#sure. whatever. what the fuck does that mean actually

[suzukiblu]

Day one of February’s second weekly WIP behind the cut; “mistaken identities and interdimensional refugees”. (( chrono || non-chrono ))

Kon sighs, then dusts his hands off and eyes Croc’s unconscious body, debating how the fuck he’s supposed to handle this situation. Fuck knows where the cops are, and there’s already a bunch of civilians taking pics and shit of him, so he really doesn’t wanna wait for ‘em. Also, like, explaining why he committed aggravated assault on a giant crocodile dude to the cops does not sound like his favorite time anyway, especially Gotham cops. He technically does have an emergency comm on him, but it’s obviously not tuned into any of the local Bat-channels and he doesn’t really know if he’d be able to sync it up to ‘em. 

Admittedly, Alfred is like, half a block down the street with a cell phone and probably already told his boss literally everything that just happened, but still. 

Actually, speaking of Alfred . . .

Kon refocuses his hearing back towards the limo, and hears–

“Wowwwww,” Jon says from the backseat, sounding awed about . . . something–who knows what, given he’s like ten and Kon doesn’t even know the grown-ass version of him well enough to know what kind of shit the dude thinks is impressive–and Alfred makes a little “hm” sound. 

“Mr. Kent, I do hope you’ve got an ear out,” he says, which even if Kon didn’t would’ve caught his attention pretty quick. ��The police have an estimated time of arrival at two and a half minutes, and they were informed to come equipped for Killer Croc. Please do retreat out of the public eye for now, though I’m sure Master Bruce would appreciate the consideration if you wouldn’t mind keeping a bit of an eye on the situation until they have Mr. Jones secured. We’ll rendezvous with you on Pearl Street in seven minutes.” 

There is literally no version of Bruce Wayne that has ever “appreciated” a single thing Kon has ever considered in his life, except maybe for that one weirdo in Hypertime who’d definitely just wanted a Robin that was bombproof this time, but whatever. Kon nods once, short and sharp, and then takes off with superspeed in the opposite direction from Croc and the fucked-up street, if not Super-speed. That he saves ‘til he ducks into a conveniently out-of-sight alley, shoves the security camera over the emergency exit in the back of it askew with his TTK, and then takes off straight up into the air too fast for human eyes to follow. 

He should’ve avoided tearing up the street like that, probably, even if Croc and his boys had already fucked it up pretty bad. Didn’t mean he needed to go making shit worse. He’s maybe a little stressed, but he fucking knows better. 

Ugh. 

Kon hangs out above the heavy gray smog and cloud cover, wishing there were some sun up here instead of just moonless night, and keeps one ear focused on Croc and the other half-paying attention to the limo, just in case. The cops do in fact show up in two and a half minutes, and by then Alfred’s already taken Jon and the limo most of the way to Pearl Street. Kon can hear Jon chattering excitedly about something and Alfred at least making some more little “hm” sounds in response, though he doesn’t focus in enough to eavesdrop. Rude, for one thing, and also a distraction he should be avoiding anyway. 

He waits around to make sure they get Croc locked up nice and secure in the heavy-duty restraints and armored truck they brought without him waking up and taking anyone’s head off or anything like that, and it goes surprisingly smoothly for Gotham, though the cops have a fuckin’ time of it getting Croc’s K.O.’ed ass into the back of the truck. Kon would be more concerned about the possibility of a head injury with the guy staying out for so long, but a quick X-ray glance already cleared him for at least the first-aid level basics, so like, it’s probably that weird “toxic mobility” thing Tim was talking about that time he was explaining Croc’s whole thing to him. Or–no, “tonic”, and “immobility”. Whatever, he just knows Croc usually stays out longer than a baseline human would and it’s not a concern. Just some weird side effect of his whole . . . everything, basically. 

This is not in any way his circus or even his monkeys, but hey, why not be the interdimensional version of neighborly? Like, just while he’s in the reality and all. Lend the local Bats a cup of sugar, metaphorically-speaking. Batman’s gonna bitch about him doing it and how he handled it the first second he sees him, obviously–even after Alfred asked him to do it, he’ll definitely bitch–but whatever. He wasn’t gonna let anybody get hurt just because Batman gets pissy when vigilantes without any Bat-branding exist in his territory. 

So yeah, he waits around.

[love-byers]

alright. i'm taking it upon myself to put something to rest.

there is a new mlvn argument on the market, and i have to say, it is the absolute most BACKWARDS, IDIOTIC, WILFULLY IGNORANT take i have ever seen from them. and it is so easily disprovable that i need to make a post about it and put it in the ground early on.

if you've been around since s4 vol1 era, then you've seen the evolution of their arguments surrounding the monologue. first it was "mlvn was love at first sight, because mike said so". they were all posting the clip from s1 ep 1 of mike finding el in the woods, clips from all throughout s1, and saying "this mike was in love with el!!" because mike said so. in the monologue. when bylers pointed out that this claim from mike directly contrasts his behavior in s1, we were called delusional and told we were just coping. i was even told by someone on reddit that mike wasn't acting like he loved her because he was afraid of being made fun of by dustin and lucas, which deserves it's own separate post, but anyways...

after what finn said at the paris con, aka this:

bylers obviously took this as a win, because it very obviously completely dismisses the idea that mike was being truthful in the monologue. because of this, mlvn's argument has shifted. now, they are claiming that what mike said in the monologue, "I knew right then and there in that moment that I loved you." was not a lie, but HYPERBOLE.

here's just a few examples of this.

holy fuck. where do i even start with this...

i guess let me start by saying that i am an english major. i am a creative writing student. english language arts has always been my forte. it's been my best subject my entire life. i was the kid people went to for help in ELA (english language arts). i was the one tutoring my friends. i was the one explaining things to them. in college my friends would line up to get my help with their english work. i edited and revised their essays. i spent close to 10 hours a week in english classes discussing literary devices and analyzing different stories, which i excelled at.

i am not trying to 'flex', i am simply providing context as to why i believe my opinion on this is worth something. mlvns try to say being a writing/film student means nothing in this argument, but it really really fucking does. i, and countless others in the byler fandom, are LITERALLY more educated in this sort of thing than those who did not spend thousands of dollars to study it. sure we may not be renowned writers with masters degrees, but who do you think we learned from?? our professors, who ARE renowned writers with masters degrees. its no different than trusting the opinion of a biology major when talking about biology. of course ELA is more subjective and free, but when you actually study it you find that its more concrete than you'd think. there are definitions, there are guidelines, there are rights and wrongs. of course you do not have to obey those rules, but in the world of publishing and analysis there are things that make sense, and things that don't make sense.

for example. you can totally write a story where a character says "i knew right then and there in that moment that i loved you" and add whatever explanation or nuance that you want. you can write that with the intention of the character being truthful, but maybe exaggerating a bit. whatever you please. you have the creative freedom to do that whether it makes sense or not.

what you cannot do is claim that that phrase is a hyperbole in that context, or any context, because that is OBJECTIVELY wrong. that is incorrect and inarguable. there are phrases that could potentially be debated between those educated in ELA on whether or not it could be considered a hyperbole, but that would requite the phrase to have ambiguous wording. the phrase in question does not check those boxes. it is not ambiguous in any way shape or form. it's not hyperbole. it's not even hyperbolic in any way.

here's a link to an article with 50 different examples of hyperboles. i promise you that our quote in question will not be there, and that nothing on that list will be remotely similar to it.

"I knew right then and there in that moment that I loved you."

i mean you are genuinely a fucking doofus if you're genuinely trying to claim this is a hyperbole. i need you to be so fucking for real. mike is referring back to a specific moment, remember? maybe you don't because i know y'all don't even watch the show, so let me refresh your memory:

"But the truth is, El...I don't know how to live without you. I feel like my life started that day we found you in the woods. You were wearing that yellow Benny's Burgers shirt, and it was so big it almost swallowed you whole. I knew right then and there in that moment that i loved you. And I have loved you every day since."

el even has a flashback to that exact moment in the scene right after he says it, and right before he says "I knew right then and there etc..."

he literally starts it off with "The truth is"

not meant to be taken literally.

would it make sense to say "The truth is, I'm so tired I could sleep for a century." or "The truth is, I'm so hungry I could eat a horse." or "The truth is, I'm dying of laughter."

NO! IT WOULDNT!

mike's monologue was written/approved by the duffers. the same duffers who graduated from a very prestigious film school and created the biggest tv show in the world. they know what a fucking hyperbole is and that you don't preface one with "the truth is". it is genuinely ridiculous to suggest that they let that stay in a scene where a character is supposed to be finally revealing the truth to both another character and the audience.

let's circle back to those screenshots of dumbass mlvns cosplaying as ELA students

"i fell in love with you instantly" vs "i fell in love with you mere days after we met . ur arguing semantics when the point is that they fell for each other really fast"

please tell me, in WHAT fucking world does someone say "I knew right then and there [in the first moment I saw you] that I loved you" when trying to explain that they really fell in love a few days later. and in WHAT UNIVERSE would a WRITER choose to have their character, who is supposed to finally be telling the unfiltered truth, say that. the answer is, there isn't one. that is so fucking backwards and idiotic that i can't believe i'm even having to explain why. the monologue is fabricated. it was written and approved by professional writers and directors. if mike fell in love with el at some later point in s1, or realized it at some later point in s1, then he could've just fucking said that. he could've just told her the moment he fell for her or the moment he realized. they didn't have to make it all twisted and confusing for no reason. he has absolutely no reason to lie or exaggerate (if he is straight and in love with her).

DING A LING A LING A LING!!!!! THATS A BELL!!!!!!!!!!!!!!

"this feels like taking mikes words too literally"

oh, my apologies for taking his words literally during a fucking CONFESSION OF LOVE that he gave her while she was DYING. sorry for taking a line prefaced by "The truth is" literally. you are totally right and i will never do that again!

"when looking back on it it probably does feel like he loved her from the start"

cute sentiment, but that's literally NOT WHAT HE SAID. for the millionth time (see how i just used a hyperbole in a place where it makes sense? where i didn't preface it by saying it was the unfiltered truth?) he said "I knew right then and there in that moment that I loved you." he is saying he saw el in the woods in the rain in her yellow benny's burgers shirt, and KNEW he loved her. he realized it in that moment. that is what he wants el to believe. he is using specific language to pin point the moment he realized it on that moment. like im so serious when i say that if you try to say anything else you genuinely have worms for brains.

any way you logically look at this, it is crushing for mlvn. even if it was a hyperbole, which it is NOT, why the hell would the writers have him exaggerate his feelings to cater to her when it would be much more meaningful for his ACTUAL feelings to save her life?? why would mike feel like he needed to exaggerate?? and i'm sorry, i dont buy the heat of the moment bs. mike has nearly lost el multiple times because he kept lying to her. they had a bad fight days earlier because mike wouldn't tell her the truth. so he finally gets another chance to tell her the truth, and he EXAGGERATES?? HE TELLS A WHITE LIE??? that would also be crushing for mlvn. but none of that matters, because it's not a hyperbole, it's a lie. a flat out lie.

let be me clear, that does not make mike a bad person. in fact, it actually makes him an incredible, caring, selfless person. (remember the synopsis for s4 ep9? "With selfless hearts and a clash of metal, heroes fight from every corner of the battle field to save Hawkins ---and the world itself.") he lied because he knows he doesn't love el the way she wants and he feels like his actual love for her (which is platonic) would not be enough to save her. he devalues his own feelings because they are not what el wants. this is why he nodded after will said "It's scary to open up like that, to say how you really feel. Especially to people you care about the most. Because...what if they don't like the truth?" he feels like he owes el the love she wants, and he is willing to lie to her if it means saving her life. because he truly does love her and care about her, so much that he will do whatever it takes to not lose her.

and i know a lot of mlvn's devalue literary/media analysis and english/creative writing, and our opinions in general, so in case all that wasn't enough, i also asked mlvn's old friend about this. their friend being AI.

mlvns, everything with a lick of sense, including artificial intelligence, is proving you wrong. you are incorrect. what finn said at the paris con put the nail in your ships coffin and you know it. so please stop embarrassing yourselves on the internet and making dumbass claims like this when you know nothing about the subject. you look stupid.

this rant isnt just coming from a place of byler truther anger, it's english major anger. LEAVE MY SUBJECT ALONE. PLEASE.

[whatthebodygraspsnot]

beginning snippet of something i’ve been working on. baby sub ian you compel me so tags: sex club, first time sub! ian, experienced dom! mickey, ian is nervous and cute and doesn’t know what he wants exactly, all he knows is he’s very into mickey

Ian is minorly freaking out.

The room is like something out of Fifty Shades, but slightly more intimidating in real life. Slightly warmer. Slightly overwhelming, with its wall of mounted whips and multiple surfaces to be whipped on.

It’s not that Ian has to worry about those because he definitely steered clear of them on his terms and consent form, it’s just overwhelming to see - to look up from the pillow they told him to kneel on in the center of the room, to a sight of ropes suspended from the ceiling.

It’s a lot.

Ian definitely wants to be here, but he’s minorly freaking out, every second that ticks by as he waits for the dom to come into the room feeling like its own brand of torture.

But he wants this. God, he wants this so fucking bad - practically needs it at this point, even though he’s nervous. So he sits and waits, his back to the door and time ticking…ticking…ticking, until finally…

Behind him, the doorknob twists.

A rush of air, otherwise silent.

And then the click of the door closing again, sealing him back inside.

Only this time, he’s not alone.

Ian balls his hands on his thighs, his heart beginning to beat uncomfortably under his t-shirt. He waits. Because that’s what a sub is supposed to do, right? Wait? That’s what the lady told him to do before she left.

More silence.

Anticipation wracking up his body.

Nerves popping off and okay, maybe just a little peek.

He turns to shoot a glance over his shoulder, but doesn’t get much. Not enough without kneeling off the pillow, and he definitely shouldn’t do that, right?

“Hi…” he tries. A shot in the dark. But it’s better than nothing, and- “I uh-… I know you probably know this, but it’s my first time here...” Unclear whether this is helping or not. If it makes him feel better or more frantic. “I’ve never-… I mean, I don’t really know how to-”

“Tell me why you’re here.”

The voice that cuts him off isn’t unkind, but it’s commanding. Certain.

And fuck, does it have Ian’s mouth snapping closed for a moment as he tries to process the effect that has on him, something plucking teasingly at his nerves.

No. It’s okay.

He can do this.

“I just-…” Breathe in. No need to freak out. It’s a simple question. “I always have to…do everything.” In bed. Which is fine - he’s kinda built for that - but deep in his heart of hearts he knows that’s not him. Not all the time, at least. “I don’t wanna have to do everything…” Hopefully that makes sense.

“So you wanna be lazy.”

Ian frowns, twisting for another look over his shoulder but getting nowhere. Seeing no one. Just a shadow in the corner. “No.” That’s not it at all.

“What, then.”

This is bait, isn’t it?

Or is he actually asking?

Ian tries to go over the options again in his head, just as unsure where to slot himself, now that he’s in this, as he was when he was filling out his terms.

Why is he here? What is he looking for tonight?

A dom to serve…? A dom to challenge him…? A dom that’ll give him structure…?

He shifts on his knees, pulse quickening. “I don’t-… I’m not sure.”

Yet.

He’s tired of making decisions, remember?

“What’s your name?” he finally asks. Because as hot as lurking in the shadows is, his curiosity is getting the best of him. Especially when he hears that voice again.

“To you, it’s sir.” The air shifts behind him in slow steps - rounding…rounding…rounding. “‘Yes, sir’… ‘No, sir’…” And when he finally comes into view, the payoff is as overwhelming as it is gorgeous. “‘Whatever you want, sir’…” he smirks for that one in particular, measured playfulness shining over dark features. “You get it…?”

He knocks the breath right out of Ian’s lungs - the words from his throat - lips parting, but producing nothing more than a nod as he takes in the man in front of him.

Holy fuck…

Ian was expecting something flashy - leather and buckles - a harness, maybe. But there’s something impossibly hotter about the gold chain and black tank that fits across this dom’s chest. How it shows off the tight, defined muscles in his shoulders - his arms - the sturdy cut of his waist that leads to even sturdier thighs under black denim - the kind Ian definitely wouldn’t mind worshipping a little if he told him how.

He posts up right in front of where Ian’s kneeling and all at once, it’s like he’s drawn every ounce of energy from the room right here - right in his stance.

Power.

Ian doesn’t know if he’s supposed to, but he can’t get himself to look away. Can’t drag his curious gaze from those eyes as they peer down at him, heavy-lidded but piercing.

When he speaks, he asks it clearly. Not strict or mean or anything, but still somehow cutting right down to the nerve. “When’s the last time you been touched?”

Ian swallows. Shifts on the pillow, gaze flicking away before coming right back. “Uh… Do I really-…”

“Asked you a question.”

Right. Yeah no, of course he did - of course he did. “Um…” Ian’s brows draw together as he traces back for visions of his last hookup. “Like…a couple months, maybe…?”

“‘Maybe’?”

“A couple months,” he confirms, eager to convince. “Two. Two months.”

Is that a long time?

Too short?

“And you’re here ‘cause you think I’m gonna touch you…”

Ian processes. “I mean…” That’s what this is, right? That’s what all the consent forms were about? “I…was kinda hopin’… Yeah…”

He’s really starting to feel the control slip through his fingers. The dizzying dance of trying to keep up, even when the pace is ultra slow like this. The only thing he can focus on is how the dom steps closer, thick black boots sending his pulse thumping in his chest.

“I only touch good boys,” he explains. Then, tilting his head just a bit as he looks down at him, “You gonna be my good boy, Ian?”

And…

Holy shit. That’s-… That’s something, isn’t it? “Y-… Yeah, I can-”

“Say ‘yes sir’.”

A rush of heat floods Ian’s chest and then seeps downward, pooling low in his belly. “Yes sir…”

And it’s the ink he notices first, dark and swirling over the man’s inner forearm - printed crudely across his knuckles as those fingers reach out, closing the space between them as he hooks below Ian’s chin, plucking his pulse and face briskly upward.

Fuck…

Okay…

Ian breathes back in the gasp before it can escape his stretched throat.

Blinks up at the dom - drawn to how the room’s lights glint off the metal pierced across the dark arch of his eyebrow.

“You’re prettier than most guys that come here.”

And Ian’s heart flutters in the weirdest way. Because oh. “…really?”

“Mm… Got a real sweet face on ya…” He takes his time making his point - using his hold to tilt Ian’s head in all sorts of admiring ways, in control of every angle. “Almost cute enough to letchya slide on not remembering your manners.”

Oh.

Shit.

He just told Ian he’s pretty.

“Oh uh- thank you, sir,” he backpedals, the sudden desire to please setting him off in an unsure ramble. “You’re-…pretty too, sir…?” Is that right?

Judging by the little brow pinch he gets, it’s not.

But the huff of a chuckle that follows sure feels good, doesn’t it? Even if it’s Ian he’s laughing at.

“Fuck,” he grins, giving Ian’s cheek two promising pats before stepping away, “you’re gonna be fun.”

[crowsofdarkness]

CamBoy! Bill Skarsgard: First Virtual Meeting

-pic not mine.-

Pairings: CamBoy!Bill Skarsgard x Viewer!Reader

Summary: Bill isn't ashamed of the work he does, showcasing his body online for anyone willing to pay. His number one rule was never to make a connection with anyone who either sent him messages or paid for private one-on-one video sessions. That was until you decided to request a certain private session.

Content Warnings: 18+ smut which includes Bill having an only fans page, masturbation, phone sex, virtual sex, and language.

Authors Note: this is a limited mini-series, just a bunch of blurbs that take place in this universe. i'm not sure exactly how long this will be. tags will be open for this if anyone is interested!

CamBoy!Bill masterlist.

What the hell am I doing? 

I found myself asking that same question more than once ever since I signed up for only fans a few weeks ago. Not as a producer but as someone that watches and enjoys. At first I was extremely nervous, chasting myself for even thinking of subscribing to strange men who do sex work, virtually. But after being single for my entire life, I’d become desperate. I craved some kind of attention whether it be sexual or just a simple conversation. Although, after being subscribed to a few different pages on Only Fans for a few weeks, I had yet to actually talk to anyone. 

I mean, who the fuck subscribes to Only Fans to talk to people?

Again, asking myself what the hell am I doing?

Letting out a deep breath, I eased farther back into my bed with my laptop on my lap as I clicked through the different pages I subbed to, ready to unwind after a long day. I had a date earlier that ended in disaster, further proving that maybe a relationship was not meant for me. It was weird, me finding more comfort doing this rather than dating. 

Even though there were a few accounts I liked, there was one that I had always found myself going back to when I thought I wanted something different. 

Bill with the 70’s porn stache. 

I watched nearly all of his videos with my rose vibrator pressed against my clit or using my dildo while Bill had his hand wrapped around his cock. He never had any special effects or wore masks like a lot of the other creators on here which is why I found myself drawn to him. He also had a tik tok page where he would post videos showing off his defined abs or trying whatever viral sound was trending. I liked every single new video he posted but never commented due to being shy. He had over a million followers, there was no way he’d ever pay attention to one of my comments. 

Earlier today, he posted a Tik Tok saying he’s offering a new type of content on his OF page, one on one virtual meetings. For a certain amount of money, Bill would skype call someone for ten minutes and they could have virtual sex. Only one time. He made it clear that he would never have more than one virtual call with someone. Almost immediately I checked to see if my funds were available for this but then when I actually thought about it, it was weird, right? Having virtual sex with a stranger? 

Then again, how would it be any different than me getting off to old videos he posted? 

He would actually be talking to you. Which is what you want, no? 

Gnawing on my bottom lip, I quickly signed up for this special one on one virtual meeting and after paying the amount that would put a small dent in my bank account, I waited. Bill mentioned earlier that due to how many people would most likely sign up, he would have to set times and dates for everyone. So instead of sitting for a reply, I opted on placing my laptop on the other end of my bed and dragged my feet to the bathroom across the hall in my apartment. When I first sat down with my laptop, my body had been vibrating with the need for a release but now as the nerves began to eat away at me for what I’d just signed up for, I needed to think of something else. 

By the time I returned into my room, towel wrapped around my soaked body, I saw a flashing notification on my laptop making my heart nearly burst out of my chest. I didn’t bother to get dressed, simply sat on the edge of my bed still in my towel and brought my laptop to my lap. 

New message from Porn Stache Bill. 

While his username wasn’t that great, he made up for it with the content he provided. 

Letting out a deep breath, I clicked open the message and nearly choked on my saliva when I saw it was a video message from Bill. 

“Fuck, this is too real,” I muttered under my breath, finger hesitating over the play button before I hit it.

Bill appeared on the screen of my laptop, dressed in only a pair of grey sweats. The muscles of his abs seemed to rippled underneath the light of his bedroom as he leaned back against the dark sheets of his bed. His hair was messy, chest rising and falling with each deep breath he took which only made me wonder what he’d been doing before he recorded this video. My eyes, however, quickly honed in on the mustache. I was a sucker for it with every single one of his videos.

“Hi, Y/N.” His face broke out in a smile followed by a wink and I nearly fell back onto my own bed when I heard my name fall from those full lips. “I wanted to say thank you for signing up for my private one on one video chats. I’ll be calling you tomorrow night at nine p.m. You have me for ten minutes for whatever you want. If there are any limits, please let me know beforehand. I look forward for our time together.”

When the video ended, I couldn’t ignore the way my heart sank at how monotone Bill sounded. But then again, I wouldn’t be surprised if he was recording the same video over and over again, only changing the names for everyone who signed up. 

Closing my laptop, I set it on my desk before stepping into my closet to find something to wear tomorrow night on this video chat. 

“What the actual fuck am I doing?” I yelled at myself while I paced my bedroom. 

It was five minutes to nine and to say I was a nervous wreck was a fucking understatement. I could barely concentrate at work today and when I went out with some friends after work, all I could think about was this video chat that was about to happen. I didn’t dare tell any of my coworkers I signed up to have a sexual video chat with a complete stranger because I knew they would try and talk me out of it. Sex aside, I was doing this for me as terrible as that sounded. I’d been in my own shell for the last 28 years of my life, never branching out or trying anything hence why I’d been single. No one wanted someone who was inexperienced. 

How pathetic. You signed up on a sex website to help a stranger with sexual activities and for them to talk to you. No wonder why you’re single. 

Once again ignoring the criticizing voice in my brain, I stopped pacing in front of the large mirror in my bedroom to give myself one final once over. My hair was pulled back in a tight french braid, I wore very minimal makeup, and the outfit I wore was anything but sexy mostly because I didn’t own any lingerie. I chose to wear a loose white shirt that hung off one of my shoulders and a pair of olive green panties which you couldn’t see due to the length of the shirt. 

My bedroom wasn’t anything fancy or special, and with the way I had my laptop set up, Bill would only be able to see me and the wall behind my bed which had those vine lights hanging against it. 

Just as those thoughts began to creep in again, a noise from my laptop had me turning on my heels; the clock on my nightstand blinking 9:00 pm. Bill was calling me. 

“No turning back now,” I sighed, sitting on my bed. 

I didn’t bother trying to find a sexy position to sit in because I wasn’t that; sexy. I’d always been average and it took me awhile to accept it. With shaky fingers, I accepted the video chat and soon was graced with that mustache and smile. 

“Hi. Y/N, right?” 

I blinked, forcing myself not to gawk too long at his bare chest. Bill wore a pair of red boxers as he sat relaxed on his office chair. Unlike the video he sent me yesterday, his hair was neatly combed to the side. 

“H-hi,” I said. 

Bill smiled. “Nervous, huh?” 

My cheeks burned and I ran my sweaty palms on the comforter of my bed. “A little. I’ve never actually done this before.” 

“Is there anything I could do to ease your nerves?” He asked while easing back into the chair. 

“Uh, maybe if you could take the lead.” 

The corner of Bill’s mouth curved slightly. “I read over the list you sent over. Seems like you don’t really know what you’re into.”

I cast my face down, not wanting him to see the embarrassment that covered me. This was a very bad idea. I shouldn’t have signed up for this. 

“Hey,” Bill’s soft voice from my laptop made me lift my gaze slightly. “It’s alright. There’s no need to be embarrassed. We all have to start somewhere when it comes to sex.”

I bit my bottom lip. “If I’m being honest, I’m not sure why I even signed up for this. I thought maybe it could help break me out of this shell. But now I think maybe it’s only making things worse. Which I know sucks because I already paid for this and there’s no refund so I guess I’ll eat the money. I’m sorry that I wasted your time. I don’t know why I did this.” 

“Seems like you ramble when you’re nervous,” Bill chuckled. 

I cringed at myself. This was something I already knew and the fact this attractive man, who I spent hours watching his tik toks and O.F content, immediately called me out on it made me shrink farther into my bed. The hem of my shirt rode up my thighs when I did, showcasing my panties. Bill’s eyes darkened as he sat straight up in his computer chair to get a closer look at the camera. 

“If you want, we can just talk,” he offered me a smile. 

I thought about it for a moment. While I did start this whole thing to try and find someone to talk to, I also did want this to break me out of this shy shell. 

“No, I want to do more but I don’t know where to start,” I admitted. 

Bill glanced at something off screen for a few beats before looking back at the camera. “We have seven minutes. Would you rather us both do something, just you, or just me?” 

I sighed. “Maybe if you just did something? Since I’m so fucking nervous, I think it would be better if I watched you.”

“You’re kind of cute when you curse,” he winked. “Alright, as long as you're comfortable with it. How about you strip for me?” 

“I don’t know why you would want to see me,” I said. 

“Your shirt is thin, Y/N. The last four minutes of us talking, I’ve been looking at those pretty tits underneath. I bet they’re round and so perky,” Bill’s voice had deepened, his hand starting to leave the armrest of his chair. 

“Oh,” I muttered, glancing down at my chest which was in fact visible through my shirt. 

“Just the shirt for me, Y/N. You can keep those green panties on. That alright?” 

Slowly nodded, I dragged up my shirt over my head, letting it fall to the bed next to me. Bill groaned, pushing his chair back so I could see all of him as he took out his cock from his boxers. 

“I knew it. I knew your tits were perky round.” 

I watched, frozen, as he wrapped his hand around his cock in a grip that had to have hurt but only seemed to bring him more pleasure. This wasn’t anything new for me, I’d watch plenty of videos of him teasing his followers on Tik Tok or posting more intimate videos on his O.F. 

Only this time, this was more private. It was only between us. 

“Lay down on your bed for me and spread your legs. Can you do that?” 

Bill’s hoarse voice made my skin shiver with heat and doing what he did, I slowly laid on my bed with my legs spread wide. The show of him jerking himself off made a small wet spot appear on my panties, something he immediately noticed. 

“The sight of me choking my cock with my hand is making you wet, huh?” 

I nodded, slightly blissed out from the sight on my screen. Bill’s jaw was slack as his hand moved in a fast rhythm. I studied the way his thumb would drag over the beads of precum on the head before using it as lube to make his cock slick with it. Or how he would grip the base of his cock, holding it for a few seconds before choking on a breath. 

My pussy ached with the need to touch myself but I couldn’t move. Too engrossed in the private show he was giving me. No one else. Me. 

“Can you touch your nipples? For me, please.” 

Something flared deep inside of my gut at how he begged me so with another nod, I began playing with my nipples in the way I knew I liked. I arched off the bed slightly when I pinched a little too hard. 

“You like it rough, Y/N? The harder, the better?”

“Yes,” I moaned, watching him through hooded eyes.

Bill licked his lips, tongue grazing over the mustache, and I let out a moan when I watched his hips stilled right as he spilled into his hand. 

“Oh fuck, Y/N. You see that? You see what you do to me?” He groaned, working himself through the aftershocks. 

“Oh my fucking god,” I moaned, letting my head fall back to my pillow and my fingers grazed over my panties. 

I was going to wait to touch myself after the call ended, too embarrassed to do that in front of Bill. But seeing him come apart while he watched me pinch and pull at my nipples nearly tipped me over the edge and I knew I wouldn’t last long. 

Just as I went to slip my fingers inside of my panties, my phone began buzzing when the ten minute timer went off. Feeling the world drop from around me, I sat up in bed to silence the timer and stared at the laptop screen where Bill was slumped in his chair trying to catch his breath. 

“I’ve been doing this for a while but that,” he motioned to his messy cock, “Was so fucking messy.

A red hue covered my entire face and my ears as I avoided my gaze from the screen for a moment. “I bet you say that to everyone” 

Bill reached for the tissues on his desk before he began cleaning himself off. “Well, it seems like our ten minutes are up. I hope it was everything you wanted.” 

Silence filled the air between us for a few beats as I tried to think of what to say. Do I thank him? Do I say see you later? Can’t wait to see the next video you post?

“Uh, yeah. Sure. Thank you for this, for everything you do. It’s always a nice thing to see. You’re a nice thing to see. Not your thing! I mean it’s nice, don’t get me wrong. But-.”

Smooth, Y/N. Real fucking smooth.

Bill let out a deep and hearty laugh, running a clean hand through his hair, and tucked himself back inside of his boxers. 

“You’re fucking adorable when you ramble. Have a good night, Y/N.”

When the screen went black, I let out a long breath and closed the laptop. This was the one and only time we would have a private moment like this, just the two of us. He’d continue to post videos, which I planned on watchling like I had before, but now I couldn’t push away the lingering feeling that it would be different now.  

I originally signed up for this thinking it would break me out of my shell, help me find out more about myself, sex wise, and what I was into for future partners. Hell, the few words I spoke to Bill was enough to fill the empty void in my life, even if it was for a few minutes. But now that it was over, I realized how much of a mistake it was. It wasn't the shame that usually followed after I watched porn but more so the disappointment in myself because the only way I could have a man's attention on me was if I paid for it. 

Clearing my throat, feeling the burn slowly rise, I snatched up my shirt and walked towards my bathroom; Bill’s words clinging to my sweaty skin. 

Oh fuck, Y/N. You see that? You see what you do to me?

[prettyboysdontlookatexplosions]

medialog january 2k25

books

ling ma, severance - first book of the year an unfortunate dud! the most notable thing about this book is that it’s a pandemic story published in 2018, but this is also true of carmen maria machado’s “inventory” which is a much better story at like 15% of the length. by chance literally the day after i started reading this brandon taylor sent out a newsletter talking about first person narration devoid of interiority, which allowed me to be like, yes, that! that’s what’s so fucking annoying about this! a first person narrative that feels like a list of stuff that happened, instead of a glimpse into someone else’s consciousness. and i knooooow people would say that’s the poiiiint because the book is reeeeally about late capitalist anomie or whatever, which would also be used to explain the fact that the narrator has no personality or emotional life, like she’s just so disaffected and detached and blah blah blah, but the theoretical justification for this mode doesn’t have any bearing on the visceral fact that i just at no point cared about anyone in this story, because it’s impossible to care about a narrator who doesn’t care about anything or act like a human being (a species that famously cares about things lol). might also be impossible to care about a narrator with a trust fund… open to having my mind changed on this one though. other complaints: prose clunky, nobody else in this book has a personality either, palpably convinced of its own interest and importance in a way that feels very Litfic Does Genre Trope Without Wondering If Any Genre Writers Have Thought About This At All Ever (zombies as capitalist metaphor is like... even i know that and i hate zombie shit!) the pandemic stuff closest to being interesting but the page count is unforgivably focused on 1 million backstory flashback chapters totally divorced from the present day because god forbid someone who wants to tell an immigrant narrative figure out a way to somehow integrate this into the actual plot of their book or otherwise develop a character through scene and action… truly this reads like someone was trying to write an autobiographical novel and realized they couldn’t make it interesting/saleable so they chucked a pandemic narrative at it to capitalize on the twenty-first century genre turn. i don’t know if that’s what happened… but that is how poorly the disparate threads are woven together.

miranda popkey, topics of conversation - really liked this! like it more the more i sit with it. i had it already and it happens to get mentioned in that taylor newsletter i mentioned as being a different kind of first-person narrator, so i read it figuring at least it wouldn’t annoy me in the same way as severance. i was a little skeptical at first for two reasons: (1) the book is told through a series of conversations across a long span of years, which i was worried was a cheat to avoid having a plot; (2) early on lots of women and sex and power stuff, which is dangerous territory re: potential to irritate me. but it won me over on the second point quickly by undercutting what it had seemed to be doing in a refreshing way near the end of the first chapter, and by the end i was ready to concede point (1) because it had done a very good job of telling a story beneath the story it was telling; more than once i was kind of rolling my eyes like, okay, but, really?, only to find a little while later the book addressing precisely what had been my concern, which made me feel like i had been pleasantly tricked. the prose is unshowy but very self-assured with a good ear, and a few lines/passages burrowed under my skin. the narrator is self-critical without being self-indulgent… idk, it threaded a number of needles very well. impressed and pleased.

myriam gurba, mean - another one i started out wobbly on and wound up liking a lot. in this case, the cover/what i’d heard led me to expect a different, darker, tone than i found, and i wasn’t sure i was on board; funnily enough, at one point i thought, disparagingly, “eh, kinda zine-y,” and then something clicked and i remembered wait, i like zine-y, and that let me recalibrate and get sucked in. mean is a memoir, more or less, opening with a description of a rape-murder in gurba’s hometown and then switching gears to become a coming-of-age story in vignettes, with the reason for the opening scene eventually coming clear in a way that made me really admire what the book was doing formally as a way to talk about sexual assault; i was also reminded of the absolutely true diary of a part-time indian, a book i loved, both for its form and for, to some extent, its tone, or its willingness to combine a light touch and a sense of humor with some dark-ass material (although mean is not YA and goes much darker in both content and expression) & often incisive racial commentary. gurba is a really playful, funny, curious writer, and while i think she could have killed a few darlings, by the end her voice had really won me over. she is not opposed to pushing hard on the bounds of good taste, and i would say that most of the time i was with her because she was either honestly capturing the sociopathic awfulness of teenagers, including her own teenage self (people who self-righteously respond “well i actually never laughed at XYZ in high school…” this book is not for you and also you are annoying, and i say this as someone known in high school as a bit of a PC scold myself!), or else, for example, making jokes about her own sexual assault or other issues, and then there were some times where, like… ok maybe an illustrative example is that i saw a goodreads review that was like “i was loving this book until she used touretted as a verb, my condition is not a cute joke,” and i was like, on the one hand, i get it, but on the other hand, the prison rape joke didn’t phase you? the holocaust joke? (holocaust joke distinct from the chapter about how reading the diary of anne frank made her horny btw.) so… on that score tolerance will reasonably vary lol. given that a fair amount of the back half of the book is in fact about the aftermath of sexual assault, i really admired how the book refused any kind of redemptive arc, landing on a brutal note, but also avoided feeling oppressively downbeat by virtue of the ferocity of its own telling, which stands as its own proof of survival.

elaine castillo, how to read now: essays - not for me. none of the ideas here felt new if you’ve ever spent more than five minutes considering the relationship between art, race, & politics, and i didn’t feel like they were ever explored at a depth beyond (or… even equal to?) that which i would find on a random tuesday scrolling my tumblr dash. elegance of expression can be its own justification but stylistically this book mostly just convinced me that books are not blogs and should not sound like the internet; the lack of discipline which can be a feature in internet writing (not always! but can be) is always a bug in print (or, at least, i haven’t encountered the book to convince me otherwise). i was excited that the title of the first essay was “reading teaches empathy and other fictions” but then instead of unpacking the cultural ideology that associates any kind of moral education with leisure pursuits at all it was mostly about how the white straight male story is granted universality but others are not, which… you perhaps see what i mean about how this will not be revelatory for those of us enrolled in the continuing ed program at supernatural dot edu slash tumblr dot html. there’s a weird essay about going to new zealand and being like “wow imagine if native relationships were this good in the US?” which i found weirdly uncomfortable to read from an american who by her own admission is not well-versed in that region’s history. she opens an essay by being like “i know it’s basically boring to talk about how you hate joan didion” and then spends 45 pages doing that (including what i think is a misread of at least the tone of didion’s comment that writing is the act of a bully - i’m not a didionhead and would never defend her famously terrible politics, but a) she is i think pretty clearly being both hyperbolic and self-deprecating b) castillo takes this as the chance to be like “well i write to be vulnerable and connect,” which… perhaps this is self-indulgent self-deprecation on my own part but i have an instinctive and strong aversion to writers hyping up their own reasons for writing, lol c) this is objectively not a stance exclusive to white ladies bc zadie smith once said essentially the same thing except i think she used the word sociopathic lol)... and then in the end notes of that chapter she drops a casual rec for the “excellent” show our flag means death which… girl, be serious… you’re gonna write 300 pages about the dangers of reading without context and then simp for the slaveholder RPF show with no commentary whatsoever? it’s fine to like that show btw i might watch it myself one of these days but it’s just deranged to drop this without qualifiers in a book allegedly against the act of eliding historical reality for the sake of aesthetic pleasure and comforting fantasy! she also does two things that are unfortunately guaranteed to make me, personally, insane (characterizing damon lindelof’s HBO watchmen as an important statement on race in america and being kinda wrong about the odyssey) which i will address below the cut at the bottom of this post because i understand that my own need to talk about them is the result of my bad personality and also this is long enough already.

movies

no - this is a 2012 movie about the plebiscite vote that ended the pinochet reign, starring gael garcia bernal as the young ad guy the leftists rope in to helping them make the best use of their allotted 15 minutes of TV time. i really loved this, for a few reasons. first, an interestingly and well-made movie; the director is the guy who did spencer, which i hated, and i don’t know if it’s a matter of directing in spanish or what but it felt like two totally different worlds. second, some extremely funny and perhaps broadly relevant commentary on the purity-strategy tension in leftist spaces; i particularly loved the scene where our protagonist unveils the logo and the leftists are like, “oh, and the different colors of the rainbow represent the factions of the leftist coalition coming together, right?” and he’s like “uh huh. yeah. totes.” third, there’s a matter-of-factness to the way the movie depicts living in a military dictatorship — depicts oppression, depicts military violence against civilians — that felt refreshing and, ummm…. very un-American. perhaps very latin american. but certainly very un-American. something really fucked up happens and it feels bad and then you go home and play trains with your kid and you maybe don’t expect that everyone is spending 8 hours a day wringing your hands about How Is Anyone To Live Now. fortuitous timing for me personally maybe to watch this on new year’s day 2025. also gael garcia bernal is always the only guy in the scene wearing jeans and rides his skateboard everywhere. strong rec.

the shop around the corner - the philadelphia story baby jimmy stewart pilled me so bad that when i learned this both starred baby jimmy stewart and was directed by ernst lubitsch i was like, wow i GOTTA see that. two coworkers hate each other while falling for the anonymous correspondents that are, of course, each other all along… this does a couple things that mitigate the screwball romcom gender politics problem, my favorite of which is introducing the female lead in a scene that highlights her smarts and competence, which is important in a love story about a meeting of the minds. has superb production design, lighting so good even i was like “wow the lighting,” a great ensemble cast given a good amount to do in a way that makes the whole movie feel really suffused with tenderness and care even amidst all the screwball prickliness, and most importantly some incredibly funny jokes.

one way or another (todo modo) - this is a really weird italian 70s thriller whose plot is largely incomprehensible if you are not conversant in italian party politics of the 70s, which i am not, but it was still worth watching for the unbelievable Catholicism Is So Fucked Up vibes… the whole movie takes place in a catholic spirituality retreat packed with power-players, largely underground in the spookiest ass rooms imaginable… there’s a ruthless priest and a million political freaks… and then people start dying… kinda conclave meets and then there were none meets glass onion? tbh sassier and bitchier and more honest about institutional catholicism than conclave!

a complete unknown - most of the non-singing parts of this movie are Fine, I Guess, If You Like Biopics; some are pretty bad (why does this movie hate alan lomax so much… to say nothing of the women, through no fault of the two actresses doing their damned best…). the cast is reliably good, i was worried at first timmy was going to be giving SNL sketch the whole time but something shifted and he won me over and i thought he was good and especially that he was very funny in the too-rare moments the movie found itself a sense of humor, mostly on the topic of bob dylan being a weird freak pathological liar with no social skills or interest in developing them (valid and should have taken up way more of the runtime than it did!!!). lots of people have complained about how much of this movie is just watching bob dylan write down lines while playing his guitar but i actually think this is even worse than people are saying because what it does is almost entirely obscure dylan’s voracious cultural appetite and eclectic influences, which is a huge part of what makes him the artist of he is, and which he himself is the first to own (chronicles volume 1 — of 1 lmao — is in my memory almost entirely dylan talking about what he was reading and listening to and watching as a young person). however the reality is that none of this really matters to the viewing experience of the movie because the movie smartly understands it’s not going to be better at making a movie than bob dylan is at making songs, so it just never makes you wait very long before the next time bob dylan is playing a bob dylan song, and if you are a certain kind of person for whom the music of bob dylan has a certain kind of effect — which i am — what happens is that the opening notes of one of the best songs in american music history starts up and all cares over “screenwriting” and “gender” and such things fall away and you just sit there in a haze so grateful to live in a world where bob dylan gave us “girl from north country.” also, credit where credit is due: the movie looks very good, in a very standard hollywood way but well that’s a dying art it seems. i liked all the lens flares in the night scenes! they were pretty and evocative without being distracting!

juror #2 - i love watching a movie about people talking about a process while i wash dishes. bonus points for this one because of my wrongful convictions thing — i found it genuinely a relief to watch a courtroom drama in which we know the whole time that the logic of the court seems persuasive to many people but is wholly wrong. nicholas hoult!

jay and silent bob reboot - this is an objectively pretty bad and at times genuinely offensive movie that made me laugh so, so much. im sorry

presence - i was absolutely never not going to love a soderbergh ghost story; i like that it’s less a horror movie and more a family drama from the perspective of the ghost, and i like that steven soderbergh, who i first started feeling interested in because of how unusually willing he is (among our A-tier dude directors) to view women as potential protagonists, made a movie largely about a sad lonely teenage girl. camera work on the ghost POV very cool and for me very effective. a tight 85 minutes! they shot it in 11 days! i love you steven!

nosferatu - already said this was a miss for me, and the more i think about it the more i feel reasonably sure that it would have been even if i were not so dracula-pilled… idk. i agree with my anon who called it cold. there’s a fundamental distance between the storyteller and the story that, again, was part of what i enjoyed about the lighthouse, but just doesn’t work for me with a more traditional, more visceral (in multiple senses) tale. similarly to the line about how there can’t be an anti war war movie, because you can’t portray combat without glorifying it, i sorta feel like maybe you can’t tell a story where you want credit for giving your abused and disbelieved female protagonist agency and also have multiple scenes that are like, “ok now do the crazy possessed horror chick thing” lol. i also thought it looked kinda bad in parts and really muddy in all the moonlight scenes but i did see one review on lbxd that was basically like “this movie only looks good in IMAX bc regular theaters can’t get the blacks deep enough” so… maybe that’s true. on the bright side: nicholas hoult!

music

kendrick lamar, gnx - this thing happens to me often with music where anything presented as A Big Deal i have a hard time listening to because i keep being like no it’s not the right time… this is why for example i have never listened to a mitski album and also why until now i had never heard kendrick outside of his features with taylor (bad, not his fault) and the lonely island (p. good) and, ofc, not like us. but “squabble up” came up at the singles jukebox and i got really into one of the slant-rhyme runs near the end and the general personality of his flow so i decided to check out the album and would you believe? kendrick lamar, good at rapping. i like how this album is like kind of about having a god complex and sort of knowing you’re being crazy but also what if actually you kind of mean it? (people get mad if you say this kind of thing so don’t tell anyone but it’s actually similar to the pose i enjoy taylor striking on some of the wilder moments on TTPD, lol.)

girl pusher, gaslight gatekeep girlpusher - 20 minutes of very of-the-moment hardcore-adjacent punk, mostly too hardcore for me (literally, i don’t like music that’s all screamy) but the 3 songs that aren’t are real bangers.

ghoulies, shafted by the algorithm - 20 minutes of bright synthy punk where i have no idea what anyone is saying, kind of like matt and kim with less abrasive vocals? (remember matt & kim??? no? bc i’m old? well ok). not an album i’ll return you but i liked the vibe enough to chuck the whole thing onto my 2k25 rolling faves list and have been enjoying the occasional 2-minute infusions of pep!

underscores, wallsocket (director’s cut) - really impressed by this one, and also really enjoyed it. i keep seeing people call underscores hyperpop but either their earlier work (which i haven’t heard) is very different or i just don’t actually know what hyperpop is (very possible). to me it’s giving aughts indie, maybe a little emo but like the bright eyes kind, it’s giving saddle creek but made by a kesha fan. (does anyone else feel like we’re really in a post-kesha era in a way that is not being appreciated…) catchy, inventive, varied but cohesive, angry and funny, political & personal in the lyrics, sometimes at the same time. there’s a song called “johnny johnny johnny” which is an incredible banger about being groomed by an internet predator in middle school that really blew me away; would also rec “cops and robbers” just because it slaps. but even the quiet songs are good!

rosie gray, louder, please - flawless and sometimes even kind of interesting (although never that interesting) dance-infused pop (pop-infused dance? i think the first one but i’m no expert). pretty, fun, sometimes endearingly unsubtle — there’s a song literally called “party people” and another one where the refrain is “the best things in life are free,” also one called “switch” that rhymes “positions” with “submission.” dumb but thoughtfully and expensively so (or so it sounds, which is what counts). the way that people talk about feeling when they watch influencers swanning poolside in ibiza or whatever, that’s what listening to this album makes me feel like. vicarious luxury and all i need is a pair of headphones. another one where i don’t anticipate returning to the album as an album much but i rarely hit skip when a track shuffles my way.

zora, BELLAdonna - yoooooo this album FUCKS, like, SEVERELY!!!!!! saw someone rec this saying it was framed as a black trans revenge fantasy, which, i’ll be honest, turned out to have absolutely no bearing my listening experience whatsoever, but i am dutifully repeating because maybe you, too, will be intrigued enough to listen, and then discover that this album has BOPS. i am not really up to the task of describing this one — rap/hip-hop forward but with glimpses of both r&b and a pop (maybe even hyperpop?) sensibility, obviously broad in its influences (there are at least two likely refs to bodak yellow lol) while sounding like the clear work of a distinct voice, retro and futuristic by turns or sometimes at the same time. sounds really really cool and really really fun. sick flow, sick beats, a song called “sick sex”... strong strong overall rec here, this album rules.

single of the year so far is "IT girl" by jade (from little mix!!!) btw. if you care. really delivering on always low-key being the most interesting of the quartet in what she's put out so far, not all of it is my thing but she has a Vision and IT girl is a certified bop... really curious about where she goes next.

okay so petty grudge-holding below the cut:

first, the watchmen thing. to start with, she drops in the intro that she admires HBO watchmen, and like, did this alone make me read the entire book less generously than i otherwise might have? entirely possible. that is me owning my positionality as a reader. anyway. mostly here i just want to say that she specifically discusses the fucking 1922 movie about a black hero saving a grateful white crowd that made me the joker and drops that the name of the hero is “historically accurate” because he’s named for the first black marshal in oklahoma or whatever, which, ok. cute, i guess, if i didn’t hate this. what i hate, and what is not historically accurate, is: the existence of a film in 1922 (7 years after birth of a nation!!!!!) with a portrayal of american race relations that looks anything at all like the one in this movie. i mean it’s just crazy. and i find it first of all just inane because if you’re capable of writing this scene and thinking it feels plausible, you by definition do not have a good handle on the history of antiblack racism in america or how deeply it has resided at the core of american popular culture (among other things), and second of all genuinely kind of offensive because of the smash cut to Real Historical Atrocity that follows, underscoring the alleged “realism” of the scene. and it is insane to me to praise this scene for its “historically accurate” detail in a book, again, largely about the importance of bringing an understanding of historical context to your reading. it makes the author look a little bit like she only means that for stuff she already happens to know about or saw someone else talk about online. lol.

also the essay starts out being like “another day another jkr twitter meltdown” which does not help with the sense that these essays were blog posts that did not get sufficiently cleaned up for publication (is that true? idk. it’s how it reads though!). and it’s called “the limits of white fantasy” (but then is largely about how HBO watchmen is good lmao) and has a thing like “well rightwing types can appropriate symbols from harry potter and the hunger games and wherever else because those authors never cared about oppression they were just interested in its trappings.” first of all, leave my girl suzanne collins, cashing her checks blissfully offline, out of this. but second of all i actually think this is a substantively wrong diagnosis. jkr very, very, very obviously and sincerely cares about oppression. she is just catastrophically wrong about who is oppressing whom! but it’s extremely clear she thinks of herself as an actual victim of the actual injustice (in her head) of the woke trans mob or whatever. ditto antivaxxers using hunger games cues or whatever. they sincerely believe their rights are being infringed upon. sometimes people are actually wrong! sometimes people care a lot about morality and justice and are wrong about what those things are! i think this is in general harder for people to contend with than the idea that anyone engaging in such wack behavior just “doesn’t care”... but it is true. writing this out makes me think i undersold the insight potential value-add of naomi klein’s doppelganger, because she’s actually really good about recognizing that while these movements involve a lot of sociopath grifters at the top, the footsoldiers are people responding to ways they do in fact feel victimized (and sometimes actually are, e.g. i literally can’t remember if klein talks about this or not although i think probably yes but a lot of people in the alt-wellness/medicine space got there as a result of terrible experiences with healthcare that failed to address their physical and emotional needs).

ok also AND one last thing about this essay, she really gives the impression that she thinks damon lindelof is like the first person ever in history to politicize the figure of the vigilante/superhero… lmao? she praises the show for being about how actually community is necessary and justice can’t be done solo, which, first of all, just gonna throw this out there, there are ways to tell that story without being like truly the most police brutality apologia nonsense i have ever seen, and secondly, this is literally thematically expressed quite poignantly in alan moore & dave gibbons’ comic limited series watchmen in the scene where the guy acting as a lone vigilante who has taken the fate of humanity into his own hands nukes a bunch of new yorkers coming together to try to mediate some conflict. do i think that you need to have read watchmen to write an essay — not a BLOG POST on your DUMB BLOG, an ESSAY in a BOOK — about the politics HBO watchmen? i mean, maybe? is that so crazy? she says making hooded justice black is a radical reimagining of a comics character which is so funny because it makes hooded justice sound like he’s fucking superman or something and not a probable nazi who dressed up as a kinky klansman as part of watchmen’s commentary on the politics of superheroes lmao. like hooded justice is already a radical reimagining of the superhero mythos… because he sucks… and i guess in my heart no i don’t think i’m just being a weird watchmen stan (lmao) to say, “you actually can’t get a meaningful read on the politics of HBO watchmen without taking into account that the actual intervention being performed with this character is ‘what if this nazi was actually a sympathetic black man.’” do you see how that feels different? (also not for nothing but wrt the idea of HBO HJ being inspired by the movie about a black hero, again, in the comics HJ through his klan-ish costuming is already inspired by american iconography of heroism — arguably one he also saw in a silent movie that actually existed by the name of birth of a nation lmao!!!!! — which is part of the indictment of american hero iconography… i mean whatever. it’s so fucking stupid. btw her big takeaway from this character’s arc is that justice has to happen in community which is also funny because like you know who had a really strong sense of community? the klan.) do you see how it feels maybe extra different in a show whose ultimate thesis is something like “what if nuclear weapons were good if we gave them to a black lady cop who loves doing police brutality so so much”?

and… ok one LAST-last thing… in her informal endnotes, she cites “the watchmen universe” created by moore & gibbons, which… idk man. on the one hand i’m like, ok but it actually is mostly irrelevant to my textual beefs here that watchmen was in fact not intended to be a “universe” as we now use that term in the IP era and that the extent to which it has become one has been expressly at the disapproval of moore largely because of the fact that DC fucked him over so bad with this that it literally changed comics contracts going forward lmao. but on the other hand, if you like claim to care about the social context in which art was created, isn’t it not the best look to do not a single google and uncover the most famous example of the abominable labor practices of the comics industry? i acknowledge i could be indulging in pettiness at this point.

OKAY so that’s all on watchmen i think. the odyssey thing is smaller and less of a big deal, more just goofy. so she talks about the cyclops sequence and highlights how in recounting this story to the phaeacians odysseus is identifying certain arbitrary marks of “civilization” such as cultivating fields, and how he ignores the arguably very “civilized” acts we see polyphemus the cyclops commit, such as tending his sheep and making cheese. this is all fine and unobjectionable, even true, although i will say that, first, she presents this like these are insights she is bringing to her close reading of the text but i really struggle to imagine the person in the past several decades who would disagree with the fundamental thesis “the stories and myths and texts of ancient cultures served in part to delineate and reinforce their own social norms”; and second, she opens the essay with an epigraph from toni morrison talking about how she always admired how homer could make you feel sad for the man-eating cyclops, but then she doesn’t bring this quote up at all and talks about polyphemus’s sheep and cheese as though recognizing in them the marks of humanity is, again, a novel way to read the text? idk maybe i am just misreading her tone bc by this point i was very tired of how impressive she seemed to find herself but i found it odd because she’s like “see polyphemus is actually complicated but odysseus doesn’t see that” and i’m like well yeah that’s like what morrison was talking about… i have no idea how this would have scanned in ancient greece bc i’m not a classicist but neither are you so… anyway. i couldn't figure out her attitude on the odyssey (or this chunk of it) as a text, i guess.

so she takes us through the whole incident, including a cutesy reading of “nobody is blinding me” as like a metaphor for how power operates by making it impossible to name it, which, sure. have fun. and she closes on odysseus’s final boast along the lines of “if anyone asks tell them it was odysseus of ithaca son of laertes who blinded you.” and then she goes into this whole thing about how like… this is odysseus wielding his privilege basically, that he’s doing this because he’s so secure in his name and the power that grants him. she says, “It’s his confidence in his own context that is Odysseus’s greatest strength, his greatest privilege, and his greatest cruelty.” which… i guess kinda makes sense… if you ignore the part where namedropping himself is literally what GETS HIS ASS CURSED? he drops his name and instantly polyphemus is like “grandpa end that motherfucker” and boom, odysseus’s men are doomed to death and he is cursed to ten years at sea. like… it is literally not his greatest strength!!! it is the thing that gets his ass beat!!!! and notice that observing this, the BASIC LITERAL PLOT OF THE TEXT, does not require morally defending odysseus, or claiming homer was woke, or whatever. it is very obviously the case that the text does not think odysseus’s thing about his name is bad and he is being punished for it to learn lmao. i actually literally pulled my old fagles translation off the shelf to find what bernard knox had to say about this, if anything, in the intro, and he reads it as an expression (one of several) of the same heroic code you see achilles living by in the iliad, which includes the idea that you must take credit for your shit — even in this situation in which doing so puts yourself and your ship at great risk. this is not a particularly sympathetic reading to most modern readers! but it is one that takes into account the fact that this is the inciting incident for LITERALLY THE ENTIRE PLOT OF THE POEM!!! like it is crazy to quote that line and end the story there as if odysseus just walks away unbothered! the point of that interaction is not that he’s acting like a vanderbilt trying to get a table at a fancy restaurant, and it is not incidental what happens next because what happens next is THE ENTIRE STORY! and, like… it’s also not incidental because the fact of the matter is the world of homer is simply not a world where your name protects you, or achilles and agammemnon would not be hanging out in the fucking underworld. i’m thinking here about knox’s comment on the iliad that it was written in a century where athens spent more years at war than not, and how crucial understanding that is for understanding the world these stories were created in… i mean on the one hand whatever but on the other hand the essay collection is literally about the idea of reading things in context… so like… whatever. you could take the events in the text and then discuss their influence on 3000 years of western art and how that trickles down into values or whatever, i guess… but she didn’t do that so like :/

also then she says “he may be traveling, but he’s not a migrant,” which i just found goofy because i’m not really convinced the concept of A Migrant as she seems to want us to read it makes a ton of sense to superimpose onto the mediterranean 3000 years ago. (i feel like A Migrant requires the concept of… nations? borders? etc.?) happy to be corrected on this by any classicists who follow me.

also her didion essay is not as good a takedown as either didion's own takedown of woody allen or barbara harrison's takedown of didion. lol.

anyway. ok. that’s my grudges off my chest lmao.

[11queensupreme11]

What would Cú Chulainn do if Percy actually DOES fall in love with a mortal when she’s in Midgard

i'm assuming this is about the cheating au, which would mean cú chulainn's a god in this scenario and OHHHHHHHH MY GOD........

pissing off cú chulainn back when he was a demigod was already bad enough (dude was a menace), but when he's an almighty GOD????? that could literally ruin lives with just a single THOUGHT???????

😭😭😭 rip to the mortal man

(i think i might actually write about this way later btw lol)

percy, to her credit, knows damn well that she can NOT get attached to this man she met in midgard, that would put him in danger. so she pines from afar, but let's say she goes back home to valhalla after her lil break. she goes back to her motherly and wifely duties, but cú chulainn, who's become 1000000x more hyper-focused and loving to her then usual since he learned his lesson, starts to notice her attention lingering. she's more distracted than usual.

and so he looks to see where her Sight has been focused on lately!

(and btw, when i say "Sight" with a capital S, i don't mean she's physically looking at something. gods are omniscient to a degree, they can literally see wherever and whatever they want regardless of where they're at. i've explained this several times throughout the fic, but i'm just putting this here in case some forgot cuz its been a while since i brought it up 😅)

so he looks to see where his dear wife's attention has been at and oh. it's towards some mortal man. and she wasn't just gazing down on him, but subtly helping him from afar as well. school debt? gone. hospital bills? gone. that job interview he's been waiting to hear back from? he got the call and he got the job! his little siblings' school is suddenly able to afford free school lunch for all. his parents were given huge bonuses in their salary that could make them eligible for a comfy retirement years early! this man's life and the lives of his family has become nice and safe thanks to cú chulainn's sweet lil wife 💖💖💖

but cú chulainn fucking sees RED. he's seething with jealousy and also the dawning realization that this human man was a threat. because he knows his wife has a soft spot for humanity, that she even preferred their company over her fellow gods. percy's straying affections are a horrible reminder of his own infidelity -- an infidelity that he regrets because it led to his beloved wife temporarily leaving him for a few years. he can't let this man live, can't run the risk of losing percy again.

demigod cú chulainn would've went down to midgard to rip the man to shreds, and then kill him again once his spirit gets to valhalla, and then he'd be done with it.

but as an omnipotent god with unlimited power??? he's so much more crueler than he was as a demigod. if you remember my previous post about what sort of domains i'd give him (here), god of WAR would be one of them.

he doesn't even need to do much. he just needs to think of it and everything falls into place right then and there.

one night, the mortal man falls into a good sleep and when he wakes up the next morning, it's to the news that the US president has declared war with another superpower country. that same day, he'll get a letter in his mail saying he's been drafted. he doesn't have the money to be a draft dodger and he's in peak health, so he doesn't have a choice. he has to leave his family, give up on his career, all to fight in a war he never wanted.

and cú chulainn makes sure this war would be the worst war to ever occur in all of human history. and he makes sure the human lives through every grisly second of it. he exposes him to the worst of the worst, gives him un-ending trauma that he could never recover from. he makes this war drag on for years, decades even, all to make sure that the only thing this man knows is death and pain. he'll make sure to shatter this human's mind, make him a former shell of the man percy once knew and loved. he's going to ruin him for daring to try and steal percy's attention.

he'll make this war drive him to the brink of insanity until he finally kills himself, and even then his agony won't end because cú chulainn's already waiting for him in the afterlife.

[kakushusband]

Playing apollo justice for the first time ever. Imagine its yr first trial and halfway through it your mentor and your client start getting catty like that. I'd lose my fucking mind.

[astralzeraphias]

“he was mentally ill. this monster was a- was a sick fantasy. a product of his dementia.”

“…i saw it too. does that make me disturbed? demented? does… that make me sick too?”

[teddybeartoji]

i hate whining on here abt my fear of being annoying sm bc it feels like i'm dismissing all of you hhhhhhhhhhhhhhhh i really really promise that i am not and godddd i'm so fucking happy to have you all here with me but sometimes just sometimes the feeling just creeps up on me and i hate it so fucking bad

[suzukiblu]

Day seven and the final day of February’s first weekly WIP behind the cut; “the puzzle trap sex-room”. content warnings: past grooming, past sexual abuse, past statutory rape, past dubious consent, CURRENT unhealthy coping mechanisms, immediate fallout of sex pollen/death trap-induced sexual coercion, and a POV character who does not understand what the problem with any of that is, he’s FINE, Jesus, lay off already and let him live his life. and like, definitely internalized victim-blaming that said POV character is not actually recognizing as that. So uh, you know, just Kon’s … entire pre-YJ dating history, pretty much? Pretty much that, yeah. (( chrono || non-chrono ))

Superboy just feels so gross right now. He feels so gross and so stupid and it tasted gross and Robin wouldn't stop yanking his fucking hair no matter how fucking hard he tried to do a good job for him and then Robin called him a fucking whore while he was trying to save his fucking life and didn’t even say he did a good job and–and–

And Robin’s not some random-ass civilian or asshole supervillain, Robin’s–they've met before. They’ve worked together before, at least a couple times. They’d both literally saved each other’s stupid lives before tonight, even. Like, more than once, even! Superboy didn’t decide to get his stupid little hopeless-ass crush on him out of, like, all the fucking nonexistent publicity photos and paparazzi shots of the guy, for fuck’s sake; they actually know each other. Like–at least enough to have saved each other’s lives and like, significant chunks of both Gotham and Hawaii. 

And even after all that–even after all that, Robin still thinks he's not worth being nice to even when he actually wants to fuck him. Not worth using a condom for or listening to when he asks him not to do stuff or when he asks if they can do something different or–or–wouldn't settle for the fucking handjob, wouldn't tell him he had fucking condoms, wouldn't stop yanking his fucking hair–Robin thinks he's a mouthy bitch and a whore, but he wouldn't even let him have a stupid condom. The condoms he specifically carries to give to people, even–he'll give them to stupid drunk people and prostitutes who should've packed their fucking own, yeah, to any other kind of whore, but not to him. Robin doesn't care if he gets sick or if he just doesn't wanna get fucking come in his mouth or on his face or–or–Robin carries those for people, not–not–

Robin didn’t even kiss him first. 

But Tana’s nice to him, even though he’s so stupid that he can’t even figure out why everybody else is always so fucking mean.

Tana’d care if he got sick or felt gross or–or any of that shit. Any time he feels bad, she always makes him feel better, even when it’s over really stupid shit; even when it’s over nothing at all and she has to explain to him why he shouldn’t even be upset or–or whatever. Even when he’s made her really mad again and disappointed her again and–and–

Tana cares if he gets better or not, and nobody else even thinks he can.

And she doesn’t treat him like a fucking kid, either. Everyone else treats him like a kid, but only when they want to shut him up or ignore his opinion or what the fuck ever. Never–never for any other reason. Never for anything–else. 

At least if people wanted to treat him like a kid, they could be fuckin’ consistent about it. They could be, like–literally anything except whatever was most convenient for them at the time, whether he had any opinions about it or not. He wouldn’t even–he wouldn’t even really care about somebody doing that, he’s pretty sure, if they were just fuckin’ consistent about it. 

He doesn’t know why–like, that’s not a–he doesn’t–just, if they were consistent, then–if people treated him like a kid and were just–just–

But they don’t. Nobody does. 

So nobody fucking gets to. 

“Just–take a breath, Kid,” Superman says, because he apparently thinks he fucking gets to, the asshole. 

He doesn’t get to, though, so Superboy just grabs every light fixture he can feel in the whole stupid cave and disassembles them all. And it doesn’t even matter, obviously, because fucking Superman has fucking infrared vision anyway, but that’s not the fucking point. 

He just doesn’t want any of these assholes looking at him like that anymore.

[transmascutena]

thinking about how akio sees his younger self in utena and wondering if there's any fondness there. doesn't change the horror of what he does to her obviously but i do wonder

[dreamsicle262]

if the reading comprehension of some people who do make dead plate text posts is so bad (as i've had at least two people tell me in the tags) then maybe i SHOULD start analyzing every little detail in the game.

[b4kuch1n]

fuck it sk8 sketches from da sketchbook. get sk8ed idiot

[marsixm]

🗿

[nonsensechemicals]

crying whenever i talk about Cookie9 because all my friends have these interesting and unique theories on them while i take everything too literally and they all just stare at me like “dude… uuugh we r TIRED” <-they dont actually say this they are very kind to me but i can Feel It

[none-tadashi-left-hiro]

I still don’t know what my exact take on angels egg is yet but I think I like it so far mainly because of the comfort of some dude off the shits exploring the concept of hoping and waiting for something in a way that isn’t just rewarded exactly how the character wants but yet it is rewarded nonetheless like it’s not just nihilism trying to be avant garde once again it’s just like actually this is the real perhaps tragic beauty of hope and how our relationship to truth works and whatever the fuck. Or however you need to interpret it have a nice day