#the same can be said for every character who isn’t a white american man but as an Irish woman I’ll focus on molly

[river-of-wine]

Molly O'Shea is Irish on purpose. Everything about her was written on purpose for a reason. I rattle on a lot about Irish identity in Red Dead, but it seems to only be taken into account when discussing Sean when it comes to the Irish characters, and that is to be expected when Sean talks about it the most. However, it is a relevant part to every Irish character in the game. The O’Driscolls more as a unit, as we’ve only got two named members of that gang who aren’t just there to shoot you and be shot, but it’s still immensely important to recognise when discussing them and how they function, operate and exist. It’s important for Colm, and why he pronounces his name like that, his rejection of his Irish identity in favour of assimilating more with America, presenting himself as an American man, whilst taking advantage of the disenfranchised men from his same background and exploiting them just the same. It’s important for Kieran, even with his own disconnection from his culture and how out of place constantly seems to be. And it’s important for Molly. They’re all Irish on purpose. There was a choice made for this character, for every character who falls into any kind of vulnerable class in this country, in this time, in this society. There’s a reason why Dutch van der Linde - who willingly uses the exploitation and genocide of Native Americans to further his own goals, who runs a gang full of people indebted to him with no choice, no safe, realistic options other than to depend on said gang for their survival and safety - is written to be in a relationship with a young Irish woman. Molly’s age tends to be the aspect of their imbalanced relationship most frequently examined, to the point where little else about the unbalanced scales of their dynamic is looked at in equal measure here. Yeah, it’s very weird how Dutch is about young women, and it’s pointed out by Molly herself, that she - a woman who is referred to on multiple occasions as a girl rather than a woman, who is older than Mary-Beth but still clearly young herself - is too old for him. Molly being young is important and intentional, but so is Molly being Irish. She is in an abusive relationship with an older man, but she is also in an abusive relationship with an American man, and this is as inseparable from their dynamic as her age is. This is 1899 America, and this is Dutch van der Linde. This is a man we know - especially with Red Dead Redemption in mind - will exploit the vulnerable and whose violence towards women is no secret. Molly is in this gang for incredibly different reasons from everybody else around her, and even in comparison to the other Irish gang members she is out of place, but functionally, she needs the gang just the same, and Dutch has made this young, vulnerable woman completely reliant on him, only to cast her aside and refuse to give her such basic respect as her first name when she becomes more trouble than she’s worth. He does not treat Molly like a person. He does not value her feelings or her needs, he will only give her any attention when it is done in his terms, the results of his emotional abuse and neglect are nothing more than inconveniences to him. He doesn’t respect her. He doesn’t value her. The woman he gawks at, the younger, more desirable woman he attempts to make a move on when Molly loses her appeal, is a young American woman. Mary-Beth is younger, yes, but she’s also American. Molly can never be younger, and she can never be American. Molly is the only Irish woman in the gang, and it is her that Dutch is in a relationship with, and it is her who is treated by Dutch the way she is. Inherently, Molly’s status as an Irish immigrant is built into both her character and this relationship. That was done on purpose. Her poem is written the way it is on purpose. Molly is Irish on purpose. Do you see what I’m getting at here? Am I making sense?

[longviewlongueviealavie]

I watched The Force Awakens (TFA for Americans) for the second time in a row with vintage Mexican Spanish dubbing. It sounded like something from my childhood watching TV with Spanish dubbed with a neutralized voice. The first watch was hilarious, I was in a hurry and I was throwing ideas inside my head in all directions. It is the bane of my existence but I always try to laugh it off.

Why they could have done this? Maybe to convey the wonder of their own childhood, a possible lack of proper funding from the film industry and an unconscious coping mechanism (what the kids cruelly refer to as “seethe and cope”) of knowing Mexicans who won’t go to space as first class earthly citizens. This makes them more mature and practical than delusional celebrities like Elon Musk and Grimes. Future in space won’t happen in the near future and there’s photographic evidence of astronauts aging rapidly from merely leaving the planet. What mainstream culture could describe as “childish” may be voice actores’ unconscious vision of what the beginning of the trilogy is or their longing for the past at the same time.

Kylo Ren masked: more genuine when seeking counsel even through a childlike foreign lens. Masked: otherworldly and unusual. That caught me off guard because I’m used to hearing his normal, sexy voice in mainstream media.

John Boyega: so soulful and compassionate even in Mexican Spanish. Had the doors closed on him and nobody even said: “que la fuerza te acompañe” when he sadly passed away.

Rey mostly translates the same and has to prove her worth, mettle, mental Clarity and spirituality in any language.

Everything that isn’t human is suitably cartoony but tempered.

Harrison Ford and Carrie Fisher still sound like concerned parents in Spanish.

General Hux sounds pathetically stiff and tyrannical and the storm troopers look like white SUVs you have no interest in buying.

Watching it this way, with the Spanish dubbing, made me understand John Boyega as a British black man bullied through online media even more than before. He’s in space, he betrays, he resists and does the best he can to save Rey. He fails. Even in an odd and anachronistic Spanish voice that is too old (wiser, maybe?) for a 2015 movie.

This blog was named after a part-black Mexican poet named Jorge Cuesta, a deeply misunderstood character I read in a book during the aftermath of a hurricane back in 2017 that I shall not mention. Jason Boyega’s character reminded me of him when dubbed with this voice of mostly Mexican extraction. I understand the struggles of an undefined voice quite well as a woman born in the early eighties and raised in a small town in the Caribbean. I can’t define myself clearly even on this website. I watched so much TV programming in Mexican Spanish dubbing from that era that it made me sound Mexican, I was bullied for it and it still impacts my every desire for something beyond inequality and subjugation where I reside today.

The Spanish voice adaptation seems to convey something about minorities’ place in the world that I understand in a way that many will say is biased and “childish” but it is not. What I know is that there are Puerto Ricans in and Mexicans in NASA and the end result of this dubbing seems to convey their desire to transcend and be something more than their stereotypes, even when they have to become watered down and pedagogical.

Adam Driver, you are the sexiest man there is .

San Juan, 6:47 AM

Edited: April 2nd 2025 at 5:06 AM. Resources: life experience, internet activity by real people and, unfortunately, AI.

[docholligay]

Everything I Never Told You

This in-depth review was commissioned by @stitch-witchy, something that’s available a handful of times a year.

I had read this book before, and really enjoyed it. I was delighted when I got the chance to read it again and write a whole thing on it, not only because, well, I love books, but also because reading something a second time means that I don’t have to engage as directly with the PLOT, knowing what’s going to happen, and so I get to look at the hints and moments.

At core, I think Everything I Never Told You is about expectation.

This filters out into every major character we see in the novel, it starts with Marilyn and her mother, and her mother’s dreams for her. To go to Radcliffe and find a nice white Harvard man, to stay home and be protected and safe and not have to go to work the way she does. That’s not what Marilyn wants, but that’s what her mother wants for her, and Marilyn resents every step she takes into that dream her mother held for her, unable to reconcile her own missing dream. 

I am absolutely taken by James’ desire to become what he feels is a ‘real American’ thought I don’t know if he’d ever put it that way himself. But they way he studied that most American of topics, how he wanted to be taken into white American society, how he married Marilyn for an array of reasons but also how he admired her blondeness, her blue eyes. I think I feel so taken by it because my family came over in the 1910s and were obsessed with this same thing. Never give the kids Hebrew names, change your last name, hang an American flag outside, it’s this immigrant idea, ESPECIALLY for immigrant descendants that to this day struggle to be treated as fully American, of trying to BECOME. My heart breaks for James even as I think he’s the world’s premier dumbass. The way he keeps lists of petty slights, the way he imagines Lydia speaking with confidence, always with those wide blue eyes like some kind of magic talisman. 

Nath desperately WANTS his parents’ affirmation about his drive and his intelligence, and his success. But he can’t be that filter of a mirror they long for, for his father he looks too Chinese, he’s not an athlete, he’s not a confident leader in the schoolyard. For his mother, he’s a boy, and can never be the holder of her expectation, the one who was going to make it all right again.

Lydia represents dreams, for them. Her blue eyes, something that should be genetically impossible, is a sign to James that she could make it. She could be ‘an American’ in a way that he can’t, could be popular and loved, and even when he does love her, HIS love, I think for him, isn’t enough. Consider the locket, something Lydia loves when she receives it because it’s the first thing she can remember that her father gave her that didn’t feel like a tool. But even then, she imagined gold, and he wanted to get gold, but someone told him the in crowd was wearing silver. That both he and Lydia liked gold didn’t matter, because James sees everything as an opportunity to fulfill the dream of being a liked and complete member of American society. 

Consider Marilyn, and how every ‘yes’ Lydia utters is never heard in its proper context, because every yes is a step toward that dream, a step toward Lydia being a doctor, fulfilling the promise that Marilyn herself never could. 

What does it mean to love someone to death? I would fight anyone who said that Lydia’s parents didn’t love her. They absolutely did. But they didn’t understand that she had become a frame for their own dreams, and that her fear of losing her family, her parents, was so high that when she was saying yes, it was saying yes to love and not to the activity itself. Lydia loved her parents to her own death, convinced that if she could just become the treasure, the jewel, the crown they both wished for, if she could go back to the moment everything went wrong, it would all be okay. 

I adore that end, that in the end it was that Lydia convinced herself if she had only been able to swim on that one day, everything would have been fine. 

It would have been so easy to make this book a simple “don’t put expectations on your kids” and I credit it for not doing that. It makes it much more complicated: Nath would love to have his parents support his science aspirations, Hannah would love to have anyone pay attention to her at all, but Lydia is the one that they have both chosen to fixate on. 

And these siblings are so moved by this force that they can’t even really be a comfort to each other, even as they are inextricably bound to each other.Hannah is always made to feel like the great intrusion that she was, a thing that crept into rooms and stoel things when no one was looking, a child yearning for affection and finding only that she had come into an already-broken world.   But the perfect bit of that tension, the way they can only hurt each other but are inextricably boudn together, is that really lovely bit where Nath and Lydia are yoked together in the three-legged race, but all they can do is trip over each other, even though they cannot escape each other: “It didn’t loosen, yoking them together like mismatched cattle*, and it didn’t come undone, even when they jerked in opposite directions and tumbled face-forward onto the soft, damp grass.” What a perfect summation of the relationship between Nath and Lydia. 

But not Hannah, of course, who I think is the great tragedy of the book. Hannah is a hanger-on to her older siblings, because she wasn’t there for The Time Mom Left, she wasn’t a part of this larger tragedy that befell them. Something that might have seemed small, but had a ripple effect that went out to the rest of time. Poor Hannah knows only that she was born and then half-forgotten, the book aches with moments where Hannah tries to reach out for affection to the rest of her family, only to be thwarted. Only to be treated as if she’s trouble. 

“What about Hannah?” the book tells us “They set up her nursery in the bedroom in the attic, where things that were not wanted were kept, and even when she got older, now and then each of them would forget, fleetingly, that she existed--as when Marilyn, laying four plates for dinner that night, did not realize her omission until Hannah reached the table” For one: Jesus Christ. For two, for all this she becomes the scrapbook and record keeper of her family, a quiet observer and narrator to her family’s life and the changes of its landscape. It wouldn’t surprise me if Hannah became a writer. And it is only at the end that we begin to feel someone might SEE Hannah--I love that the last thing we say in the novel is that Nath doesn’t want to lose sight of her face. We’re told that Hannah stops taking things from people in the family, and, we can hope, it’s because for the first time she is fully a part of it. 

It’s ironic that Marilyn’s mother wants her to marry someone “more like her” because of course we know what she’s actually saying, but Marilyn and James are so similar, in that way of constantly feeling like they are on the outside looking in, in that feeling of longing and of getting so close to feeling like you might have those things you wished for, only to have them narrowly escape. The desire for it punching through so hard, even still, that you project it constantly onto your children. Both James and Marilyn wanted to live against the stream, and both of them struggled and suffered and wanted it to MEAN something. We can only hope that Nathan Lee becoming an American astronaut is gong to mean something, but we don’t get to know how that turns out all the way, which is a choice I love for the book. Sometimes we don’t get to know the outcome of other people’s interior lives. I adore that as he looks down at earth, he thinks of Lydia, as he always does in these moments. What a spot-on depiction of the long arm of grief, by the way. Not even that you weep whenever you think of them or whatever, but you see something like that, and their name touches your lips almost unconsciously. 

(I also love this thread of fixation that runs through the book, and how the Betty Crocker cookbook becomes such a part of it, with Marilyn reading it over and over again, and because of that Lydia being so sure that she loved this book, when the fixation was in fact a point of hatred, a wound that Marilyn kept constantly pressing against. James’ fixation on whether or not he’s being slighted or left out. How their fixation on Lydia wasn’t because they loved her, but in fact in spite of it. They loved her but they constantly wanted her to be the thing they never could be. How Nath is constantly fixated on the stars, so different from his father in caring mostly to be a part of something so far alien it has barely been touched, wanting to be so far away from it all that he can only look heavenward. 

Stitch asked me about the way the novel goes back and forth, switching between future and past like the tides. 

For starters, a story told out of order is just a story I like. If I had my druthers, I would make people read both my Sailor Moon MaS and my OW universe in AN order, but it wouldn’t be chronological. It makes a more interestingly textured story, i love watching where the stoories meet up in well written versions of this, almost like a zipper. 

I think this is necessary, even more than just good, in the story, both to the unraveling of the central mystery of the novel: How did Lydia end up on the bottom of the lake? 

And to show everything that led up to that moment, the failings of Marilyn and James and society and Nath and everyone, and even Lydia herself, that led to that moment. It stacks the story for us like Jenga, taking from the bottom to stack at the top, the tower that is Lydia’s life wobbling and wobbling until it falls. Our pasts are the things that build our futures, and I while I solidly believe that our pasts are not insurmountable, and that they do not excuse our behaviors, they can explain them, and that is what this book does so correctly, is allow the past to explain our presents and futures. 

I think it’s an incredibly clever way to construct all of this, because in addition to the one great mystery, there are tiny submysteries that we get to figure out along the way. What was the time Marilyn left? What is the deal with Jack? Sidebar: I think that the Jack storyline is so well done, and with such a sensitive and light tough that keeps itself from the worst excesses of such arcs, generally. I remember being extremely impressed with her handling of the whole thing. 

I thought I had made it a big rec of the year the first time I read it, but I actually read it before I was doing that, so, I want to say that I whole heartedly recommend this book. It is an American story in a way that I think deeply resonates with a lot of people, this sense of longing so hard to be a part of the world that you lose precious things in service to an idea. I was so happy to get to read it again. 

[scorpionyx9621]

Do you think Jason Todd fandom is kinda toxic? Because it seems like NO MATTER what DC do, there'll always be complains. Forget the bad adaptation like Titans. Even Judd Winick cannot escape the criticism with how he potrayed Robin!Jason. They just never satisfied.

SORRY, IT TOOK ME SO LONG TO RESPOND TO THIS. I just moved from Washington D.C. to Seattle, which, for my non-American friends, that's 4442km away. And I DROVE THERE ALL BY MYSELF. And now I'm trying to find new work in a new city and trying to stay mentally healthy and positive. Life is exciting but hard and scary.

*sighs*

As someone who was a fandom elder with V*ltr*n. I've seen some of the worst when it comes to fandom behavior. I'm talking people baking food with shaving razors and trying to give them to the showrunners. I'm talking leaking major plot details and refusing to take it down unless they make their ship canon (I am looking at you, Kl*nce stans) For the most part, DC Comics has had a decades-long reputation of treating their fans like trash and not caring what they think so from what I've seen, we all just grumble and complain in our corners of the internet about how we don't like how X comic portrays Jason Todd.

The challenge with Jason Todd is that he's your clinical anti-hero, the batfamily's Draco in Leather Pants, he's a jerkass woobie, and on top of all of that, he's a Tumblr sexyman. It's a perfect storm for a very fun but frustrating character to be a fan of. It doesn't help that every writer decides to re-invent the wheel every time Jason comes up so his canon lore is confusing at best and inconsistent as a standard.

I guess starting with a general brief on who Jason is and what is uniform about him with every instance he's appeared in comics/media.

Grew up in a poor family in Gotham with a dad who was a petty-mid-level criminal, and a mother who dies of a drug overdose.

Survives on the street on his own by committing petty crimes and potentially even engaging in sexual acts to keep himself alive.

Is cornered by Batman and taken in after Dick Grayson quits/is fired

Becomes the second Robin, but is known for being the harsher, more brutal Robin.

Is killed by Joker after being tortured, but somehow comes back to life and regains senses through the Lazarus Pit

Resolves himself to be better than Batman by basically being Batman but kills people.

Where there has been a lot of conflict in the fandom is the fact that Jason Todd is not a character that is written consistently. DC Comics loves to go with the narrative that Jason was "bad from the start" and was the "bad robin" when, yes, he has trouble controlling his anger, but he also still is just as invested in seeing the best of Gotham City and trying to be a positive change for the world as any other DC Comics hero.

Where I get frustrated with the fandom is its ability to knit-pick every detail of a comic they don't like while completely disregarding everything that makes the comics great and worth it to read. My example being Urban Legends. To which most people had pretty mixed reactions to. I was critical of the comic at first but as it went along I ended up really liking it. I have a feeling DC Comics went to Chip Zdarsky and told him he had 6 issues to bring Jason back into the Bat Family, and honestly he didn't do a bad job. Did it feel rushed? Absolutely. I wish there was more development of Jason and Bruce's characters and their dynamic as a whole. However, where I see a lot of people being angry and upset with Urban Legends is that they feel Zdarsky needlessly wrote Jason as an incompetent fool who needs Bruce to save him.

Whether or not that was the intention of Zdarsky is up to debate. However, and this may be controversial, but I don't think he wrote Jason Todd out of character at all. For as fearsome, intimidating, and awesome as Red Hood is. Jason is a character who is absolutely driven by his emotions. Why do you think he donned the role of Red Hood? As a response to his anger towards The Joker for killing him, and towards Bruce for not taking action against The Joker and for seemingly replacing him so quickly after he died. Jason didn't care about being the murderous Robin Hood or for being the bloody hammer of justice against N*zi's and P*d*ph*les. He only cared originally about making The Joker and Bruce pay. It wasn't until he trained under the best assassins in the world and realized most of them were horrific criminals who trafficked children and were p*dos that Talia began to realize that the teachers that she sent Jason to train under started dying horrific and painful deaths.

The entire story of the Cheer story in Batman Urban Legends was started because it finally forced some consequences upon Jason. Tyler, aka Blue Hood's father was a drug dealer who gave his supply to his wife and kids. And when Tyler's father admitted he gave the drugs to Tyler, it immediately made him fall within the self-imposed philosophical kill-list of Jason Todd. And Jason, well, he proceeds to kill Tyler's father. When this happens, Jason is in shock. Tyler's dad fit the bill to easily and justifiably be killed by Jason. We've never seen Jason having to deal with the consequences of being a murderous vigilante on a micro-level. When Jason realizes what he's done in that he's murdered Tyler's dad, he's shocked. He tells Babs the truth. He does a rational thing because he's in shock. He doesn't know what to do, he never has had to face the consequences of his actions as Red Hood and now the gravity of befriending a child as a vigilante hero who kills people just set in when he killed the father of the same child he was just introduced to.

(Oh here's a little aside because it had to be said, Jason would not have been a good father or a good mentor to Tyler and absolutely should not have been his new Robin. Jason is a man who is in his early 20's (not saying men in their early 20's can't be good fathers at all) who is a brutal serial killer using the guise of a vigilante anti-hero to let him escape most of the law. the complications of having the man who murdered your father adopt you and make you his sidekick are way too numerous for me to explain in a long-winded already heavy Tumblr essay post. There's a reason why we don't advocate for a story where Joe Chill adopted Bruce Wayne or one where Tony Zucco took in Dick Grayson.)

The next biggest argument is that they feel that Jason is giving up his guns as a means to just be invited back into the Bat-Family. To which I will tell anyone who has that argument to go actually read Urban Legends. Already have and still have that argument? Please re-read it. Don't want to? That's okay, I will paste the images from the comic where Jason specifically says that he doesn't want to give up his weapons for Bruce and his real reasoning down below since the comic isn't exactly readily accessible.

Jason gave up the guns because he felt the gravity of what he had done and knows how it'll effect Tyler. Thankfully his mom is alive and in recovery. But Tyler doesn't have a father anymore. And Jason killed Tyler's father. It may have been in accordance to Jason's philosophy, but it was a case where it blurred the lines. Jason Todd isn't a black and white character, just very dark gray. He doesn't kill aimlessly like the Joker. If you are on Jason's list you probably have done something pretty horrific, and also just in general, being in his way or being a threat to him. Mind you, in early days of Red Hood and the Outlaws (Image below) Jason almost killed 10 innocent civilians in a town in Colorado all because they saw him kill a monster. That being said, Jason isn't aimless in his kills.

(Also can we just take a moment to appreciate Kenneth Rocafort's art? DC Comics said we need to rehabilitate Jason Todd's image and Kenneth Rocafort said hold my beer: It's so SO GOOD)

That being said, the key emphasis in the story of Cheer asides from trying to introduce Jason Todd back into the Bat Family and give an actual purpose for him being there, other than him just kind of being there ala Bowser every time he shows up for Go Kart racing, Tennis, Golf, Soccer, and the Olympic games when Mario invites him, is that Jason and Bruce ultimately both want the same thing. Jason wants to be welcomed back into the family and to be loved and appreciated. Bruce want's Jason back as his son and wants to love and protect Jason. Both of these visions are shown in the last chapter of Cheer while under the effect of the Cheer Gas. It's ultimately this love and appreciation they both have for each other that helps them overcome their challenge and win.

Jason Todd is a character who, just like Bruce, has been through so much pain and so much hate in his life. The two are meant to parallel each other. While Bruce chose to see the best in everyone, giving every rogue in his gallery the option to be helped and give them a second chance, hence why he never kills, Jason has a similar view on wanting to protect the public, but he understands that some crimes are so heinous they cannot be forgiven, or that some habitual criminals are due to stay habitual criminals, and need to be put down. But at the end of the day, the two of them both try to protect people in their own ways.

I am aware that through the writings of various DC Comics authors such as Scott Lobdell and Judd Winick, the two have had a very tumultuous relationship. And rightfully so, I am by no means saying that Scott Lobdell writing an arc where Bruce literally beats Jason to within an inch of his life in Red Hood and the Outlaws, nor Judd Winick's interpretation of Under the Red Hood where Bruce throws the Batarang at Jason's neck, slicing his throat and leaving him ambiguously for dead at the end of the comic is appropriate considering DC Comics seems to be trying everything they can to integrate Jason back into the family. That being said, a lot of these writings have shaped the narrative of Jason and Bruce's relationship and have an integral effect on the way the fandom views the two. It doesn't help that Zdarsky acknowledged Lobdell's life-beating of Jason by Bruce at the very end of Cheer by having Bruce give Jason his old outfit back as a means of mending the fence between the two of them. That does complicate a lot of things in terms of how they are viewed by the fandom and helps to cause an even greater divide between the two.

Regardless, I want to emphasize the fact that Jason Todd is a part of the family of his own accord. Yes, he's quite snarky and deadpan in almost every encounter. However, Jason is absolutely a part of the family and has been for a while of his own will. There's a great moment in Detective Comics that emphasizes this. Jason cares about his family because it is his found family. Yes, they may be warry about him and use him as a punching back and/or heckle him. At the end of the day, we're debating the family dynamics of a fictional playboy billionaire vigilante whose kleptomania took the form of adopting troubled children and turning them into vigilante heroes. Jason Todd wants a family that will love and support him. This is a key definition of his character at its most basic. This was proven during the events of Cheer and is being reenforced by DC Comics every time they get the opportunity to do so.

Now, none of this is to say that I hate Judd Winick. I do not, I don't like the fact that in all of his writings of Jason, he just writes him as a dangerous psychopath, and Winick himself admits to seeing Jason as nothing much more than a psychopath. Yet Winick is the one who the majority of the fandom clings to as the one true good writer of Jason Todd because 'Jason was competent, dangerous, smart' Listen, friends, Jason is all of that and I will never deny it. However, what I love about Jason isn't that he's dangerously smart of that writers either write him as angsty angry Tumblr sexyman bait or that they write him as an infantile man child with a gun. There's a large contention of this fandom that has an obsession with Jason Todd being this vigilante gunman who is hot and sexy and while I definitely get the appeal. It is very creepy and downright disturbing that all of you hyperfixate on his use of guns and ability to be a murderer. It is creepy and I'm not necessarily here for it.

What I love about Jason Todd is that despite all of the pain, all of the heartache, all of the betrayal, and bullying, and death, and anguish. Jason Todd is one of the most loving and supportive characters in all of DC Comics. Jason has been through so much in his life, but he still chooses to love. He still chooses to see the bright side in people. Yes, he takes a utilitarian approach and chooses to kill certain villains, but at the end of the day he wants to see a better world, and he wants to be loved. It takes so much courage and so much heart to learn to love again after one has been abused or traumatized. I would not blame Jason at all if he said fuck it and just went full solo and vigilante evil. He has every right to, but he still chooses to be with the Bat Family of his own accord. That's something that I see a lot of in myself. I have been through a lot of trauma and yet I try to be a better person myself in any way that I can. It is extremely admirable of Jason to allow love back into his heart when he really doesn't need to. He kills and he protects because he has this love of society. It may have been shaped by anger and hatred, but Jason has found his place amongst people who love him and value him. I think Ducra, from Red Hood and the Outlaws put it best in the image given below.

To end this tangent, I love Jason Todd and all of his sexy dangerousness, but it's far more than that. As much as Jason may be dangerous and snarky, he loves his family without a shadow of a doubt. I look up to Jason Todd because despite all of his pain and all of his trauma, he still choses to love. Jason Todd is a character who is someone I love because despite all of his flaws and having a very toxic fandom, he still serves as a character filled with so much heart and so much passion. I wish more writers would understand that. But for now I will live with what I have. Even though the fandom may be vocal about it's hatred for his characterization, I choose to love Jason regardless because he is a character who chooses love and acceptance regardless of his pain. Jason Todd is by no means a good person in any sense of the word. He has easily killed upwards of 100 people by now. He is a character who is flawed and complex but ultimately is one who powers forwards and finds love and heart in a place from so much pain and anguish. That is what I love about Jason Todd. After all, to quote a famous undead robot superhero, "What is grief, if not love persevering?" Jason Todd chooses to love despite all of the trauma and pain and grief. Yes, he is hardened in his exterior, but inside there is a man with a lot of love to give and someone who deserves the world in my eyes.

[thomasewardlow]

Here’s the thing. The X-Men are coming to the MCU. It’s going to happen in some form or fashion, and it’s probably going to happen sooner, rather than later. With that said, I think there is one character we’re all dying to see. Someone who is a strong fan-favorite. Someone who has been called “the most popular X-Man character” (probably, at least once). Someone who, let’s face it, hasn’t really shined in media outside of the original comics. Who has, to put it mildly, been done dirty by Fox — whether in the original ’90s cartoon or in the popular ’00s movies.

Let’s talk about Cyclops.

Cyclops is an easy character to get wrong. You can’t see his eyes, so it can be difficult for actors to emote realistically when playing him. He’s one of Professor Xavier’s premier students, so it’s easy to depict him as a brown-nosing know-it-all. He’s repressed, so it’s easy to depict him as a stick in the mud, especially compared to perennial fan-favorite and classical tall, dark, and handsome bad boy Wolverine. He’s the clean-cut, All-American, Wonder Bread white guy of a crew with a blue demon, a Russian Superman, a literal African goddess, whatever character we decide Beast can be today, a Holocaust survivor with all of the Byronic charisma that every Shakespearean character of all time can muster, a beautiful woman whose tragic destiny is to literally end the world or commit the most heroic self-sacrifice of all time, and the aforementioned Wolverine. That’s a cast of characters where it’s easy to get lost in the shuffle, and Cyclops does.

And that’s downright tragic, because Cyclops is absolutely fascinating when you get in the weeds. Don’t take my word for it; it’s canon. Every telepath that has ever interacted with Cyclops has decided that he is far and away the most interesting person in the room. Sure, his complete inability to express himself well means that you need to be able to literally read minds to know that quickly, but most of the X-Men (and a great many of their creators) agree with that assessment eventually. And that inability to express himself well? Cyclops is one hair shy of canonically confirmed to be neurodivergent (likely Autism Spectrum Disorder). That level of representation is something the MCU is only starting to experiment with now, and a positive and accurate portrayal of ASD (and one that, unlike Drax, is actually confirmed on-screen) is something that could be a real benefit.

But the trademark of the MCU is snark-filled irreverence, and I feel a great amount of trepidation that Cyclops isn’t going to be done right. And he can be! You just need to understand who he is at the most basic level and then build up from there. (You know. How all characters should be written, so that they’re internally consistent and allowed to grow in believable and fulfilling ways. But I digress.) And because the MCU has such strong (if snarky) character archetypes already on hand, and because Cyclops will naturally need to interact with many of them, let’s look at two that have helped define the current public notion of Marvel super-heroes: Tony Stark and Steve Rogers.

The first thing to understand about Steve and Tony is that they fit into the popular literary archetypes of the Hero and his Lancer, respectively. The Hero and the Lancer are foils to each other, and in an ensemble cast of strong personalities, these are fantastic archetypes into which to slot, respectively, the leader of the team and the most popular member of the team. Super-hero teams are particularly fond of doing this, and popular Hero/Lancer pairings in super-hero comics include Steve and Tony, Superman and Batman, Batman and Nightwing, Leonardo and Raphael, and Cyclops and Wolverine. It’s important to understand that the Lancer is, in many ways, everything that the hero is not, and this means that, while they may share the same goals, they each represent something the other could never be and they each have something the other will never be able to possess. This allows the two of them to be better than the sum of their parts, but it also naturally lends itself to creating strong character conflict, which is how we avoid plot-driven stories. Notably, Captain America: Civil War is literally all about a Hero and Lancer’s buried or repressed resentments coming to a head because their worldviews have diverged past the point of maintaining the initial mutual respect that characterized their early relationship.

Steve and Tony are wildly popular MCU characters. So, it benefits us for the point of this discussion that Cyclops, at his most basic, is essentially a fusion of these two into a brand-new character that combines some of the best aspects of both. Like Tony, Cyclops is a sarcastic iconoclast with no respect for traditional structures of authority.

Like Steve, Cyclops is a born leader with an innate ability to inspire those who work him to be their best selves, and everyone who has ever worked with the guy for any amount of time has willingly and wholeheartedly followed his lead without question.

This combination of character traits makes Cyclops a potentially fascinating character — especially in an MCU which no longer has either Tony or Steve to rely on.

Of course, understanding a Hero means understanding their Lancer, as well, since that relationship is symbiotic. And one way that Cyclops has traditionally suffered outside of the original comics is that he is chronically overshadowed by Wolverine. This is understandable, as, on paper, Wolverine is a far more fascinating character in his own right than Cyclops is. He’s gruff-but-honorable, he has a dark and mysterious past (which makes for a good breeding ground of random encounters), he’s seen more of the world and had more life experience than almost anyone else, he has a surprisingly sensitive and romantic side that’s normally hidden under layers of tragedy and pathos, and he’s a useful window into several parts of the Marvel Universe that we normally don’t get to see: Japan, Alpha Flight, Madripoor, and the Weapon Plus Program (the seedier underbelly of Project: Rebirth, from Captain America’s origin).

But just as Heroes need Lancers to embody everything the hero isn’t, so too do Lancers need Heroes to give them direction and focus and point them in the direction that the story needs them to go. On his own, Wolverine is Rambo: a war vet whose past trauma prevents him from living a meaningful and fulfilling life and manifests itself as cinematic aggression, hopefully against targets that we have successfully convinced the audience deserve this rage even though they had nothing to do with its origin. If we want literally anything else from Wolverine, we need to pair him up with someone who can give him focus and direction and whose orders Wolverine will be willing to take, in spite Wolverine’s checkered past with trusting in authority figures not to, oh I don’t know, brainwash him into a mindless killing machine and erase all knowledge of his past. (Just for example.)

Being that kind of authority figure takes a very specific type of character. And luckily, we have exactly who we need: Cyclops. Cyclops’s utter disregard for traditional power structures neatly dovetails with Wolverine’s lived experience, his ability to command respect through personal loyalty speaks to the hidden romantic in Wolverine, his ability to command obedience through demonstrated competency and earned trust quiet the cynic on Wolverine’s shoulder, and his ability to do all of this without resorting to violence or punishments keeps Wolverine from reacting badly to Cyclops’s authority just on general principle. There’s literally nothing for Wolverine to hang his anti-authoritarian hat on. But that only works if you don’t butcher Cyclops’s character so that Wolverine can shine. If Cyclops is a nerd and a tattletale, then it doesn’t make sense for Wolverine to hang around with the X-Men long enough to form any other bonds. Your only option at that point is to make Wolverine less combative and more of a straight man, which takes away all of the fun parts that make Wolverine so appealing in the first place.

Wolverine needs Cyclops for Wolverine to work as a character. A symbiotic relationship. Like all Lancers have with their respective heroes. Without Luke Skywalker, Han Solo is just a drug-dealing scumbag criminal. Without Superman, Batman is just the Punisher in a funny hat. The Hero brings the Lancer up as a character by speaking to a part of the character that the world has quieted. Wolverine needs that in order to be the character we want to see on screen, and Cyclops is the perfect character to bring that out in him.

And lest this begin to sound too formulaic and like we’re treading over ground already covered in the MCU, I should point out that all Hero/Lancer relationship do not look the same. Tony Stark was a snarky rebel because Steve Rogers was an earnest traditionalist (at least before each grew through their relationship and took on aspects of the other — again, writing character-driven stories naturally leads to character growth and fulfilling, completed personal character arcs). But Cyclops doesn’t need a Lancer like Tony, because they would be too similar in too many ways as characters. Like Tony, Cyclops possesses the cinematically-useful character trait of being able to absorb, internalize, process, and intuit large amounts of new information quickly, and then make complex plans of action that are totally reliant on this information that, until just a few moments ago, he did not possess. But Cyclops also shares an important character trait with Steve Rogers: the ability to explain his plan to others in a way that makes it clear to them what their role is, why that particular role is both vitally important and something only they could accomplish, and that he is trusting them to complete their role without direct supervision because he knows that they can do this, even if they doubt themselves.

With that particular set of character traits, it makes sense that Cyclops’s Lancer is someone who has a vast amount of knowledge and practical experience which Cyclops has not had time to acquire himself, but who lacks the ability to communicate that experience to others in a way that immediately inspires trust and obedience. Enter: Wolverine, a man whose practically-limitless skills, knowledge, and experience have been acquired through such a great amount of tragedy and pain that he cannot see how to move forward into a more positive direction without outside help.

And Wolverine isn’t the only character whose fits this mold. Characters with a vast amount of skills and life-experience who nevertheless find themselves subordinate to Cyclops include: Wolverine, Cable, Storm, Dr. Nemesis, Nightcrawler, Mister Fantastic, Emma Frost, Bishop, Namor, and even f*#@$&n’ Magneto.

That’s right. Magneto. The man so arrogant, he named himself Magnus. The man with such an absolutely inflated sense of his own importance that he made his helmet crest the national flag of all mutants anywhere.

Yes, believe it or not, there was an extended period in the comics where that Magneto willingly placed himself as Cyclops’s second-in-command.

Because in spite Magneto’s experience, his intricate control of what is essentially a force of nature, and his fearful force of personality…even Magneto realizes that Cyclops is simply a better leader than he is. And when you can win over that guy, you certainly have my vote.

[hakasims]

The Most Important Review of Every Single Marwan Kenzari Film

If you’ve seen this one about Luca, you know the drill.

Now, Marwan’s brand is a little less defined than Luca’s but I managed to find similar tropes in a lot of his films. Also, rather than copy myself and give you a redundant Marwanmeter, I decided instead to recommend which Luca character best pairs with each Marwan character for your crossover pleasure. Let’s see if we ship the same things! Some of them are crack. You’re welcome.

(all gifs again by the awesomely amazing @weardes​ who did not ask to be my gif factory but life’s a bitch)

Het zusje van Katia (2008)

Will you miss him if you blink? Kinda. They talk about him a lot but his actual screen time is like 43.7 seconds. Also can I just say... he’s supposed to be from Italy?? The boy says literally one (1) Italian word, and you’ll never guess what it is. (Obviously, it’s “bella” like there’s a chance he could’ve said anything else.)

Is he hot? Painfully hot.

Is he naked? There’s this one scene where he’s wearing the sluttiest pair of speedos I’ve ever seen in my entire life.

Does his hair look great? Actually, yes. Perfect hair, perfect beard, he looks amazing.

Does he fuck? Yes, a lot - off screen, including an M/M/F threesome he presumably, probably, most definitely initiated.

Best paired with? From what I’ve gathered, this hoe ain’t loyal, so the best course of action is to find him a Luca that would benefit from a one night stand with no strings attached and wouldn’t fall in love with him. The obvious choice here is Valerio from Slam - Tutto per una ragazza. They meet, they fuck, then Giac makes his 4-hour drive back to Pisa, and they don’t see each other again until the next time he’s in Rome. Everybody’s happy, especially the two sluts in question.

De laatste dagen van Emma Blank (2009)

Will you miss him if you blink? Yes, absolutely.

Is he hot? Very.

Is he naked? Almost constantly.

Does his hair look great? He’s got those cute short curls, he looks so good.

Does he fuck? That’s literally why he’s there: to fuck and to die.

Best paired with? Man, I wish I had something to work with here. The only thing we know about him besides his sexual prowess is his affinity for white suits and toy helicopters. And as far as I know, those might be the exact things Fabrizio from Nina finds hot in guys. So like, why not?

Loft (2010)

Will you miss him if you blink? He’s the fifth most important character.

Is he hot? Yeah, sure.

Is he naked? There’s a scene where he’s wearing underwear and a tank top but it somehow makes him look like a kindergartener.

Does his hair look great? It looks quite nice.

Does he fuck? Yes, though I wish he didn’t.

Best paired with? Tom is a very violent person and a drug addict. He does messed up stuff to his sexual partners I’d rather he didn’t do to any of Luca’s characters. Feel free to use him for your sadistic fantasies or as a villain or whatever.

Rabat (2011)

Will you miss him if you blink? No, he’s one of the three leads.

Is he hot? Oh yes! And cute!

Is he naked? He’s at the beach wearing nothing but boxer shorts.

Does his hair look great? He’s got this extreme undercut thing that would look ridiculous on anyone less pretty, so like no, he doesn’t have great hair, but also like it’s Marwan, you know what I mean?

Does he fuck? Before he embarks on a road trip with his friends, he has an offscreen threesome with two girls he picked up at a wedding. Slut.

Best paired with? Gabriele from Waves. They’re both sweet guys who could meet in some Tunisian port and decide to sail the Mediterranean Sea together.

Black Out (2012)

Will you miss him if you blink? Not unless your blinking is very deliberate.

Is he hot? Not really. He’s a dirty cop with a shitty moustache and oral fixation.

Is he naked? No, but I wish he was: his clothes are awful. Marwan is 29 in this movie and he looks 50!

Does his hair look great? Nope. They took Marwan’s usual short hair and made it not work somehow.

Does he fuck? No.

Best paired with? The one thing Luca’s characters all have in common is that none of them come off as bootlickers. All of them are either too soft for such a relationship or wouldn’t waste their spit on a cop.

Wolf (2013)

Will you miss him if you blink? No, he’s the protagonist.

Is he hot? *gestures wildly at the gif*

Is he naked? He’s got quite a few shirtless scenes.

Does his hair look great? It’s nothing special but suits his character well.

Does he fuck? Oh yes.

Best paired with? Hear me out. I know that some people ship him with Fabio, but in my opinion that pair, while hot, doesn’t work. Here’s my pitch: Cesare from Non essere cattivo. The drug connection is still there, but in this case Majid’s problem-solving skills won’t fall on deaf ears. Cesare needs a daddy, ok? Majid can be a daddy when he needs to, especially when he has a soft boyfriend to care for. And Majid needs soft, not psycho.

Hartenstraat (2014)

Will you miss him if you blink? No, he’s the protagonist once again.

Is he hot? Painfully.

Is he naked? There’s that iconic scene where he’s wearing nothing but black boxer briefs and boots while carrying a tray...

Does his hair look great? He’s got Joe-like curls and looks like what every male romantic lead should aspire to look like and then cry because they all fail.

Does he fuck? There’s one very unfortunate sex scene played for laughs. I’m pretty sure he’ll need therapy afterwards. I certainly do.

Best paired with? Paolo from Il padre d’Italia. Paolo deserves the best boyfriend, and who’s better than Daan, an extremely hot man who cooks? They both have daughters, so they can talk about that, I guess, and Paolo can finally have a family. Honestly, this is so wholesome I just made myself cry.

Lucia de B. (2014)

Will you miss him if you blink? For sure.

Is he hot? He’s a cop. Again. But he looks good.

Is he naked? Fully dressed, but man are his clothes ugly. Is that a cop thing?

Does his hair look great? He has slightly longer curls, which is fine and the best thing about this character.

Does he fuck? ACAB. (I know this doesn’t answer the question, I just wanted to make it clear.)

Best paired with? See my bootlicker comment from earlier. While Detective *checks notes* Ron Leeflang isn’t explicitly corrupt, he’s obviously a dick, so the best I can do here is recommend any Luca character that has ever been in trouble with the law for any fics about power imbalance you want to write but aren’t comfortable with a nice Marwan playing the villain.

Bloedlink (2014)

Will you miss him if you blink? Oh no, he’s there the entire time.

Is he hot? In a weird way, yes.

Is he naked? So, so, so naked. Like, leave nothing to the imagination naked.

Does his hair look great? I’d say that little rat tail is the exact opposite of great.

Does he fuck? Probably more than is good for him. I should also add that he’s canonically queer in this.

Best paired with? Rico is a pathetic loser in need of someone who’s got his life together and has a lot of experience dealing with fuckups. Enter Loris from Il mondo fino in fondo. He has a stable job and a savior complex, and with his little bro gaying it up in Chile and not needing him anymore, all he wants right now is someone to fix. I should be a fucking matchmaker in real life, for real.

Pak van mijn hart (2014)

Will you miss him if you blink? Undoubtedly.

Is he hot? No. The whole point of his character is to be the lesser choice compared to a guy who looks like a completely ordinary bland white dude...

Is he naked? ...so of course he isn’t naked! What, are they gonna take this poor woman, show her Marwan Kenzari’s post-Wolf body and expect her to choose her deeply mediocre ex? Please! They’re gonna dress him in the dorkiest clothes possible...

Does his hair look great? ...and make him wear the most awful wig that was clearly run over by a truck.

Does he fuck? No. As you can observe, they tried really hard to make him unfuckable, but honestly, he seems like a perfectly nice guy.

Best paired with? You know what? Mattia from La solitudine dei numeri primi is in desperate need of some sweetness and normalcy. I’m sure Richard will treat him with kindness and respect.

Collide (2016)

Will you miss him if you blink? He’s the fifth most important character. Out of five.

Is he hot? Very hot.

Is he naked? Not for a second! What’s up with American movies where people aren’t just casually walking around naked without any plot necessity???

Does his hair look great? His curls are so cute you guys! Look at them!

Does he fuck? Not explicitly.

Best paired with? Fabio from Lo chiamavano Jeeg Robot. Again, the drug connection is there, but Matthias is soft enough not to butt heads with Fabio and, by the end of the movie, rich enough to satisfy his cravings for good living and fame. Also look at how good their color coordination is with those dark wine red clothes! Sometimes planets just align, okay?

Ben-Hur (2016)

Will you miss him if you blink? Yes, especially if you aren’t watching the background.

Is he hot? Your usual Marwan hot.

Is he naked? No.

Does his hair look great? His typical short curls with a twist. I think the forehead area is supposed to invoke the Caesar cut? I don’t know. It looks fine when not hidden under that dumb helmet.

Does he fuck? No.

Best paired with? A better script and a much better director. (Seriously, what is this blocking?)

The Promise (2016)

Will you miss him if you blink? He’s there a decent amount in the first half of the movie and then almost completely disappears in the second half.

Is he hot? Very much, yes.

Is he naked? Unfortunately, no.

Does his hair look great? He’s got short curls again, but this time they’re fashionably styled, it’s magnificent.

Does he fuck? Oh yeah! And there’s no way he isn’t bi or pan in this. No way.

Best paired with? Roberta from L’ultimo terrestre. Listen, Emre Ogan may be a slut but he’s a gentleman, okay? He’d treat Roberta right and he’s got daddy’s cash to spare on hundreds of gorgeous white dresses for her.

The Mummy (2017)

Will you miss him if you blink? He’s there, but barely.

Is he hot? Dangerously hot.

Is he naked? Not once! Instead we get a naked Tom Cruise literally no one asked for.

Does his hair look great? It’s your basic professional short hairdo.

Does he fuck? No.

Best paired with? Malik is a member of an organization tracking and destroying various monsters and historical artefacts related to them. Guido from Tutti i santi giorni speaks four languages, including Latin, and is a literature and ancient history nerd which makes him a valuable asset. Malik can fight and protect; Guido is bumbling and in need of saving. Guys, this writes itself.

What Happened to Monday (2017)

Will you miss him if you blink? No, especially not in the third act.

Is he hot? He’s okay.

Is he naked? Very naked.

Does his hair look great? They shouldn’t have greased his curls back. He looks like another victim of Fabio Cannizzaro’s stylist. Also I wish he’d either shaved or finished growing out that beard.

Does he fuck? He fucks and he fucks good. He’ll go down on you, he’ll deflower you slowly and gently, he’ll choke you if you want him to, he’ll spoon you all night, he’ll give you emotional support, he’ll murder people for you - he’s down for whatever.

Best paired with? There’s one Luca character who needs a lot of sex and even more emotional support. Alright, most of them do, but I’m thinking of Ettore from Lasciate andare. He needs it, okay? Good dicking, good spooning, a good ear, a fine piece of ass to cry into - you get the gist. Most importantly: someone who’d love him for who he is and with whom he could relax and be himself. (Also, I see you, people comparing him to Fabio. Shame on you for sleeping on this soft boy and judging him based on his appearance.)

Murder on the Orient Express (2017)

Will you miss him if you blink? He’s kinda always present, being very French.

Is he hot? Very hot.

Is he naked? No, but I’m willing to forgive that because he looks so good in his conductor uniform.

Does his hair look great? He never takes off his hat.

Does he fuck? No.

Best paired with? Mickey Miranda. They’re both murderers morally dubious characters who would look hot together. What else do you need? (Again, I see you, people who want Pierre for Roberta because he’s a “nice guy”, and I know for a fact you didn’t watch the movie. Spoilers, I guess.)

The Angel (2018)

Will you miss him if you blink? No, he’s the protagonist.

Is he hot? Oh yes.

Is he naked? Not once, but you won’t regret it because he’s wearing excellently stylish 1970s clothes.

Does his hair look great? It looks fantastic. The sideburns (not yet seen here) are a good touch.

Does he fuck? He can definitely get it, but he’s loyal to his wife.

Best paired with? As the most aesthetically coherent and fashionably hot pair in this post, Ashraf and Primo are a no-brainer. Can you imagine Primo calling him “Angel” in different contexts? When he’s being intimidating, not realizing how palpable the sexual tension between them is, and later not even hiding his arousal? Sometimes things just work because they’re hot. That’s all, folks.

Aladdin (2019)

Will you miss him if you blink? No, he’s the main villain.

Is he hot? It’s not like he went viral for being the “hot Jafar” or anything.

Is he naked? No! Fucking thanks a lot, Disney.

Does his hair look great? He has a buzz cut under that turban but he looks good in the turban, so that’s something.

Does he fuck? It’s a Disney movie, so he doesn’t fuck - explicitly or otherwise - but he still comes off as a thirsty bitch.

Best paired with? Jafar ends the movie as a genie who’s obligated to grant his master three wishes but is enough of a petty bitch to exploit the hell out of the “gray area” and screw them over Wishmaster style. My unconventional pair for him is Lui from Ricordi? So many scenarios with distorted memories and magic-induced mindfuck. So many possibilities for awesome and messed up crossover gifsets! Don’t say I never give you guys anything.

Instinct (2019)

Will you miss him if you blink? No, he’s very prominent.

Is he hot? I hate myself for finding him hot but I do.

Is he naked? He’s playing basketball shirtless in one scene, shaking his sweaty boobs everywhere.

Does his hair look great? His weird mohawk-like thing is honestly terrible, but if anything can make it work, it’s Marwan’s bone structure.

Does he fuck? Um, I’m pleading the Fifth on this one for the sake of good taste.

Best paired with? Prison. A very lonely, Luca-less prison.

The Old Guard (2020)

Will you miss him if you blink? No, unless blinking in your case means sleeping through the gloriousness that is the first ever canonically gay couple in an American action film.

Is he hot? Painfully.

Is he naked? Shirtless in one scene.

Does his hair look great? Soft curls courtesy of Luca Marinelli’s tireless lobbying.

Does he fuck? Not on screen, but you can just tell by the way he looks at his husband and reads impromptu poetry right to his face. And everybody knows nothing kindles the fires of passion quite like murdering homophobes together.

Best paired with? If you have to ask, you’re clearly reading this by mistake. In which case, kudos for finishing such a long and confusing post, now go watch The Old Guard and cry at the beauty that is The Immortal Marriage.

[fluffywolverine]

so season 6 of lucifer came out.

there were some things that i liked, but generally i hated it. i believe that was SUCH. BAD. WRITING and it left me frustrated. so i decided to write down all things that pissed me off and sometimes i try to fix this by giving other ideas that – in my opinion – would have made the story better. Check my points out and feel free to add your points of view. without further ado: let’s talk.

- imma start with the big one – fucking time travel. ok I generally hate this trope in the media, because it’s complicated and often leads to some logical mistakes – and they happened here. so rory time travels because of her anger which was caused… by her anger?? i think this was unnecessary. it also brings trouble with this whole free will vs. fate discourse. lucifer says, that he chooses free will… but at the same time he goes the path of his fate. he disappears from rory’s life, because he HAS TO in order of the events of the season to happen. just because he chose to do it, doesn’t mean it’s free will.

- lucifer becomes the very thing he desperately didn’t want to become. “bUt It WaS fOr ThE gReAtEr GoOd” screw this bullshit, if writers wanted to make it better, they could have easily do so. they could have altered the rules of time travel so that his choice of staying could have resulted in rory disappearing. yes, that would have been heart-breaking, but it would have been a great lesson for lucifer, that he can’t make the same mistakes his father did.

- chloe and Lucifer get a child without even talking about it. “bUt MaYbE tHeY tAlKeD aBoUt It We JuSt DiDn’T sEe It” you may say. but the point of writing anything  - whether it’s a book or a script – is to show any thing that matters. and talking about having kids is one of the most things any couple should do. also not every couple needs to have kids and forcing deckerstar to have it feels so far-fetched. this thread was very unnecessary.

- rory herself is a big problem. to begin with – she wanted to KILL her FATHER. i get her frustration, but commiting a murder?? just because he wasn’t there for her?? I would have thought that chloe taught her better, taught her that, like, killing people is bad. turns out she did not. secondly… she just isn’t necessary here. i elaborate later so in conclusion – her thread could be altered with michael’s and it would have made much more sense. i also don’t like the actress (why was she blinking so much??) so i certainly didn’t help.

- of course ella has to end up with a boyfriend. because earlier she always ended up with “bad boys” and now, without any help, she is just able to have a healthy relationship! yay! for me this creates a toxic view, that in order to be happy one HAS TO be in a relationship, because being alone is aLwAyS bAd. well, it’s not.

- i also have troubles with lucifer starting up a foundation for her. firstly, he didn’t ask her. secondly it – AGAIN – shows, that anything good ella got, was because of another man. firstly because of her relationship with carol, secondly because of lucifer’s idea. it could have been so easily altered! there could have been a scene of a conversation e.g. with amenadiel where she expressed a will to do better and be better for someone (given that she sees a lot of dark in herself). amenadiel could have then told her, that she is an inspiration and that it is her biggest strength. that could have been where ella came up with an idea to start a foundation blah blah – it’s just a rough idea but I believe that written well, it could have been so much better;

- and the last thing about ella – of course she had to find out about celestial stuff because sHe WaS tHe OnLy OnE rEmAiNiNg. umm what about trixie? i'll come back to her later. ella was portrayed as the only one believing in god and having her seeing that he really exists ruins the concept of faith. it’s not about knowing something exists, it’s about believing in it.

- WHERE THE FUCK IS MICHAEL. i must admit that i loved this character AND I CAN’T STAND HOW AWFULLY HE WAS TREATED HERE. so at the end of season 5 lucifer says “everyone deserves a second chance, even you michael". and what does he do then? COMMANDS HIS TWIN TO CLEAR THE FLOOR IN HELL. yes, i agree that michael should have been punished for his rebellion plan, but… he already has his wing cut off. now he’s stuck in hell, with no way out and is he supposed to learn his lesson? this is cruel. instead of this the entire season could have been centred on him – his journey to self-acceptance, learning how manipulating someone is toxic and starting to realise how to be a better person. at the end he could have become god (because amenadiel is such an obvious choice), which would create a beautiful connection – michael in heaven and his twin in hell.

- lucifer doesn’t feel like being god and that’s cool. damn. people died for him to win this place and he’s like “actually you know guys i’m not the right person bye”. while i believe that anyone should step out if they have a reason, but at the same time lucifer should have faced any consequences of his decisions. falling frog and kool aid in the river are not enough.

- adam’s plot feels just quickly sketched, not actually written. i really appreciate this take on toxic masculinity but it all felt too fast-paced. it’s good that they show this idea of “strong and not-showing-any-feelings man” kind of attitude, but it is impossible for ANYONE (especially The ManTM) to change their mind in a matter of a few days. it takes weeks, months, years even, especially given that adam is like a gazillion years old, he should have especially taken a long time to process this.

- carol is just too pure to exist. he’s also one of the most boring, plain and one-dimensional character i’ve ever seen. i feel like they gave him a problem with alcohol because the writers were like “hmmmmm he has to have some weakness. LET’S MAKE HIM AN ALCOHOLIC”. we don’t see any signs of his everyday struggle, why did he fell into this problem, how did struggle. it just feels like a dull plot device to show that he has flaws. oh and also he’s so pure that he doesn’t mind ella BREAKING INTO HIS HOUSE. acceptance should have boundaries and violating someone’s personal space isn’t right.

- why did they forget about trixie again? yes, i know that scarlett estevez had another project but this does not justify the bad writing. the girl lost her father and we only see her crying once because of that. no signs of this affecting her everyday life, not showing any consequences of her relationships with other people, not  glimpse of any change in her behaviour. oh and also she loses lucifer too because time travel! great idea, writers! losing another close to her person would have been soooooo good for her psychic for sure.

- i also hate the idea that suddenly rory becomes the only child they care for. where is trixie when they spend their day on the beach? where is she when her mother dies? did writers forget about her as well as they did about michael?

- amenadiel being a police officer is… problematic. i was looking forward to this thread, i was kinda scared too and it turned out… meh. i’m white and not American, so this of course does not involve me at all, but i felt like this was not enough. harris basically said that there is nothing they can do to make it better for black folks. even though chloe and amenadiel want to make everything more just, we don’t actually see any change. the only thing is that harris becomes a detective (right? i’m not sure if i understood it correctly, so correct me if i’m wrong, please) which is a total contradiction of what she said before. suddenly she does not have to protect people anymore?

- in season 5 they stated that heaven and hell need to be fixed, as the system is unfair and unjust. at the end we don’t see any change, the only thing that is different is lucifer helping damned souls. it doesn’t help at all! these people still go to hell, they still suffer and there’s nothing that changed here! plus there is also this thing, that a sociopath who murdered people in cold blood goes to heaven (because he does not feel any guilt) and a person abused by her parents/partner/whoever goes to hell (because have been manipulated to feel guilt).

- dan making amends with trixie while… there wasn’t really anything to make amends about. like, most of the parents make mistakes while upbringing their children, but does this make them unworthy of heaven? i would have preferred dan to slowly regain his self-consciousness, how he positively affected the lives of people around him and by doing so – through conversations or maybe reliving some of the memories, he could have proved to himself that he is worthy of love and redemption.

phew, what a ride. i really liked dan being reunited with charlotte (it went just as i imagined) and mazeve dynamics. i even felt like they are finally a real life relationship – with people hurting each other by not understanding each other, but then talking and seeing other’s perspective. generally though, i’m very disappointed.

sorry for any mistakes, lacking commas etc. writing a text this long in not my native language was not easy.

[luckgods]

Why all the white guys in whump?

I got Inspired by a post asking that question, and here we are. Warning: long post ahead.

I think it’s due to a combination of factors, as things frequently are.

The preference for / prevalence of white male characters in fandom is well-known and has been examined pretty thoroughly by people already.

What’s worth noting for discussing this tendency in whump in particular is that the ‘whump fandom’ itself is not a ‘fandom’ in the traditional sense of being made of fans of one single source narrative (or source setting, like a particular comics fandom, or the Star Wars extended universe) with pre-existing characters. Although subsets of traditional fandoms certainly exist within the larger whump fandom, a lot of whump is based on original, ‘fan’-created characters.

So, given the tendency of ‘traditional’ fandoms to create stories disproportionately centered on white male characters due to the source material itself being centered on white male characters (and giving more narrative weight to them, characterizing them better, etc), if we say hypothetically that the whump fandom is split say 50/50 between ‘traditional’ fandom works and original whump works, you’d expect to see a higher number of works focused on white men than the demographics of the ‘traditional’ fandom’s source work would predict, but not as extreme of a divergence between the source material & the fanworks as the one you’d see if whump fandom were 100% based on popular media.

However, that doesn’t quite seem to be the case. Whump stories and art remain focused on overwhelmingly male and frequently white characters, which means that the tendency of the fandom to create stories disproportionately centered on white male characters cannot be ONLY explained by the source material itself being centered on white male characters (and giving more narrative weight to them, characterizing them better, etc).

And, having established the fact that whump writers & artists presumably have MORE control over the design of their characters than writers & artists in ‘traditional’ fandoms, we have to wonder why the proportions remain biased towards men, & white men in particular.

—

The race thing is pretty simple in my opinion. Mostly, it’s just another extension of the fanbase’s tendency to reflect the (predominantly US-American, on tumblr) culture it exists in, which means that, in a white-centric culture, people make artworks featuring white people.

There’s also the issue of artists being hesitant to write works that dwell heavily on violence towards people of color due to the (US-American) history of people of color being violently mistreated. I’ve actually seen a couple of posts arguing that white people SHOULDN’T write whump of nonwhite characters (particularly Black characters) because of the history of actual violence against Black bodies being used as entertainment, which means that fictional violence against Black people, written by white people, for a (presumed) white audience, still feels exploitative and demeaning.

I'm not going to get into all my thoughts on this discussion here but suffice to say that there's probably an impact on the demographics of whump works from authors of color who simply... don't want to see violence against people of color, even non-explicitly-racialized violence, and then another impact from white authors who choose not to write non-white characters either due to the reasons stated above, or simply due to their personal discomfort with how to go about writing non-white characters in a genre that is heavily focused on interpersonal violence.

Interestingly enough, there’s also a decent proportion of Japanese manga & anime being used as source material for whump, and manga-styled original works being created. The particular relationship between US-American and Japanese pop culture could take up a whole essay just by itself so I’ll just say, there’s a long history of US-Japanese cultural exchange which means that this tendency is also not all that surprising.

—

GENDER though. If someone had the time and the energy they could make a fucking CAREER out of examining gender in whump, gender dynamics in whump, and why there seems to be a fandom-wide preference for male whumpees that cannot be fully explained by the emphasis on male characters in the source text.

I have several different theories about factors which impact gender preference in whump, and anyone who has other theories (or disagrees with mine) is free to jump in and add on.

THEORY 1: AUTHOR GENDER AND PERSONAL EXPERIENCE.
 Fandom in general is predominantly female, although these days it might be more accurate to say that fandom is predominantly composed of cis women and trans people of all genders. However, pretty much everyone who isn't a cis man has had to contend with the specter of gendered violence in their real personal life. Thus, if we posit whump (and fandom more generally) as a sort of escapist setup, it's not hard to see why whump authors & artists might willfully eschew writing female whumpees (especially in the case of inflicted whump), because (as in the discussion of people of color in whump above), even violence towards women that is explicitly non-gender-based may still hit too close to home for people whose lives have been saturated with the awareness of gender-based violence.

THEORY 2: SICK OF SEXY SUFFERING.
 Something of an addendum to theory 1, it's worth noting that depictions of female suffering in popular media are extremely gendered (in that they specifically reflect real-life gender-based violence, and that said real-life violence is almost exclusively referenced in relation to female characters) and frequently sexualized as well. There's only so many times you can see female characters having their clothes Strategically Ripped while they're held captive, being sexually menaced (overtly or implicitly) to demonstrate How Evil the villain is, or just getting outright sexually assaulted for the Drama of it all before it gets exhausting, especially when the narratives typically either brush any consequences under the rug, or dwell on them in a way that feels more voyeuristic and gratuitous than realistic and meaningful. All this may result in authors who, given the chance to write their own depictions of suffering, may decide simply to remove the possibility of gendered violence by removing the female gender.

THEORY 3: AUTHOR ATTRACTION. 
I'll admit that this one is more a matter of conjecture, as I haven't seen any good demographic breakdowns of attraction in general fandom or whump fandom. That said, my own experience talking to fellow whump fans does indicate that attraction to the characters (whether whumpers, or whumpees) is part of the draw of whump for some people. This one partially ties into theory 1 as well, in that people who are attracted to multiple genders may not derive the same enjoyment out of seeing a female character in a whumpy situation as they might seeing a male character in that situation, simply because of the experience of gendered violence in their lives.

THEORY 4: ACCEPTABLE TARGETS.
 The female history of fandom means that there's been a lot more discussion of the impacts of depicting pain & suffering (especially female suffering) for personal amusement. Thus, in some ways, you could say that there is a mild taboo on putting female characters through suffering if you can't "justify" it as meaningful to the narrative, not just titillating, which whump fandom rarely tries or requires anyone to do. This fan-cultural 'rule' may impact whump writers' and artists' decisions in choosing the gender of their characters.

THEORY 5: AN ALTERNATIVE TO MAINSTREAM MASCULINITY.
 Whump fandom may like whumping men because by and large, mainstream/pop culture doesn't let men be vulnerable, doesn't let them cry, doesn't let them have long-term health issues due to constantly getting beat up even when they really SHOULD, doesn't let them have mental health issues period. Female characters, as discussed in theory 2, get to ("get to") go through suffering and be affected by it (however poorly written those effects are), but typically, male characters' suffering is treated as a temporary problem, minimized, and sublimated into anger if at all possible. (For an example, see: every scene in a movie where something terrible happens and the male lead character screams instead of crying). So, as nature abhors a vacuum, whump fandom "over-produces" whump of men so as to fill in that gap in content.

THEORY 6: AMPLIFIED BIAS.
 While it's true that whump fandom doesn't have a source text, it's also true that whump fans frequently find their way into the fandom via other 'traditional' fandoms, and continue participating in 'traditional' fandoms as part of their whump fandom activity. Bias begets bias; fandom as a whole has a massive problem with focusing on white male characters, and fans who are used to the bias towards certain types of characters in derivative works absolutely reproduce that bias in their own original whump works.

—

I honestly think that there is greater bias in the whump fandom than anyone would like to admit. Maybe I'm wrong, but it seems as though whump fans avoid introspection and discussion of the issue by bringing up the points I talked about in my previous theories, particularly discomfort with depictions of female suffering for amusement.

However, I think that, as artists, we owe it to ourselves and one another to engage in at least a small amount of self-interrogation over our preferences, and see what unconscious or unacknowledged biases we possess. It's a little absurd to argue that depictions of women as whumpees are universally too distressing to even discuss when a male character in the exact same position would be fine and even gratifying to the person making that argument; while obviously, people have a right to their own boundaries, those boundaries should not be used to shut down discussion of any topics, even sensitive ones.

Furthermore, engaging in personal reflection allows artists to make more deliberate (and meaningful) art. For people whose goal is simply to have fun, that may not seem all that appealing, but having greater understanding of one's own preferences can be very helpful towards deciding what works to create, what to focus on when creating, and what works to seek out.

—

GENDER ADDENDUM: NONBINARY CHARACTERS, NONBINARY AUTHORS. 
Of course, this whole discussion so far has been exclusively based on a male-female binary, which is reductive. (I will note, though, that many binary people do effectively sort all nonbinary people they know of into 'female-aligned' and 'male-aligned' categories and then proceed to treat the nonbinary people and characters they have categorized a 'female-aligned' the same way as they treat people & characters who are actually female, and ditto for 'male-aligned'. That tendency is very frustrating for me, as a nonbinary person whose gender has NOTHING to do with any part of the binary, and reveals that even 'progressive' fandom culture has quite a ways to go in its understanding of gender.)

Anyways, nonbinary characters in whump are still VERY rare and typically written by nonbinary authors. (I have no clue whether nonbinary whump fans have, as a demographic group, different gender preferences than binary fans, but I'd be interested in seeing that data.)

As noted above with female characters, it's similarly difficult to have a discussion about representation and treatment of nonbinary characters in whump fandom, and frankly in fandom in general. Frequently, people regard attempts to open discussions on difficult topics as a call for conflict. This defensive stance once again reveals the distaste for requests of meaningful self-examination that is so frequent in fandom spaces, and online more generally.

—

TL;DR: Whump is not immune to the same gender & racial biases that are prevalent in fandom and (US-American) culture. If you enjoy whump: ask yourself why you dislike the things you dislike— the answer may surprise you. If you create whump: ask yourself whose stories you tell, and what stories you refuse to tell— then ask yourself why.

[mccoyyy]

moving this to my new blog so I can pin it again lol

@stregoni-benefici you are completely correct but I just wanted to expand on this a little bit - also i’m putting this under a read more cause this got a lot longer than i originally thought it would be

sexism: smeyers treatment of female characters throughout the entire series is extremely problematic. like you don’t even need to read deep into the books to see that. the backstories of all her female characters all involve some form of trauma and are significantly more violent than the male vampires (Rosalie and Esme enduring physical/sexual assault meanwhile Edward dies of the flu and Emmett gets vibe checked by a bear).

she also creates the idea that a woman isn’t complete without children/being a mother. every female vampire in the series is desperate for children yet can’t, its mentioned in pretty much every book and extreme emphasis is placed on how tragic this is. a female character wanting children isn’t wrong or sexist at all but the way its written in twilight makes it seem like its something a woman has to do in order to be happy and smeyer pretty much cements this idea by making Bella suddenly desperate to have Renesmee despite showing no interest in children/audibly voicing her thoughts against having children in eclipse and the start of breaking dawn (i’m pretty sure Bella has a line of dialogue in the books where she says something like she didn’t realise it was something she wanted/needed until it happened bit I’m not sure I try not to read/think about breaking dawn)

there’s also the way she writes female characters, specifically Rosalie. its mentioned throughout the series that Rosalie has extreme mechanical skills and multiple degrees in STEM fields but its barely ever shown, and instead her characterisation focuses on being obsessed with her looks (first couple pages of this, written by smeyer for new moon), and being a ‘stereotypical bitch’. for the first three books most of her character/dialogue is based on being cold and rude to Bella. She is unnecessarily painted as the villain for having different views on Bella (quite literally) giving up her life and future to be with a man (which is a whole other can of worms). the same is done to the character of Leah in eclipse/breaking dawn. Leah is a woman in the Quileute Tribe, she has been severely affected by the Cullen’s presence in the area and is painted as a character that the reader is supposed to dislike simply because she doesn’t like Bella/the Cullen’s despite having extremely valid reasons not to

anti-Native - smeyers treatment of native tribes is horrendous. she has profited fr years off of of native american culture for years and has done so without any acknowledgements. furthermore, she also demonises native american teens (especially in new moon) by calling them wild, violent, dangerous and out of control and then uses these stereotypes to create a contrast between the self control and patience of the Cullen’s and make them seem more like the good guys, and the wolf pack being lesser. She does this again with the treatment of Jacobs character in new moon and especially eclipse.

Jacob starts off in new moon as Bella’s best friend. he helps Bella come out of a severe depression caused when Edward left at the start of the book. however in eclipse his character makes a complete flip and he becomes moody, temperamental, argumentative and disrespectful of Bella’s boundaries. his character becomes unrecognisable and despite smeyers claims of a love triangle, it is obvious what the outcome will be. I have seen countless instances of people on this site claiming they hate Jacob because he is a dick/disrespectful/just as unhealthy as Edward. this was done on purpose by smeyer as she uses Jacob to make Edward seem like the obvious and correct choice for Bella. if you need more proof of this, take the scene where Jacob kisses Bella without her consent and she breaks her hand when punching him, Edward swoops in and almost gets into a fight with Jacob for touching Bella without her consent. this is an obvious attempt to make Jacob seem like the villain and Edward the white saviour

there’s also the treatment of the native characters by the white characters in the books. multiple times in the series, the native characters are called/compared to dogs/brutes and have a distinct unpleasant smell. I don’t think I need to explain how this is racist. the pack also helps the Cullen’s/saves Bella’s lives and never receive any acknowledgement/are treated any better by the Cullen’s/anyone really. the pack are only ever used as a way to make the Cullen’s look better.

there’s also some pretty obvious similarities to colonisation with the Cullen’s entering Quiluete lands which then forces them to start phasing into wolves (and I’m pretty sure none of the pack actually want to start phasing). also, remember Leah? the only female member of the wolf pack? because of the change she effectively can’t have children? that has implications.

and to top it all off, after doing all that, smeyer has never once addressed this or even acknowledged the Quileute Tribe.

pedophilic - I mean even without mentioning breaking dawn its pretty awful. first of all you’ve got the blatant sexualisation of minors throughout the entire series. Edward is 17 throughout the series and smeyer is writing literal paragraphs about his chiselled abs. Jacob is 16/17 when she has him running about forks topless with a 6 pack. this is way more apparent in the movies but its still a huge issue in the books and lead to Taylor Lautner being confronted by adult fans trying to get him to sign their underwear, and being forced into being shirtless for most of the movies which made him extremely uncomfortable (Elizabeth Reaser (Esme) briefly talks about this in the ID10T podcast on spotify). and just as a reminder, Taylor was 16 when the first one was filmed and 17 for the second.

Breaking Dawn is a whole other can of worms. the glaringly obvious issue is Jacob imprinting on a literal newborn baby. now the concept of imprinting itself has racist elements to it, but its heavily implied in the series that imprinting will inevitably lead to a romantic relationship. Jacob imprinting on Renesmee and waiting until she is old enough to enter into a romantic relationship (never mind the fact that shes ‘old enough’ she will still technically be 5) is pretty much grooming. The same happens with Quil and his imprint, Claire (a two year old) where I’m pretty sure there’s a scene in breaking dawn where Jacob and Leah are watching Quil play with Claire and talking about how Quil isn’t going to date anyone because he and Claire are ‘pretty much inevitable’ (i might be wrong though, like I said I try not to read/think about breaking dawn)

smeyer has also written a spin off book (its like 250 odd pages) called the short second life of Bree Tanner (Bree is that newborn vampire killed after the battle in eclipse by the Volturi btw). In this book, Bree is 15 almost 16, and another character Diego is 18 which is definitely pushing the boundaries of ok. (also as a side note, funny how Bree and Jacob are literally the same age and smeyer states multiple times how Bree deserved better and is only a child (who straight up kills people), yet when it comes to Jacob he has to be a responsible adult and is vilified for every mistake he makes)

racist - smeyer refused to let Catherine Hardwicke (director of the first twilight) have a diverse cast because she ‘imagined them a certain way’ (white) and it was a fight to get Edi Gathegi cast as Laurent and had to compromise with smeyer to make Bella’s friend group more diverse. this woman straight up refused to hire more diverse actors and only agreed to when they were side characters/villains.

Also in the official companion book/guide to twilight, smeyer literally writes that vampire venom makes you white

‘the venom leeches all pigmentation from the skin into a more indestructable vampire form…regardless of original ethnicity a vampires skin will be exceptionally pale’ (official illustrated guide pg.69)

this is a whole lot of bullshit cause she is literally whitewashing characters, but when you pair this with the idea that vampires possess inhuman levels of beauty it becomes extremely problematic and implies that being pale/white is more beautiful than darker skin tones.

also, if we go back to Laurent’s character for a second. so Laurent is one of the only characters who isn’t described as white (in the books he is described as having a pale olive skin tone) and in the first book he comes across as pretty reasonable (warning carlisle about James/Victoria, travels up to Denali and tries out the veggie lifestyle) but in new moon, his characterisation pulls a 180° (sensing a theme here) and is suddenly trying to kill Bella as a favour to Victoria and is Evil™ despite in the first book he literally says to Carlisle he didn’t particularly like travelling with James/Victoria and was only really doing it for convenience. where did this undying loyalty come from? yet again, smeyer is completely disregarding established characterisation in POC characters specifically to villainise them.

and finally, we have Jasper. for some reason (that reason being that she is racist) smeyer decides to make Jasper a confederate soldier in his human life. if you don’t have a lot of knowledge on the american civil war, the confederacy were the side of the US that seceded from the union in order to keep their slaves. Jasper was a confederate soldier, and not just any soldier, but a major. Jasper was a major in an army that fought for 4 years to keep the existence of slavery (and don’t even try to say that slavery wasn’t the root cause of the civil war. states rights aye? states rights to do what). now there’s an argument out there made by certain fans that a lot of people joined the confederate army out of pride/were forced into it cause of conscription to try and head canon the racism away but like that doesn’t matter. there was literally no need to make jasper a confederate in the first place. if she was so desperate to have a civil war vampire then she could have made him a member of the union. its been common knowledge that the confederacy was racist for a long time now, smeyer has absolutely no excuses here.

a lot of these issues overlap and I have probably missed heaps of issues (so feel free to add on) but hope this helps explain why smeyer can *ahem* get tae absolute fuck

[jinmukangwrites]

@damianwayneweek Day 4 (6-16): Reverse batfamily | Hugs | Soulmate

Warnings: Canon typical violence, major injuries, background character death, ✨angst✨

Note: this one ran away from me. It got a mind of its own. If I had more time, this would be so much longer. I've always wanted to write a reverse batfam story with Damian's perspective. Please enjoy.

---

Damian has only spent a month living with his blood father, and he's felt nothing but miserable this entire time. Somehow, life has managed to become even more stressful and exhausting compared to living within the League of Assassins. He... understands why his mother felt he'd be safer here for the time being, but at least, back in Nanda Parbat he knew what he was doing and what the rules were.

He's not sure where he stands with his father. It's obvious that his father doesn't know where he stands with Damian either. Damian, his entire life, had grown up with the knowledge of Bruce Wayne being his father. Batman. Caped Crusader of Gotham. Hero. Bringer of Justice. His mother's dearest, most precious love after Damian himself. She spoke often of him. Highly. Only when alone and no one else to hear them. His father isn't exactly on high standings with his grandfather nor other high ranking members of the League.

Yet, his father knew nothing of him until the day they met. His mother brought him to the streets of Gotham, lured Batman to their location, and introduced them there. His father seemed visibly shocked under that cowl at the information of having a son, yet he didn't question it.

Damian didn't know what to expect after his mother left him for his own safety. He didn't know all too much about culture outside of the League. He was, of course, taught the basics to blend in with American society—as well as other countries—if the need so came, but other than that... He didn't know what to do with himself when he first stepped in the manor to find only one servant and a new home empty of anything to fill his time. The cave where his father operates was locked to him from the get-go.

His father doesn't seem to trust him. He explained the situation to the servant, and then sent Damian off with the servant to find a room with the warning that if Damian "did anything", he'd regret it.

Damian's hardly seen his father since. When he's not working as a CEO, he's out as Batman, and Damian sits in the manor all day and night running out of ways to keep himself entertained.

Sometimes he sees his father at supper, but he doesn't ever start any conversation. Damian doesn't start any either, thinking it's purposeful. He doesn't ask about Damian's stay, or if he's comfortable here, or anything. He doesn't update Damian on any new information about his mother and the league. The only words he speaks to Damian are gruff good nights.

Miserable. It's miserable. He doesn't understand why his mother is so in love with such a miserable man for company.

He doesn't speak up on it, however. If his father is anything like his teachers or his grandfather, questioning him or speaking out of turn will just get him in trouble. He'd like to keep his stay at a tolerable level of misery, thank you very much.

So he doesn't say anything to his father, even though he's itching to go out with him at night to... to do whatever he does. He's seen the television, Superman has a kid fighting with him in Metropolis. Why can't Damian do the same with his father as well? He can wear a mask and change his name. He can easily defend himself, even against this country's love for guns.

He still doesn't say anything, and he spends the days miserable.

-o-o-o-o-

It's the butler, Alfred as he has insisted many times during his stay (Damian humors him by calling him by his first name, being as he's the only one to speak to Damian in this drab house), who suggests school a few months after coming here.

"School," his father says blankly, looking at Alfred like he's lost his mind.

"He's a young, growing boy," Alfred says. "It's not good for the lad to be inside all day like this."

Damian sits at the dining table, stiff like he's stepped on a landmine and is now waiting for it to explode. However, he can't help but look up at his father through his lowered eyebrows to meet his sharp gaze. School... doesn't sound like something that would be any fun, but... but anything to get out of this manor sounds almost heavenly.

His hopes fall when his father shakes his head. "No. It's too dangerous."

And something inside Damian snaps just a little. "Dangerous for who?" He demands, slamming his hands on the table. "For me? Or for the other children?"

His father looks stunned, and Damian's stomach drops as Alfred's eyes widen as well.

He's running out of the dining room before anything else can be said.

He's messed up. He's definitely, royally, messed up.

-o-o-o-o-

Punishment for yelling at his father doesn't come like he expects it to. A week goes by, and there's not a single word of his outburst.

It sets him on edge. It fries his nerves. It makes him jumpy and paranoid and frightened at every shadow.

So much so that he finally decides, one day, to pull the sword hanging above the library entrance off the wall and practice with it. It's heavier than what he's used to back in Nanda Parbat. British history is in the shape of the blade, but he still wields it and practices rusty moves on it until he's sweating in the middle of the library. Usually training makes him feel better, but the more time that passes, the more frustrated he gets.

He gets so frustrated that he imagines enemies surrounding him. He imagines the warmth of blood splattering against his skin as he swings. The taste as it touches his tongue. Their screams of death. He gets so deep in this trance that he doesn't notice he's broken something until the sound of crashing glass reaches his ears; he's swung right through a glass display case, the unprotected remains of a signed classic novel resting inside.

His heart jumps when the door opens to see what the commotion is about, and he drops the sword like it's hot when Alfred is the one to poke his head through.

"I'm sorry," he says.

Alfred gives him a long look, and then he sighs. "Come fetch the broom with me, and we can clean this up."

"Will you tell father?" Damian asks slowly. He can tell it's a loaded question when Alfred pauses and purses his lips.

"Not this time," he says finally, after a few heartbeats. "But I do think it's time I speak with him about some other things. Come along, the quicker we clean this up, the quicker I can get you a cup of tea to stop you from looking like a frightened racoon."

-o-o-o-o-

A few days pass, and his father invites him to follow after dinner. Out of everything Damian expects to come from this, being led into the batcave through a grandfather clock in the study wasn't one of them.

"You can train here," his father said, showing him a massive room in the cave filled to the brim with practice tools of all kinds. Dulled swords, throwing stars, bo-staffs, and straw dummies to name a few. There's locked cases on the far side of the training room, of which Damian suspects are full of much more sharp, dangerous, and fun tools.

No matter. He's already feeling his blood shake with excitement at the thought of finally getting some proper practices again.

"You can come down here only when myself or Alfred are here to supervise you," his father explains. "Nothing here leaves this room, and if anything breaks you tell us immediately."

"Can I start now?" Damian asks, barely managing to hold himself back from running towards the closest, one-handed blade.

His father, surprisingly, nods. "I'm going out, and Alfred will be down to help me with the computer. He will be in charge."

Damian can't stop himself from smiling. Finally there's something to do in this house. Feeling hopeful, he decides to ask one more question.

"Can I go with you? One day?"

Silence is his answer for a few heartbeats, making Damian suddenly fearful that he shouldn't have asked that. Then, his father sighs.

"We will see."

-o-o-o-o-

A few more days pass before they do see. He suspects Alfred must have had another conversation with his father, because he approaches him one night and offers to spar.

It's done in full concentration, not a single word exchanged between the two. Both are too busy studying the other's fighting patterns to say anything.

It's now that Damian realizes what his mother meant whenever she spoke about his father's advanced martial arts. It's brutal and expertly executed. It's only a matter of time before he's pinned. He's disappointed in himself, but not surprised to end up losing.

But not all is lost. He can tell his father is impressed when he releases his pin and tosses Damian a rag to wipe off his sweat.

"We need to talk to Alfred about getting you a suit."

-o-o-o-o-

The suit Alfred makes him is made of the strongest, thinnest material Damian had ever seen. It cannot only be Kevlar, because it would be heavier than this. It must have been created by his father himself, or one of his associates.

Whatever the case, he's in awe by it. Alfred is a master of every craft, it seems. He's managed to create the suit to Damian's submitted designs to the T, only making subtle changes here and there where sketches don't match up with reality.

It's mostly black, because according to his father white isn't a good color to go with in Gotham. It's understandable, as much as Damian dislikes it. He's always liked wearing whites and tans for his outfits, accenting here and there with greens and blues to bring out his eyes. Black is such a boring and dull color, but this, he supposes, he will have to deal with.

And it's not all black, at the least. Just the bits around his shoulders, cape, hood, sides, and legs. On his chest, however, is a splash of dark maroon, as well his boots and gloves. His belt is yellow, like his father's, and filled only with smoke pellets, a grappling gun, and a hanging pair of sticks that triple as escrima, a bo-staff, and nun-chucks. Not his preferred weapon, but his father doesn't seem to be very trustful with him and sharp ones yet.

He goes out into the city, out of the manor, for the first time in what feels like forever. His father keeps a sharp eye on him, reminding him every two seconds to not kill anyone, but Damian doesn't mind too much.

He's just happy to be out, and to finally get glimpses of what his father is truly like outside of the stories of his mother and the silent dinners.

He's ruthless, but not heartless. Strong, but not abusive. He prioritizes justice, above all else, and teaches Damian that even the criminals deserve it. The victims get saved, and his father leaves the criminals to be picked up by the cops to be brought to rehabilitation or wherever else they must go.

Damian's careful to remember these teachings, even though he doesn't understand them. He's been raised to think the only thing bad people deserved was punishment, but after taking down a bank robbery, his father researches the names of the robbers and finds that the bank keeper was blackmailing them to give him money on top of the loans they already had with the bank.

The bank keeper was trying to pay off the gangs to protect the bank from other gangs.

So on and so forth.

Gotham seems to be a big cycle of abuse, with no one willing to end it.

Well, no one besides his father.

It doesn't make sense to Damian why his father would try so hard to stop it, but he can at least respect it.

For now.

-o-o-o-o-

Everything goes almost fine until it doesn't.

For the first time in almost half a year, Damian finds himself separated from his father and Alfred. There's a new big bad in Gotham, a man with half of his face burned off by acid. Two-Face, he calls himself. Harvey Dent, his father informed before he left Damian behind to fight him alone.

"This is personal," he said.

And Damian didn't listen. He wanted to see what a real fight was like in Gotham. These petty bank robberies and classic muggings were getting boring and repetitive. He didn't mean to get so close.

His father was in a standoff with Two-Face, and on a stroke of bad luck one of the goons spotted him watching.

"It's Red Bird!" Shouted the goon. Red Bird is the name Gotham had started to call him by in the papers.

A group of the goons charged after him, the rest kept by Two-Face and his father, sneering as they separated his father from helping with their guns and a baby hostage.

And maybe it was seeing the child in Two-Face's arms that made him see red. Maybe it was the disappointment in himself for being spotted. Maybe it was simply all the pent up frustration that's been building without his knowledge since he's gotten here.

Whatever the case, he fought back a little harder than he meant to. What he was supposed to. He brought most of the goons down to the ground, clutching broken bones and bloodied gashes. His old training kicks in, and he goes to hit one of his opponents in a specific place that would kill them.

"RED BIRD!" His father shouts angrily over the commotion.

And Damian stumbles, stopping in his kill-path. His father sounds disappointed and upset and- and Damian almost disobeyed his orders and his father saw it immediately.

Then, before he can be fearful or horrified or confused, his own skull is hit hard enough that the world fades to black.

He wakes up with his arms tied behind his back and his entire person disarmed. His father stands at a makeshift pair of gallows, another man besides him. Both are hooded.

Two-Face flips his coin and asks Damian heads or tails. He says tails, and saves his father, but the other man hangs.

Then, Two-Face beats Damian with a bat, to the point he can't see straight, and the pain drags him back into unconsciousness. The last thought he has is that he's failed. He's disappointed his father, and he must have disappointed his mother as well if she hasn't come back for him yet.

He's failed.

-o-o-o-o-

He wakes in the batcave's med-bay, his entire body numb. He can only lay there with a tube running up his nose and needles in his arm, listening to the machine besides him voice his heartbeat. Vacantly, he can hear arguing voices outside his door, one of a woman he doesn't recognize and the other of his father.

He closes his eyes when the arguing gets too loud, but opens them sometime later when it stops and someone enters the room.

His father stands in the doorway, his face looking more raw and vulnerable than Damian's ever seen it.

"I thought I lost you," is all he says before he runs to the cot and grabs Damian's hand. The one not in a sling, he realizes. He's so numb he didn't even notice he had so many bandages and casts on him.

Not that he focuses on that for long. In fact, all he can focus on is that his father is clutching his hand like a lifeline and whispering over and over how sorry he is.

"I should have been better," his father rambles. "You're not like Jon, you don't have powers. I'm so stupid for letting you out there- I almost got you killed- your mother is going to murder me-"

Damian doesn't even know what to say. He's so flabbergasted by the actions of his father, that he just lays there as his father continues.

"I knew I wasn't cut out for this. I'm not even in my thirties, and I'm a dad. I tried my best to keep you safe, make sure you didn't get yourself into danger- and I fucked it all up. I don't know what I'm doing, Dami. I don't know- I'm sorry-"

And this continues for a little while longer until the door opens again, revealing Alfred and the woman who must have been yelling at his father before. She has gray hair, curled up like a loose afro around her head, revealing her old age. Behind her glasses, her eyes are sad. Together, Alfred and the woman approach the bed, and the woman lays her hand on his father's shoulder.

"We need to check his bandages," she says.

His father nods, wiping quickly under his eyes before he stands up. She gives Alfred a look before she leads Bruce out.

It's only Alfred and Damian for a moment, and Damian releases a breath.

"He's not going to let me out again."

Silence.

Then Alfred comes to his side and looks at the bandages. "I will talk with him. First, let's get you healed up and properly introduce you to Miss Thompkins."

-o-o-o-o-

Red Bird does go out again, once he's healed up. Alfred's talks with his father do wonders, it seems, as life at the manor has gone back to lonely and miserable—what with his father avoiding him at every chance. But he goes out again, swinging into the night with his father silently beside him having just finished retelling him every rule he must follow.

Damian intends to follow them. He doesn't want to lose this. He's come so close to losing this.

He hopes... That maybe... If he follows the rules... Things will start getting better again.

They fight crime like normal, going their normal routes and working silently by each other. By the time it's time to go home, Damian's feeling more alive than he has since Two-Face beat him with the bat.

Before they can return to the manor, however, a familiar signal is lit in the sky by the police department. His father stills and Damian watches him carefully. His father has been careful to keep him out of the business that comes with that signal, even before Two-Face.

His father sighs, then gives Damian a hard look through his cowl.

"Behave," is all he says before they're on their way to the police station.

There's a man on the roof. Commissioner Jim Gordon. He gives his father a greeting, then pauses when Damian steps out besides him.

"Decided to finally introduce us?" He asks with a raised eyebrow. "Just when I thought Red Bird was off the streets for good."

Damian bristles, but his father sighs. "What do you need, Commissioner?"

"Apparently a college teacher went insane and poisoned his students with a gas that made them see their deepest fears. Professor Jonathan Crane. It sounds like something you'd handle quicker, and I can get you the files we have on him after you explain to me why you're still letting a child run around in tights. Especially after you told me he was quote un-quote, 'alive but out of commission'."

"I don't see why it's your business," Damian hisses before he can stop himself.

"Red Bird," Batman scolds, and Damian falls quiet.

His father looks at the Commissioner with a hard look. "He's my responsibility, and I will look after him."

"There were rumors he died, Batman," Gordon argues back. "Two-Face bragged about it all the way to Arkham. He had blood on his face."

His father stiffens his jaw, then says through gritted teeth. "I will never allow something like that to happen ever again. If you want my word, I will give it in saying if anyone like Two-Face tries to hurt him like that again, I will make sure they regret the thought before it can happen. Red Bird will continue to be with me where I can watch him, and you will respect that. Trust me, it's safer for all of us this way."

He looks down at Damian, then almost smiles.

"He will sneak out himself anyways, eventually. Or I won't hear the end of it from a mutual acquaintance."

Damian finds himself smiling back. It seems getting on the good side of Alfred was a good decision on his part. And he's right in the former statement as well. Damian is sure he'd eventually get bored enough of being left behind and go out to prove himself without permission. Red Bird... It's too good to give up. He can't lose it.

It's like a staring contest between Gordon and his father for what feels like an entire minute, but eventually Gordon gives up with a sigh.

"Don't know how you do it. The wife's starting to talk about having a kid... I can't imagine a little one of mine running around doing the things I do, let alone what you do."

He brings a cigarette to his mouth, then pulls out a file with his free hand. "Take the case."

Batman steps up to do as was told, but before Gordon let's go, he gives his father a hard look.

"You better keep your word," he growls, "because if anything happens again to that kid, I'm holding you responsible and I'll bring you in for child endangerment myself."

Batman nods. "I'm counting on it."

-o-o-o-o-

Eventually, the topic of school comes up again.

Which of course brings up the topic that no one actually knows about Bruce Wayne's son. Damian's been kept a secret this entire time, unknown to the public.

"We'll tell them that your mother and I met at the end of highschool, and we have kept you a secret ever since. Due to your mother's weakening health, we decided it would be best for your future to have your custody turned over to me and the mother wishes to remain private. Then, we can-"

"Wait," Damian interrupts. "You're going to let me go to school?"

His father pauses in his verbal plans, then nods.

And suddenly, Damians jumping from his chair with joy, wrapping his arms around his father's neck without thinking about it. However, the second he realizes his action, he attempts to scramble away with horror. He's never hugged his father before. But things have been so good, civil even, to the point where they can be in the same room and have conversations about the weather or the recent sports game or even about a new cartoon Damian found on TV.

But they never hugged.

Afraid he's pressed boundaries, he pushes away, but he doesn't go far before a hand wraps around his shoulder. Damians left halfway on his father's lap where he sits, looking at him with anxiety churning in his stomach and an unreadable expression on his father's face.

Then, gently, Damian's pulled back in so now arms are wrapping around his back. His father's hugs are soft and warm, Damians learns. The opposite of how he fights. Yet he feels so safe and protected that he doesn't resist the action.

"This is really happening," his father says in a whisper. "I have a son. I'm really a dad now. I... I promise I will be better for you. From now on. I'm sorry for how I treated you... In the beginning. I was scared. It's no excuse, but I promise you, I will be better."

And he is. They get ice cream after and then watch a movie before going out as Batman and Red Bird.

Time passes so Damian starts school and makes friends. He meets Clark Kent and his son, Jon, and makes a best friend. He grows older, and happier, to the point he no longer misses the League of Assassins. To the point when his mother does finally return to see him, saying the danger has passed...

Damian tells her he wishes to stay with his father. She smiles, and hugs him, and says that she's proud of him. She promises to visit him as often as she can after they share a good cry.

She leaves, and visits, and time moves on a little more.

Until one day, years later, they notice a kid with a camera following them around and taking pictures. Then, the same kid admits to knowing about their civilian identities when confronted.

His father searches the kid up when they get back to the manor, and after some digging it's revealed his name is Tim Drake and his parents are neglectful and strict.

Damian sees the same look in his father's eyes as when he first told the public he had a son named Damian Wayne, and he gets the feeling the manor is about to get a little more crowded.

This, he thinks, is about to get interesting. It's been awhile since life threw a curve ball. He just didn't expect this one to come in the form of a little brother.

And life goes on.

[immaturityofthomasastruc]

#6: “How can you think a character named Ghetto Blaster could possibly be racist?”

This was originally going to be answering an ask, but I realized that the subject was a lot more complicated that I didn't want to just limit it to a short answer, so I decided to make this a whole post. Now that I think about it, I really should work on a masterpost someday...

In my post about Kung Food, I pointed out how unintentionally offensive the titular Akuma's design looked with several Japanese influences in this supposedly Chinese Akuma, which Astruc quickly brushed off by explaining away the aspects of the design nobody was actually upset about.

As usual, he missed the point completely and tried to seem like he's the bigger person in this situation. The sad thing is that this isn't the only example of innocent bigotry in Miraculous Ladybug. There are a lot of moments involving certain characters that are... questionable at best. Kagami, a Japanese girl, has a mother who is incredibly strict and uses a bokken (a wooden sword used for practicing swordsmanship) as a cane. Marinette's Chinese mother, Sabine, is always seen wearing a cheongsam (a Chinese dress) and never any other kind of clothing. Aeon, a character introduced in the New York City special, is an android resembling a black girl created by a white scientist programmed to “help people”. And Jess, a character introduced in the same special, is a Native American girl who later becomes a superhero using the Eagle Miraculous, the “Miraculous of Freedom”. Anyone who paid attention in history class will quickly see the problem with that last example.

But the moment that many consider to be the most racist comes from an issue of the Miraculous Ladybug comic (specifically Issue #3) that was quickly abandoned like every other side project at ZAG because everyone there has the attention span of Professor Calamitous.

This issue was actually a follow-up to the previous one, so I'll have to explain the context for the second issue. There, Marinette and her friends were at the beach to watch Adrien as he had a photoshoot on a yacht that day, but while Marinette was changing into her swimsuit, Chloe stole her clothes and phone to keep her from seeing Adrien. But when an Akuma attacks, Marinette is forced to transform and fight the Akuma. After defeating said Akuma, Ladybug and Cat Noir are taken to New York City by an American superhero who needs their help to defeat a giant kraken made out of trash (seriously). Since Ladybug and Cat Noir already used their respective superpowers during their battle with the Akuma, they're about to detransform, so the American heroes give them space to recharge their Kwamis, the magical entities that inhabit their Miraculous that allow them to transform. 

Unfortunately for Marinette, and by extension the readers, she transforms back to her civilian self before falling into a dumpster with no clothes on.

Yes. Someone was paid to draw this. This isn't some strange fanart, this is from the officially licensed Miraculous Ladybug comic. I could talk about whose idea it was to draw an underage girl running around New York City completely naked, but even the setup for this gag doesn't work. In the previous issue, Marinette was shown wearing some clothes when her bag was stolen, just not something you'd wear out in public.

But wait, it gets better! The first person she encounters while trying to find food for her Kwami is this man.

And even better, she immediately assumes they're looting a nearby building (and other things judging from her face when this guy touches her shoulder) while the kraken attacks the city, and literally asks them to not kill her.

In reality, they're actually helping the hospital evacuate their patients because of how understaffed they are. Their names are, I kid you not, Public Enemy, Metal Face D, Ghetto Blaster, Shaolin Soul, Breaker, and Killabee.

Ignoring the fact that all of these names sound like they belong to characters from Black Dynamite, it's easy to understand the message the comic is trying to convey, that you shouldn't judge a book by its cover. The problem is the way it's portrayed.

Let's just say that because of... current events I won't go into detail about, the fact that the first thing Marinette assumes when she sees this group that mostly consists of black people dressed in gangster clothes is that they're looting a hospital is a very uncomfortable subject to talk about. As much as I hated the New York special, it's nowhere near as bad as this.

Like with “Kung Food”, I highly doubt that Astruc or anyone else who worked on this comic intended any harm to come from the way these characters came across (or any of the other aforementioned characterizations I mentioned at the beginning of this post). The problem is how Astruc addressed these accusations.

Way to show your professionalism by calling someone who criticized you an “SJW”, Astruc. That's real mature. You could have said something like “I understand how this might be problematic, but once you read the whole comic, you'll understand the context behind this scene.” Instead, he came up with a response that made him come across as incredibly arrogant in the process. 

Is anyone surprised that this part of the comic wasn't adapted into the New York City special?

[popanalysis99]

Toxic Men in TV Series who are the absolute worst.

(TW: R*pe and Sexual Assault)

While there are some men who seem to be interesting, let’s not deny the fact that there are most male characters who act like their “toxicity” is cool but honestly, it’s horrible and something not to root for. So here are the toxic male characters who are the absolute worst, excuse my misandry:

Kevin McRoberts - Kevin Can F**k Himself

We had to start somewhere from the bottom of the underworld. A recent entry on this list, Kevin is the lead character Allison’s husband who...let’s just say has the brain of a dumb frat bro who is extremely high on pot and hasn’t recovered since then. While most of the sitcoms in the past would portray these so-called goofy and dim-witted husbands as “big fun” and lovable, Kevin is not like that, at all. In this anti-sitcom nightmare, Kevin literally believes that the whole world revolves around him. He plans such stupid unrealistic schemes to seize the day, recklessly spends the savings on stupid irrelevant sports merchandises and doesn’t even let Allison have her own agency outside of his life. Plus he is so petty and spiteful to the point he destroys one good thing that any of the women in the series have, like Allison’s dream job and Patty’s love life. And that latter was because she didn’t bring him a burger! All of this makes him look less funny and more tyrannical. No wonder poor Allison got spurred into wanting to kill him.

Ross Geller - Friends

Ross may seemed like a “nice guy”, but let’s just agree it was a facade. Ross believes that he knows what’s best for the women he dates in the series and thinks he is superior and is always right about everything. He is seems extremely disturbed over the fact that his ex-wife, Carol is a lesbian and is jilted towards her current wife, Susan and snarks at the latter for it. And then there is her extreme control and jealousy towards Rachel, especially in her career. While Rachel is no saint either, Ross jumps to the conclusion that the man who got her a perfect job wants to sleep with her, then goes out of his way to humiliate and mark his territory on her and even if it’s revealed that the said guy has a girlfriend of his own, Ross still doesn’t abandon his theory, unless he believes that the guy is cheating on his girlfriend with Rachel. And then there is the fact that he joined his student girlfriend on a spring break just to have her all to himself, not caring about the fact that what if one of his students or colleagues would’ve seen him on TV with her and that could’ve put him in a huge scrutiny.

Joe Goldberg - You

The show is basically built around how toxic Joe is, but this didn’t stop him from having his own fanbase apparently, with most of them glossing over his actions. But Joe is not a dream boyfriend at all. Once he sees a woman in front of him, he immediately gets obsessed with her and believes she belongs to him and him only. And to achieve that, he stalks her, he checks everything about her, kills people he believes are harmful to her when he himself is the same and when the woman finds out about him and rejects him, he kidnaps and kills her and the cycle begins again.

Chuck Bass - Gossip Girl

What is it with the teen drama industry’s obsession with the “Bad Boy who can be redeemed with love” trope? Chuck Bass is “the bad boy” of Gossip Girl. If his attempted rape of Serena and Jenny didn’t give fans an indication that how deranged he is, his violent and emotional abuse of his girlfriend Blair cements him as this. He slut-shamed women around him, hit Blair once and even traded her for a hotel ownership and somehow he gets a happy ending with her at the end! What?

Nate Jacobs - Euphoria

Nate is a star quarterback of his high school football team and seems like he has it all, but underneath, he is fucking deranged. His untamed manly rage causes him to physically and emotionally abuse his girlfriend Maddy and blackmail Jules, who didn’t do anything wrong but just sleep with his father, which makes me think that Nate is blackmailing her into lying to the cops about his assault on Maddy when she wasn’t even there when it happened just because it’s fun for him. Honestly, I’d like to see the imagine Rue and Jules had of killing him become a reality someday.

Dawson Leery - Dawson’s Creek

Just because the show is named after him since he is the protagonist, doesn’t justify his actions. Dawson sees himself as some sort of a Nice Guy hero who believes he is entitled to everything. He has this extreme view on women and how they should fulfil his fantasies of his Rom-Com world. He is extremely critical of Jen when he finds out about her promiscuous past and tells her that she should be ashamed of herself for it, and gets jealous when his two best friends Joey and Pacey begin dating. And when he was briefly in the movie business, he was a rookie but was already a primadonna with the director and crew of the movie was working on and insulted a film critic for criticising his movie which was actually bad.

Kilgrave - Jessica Jones

Kilgrave is the main villain of the Marvel-Netflix series Jessica Jones. He becomes obsessed with the titular heroine when she breaks off from his mind-control. Before that, he spent years treating her as his sex slave and raping her constantly, which left her traumatised. He begins to stalker and believe it will be a “lover’s reunion” when he will see her again someday. He manipulates and brainwashes everyone around him to his whim and treats most women as objects but despite all that, sees himself as the good guy of the situation. Even after Jessica finally gives him his just desserts, he still haunts her everyday.

Fernando Vera - Mr. Robot

This spawn of satan is the reason why I decided to write this list in the first place. Where do I even start? He is first introduced into the series when he forces Shayla to go on a date with her and later rape her. This is what causes the misandrist vigilante Elliot to sell him out to the FBI and this apparently turns on Vera and moves his unhealthy obsession to Elliot. He has Shayla killed when he tricks Elliot into breaking him out of prison, then returns to have him all to himself by kidnapping his therapist Krista and forcing information out of her about Elliot so that he could “break him and build him back up”, like a fucked up version of The Taming Of The Shrew. He psychologically abuses Elliot into remembering being sexually abused by his father as a child and proceeds to gaslight him into thinking that he was just helping him. The huge problem with Vera is that he sees himself as some sort of Christian Grey who believes that his abuse towards both Shayla and Elliot is charming. Whenever someone failed his desires, he immediately gets bored of them and moves onto someone else, like when he got Shayla killed and moved onto Elliot. That’s why it felt so cathartic when Krista killed him.

Tate Langdon - American Horror Story

Apparently, he is Tate Langdon and he is...hot?? While most of the AHS fans glorified him due to his emo bad boy nature, let’s not forget the fact that he was a school shooter who murdered innocent students and staff and was in general possessive and toxic towards Violet. So no way he is boyfriend material!

Don Draper - Mad Men

Don Draper was the main protagonist of Mad Men. He was an advertisement and marketing executive who had a lot of vices and did a lot of horrible things such as cheat on his wife and treat almost every women and colleagues like crap.

Dexter Morgan - Dexter

While Dexter might seem like the serial-killer killer, there are a lot of things about him which are unadmirable. He gaslights those he is close to so that they could get off his back, obstructs evidence pointing out to him, captures those who didn’t even fit his victims like Doakes and caused the deaths of LaGuerta, Rita and finally his sister Debra. Yeah I think you should stay away from him.

Walter White - Breaking Bad

Aaah..the worst of the worst. Walter White is the protagonist of the series Breaking Bad. He first starts off as a pushover high school teacher who isn’t respected by anyone. When he gets diagnosed with Lung Cancer, he gets into the meth business so that he could support his family, but we all know that it’s not true. He relishes on the power and glory from being a drug dealer and then kingpin and because of that he ends up abusing both Jesse and Skyler, emotionally abusing and selling out the former to the sadistic Nazis and raping the latter several times. He is so petty and spiteful that he kills anyone insulting his ego, just ask Mike. And even after all this, he still claims that it’s all for his family. Like what?

[thealexchen]

i’ve actually read both of the articles that you mentioned earlier! I could see where both of them were coming from at varying points, though shannon liao’s struck me as a tad harsh, as someone who felt very seen by Alex, particularly with regard to her asian-american identity, and the cultural details and familial attitudes you see displayed throughout the game (especially in episode 5.) I could see why others would like them to be more overt, but they’re still present & relevant as is, imo.

I'm happy you read and enjoyed them! Well, since we’re on the subject, I might as well give my fuller thoughts about all this. This answer got horrendously long, so I'm putting it under a read more. I really wanted to talk about this more fully, so thank you for sending this ask!

I definitely see Robert's point in his article. Alex didn’t need to be Asian for the story of True Colors to be told, but it’s still meaningful that she is so that Asian fans and fans of color can look up to her and feel represented. The Chens buck a lot of stereotypes too: Mrs. Chen was not a “tiger mom” and her kids and husband remember her fondly. Mr. Chen doesn’t push Alex and Gabe to excel in school, and in fact neither Alex nor Gabe went to college, but they still had happy futures. Alex isn’t the best friend or the Asian schoolgirl or the dragon lady or the Asian nerd. But at the same time, when Robert says "Alex never really talks about her thoughts on Chinese culture,” that’s like— well, what’s wrong with talking about it? Why not talk about it more explicitly? The words “Asian” and “Chinese” and “Vietnamese” aren’t even used in the game when "gay" and "lesbian" were, and that's a little disappointing.

I figured people would figure out Alex was at least Chinese because of her last name, but I saw some streamers unsure of what Alex’s ethnicity even was (“Alex is… Chinese, right?”). That was disappointing because Asians tend to be treated as a monolith when we’re so internally diverse. Also, it’s completely possible to miss that Alex and Gabe are also half-Vietnamese. Their mother’s name is Giang “Wendy” Chen, a Vietnamese name, but that’s only in the credits. There’s far less Vietnamese (and Southeast Asian) rep than Chinese, so I wish that had been made more explicit.

In Life is Strange 2, Sean and Daniel’s struggles (personal and institutional) were centered around their identity as half-Mexican boys. True Colors almost seemed to be going in the opposite direction in that Alex’s Asian heritage never really becomes plot-relevant, but Alex and Gabe’s background comes into focus in the last chapter.

Part of Shannon’s critique was that because Alex’s parents aren’t in the picture, the game can’t explore Asian culture through a familial lens. There is some truth to that: for children of immigrants in particular, their parents are their strongest (and sometimes only) link to their race and culture. I thought a big missed opportunity was exploring Alex’s possible sense of isolation and struggle to reconnect with her Asian heritage after being separated from her family.

After growing up with two Asian parents, eating Asian food, celebrating Asian holidays, likely speaking Asian languages, etc. it would have likely been disorienting and lonely for Alex to suddenly be raised by non-Asian foster parents and lose all those traditions all at once. Possible comments like “I really miss Mom’s pho” or “Do you know how difficult it is to find hoisin sauce in the stores around here?” could have inferred more at that specific kind of loss and isolation in Haven Springs. The game touches upon this very briefly when you look at Gabe’s shrine, and Alex does comment “I don’t even know if I’m doing this right… but I felt like I had to do something.” In this way, I find it especially poignant that she still held onto cultural traditions after so long.

But I still thought Shannon’s critique was overly harsh. The little details really do add up, like in Alex’s childhood home, and meant a lot to me too. And most importantly, there was representation behind the scenes too: Alex was voiced by two(!) Asian American women and the lead writer, Felice Kuan, is Chinese. I think Alex naming her mouse Shu-shu was my favorite detail. Because it’s the one detail you can’t miss. Every streamer remembers Shu-Shu’s name and loves how cute she is and they can probably infer it’s a Chinese term. It just is so visible and empowering in that way and my heart felt warm every time I heard someone say “Aw! Shu-shu!"

But that doesn't mean Alex's Asian heritage didn't matter at all. I really appreciated that Alex's backstory still mattered because she came from a poor, working-class immigrant family. Her life circumstances were used for drama, but none of Alex's suffering was racially motivated and that felt tastefully done. I’m gonna paraphrase a comment I saw on alliebeemac’s playthrough of episode 5: "It's no coincidence that both Alex and Ryan lost their mothers at a young age, but because Ryan's father was a military veteran and had a high-paying job as a Typhon foreman, he got to keep his childhood whereas Alex's entire world was torn apart... And if you want to look at it even more metaphorically, the white patriarch Jed was able to preserve his own image as a hero and 'good old boy' of Haven by literally sacrificing an immigrant family to the mines with the expectation that nobody would come looking for them. Whether you're an immigrant or whether you're a foster child, the system is saying 'we don't care about you.'"

And at the end, Alex tells Jed, "You want to look away and pretend the men you hurt weren't people. But I won't let you.” It's a deliberate stand against Jed (a white man)’s dehumanization of poor laborers, including her Chinese immigrant father. Jed isn't explicitly portrayed as a racist, but his actions come from a privileged, and subsequently racist and classist place. For me, it worked better than LiS2's portrayal of racism because it was subtler and more personal. Alex stands up against Jed out of a personal sense of justice for her brother (and her father).

Do I wish we had more? Yeah, absolutely. I wish Alex got to actually speak Mandarin or Vietnamese in the game because that's so rare in games, even though I knew that would be unrealistic because Erika Mori is Japanese. I wish the character artists had at least made a version of Alex and Gabe’s models without shoes, because it just didn’t look right to see them wear shoes in the house (especially in bed??) and even LiS2 had Sean and Daniel in their socks in some scenes. I wish Alex and Gabe talked more about their family while Gabe was still alive and Alex could have had that comfort of someone who misses the food and customs they used to celebrate. But like I said, one piece of media isn’t gonna please everyone. And Asian representation in particular is so tricky because not only is there not enough of it, but Asian Americans are so diverse and come from so many different backgrounds. Children of immigrants are going to feel more connected to their Asian heritage than third or fourth gen kids or mixed race kids for example. Everyone is going to have a different definition of “Asian culture” and “accurate representation.”

But on a meta-level, it really means so much to simply have an Asian face on the box of a major Western game ❤️ Like even just seeing the way Alex's eyes crinkle when she smiles or how other characters find her attractive (like Steph’s note during the LARP preferring Alex’s natural black hair), it feels so affirming. It’s incredible to see an Asian girl be called the hero of her own story, to see her succeed and fail and cry and laugh and fall in love and kiss another woman and be comfortable in her bisexuality. It acknowledges that the queer community includes Asians, that Asian girls can also be curvy, that Asian girls can and do struggle with mental health. And like Erika Mori said, Alex is a fully-realized character and that’s what makes her so compelling, first and foremost. She also has a strong moral compass and dreams and fears and is such an incredible role model for people of all backgrounds, and that’s what makes her identity as a queer woman of color so much more meaningful.

[berrynarrybanana]

Holiday Wishes, Mistletoe Kisses

A/N: This was meant to be a blurb, but I got carried away. I honestly don’t know how I feel about it, but I wanted to post some Christmassy stuff in between now and Deck the Halls, so here’s a little something. It’s basically over a thousand words of Harry pining for some girl he just met. That seems to be my favorite trope, yeah? Anyways, I hope you enjoy and I hope that you all remember that Christmas isn’t about what you have or what you’re able to give, it’s about spending time with the people you love the most. I’m always here for you all if you need me and I love you loads. Thank you! 

Word Count: 5.1K+

Warnings: A little smut, pining, flash forward, ofc

Prompt: “You’re wearing the Santa hat, whether you like it or not” | Taken from this post here! 

It wasn’t that Harry hated Christmas. 

He loved spending time with his family, drinking mulled wine and talking shit with his Mum and Sister on the couch until the morning light. He loved the Christmas cookies that everyone seemed to bake just for him. Every single one of his friends would wrap them up in cute, candy cane striped cellophane bags with a little bow as if they were worried he’d been deprived of sweets. He loved the warmth that enveloped him when he stepped into any building, dodging the cold winter winds and brutal snowflakes that hit his skin. He loved most things about the season, but he truthfully hated the actual holiday itself.

He hated the music, each song covered by about twenty different artists, (yet, they always sounded the same, somehow), playing on a loop on every single Christmas station. He hated how rude people were in the shops and on the road, as if their time was more important than anyone else's. He hated the stigma around giving expensive gifts, stressing over the perfect thing to get each of his friends. If he could, he’d give them all something homemade, but he was shit at doing anything crafty. 

His boots crunched against the snow as he walked towards his mother’s front door. 

He let himself in, kicking his shoes off before he removed his scarf and his winter coat. He could hear laughter from the kitchen, Gemma and his Mum giggling far too loud. They must have cracked into the mulled cider a little early, and truthfully, he was jealous. He’d spent the last four hours stuck in traffic listening to white Christmas over and over and over again. He shut the front door as Evie wrapped herself around his legs, her soft purring catching his attention as he glanced down at the black and white kitten. 

“Hiya, darling girl.” He crouched down, scooping her into his arms before he delivered a series of kisses over her head. “Daddy’s missed you, eh. Have you been good for your nan?”

She meowed in response, causing Harry to coo at her before he scratched under her chin. 

“That’s my girl.” He pressed another kiss to the top of her head before setting her back to the ground. 

He knew they would indulge in several cuddle sessions over the next few days, so he wasn’t worried about missing his one and only pet this holiday season. He walked through the house, finding his way into the kitchen where Gemma was tipping back a glass of dark red liquid, and his Mum was rolling out cookie dough with a bright smile on her face. What Harry wasn’t expecting, was the curly haired girl with a cookie cutter in her hand next to his Mum.

“Hello!” He called out, offering a smile as he walked over to the kitchen island. “I see we’ve started having fun already.”

“It took you forever to get here!” Gemma said defensively, picking up a chocolate kiss before tossing it at Harry. “Do you want a drink?”

“Something hot, it’s like the bloody tundra outside.” He shivered at the thought of the harsh wind, his eyes trailing back towards the new girl. 

“Stella makes the best peppermint hot chocolate you’ve ever had in your life.” Gemma groaned out, her eyes rolling back in her head. “She puts peppermint vodka in there.”

“I can make you one if you’d like?” Stella’s voice was soft and painfully american. “We’ve got a slow cooker full of hot chocolate.”

“If you don’t mind.” Harry gave her a smile as he pulled out a stool, sitting next to Gemma. “Nice to meet you, Stella. I’m Harry, by the way.”

“She knows who you are.” Gemma reached over, pinching Harry’s side. “Stella is a new transfer at work. She’s new to England, and we thought we’d show her a proper English Christmas.”

“Stella, love, you should probably find another family to spend Christmas with if you want a proper English Christmas.” Harry snorted. “Ours is half arsed at best.”

“We have a lovely Christmas, thank you.” Anne piped up, flicking flour in Harry’s direction as Stella laughed softly. “Don’t scare the poor thing off, we’ve just made her feel at home.” 

Stella turned her back, walking towards the stove.

“I suppose we do have a good time.” Harry hummed out. “I can’t wait to watch How the Grinch Stole Christmas for the millionth time.” 

“They’ve got an animated one now!” Gemma exclaimed. “We’re going to do a double feature.”

“Lovely.” Harry rolled his eyes. 

Moments later, a steaming mug of hot chocolate laced was placed in front of Harry. 

He looked down at the grinch mug before looking back up at Stella. 

“Thanks.” He offered her a smile, but she merely nodded back at him before taking her place next to Anne again. 

He watched her, sipping at his drink as Gemma and Anne chatted about some Hallmark movie that was meant to premiere at some point during the week. She wasn’t normally the type of girl that he dated, but he had to admit that she was beautiful. Her cheeks were round, a soft blush smeared over them that he assumed came from a makeup product. Her lashes were thick, and long, shadowing her hazel colored eyes. She had thick brows that seemed a little unruly, and plump lips stained with a plum colored lipstick that matched her smoky, purple eyeshadow. He wasn’t a huge fan of the plum color, but he had to admit that it brought out a lot of the warmer tones in her eyes and in her beautiful, brown skin. He also thought that it complimented the lighter strands in her curly brown hair that bounced about everytime she turned her head. 

He tried not to be too obvious with his curious gaze, but he couldn’t help it. He was almost mesmerized by her beauty, but he was more so confused by his attraction to her. She was far too quiet for his taste, her eyes cast down on the cookies she’d been cutting out for the last few minutes while everyone else chatted. 

He watched her place them on the tray carefully, obsessing over how they landed before she reached for the colored icing. He watched her pipe onto the little shapes, her tongue nestling in the corner of her mouth as her unsteady hands worked diligently on the cookies. 

This was a Styles family Christmas, and the Styles were a rowdy and messy bunch. He’d never seen his Mum or Gemma put that much work into sugar cookies before, and it was almost painful to watch her perfect each and every one before she slipped the tray in the oven. He watched her reach for the cheeky little chicken shaped oven timer that Gemma bought when his Mum fist moved into this house. In all of those years, he’d never seen anyone actually use it. 

“Did you hear me, my little turtle dove?” Anne brushed her hand over Harry’s back as he sipped at his cocoa. “They’re calling for a huge storm this weekend, are you packed for that?”

“I left some stuff here the last time I was around.” He turned his head, smiling back at her. “I think I should be fine if I get stuck with you lot.” 

“Good.” She nodded, leaning in to kiss his cheek. “I’ve missed you.” 

“Missed you too, Mumma.” He wrapped an arm around her back, pulling her into a hug. 

The warm scent of vanilla and musk greeted his senses, flooding him with comfort and nostalgic memories of cuddling with Mum on the couch. He missed having her around him. He missed having his best friend around to comfort him when he needed it the most. When he let go of her, his heart sank a little in his chest. She pressed a kiss to the top of his head before moving back to work on more cookie dough. 

“Why are you making so many cookies?” He asked, brows furrowing as he brushed his fingers over the sickly green mug with the cartoon characters face on it. “Do you plan on feeding an army?”

“No, but Stella suggested that we take some down to the local homeless shelter on Christmas Eve.” Anne smiled over at the girl. “That’s her family's Christmas tradition, and since she’s not with them this year, we thought we’d make it happen for her here.”

“Thank you again, for agreeing to this.” Stella smiled at Anne. “It really means the world to me, and I can’t thank you enough.”

“You’re a part of the family now, dear.” Anne teased. “Even if you’re not spending Christmas with us, this little tradition of yours has been officially integrated into our own Christmas tradition. We’ll always have a little bit of Stella with us during the Holiday’s now, eh.”

Stella laughed at that, reaching her arms out to wrap Anne in a hug. 

Harry almost felt a little jealous at how seamlessly she fit in here. 

“If you keep staring at her, she’s gonna want to run back to America.” Gemma nudged her elbow into his side. “We get it, she’s hotter than you.”

“Oh, shut up.” Harry rolled his eyes at Gemma as she smirked. “I wasn’t staring.”

“Okay, Casanova.” She snorted. “Whatever you say. 

**

Harry wasn’t sure why he was hard. 

He just wanted to close his eyes and go the fuck to sleep. 

After a long day of travel, and an even longer evening filled with Harry pulling down Christmas decorations from the attic, he just wanted to sleep. He wasn’t looking forward to taking the annual trip to the Christmas Tree Farm tomorrow. Since Robin passed, Harry was the only man in the family, which meant that he often had to do the heavy lifting. He found that most of his strength lay in his core, despite the amount of lifting he’d done to buff up his arms, and he wasn’t looking forward to tossing a tree on top of his car while everyone watched. 

Truthfully, that was the worry that should have been plaguing his mind as he lay in bed. Instead, his mind was lost in hazel colored waves that crashed on dark plum shores. He couldn’t stop thinking about Stella’s eyes or her perfectly shaped lips. He spent most of his night watching her drink from a wine glass, her cheeks turning a shade darker with each joke that she shared with his family. If there was one thing that he was shocked about, it was the dry humor that tumbled from her perfect plum colored lips. She was a funny girl, despite being quiet, and he laughed at every single joke she told without shame. 

As he shifted his about, trying to avoid any further thoughts about her lips, the tip of his cock brushed against the warm flannel of his pajama pants. He let out a throaty groan, reaching down to push his palm into the crotch of his pants to soothe the pressure building in his lower belly. He couldn’t jack off to the thought of Gemma’s new friend, it would be awful, and it would surely land him on the naughty list. He squeezed his eyes shut, trying his best not to picture her lipstick staining his lower belly, his upper thighs, and eventually...the shaft of his cock. But after a few minutes of trying not to think about it, that was the only thing he could see behind closed eyes. 

With an annoyed grumble, he dipped his hand into his pajama pants, tugging his cock out while his free hand pushed the band of the pants down his hips. He licked over his dry lips, making a mental note to buy some chapstick tomorrow as he gave himself one, swift stroke. He bit the inside of his cheek, trying not to moan as he brushed the pad of his thumb over the weeping slit of his cock. He was pathetic, dripping down his cock over a girl that he barely knew. He couldn’t believe that he was being that guy right now, tugging at his cock desperately to the thought of a beautiful girl on her knees for him. He wanted so badly to have her there, whispering filthy words in that gentle tone she had, encouraging him to cum on her tongue. 

When he did cum, her name spilled from his lips. 

His chest was heaving as he came down, the tinkling of Stella’s laughter filling his ears. 

Seconds later, he heard her bid goodnight to Gemma before the door next to his own shut. 

He was totally fucked for this girl. 

**

The next morning, he didn’t expect to see Stella sitting at the breakfast bar when he came downstairs. 

He stopped in the doorway, his cheeks growing warm as he looked over her sweater covered back. Thoughts of her name tumbling from his lips last night flooded back as he looked at her. She was wearing a lavender colored, cable knit sweater, and her curls were tied up in a messy ponytail on top of her head. Most of the curls had fallen out, covering up some of her neck alongside her fingers. Her cheek was propped on her palm, her gaze focused on her laptop as she lifted a mug of steaming liquid up to her mouth with her other hand. 

Harry cleared his throat, walking toward the stove so he could put the kettle on. No one else in the house would be up for hours, but Harry couldn’t turn off his internal alarm clock no matter how he tried. He also hoped that he might find a moment of peace from the very girl sitting in his Mother’s kitchen. She haunted his dreams, her face playing on the silver screen in his mind all night long. He hated how infatuated he was with this woman that he barely even knew. 

“Morning.” She spoke up first, her voice scratchy and tired. “Did you sleep well?”

“Splendid, yeah.” He nodded, filling the kettle with water. “You?” 

“I’ve slept better, but that’s to be expected.” She said softly. “I spent a little bit of time on a skype call with my brother’s, so I was up longer than expected.” 

“But you’re up fairly early this morning, aren’t you?” He put the kettle on the stovetop before turning around, his eyes landing on hers. “Why’s that?”

“I wake up this early anyways.” She smiled at him. “I usually like to go for a walk in the morning to wake myself up.”

“That’s nice.” He lifted his hand, scratching at the stubble on his jaw. “I usually like to go for a swim or a run in the morning, too.”

“Where do you swim?” She asked. 

“There’s a men’s swimming club not too far from my home in London.” He said. “It’s freezing cold, but you get used to it after a while.”

“Jeeze, you swim outside in this weather?” She lifted her head from her palm, her eyes growing wide. “I could never.” 

“It’s an acquired taste.” He chuckled softly. “What are you working on?”

“A new piece for my blog.” She said. “I started out using it as a diary of sorts, but people apparently love reading about the disaster that is my life.”

“I’m sure it’s not all horrible.” He hoped that he sounded encouraging and not rude. “You seem like a lovely, and positive person.”

“I try to be.” She shrugged, reaching for her mug. “I could say the same about you.”

“I try to be.” He smiled at her. “Would you like some breakfast?” 

“Oh, I was actually thinking of popping down to this little bakery Gemma told me about-” 

“Mandeville’s.” His heart picked up, a smile stretching across his lips. “Had my first job there.”

“Yeah, that’s the one.” She laughed, wrapping both hands around her mug as she leaned back in the barstool. “I figured I’d go grab some pastries for everyone. I know it’s kind of a busy day with the Christmas Tree Farm, so I thought it would be best if your Mum didn’t feel the need to cook.”

“She would love that.” Harry said. “Maybe I could go with you? We could both get our walks in, and I can see Mary before she hunts me down and drags me to the bakery.”

“I would love the company.” She smiled. “But enjoy your tea first, I’ll just be working on this until we’re ready to go.”

“Cheers.” He nodded, watching her eyes drop to her computer screen. 

She wasn’t wearing a stitch of makeup this morning, and Harry almost wished that she was. 

He wished that she had covered up her beautiful, freckle covered skin so that he didn’t fall harder for her beautiful face. He wished that she was hiding away those little blemishes that made him swoon, because she was actually a human after all, not some angel sent down from heaven to torture him. He wished that she covered those beautiful lips in that plum lipstick again so that he could imagine kissing it off of her. He hated the feeling stirring inside of his belly, the butterflies a tell tale sign of his feelings. 

He had a crush on Stella. 

And there was nothing he could do to stop himself from falling for her. 

**

Stella’s gloves were precious.

They were a bright red, little snowflakes and reindeer stitched into them. 

She offered to let Harry borrow a pair of her gloves, claiming that she’d brought plenty of pairs for the winter, but he politely declined before shoving his hands in his pockets. She looked so cozy, wrapped up in her winter coat with a beanie on top of her head and a matching scarf tied around her neck. Harry wanted nothing more than to pull her into his arms and cuddle her so that they could both stay nice and toasty on their walk. He wanted to kiss her bare cheeks, paying special attention to each freckle on her skin as the winter sun cast over them. 

He was so infatuated with her that it was almost embarrassing. 

“I can’t even imagine what it was like, growing up in a place like this.” Stella turned her head towards Harry, the tip of her nose a little red. “It’s so picturesque.”

“It’s alright.” He gave her a small smile. “I always wanted to get out when I was a kid.”

“Of course you did, we all do.” She chuckled. “I think everyone should run away for a little while, it really gives you all of the tools you need to really appreciate your hometown when you go back. I don’t know that I’ll ever move back to my hometown, but when I visit it, I feel a little bit more appreciative of the pivotal role it had in raising me.”

“I feel the same way about Cheshire.” Harry nodded. “It’s a big part of who I was, and that helped make me who I am. I wouldn’t be the same without this place.”

“Exactly.” She said. 

“So where exactly are you from?” He asked. “I mean, obviously America-”

“Is it that obvious?” She asked, narrowing her eyes playfully, her lips pursed. “I don’t think it is.”

“It’s a neon, flashing sign above your head kind of obvious, love.” He snorted. “But I can’t place what your accent is.”

“It’s not really an accent.” Stella shrugged, turning her attention back to the sidewalk. “I grew up on the road for most of my life, but my family settled in Georgia when I was about twelve.”

“Interesting.” He said. “How did you like Georgia?” 

“I didn’t, at first.” She laughed. “I hated it so much. I loved being on the road with my family, traveling places like Hawaii and Los Angeles. When we moved to the south, I despised everything about it. It was so plain and boring compared to places we’d lived before. But like I said, moving away has made me learn to love it more when I go back.”

“How long have you been gone?” He asked. 

“About three years.” She said. “I lived in Amsterdam for a year, and then Paris, and now I’m here.”

“Which place is your favorite?” He asked. “Be honest with me, now. You don’t have to say London just because you’re trying to get on my good side.” 

Stella tossed her head back, laughing loudly. 

“I think it’s truthfully London, Harry.” 

His name sounded like honey falling from her lips. 

“Why is that?” He asked. 

“Because I’ve found my chosen family.” She turned back, giving him a smile that thawed out the chill creeping up from his toes. “Starting with Gemma, of course. She was the first person to take me under her wings, and I’m so happy that I have her in my life. Then I started to find other people, and we all became this really close knit group of friends that felt more like family than my actual family does. I don’t know how I’ll ever leave this place.” 

“Maybe you shouldn’t.” He said softly. “Maybe this is home.”

Please don’t go, Stella. 

Stay here with me forever. 

Love me. 

“My contract is up at the end of the year, but we’ll just have to see how things go.” She said. “I might be convinced to stay.”

“Well, I guess I have a lot of work to do.” He chuckled.

“Why are you so keen on me staying?” She asked him, her brows raising as she gave him a knowing smirk. “Do you have a crush on me, Styles?”

His cheeks grew hot against the cold wind. 

“Alright now, don’t let that go to your head.” He grumbled, tucking his neck into his scarf as Stella’s smile grew wider. “It’s all your bloody fault, you know?”

“What have I done?” She laughed louder. “I’m just me.”

“That’s exactly it.” He let out a breathy chuckle. “You’re you, Stella.”

**

The Christmas Tree Farm was going well. 

That was up until Gemma decided that they absolutely needed to take a family picture in front of the big Christmas tree, Stella included. They had picked up a few little trinkets and such while walking around the market included in the farm. Anne picked up a reindeer headband with bells stitched in, plopping it on her head the second she found it. Gemma found an elf’s hat with little ears attached to the side, putting it on her hair before fussing with her hair. Stella found a crown made of poinsettias that she plopped on top of her curls, the red and gold working perfectly with her red lipstick and gold eyeshadow. Harry, however, wasn’t exactly in the spirit. 

“You’re wearing the bloody santa hat, whether you like it or not!” Gemma shoved it towards him with a frown. “If you stand next to Stella, you’ll like Mr. and Mrs. Claus!” 

“Shut up, Gemma.” Harry sneered, snatching the hat from her hands. “I didn’t tell you about that so you could throw it in my face!” 

“Well, I’m doing it for the greater good of our family photo!” She glared at him. “Put that hat on before I shove it on your head myself.”

“Fine.”

“Are you two alright?” Stella smirked, adjusting her crown on her head as she walked up to Harry and Gemma. “Santa is still putting people on the naughty list you know?” 

“If anyone’s going to be on the naughty list, it’s Harry.” Gemma tossed her arm around Stella’s shoulder with a proud smirk. “He’s being a pain in the arse.”

“Is the hat really necessary to the photo?” He groaned, dropping his head back. 

“Yes.” Stella and Gemma said at the same time. 

“Alright, alright.” He groaned, tugging the hat over his curls. “Are you both happy now?”

“Ecstatic.” Stella smiled brightly at Harry. “I think you look handsome.”

“I’m going to just point out…” Gemma pulled her arm from around Stella, tucking her hands behind her back. “That there’s mistletoe hanging from that piece of wood above your heads.” 

“Gemma-” Harry’s eyes grew wide. 

“And I’m promptly going to walk away.” She smiled at Stella. “Meet us at the tree in ten minutes.” 

“Gemma-” Stella held her hand out as Gemma walked away, her eyes growing just as wide as Harry’s were. “What a sneaky little elf.” 

“Tell me about it.” Harry shifted, adjusting the hat on his head. “Devious little-”

“Well, I guess we can’t break tradition.” Stella looked up at Harry, shuffling forward slowly with a little smirk on her lips. “I mean, what would Santa say if we didn’t kiss under the mistletoe?”

Harry licked over his bottom lip, his fingers twitching. 

“You really want to kiss me?”

“I might.” Stella’s toes were almost touching Harry’s now. “But the question is, do you want to kiss me?”

“I do, yeah.” He nodded. “I’ve been thinking about it ever since I laid eyes on you, Stella.”

“Well, what are you waiting for?” She raised her brows. “Now is your chance, Mr. Grinch, lay one on me.”

Harry lifted his hands, pressing them to Stella’s face hesitantly before he lowered his lips to hers in a soft kiss. It was a gentle peck, one that anyone would share underneath the mistletoe, but Harry wanted more from Stella. It seemed that she wanted more as well, her arms sliding around his neck as she pressed up on her toes. He let his hands fall to her waist as the kiss grew more intense, his hands holding onto her tightly as she brushed her tongue over his lower lip. He tried his best not to smile into the kiss, letting her have what she wanted by parting his lips. When her tongue slipped over his, he let out a tiny moan, gripping her hips tighter. 

“Get a room, you two!” Harry groaned, pressing his forehead to Stella’s. 

“Gemma, I swear to god-” Harry turned his head, whipping his santa hat off before he threw it in her direction. “Go bother someone else!” 

Stella laughed, ducking her forehead down to Harry’s chest as he rubbed his thumbs over her side gently. He felt her body shaking underneath his hands, his heart hammering in his chest when he realized just how close they actually were. He turned his head back, lifting a hand up to guide Stella’s chin up. He pressed his lips to hers once, twice, three more times before she pressed her palms to Harry’s chest. 

“We’ll never stop if we don’t move away from the mistletoe.” Stella whispered. “And I think Gemma might physically pull us apart if we miss that Christmas picture.”

“Let it be known that I’m only partaking in this picture because I want to stand next to you for as long as I can.” Harry smiled. “I think I have a little more than a crush on you, Stella.” 

“I think I have more than a crush on you, too.”

**

“Madeline, stop right there.” Stella let out a frustrated sigh as she looped her arm under the baby carrier, her eyes falling down to the sleeping infant. “Milo, promise Mumma that you’ll listen when you get to that age?”

“Give him here.” Harry brushed a kiss over Stella’s temple, his hand massaging her lower back gently. “You go catch up with speed racer, okay? I’ll be right behind you with the baby and the diaper bag.”

“Thank you.” Stella turned her head, puckering her lips out. “I love you.” 

“I love you.” He hummed out. “And our beautiful babies, even if one of them has a death wish and two left feet.” 

Stella snorted out a laugh, pulling her arm from the carrier before she stuffed her hands in her pockets. “I better go help her up the stairs.”

“Please, we don’t need a repeat of last year.” Harry smiled. 

“Yeah, I would like to avoid a trip to A&E this year.” Stella snorted. 

He watched Stella walk over to an antsy Madeline, her pigtails bouncing about as she jumped from foot to foot in excitement. Harry chuckled softly at his daughter, amused by her excitement. He was happy that she found so much joy in Christmas, just like her Mother did. He watched Stella hold a hand out, waiting for Madeline to take it before they both conquered the brick steps outside of his Mum’s house. When they got to the top, Stella lifted Madeline up, kissing over her cheeks as their daughter giggled. Harry lifted Milo’s car seat from the base, his eyes falling down to the six month old with hazel eyes and soft cheeks just like his Mother’s. 

“We’ve got our hands full with those two, mate.” Harry pulled the soft, wintery blue blanket up to Milo’s chin, tucking it around his shoulders so that he would stay warm. “Gonna keep us both on our toes, I know it.” 

Milo cooed up at him, causing Harry to smile wider before he ducked his head down to kiss his son's soft cheeks. 

“Let’s get you into Nan’s before you turn into a popsicle, my love.” Harry said. “Mumma won’t be happy if we have to spend Christmas thawing you out.”

As Harry made his way up the stairs, he couldn’t help but remember five Christmases ago. 

He was walking up the exact same steps on his own, unaware of the magic that was waiting inside for him. He was unaware that the girl Gemma brought home for Christmas would one day be his wife, and the mother of his two beautiful children. He had no idea that they would spend long nights together, planning their future and holding each other tight. He opened the front door to his Mum’s house, smiling at the sound of Madeline telling his Mother a story with animated gestures, her curly pigtails bouncing around as Stella tried to wrangle her jacket off. 

“And then Daddy told me we could get a puppy next year if I was good enough!” Madeline squealed out as Harry shut the door. 

He dodged the steely gaze he got from Stella after she heard the word puppy.

“Sorry.” He mouthed over at her, causing her to shake her head as she tried to fight off a smile. 

“You’re a menace.” She mouthed back. “But I love you.” 

“I love you, too.” He said it outloud, his heart soaring in his chest. 

Stella gave him a heart warming smile, Madeline’s coat still in her hands. 

Seconds later, Milo let out a tiny cry causing Harry to snap back into dad mode. 

He rested the carseat on the ground, carefully pulling his son out before pressing a kiss to his chubby little cheeks. As if Gemma could sense his presence, she barreled into the living room with her eyes set on Milo. 

“There’s my little man.” She held her hands out, wiggling them as Harry rolled his eyes. “You get to see him every day, Harry. Pass him over to his auntie.” 

“Fine.” He rolled his eyes. “Please be careful with him, I kind of like this one.”

“Piss off.” Gemma snorted out, sliding Milo onto her hip before pressing a bright red kiss mark into his forehead. “Has Daddy told you that without auntie Gem, you wouldn’t exist?” 

“Gemma-” 

“Can you believe that?” She looked up at Harry, a hint of something nostalgic and genuine sparkling in her green eyes. “If I’d never brought Stella to family Christmas, we wouldn’t have two beautiful babies to dote over every year.”

“I can’t even begin to imagine what life would be like without them.” He whispered. “Thank you, Gemma.”

“Harry, I really didn’t-”

“Gemma.” He said her name sternly, pressing his palm to her bicep. “Thank you so much, from the bottom of my heart. I love you.”

“I love you, too.” She said softly, her eyes watering. “Now, if you could do me a favor and bring a hot friend around, I’d really appreciate it.”

“I’ll see what I can manage.” He let out a wet chuckle, his own eyes watering. 

“What are we managing?” Stella wrapped her arms around Harry. 

“We owe Gem a favor.” He sniffled, turning head to press a kiss to Stella’s forehead. 

“Why are you crying, baby?” Stella frowned. “What’s wrong?”

“Nothing at all.” He pressed his lips to hers, softly brushing his nose against the tip of hers as his. “Just so incredibly grateful to have you in my life, that’s all.”

“You’re so sappy around the holiday’s.” Stella brushed her palm over his belly. “I love you, Mr. Styles.” 

“I love you, too, Mrs. Styles.” He said. “Merry Christmas, Darling.”

“Merry Christmas.” 

[lesbianrobin]

hello em i have a request. can u please rate mr harrington's looks/outfits i just feel like u have the best takes and i'd LOVE to know how you'd rank his choices 👀

this is the single greatest ask i’ve ever received. i will be ranking the outfits, not steve’s moral alignment or actions in each scene. in order of appearance:

The Introduction

4/10

hair is tragic

steve copied this entire fit from a mannequin in the ralph lauren polo outlet store

would honestly be a 0/10 except for the obvious valiant effort being put forth by his lower half to resist the sexless curse of khaki pants. the devil (st costuming department) works hard but by god steve harrington (joe keery’s body) works harder

nice brown watch that certainly came from a department store

also gains points for being next to nancy’s anemic librarian fit, thus looking better by comparison

The Rich Bitch

8/10

thank god he ditched the khakis

hair looks much less demonic

it’s a simple look but the sweatshirt rides up when he shotguns the beer

he also gets wet

solid 8 for sluttiness alone

The Whore

10/10

wet

please note that his chest is waxed. keep this in mind.

The Heterosexual

2/10

hair looks like he dipped his head in glue

bold choice with the grey pants. unfortunately that choice was wrong

matching outfits with your comphet girlfriend isn’t as cute as you think it is stevie

you only get points because despite that ungodly pastel stripe pattern the polo’s decently fitted and makes your arm look kinda nice

The Dickhead

3/10

glue head pt. 2

at least the stripes aren’t pastel this time

The Cuck

6/10

hair slightly less glue-y

yet another striped polo is peeking out unfortunately

but! it’s green and green looks good on him

finally wearing jeans like a normal fucking human instead of weird slacks

pivotal moment in steve’s fashion evolution from preppy male model to sexy morally upright king

his morals are stored in the denim

The Final Girl

9/10

an outfit with a character arc to rival steve’s own

pretty fucking good hair if i do say so myself!!

it’s fluffy!

that shit looks like if you touched it it’d be soft... no glue here!

finally not copying from the goddamn l.l. bean catalog

iconic green slut sweatshirt? check! jacket and nikes? check! fucked-up gorgeous face and baseball bat full of rusty nails? check, baby!

looks good on its own OR with some blood on top

overall a very solid look

The Darling Little Drummer Boy

7/10

babe no... please don’t go back to the khakis... they won’t treat you like jeans do...

not quite glue head but not his best

apparently steve owns a single green sweatshirt, a thousand striped polos, and one very precious christmas sweater

almost makes up for prep-related khaki crimes by being really fucking cute

The Simp

8/10

glue head is DEAD

further evidence that steve harrington’s entire closet is just striped polos

this is his fifth unique striped polo

most of these points are for the sunglasses and the hair

actually all of these points are for the sunglasses and the hair

he’s finally let go of the fucking pastels thank jesus

and you can’t see it but he did wear jeans with this fit i just forgot to make sure they were pictured and it’s 4:15 am so i don’t feel like going back to remake this collage

cannot tell if this is a lighter blue version of the jacket he wore three times in s1 or if it IS the jacket he wore three times in s1 and the color grading is just that different

either way he loves jackets and i think that’s very sexy of him

The Intellectual

9/10

i’ve been waiting for this one... turn it up!

literally invented vests

excellent hair

loses a point for unfortunately introducing steve’s SIXTH unique striped fucking polo

i can’t see the collar but i know it’s there i know you’re wearing another fucking polo steve you can’t hide from me

can’t decide if he looks gay or just really preppy but either way he’s got some repression going on

still a very solid look

The Oh No Oh God It Hurts I’m Looking Away I Can’t Watch This

10/10

yes that middle picture is absolutely to show off the texture of his blazer and not at all me making sure that if i have to see his heartbroken little face then you all do too

anyways i Know that blazer cost at least $100 like i Know that shit’s expensive

excellent gorgeous soft-looking hair that someone ought to run their hands through but only people who haven’t dated him for a year while pining after someone else

emotional devastation... but make it unbelievably fucking sexy

stevie baby i know you’re a colorful guy but please wear more black

The Meathead Jock

9/10

aw christ whatever happened to standards?

introduction of the blue nikes <3

god his hair looked fucking good here

could have gained that final point by using tube socks with blue and GREEN stripes to tie together the shoes and the gym uniform :/

shorts could be shorter but are an altogether appropriate and enjoyable length

fun sweatstain to customize the look <3

The (is there a word for victim of bullying?) Serious Athlete

8/10

the yellow stripe was more fun

still cute though

The Sudsy Boy

11/10

wet

suds indicate that he’s washing his hair, presumably with faberge organics. is this why he’s being bullied?

steve brings his faberge organics shampoo and conditioner and his farrah fawcett spray to school with him whenever he has basketball practice

steve either has shampoo, conditioner, and hairspray in his backpack at all times, or he has a separate gym bag that’s mostly haircare products

just need to make sure we all know that

excellent freckle showcase

his chest is still waxed. please, i beg, keep this in mind

one of his strongest looks

The Babysitter

10/10

his most versatile look to date

a different jacket than the one(s) he’s worn before but it still has the same kind of collar. steve found a jacket he liked and bought it in at least three colors

the whole thing fits So fucking nicely! shirt, jacket, jeans... baby boy is TAILORED

return of the white nikes with the red check indicate that they are his fashion nikes, while the blue nikes with the white check are his sport nikes. interesting.

this fit lasts like 48 hours and steve simply looks sexier as time goes on which is a testament to its quality as well as his inherent power

every new accessory elevates his appearance. roses, nail bat, rubber gloves, blood, sweat, band-aids, bandana, goggles... each element complements the look in its own way!

an overall win

The Chauffeur

8/10

we can’t really see the whole fit but he’s not wearing a striped polo so i’m calling it a win regardless of what’s on his bottom half

cannot give him a 10/10 though because he might be wearing khakis

red is such a nice color on him when it’s not just from his blood

i lied when i said he should wear more black he should wear more colors

that plain sweater absolutely cost $85 or more

hair looks very nice and soft

excellent look!

The Sailor Man

9/10

very precious

absolutely the best hair i’ve ever seen

baby boy got highlights for his hot girl summer!

bright colors make his very red lips pop

shorts could be shorter

love the little accents! especially the white pockets and belt

excellent color coordination on steve’s part with the blue sneakers (notably different than his s2 blue basketball nikes) and the red bruising/blood

i hope you remembered that steve’s chest was waxed. as you can see his chest is now unwaxed. some change between s2 and s3 drove this decision, presumably either his breakup with nancy or the fact that he no longer showers in front of other guys at school. up to your interpretation

shock blanket at the very end is a nice touch so we don’t forget he’s traumatized

The Drowned Rat/The Man Overboard

10/10

wet

shorts could be shorter

the decision to purchase and wear a hoodless raincoat is absolutely ridiculous and stupid

however it is also very steve harrington and i value self-expression

The Chick Magnet/The Flaming Homosexual

100/10

what can i even say about this fit?

the absolute best pants he’s worn thus far. amazing fit, excellent classic wash. i say this as a former american eagle outfitters associate and the winner of my freshman year dorm’s “best at folding jeans” award

manages to make blue jeans with a half-blue denim vest work effortlessly

bold primary colors make him stand out without being too gaudy

excellent pairing of t-shirt with simple stripes and vest with simple color blocking to create a complex yet cohesive and flattering look

simple brown belt gives the look a put-together yet down-to-earth vibe

hair has only gotten better

still wearing that same brown watch that he’s had since the introduction

this man looks like he waxes his chest

this is steve in his final form

thank you for your time

[thenewwei]

I was very impressed with Anthony Veasna So’s Afterparties, a collection of short stories about the Cambodian-American experience. Of the last few highly-praised, major published short story collections I read (granted, all by white American writers), two were good/above average, and one was pretty bad. Afterparties is exceptional.

There isn’t a single weak story in the book, and each story also adds to its overall aesthetic. These aren’t just variations of the same formula over and over again either—while we do have repeats of themes, particularly the (largely unsaid) one about the Khmer Rouge genocide that overhangs the whole book, as well as habits, names, ethnic words and titles etc., we also get a variety of perspectives and styles, without being overly obvious about it.

We have stories from the perspectives of an entire troupe of impressionable teens, a couple of drunken wedding attendants, female nurses and gay “Cambos” navigating the crosshairs of lives of poverty and despair among the backdrop of unimaginable horror that has been escaped. And much more.

The stories work well into each other and are arranged effectively. I especially liked how the book completely avoids actual stories about the Khmer Rouge genocide, one of the worst perpetuated in human history, and yet it’s constantly on every character’s mind, and the entire community’s consciousness. The genocide is too horrible to be remembered in detail. It just has to be mentioned.

Even the final story, Generational Differences, is the final chapter of a book from a mother to son detailing the genocide, but the chapter we get avoids detailing the genocide while telling us of another, American tragedy that has occurred to the mother. I really liked this way of concluding the book, again reinforcing the fact that the unspeakable can’t be spoken, and eternal recurrence of tragedy/trauma. And also how the book does focus on the perspective of the younger generation, that can never truly understand those horrors, even as they battle their own demons and troubles in the new country of their birth. The “party” has already occurred, they are just living through the “afterparty” and its effects.

While all the stories are strong, I’d say the best one is likely “Maly, Maly, Maly!” due to its multiple layers of meaning. It’s narrated by a young gay teen who has just graduated high school and is just about to leave town for college, and how he has to spend his final days with his female cousin as she frets about a reincarnation ceremony for her mom/newly born cousin that she can’t control. The story incorporates many of the book’s themes among a larger one about projections: how the characters project upon each other, and how that’s reflected in the whole reincarnation ideology.

It’s one of the better short stories I’ve read in the last twenty years, but as I said, all the stories are solid. I’m not sure that even “Maly Maly Maly!” Is as effective as the truly great stories in the American tradition, like the best of Raymond Carver, Hemingway or Flannery O’Connor, but that’s a high bar to match, and anyway, perhaps we should be using a different bar.

Anthony Veasna So was openly gay and his descriptions of life as a gay Cambodian-American man are enlightening, brave, and effective. He isn’t afraid to be real, gritty and provocative—not as nakedly so as another contemporary gay writer I admire a lot, African-American Brontëz Purnell—but close enough, and the way he reveals truths about Cambodian-American life through it is impressive.

Unfortunately Mr. So died of a drug overdose in 2020, which initially made me skeptical of whether that’s the reason the book became higher profile than most short story collections (see the similar example of Stieg Larsson’s crime thriller The Girl with the Dragon Tattoo, initially titled Men who Hate Women), but it’s clear that the book stands apart on remarkable merits.

It’s too bad we can’t see Mr. So’s future efforts, but we do have this great book. Many of the short stories were published in various forms in major journals/publications like N+1, The New Yorker, where in the past I’ve been disappointed by their fiction and mostly stopped reading them. I suppose there’s hope that sometimes, at least, the Big Boys can get it right.