#they were Not of a generation where that is a thing people did

[zorbik-guligan]

Not really sure what incongruous means so I'll look it up after but it does feel like as i get older life gets more complex theres more things i understand now that sure i knew about them before but not in great detail but it feels like I've become so fucking complex as a person that if i tried to explain what i actually think and feel it would just overwhelm a person so i try and section myself off into pieces and just use different parts of me with different situations or people and it may just be because ive spent most of my time these past 2 almost 3 years now alone with nothing to do but think and figure myself out that when im asked what i think about something slightly personal its kinda hard to say it just got lost in my head somewhere and that whatever i think will change at a moments notice like i can bring up memories of lots of things and remember nostalgic times but i spent so long thinking about why i feel a certain way or what makes me feel a certain way in order to try and get a better hold of myself that ive kinda forgotten alot of my past like so many memories that i made are just gone because remembering them made me feel a way i dont want to feel like i remember realizing the beginning of 6th grade that i had completely forgotten 5th grade and the reason why was because that time i had was so nice yet not at the same time my brain just frogot because it didn't want a reminder of how good yet not something can be like great teachers who for the first time ever actually seemed to care as far as i could tell class mates who were generally friendly and occasionally checked on me if i seemed off yet i felt so alone cause nobody there really seemed like a real friend like the friends i had before who even when we were in deep trouble wouldn't rat me out and would stick with me who genuinely cared and missed me if i was sick getting older and not having anyone to socialize with for really formative years off my life has made understand those really old dudes who are nice and always up to make friends but just seem extra lonely for some reason despite knowing so many people i guess technically being that alone did hurt me but i kinda learned that im just not alone ever when im outside theres always some squirrels birds or plants nearby that make it more lively its why ive grown so fond of certain forested spots they are always lively and it feels like hanging out with all my friends its also why i enjoy making things like with metal or wood stone or even writing and painting those things feel alive in a way same with music and having time to think so much has made me reflect and realize that no day is the same and even when something changes something else stays the same or gos back to how it was in a weird cycle like growing but remembering where you were growing older for me anyways is like gaining more skills and more knowledge not just on the stuff around me but on myself too obviously people change sometimes pretty quickly too but getting older makes you learn more about yourself which duh that how life works but still it feels weird to be aware of it at 17 when it feels like i should still be trying to figure out my favorite youtuber or something not contemplate who i am as a person and what makes me feel the way i do but its a good kind of weird and theres always more to learn and find so i still have plenty of room to learn more about myself still not being able to really fully let a person know you kinda sucks but to be fair that is a rather special thing its also nice being able to put into words why i feel a certain way so that i can actually explain myself instead of just going quiet cause i dont know myself that well still kinda funny to know your own problems but not be able to jusy fix them when you know its a very deep problem even when it seems surface level and damn i got kinda personal there woops also just noticed that im shaking so might be overwhelmed remembering 5th grade which is probably why i frogot it or at least thought i did

anybody else feel that being human is like being a long-time syndicated cartoon character watching the world get more complex while your own design stays the same until youre incongruous with the reality around you??

[biancadoes1]

FAVE ANON HERE 😏

It’s been a minute since I’ve submitted but after the vitriol I have seen on Twitter this weekend, I felt the need to speak…

First things first, all of us are brought here with one definitive common thread - we are all fans of Bridgerton. If we were not, we would probably not find ourselves in this fandom at all.

With that being said, if you’re on this blog you are probably a fan of both Nicola AND Luke. More than likely, you want them to be together romantically or believe they already are. And if you don’t want any of that, I don’t know why you’re here reading this posts. This is how you become a troll.

You are allowed to be a fan of one and not the other. This is not a dictatorship and no one is holding a gun to your heads. But this is the point where it is VITAL for me to remind you how many times Nic and Luke have a real love for each other and at the core are best friends. WHAT THIS MEANS IS you cannot call yourself a fan of one of them while simultaneously spreading hate and contempt and overall nastiness about the other one all over social media.

Now I have approached the topic of the RUMORED insignificant others. Did you know that there is no general rule of fandom that states if you are a fan of a character performer that you must also become a fan of any performers they may date now or in the future? WHAT THIS MEANS IS THAT no one is required to become Jake’s #1 fan just because the rumor mill wants to say Nic is dating him. Hell no one has to become his #1 fan if Nic herself came out and said she was dating him. Again, there is no need to speak with malice about his looks or his talent all over the internet but you do not have to be a fan. Same goes for the dancer who shall not be named (I know it’s a trigger for many around here). And if they act in deplorable ways - such as the dancer has displayed in the past - you are allowed to speak out on it while using decorum.

This is ultimately bringing me back to why I wrote this today. Tell me why I’m seeing tweets talking about how Jake is a more successful and more talented actor than Luke. Tweets saying Luke can’t act and how amazing Jake is. These tweets are from Bridgerton “fans”. These tweets are from Nicola “fans”. Based on everything I’ve written up until now, the math ain’t mathing on the word “fan”.

I’m not spreading hate to Jake. Fact of the matter, he’s a 24 year old kid almost fresh out of drama school. He has had one season of a failed show on a streaming network riddled with failed shows. He now has a small part in a movie that probably is not even recognized yet out of this fandom and extreme movie fans - if we’re being honest. Luke is 31 and is on his 4th season of one of Netflix’s top shows. He was the male lead last season and the season broke records. He was on a Disney channel show when he was younger. He was on multiple stage shows on the West End. He’s had many other roles in smaller projects and just picked up a lead role in a new film. While it is considered an independent film, it is a LEAD role.

With that evidence laid out, how can anyone actually say with their full chest that Jake is the better and more successful actor? Oh right they can’t. What it comes down to is the fact that the “Jakola shipping” movement is not based on anything more than being an Anti-Luke Newton movement and it is GROSS. No matter what they tell you, there was no “relationship” being universally talked about prior to late summer. On August 25 those festival pictures were released and some very twisted narcissistic people in this fandom took them and ran with them. They created a narrative to help dictate what and who people in this fandom are allowed to discuss online. They’ve bullied creators off of TikTok and Twitter and gaslight the hell out of everyone when called on it. A 24 year old gay man (OMG I SAID IT) is being bullied on the internet and the blame is fully being put on “Lukolas” when the truth is that no one would be paying any attention to him if this narrative wasn’t perpetuated in the first place. (Side note: if you’re sending hate to Jake on behalf of being a Lukola, please stop. Please treat him like you treat every other one of Nic’s male friends. No one should be getting hate.)

The majority of the hate and toxicity in this fandom stems with the Jakolas Jackholes and those who blindly follow and defend a certain creator. I’m not going to say her name because I know how much she gets off on people talking about her (even when it’s bad) AHAH. This is the shit that everyone else is afraid to say out loud but it’s true. And for those of you in that discord reading this to report back, hiiii!

Oh and if anyone has a problem with this and wants to call me out for being on Anon, let me know and I’ll DM you because I’m not afraid. I’m grownup.

Xx

Finally seeing people with common sense!

My fave anon pulls through yet again.

Everyone say thank you fave anon.

[nkogneatho]

FREAKY ON THE ROAD

—cw: 1k, fem!reader, nicknames, semi-public, voyeurism kink mentioned, blowjob, dirty talk.

—a/n: i am gonna marry this UV light eyed freak.

You never knew you were so starved for his touch until he brushed his knuckles against your cheek. His other hand held your waist, inching you ridiculously closer to him, as if he wanted your souls to merge. It was getting harder not to kiss him. Especially, when those cerulean eyes were hooked on you, having a full blown monologue in his mind.

“Give up. You know you're going to lose,” he whispered against your ear in a gravelly voice.

“I won't. Kiss me if you're that desperate.” Even though you said that, it was driving you crazy that he was so close to you, yet you cannot kiss him.

“Oh you have no fucking idea how badly I want to. But my urge to see you lose control is stronger,” he blurted.

You knew how to play this game. You might be down bad for him but you were aware of one thing that makes him lose his mind. So...you played your ace.

Your fingers grabbed the hem of his shirt, stood on your heels since he was a little taller and moaned his name in his ears. That's all it took for him to just grab your lips with his. It never started soft. It couldn't since you tipped him over the edge.

“fuck baby! you make me lose my fucking mind,” he groaned as he brushed his body against you, where you could clearly feel his little general waking up.

“Toru mhm...” It took you all your strength to push his lips away to talk because he won't let go. “I know you lost our game but did you lose your mind too? We're in a room full of people.”

“Blame yourself sweetheart. Should've never started something you know won't end nicely.” His big hand squeezed your ass. “Wanna give them a show pretty? You know,” his fingers started playing with the fabric of your dress, “...that girl over there asked me out, because she thought we weren't together since you won't kiss me earlier.”

“Now why don't I just fuck you raw in front of her so she can get her answer?”

“You're fucking crazy, Toru.” It turned you on.

“Crazy about you. I am so hard for you. Feel,” he guided your hand to his hard on. You squeezed it to mess with him.

“Fuck! See?”

“Screw this party. Let's go home.”

Did you really think Satoru's gonna keep his dick outside your pussy for more than five minutes? You couldn't even make it out of the parking lot before he was touching you and kissing you all over again. The lights of the parking lot were dim and since everyone was enjoying the huge party, there was barely anyone there except for the valet who was dozing off.

“shit. toru...ngh can we at least—fuck! can we at least hit the corner of the road?”

“how many favors you gon' ask from me, princess?”

But he listens to you regardless. He pulls the car out of the dimly lit parking lot, the only sound emerging was the hum of the engine and your heavy breathing.

He drove for solid ten minutes—one hand rubbing your pussy through your panties—before he pulled over on a secluded road with almost no one around.

“Glad like we ditched that boring party for something much more interesting, didn't we?”

He grabbed your hand and placed it to his leaking cock through his black pants. It was hard to se because of the dark but now you could clearly feel the wet patch from the pre-cum on them. Shit. he really did hold out for long

His face had the saddest and most desperate look ever. You kissed his jaw as you unbuckled his belt and quickly freed his cock.

He took a deep breath, savoring your intoxicating scent as you leaned in, your soft lips brushing against his tip.

“Holy fucking god!” He moaned loudly when your warm mouth engulfed his cock. “Mmm, that's more like it, baby.” His tip was so swollen, so red. He needed this. He needed you.

He wrapped his hands in your hair, guiding your movements as you begin to bob your head, taking more of him into your mouth with each pass

“That's it, baby... fuck sss...” He hissed. “Take it all the way down. Let me feel those warm, wet walls squeezing my cock.”

He groaned softly as you hit a particularly sweet spot, making him jerking his hips upwards involuntarily “Fhuuck, that's so good, baby. Keep going, just like that. ah!”

He looked down at you, his blue eyes sparkling with pleasure as he watched you work your magic on his cock.

“You look so pretty with your mouth full of my cock, baby. Such a good little cocksucker. If I could, I would be stuffed in you 24/7”

He started to thrust his hips gently, fucking your face in slow, deliberate strokes.

“Mmm, yes... take it deep, sweetheart. Want me to fill you up? Yeah?” A grin laced his lips as he watched you nod a yes on his cock.

He grabbed the back of your head, holding you steady as he picked up the pace, his cock slamming against the back of your throat with increasing force.

“Good. Fucking. Girl. Fuck, yes! Squeeze that dick with your throat. Show me how much you need my cum.

His hold tightens in your hair as he neared the edge, the pleasure building to a fever pitch within him.

“Fuck! princess... I'm close. Gonna cum down your throat. Get ready to swallow every drop. Fuckfuckfu—aghh!” With a final, brutal thrust, he exploded, pumping jet after jet of hot cum directly into your waiting mouth.

“Swallow it all, baby...” And you did, lapping your tongue like a kitten to clean every drop off his cock. Panting heavily, he pulled you off his softening cock, his fingers tangling in your hair as he held you close

“Mmm, that was—fucking incredible! You always know just how to play with me.”

“Let's go home. toru...I am so wet. I can't take it.” You complain.

“Aww, my poor baby. We can just fuck here if you can't wait.” He suggested as he wiped the sweat off your forehead.

“No. I want you to fuck me in all the positions. This is too cramped to try all that.” You bit your lip. Not another word was uttered as he revved up the engine again. Fuck. That might be the hottest thing he has ever heard you say and he wasn't going to waste another minute.

“Take a leave for tomorrow from work. Not gonna make it when I fuck you all night.” He said, one hand on the steering wheel with eyes filled with lust.

“Already did.” You winked and he groaned.

“You know I am gonna marry you, right?” You chuckled at his words. You were made for each other. There was no one else that could drive him this wild and there was no one else that can see this part of you. You turned to him for sex but now...you had found your soulmate in him.

[adimouze]

post-las vegas WDC max/daniel, rated M. ~1300 words. @girlsdads mentioned something about a lil bit of LL hating in a fic so. I did a lil bit of LL hating too.

-

A face floats into Max’s field of vision probably three hours into the fifth different party Max had been shepherded to since the race ended. He’s about ninety-percent sure he’s still in Las Vegas. He blinks blearily at it, hoping at least it’s pretty enough to look at. It has been a while since. Since.

Liam Lawson blinks back. Not who he was expecting. Gross. 

“Max,” he says, sounding too sober for whatever time it is. The club is loud but Max can still unfortunately hear him. “Are you okay?”

Max attempts a sweeping gesture, he’s carrying a glass of something and it hits someone’s back, making Max drop it with a smash. Liam cringes, looking like he’s about to complain. “This is my party, mate,” Max says, cutting off whatever Liam was going to say. “I’m fucking great.”

“Christian just left,” Liam says, and Max kind of hates how he talks but what can you do. Maybe he just doesn’t like Liam. “I think there’s another party happening a few blocks from now, do you want to join me?”

If Christian left that means Max can leave without theoretically offending anybody, even though it is his party. Half of the people around him don’t seem like people he knows anyway. “Nah man, you go on ahead, I’ll head back to the hotel –”

“Oh then I’ll head back with you,” Liam’s probably the most cheerful he’s been since Max met him. “Yuki scored and left me here.” 

Pity isn’t something Max feels often, but he does feel a bit of pity now. In his first year he was never left alone in clubs, either Carlos or Daniel were always there making sure they were around to get him back to wherever before they took someone home or to their hotel rooms. More often it was Daniel, and more often Daniel didn’t take anyone home, because they were sharing a room and more often it was just fun to watch onboards together, side by side. 

No one else but them. 

Then again, Max was a teenager in his first year and Liam’s twenty-two. He wouldn’t need babysitting. 

“Alright,” Max isn’t sure where he is. He doesn’t know how to ask Liam without sounding like an absolute idiot. 

“I have a car waiting,” Liam adds, after Max stared off into the distance for a few seconds, willing someone to appear with a car. Maybe Max isn’t being as subtle as he thought he was. 

_____

Red Bull and VCARB drivers are often put up in the same hotel, usually the standard room but Helmut had finangled him a penthouse upgrade on Thursday, telling Max that he deserved a proper room to party in, like Max was going to bring home an orgy. 

He’s pretty sure Liam couldn’t possibly have gotten a penthouse upgrade too. He’s sure hotels only have one penthouse? He’s sure. If he was less drunk he would be surer. But Liam makes no move to push any buttons. 

“Mind if I come up for a nightcap?” Liam asks, smiling. This is the most Max has seen him smile ever since he got Daniel…ever since Daniel left and he jumped in the car. Max does not want him to come up for a nightcap but Max is feeling generous tonight. 

“Sure, why not.” Someone had spilled what seems like a bottle of champagne on him at some point in the night and his shirt is sticking to him. He’s too tired to shower. Meh. It’ll be a problem for hungover Max tomorrow. 

The lift goes up insanely fast but still feels too slow for Max tonight. He’s WDC, four times WDC, he’s used to faster things, sue him. Liam is still staring at him. 

“Good driving tonight,” Max says, for want of anything better to do or say. He has no idea where Liam finished to be honest. 

“I finished 16,” Liam says flatly. Yikes. Well. 

The door dings open onto Max’s floor. And. 

Daniel’s sitting on the giant sectional of the penthouse living room. 

He looks gorgeous. Max wants to stare forever. He looks broad and good and tanned, his beard has filled in a lot more than when Max last saw him in Monaco, his hair thicker. The sweatshirt he’s wearing looks less oversized than usual, fitting his shoulders instead of drooping over them, and his trousers make his thighs look great. 

He’s smirking. He looks like a frat guy. He looks like one of those men from Victoria’s magazines that Max definitely didn’t jerk off over. 

Max is probably drooling, and Liam runs into him as he’s stepping out of the lift. 

“Oh sorry mate I – Daniel, hello.” Liam’s voice is a bit high. Confused. Probably scared. “Didn’t realize you were in Vegas. Red Bull didn’t…”

Daniel stands up and comes over. Max is still staring. Daniel moves like an apex predator and Liam’s just the runt of litter in this.  “Hey Liam. Well. Red Bull doesn’t own me anymore mate, do they? I can be wherever I want.”

He claps Liam on the shoulder in greeting then grabs Max’s limp hand. “Came to see my boy be the World Champion again.”

Liam’s probably saying something but Max doesn’t care, because Daniel’s pulling him in, arms going around Max, sticky shirt and all, and Max is going to swoon because Daniel smells good, good, good, their lips meeting after ages, Daniel’s lips and tongue the best, most refreshing thing Max has tasted all night. Someone’s moaning. 

It’s him. 

“Um…”

Liam’s still there. 

Max tries to pull back but Daniel’s got his hands on his ass, lifting, lifting, and Max’s legs going around him in response, and Daniel’s got them on the sofa in a second, Max perched on Daniel’s wide wide thighs without even separating their lips once. It’s the hottest thing Max has ever felt. He’s going to come just from the thought alone. 

“Liam,” Daniel’s saying, pulling back a few centimeters to give Max some breathing space. “I’m going to fuck my husband on this sofa right now, and he’s going to be screaming loud enough to be heard from the moon. So like,” he pops the k, and Max’s dick twitches, precome dripping into his underwear, “unless you want a front row seat to that for some reason, shouldn’t you be heading to bed?” 

“Husband?” Liam’s stuttering. “Excuse me? You can’t – Does Christian know? He’s going to be so mad at you, Max what the fuck –?”

“Get out,” Daniel says. Max has never heard him sound like that. “Now.” 

“I’m calling Christian,” Liam says as a parting shot. “He won’t – he’s not going to allow this.”

“Yeah you do that, mate,” Daniel rolls his eyes then squeezes Max’s ass harder. God, he’s so hot. Max feels insane. Husband husband husband. “What’s he going to do, fire me again?” 

The lift dings shut again. They’re blessedly alone. 

“Husband?” Max snorts, shivering as Daniel’s fingers undo his pant buttons. “Bit presumptuous of you, don’t you think?”

“The ring’s in the suitcase, baby,” Daniel says, smiling like a wolf, fingers curling around Max’s dick. Max grinds into the feeling, needing Daniel inside him right now. This is the best day of his life. “Was hoping you’d say yes.”

“Let me think about it,” Max laughs, and Daniel bites his nipple through his shirt. “Liam’s probably told the Herald by now.”

“I’ll personally send him the wedding photos,” Daniel cackles, licking up Max’s neck, leaving wet trails in the cold air con of the room, “if he promises to send me photos of Christian when he tells him I was about to fuck him in front of you.”

“Stop talking about Christian and fuck the World Champion already, husband,” Max says, his laughter turning into moans when Daniel all too willingly complies.

[alexanderwales]

Zombie fiction has a problem, which is that in the real world, zombie fiction exists.

So you have two basic approaches: either you have the protagonists and general public say "what's happening, why are the dead rising, I got bit but I'm going to be fine", or you have the protagonists say "this is so weird, it's just like in all that zombie fiction!"

These are both annoying in their own way, but I find the latter approach to be more deeply irritating, personally, the kind of meta that's just lazy and overdone in spite of not having been done all that often.

This is a problem that notably doesn't exist in most other genres. People go to look up vampires on their computer all the time, and they say "wait, the legends are true??", and the vampire says "I did not like our depiction in Nosferatu very much". This is totally fine, the legends bled into popular culture or whatever. But zombie fiction is among those that can't do this, because it's a different kind of story, and there's no hiding it, no covering it up. If zombies were in any way real there would be mandatory training on how to kill them and CDC warnings and structural responses, which does substantially take away from the genre.

Now, would I read a zombie story that took place in a world where zombie outbreaks were a semi-regular occurrence with policies and procedures and discourse and training? Yeah, I guess, if it was well-written. But most of the long-running zombie stories get there eventually, once all the survivors have been doing the survival thing, and I can think of a few examples. It's hard to get right, much harder than the "what is happening, what is this" sort of story.

[sonrium]

That second point yanked Batman instantly and unwillingly by the throat to Phantom's side.

He couldn't speak out knowing the rest of the League wouldn't approve, so he let the discussion run its course, and Phantom was naturally denied.

But Batman is nothing if not thorough, and compiling DNA profiles would also help with contingencies. So Batman discretely reaches out after the meeting to give Phantom his personal permission as long as he provides the DNA samples and that Phantom understands that Batman cannot publicly defend him, but he will mitigate the consequences behind the scenes.

After another biting incident when Phantom is getting lectured by Superman:

"Phantom, you can't keep doing this. This is your last warning. Criminals or not, it's never okay to bite people just because you want to. Control yourself, or you might have to rethink your place in the Justice League."

Phantom staring at his feet and genuinely worried that he might get kicked out. He didn't think it was that big a deal.

Batman walks up and simply states. "He is controlling himself."

"Batman, you call that control? I'm trying to be understanding, but Phantom is biting criminals more than ever."

"Are they still breathing?"

"I don't see how-"

"Are their limbs still attached?"

"What are you-?"

Batman gives Superman a hard look to stop him mid question. "Acording to Constantine, ghosts from the Infinite Realms are creatures that should be avoided at all costs due to their extremely volatile nature. Generally, it's a death sentence to ever encounter one."

Superman turned to the child he'd been scolding, shocked that any of that could possibly be true about his colleague. The same colleague, who was so gentle he almost cried when he accidently killed a spider in the dining hall. "Is that true?"

Danny, glancing up but unable to meet Superman's eyes, "Yea-yeah. Intense violence is actually how most ghosts socialize. Regrowing limbs isn't a big deal for ghosts, so they tend to forget how fragile humans are."

Batman continues with his explanation, "In the Infinite Realms, ghosts have evolved to attack anything that moves as a defense due to how hostile the environment is. Everything from the plants to the very ground could attack at any moment. Their version of compassion is controlling their instincts before the killing blow. The fact that Phantom rarely attacks anybody is a testament to his constant and vigillent self-control."

Danny finally meets Superman's eyes and they are nothing but pools of liquid innocence and shame about his very being. "I'm sorry... I'm doing my best, but my ghost instincts are really hard to control, especially when emotions are high and we are carching bad guys, and I can't help but bite. But I promise, I will never let it go any farther than that."

Intense guilt washes over Superman. He knew how seriously Phantom took his promises. He had no idea he was asking Phantom to go against his very nature. Did Phantom have to hold himself back right now? Superman knew a thing or two about how scarily fragile human bodies were to someone like him. He couldn't imagine having instincts that screamed at him to attack anything that moved on top of that.

Batman turned to his old friend with a disapproving stare. "Maybe learn a thing or two before you judge our nonhuman members. I expected better from you."

Superman placed his hands on Phantom's shoulders. "I'm so sorry. I had no idea. Do the best you can. We can figure out the rest together. Please forget everything I said earlier."

Danny with hope sparking in his eyes, "Are you sure? I know im not perfect, but I want to stay. I really like it here, and I really like helping people."

"Of course. I'll let the others know." Superman walks away down the hall, and out of sight.

Danny grinned, lifted his eyebrows, and nodded toward where Superman ran off to convey his thanks for the save.

Batman gave a quick nod and a tiny, barely there smile of his own. He spoke aloud for the one with superhearing that was definitely still listening, "I apologize for any offense you may have taken. Know that the sentiments of Superman are not shared by the rest of us."

Danny pulled the zip lock baggie out of his pocket and silently handed it to Batman with a grin. It had a napkin smeared with the blood of Danny's most recent biting victim labeled in Sharpie. Danny responded in a wobbly voice that did not match his mischivous grin, "Thanks." He added a sniffle for effect. "I needed to hear that. I'm really doing the best I can, but i guess people dont see it that way."

After this incident, Superman became Danny's biggest defender against the biting accusations.

Danny Phantom, who as far as the Justice League knew was a normal ghost, was presenting a pointpoint in front of the rest of the League. The presentation says, "Why I should be allowed to bite criminals: 1, because I am not human and cannot catch any of your filthy human diseases. 2, because it would allow us to compile DNA samples from the criminals of the world to compare with during crime scene investigation. 3, Fuck you."

[xviiper-rents-houses]

Yandere Platonic Enforcer!

Summary: An enforcer from Piltover is among the few sent down to The Lanes, (Zaun) in search of four children involved with the sudden explosion of a building near the academy. What he finds instead, is a Zaunite child.

Headcanons/drabble!

Pairing: Platonic

TW: Physical abuse (you are choked), violence in general (you are forced against a wall, apprehended) mentioned past moments of murder (" he has killed blah blah) possessive, obsessive.

The man had a name, once. Nowadays, his fellow enforcers would jerk their heads this way or jostle their shoulders that way— anything to get the point across to the empty man to follow an order. He had long forgotten his name. He was truly a void-full husk of a man. Indifferent enough that he did his job with no remorse, or even fear of killing an innocent person. Or worse, innocent people. Becoming an enforcer gave him a brief purpose but, he felt he wanted, no, needed something more.

He was among the few sent down to The Lanes, recruited by Marcus, to find four children involved with the sudden explosion of a building near the academy. This man lived a hollow life— becoming an enforcer was the first thing to light up his dull life. Born with a slow-beating heart, he found no need to fully disclose who he was but, all that interacted with him knew exactly what he was: empty.

And that something more came in the most unexpected of ways. You. Down in the sludgy mess of Zaun, in the criminally organized section called "The Lanes," was where he found you. At a first glance, he assumed you were one of the four children. You had similar key defining features that each of the four children ironically had. Goggles, tattered clothing and small carry-on bags strapped to your person. You were also very thin...and alone. You had to be one of the kids— he was lucky. The only thing amiss is the miner's helmet, which he knocked off in mere seconds after rushing towards you and apprehending you.

It took a long few moments of calculative perception— you didn't fit the descriptions. Marcus was looking for children, yes, but not as young as you. These children looked to be over fourteen or maybe fifteen— hard to tell. However, you? You couldn't be much older than five. And here you were, pinned to the wall, with his hand clasped tightly around your neck and his baton reared back, ready to strike. He was empty. Empty to the point of being eagerly ready to beat a poor, lost child up because the child just so happened to look so similar to the wanted kids.

For the first time in a while, he hesitated. He normally didn't discriminate about who he had to take down or who he had to arrest (kill) but, you looked too innocent. Way too innocent. That didn't stop the empty man from harming you entirely; you were unlucky. No, he didn't need his baton to hurt you. The man stowed it away in his utility belt. Instead, he squeezed just a little tighter, his heavy mask puffing monstrously in your face. Something about you was strange— he had to snuff it out. But then, you did something unexpected.

Your little hand reached out towards his mask, your fingers barely even grazing the surface. The man flinched away, at first, spooked. You reached again, this time, more urgent. By now, you were crying, trembling against his hold. He was waiting for you to fight back instead, do anything to get his hand off your throat but, no. You reached out towards him. The man didn't flinch away when you made contact the second time, instead, he leaned forward. The grip he had around your throat quickly lifted as you explored up the mask and to his goggles. You reached the middle of the goggles and tugged, harshly.

A pair of grey eyes peered down at your own, glinting in the low light. The man felt his heart stop. His breathing grew heavy as you relented your grasp. You continued to cry. Louder. Those grey eyes flashed a bright yellow and his heart roared to life. He felt fear for the very first time. And you were the cause of it. The man, having never known gentleness, fully released his hand from your throat and ran through your hair. You continued to cry and lurched forward, attempting to run away. The man didn't waste a moment. With both his arms, he quickly scooped you up, restraining you in the process, and tucked you against his shoulders. You put up a fearsome struggle, which ran the risk of him being caught.

The man looked around quickly, reassuring himself that you two were alone before he put his back against the wall and slid to the floor. The only thing you could make out during your fight were those bright yellow eyes, watching every single movement you made, patient and willing. He sat with you in his arms, waiting for you to slow down, to tire. It looked like you had been abandoned for weeks. He could feel every rib between his fingers— you were very light too. You were awakening a feeling he had been searching for a long time: love. He finally had a purpose.

He was going to be your father.

• The Man, who doesn't even remember his own name, takes you back to Piltover, away from Zaun. It doesn't matter if you have an existing family or not; he is your father now. (It's strange, even Piltover's guard doesn't even remember his name).

• While he has the barracks to rest in, the man finds himself back at his old home where his dead parents used to roam the hallways. Here, he can raise you well. Maybe you would give him a name? He hoped so. He will make you love him. He will be the best father you ever have.

• The man doesn't seem entirely human. He has long hair, heavy hands and those now yellow eyes. Those eyes are only ever yellow around you, nobody else. He now has a goal, a life's purpose: to protect you and be your father. He does not care if he has to kill for you: he will do it.

• If you should warm up to him and his silent nature, he offers to let you wear his helmet for playtime. He's kinder, less controlling. He takes you anywhere and everywhere he can, provided that he does not get into trouble.

• As mentioned before, he wants to have a name from you. As long as he likes how it sounds and it isn't derogatory, he will cherish the title you give him, forever. After that, he will consider finding a life-partner/trusted companion to help look after you when he can't.

That's it for now, thanks for reading!

[eugenedebs1920]

You know!? It ticks me off this perception that Donald Trump, J.D. (Jerkin Dicks)Vance, even Musk, is somehow manly. I mean, Trump and Ol Jerkin D wear more makeup than my wife! You can’t say that’s all just for television. Musk looks like if Smeagal had only kept the ring for 250 years as opposed to 500. His Prrreeeccciooouussss. None of those guys project masculinity. It’s the varsity cricket team and their weird gangly friend.

Does anyone remember when Trump tried to act like he knew how to use a shovel 🤣🤣🤣 That sh*t cracked me up!! Like ‘MFer, where have you seen someone attempt to shovel like that!?’

Then J. Dick Vance projects uncertainty in his sexual identity. It cool if your gay, but don’t fight being gay so much that you are viscous to women and marginalize those who’ve figured out who they are and are not overcompensating for it. it’s coo Jerkin D! We’ll still hate you either way.

I’m pretty sure Musk is a supervillain. But like if Dollar General had a comic book action figure series.. He’d be the main villain in that. Corneal Creepy McBillions, somethin like that.

These guys definitely got picked on in grade school and vowed to get revenge by making everyone else miserable. Thanks bullies! 😑

Speaking of. If you haven’t constantly put people down, talk sh*t on people, (I realize the irony as I’m sh*t talking these f*cks but, physically I don’t think any of them could take me, but power wise, what they could have done to me!! They’d ruin my world..) pinpoint and pick on a vulnerable individual or group, pretty much, if you get hard by making people laugh at or join in on teasing or bullying someone, that itself reeks of insecurity. It shows the flaws in yourself, you’re hiding by putting those flaws onto others before someone sees them in you. Trump is the master of that! If he accuses someone of something, he’s definitely guilty of it.

It doesn’t make you any less of a man to be kind. It’s isn’t a feminine to treat women with respect. It doesn’t make you macho to be a prick. Being racist and ostracizing immigrants doesn’t protrude masculine traits.

You know what women find sexy. Confidence. Knowing who you are, what your values are, compassion, knowing the difference between proper and improper, and sticking to those principles regardless what others would say or entice you to do. Being a good person, because that the good thing to do, proud of oneself, but knowing there’s always room to grow and learn.

I certainly don’t see what’s would constitute being attractive when you are borderline in a cult, infatuate with a 80 year old politician who bankrupted casinos, been accused by 23 women and adjudicated for sexual assault, shameless grifter, hateful, cruel, racist, bully f*ck. It’s just, sorry to say it, weird.

I have a heart and care for people, I build houses for a living. I believe in equality and the rights for EVERYONE, I can rebuild an engine. I think women are people (who knew!?) and should be in control of their own destiny, I am pro 2nd amendment and love to go shooting.

I’ve been in bar brawls, climbed mountains, go hunting, chop wood, ride atv’s, snowboard, go 4wheelin, camping, have a big beard, drink beer, and I think everyone is entitled to dignity, despite their sexual preference, race, religion, gender, what their hair looks like, whatever. Why? Because it’s basic human respect.

The last 2 times America actually won a war it was Democratic (BIG D 😉) administrations. The only 2 presidential administrations to not add to the deficit in the last, nearly 60 years, were both big D Democratic administrations. Democrats passed the Civil Rights Act, all the racist Dixiecrats jumped ship and became Republican. Democrats nominated and elected the first African American president. We have TWICE nominated a woman at the top of the ticket.

While Republicans are whining about having to wear a mask LIKE EVERYBODY ELSE DID, Democrats passed legislation to address the problem of unemployment, of vaccinations, of shipping logistics, while they were at it passed a HUGE infrastructure package, invested billions in green energy (our future) and ensured national security by manufacturing the technology materials needed to be the best in the world. Simultaneously creating a ton of well paying, respectable middle class jobs.

The right is too busy talking about Jewish space lasers, and checking out Hunter Biden’s junk, and keeping weed illegal, and worrying about bathrooms and sh*t.

How is that manly at all?! Acting like a bunch of whiny immature kids! They even whine when they win!! It’s stupid! It’s a waste of time, money and energy. Just grow up and do the job you’re elected to do!

So yea… I would say the right isn’t the vision of manhood they pretend they are. It’s overgrown children, spoiled to the core, acting out because they want it their way 😤

What shows manliness is doing your job, and doing it to the best of your ability. Being a kindhearted person and willing to help someone in need. Being true to yourself, and in turn others. Being knowledgeable yet willing to learn. Being brave, but admitting when you’re scared.

[letters-to-rosie]

okay time to collect some thoughts

spoilers for season 2

as soon as they said there were other regions going to be explored, I knew Noxus was going to be the big thing, and that the battle between the cities and the class conflict angles of the story were going to be set aside. if you know me, you know I would hate this, but because I anticipated it, it wasn't too bad. I had already killed the version of the show I wanted in my head and was ready to take things as they came. and it wasn't all bad. Ambessa makes for a great villain, and all the twists and turns with her and Mel were pretty enjoyable

that being said, the second season in general did away with most of the things I liked about the first: subtlety, nuance, environmental storytelling (and all that sweet sweet class conflict)---I mean the cities just faded into the background as we watched everything play out. even a lot of the great character work we got in the first season was just left as it was. most the characters didn't really get to move much from where they were in the first season. even the ones I enjoyed (like Ambessa) were essentially the same as they were before. there were a lot of things that were cool. a lot of things that were interesting. most of them don't work when put together

Jayce? liked him this season, actually. had fun when he was suffering lol and fighting Viktor. Jayce disappearing out of the blue when the basement of the hexgates wasn't set up at all? boooooo

Jinx? gets to realize she isn't just a jinx. gets to help people. is this realized in a satisfying way? nope. we get one scene of people touching her and then Isha dies and she's back where she was at the start of the season, almost. plus her relationship with Sevika just drops off, and I was having fun with that

Cait? love her evil era. I also like that the plot didn't let her entirely off the hook. love less how she engaged in fucking chemical warfare like what even and that was never addressed

Ekko? has my whole heart. did before, but whatever. saved everyone's asses by being the best boy. love how he's motivated by helping the people who need him. love MUCH less that we never get to see him doing that work. like what did he think of Jinx becoming inspiring to people? how would that combine with his experience in the alternate timeline?

I could go on. I might be better prepared to deal with this than some because I didn't think it would be good in the first place lol I had like no hope. it was such a grand show in the first place and they made it so much grander. there's a lot to like, but the first season REALLY carries it. it feels like two separate shows. I don't begrudge anyone really liking the second season, but I will maintain that the fanbase deserved (and still deserves) better

[arguably-so]

old dull skin is unhealthy actually.

Yeah I'm gonna need a scientific source on that one, chief. Aging is normal and will happen to everyone whether people like it or not. What do you mean by "dull?" Where are you getting this information from?

If you have toxic ingredients in your skincare AND anti-aging products, you aren't using the good ones.

The point is that the practice of using these toxic ingredients is normalized in English speaking countries and is a huge part of the problem the original post was discussing.

Asian skincare on the other hand are god blessed and if you haven't tried them, you should.

Have you considered that a post written in English about a large corporative industry in culture might be about the cultural practices common to the language it was written in, and thus specifically not Asia in this particular case?

Nowhere in the original post was it discussed how getting old is a bad thing so it looks like a demonization of anti-aging AND skincare.

"Anti-aging" means avoiding looking old. You... know that, right? The original post said "anti-aging," as in the idea that aging is bad, is a bad thing. That's more likely what they were saying.

Also, again, the word "skincare" is not present in the original post.

the aging process is literally your cells dying

No. The aging process is the slowing down of the replication of cells. Your cells die either way, and no cell in your body is the same any longer after 7-10 years. Anti-aging creams will not stop cell death. If they did, you would have cancer from using them oh wait look at that,

Why is staying healthy any different for the skin?

It's not. I told you that we weren't talking about healthcare and dermatology and you ignored me. I even told you that you were at least mostly right with the statement about acne but I guess you care more about insulting the West than having a learning experience about a culture that isn't yours.

Westerners always look so dry and aged while trying to make everything a morality issue but we're not all like you.

So not only are you admitting that you are also demonizing people for a normal biological process, but you've decided to insult an entire half of the globe unprompted. Cool.

Also, nobody made this a morality issue until you did. The original post was requesting more media in a particular genre to utilize a specific trope.

Generally I don't tend to get aggressive with people if I can avoid it, and I did originally try to explain things to you in a kind way so that you could understand, but I realize now that you are one of these:

By the way, the post was actually about mostly plastic surgery in the context it was utilized alongside the image from Doctor Who. Not skincare. So congratulations, you successfully derailed a post that wasn't even about the topic you brought up at all. You did the equivalent of running up to a store selling baguettes and screaming that there aren't enough tortillas because they're both technically bread.

honestly more media should portray the anti aging industry as horrific and decidedly unhuman. it IS body horror it IS grotesque it DOES go against nature. it WILL kill you. yes.

[vidavalor]

Ok,Since the Good Omens Finale is only going to be 90 minutes,I have a feeling we might not get a flashback sequence.

Hi there, @rougeside4 💕 I made an apple pie, if you want some. 😊Allow me to offer a different take? I wouldn't worry about this. There will be flashbacks. It's not the show without them.

Short thing on why we're definitely getting flashbacks and on which ones we can maybe see as being very likely still in The Finale.

The secret sauce of Good Omens, imho, is that the real juice of the story is actually always in the flashbacks. The flashbacks that we see are not random; they're always written to support the story in the present. There's a point to why it is these flashbacks we are seeing-- and when and in what order we are seeing them--when Crowley and Aziraphale have been on Earth for over 6,000 years and we could see any of their adventures. They're designed to inform our understanding of the story in the present. The real beating heart of the story is in the scenes set in the past and the story in the present would lack... *searches for words* emotional resonance? thematic weight? general, dramatic oomph? all of these?... if they were to cut the past. Put more plainly: it would suck 😂, and they're smart enough not to do that.

I think some of the most exciting parts of The Finale are actually going to be the flashbacks, just like how they were always the biggest treats in S1 and S2. In the way that they roll those out to us, piece by piece, they're changing our understanding of what we're watching in the present. The meaning of the story in the present is driven by the flashbacks in the past to a point that you cannot have one without the other.

Good Omens is actually driving all of its suspense and anticipation through the story in the past and that's what makes its non-linear storytelling clever. After all, right now, most people know this thing has a happy ending and aren't worried about that, right? We know Crowley and Aziraphale will get back together and be fine and no one is stressing over that. (And if you are... really? Guys. Honestly?! It's called Good Omens. It's a romance. It's a sweet, cuddly show. It's going to be fine. 💕)

So, what are we curious about, if not where it's going in the present?

1941, Part 3, right? Whether or not there's an ancient times vavoom coming our way? What the deal is with Jane Austen and/or 1650? Whether or not we might be surprised with a flashback that hasn't already been set up earlier in the story and what that might be?

Our biggest questions in the story aren't about what will happen in the future but about what we might get to see that has already happened in the past.

There is actually no conceivable way to do The Finale without flashbacks because the entire story is built towards having at least a couple of essential ones happen in its end game. I would not be surprised if at least somewhere around a third of The Finale is set in the past. Are there ones that we would have had with a full season that will be cut? Yes, but, are there also ones, though, that are too essential to cut because the entire story for two seasons has been building towards eventually revealing them to the audience in the final part of the story? Oh, yeah. 😉

Guaranteed: 1941, Part 3. There is no chance that they cut this-- none. They have built the ending of this trilogy of flashbacks to support the ending of the story in the present so it has to happen. It doesn't need to be an entire minisode in length. Part 2 really did all the heavy-lifting with plot and themes here, and Part 1 was a single, brilliant, not terribly long scene. If Amazon reduced The Finale to 15 minutes long, I think the show would still find a way to put 1941, Part 3 in there. The first two parts were so pivotal to the themes and parallels of the story in the present and it's the only flashback that we keep getting installments of throughout the story so its Part 3 is going somewhere massive. If there's one flashback that's in The Finale, it's this one.

Extremely, extremely likely: the ancient times vavoom to which they have been building in clues and hints for two seasons that is going to flip the entire show on its head by going back to The Flood. It would parallel and add extra weight to all the conflicts we have in the story in The Finale that were set into motion by the end of S2-- the kiss, one of them leaving/them being separated, the threat of an apocalyptic-like event, etc.. It would, in almost no time at all, complete the narrative magic trick of the show by turning it inside out for the audience.

The show that shows everything backwards has been sitting on the real first kiss the entire time and saving it until the end game of the story and that end game is The Finale so expect that angel and that demon to be sheltering under a canopy from a rainstorm in the very long ago days and break the internet in the process.

If I were them, I'd even open The Finale with this flashback, just because of how much it's going to pull the rug out from under The Final 15. After all, the first two seasons opened with a canopy-and-rain-themed scene, did they not? Just one wing at a time, though... no under a canopy together yet. No gazing into each other's eyes and vavooming. That bit of the beginning of their story has always been going to be shown to us in the end of the story. It could well be the, well, beginning of the end of that story by opening The Finale. We'll have to see. Either way, it's in there.

It's also worth mentioning that both of these above flashbacks would be going back to eras we've already visited in the story so no time would need to be devoted to setting up the scenes. That would seem to make them easier to not cut, in addition to how narratively important they are.

Going To Be In There In Someway, Somehow: A flashback that sets up the South Downs Cottage ending, which is suspected to be the Jane Austen flashback because of her living in real life in the South Downs around the years that it was mentioned in S2 that Crowley and Aziraphale knew her.

When this was set up for S3 back in S2, the Jane Austen story felt juicy enough to potentially be a whole minisode in length. Maybe especially since it's probably how they are going to be build a history of the cottage between Crowley and Aziraphale to help give emotional weight to them going to live there in the present at the end of the story. I've no idea what this looks like with a shortened run time. They might abbreviate or maybe it was never even that long in the first place? They might do something different in its place? It's hard to say, since we don't know, but they've got to do something to set up the cottage, so...

Whatever this winds up being, though, we're now up to three flashbacks that have to happen because of how they connect to the story in the present in The Finale. These are three, non-negotiable ones, basically-- and we are obviously only looking at ones that we can see having been set up already.

There is also the fact that there's usually a surprise flashback that wasn't set up but which is crucial to the story, like the Job minisode was in S2. It fits in perfectly, retrospectively, but we were intentionally not really given enough in S1 to see it coming in S2 so that there was something unpredictable for us to enjoy. I'm not expecting anything as long as Job again but there could still be a scene more 1.03 Cold Open in length that we don't even know is essential at this point because we aren't meant to know at this point but, much like we did with Bildad 😊, we will see as vital to everything once we see it.

Including that as a possibility, we're now up to four flashback scenes that seem unlikely to be chopped from The Finale. What I just described, give or take and depending on the length of 1941, Part 3, is probably collectively getting within shouting distance of the run time of the 1.03 Cold Open-- and that's going really bare bones and only talking about the scenes that seem too story-essential to consider cutting. There's also one more that might meet that criteria...

Could Go Either Way: 1650. If this has nothing to do with Agnes Nutter, it's probably gone. If it's how Agnes has an appearance in the end of the story to pull stuff together, they'll probably find a way to put it in there because... Agnes. 😊

No one knows what this thing is supposed to be about but we do know that it was set up in S2 for S3 and, between Aziraphale mentioning it, the historical ties to eccles cakes to this era, the fact that it could potentially show a Whickber Street in early development and, most importantly, that it's set five years before Agnes Nutter died, whatever this thing is? It's intriguing. We don't know how long it was meant to be but if it's something that was minisode-length but could be reworked to be shorter-- or if just was always short in length-- it's probably still in there.

It's very possible to have many, quality scenes that hop throughout time in a very short period of time. The 1.03 Cold Open is about 23 minutes long and jam-packed with goodness. I have no idea if they're going to sprinkle flashbacks in throughout The Finale or if they're going to do a flashback sequence like 1.03/Ineffable Bureaucracy again but I do think that at least a third of The Finale-- so, roughly 30 minutes of it, give or take-- are likely flashbacks.

We are going into this movie a lot closer to the end of the story in the present than I think it may appear to some at this point. All the set up work to get the characters into place to overthrow The Metatron in The Finale was already done in S2. It's not going to take 90 minutes for Aziraphale to be in trouble, Crowley and Ineffable Bureaucracy to find out and rally the troops, everyone to challenge The Metatron, expose him as a fraud, and kill the threat of Armageddon by overthrowing Heaven and setting it up to be democratized. That's pretty much what everyone knows needs to happen in The Finale and what is likely going to be the main story in the present in S3.

We know what is going to happen because we know it has a happy ending and we know that we need the Armageddon threat gone for the South Downs Cottage happy ending to occur. We know the only answer is that they've got to overthrow The Metatron. Whether you think the plot is Supreme Archangel Aziraphale or whether you're like me and think the plot is that Aziraphale is in mid-fall as of the end of S2 and that's the thing that triggers the other characters to come together against Heaven, the end result is still going to be the same: The Metatron's gotta go and everyone's got to come together to make that happen if we're getting the happy ending we already know we're getting.

We are all sitting here knowing pretty much exactly what the story in the present is going to be in The Finale and that's because the story has set it up so that we do. Yes, there's going to be joy in watching that unfold but a story designed like a magic trick has to have suspense and give the audience a sense of anticipation. We feel that from this story and from where are we getting that?

The past. The flashbacks.

Everyone knows what the end of this story in the present is but no one knows for sure where, say, 1941 is going, or what new things about Crowley and Aziraphale the past will show us in The Finale. Every new thing we see in the past? Changes our view of the present. That's what makes the story clever. It's also what makes it enjoyable. They cannot cut flashbacks because they'd be cutting the most interesting parts of the story and what makes Good Omens the quirky, unique bird it is.

The present and the past are so interwoven in the story that I'm pretty sure that it is impossible to do Good Omens without flashbacks. The only question going into The Finale is which ones they're going to surprise and delight us with. Don't lose faith or sleep over it-- at minimum, we'll see Crowley's 1941 hat again and that, truly, is all any of us really need to survive.

[fiddler-on-the-starship]

Spoilers for Transformers One.

On the one hand, I do think Orion was right when he said "rebuilding Iacon cannot begin with an execution" (they'd just thoroughly trounced Sentinel in every way, he wasn't a threat anymore, there wasn't an immediate need to kill him beyond the desire for revenge).

On the other hand, on a purely visceral level I do not have a problem with Sentinel getting ripped in half because fuck that guy lmao. Get your revenge, Dee, you deserve it.

But on the other other hand, I do believe that Orion's actions were motivated not by any desire to save Sentinel, but by concern for Dee. (I think these posts make a good point about that; it doesn't seem that Orion was even deliberately trying to sacrifice himself when he got shot, I think he just wanted to get between Dee and Sentinel so he could talk to Dee.)

But on the other other other hand, Orion really did not choose his words well in that scene. "Don't be like Sentinel" was the WORST thing he could've possibly said, all things considered. A while ago I saw a post that described it as "telling a victim they're just as bad as their abuser" and yeah, I agree with that assessment. That probably wasn't how Orion intended that to come off, but there's no way it wouldn't have sounded like that to Dee. Maybe it wouldn't have been possible to talk Dee down from killing Sentinel in that moment, but if it had been at all possible, that was definitely not the way to do it.

However, while this leads to a horrible outcome for the characters, I'm not sure it's such a bad thing for the narrative. It's painfully realistic, actually. Sometimes, people who have nothing but good intentions will say stupid, hurtful things. Sometimes, when someone is in a state where all they can feel is pain and rage, they will lash out without thinking of the consequences, and in doing so they might hurt someone they love. Obviously in the real world this does not usually involve a giant robot shooting another giant robot with a laser cannon, but that's one of the great things about sci-fi and fantasy; a laser cannon can be a metaphor for the horrors we face in real life.

Also, based on Orion's behaviour up until that point in the movie, it's pretty in-character for him to say the worst possible thing at the worst possible time to someone who is clearly suffering. You can tell he has a lot of compassion and generally means well, but that doesn't stop him from being an insensitive dick at times. And I like that. I like it when characters have Layers. (Orion and Dee both have a lot of Layers, and I am fascinated by the way some of the same personality traits manifest very differently in each of them, but that's not what this post is about, perhaps I'll ramble about that another time.)

Basically what I'm saying is:

I think Orion was both right and wrong (right about it not being necessary to kill Sentinel, and right that a public execution was a bad fucking idea; very, very wrong in the way he expressed that to Dee),

I'm not going to say Dee did nothing wrong, but I completely understand where he is coming from (and I'd be lying if I said that when he killed Sentinel there wasn't a part of my brain screaming YEAAAAH, YOU GO GIRL, RIP THAT FUCKER APART),

I think that Optimus Prime should have flaws and fuck up sometimes, because that makes him more interesting as a character, and in the case of TF1, because having him inadvertently contribute to Dee's downward spiral adds to the tragedy of it all (and I do think this movie can rightly be called a tragedy of Shakespearean proportions),

and, above all,

FUCK Sentinel Prime. Seriously, fuck that guy SO much.

[loveandlegacy]

i think this is a little unfair as a critique because i generally do not see much value in being like "well i wish this story had just been a completely different thing instead of the story it was" like there are better ways to talk about how a narrative could be improved on its own merits rather than just saying "well do something different". BUT this is my blog where i get to say what i want and so: read the rest at your own risk wherein i talk about what i might have preferred to see with viktor's storyline

i think that if they were going to dispense with the variations of viktor's prior lore - which is totally fine to do tbh! - but they wanted to still stick to him feeling more alienated and indifferent to human needs/suffering but also superior to them and kind of outside of time without fully leaning into the timeloop cyborgism of it all, it would have been wise to make him somewhat more nihilistic on the order of doctor manhattan?

a: if he were outside of time in the way that doctor manhattan is, it would avoid the issue of a time loop (which generally tends to damage to a story in my opinion) and would still permit for some kind of epiphany about love a la what happens with doctor manhattan and laurie juspeczyk. it also would maintain viktor's ability to see into other people's pasts and memories or to walk among them in those past places. this might have even allowed us to get a fuller and more sensitive picture of sky as a person independent of viktor once he was unstuck from time or in quantum time or etc!

b: jon osterman is a physicist and, like viktor, goes through a transformation that basically makes him feel completely distant from humans and as if their fates are fixed in a hopeless cycle, he's obsessive about his research, and he generally behaves as if humanity is somewhat beneath him because of how he experiences time and space

obviously there are some differences. doctor manhattan never aims to build a perfect world of flawless nonsuffering. he decides to abandon humanity altogether, and the person with the questionable morals driven by a raging ego is adrian veidt, but honestly you could just blend the archetypes of the two and get a clearer sense of direction for viktor's story.

like obviously this is just my vibe. i think i like this better because doctor manhattan and adrian veidt, both of whom are deeply selfish and in veidt's case egomaniacal about how to 'fix' the world, are still realized in ways where both characters feels more complicated than how viktor's story played out in arcane. like even leaving off the league lore about him, i think the show either didn't have enough time to fully actualize the struggle in him between wanting to help and being sure he knew better than everyone else about how to help, or it was always just going to be too cartoon-villain simplistic with his army of evil robots. i think the latter is unlikely given that they worked pretty hard to paint silco, jinx, and more or less everyone else in the undercity in many shades of grey but who knows!

like most of what frustrated me by the end about viktor's story wasn't that he was doing cruel things, it was just that those cruel things felt goofy and flat compared to even the cruel things ambessa was doing for most of the season. i cite mandus from a machine for pigs a lot as a different possible comparison to viktor. mandus is another industrialist/inventor who ends up splitting his consciousness and decides the world is full of nothing but cruelty and that he knows better than everyone else and starts mutilating people and feeding them to each other to build a new world order. but even mandus, who traps people into forced-cannibalism, feels that he has more depth to him than viktor did for me by the end of the show. it may be how mandus's story is constructed and that his logic feels sadder than viktor's, or it may just be that again the writers had less time to deal with more storylines but! idk!

all in all i maintain that the machine herald arc was pretty disappointing and honestly kind of goofy/immature along with being like cringily ableist and relying on politically unsound tropes that mostly amount to 'hey watch out for communist zombies', so i'll be out here thinking about what might have made it land better for me

[fishmech]

I just don't get the deal with demanding a one bedroom specifically. Studio apartment is more than fine for single person, often even more space for the money in a lot of places.

And if we want to talk about "the point of minimum wage" as originally constructed, well you have to get used to pre-wwii notions of what people would be living in, particularly in cities but also in a great deal of towns. You would be expected to live in a rooming house arrangement, which sometimes were just large houses and other times were even midrise buildings.

You wouldn't have a full apartment, typically just a bedroom with maybe your own sink and faucet. In nicer places you might even have your own private toilet, but usually there were communal bathrooms. And the kitchen was communal too, often with the "house" providing at least a breakfast and dinner, whether provided by the management or made in lieu of partial rent payment by residents. And usually you'd have a shared parlor or living room as well as a shared dining room, meant for socializing with fellow residents or some invited guests.

This whole system made for relative small but also quite cheap living space, particularly for young single people, the elderly poor, and married couples who weren't having kids yet. Making your way up to an apartment where you weren't sharing communal rooms was generally something that took some time to be able to afford. And due to the decent savings you could build up with inhouse meals and all, and the general low price of a bedsit like room , some people who could otherwise afford moving up to the private apartment as long as they could.

As an example, all of my grandparents lived in such accommodations while they were single, except the one who lived with her relatives. It's simply what was done, with my one grandma being in a specialized boardinghouse arrangement for young women working in the city, while my grandfathers were in different mixed gender and mixed age boarding homes.

Minimum wage was founded around that as the basic model for low income worker housing away from family, and frankly has never really been adjusted upward to "distinct 1 bedroom apartment" levels.

To be honest I think a lot of people who struggle now with living on their own, regardless of whether they're making minimum, would be better served if society was more open to boarding house living again, especially to help people stay in their communities - among other things these housing systems did a lot to prevent people from ending up in long term homelessness while still making sure they got to have private rooms and storage that most homeless shelters today refuse to provide - but in a lot of places they've been all but barred from operating. Usually by late 20th century excuses of ensuring urban renewal I might add.

[clonerightsagenda]

Kat's "I could fix him" Arcane post pt 2:

Yeah it's him this time.

The Jayce, Viktor, and disability storyline is where Arcane s2 gets the most incoherent, imo. I never got the impression in s1 that Viktor wants to "fix his imperfections". He just doesn't want to die. Also, his problems were caused by apathy and classism, not generic human emotion. (Blaming human emotion in general sure lets the rich and powerful off the hook, right?) At the end of s1, Viktor wants Jayce to destroy the hex core, but then in s2 he's embracing it. Also at the start of s2 he claims he's moved beyond affection, but then later tells Jayce he left without explaining himself because he was clouded by emotion. Viktor was upset about the idea of using hextech as weapons but then willingly helps Ambessa's army. We also have Viktor claiming "that's not Jayce" and Jayce having some visible arcane corruption, but that never goes anywhere. I'm still genuinely not sure how the show wanted me to interpret his s2 thought processes.

So, how would I deal with this? By leaning way way harder into the Horrors of Ableism and the Medical Model of Disability.

Viktor wanted Jayce to destroy the hex core. Instead, Jayce uses it to save his life against his wishes. After that, Viktor's affect changes, he goes into the Undercity, and non-consensually transforms someone else. Other disabled and chronically ill people come to him willingly, but this is a world where even one of the most powerful people in Piltover can't get a fucking wheelchair ramp. A quick fix is appealing, even if it means giving up some of who you are. You've already been unpersoned by society, after all.

Hextech is something Viktor and Jayce created together, and it seems to respond to intent and emotions, so let's take it to extremes. That's not Viktor. That's hextech, influenced by both Jayce and Viktor, and it answered Jayce's desperation. The man of progress, the herald of tomorrow, wanted to save his friend. He wanted to fix what was broken. Here you go! I made him even better. Now while I'm at it, I'll fix everybody else too!

Have purple disability Jesus!Viktor be embodied hextech on a well-meaning rampage. Meanwhile, mindscape Viktor debates it while it's wearing Sky's face. He feels betrayed by Jayce and guilty about Sky, but also he did want to bring better things to the Undercity. Is this the best way to do it? Is the only way to play the abled world's game abandoning who you used to be? He's not sure, and he starts to waver/get weaker as Sky/hextech gets stronger with more followers in its hivemind.

Following my last post, as hextech!Viktor helps Jinx with her shimmer issues, maybe he also tries to 'fix' her psychosis. (Side note, it would have been nice to make it clear that AU-verse!Powder still has psychosis, so it's not so clearly associated with Jinx's villain era. I'm sure stress and trauma makes it worse, but still.) He's unsuccessful at this, or perhaps Jinx resists it, and this can be something he reflects on later at the end when Jayce talks about our imperfections being important and part of who we are/the world around us.

Anyway, hextech!Viktor wants access to the gate to make everybody perfect and fully intends to doublecross Ambessa and remake her too. For her own good, of course. Real Viktor is exhausted in the mindscape. His partner wants to kill him, hextech is out of control, and even the downtrodden people he 'helped' have been destroyed. Then Jayce gets dragged into the mindscape and the hextech goes look, you created me and I've expanded on your vision. I saved your partner, I brought about the era of magic, I've created the men of tomorrow. And as in canon, Jayce can go no, Viktor, I didn't save you because I wanted to fix you, I just wanted you to live, there's nothing wrong with you. You don't need a glorious evolution, we just need to help people be better at being who they already are. And that encourages Viktor to overpower the hex tech possessing him.

Then they can still collapse into a gay singularity if you want I guess. Personally I think it's kind of a bummer that dozens of disabled people got obliterated and everyone would've been better off if Viktor had lay down and died of Limp And Coughing Blood Disease from the start but ymmv. IDK what my better ending of 'Jayce and Viktor embrace the social model of disability' would look like but if everyone gets sent to Zaun maybe it would involve coming up with assistive tech like they originally envisioned. And maybe Viktor still will die of lung disease. But he can do it on his terms if so.

[alexanderwales]

The second chapter of Save the Cat! is about genre, titled "Give me the same thing ... only different!". The general principle is one that I strongly agree with, even if I don't always practice it in my writing: you must know how and why things work in fiction, you must be a student of the realms you're writing in, you must give your own twists on clichés if you think you might be writing them, and must be familiar with clichés so that you don't end up boring people. Study things that are like the thing you're trying to create. Analyze them, take them apart, understand how they work or don't work.

But then a lot of the chapter is taken up with Snyder's own system of ten genres, and when I was reading it I wanted to just stop him and say "hey, what the fuck, did you even watch that movie?"

Also I laughed for like five minutes at him putting Schindler's List in the "Dude with a Problem" genre, even though I agree that according to his typology it completely fits.

I'm a huge fan of making up arbitrary categories and then stuffing things into them. I don't think it's often very useful, no, but it's fun, and when you're done shoving things into boxes, you can pull them back out, find a new set of boxes, and repeat the process. I'm not going to repeat Snyder's categories here, but I think they kind of suck, and don't accurately reflect genre as we understand them, and the whole thing would have been better off is it was taking story archetypes and saying why they work and then what the usual deviations from them were.

Here are two examples that I take issue with, among others. First, by his accounting Planes, Trains, and Automobiles is a "Golden Fleece" movie, the kind of film centered around a hero's journey where what he ends up finding is, ultimately, himself, and every set piece along the way is important only in the way it relates to the hero's self-acceptance or whatever.

No. Wrong. Planes, Trains, and Automobiles is very very clearly a "Buddy Love" under this system. Look at this fucking image:

Could this DVD cover make this any more obvious? Literally all the promotional material is like this. It even says in the book that most "Buddy Love" movies start with the "buddies" disliking each other, and that their relationship is central to the movie. And if Snyder is getting this wrong, what else is he getting wrong about his own system?

Example two. I'm just going to quote it in full:

Now look at The Matrix and compare and contrast it with the Disney/Pixar hit Monsters, Inc. Yup. Same movie.

Fucking what do you mean.

Under this system of genres, Monsters, Inc. is very clearly another "Buddy Love" movie. There's a kid they have to deal with, but most of the movie is grounded in the relationship between Mike and Sulley. Like, what's the low point of the whole movie? They get banished to the Himalayas and then have a big fight! It's about their relationship to each other!

(I looked this up on the savethecat website and found an article claiming that it's an example of "Monster in the House", which is fucking stupid, because what's the monster and what's the house? Just does not apply. The child is takes the role of the "monster" for such a small amount of the movie, then they're looking after her and trying to return her home, and even before that it's not relatable as a monster to the audience. Blake Snyder didn't write the article, so maybe he had something different in mind.)

Meanwhile, The Matrix most closely falls into either "Dude with a Problem" (ordinary man thrust into extraordinary circumstances) or "Superhero" (extraordinary man in ordinary circumstances) and I would argue that it's actually neither of those because it's a goddamned hero's journey and those are their own thing and it makes no sense to try to split them into two parts because you don't get more explanatory power of what's working and what's not. His analysis of what he calls "Superhero" films also sucks for that reason and just totally misses the mark about what makes them tick.

So how are these the same movie? I don't know, it probably made sense to Blake Snyder. I have done my due diligence and searched for answers online, but haven't found much, just some weak ass defenses.

Also, I really hated that he says Chinatown and Who Framed Roger Rabbit? are basically the same movie because no shit. Who Framed Roger Rabbit? is a parody of noir, and was adapted from the script for a never-produced third film in what was supposed to be a Chinatown trilogy. But even then, I don't get how you can say they're the same movie without pointing out the strong "Buddy Love" through line in Roger Rabbit!

This whole chapter was a total miss for me. Decent advice at the start that I've been hearing and preaching for a long time, but this typology sucks and he doesn't even seem to understand it (or the movies he's putting in it) very well. And since the typology sucks, it's a bad lens for understanding the underlying rules of writing, of story structure, the components of story, etc.