it, he scans quite poignantly as a member of the Mighty Nein.)

So it is easy to imagine this trust and openness as a natural progression of his initial search for perspectives external to his own cultural knowledge. Though he makes those first connections with the Assembly to try to vindicate his personal hypotheses, he finds in them exposure to the deepest corruption among Exandrian mortals, which could've—and did, for a time—turned him further down that same dark path.

But it's also this same openness to exposure from the wider world that allows the Nein to influence him for the better, and in spite of the challenges he's certainly faced simply surviving over the past seven years, he seems to have held onto this openness enough to move through the world with self-assurance and a willingness to extend the kinds of trust and good will that he has been shown.

(I would be remiss not to mention that I was reminded about my thoughts on this by this lovely post from sky-scribbles and their use in the tags of 'light' to describe Essek's demeanor this episode, which is really such an apt word for it.)

[asgardian--angels]

Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

[vagueconfusion]

source (found by @blue-lollipops-and-ice-clouds and posted here)

[gunpowder-gemini]

My heart goes out to everyone finally figuring out that we aren't getting the death worm this season, I am really excited to see it animated too. But tbh there was never any way it would fit

Like think about everything that happens in the cursed house arc. There is SO MUCH there that I personally think just the death worm stuff is going to be 5-6 episodes on it's own to get through it. They didn't have enough episodes left even if they completely skipped the serpo arc.

Personally I've always figured the episodes are gonna shake out like this:

Ep 8 - shenanigans with Okarun/Aira and getting in to empty space (I was right! though I wasn't sure we'd get to Acro Aira but in hindsight that's a perfect cliffhanger cut point)

Ep 9 - the fight, probably ending with the big final blow

Ep 10 - public humiliation and mr. shrimp joins the team, Jiji appears at the end!

Ep 11 - Jiji is actually introduced and goes to school with them, ending with Taro appearing "chasing" Okarun

Ep 12 - anatomical dummies shenanigans and a sort of cliffhanger teasing the cursed house arc next season

I think people forget that it takes seconds to read a fight scene when it's just a few sequential images but several MINUTES to show that same fight scene animated. The Serpo arc is largely action, so it's no suprise it's taking a couple episodes. Also dialogue! Dialogue takes longer to voice act than it does to read. There's only so much you can fit into like, 25 mins

[m0nochromem0use]

by virtue of him being in every extracurricular can we infer that riz has become either a band kid or theatre kid or both

[beanghostprincess]

Finding hilariously ironic how most of Sanji's perv jokes end up being extremely trans-coded to some extent only because the joke is longer than it should be.

The "guy with a woman's body" joke has been a thing for ages now, but it usually ends after the "haha I have booobs" joke. Sanji extends it to "I want to stay in this body forever. It feels right. I don't want to give it back". Which could still be read as some perverted stuff, but I don't think any man would agree with that. No matter how much of a pervert he is. Because usually being perceived as a woman is something they refuse to go through although they like being in possession sexually of a woman's body (a type of excitement Sanji actually shows, not by being that much aroused by it but being comfortable with it? Which is... A different approach to the joke).

Sanji has made the typical "going into the girl's changing room/bathroom" joke a couple of times, but in Egghead he goes all the way to be extremely frustrated about not being able to do so? And it is obviously different than wanting to keep Nami's body forever. It can still be seen as frustration for not being able to see girls naked. But. But. The fact that the length of the joke increases? The fact that it's way longer than it should be for an average "haha boobs" joke? You know what I mean.

Not to mention his whole arc during the time-skip and how a simple (both transphobic and misogynistic, by the way) joke, goes all the way to show us that Sanji is indeed comfortable in more feminine clothes and environment, until he's pretty much forced to snap out of his fantasy to go back to the crew. But he wasn't having a bad time at all. And it is intended to be a joke, but it's... Longer than it should be to be considered only a joke and to not pay attention to it.

This isn't meant to be an analysis of any kind because if it were I would've worded it differently and would've mentioned how his childhood is also extremely trans-coded, but we all already know that. I just find it extremely funny how all of these jokes that intend to be directed at straight perv men are actually too long to not be taken into consideration as something deeper than a joke. But, aha, yeah, these are just jokes and definitely not proof of Sanji's perception of gender and his issues with it.

[n0bluev]

- Hey, Suguru, Suguru, I could crush you, you know. - Mhm. The thing, 'Satoru', is that I doubt you would.

[young_god!AU]

[tunastime]

hiccuping tears into the shoulder + ranchers by chance?

hiccuping tears into their shoulder (1087 words) (x)

For the first time in a good, long portion of his life, Tango despises how silent the night gets. It's not without its natural noise—the balmy, sticky humidity and breeze in the grass, or the crickets, the cicadas quieting down, the sounds of animals rearranging themselves to a comfier sleeping arrangement. He should be doing the same, but he's sitting on the edge of the bed, his spine a rigid line. He can feel the blood in his body, he can feel the spaces where his muscles connect to each other, with every breath he can feel his lungs separate out the oxygen. It's at the very least startling, and at the very most, he feels like he might dissolve on the spot if touched. 

Tango knows how death feels—painless respawn and a few seasons of a life game behind him, but to feel someone else die, too. The echo of death alongside your own. He didn't like that! Not good at all. All his blood and heartbeat-y things are rushing around in his ears. He doesn't even hear Jimmy the first time he speaks up from the other side of the bed, with how his voice scrapes out.

"I didn't know they were aiming for us," Jimmy says.

"Of course not," Tango says, furrowing his eyebrows. "I know you didn't."

He's still looking at his hands, running his thumb over the lines in his palm and pushing into the tiny bones and muscle there. Jimmy flexes his hands like he can feel the pressure and bones moving around. He watches him fold his hand tight around each other and slump, pulling his shoulders to his chest. His breath squeezes in his chest as Jimmy deflates tiredly.

"I just don't want you to think—"

"I'm not gonna think this is your fault, alright?" Tango says, frowning at him. "Why would I?"

Jimmy sighs. His jaw works.

"Cause it usually is," he grits. Tango scrunches his nose on instinct, recoiling out of habit before he manages:

"That's not fair, man."

"This whole game isn't far!" Jimmy huffs, waving a hand about.

"Sure but—"

"But nothing, Tango. I just—I can't lose and drag you with me. That's more than not fair."

"I don't care."

"I care."

Before Tango can argue, though, he tastes the faintest hints of anger and frustration at the back of his mouth fade. He watches Jimmy's face contort as he tries to come up with a better sentence, something he probably thinks Tango deserves. Maybe an apology. 

Tango just looks at him. He kind of feels bad, that little bit of gut wrenching cold that trickles in, but mostly he's just confused. Jimmy's words bat around in his brain like dust particles. Dust bunnies. He definitely assumed they were done with this. That maybe Jimmy made peace like he did—though really he hadn't had that much time to make peace, if he's being honest. He's still bitter. He's sure a lot of people are still bitter. But in terms of Jimmy's whole situation? It's not like it could be helped. They just had to be careful. So Tango was being careful, and Jimmy was taking what Tango thought was a calculated risk, so he was mad, sure, but he couldn't really stay mad for a long time. So he takes a long breath and sighs it out his nose. It still tastes surprisingly reminiscent of smoke.

"So what are we going to do?" he asks softly. Jimmy inhales.

"I don't know," he says. "Go to bed? Wake up and start planning?"

Tango hums plainly. He likes that idea. The small spool of feeling in his chest that must belong to Jimmy gives a little tug, like it wanted to take him down with it. 

"Yeah," Tango says, voice coming hoarse. "Yeah, I think so."

For a moment, Tango runs his tongue over his teeth, runs his thumbs over the seams of his knees. He sighs, and then he leans into Jimmy's shoulder with a definitive huff. He's tired. From the ache in his bones, to the breathlessness of dying, to just taking in Jimmy's stress. Man. He's exhausted. Jimmy snorts quietly. He feels him press his cheek against Tango's head. The hand Jimmy had been fiddling with in his lap ends up at the base of his spine, splayed over the fabric. Tango squeezes his eyes shut.

"Thanks Tango," Jimmy says shakily. He sounds like he's on the knife's edge of crying, so Tango fumbles out a hand and lands it solidly on his knee. It's not a terribly comfortable thing to stretch one of his achy shoulders or biceps that far but he does anyway, and Jimmy huffs out a damp laugh. "Guess I'm just... pissed off."

Tango snorts.

"If you think you're pissed, just wait until they rile me up," he says into the fabric of Jimmy's shirt. Jimmy laughs. Tango tries to hold in a grin that he also smothers into his shoulder, but fails. Jimmy's hand skips over his knuckles and squeezes the hand on his knee.

"Sure thing, Rancher," he teases. Tango makes a half-suppressed noise of indignation, squeaking as he bolts upright. He nearly knocks into Jimmy's jaw as he untangles himself with all the grace of a cat trying to weasel out of someone's arms. 

"I'm just sayin'," he grumbles, crinkling his nose. "You seem like you're in a better mood though."

Jimmy sighs, rounding out his shoulders. 

"Think so," he says, working his cheek between his teeth. Tango feels the sensation of prodding in his mouth. Bleh. "Think so."

"Probably a good idea to make good on that sleeping... thing,” he says, reaching up to scrub at his eyes. He barely stifles a yawn as Jimmy stretches, twisting his tall body around in a way that feels surprisingly pleasant to Tango’s stiff muscles. He can’t imagine, especially with the way Jimmy holds all his emotions in his shoulders, that his upper back is doing him any favors. Jimmy makes a little noise in confirmation as Tango turns, attempting to make ample space for him in the small bed. He knows they’ll end up back to back at some point, but as he lies down, shoulder to shoulder, an easy comfort rolls over him. Sure there’s all the red blood rushing around in his ears, and sure he feels it right up on his skin like a bad rash, but for now, next to Jimmy, he shuts his eyes.

They’ll make this time count for something, at least.