#than portrayed *too* sympathetically

[sskk-manifesto]

Ep 4 :)

[raccoonshuffle]

Of all the Zeon leaders to drop a colony on Earth, only one of them actually hit the intended target and it also did the least amount of damage. In this essay I will explore the role gender plays in the audience perception of omnicidal monsters in fiction—

[bastardlybonkers]

i feel like not enough ppl are factoring in the cultural clash between laios and shuro and the many micro agressions shuro faced while being in their group. literally the name 'shuro' in itself is one

his name is toshiro 😭 lets also not forget that he has his own communication issues, in the opposite way that laios does- thats literally a factor in their argument, that his envy for laios's ability to express himself sincerely manifested as part of his distaste for him.

ig all this to say like, was their fight heart wrenching, especially when reading laios as autistic? absolutely. anybody whos ever been in laios's position knows how much it hurts to realize someone you thought was your friend doesnt actually like having you around, especially when they didnt tell you and you had no way of knowing due to not understanding their cues. but im begging yall to step back and see the nuance of this situation cause im gonna be real a lot of you are kinda just brushing over it acting like everything is toshiros fault and that hes a terrible person when in reality hes an average guy who really, really clashed with laios and it led to a very long misunderstanding due to their supremely opposite methods of communication. even laios and toshiro, after letting everything out in their fight, were able to come to an understanding and start a foundation for an actual friendship built on better communication

ok yknow what Edit: i shouldve made it even more explicit at the end of this post, i hadnt thought i would need to since i started the post with this, but i think a few too many people are missing my point so i just wanna clarify. i shouldnt have said 'really clashed' and left it at that because yeah they did, but it wasnt just their opposite methods of communication, it is also very much that toshiro was experiencing microaggressions via laios. it may have been unintentional on laios's part, but it still happened and wore him down, made it harder for him to communicate on top of both the more subtle social cues that he was raised with and his own communication difficulties. i also want to say that the fandom reaction to toshiro and the complete ignorance of this point is also racist tbh or at the very least ignorant. i understand that the anime did not cover this panel, and neither did the manga, as this was an omake, but im gonna be real with you guys. there are enough context clues within the story to clue you into this. if you didnt pick up on it thats ok, but i think this is a good lesson in picking up subtext in the stories that youre watching and/or reading. kui shouldnt have to explicitly say 'by the way laios was racist to toshiro' for this point to be understood, and at the very least, when the author portrays a character in a sympathetic light (as kui clearly does) it should make you question Why they are doing so and what makes them sympathetic, rather than youre immediate and only reaction to be 'well i hated what this guy did/said so i hate them and they suck'. idk exactly how to finish this, just. idk. question your biases and gut reactions to things you see in media and stories, and think about whether or not theres subtext that youre missing.

[intheholler]

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

[balteus]

actually re: fromsoftware politics. i do think it's very interesting that the anti-colonialist RLF, ostensibly considered the 'good guys' of the game, were initially explicitly called the communist faction. armored core always has been a series critical of oligarchies and hyper-capitalism, but it's... very interesting to see just how blatant that is in ac6 specifically

you'd think that fromsoftware would eventually drop the ball on the "the ruling class will kill you and cannibalise itself in order to stay alive" considering that they're considered elite AAA devs rn, but thinking about elden ring and ac6's narratives, they've really only gotten more obvious about it - the horrors of colonialism and genocide and the sympathy given to the rage of its victims is something that's actually insane to see, to me, from such a big studio - fromsoft doesn't even attempt to be centrist about it.

for example, the frenzy flame ending. the only thing melina can tell you to dissuade you from pursuing it, ie literally destroying the world forever, is that there's still beauty in the world, apart from the suffering the golden order had caused. at no point however is the sheer despair of the people that the flame represents villanized. if anything, it's portrayed as a self-fulfilling prophecy, it is a tragedy. the only villain is the order who slaughtered all of these people, the flame of despair is something that emerged in them as they were buried alive. and the flame isn't even intended as a revenge upon the world, it's simply a means to end the pain they feel for being subjected to this.

their grief isn't something for the player to judge, it isn't something they're forced to overcome, it's simply a physical manifestation of the reality that was forced upon them. and these people, the merchants, are still kind to us, even knowing the order that we pursue. (in fact, the true, considered best ending of elden ring, is literally just sacrificing yourself in order to achieve complete anarchism. and getting a cool wife to endure the loneliness of space along the way)

in ac6 then, ayre is so terribly forgiving towards us, knowing what we are, knowing what made us, knowing what we participate in. some of this undoubtedly is because of her narrative role, she has to be a sympathetic character. but we do get to see her rage at the end, her grief for her species being seen as nothing more than a resource to be exploited or burned fully vocalized. but the RLF is sympathetic too as resistance fighters who want their home back. the only criticism the game ever leverages towards the RLF is that they're actually not radical enough in their pursuit of freedom, and that criticism is made by a villain.

it's so... i almost want to say optimistic? other games would have tried to pull a "ooh but what if the good guys did bad things (poor attempt at moral grayness)" but no, the RLF is justified at every step of the way. idk it makes me feel things. i dont particularly want to portray fromsoftware as these bastions of political correctness or sth - they're not perfect and i don't expect that ever lmao, but it's so fucking weird that their games are this progressive and have been for a long ass time.

[nekropsii]

Do you have any thoughts on Equius

Equius is a fucked up kid who has done a lot wrong, but he is still a kid. He reads as a startlingly real portrayal of a pubescent autistic boy with an unhealthy and shaky grasp of his budding, overwhelming sexuality, with a concerning amount of influence from the internet. He is the result of adults failing him, and exposing him to hardcore fetish porn at an age too early. This is a real kind of guy that exists. A very common one, who I have met, like, at least 40 of.

Like Eridan, he feels like a kid stuck in a pipeline — except instead of the alt-right pipeline, it’s fetishism and hypersexuality. He feels like a pretty solid example of how getting involved in NSFW spaces online as a child can both deeply fuck up your sexuality and completely destroy your perception of what consent is, and what is and is not okay. He doesn’t have a grasp on boundaries whatsoever, and while this manifests in ways that are quite honestly horrifying and uncomfortable — like constantly projecting his Caste-Play BDSM fetishes onto nonconsenting, unsuspecting individuals, and… The things he did to Aradia — I cannot help but view him as an autistic boy having a rough time of puberty who got groomed through the internet over-exposing him to pornography at an early age. He’s deeply sympathetic to me from that angle. Again, I have met this kid. Homestuck is fantastic at presenting characters that are exact archetypes of real people you have known, be it personally or not. People you would have either been close friends with in middle school, or terrorized by in a random chat room on the internet. Maybe they were even you! There’s a complete nonzero chance someone is reading this who has played the role of Equius in their youth, who is totally fine and healthy now. And if that’s true, and this describes you… I’m proud of your growth!

Back to Analysis- His ardent Hemoloyalty is fascinating, also. I’ve written about this before, but there’s something compelling and very realistic about how his bigotry comes from a place of deep insecurity, rather than pride. I find bigotry coming from insecurity to be more common than it coming from overt pride. Many fictional bigots have such a genuine ego to them, a fine layer of paint labeled Badassery, when for the most part real life bigots are total losers with nothing better to do than worry about… Where someone was born, or how much melanin they have, or what’s in their pants, or whatever.

I get why people don’t tend to be fond of him, but the disquieting parts of his character are both very deliberate choices and also shockingly… Earnest, in a weird, Hussian fashion. I’ve never quite seen a character with his traits get portrayed before. He’s easy to work with, analytically speaking, you just have to be willing to stick your hands in the uncomfortable muck that is messy teenage sexuality. Many aren’t willing to, which is fair! But many also mislabel his uncomfortable traits as not intentionally uncomfortable, or simply a product of Hussie being weird and wrong and having bad opinions. This… Just blatantly isn’t the case. Sometimes fiction isn’t comfortable on purpose. Big whoop.

I think Equius could’ve been quite a fine person, had he been given the room to grow up. He’s like Jake to me in the sense that he’s one of the only characters I genuinely wouldn’t mind seeing expanded upon more, provided he be taken seriously, and not completely sanded down.

Alas.

[yutarot]

IN PERFECT SYNC [j.jh smau]

FINAL. thirty — in perfect sync. wc: 0.7k

it’s the night of the comp. all of you sit in different places of the dressing room, johnny messing around with jungwoos hair, laughing as he uses gel to give him a mohawk, tzuyu and doyoung watching them like they’re their own children, kazuha and yuta fighting over which direction your outfits are meant to be put on, with haaland getting involved for some reason, and you and jaehyun, sitting quietly on the couch, his arm lazily slung over your lower waist.

johnny quitens the room, “so… which of you knew about jungwoo and giselle?” he says accusingly at yuta who shakes his head, causing the rest of you to laugh.

jungwoo, being the last one to understand johnny's joke, speaks up. “oh shut up, it just kinda.. happened.” he turns to you, “and yn.. if you want me to, you know, end things if your not comfortable with-“

“no, no, no.” you say, “i’m not bothered by it.”

jaehyun leans around to look at you, the question on his face asking, ‘are you sure?’

“no really, i mean it, it’s better being jungwoo than jae so…”

johnny makes a gagging sound, accompanied by jungwoo and the rest of the room, jaehyun squeezing your waist in appreciation as he laughs, the deep sound vibrating from his chest.

as you all continue to get ready, the nerves begin to arise within you. being the first comp since the original ban, you deciding to join your teams together, you have absolutely no idea how it’s going to go. albeit under the struggle of trying to teach the boys ballet, you had decided to do a dance consisting of both your teams styles, something that judges have never seen before.

you stand in the wings, the rest of the group in front of you as you and jaehyun stand at the back, taking it all in. the lights, the music, the feelings; you feel overwhelmed.

noticing your nerves, jaehyun leans down to whisper in your ear, trying to be quiet as to not disturb the group on stage before you.

“your mother would be so proud,” his breath is warm against your neck and it makes you flinch, causing him to hold back a smile. “i’m proud of you too.”

you smile up at him.

you’re silent for a few moments, simply looking into eachothers eyes, the current groups dance to ‘across the stars’ filling in the silence between you. “thank you, jaehyun.”

you see his next joke brewing in his features, something about jaehyun that you’ve always loved, the thoughts behind everything he’s about to say portraying on his face before he gets the chance to voice them.

“don’t thank me, thank Y!”

there it is.

you feign laughter, “ha ha ha, very funny,” deadpanning. “i already fell for that one too many times.” you roll your eyes and he smiles.

“well, let’s hope you don’t fall for anything else in the future. well… except for me, of course.”

you cringe and he kisses your forehead, giggling against your skin and you wish you can stay like this forever, enveloped in his warmth. as you notice that all your nerves are gone, you realise exactly what jaehyun had been doing for the past 2 minutes.

he had been trying to calm you down.

your thoughts are interrupted when a stage manager comes up behind your group, “20 seconds ‘till you’re on.” he nods.

johnny pats yuta on the back, jungwoo reaches to haaland for a hug and kazuha turns to you, looking between you and jaehyun, smiling, before turning back around.

jaehyun begins to walk closer to the rest of the group, but you grab a hold on his wrist before he can go any further from you. he turns around, a worried yet sympathetic expression on his face.

“wait, jae.”

he tilts his head to the side, waiting for you to continue, deeply aware of the countdown that you’re both under, ticking away like a time bomb. “yes?”

you leave no time to wait, you leave no room for questioning yourself. because you don’t need to, you know exactly what you want to say.

“i love you.”

dimples.

“i love you too.”

and as if in perfect sync, the music begins.

mlist

notes; and that’s it! the end omg😕😕😕😕😕 IM SO SAD THIS IS OVERRRRRR thank u so much for reading 😓😓😓impulsively adding haaland to this smau was the best decision ive ever made lmaooo ive loved all the theories u guys made to try and figure out who Y was it was so fun😭😭😭😭😭😭 thank you again for all the support and love you guys gave this series and i hope u look forward to ride or die!! aswell as the written fic im currently working on which ill probably be announcing soon😊😊😊 LOVE U ALL

taglist — open; @https-yeonjun @chenlesfavorite @therealbobbyshloby @f6llsun @jkslvsnella @nanaxwi @cloudmrk @neocrashed @vernonburger @vividwritess @taeeflwrr @mmjhh1998 @cyjzzl @stareaa @minkyuncutie @mrkleelvr @dudekiss3r @nattan127 @slayhaechan @jaeveil @tynlvr @mslora @nosungluv @grassbutneo @dokyriu @girlz4jaem @axo-l0tl @yyangj3lly @solvrse @m1ng1swife @gentlepeach @xiuriii @soobinbunnie5 @tocupid @apolloxxivmin @ctrlstar @gyuguys @tokitosun @i-kai @flamingi @mrkleelvr @en-dream @queenrachelpink @ssweetreveries @swanyvess @flaminghotyourmom @hyuck-me @cryingforjae @hizhu @starfilledgaze

[severussnapemylove]

Sometimes I wonder if JKR even realises she wrote Snape as a victim of sexual assault. Because he unambiguously is, and she writes him as traumatised by the incident. So it seems mad to suggest that she might not have thought through the implications of her own writing, but if she did get it, I am baffled by how sympathetic she remains to James. Harry is never really made to confront how vile his actions were, because he looks for comfort from Remus and Sirius rather than telling Hermione who would react in horror and disgust, and he gets to skip over it completely in The Prince’s Tale. JKR clearly considers James a hero, and has confirmed that in interviews. She’s even more sympathetic to Lily, who is portrayed as an absolute paragon of goodness, morality and virtue, despite her being attracted enough to James *after* he publicly commits sexual assault on a less privileged kid to marry him! What a malfunctioning moral compass. JKR also has no sympathy at all for Tom Riddle Sr, who is a victim of rape, and his rapist Merope Gaunt, who is herself strongly implied to be a victim of incestual abuse, is condemned by Dumbledore and the narrative not for what she did to Tom but for not being as courageous as nice, pretty, middle class Lily Evans because Merope committed the crime of…dying in childbirth. The only conclusions I can draw from this is that JKR is the sort of ´feminist’ who doesn’t believe men can be the victims of sexual crimes, and that deep down she thinks being a member of the underclass who can’t drag themselves out of it alone is indicative of moral failure.

This! All of this!

I don't think she puts it together at all. She's incredibly tone deaf about a lot of the abuse she puts these characters through. And with the blasé attitude she has about male victims of SA in the books definitely goes along her brand of toxic radical "feminism". It looks like she just doesn't recognise the severity of what happens to these characters. On top of Severus's attack and Tom Riddle Sr, remember that Ron was roofied with love spell that was intended for Harry, and Moaning Myrtle is incredible predatory towards the boys. Sadly, this attitude carries over from the author to a chunk of the fandom too. I've seen so much dismissiveness of the assaults against the male characters, especially Severus. And it's even more disappointing when I see people who have experienced abuse saying that what Severus endured "didn't count" as abuse. Had someone today on another platform having an absolute meltdown at me, saying that what happened in SWM wasn't sa, and that he wasn't traumatised from his abuse and if his anger was caused by trauma then why wasn't Harry the same. Seriously, you can't tell another person that what they experienced wasn't "bad enough to be abuse", that's a very warped mentality. Survivors are supposed to support each other, not belittle each other's trauma. Also, what book did they read that they think Harry doesn't have issues from the life he endured? He has different issues than Severus, yes, because he had different life experiences and everyone's reactions to trauma are different.

"Merope Riddle chose death in spite of a son who needed her, but do not judge her too harshly, Harry. She was greatly weakened by long suffering and she never had your mother's courage."

WTF is this!!!??? This is just plain victim blaming. "Your mothers' courage"? Lily had supportive, loving parents, was loved by her peers, admired by her teachers, had a very comfortable, secure life. Merope was physically and mentally abused for her whole life. They really criticized the poverty stricken, abuse victim for not being as "strong" as the Mary Sue of the Wizarding World??? Toxic as hell. Personally, as someone who has dealt with self-harm, mental illness and generational trauma in my family, this attitude of "they weren't strong enough" is nauseating and infuriating.

There really is a disturbing trend of extreme poverty equalling a dead-end life with no hope. Which is again an extremally toxic and judgmental attitude and a very dangerous message to put in a book aimed to children. The attitude towards abuse, poverty and indecent assault of men is beyond problematic, not only in the books but in far too many members of the fandom.

I could rant more but this will go on for pages.

[hellaversity]

You ever notice now how heteronormative media gets praised for the same things that the Hellaverse is judged for?

For example, any generic "strong female character" written by a man is worshipped or at least tolerated compared to the crap that Millie gets.

Any straight male protagonist who has a very similar personality to Blitzø is lauded for the same traits that Blitzø is criticized for. (Anger issues, yelling, not good at communication, most of his relationships end up being unhealthy, being a womanizer or promiscuous, making raunchy jokes, etc.)

Any straight female prostitute portrayed in a sympathetic light and is a rape/sexual assault survivor gets next to no criticism compared to how controversial Angel Dust's SA survivor arc is.

The thousands of straight relationships who aren't constantly gushing over each other or arguing 24/7 and get almost no hate for it while Chaggie, who act no different are decried as boring and "not acting like a real couple".

The hundreds of straight couples who don't exactly have a healthy relationship and argue back and forth on a daily basis but still obviously care about each other are nowhere near as hated as Stolitz, who act the same way yet they're derided as "too toxic to ever work or improve".

The sympathetic adulterer trope where a character is a victim of domestic abuse and finds someone else to love, more often than not cheating on the abuser in the process and the cheating is supposed to be cathartic? Totally fine when it's a straight woman cheating on an abusive man with another man who treats her better. But when it's a gay man cheating on an abusive woman with a man who treats him better, suddenly it's bad writing.

And so on and so forth.

[raplinesmoon]

원샷! (One-Shot!) - MYG X F!Reader

Part 1.5: Half The Man

series masterlist

pairing: Doctor!Yoongi x Doctor!Reader genre(s): crack, fluff, angst (i'm sorry) au(s): medical AU, idiots-to-lovers (not quite yet) word count: 1.7k chapter warnings: cynical Yoongi, Jeonghan cameo!, hospital talk, artificial insemination and pregnancy, sperm for insemnation switched without readers’ knowledge/consent, Yoongi has no filter, mentions of previously regretful acts done while drunk, arguments, lots of unresolved feelings, did I mention they’re idiots (affectionate), rating: 18+

summary: As your pregnancy progresses, Yoongi continues to wrestle with his long-standing feelings, culminating in an argument that has you making an unexpected move.

a/n: Hi, thank you so much to everyone that has shown love to this series. I'm so sorry that it took me so long to upload the second part, I struggled a lot to continue writing this partly because of my own insecurity, partly because of other things (which I don't want to get into). But Doc!Yoongi is so fun to write! I hope you enjoy!

disclaimer: I do not own, or have any affiliation with BTS. Any similarity between the version of the idol(s) mentioned and portrayed here and their real life counterparts is purely coincidental, and does not represent the thoughts and opinions of said idol(s). Any scenarios or representations of the people and places mentioned in works are not representative of real-life scenarios. This specific fic is based on the 2010 movie The Switch, which contains sensitive themes relating to accidental artificial insemnation, consent, and pregnancy. Please do your research before engaging with this fic, as these themes may not be for everyone.

The small splotch on Yoongi’s white coat, the byproduct of an accidental run-in with a very flustered Jeon Jungkook holding a very hot cup of coffee, had now turned into an unsightly bloom. Yoongi rubbed at the stain, cursing under his breath that he’d skipped laundry day this week.

To make matters worse, he’d gotten an impromptu page right in the middle of his lunch break. The three tiny beeps went off, and Yoongi’s face turned stark white.

“Oh no,” you gave him the most sympathetic look you could muster, your eyes turning misty. The pregnancy had thrown your hormones completely out of balance, the smallest inconvenience turning into enough to make you cry. “Jeonghan?”

“Jeonghan,” Yoongi sighs. 

…

The frigid air in Jeonghan’s office was nearly enough to rival the stare he currently possesses. Yoongi has to resist the urge to scoff. Yoon Jeonghan was the head of his department, full of pride with a face to match his inflated ego. A handful of years younger than Yoongi, he’d only gotten the position after Yoongi had turned it down multiple times, grumbling about how he was too busy taking care of real patients to deal with all the paperwork that department heads had to put up with. 

“I’m going to be very frank with you Dr. Min,” Jeonghan leans over his desk, a few stray papers falling to the floor. “You’re falling apart.” 

Yoongi bristles, shuffling his feet. He’d felt off ever since the night of your party, and even worse a few weeks later when you told him you were pregnant, all the memories coming back to him. He’d pushed it out of his mind, but clearly Jeonghan had noticed which meant it was affecting his work.

“Namjoon says you’re ordering X-rays and labs for your patients, but not coming up with any diagnoses.”

He straightens, heat coming to his face. “Dr. Yoon, I can explain—“

“No need, Dr. Min. The whole hospital knows you’re in love with ___. You don’t do a great job of hiding it.”

If there was ever a time Yoongi wished a sinkhole would open up and swallow the hospital whole, it was now (not that he’d thought about it before). Almost as if he can sense Yoongi’s sheer embarrassment, Jeonghan is by his side in no time, pulling up a chair to catch Yoongi’s unsteadily swaying figure.

“I’m too fucking sober for this conversation,” Yoongi groans, plopping into the comfortable cushion, Jeonghan looking on with an amused smile.

“That’s probably why Seungcheol also said he saw you throwing up in the hallway like a sorority girl the night of ___’s party.”

Yoongi cursed his stupid neighbour, who also happened to be one of the hospital’s charge nurses, for ratting him out. But then again, a free therapy session with his director was hard to come by, so maybe Yoongi would need to stop and buy Cheol a coffee sometime.

“He has a PhD from Harvard… HARVARD,” Yoongi whines, thinking back to the stupidly attractive man he’d met who was going to be your sperm donor.

“You’re just mad because ___ put you in the friendzone,” Jeonghan sighs.

“We put each other in the friendzone,” Yoongi interrupts, but Jeonghan waves him away.

“No, you had your chance six years ago when both of you started working here, and you blew it.”

“How did I blow it?” Yoongi questions, even though he knows exactly how – and what you’d say if he ever had the guts to ask.

“You went all Yoongi on her — it kills the vibes. You showed too much crazy too soon,” Jeonghan is moving around him now, picking up the stray papers, and Yoongi’s patience becomes thinner than the 11 blade he uses for procedures.

“Oh I’m sorry, did your extortionate divorce settlement teach you that?” He quips back, purposefully sliding his chair onto some of the sheets so Jeonghan can’t reach them.

“Yoongi, you sent me a picture of your armpit three weeks ago while I was in the middle of a surgery.”

“I thought I had a growth! You’re a doctor, you should want to help me!”

“Newsflash, Min, we’re all doctors in here.” And Yoongi knows Jeonghan’s right – he was eccentric, too much at times. But somehow, you never seemed to mind, from always having his back through his daily rants, to showing up at his apartment with a tub of ice cream after his call shifts so you two could make affogatos (Yoongi was nothing if not a caffeine addict).

He hears the door click shut behind him, and Jeonghan’s gone, leaving Yoongi alone with his thoughts, thoughts he’s had many times before. But somehow, it all feels different this time around. You’re pregnant with a child - his child, and you’re not supposed to be. It’s everything he’s ever wanted, and yet, he can’t have it because it would mean confessing that he’d messed up. And like Jeonghan, Yoongi much preferred to shut the door on things rather than let anyone in.

The moan you let out is borderline indecent, and probably not something you should be doing in the middle of your best friend’s apartment. But you were four months pregnant, and the tangy spice of the kkaenip-kimchi Yoongi had prepared for you at 1am was the best thing you’d ever put in your mouth.

“My eomma would have a heart attack if she saw you eating unfermented kimchi at 1am, she says—” 

“The fermentation is good for the baby, I know, I know,” you finish Yoongi’s sentence with a pout. “But I wanted kimchi now.”

“You’re lucky I’m Korean. What if you didn’t have a best friend like me and your random kimchi cravings hit?” Yoongi chuckles, his gums peeking out from one of his rare smiles. The dim lights from the city skyline reflect onto the window behind Yoongi, casting a faint glow over him, and you feel your heart flip-flop, unsure if it’s from nausea or something else.

“I would have gone to H-Mart or something, or called up Seokjin,” you mumble under your breath, but Yoongi, the ever preceptive one between the two of you, catches your hushed response.

“You’re still in touch with him?” His face is pale, a far-away look in his eyes, and you feel your stomach drop, a lead weight settling on your chest.

A strange heat crawls up your spine, and you feel yourself flush at the iciness in Yoongi’s tone, wanting to defend yourself.

“Of course I am Yoongi. The whole point of doing this was so that I could have a donor that I’d be able to meet face to face, look him in the eyes, shake his hand —”

“What, are you going to marry him or something?” Yoongi cuts through your rambling, eyes blazing. “I thought the whole point of this was having a baby. I thought he didn’t matter.”

“Obviously he matters, but not like that, I just–” you trip over your words, unsure why you’re growing so frustrated. This isn’t what you expected when you’d called Yoongi up asking for kimchi. “Why are you being so weird about this?”

“I’m not being weird,” Yoongi’s back is to you, shuffling around in the kitchen. He is being weird, refusing to meet your eyes. “It’s just – what if you meet someone tomorrow? Or in six months? What if you fall in love? Isn’t that an important part of this?”

“This isn’t like you Yoongi,” you shove your bowl of kimchi to the side, wrapping your coat around your arm. Yoongi pales, watching you get up to leave. “I’m not going to spend my life waiting for some what-if. I didn’t exactly dream of this okay? It wasn’t like I was sitting there suffering through med school, just pondering the idea of putting an ad out for a sperm donor one day! But this is real, and it’s happening, and even though you’ll never say it, you think I’m making the wrong choice. You’re supposed to be my friend!”

Your voice breaks at the last sentence, eyes filling with tears. Yoongi had always been there for every stage of your life, through all your terrible dates and failed situationships. He’d been your one constant, but lately it felt like he was fading, purposely removing himself from your life the moment you’d told him you were going through with this.

“I think we need to take some time apart. We need a time-out,” you throw your coat over your shoulders, and Yoongi stiffens, a choked sound escaping him.

“Already learning how to speak mom,” Yoongi quips, but his signature Yoongi humour isn’t enough to quell the rage filling your body. You don’t spare him a second glance, turning on your heel, letting the door slam behind you before you fall apart.

Yoongi wasn’t just your friend, he was so much more than that, but now you weren’t sure if he remained anything to you at all.

Jeonghan’s face is no longer smug when he breaks the news to Yoongi. You’re moving back home, claiming that the city is no place to raise a child. For once, Yoongi is thankful that the younger man doesn’t let his ego get in the way, opening the door to his office so Yoongi can lament in peace, the walls he’d built around his heart growing higher and higher. 

Two weeks later, you were gone. Yoongi stood with you as the moving trucks pulled up, watching you get choked up, the two of you barely having the guts to say more than a simple goodbye, for fear that you’d crack and say the wrong thing. 

Yoongi had always thought of himself as a mature, stable adult, but he fell apart at your leaving, feeling much like a child in need of constant attention. Your words ring back to him – a timeout. You’d left your friendship in constant purgatory – daily texts turned into once-a-week phone calls, which then turned into once-a-month emails, until you’d exchange Christmas cards once a year.

Seven years passed by in the blink of an eye - bringing with them two failed relationships, a stock market crash, a new roommate in the form of a poodle named Holly, and one phone call that changed everything.

A/N pt. 2: Thanks for reading! As always, any feedback or comments are much appreciated, but I appreciate you all anyway. Lots of love, Isi 💜

[lollyposp]

okay im only slightly going insane right now about how MUCH i adore the way agatha is being portrayed in agatha all along. she's this awesome mix of horrible and sympathetic BUT not in the way that excuses everything she does. like, the other witches dislike her for good reason and even when agatha is nice to them or they realise she's got her own issues too like, that doesn't change what she's done in the past to get her reputation.

but ALSO it's so obvious that 90% or something of Agatha's personality is either a facade or an exaggeration of her bitterness because after everything we know of that's happened to her ("i can be good" "no you cannot", her son dying and rio's obvious involvement in that) it's like. how can she love. how can she trust when those she loved made her feel betrayed, or she lost them, or even both.

i think the first clue that a lot of her personality is a facade was the whole "just blast me" situation, because to me it felt like "well yeah Agatha's clearly nasty but how much of that is because she needs to annoy people into trying to kill her so she can grab their magic?" but I hadn't quite realised that there could be more to it than that

but episode 4 had SO MANY examples. i mean, Agatha's entire "no fucks given" attitude just fizzles out when the teen is dying and i feel like even the other witches picked up on it, like jen was clearly stunned by Agatha's grief as well as by Teen's condition. and then her sitting with Teen until he woke up, not even taking her eyes off him but as soon as he wakes up she pretends she just Happened to check on him Just as he woke up and that she didn't stay there the entire time.

and don't even GET ME STARTED on everything else. the scene at the fire where she very clearly struggled through having a positive interaction with the other witches?? and also the whole "she is my scar" but if i think too much about that i will actually go insane.

the scene that REALLY hasn't left my head all day is the scene where rio tells agatha that Teen isn't hers. ALL THE PROPS to kathryn hahn here she's an INCREDIBLE actress, but the way agatha just says NOTHING and slowly puts on a smile....😦 i was watching the episode with my housemates and the only thing i could say to them was "i literally saw the moment she put her act back on". because for all that agatha is so brash and loud, and no matter how much she might seek conflict with others, she runs away from all her emotional pain because it's too much for her to bear. because how do you even move on from the woman you loved being at least partly complicit in your son's death? whether agatha really DID trade him for the dark hold and regretted it immediately or whether the rumour IS just a rumour and nick and the dark hold aren't connected at all, RIO still is connected to either of those ideas.

(honestly as it stands right now im in whatever camp believes he WAS traded for the darkhold, but agatha somehow didn't realise he would be traded until after it was too late, because i feel like it's what explains her actions in WV and her hallucination the most. also it makes rio's actions all the more painful to agatha because it would have been a mistake she didn't mean to make, and rio would not budge even with that knowledge and OUCH. but that's neither here nor there)

honestly this whole incoherent essay was just to say that i love Agatha's character. i love that the question surrounding her isn't really "is she good or evil?" or even "can she be good?". i feel like it's clear there IS a good person in agatha but because she's ignored it for so long (some of that is probably due to the darkhold) the question kind of becomes "does it matter that she's got good inside her if she refuses to show it?". she's so firmly in the morally grey camp that while i do kind of want her to have a redemption arc and to have a whole found family thing go on, i honestly don't see it happening and i also at the same time DON'T want her to be redeemed when she's so interesting because she's this person who clearly has the capacity to be good and chooses not to out of pride and fear of being vulnerable and all the trauma she's accumulated.

oh i completely forgot to mention that im also obsessed with the sound booth scene???? i honestly can't figure out if she's just shit stirring when she projects her and rio's conversation for the fun of it, or if it's like a fucked up agatha way of trying to protect her new coven by giving them reasons to distrust rio and be wary of her, specifically because she thinks rio will betray her/betray them and reap them. I can't figure it out. it might even be both.

anyway live laugh love agatha

[watercolorfreckles]

The Max - Part 2

Part 1

When Eloise closed the book and set it aside, her heart jumped to find Artisan staring.

She watched the super’s mind tick, his attention picking her apart to expose the soft and squishy pieces of her. High school lab pig dissection came to mind: pliable flesh carved open to be poked at and scrutinized against a cold table.

She’d cried in that class. It had felt cruel to play at scavenger, pecking and probing for a once-living thing's deep and hidden parts as if she were entitled to its most vulnerable insides.

Though she felt more like the pig at that moment, it felt invasive, too, to track the inner workings of Artisan’s terrifying brain.

Eloise couldn’t seem to look away.

Artisan sat up from his resting position on the bed, grabbing at the inhibitor cuff on her wrist. A startled sound choked in her throat, managing not to jerk back on pure prey instinct. Her arm twitched, cagey, in his hold even as the rest of her froze. 

Her bones ached as if aware of how fragile they were.

Then her arm went numb altogether, turning jellied and moldable. Her palm folded in on itself, pliable bones bending grotesque and wrong and– painless.., as Artisan slid the cool curve of metal over her fingers and tossed it away.

Her bones settled back into their original positions and Eloise snatched her hand away as sensation returned, pins and needles tickling her fingertips.

She stared, horrified.

She stared, impressed.

Artisan smiled and leaned forward, elbows braced on his knees. “It’s an interesting story. Though Dracula is a bit simple as an antagonist, don’t you think?”

Eloise blinked. Had the past minute really happened? She glanced at the abandoned cuff on the floor. Her brain floundered to catch up.

“Um. He is singular in his goals and motives,” she managed. “He isn’t portrayed as misunderstood or sympathetic in the original text, just hungry. And spiteful. He wants food, he wants control, and he wants revenge. He is evil, not for solely being different, but for abandoning all human instinct like love and care, even though human emotions–boredom, anger, hunger–are what drive him through the story… He chooses to turn his back on his humanity, to fulfill the role of monster, even though he is capable of more. It would not be evil if he had no soul. His soul humanizes him, but the force of his will strips it away. He is a villain of his own making. I'm not sure that can be simple.”

Artisan hummed. “Do you fancy me that sort of villain?”

Eloise shook her head. Her skin still itched with the phantom touch of his power.

“Dracula wouldn't have helped me.” Her voice sounded very small in her ears. 

“Will you help me with something?”

“Do I have a choice?”

“There are always choices, Eloise. Dracula chose one straight path. I can be more…” He wet his lips. “Flexible. Helps stave off the boredom. I love a good unexpected twist.”

Eloise swallowed. “You think I’m useful. Is that why you’re protecting me? Do you plan to bleed me empty until you're full? Or…to fill me with your own blood until I become what you are? Dracula didn’t turn Mina to keep her safe… He did it to damn her.”

Artisan straightened out his spine to his full seated height. “What would you like me to do with you?”

“It doesn't matter what I want when I can't stop you.”

“I'm asking.”

Eloise tensed as a shout and bang echoed too close for comfort. She snatched a fistful of the supervillain’s sleeve and scrambled instinctively closer. 

When the noise finally subsided, Eloise looked at him. He was watching, letting her cling to him like a frightened puppy. She was practically in his lap.

Eloise let go as if burned. Heat flooded her cheeks. “S-Sorry-”

Artisan was smiling, a sharp curl of lips that sent her stomach swooping. “So which is it? You think me the monster that will bleed you dry or the scary guard dog that will protect you from the rest of them?”

She eyed him, then looked at the floor. “I think you're kinder than you let on.”

Artisan snorted. “I've never been accused of that before.”

“You asked what I want… I want to live. I want out of here, away from the violence and death. I just want to stay safe. I want to take a shower and scrub the blood out of my hair.”

Artisan leaned in. “If you help me escape, I’ll keep you alive.”

Her gaze jumped to him. “Me? How do you think I can help you?”

“Your power,” he replied, the ugly fluorescents catching the blood spots on his collar, “as you so subtly demonstrated, is to blend in. Raise no alarm bells. You can walk right past the firing squad. We can walk right past the firing squad.”

Eloise was already shaking her head. “I told you, it doesn’t always work. I can’t do it reliably on command. Besides–I can’t help a deadly supervillain escape The Max! I’d get thrown straight in here for life! I’m not even a supervillain! I’m barely super!”

Artisan’s eyes glittered, lowering his voice conspiratorily “Hm. You’d rather stay here? Unprotected? Okay. Should I just call the others over, or…?”

He stood from the creaking mattress, taking two steps toward the gaping hole where the door used to be with a teasing eyebrow quirked in her direction.

Eloise leapt to her feet. She skidded on blood-slicked shoes in her panic to grab at Artisan once more. “No-! No. Please.”

Their eyes met. That time, Eloise didn’t let go of the super’s arm.

Which would be worse? Angering Artisan and letting him break her into splintering pieces? Or being thrown to a pack of super-powered wolves? Angry, restless, nothing-to-lose, wolves…

She swallowed. “Please?”

For a moment, the cell fell into a familiar quiet, terse but not particularly uncomfortable.

Artisan turned to face her properly.

“I get you to the exit. You get me past the gunfire. The cameras are down, they’ll have no idea that you helped me. The two of us will slip free with no one the wiser. When they eventually notice us gone, after killing the other idiots who dart out into open fire, they will assume we slipped through the cracks separately. Deal?”

Eloise watched him, nerves buzzing through her body. “I didn’t know you could talk so much,” she said dumbly.

To some, that would be an insult.

Artisan snorted a laugh, clearly caught off guard. “Eloise.”

“What will you do when you’re out?” she asked, more quietly.

If she helped him escape and he went on to keep hurting people, wouldn’t their blood be on her hands?

It wasn’t fair. That would be far too much responsibility to ask of a girl who’d done nothing but do her best to stay on the sidelines, not step on any toes, and serve her time as quickly as possible. She couldn’t truly be expected to sacrifice herself in the name of altruism, could she? She wasn’t a hero. She wanted to go back to being a no-one, someone without the attention of supervillains and regulators of the Powered Peoples Registry.

And yet… she didn’t want people to die because of her choices. She didn’t want any more carnage.

Belatedly, gently, Eloise let go of his arm. Artisan tracked the movement.

“When I’m out..,” he mused, voice returned to the softer, low tone he normally used in the rare moments that he decided to speak, “I will never let them catch me again.”

Eloise’s mouth felt dry. “Business as usual?”

He shrugged. “Until I’ve regrouped. Then, I’ll come back for each and every person who trapped me in this hell hole. Every hero responsible for catching me. Every trigger-happy member of that execution squad outside. And–if any are even left alive–every guard, every staff member here, who ever locked me in this room. Ever kicked my plate of food just out of reach and laughed. Each of them who mocked me and treated me like- like cattle. And every little boot-licking coward here ‘just doing their job’; ‘just here for their paycheck.’ Their excuses for torturing us won’t matter anymore when they’re all broken and bleeding in the same mangled pile, will they?”

Eloise shivered. That sounded like a very, very dire outcome, no matter how much she agreed that the something needed to change.

“And… And me?” Her voice shrank impossibly small and fragile. “I’m staff.”

She imagined herself, a crumple of slimy sinew and shattered bones, piled with the rest of them. 

She picked at the dry skin of her lips–a nervous tic kicked into overdrive–and only stopped when the supervillain pulled her hand away from her mouth where it it began to taste of copper.

Artisan studied her, his expression giving nothing away. The thumb of his free hand smeared the bead of blood away. “No.”

“No?”

“Not you.”

Eloise’s heart squeezed. “Why?”

“Because I don’t want to. And I do whatever I want,” he said simply. “Besides. Who will read to me when you’re gone? My right-hand’s voice doesn’t have quite the same effect. His has much more of a droning quality… If he attempts to replace you, I may need earplugs.”

Eloise’s sore lips twitched into a small smile. “If we help each other get out… What happens then? What if they come after me; after us?”

He grinned and it was a sharp thing of silver cutlery and broken glass; of moonlit, gritty alleyways. “We run.”

As a reminder, this story comes from a prompt that was given both to me and to @the-modern-typewriter! She made her series on it first and it is AMAZING! Go check it out on her patreon, it's The Supermax Prison Blues! I'm not in any way trying to copy her (though naturally, some influences might creep in from obsessing over her work!) or compare our work, as she is an absolutely magical writer, and her series is completely her own!

General Taglist: @pinned-to-the-wahl , @valiantlytransparentwhispers , @distance-does-not-matter @redbircl , @lilaccatholic , @crazytwentythrees-deactivated @thelazywitchphotographer @chibicelloking , @lolafaiy , @thinkwrite5 , @putridghost @tobeornottobeateacher @sunflower1000 , @bouncyartist , @feyriddle , @yet-another-heathen , @silverwhisperer1 , @distractedlydistracted @pensivespacepirate , @appleejuicee , @deflated-bouncingball @maybe-a-cat42, @m0chik0furan , @mercurymomentum , @fairysprinkles , @vuvulia , @amongtheonedaisy , @rose-pinkie, @trappedgoose-in-a-writblr-room , @scorpio-smiles , @inkygemuwu , @wolfeyedwitch , @thewhumpmeisterx3000, @ikiiryo , @lem-hhn , @fanastywhump , @smallangryfish , @ladybookworm @freefallingup13 , @acaiaforrest , @a-blue-comedy , @puppyaddict , @talkingsperm , @qualitychaoslover , @deckofaces ,@7eselt, @annablogsposts , @lunatic-moss-studio , @medusas-hairband

[shantechni]

No one asked, but my favorite part of the scene where Mikey comforts Leatherhead in front of his brothers isn't just that they're witnessing it.

It's the varying reactions we get.

It's a literal "blink and you'll miss it" moment, but Raph hardly reacts to Mikey's display; he's the first to turn to Donnie and signal him to inquire about the power cell.

We've seen how he looks when Mikey genuinely catches him off guard, and this isn't one of those moments.

It's fitting that Raph would be the least surprised by the spectacle because he's often portrayed to be the one who best understands Mikey, even in the 2012 comics when Leo and Donnie scold Mikey for his lack of focus in one issue (there are other examples). While they argue with Mikey, Raph is seen chilling in the background because he doesn't have that big of an issue with Mikey's attention span, and he even calls Mikey out when he claims he's not bothered by their comments as he walks out in irritation. He then goes on to scold Leo and Donnie later for running Mikey off as they look for him. He may be the biggest culprit when it comes to calling Mikey out once his attention starts to stray, but contrary to what he said in New Friend, Old Enemy, he understands Mikey quite well, sometimes better than anyone else.

So seeing Mikey pull the therapist card on someone isn't out of the ordinary for him. He knows Mikey well enough to anticipate something like this.

Leo's next in line for actually reacting very subtly to Mikey pulling Leatherhead out of his headspace.

His eyes are already widened by the time the camera pans back to him, but they widen an extra notch before he too turns back to Donnie.

Leo has borne witness to Mikey's skills plenty of times prior to this episode, and we can take their decade-and-a-half spent underground into consideration, so seeing Mikey behave so compassionately doesn't strike him as anything supremely noteworthy. But he's clearly impressed that Mikey managed to befriend the hostile mutant in such a short amount of time; he recognizes that his youngest brother is mentally intelligent and strong enough to calm down the easily angered Leatherhead while no one else thought it to be feasible.

It surprises him, but Leo understands that Mikey is the most sympathetic out of all of them, and he doesn't take long to get over his surprise.

Donnie, on the other hand, takes the longest amount of time to move on from what transpired.

Unlike Raph's lack of feedback and Leo's mental approbation, Donnie is awestruck.

As I said before, I highly doubt this is anyone's first time seeing the level of maturity Mikey has, but (and it's a very close race) Donnie's the main one out of the brothers who both accidentally and purposefully sees Mikey as the tactless, accident prone little brother everyone makes him out to be most of the time. Though he knows Mikey is proficient at critical thinking when he's needed to be, bringing in a mutant with violent tendencies and perceptible trauma that gets triggered by the mention of a name isn't a territory they've frequented.

And yet, much like Leo, he sees for himself that Mikey was clearly capable of mellowing Leatherhead out and knew how to steer him away from his horrendous memories with the Kraang.

[sepublic]

            I find it interesting that even in the epilogue, four years after Camila has had time to be more acquainted with the Boiling Isles under non-threatening circumstances, she’s still creeped out by it. And this is fine! The narrative isn’t condemning her for it. It’s not demanding that she enjoy these things like Luz does; It’s just asking for her to respect its existence, and to support Luz’s interest in it and love her too.

            In For the Future, we see Camila horrified by what she encounters in the Boiling Isles; But she also spends the whole episode pushing through it anyway for Luz’s sake, being there for her as much as she can. Because she knows these are just feelings and nothing more, and she’s choosing to be kind in spite of them.

            By contrast, in this same episode we find out Belos does feel empathy and guilt towards his brother and nephew, he wasn’t purely 100% only interested in what they could do for him; And yet, he’s still just as cruel and violent towards them. He’s still cruel and violent towards witches and demons, sometimes using the ‘tragedy’ of Caleb as a justification. Hell, he even resents the ghosts for making him feel guilty, telling them to “Shut up.”

            Isn’t that fascinating? Disgust is portrayed as a morally neutral thing. It’s not an indictator of morality, it doesn’t mean something is bad… But it doesn’t mean the person who feels it is bad, either, people don’t consider that enough. It’s just a gut reaction. Sometimes people have internalized biases they need to work through, but other times, it’s pretty harmless as long as they’re self-aware and don’t do anything bad over it; This even applies to the process of unlearning the aforementioned biases.

            Likewise, empathy and guilt don’t actually, necessarily make you a good person. The example with Belos shows how some people will actually be crueler because of empathy, because they resent people for being upset, and thus making them feel upset because they naturally empathize. Hence those who get angry at people in pain and need for “ruining their vibe,” because now they feel bad too.

            There’s a juxtaposition in how Camila seems genuinely more scared and creeped out by the isles on a visceral level than Belos, and yet Camila has the common sense to still respect and fight for its existence; Whereas Belos chooses to make a mountain out of a molehill because it’s not just hatred, it’s pride. It all boils down to his ego at the end of the day. In many ways, other characters struggle with dilemmas more difficult than Belos’, yet still do better than he ever has.

            This all plays into my thesis that TOH is arguing your feelings are secondary to your actions, and that the latter is what decides whether you’re a “good” person or not. In the end, someone who’s had a good life and was a dick for selfish reasons, only to choose to be better, is more sympathetic and morally superior than someone who suffered a million unfair grievances, and proceeded to dole out a million unfair grievances, with no sign of stopping; Especially from an IRL perspective, and I think our IRL feelings sometimes influence how we engage with media, and vice-versa.

            That’s why the finale –and the show as a whole– emphasizes choices, over inherent, instinctual feelings. A decent chunk of Camila’s arc could be summarized by the word Squick; In the sense that it’s meant to describe things that one feels personal disgust and discomfort towards, but otherwise has no moral condemnation or problem with; It’s just a Me thing, is the point of Squick. Camila is like that sex-repulsed ace who nevertheless supports kink at Pride.

            That gets me to how my ruminations were prompted by a similar observation; How some people lump sex-repulsed aces in with the oppressive Puritans who hate sex in anything, but that’s not true at all. Obviously there’s the rare Exception, but as a whole, sex-repulsed aces are on the side of other queers who ARE sexual and are demanding to let these things be normalized; It’s not for them, but they have no moral condemnation and will fight for it in solidarity anyway, especially since both are hated by the system regardless. Sound familiar?

[autumnteawithfriends]

So i found this picture on Instagram.

Nah this is must be joke right?!😭

I hope so because what

Okay, I’m not going to dickride The Last Wish here like some people on the internet are still doing (I admit it’s a fantastic sequel and movie) but saying Zestial is better than Death is really stupid

Okay so my first question is how are these two comparable? Is it because there both the scary ones of their respective medias? If so, then A.) The comparison is weird since Death was a prominent antagonist in the movie while Zestial was…basically nothing. And B.) The reasons listed as to why Zestial is a “chad” compared to Death are fucking hilarious

First off, “smell of fear” is a better line than “revels in the screams” for two reasons. One, it’s an actually well delivered line since Death has a VA that actually fits him compared to Zestial. And Two, “smell of fear” works as a line Death would say because everyone is going to have a fear of death sooner or later. The line works because it’s mysterious and scary, emotions that fit Death well. Meanwhile, “revels in the screams” feels like something that would be in Zestial’s character description, not something he would actually say since it’s not very threatening

Secondly, how is Death Wolf “petty af” when his reason for feeling disrespected is justified? Like, imagine learning that this cat has nine lives (essentially nine retries at life) only to also learn that he carelessly threw away EIGHT of them just for thrills instead of appreciating the fact that he has nine lives and using them to the fullest. Anyone would be pissed about that. For “Gets angered by a cat saying he laughs at him” to say it again, that’s the same cat who carelessly tossed eight of his nine lives aside.

Also criticizing Death for “needing weapons” is fucking laughable because a.) Death has always been portrayed with a weapon (scythes are standard and Death in Puss in Boots uses Sickles) and b.) Characters in Hazbin Hotel have ALWAYS needed a weapon. Valkyrie needs one, Angel Dust needs one, Charlie needs one, Carmilla’s whole purpose is being a arms dealer. Just because Zestial didn’t do shit in Season 1 doesn’t mean he can fight without a weapon.

Also to end this so it doesn’t get too long, Death is not “completely heartless” if that was the case then he would’ve killed Puss regardless if Puss changed or not. Also how is Zestial a “sympathetic cupcake” when he’s such a nothing character in Season 1

To conclude, I hope that their joking

[portraitofadyke]

what's been bugging me is how some people, especially steddyhands shippers, seem to ignore Stede's complete blind spot that is Ed. I've been rereading some post s1 fix-its, and it's amazing how almost every one of their reunions had Stede blaming Ed for marooning the crew and attempting to kill Lucius (same with ppl's expectation that there would be some sort of physical fight). And then he just. Doesn't.

Stede obviously cares for the crew. A lot. But the moment Ed's well being is in the picture, he becomes hyperfocused on Ed and Ed only. Obviously the crew told him about being marooned, but we don't see him mention that once in his letters. They reunite with Lucius, and yet all Stede talks about is Ed (and his poor portrayal on his wanted posters)- Lucius confesses about Ed throwing him overboard, and all Stede does is question 'why?', because he knows Ed wouldn't just randomly attempt to murder Lucius. The moment Lucius tells him Stede broke Ed, Stede is back to blaming himself, never Ed. He clearly cares about Lucius, because later in the ep, he tries to reconcile with him by giving him 'dating advice' and trying to save him from what happened to him and Ed, but Ed comes first.

We actually see it in s1 too, if only briefly, in s7 when Stede desperately tries to keep Ed abroad and becomes oblivious to the crew's concerns and problems and we get the iconic line "Eat and apple, for God's sake!" Stede cares, but Ed is at the front of his mind and it's hard for him to understand what could be more important.

In s02e03, he gets his ship and the rest of his crew back, but Ed is nowhere. Izzy is literally missing a leg and Stede just tells him to piss off.

And I've seen people questioning why Stede never questioned that, why he never bothered to ask about Izzy's missing toe or back scars or why he didn't care about the leg more. Izzy clearly lies again and tells Stede Ed shot it off because he told Ed he loves him, and yet stede just. Doesn't care.

And i mean, that question is valid. Because people see Stede as someone who's much more caring, more hero-coded. But Stede is far more a romantic hero to Ed than he is your general hero to the rest of the characters. Stede is selfish. Stede is blind-sided. Stede is willing to abandon his morals when it comes to Ed.

I think there are two reasons Stede doesn't question Izzy's Ed-inflicted-injuries, or any other, for that matter. First one is, Stede's blind spot for Ed. Yeah, Izzy got his leg shot off by Ed (not entirely true, but I digress), but there must have been a reason why. Yeah, Izzy got his toes cut off and hand-fed, but Ed had a reason. Stede knows Ed is not violent by default, so he knows something must have prompted him to do that. Is it completely justified? That's a differenr convo about people trying to portray Izzy as a victim rather than someone who kept pushing Ed over the edge until they were both too far.

The second is... Yeah, Stede just doesn't care. Especially about Izzy. Lie it's been pointed out, Stede just thinks izzy is a dick. He misnames him. He's rightuflly mad at him for selling them out to the english. He literally dreams about killing Izzy for that. Stede blames himself for abandoning Ed and everything that happened after (and yes, Ed's actions are Ed's actions, but that's how Stede sees it), but he clearly also blames Izzy for setting them up.

So, Stede sees Izzy's missing leg? Probably deserved that. Back scars, missing toe? Eh, probably deserved that, too, Ed would look absolutely lovely in a braid. Is that morally correct? No, but Stede isn't written to be a moral character. That's what makes him so real, and that's why so many other actors than Rhys would struggle making Stede sympathetic and likeable to the audiences.

That's not to say Stede doesn't see Ed's wrongs. He absolutely does. He just. Doesn't care that much in the end, because his love for all of Ed is that bright, to the point of being absolutely, utterly selfish. DJenkins said it from the beginning; this show is about Ed and Stede's relationship. Stede doesn't question Izzy's injuries bc in the end, it just doesn't matter to him when Ed is in the picture