#which in retrospect is not a good sign

[ithurielkeepsgettingkidnapped]

.

[rickybaby]

with all the recent news surrounding checo's performance clause with rbr, it got me wondering about Daniel's deal with McLaren. Did he also receive a similar contract clause from that team? like Ik that he was dropped without his prior knowledge but was he given options beforehand??

Daniel in fact had no such performance clause in his McLaren contract. He had an option to extend for 2023 that only he could trigger, which meant McLaren couldn't unilaterally decide to not extend him for 2023.

This was why Zak Brown went on his media tour criticising him and playing musical chair with his seat until he signed Piastri behind Daniel's back. They wanted Daniel to trigger that exit clause on his own so they wouldn't have to pay him out. In the end, Daniel left $18mil richer

[mostlysignssomeportents]

How to shatter the class solidarity of the ruling class

I'm touring my new, nationally bestselling novel The Bezzle! Catch me WEDNESDAY (Apr 11) at UCLA, then Chicago (Apr 17), Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

Audre Lorde counsels us that "The Master's Tools Will Never Dismantle the Master's House," while MLK said "the law cannot make a man love me, but it can restrain him from lynching me." Somewhere between replacing the system and using the system lies a pragmatic – if easily derailed – course.

Lorde is telling us that a rotten system can't be redeemed by using its own chosen reform mechanisms. King's telling us that unless we live, we can't fight – so anything within the system that makes it easier for your comrades to fight on can hasten the end of the system.

Take the problems of journalism. One old model of journalism funding involved wealthy newspaper families profiting handsomely by selling local appliance store owners the right to reach the townspeople who wanted to read sports-scores. These families expressed their patrician love of their town by peeling off some of those profits to pay reporters to sit through municipal council meetings or even travel overseas and get shot at.

In retrospect, this wasn't ever going to be a stable arrangement. It relied on both the inconstant generosity of newspaper barons and the absence of a superior way to show washing-machine ads to people who might want to buy washing machines. Neither of these were good long-term bets. Not only were newspaper barons easily distracted from their sense of patrician duty (especially when their own power was called into question), but there were lots of better ways to connect buyers and sellers lurking in potentia.

All of this was grossly exacerbated by tech monopolies. Tech barons aren't smarter or more evil than newspaper barons, but they have better tools, and so now they take 51 cents out of every ad dollar and 30 cents out of ever subscriber dollar and they refuse to deliver the news to users who explicitly requested it, unless the news company pays them a bribe to "boost" their posts:

https://www.eff.org/deeplinks/2023/04/saving-news-big-tech

The news is important, and people sign up to make, digest, and discuss the news for many non-economic reasons, which means that the news continues to struggle along, despite all the economic impediments and the vulture capitalists and tech monopolists who fight one another for which one will get to take the biggest bite out of the press. We've got outstanding nonprofit news outlets like Propublica, journalist-owned outlets like 404 Media, and crowdfunded reporters like Molly White (and winner-take-all outlets like the New York Times).

But as Hamilton Nolan points out, "that pot of money…is only large enough to produce a small fraction of the journalism that was being produced in past generations":

https://www.hamiltonnolan.com/p/what-will-replace-advertising-revenue

For Nolan, "public funding of journalism is the only way to fix this…If we accept that journalism is not just a business or a form of entertainment but a public good, then funding it with public money makes perfect sense":

https://www.hamiltonnolan.com/p/public-funding-of-journalism-is-the

Having grown up in Canada – under the CBC – and then lived for a quarter of my life in the UK – under the BBC – I am very enthusiastic about Nolan's solution. There are obvious problems with publicly funded journalism, like the politicization of news coverage:

https://www.theguardian.com/media/2023/jan/24/panel-approving-richard-sharp-as-bbc-chair-included-tory-party-donor

And the transformation of the funding into a cheap political football:

https://www.cbc.ca/news/politics/poilievre-defund-cbc-change-law-1.6810434

But the worst version of those problems is still better than the best version of the private-equity-funded model of news production.

But Nolan notes the emergence of a new form of hedge fund news, one that is awfully promising, and also terribly fraught: Hunterbrook Media, an investigative news outlet owned by short-sellers who pay journalists to research and publish damning reports on companies they hold a short position on:

https://hntrbrk.com/

For those of you who are blissfully distant from the machinations of the financial markets, "short selling" is a wager that a company's stock price will go down. A gambler who takes a short position on a company's stock can make a lot of money if the company stumbles or fails altogether (but if the company does well, the short can suffer literally unlimited losses).

Shorts have historically paid analysts to dig into companies and uncover the sins hidden on their balance-sheets, but as Matt Levine points out, journalists work for a fraction of the price of analysts and are at least as good at uncovering dirt as MBAs are:

https://www.bloomberg.com/opinion/articles/2024-04-02/a-hedge-fund-that-s-also-a-newspaper

What's more, shorts who discover dirt on a company still need to convince journalists to publicize their findings and trigger the sell-off that makes their short position pay off. Shorts who own a muckraking journalistic operation can skip this step: they are the journalists.

There's a way in which this is sheer genius. Well-funded shorts who don't care about the news per se can still be motivated into funding freely available, high-quality investigative journalism about corporate malfeasance (notoriously, one of the least attractive forms of journalism for advertisers). They can pay journalists top dollar – even bid against each other for the most talented journalists – and supply them with all the tools they need to ply their trade. A short won't ever try the kind of bullshit the owners of Vice pulled, paying themselves millions while their journalists lose access to Lexisnexis or the PACER database:

https://pluralistic.net/2024/02/24/anti-posse/#when-you-absolutely-positively-dont-give-a-solitary-single-fuck

The shorts whose journalists are best equipped stand to make the most money. What's not to like?

Well, the issue here is whether the ruling class's sense of solidarity is stronger than its greed. The wealthy have historically oscillated between real solidarity (think of the ultrawealthy lobbying to support bipartisan votes for tax cuts and bailouts) and "war of all against all" (as when wealthy colonizers dragged their countries into WWI after the supply of countries to steal ran out).

After all, the reason companies engage in the scams that shorts reveal is that they are profitable. "Behind every great fortune is a great crime," and that's just great. You don't win the game when you get into heaven, you win it when you get into the Forbes Rich List.

Take monopolies: investors like the upside of backing an upstart company that gobbles up some staid industry's margins – Amazon vs publishing, say, or Uber vs taxis. But while there's a lot of upside in that move, there's also a lot of risk: most companies that set out to "disrupt" an industry sink, taking their investors' capital down with them.

Contrast that with monopolies: backing a company that merges with its rivals and buys every small company that might someday grow large is a sure thing. Shriven of "wasteful competition," a company can lower quality, raise prices, capture its regulators, screw its workers and suppliers and laugh all the way to Davos. A big enough company can ignore the complaints of those workers, customers and regulators. They're not just too big to fail. They're not just too big to jail. They're too big to care:

https://pluralistic.net/2024/04/04/teach-me-how-to-shruggie/#kagi

Would-be monopolists are stuck in a high-stakes Prisoner's Dilemma. If they cooperate, they can screw over everyone else and get unimaginably rich. But if one party defects, they can raid the monopolist's margins, short its stock, and snitch to its regulators.

It's true that there's a clear incentive for hedge-fund managers to fund investigative journalism into other hedge-fund managers' portfolio companies. But it would be even more profitable for both of those hedgies to join forces and collude to screw the rest of us over. So long as they mistrust each other, we might see some benefit from that adversarial relationship. But the point of the 0.1% is that there aren't very many of them. The Aspen Institute can rent a hall that will hold an appreciable fraction of that crowd. They buy their private jets and bespoke suits and powdered rhino horn from the same exclusive sellers. Their kids go to the same elite schools. They know each other, and they have every opportunity to get drunk together at a charity ball or a society wedding and cook up a plan to join forces.

This is the problem at the core of "mechanism design" grounded in "rational self-interest." If you try to create a system where people do the right thing because they're selfish assholes, you normalize being a selfish asshole. Eventually, the selfish assholes form a cozy little League of Selfish Assholes and turn on the rest of us.

Appeals to morality don't work on unethical people, but appeals to immorality crowds out ethics. Take the ancient split between "free software" (software that is designed to maximize the freedom of the people who use it) and "open source software" (identical to free software, but promoted as a better way to make robust code through transparency and peer review).

Over the years, open source – an appeal to your own selfish need for better code – triumphed over free software, and its appeal to the ethics of a world of "software freedom." But it turns out that while the difference between "open" and "free" was once mere semantics, it's fully possible to decouple the two. Today, we have lots of "open source": you can see the code that Google, Microsoft, Apple and Facebook uses, and even contribute your labor to it for free. But you can't actually decide how the software you write works, because it all takes a loop through Google, Microsoft, Apple or Facebook's servers, and only those trillion-dollar tech monopolists have the software freedom to determine how those servers work:

https://pluralistic.net/2020/05/04/which-side-are-you-on/#tivoization-and-beyond

That's ruling class solidarity. The Big Tech firms have hidden a myriad of sins beneath their bafflegab and balance-sheets. These (as yet) undiscovered scams constitute a "bezzle," which JK Galbraith defined as "the magic interval when a confidence trickster knows he has the money he has appropriated but the victim does not yet understand that he has lost it."

The purpose of Hunterbrook is to discover and destroy bezzles, hastening the moment of realization that the wealth we all feel in a world of seemingly orderly technology is really an illusion. Hunterbrook certainly has its pick of bezzles to choose from, because we are living in a Golden Age of the Bezzle.

Which is why I titled my new novel The Bezzle. It's a tale of high-tech finance scams, starring my two-fisted forensic accountant Marty Hench, and in this volume, Hench is called upon to unwind a predatory prison-tech scam that victimizes the most vulnerable people in America – our army of prisoners – and their families:

https://us.macmillan.com/books/9781250865878/thebezzle

The scheme I fictionalize in The Bezzle is very real. Prison-tech monopolists like Securus and Viapath bribe prison officials to abolish calls, in-person visits, mail and parcels, then they supply prisoners with "free" tablets where they pay hugely inflated rates to receive mail, speak to their families, and access ebooks, distance education and other electronic media:

https://pluralistic.net/2024/04/02/captive-customers/#guillotine-watch

But a group of activists have cornered these high-tech predators, run them to ground and driven them to the brink of extinction, and they've done it using "the master's tools" – with appeals to regulators and the finance sector itself.

Writing for The Appeal, Dana Floberg and Morgan Duckett describe the campaign they waged with Worth Rises to bankrupt the prison-tech sector:

https://theappeal.org/securus-bankruptcy-prison-telecom-industry/

Here's the headline figure: Securus is $1.8 billion in debt, and it has eight months to find a financier or it will go bust. What's more, all the creditors it might reasonably approach have rejected its overtures, and its bonds have been downrated to junk status. It's a dead duck.

Even better is how this happened. Securus's debt problems started with its acquisition, a leveraged buyout by Platinum Equity, who borrowed heavily against the firm and then looted it with bogus "management fees" that meant that the debt continued to grow, despite Securus's $700m in annual revenue from America's prisoners. Platinum was just the last in a long line of PE companies that loaded up Securus with debt and merged it with its competitors, who were also mortgaged to make profits for other private equity funds.

For years, Securus and Platinum were able to service their debt and roll it over when it came due. But after Worth Rises got NYC to pass a law making jail calls free, creditors started to back away from Securus. It's one thing for Securus to charge $18 for a local call from a prison when it's splitting the money with the city jail system. But when that $18 needs to be paid by the city, they're going to demand much lower prices. To make things worse for Securus, prison reformers got similar laws passed in San Francisco and in Connecticut.

Securus tried to outrun its problems by gobbling up one of its major rivals, Icsolutions, but Worth Rises and its coalition convinced regulators at the FCC to block the merger. Securus abandoned the deal:

https://worthrises.org/blogpost/securusmerger

Then, Worth Rises targeted Platinum Equity, going after the pension funds and other investors whose capital Platinum used to keep Securus going. The massive negative press campaign led to eight-figure disinvestments:

https://www.latimes.com/business/story/2019-09-05/la-fi-tom-gores-securus-prison-phone-mass-incarceration

Now, Securus's debt became "distressed," trading at $0.47 on the dollar. A brief, covid-fueled reprieve gave Securus a temporary lifeline, as prisoners' families were barred from in-person visits and had to pay Securus's rates to talk to their incarcerated loved ones. But after lockdown, Securus's troubles picked up right where they left off.

They targeted Platinum's founder, Tom Gores, who papered over his bloody fortune by styling himself as a philanthropist and sports-team owner. After a campaign by Worth Rises and Color of Change, Gores was kicked off the Los Angeles County Museum of Art board. When Gores tried to flip Securus to a SPAC – the same scam Trump pulled with Truth Social – the negative publicity about Securus's unsound morals and financials killed the deal:

https://twitter.com/WorthRises/status/1578034977828384769

Meanwhile, more states and cities are making prisoners' communications free, further worsening Securus's finances:

https://pluralistic.net/2024/02/14/minnesota-nice/#shitty-technology-adoption-curve

Congress passed the Martha Wright-Reed Just and Reasonable Communications Act, giving the FCC the power to regulate the price of federal prisoners' communications. Securus's debt prices tumbled further:

https://www.govtrack.us/congress/bills/117/s1541

Securus's debts were coming due: it owes $1.3b in 2024, and hundreds of millions more in 2025. Platinum has promised a $400m cash infusion, but that didn't sway S&P Global, a bond-rating agency that re-rated Securus's bonds as "CCC" (compare with "AAA"). Moody's concurred. Now, Securus is stuck selling junk-bonds:

https://www.govtrack.us/congress/bills/117/s1541

The company's creditors have given Securus an eight-month runway to find a new lender before they force it into bankruptcy. The company's debt is trading at $0.08 on the dollar.

Securus's major competitor is Viapath (prison tech is a duopoly). Viapath is also debt-burdened and desperate, thanks to a parallel campaign by Worth Rises, and has tried all of Securus's tricks, and failed:

https://pestakeholder.org/news/american-securities-fails-to-sell-prison-telecom-company-viapath/

Viapath's debts are due next year, and if Securus tanks, no one in their right mind will give Viapath a dime. They're the walking dead.

Worth Rise's brilliant guerrilla warfare against prison-tech and its private equity backers are a master class in using the master's tools to dismantle the master's house. The finance sector isn't a friend of justice or working people, but sometimes it can be used tactically against financialization itself. To paraphrase MLK, "finance can't make a corporation love you, but it can stop a corporation from destroying you."

Yes, the ruling class finds solidarity at the most unexpected moments, and yes, it's easy for appeals to greed to institutionalize greediness. But whether it's funding unbezzling journalism through short selling, or freeing prisons by brandishing their cooked balance-sheets in the faces of bond-rating agencies, there's a lot of good we can do on the way to dismantling the system.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/04/08/money-talks/#bullshit-walks

Image: KMJ (modified) https://commons.wikimedia.org/wiki/File:Boerse_01_KMJ.jpg

CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/deed.en

[livwritesstuff]

for @steddie-week day 5 | exes to lovers

fully and completely inspired by @emchant3d's divorced dad's post [x] from a few weeks ago bc i did not once stop thinking abt it

tags: modern day, artist!eddie, finance guy!steve, steddie as rich gay divorcees, sort of an accidental parent trap situation

They were too young, Steve thinks in retrospect – married at twenty-three, their daughter born when they were twenty-five, and then divorced before his twenty-seventh birthday.

He gets to think retrospectively because in a few years it’ll be a full decade since the papers for that last bit got signed. Now, Steve is thirty-four and sweating his ass off in a red polo and crisp jeans, the stiflingly hot July sun beating down on him as he scans the perimeter of a crowded playground for a familiar head of curly brown hair – not his nine-year-old. He found Rosalind already, wreaking havoc on the jungle gym. No, he’s looking for his ex (-husband, technically, but Steve usually stops at ex; the -husband part just makes him sad these days).

It’s custody swap day, which is either his favorite or least favorite day of the week depending on who the swap is favoring.

Today it’s favoring him which is why he’s slowly making his way around the edge of a playground in Bushwick, keeping an eye out for his ex, Eddie.

“Steve,” he hears from somewhere behind him. Steve turns towards the sound and sees not that curly head of hair he’d expected. Eddie’s hair is completely buzzed (which, for the record, was not the case last week when Steve dropped Rozzy off with him) and he’s wearing a paint-splattered white t-shirt tucked into old jeans and all that combined is making it reeeally hard for Steve to pretend he’s not crushing hard on the guy he divorced eight years ago.

“Dude,” Steve started, eyeing Eddie’s hair (or lack thereof) as he made his way to the section of fence that Eddie was occupying, “What–”

“Yeah, yeah,” Eddie rolled his eyes, “Rozzy already hit me with all the good zingers so you’re too late.”

“No, I don’t –” Steve stopped, “It’s…not a bad look, just…you know. Why the change?”

Eddie looked away.

“Long story,” he replied as Steve remembered (yet again) that he doesn’t get full access to Eddie’s world the way he used to.

Luckily for Steve, Rozzy runs up to them and spares him from having to figure out a response for that.

“We should get pizza,” she says. Steve’s eyebrows fly up.

“We should get pizza?” he repeats.

“Please,” she adds, her eyes shining, “At Dad’s? And we play Mario Kart? Dad said I’m getting good at 200!”

“He said that?” Steve asked, and he glances over Rosalind's head to see that Eddie is making a so-so gesture with his hand.

He’s never been all that good at saying no to his daughter (or anyone), so it doesn’t take much more convincing on Rozzy’s part for the three of them to head off in the direction of Eddie’s loft, with a pitstop planned for the pizza shop down the block.

They actually have a nice time.

It’s true that Rozzy is getting better at 200cc – good might be a bit generous, but Steve’s fine with that (he doesn’t know if his ego could handle getting crushed by a fourth-grader).

Just as they’re finishing their second grand prix (the Star Cup, because Rozzy likes the dolphin race), one of the other kids in the building knocks on the door and invites Rozzy over for a sleepover, which Steve agrees to because he remembers the illicit kind of joy in a summertime Monday night sleepover.

Eddie doesn't show Steve the door after Rozzy's gone. Rather, he pulls a bottle of wine from the fridge – an expensive Sémillon he says was given to him by a client.

“So the art biz is still going well, I assume,” Steve comments as Eddie pulls two vintage wine glasses out of a cabinet and pours them each a healthy serving.

Conversation about work manages to sustain them through the first few glasses (Eddie actually remembered that it’s been just over a year since Steve left his dad’s Fortune 1000 for a CFO position at a marketing company that had just graduated from small to midsize status). They work through the second quarter of the bottle talking about Rozzy, and the third vanishes even quicker while Steve spills some of the latest Harrington family drama.

While Eddie is updating him on how Wayne is doing, Steve finds that he isn’t really listening, distracted in the way he can’t help but notice how Eddie’s paint-stained t-shirt is actually more like an undershirt, and a size too small for him, the torso and sleeves tight around lean muscle, and there’s a thin silver chain around his neck and a scruff of facial hair around his jaw, and –

Steve doesn’t immediately realize when Eddie stopped talking. When he does, when his eyes finally unstick themselves from the buzzcut and drop back down to Eddie’s, he sees that Eddie is staring at him too.

Eddie’s tongue darts out to wet his lip.

“Ask me again why I buzzed my hair,” he tells him.

“Why’d you buzz your hair,” Steve asks, because he’s obedient like that (and because he really does want to know).

“Steve–” Eddie stops, a giggly, wine-induced hiccup of a laugh slipping out before he shakes his head, “An entire can of paint tipped ov–” He cuts himself off with another half-hysterical laugh, barely managing to say, “Spilled on my head,” before he was completely doubled over, and Steve is laughing too because he can totally picture it and because he had a bit more wine than he planned to and this is honestly the first time that he and Eddie have hung out without their daughter in…Steve doesn’t even know how long.

“Steve,” Eddie says again when they finally both recover, and his tone is completely different this time around and there’s a vulnerability in his eyes that wasn’t there before and something is happening, something is happening, “Please don’t kill me for saying this, but…fuck, it’s really kinda pathetic how badly I still want it to be you and me.”

Steve thinks he tries to respond, but then he was too busy kissing Eddie to do anything else, too busy scraping fingernails over Eddie’s scalp, too busy choking back a moan as Eddie sucks his bottom lip into his mouth, too busy tugging Eddie’s shirt out of his waistband to shove a hand up underneath and finding that he’s built more solidly than Steve remembers from the last time they touched like this, but something is telling him that’s true about Eddie – true about himself too – in more ways than one.

And if Rosalind comes home the next morning ready to ask how she’s getting back to Daddy’s house only to find that he’s already there, stealing Dad’s mug out of his hand for a sip of coffee when his own is right there…that’s a conversation for another day.

part 2

[utilitycaster]

If I may, as we go into what appears to be the clear endgame for C3, I think the lessons to take from the ending of C2 within the fandom are:

Do not freak out about the possibility of the campaign ending sooner than you expected nor you personally wanted

Last minute twists are not impossible, but if your enjoyment rests on a sudden reversal in the final hour you are likely to be disappointed

Just because it happened in prior campaigns doesn't mean it will happen in this one

Don't count your chickens before they fail to hatch

There will probably be one shots if it's a serious enough plot hook that we can't get to

Disappointment and anger are fine but eventually you do need to get over it

For the record, I think the particularly unpleasant responses to the ending of Campaign 2 boil down to the fact that it wasn't nearly as clearly signaled (the formal announcement was like two weeks in advance and while in retrospect it makes sense, at the time it felt very abrupt); that despite two relationships being established and a third clearly on the way people had convinced themselves that there would be some kind of last minute twist and their anger is entirely because that didn't happen even though there was literally zero sign it would; the fact that Molly didn't come back; and the general atmosphere of the world in June 2021 - I watched the finale while on my first trip to see my family in over a year and a half. I also think the ship wars for C2 were as bitter as they were because of both the strength of the party's bonds; but also the echo chambers that developed during a lengthy hiatus; and Campaign 3 does not and never has had anywhere near that level of serious ship warring.

The structure of Campaign 3 has been different in many ways from that of Campaign 2, which was different from Campaign 1 - that's not to say you can't make comparisons across campaigns, but I would not make assumptions based on the length of prior campaigns (plus, we're already in the same ballpark of number of episodes as C1, and the same level going into the BBEG combat as C2).

If your happiness rests on any of the now three current couples in Bells Hells breaking up, you are a weirdly bitter person, and you are likely to be disappointed. On the other hand, if you're already annoyed that a plot thread will be dropped, while there's like...maybe three plot hooks I can think of and every single one is related to Chetney, who I think will only survive the finale if Travis is unable to find a satisfying way to kill him off, we've had some excellent one shots post-campaign for both Vox Machina and the Mighty Nein and I don't see why this would be any different.

And as always I will never tell you that you can't dislike something, though there are things that, if you dislike them, I will think less of your judgment. But stick to expressing disappointment and anger; if you find yourself wanting to write out violent threats on the internet, you need to back away for a good long while. But certainly wait to be disappointed by a campaign that's already ended, and not pre-mad at things that haven't happened (or failed to happen) yet.

[intermittent-showers]

Watching Lou's cameos and I think the fact that he shut them off is a huge tell for season 8.

I know there's been a huge campaign against this man, which is crazy because he didn't ruin anything. He simply answered a phone call and agreed to play a part offered to him. He put his all into this role too. He created his own backstory so he could step into the mindset of why Tommy might say something this way or why he might do this over that.

And like... that's normal? That's something all actors do. He didn't ruin the character or jeopardize the plot. His job is to BE that character, and clearly, he was given something to go off of to base Tommy's backstory on the one he's personally used thus far.

He has also been nothing but kind about Buddie. He knows what Buddie is (please note that Jennifer didn't even know on her live), and he's never said one negative thing about that ship. Does he yap? Yeah, but you can tell he appreciates his fans, and he's not used to all this attention. And yet he still did at least 70 cameos in a three month period.

And uh huh, sure, he's paid to do them but it's no different than a convention. People pay for pictures and autographs. They pay to have personal one on ones with their favorites, and cameo is no different.

But, back to my main point.

For an actor, such as Lou, cameo is an income. He's done a lot of guest roles on different shows and he's done s.w.a.t. for 7 seasons now (only in 1 to 2 episodes each season though beginning after season 1).

So, in retrospect, wouldn't he continue to ride this cameo thing out? For as long as possible? Money is money after all...

That's not what is happening here.

He stopped them, and I know the kindergarteners over at delulu twt daycare were celebrating and probably still are, but the most likely explanation is that Lou signed a pretty nice contract for 911. He no longer really needs the income from cameo because he has months of solid work ahead.

You don't do an interview with Oliver Stark on a nationally syndicated entertainment news program if you aren't sticking around... you just don't.

And there's also the entire saga of the "Lou blocked me" trend on twt. He's either just curating his social media for his mental health, or he's preparing for being more active, so he's removing the toxicity of stantwt. It's not a good sign for the Lou haters and I love that they're so unfocused that they don't even realize what is about to happen.

All this to say, I can't wait to see more Lou in season 8.

[sunshine-jesse]

Control: The Strange Dynamics of Andy and Leyley or

The Incest End Is Not The Fucking Bad End, Stop Coping

EDIT:

Hey guys! This post is blowing the fuck up, but this was my first essay on this game, and I think I've had many more insightful things to say since then. Here's a link to a masterpost with all of my essays, which I'd definitely suggest reading after this one:

Anyways, without further adieu...

I heard a lot about this game going in. I knew the general story beats and the funny haha incest memes. I knew it was about a toxic codependent relationship where Ashley, the sister, acted like your standard overly-controlling person who used various abuse techniques to keep someone in line. I expected Ashley to be a yandere-type character where she was borderline psychotic, irrational, and had a skewed perception of reality. I expected her to be a crazy bitch, and I love me some crazy bitches.

But then I actually played through the game. ...That is not what I got.

The game advertises Andrew as a doormat extraordinaire who is strung along by his Very Not Good sister and has no agency of his own' that he's just a henpecked abuse victim. But in practice, that doesn't seem to be the case. One of their first exchanges that in the story is when the occultist played his music and Ashley wanted them to check it out. He says 'no', sure, but then he smirks and says 'but I'll come along if you do.'

That is not the dialogue of someone who has no will of their own, that's the dialogue of someone who willingly gives up their own agency.

This is not, on its own, a sign of anything out of the ordinary. What caught my attention with it, though, is how it flew in the face of the common narrative surrounding their relationship dynamic. But that's not the first time I noticed it, it's just the first time, in retrospect, that their actual dynamic begins to show. The first time I personally noticed it is in the choking scene.

There are a lot of ways to view this situation. But my own reading? This was not a crime of passion. This was not him trying to break free. This is him doing something he's thought about for a while. This is premeditated. In this scene, Andrew is done playing along with Ashley's shit. In this scene, I firmly believe Ashley is the victim.

Ashley is the more openly abusive of the two who seeks to do whatever she can to trap Andrew so he'll never leave her. That much is clear. But Andrew-

-clearly has these same tendencies. He says this shortly after Ashley mentions putting her name up on a call girl's wall for money. There's protective brotherly instincts, and then there's this. This is not something you'd threaten a sister with, this is something that a man would threaten his wife with, which is directly brought attention to in the story.

(hey look he accepts the framing of it being WIFE beating at face value, and says Ashley is the only one who makes him like that! HMMMMMMMMMM WONDER WHAT THAT IMPLIES???)

It also implies that this is not the first time physical force has been threatened! I mean, that much is obvious, because of the choking scene that happened before, but I more mean that this implies that Andrew either threatening or utilizing physical force is an established pattern of behavior. However, the Decay route implies that she never thought Andy would kill her (but Andrew would) which can either be for or against depending on one's perspective, so I don't hold to the idea that it's an established pattern too strongly.

Okay, so. Andrew has some controlling and possessive tendencies too. So what? Their relationship is codependent. It's advertised as such. What of it?

Well first of all, it pretty much blows the lid off of the idea that Ashley is the sole perpetrator of abuse in their relationship. I've seen a lot of people view Andrew's behavior as justified retaliation against abuse, but frankly, I don't believe that him threatening to strangle Ashley for violating boundaries by trying to hold him accountable for his actions (given the strangulation part happens after she brought up Nina's death and how Andrew was ultimately responsible) is justified. And I ESPECIALLY don't believe that him threatening to backhand Ashley for her transactional attitude towards sex is justified in ANY circumstance.

EDIT: This part was edited in from the original post for the sake of readability so they don't have to see the reblogs to see the updated version! This post gained more traction than I was expecting!

…But perhaps even more telling is what she DOESN'T do.

Pushing someone's boundaries until they lash out is a pretty common tactic in abusive relationships. It's easy to see why, too: It justifies prior behavior and paints them in a negative light to others. This can be an important aspect of using DARVO (deny, attack, and reverse victim and offender) against someone, although the two ideas aren't necessarily linked.

It's pretty easy to argue that this is what Ashley does, but if you look at the one time her boundary pushing DID go too far, when Andrew lashes out with physical violence… she doesn't do that. She doesn't blame him. She doesn't paint herself as the victim. She doesn't even try to give a reason as to why she shouldn't be killed outside of the comfort she gives him. Why is this notable?

Because the mom does, in fact, engage in what could be considered DARVO against Ashley:

(i will elaborate more on this screenshot in particular below)

Ashley is directly compared to Mrs. Graves by Andrew, and yet she crucially displays none of the habits that Mrs. Graves does. Mrs. Graves lays the blame on Ashley, but Ashley doesn't lay the blame on Andrew. Mrs. Graves tends to paint herself as the victim of Ashley, but Ashley does no such thing to Andrew. The mom denies her culpability at every turn; Ashley doesn't. Ashley tries to hold Andrew accountable for his role in Nina's death, which could be considered a kind of DARVO. But she never denies that she had a role to play in it. She just mentions that he was the one who pulled the trigger. And he was.

(and the point was more that she DIDN'T engage in it when threatened with physical violence; the perfect chance to)

In Mrs. Graves' mind, she is the victim of either Ashley, or society as a whole. In Ashley's mind, she knows what she is, what she does, and what she's about. The only thing she's oblivious to- or doesn't acknowledge, at least- is the threat Andrew poses to her. In her mind, she's the bad guy. In Andrew's mind, Ashley is the bad guy. In official art, she is the bad guy:

And yet, in the game itself, Andrew is the one holding the cleaver. Not her. Hm.

Ashley is the world's most convenient scapegoat. She allows people to mask their own worst habits and pretend they're better people than they are. She accepts this role. She embraces it. She doesn't try to deny it. But when that mask slips, people lash out at her. Both Mrs. Graves and Andy (NOT Andrew, crucially) predicate much of their self-perception on being what she's not.

But they're the ones who enabled her to become like this, every step of the way.

And that's what blew my fucking mind, and made me question just who the victim really is. She was never given a chance to be normal, because other people relied on her NOT being normal.

By the end of my second playthrough, I felt worse for Ashley than I did for Andrew, and I still do.

So. What am I getting at? What does this show me about the relationship between Ashley and Andrew?

(I also wanted to point out that Andrew does engage in DARVO too but I didn't want to distract from the behavior of the mother. Unlike what Andrew does, it doesn't require someone to reassess the narrative they have towards the game in order to realize the implications of it, whereas it's pretty easy to justify Andrew's words as not qualifying as DARVO if you buy into the narrative that he's the sole victim and/or that Ashley is the main perpetrator of abuse. A friend of mine pointed out that it's a pretty key part of the push/pull dynamic they have, and I completely agree.

However, the direct comparisons to the behavior of the mother can't be ignored no matter your narrative, so I felt as if I needed to highlight that more.)

EDIT OVER

It shows me that their relationship is all about control.

Specifically, the push and pull of who controls who in any given situation.

Andrew weaponizes his incompetence. He always looks to lay the blame on Ashley. This is drawn attention to several times, and said explicitly in the Decay route.

He is always surrendering control to her, and yet he never HAS to. He could always just say no. He could always refuse. What are the consequences? Her being upset? Well, unfortunately, it's not that easy. That's not how abuse dynamics work. He probably feels like he has to, or rather, feels like there's no other option. That he's in too deep, and stuck with her no matter what. But personally, I think it's pretty clear from his willingness to surrender control to Ashley that he still feels like he has it at points, because the moment he feels like he's about to lose it, he either considers violence, even as a child-

(the actual scene of slicing her finger is pretty sus too with this reading in mind)

-or resorts to it, outright, in both the choking scene and the vision in the Decay ending... when Ashley doesn't have enough bullets to defend herself (this will be important later!).

SO WHAT POINT AM I TRYING TO MAKE??? AM I JUST MAKING ABUSE APOLOGIA (the answer may surprise you)?

No. I don't think so.

Ashley is obviously very bad. She's controlling and uses pretty textbook abuse and entrapment tactics on Andrew whereas everything he does to her is inference, with Ashley too daft to realize just how much danger she's in until the vision in the Decay ending spells it out for her- and I don't know if a true abuse dynamic allows for one to be completely unaware of the consequences of breaking free. She could just let go of her desire for control and Andrew would be a much happier person.

And that's the point, because so would she.

I bring up control because that push and pull- that desire for control over each other- is exactly what's tearing their relationship apart, and this effect most obviously manifests in the two endings of episode 2. In the Decay ending, Ashley either tries to exert control over Andrew due to a lack of trust, or Andrew allows his feelings of entrapment to truly take root in his mind and guide his actions. In the Decay ending, Andrew becomes a true doormat with no will of his own, allowing his feelings of bitterness and resentment to fester and grow, eventually resulting in their deaths.

In the Burial ending, Andrew does the exact opposite. He takes control of the situation and does exactly what Ashley would do without much of a fuss. This eventually culminates in THAT scene (assuming you take the Questionable route), where his facial expression alone speaks volumes:

Look at how fucking confident this man is. This is not the face of someone who's unsure of himself; this is the face of someone who knows exactly what he wants and takes it. He is absolutely in control of this situation, and everyone is happier for it.

And what does Ashley have to do to get this ending?

Let's go back to Decay for a moment. If Ashley has bullets in her gun, she has control over the situation. She, at any point, could put an end to Andrew and survive. And yet, at the very end of it all, she could choose not to. She could choose to surrender control to Andrew, allowing herself to die. And that ending, I believe so much of his life and willpower will have decayed that there's nothing left for him to take control of, leaving him no choice- or rather, no use for the control he now has- but to die with her.

And in the Burial ending, she has to let him out of his cage before it's too late. She has to surrender control to him, and when she does-

-He will become everything she ever needed him to be.

It's all about her surrendering control, and it's all about him taking control. Because, no matter what, as long as that happens... the two of them will be together forever.

In life...

...or in death.

How romantic.

So no, the incest end is not the fucking bad end. They're going to be together forever in the end either way, so they might as well live through it.

[absolutebl]

We've had recent disappointments with the endings to series. For me, Last Twilight, Only Friends, and 23.5 stand out. While I loved the Sign to the end, there was that unexplained Tharn getting his freedom from Chalothorn, which made the very ending not quite perfect. And while I loved Century of Love all the way through, I know some folks were disappointed at the ending.

What are some QLs that you consider to have really strong endings?

OOOO what a great question!

10 BLs With the Strongest Endings

Some BLs had better endings than the rest of the show deserved, and some were saved by the ending, while still others built up to a good ending throughout. So I suspect it kinda depends on ones definition of strong. But here are mine (you'll never guess what's at the top? but...) it's in no particular order

Seven Days - no but ACTUALLY think about it. That ending is truly phenomenal. It ties everything together, gives hope for their relationship without being cheesy AND is crazy romantic, plus it brings the narrative full circle. That ending shot, the direction, the plot, the characters, and the story ALL tied in a neat little bow. It ends by indicating that something is starting for them, something familiar it's just now they are together. Fabulous.

Light On Me - on the beach, the whole friendship group, the kiss that mirrors their couple habit of cheek squiging? Peak YA BL. It reminded me of Make it Right, and that's no bad thing... for me.

Our Dating Sim - domestic boyfriends and then the pan over to all their couple photos. So exactly them.

To My Star - yeah, the sex scene, but remember this was when we finally realized that JiWoo not only liked him all along but actually desired him all along. The tsundere character breaking open for us to see the soft underbelly. Suddenly, all of his behavior made sense in retrospect. They used the final ultra romantic sex scene as a CHARACTER REVEAL. Fucking genius.

Semantic Error - the BOYFRIENDS of it all, the harken back to both the anime and the manga (with that spank bank file), the teasing and then the breaking of the forth wall. It was multiple cheeky punches out to the audience in a tiny stinger of a scene. Not to mention it had a kind of BL "ending fairy" thing that connected to them both being idols. Perfectly executed.

Love For Love's Sake - back in beach territory but wow. I mean this show starts with an ending. And it takes a lot for me to believe in the happiness of a parable about death and self worth. They managed it with this show. But that ending was killer.

My Beautiful Man - the ending made me reassess everything about the show, the story, and the characters. The ending made me love the show. It changed my mind. It BLEW my mind. I might have kinda lost my mind. In real time.

Unknown - there were struggles with this show and not everyone enjoyed the ending but I totally flipping loved it. FINALLY. You can't tell me that "you don't even know what I dream of" line doens't live in your head rent free.

Unintentional Love Story - not the ending scene so much as the whole final episode, it's so good. It brings the story together, we get multiple big realizations, sad baby, learning that baby was abused too, defending baby, baby defending himself. RINGS!

The Eighth Sense - so much peak boyfriend after so much angst. The casual language play and teasing, the stealing of the drink, just everything, and also how very very college it all is.

10 Others I just LOVE

Be Loved In House: I Do - ultra pasteurized cheese fest

Laws of Attraction - THE CAPED WEDDING OUTFITS

About Youth - rainbow kiss cheese fest

Long Time No See - BLOOD COVERED KISSES

Restart After Come Back Home - the pan around lens flare kiss and everything it MEANS

Bad Buddy - It was so CLEVER

DNA Says Love You - the claiming and then the tussle at the cafe? Gorgeous. Adorable. No notes.

Oh! Boarding House - a family gathering while the dads are holding hands behind the couch, adorable

Where Your Eyes Linger - that damn glow up

Tinted With You - perhaps... poly?

Wow... so few Thai BL. I guess this is Korea's strength in the BL sphere? Also more Japan than I expected and outsized rep for Taiwan. (I actually could have stuck a few more from Taiwan on here but they just get SO CHEESY.)

(source)

dated mid August 2024, not responsible for great endings after that date

[astronicht]

Oh I love how in the film Legolas (or is it Aragorn?) says “a red dawn; blood has been spilled this night” BUT in the book Legolas says “It is a red dawn. Stranger things await us by the eaves of the forest. Good or evil, I do not know; but we are called.”

“Good or evil I do not know” being the important part, where Legolas is simply indicating that the sign he’s reading in the sky means “strange stuff is coming”, which jives with the early medieval take on Weird Color or Lights in Sky, more so than the (beloved) film version. If this were Early Modern fantasy story ppl could freak out about comets as signs of evil and also burn some witches — including that guy back in the Shire with the mushrooms, in retrospect he was totally supposed to be a wise-man wasn’t he — but even in the Anglo-Saxon Chronicle, a light in the sky might indicate a cataclysm, but that was just bc it indicated a change. Comets indicated change. Weird horizon glow indicated change. I have no idea what the fuck the reported double-moon indicated aside from years off my own life whenever I think about it.

(The modern phrase is “red sky at night: sailors delight / red sky in the morning: sailors take warning.” A weather thing, I’ve always assumed??.)

[jojotichakorn]

so, in the midst of me constantly thinking about and analysing phum, i didn't write that much meta on peem or really think about his reasoning too much. for a long while, i dismissed his slightly erratic behaviour as a response to phumpeem's initial meeting and how their relationship has been set up because of it, but this episode solidified the fact that that's not it.

instead, for whatever reason, peem is insecure.

the most damning piece of evidence for this, i think, does not involve phum at all (and that is exactly the reason why it's such good evidence). though the majority of this post will still be about phumpeem lmao.

so, when peem claims that there is nothing going on between him and phum, kluen says that means he still has a chance, which gives us this confused face:

nothing in the world could produce this reaction in these circumstances, aside from insecurity. kluen isn't phum. he and peem don't have any bizarre backstory together, and he is very direct about his romantic pursuit. he explicitly said he came to the camp to hit on peem in front of all his friends and he reiterated the sentiment by saying what he did in this scene. the only kind of person who would need a clarification, when things are laid out that clearly is a person who is insecure and therefore has a hard time being sure about the fact that someone likes them and/or is actively trying to hit on them.

now, onto the star of the show: phumpeem! what do we know about peem's pov of their relationship at this point? 1) he has fully admitted that he likes phum, to the point of literally calling himself out on even trying to deny it. 2) he is happy about the fact that he likes phum. we are leagues away from the possibility that he has any issues with phum or the fact that he has a crush on him, which we have so much proof of, whether it be him actively enjoying the fact that phum is trying to get his attention, him looking at phum as if he hung the moon and calling him prince charming, him literally giggling and kicking his feet at that memory the next day, him instantly forgiving phum because he genuinely trusts him and thinks he is a good person, even if he makes mistakes sometimes, or any of the other clear signs that he is enjoying what's going on between them, both in the moment and in retrospective.

and now, let's take a look at all the moments from today's episode through the lens of peem's insecurity in himself and security in his feelings / phum:

him acting a little weird and distant after hugging phum the whole night, very reminiscent of the way he acted the day after their first kiss. both times after moments when peem made the first move.

him acting genuinely confused about phum's behaviour towards kluen, despite getting a fairly clear confirmation that phum is jealous when he literally bribed a child to get peem away from kluen. this is definitely not a "what a weirdo" face, this is a "wait, what's going on here?" face. he does not get it.

him claiming there is nothing going on between phum and him, despite clearly wanting that something and being in the depths of the talking stage, which is definitely a real relationship stage to him, as that was how he described chain and toey to q.

him looking a little heartbroken, when phum says he wants to call off the deal, as if that would actually mean that they stop spending time together.

him confirming that that is indeed his fear, when he literally looks terrified at the prospect and fully asks to continue being phum's "slave".

him not being able to admit why he kept the flowers

or making up a lie about not having finished the painting, even though he definitely has, because he literally said so to his aunt.

and him answering a question with a question, needing to hear the fact that phum likes him directly first, before he confesses back. which, in all this context, just doesn't read as stubbornness.

all of this makes sense, if you consider the fact that peem is insecure and is afraid of reading into other people, when what he's trying to glean is their opinion of him specifically.

one big thing that he constantly repeats (this moment is far from the only time he says that in this episode alone) is asking phum to tell him what he thinks directly. mind you, unlike phum, who is just constantly deeply confused about everyone and can't take implications for shit, peem is actually absolutely incredible at understanding what other people's feelings are, even when they don't tell him directly, as long as the feelings in question aren't about peem.

he also manages those small bursts of confidence, like kissing phum first or reaching out to him, but they are not long-lasting and are often followed by bursts of denial and shyness, which is extremely common for someone who is insecure but also impressively brave.

and here is your key to pre-relationship phumpeem and the reason why we are on episode 10 and they are still not dating. insecure x insecure can be hard at times. they both need the other to outright state their feelings, and that is just not easy for either of them. but they are getting there. together 🫶

[icejjfishesz]

001. ༺...OR JUST LOOK LIKE ONE༻∘

summary: after getting unexpectedly left by your roommate, you find yourself in need of a replacement.

contents: reader is down bad. paige in a situationship. kinda angsty.

previous. next. masterlist.

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

the apartment is a lot quieter without tina. she made a lot of noise. you could still vaguely hear her terrible singing as she’d shower, cook, or clean; how she’d wake up early in the morning to make elbarote breakfasts that caused pots and pans to fall…very often; and the fact that she’d watch anything on her phone at max volume. 

in retrospect, she was kind of annoying.

but she was nice and you lived with her for almost a year. you’d gotten so used to her. 

but now, it’s quiet. and the only thoughts you had were thoughts of not being able to afford rent next month. luckily, sean, your best friend knows basically everyone on campus and kindly agreed to ask around for you.

you’re in your car after stopping to get fast food. you shove a few fries in your month as sean shuffles through his phone to show his instagram conversation with a potential roommate for you.

“okay, so…” sean shoves his phone in your face. “this…is ellie. she’s looking for a roommate and –– ”

“i slept with her…” you mumble after seeing the username. “didn’t end so well…”

“damn…okay, next.” he swipes through his phone again. “okay…this is emily. she’s a straight a student and wants to know if you’re okay with pets?”

you hum. “what kind of pet?”

“um…let’s see.” he shuffles through the text conversation and chuckles. “oh, a twelve inch snake?”

“no thank you…”

“aw, really? it’s kinda cute actually…”

“nope.”

“okay, next candidate.” he takes a big bite of his burger, chews for a while then takes a sip of his drink before he slides through his phone again. “alright, we have paige…it seems like she’s coming from a similar situation to you. roommate kicked her out after getting married at 19…yikes.”

you peer over at his phone. “give her my number…”

“already trying to sleep with her too?” sean snorts and you roll your eyes. 

“so that i can text her about the place, idiot.” 

“oh, yeah…” he taps on his phone a few more times and then you feel your phone vibrate.

FROM: PAIGE

hi

i got ur number from sean

you’re looking for a roommate?

TO: PAIGE

yes!! 

just have a few questions first

FROM: PAIGE

like what?

TO: PAIGE

do u smoke?

or own a ten inch snake?

and do u wash ur dishes?

FROM: PAIGE

nope

no??

yes

TO: PAIGE

*address*

are you able to come over tomorrow?

FROM: PAIGE

yes

what time?

TO: PAIGE

whatever works

FROM: PAIGE

i’ll come over around 12:30 then?

you smile at sean, relaxing for the first time since tina moved out. “thank you so much, sean. seriously.”

“hey, i would’ve let you stay with me but i live in a tiny ass dorm so…” he chuckles. “besides, if you became homeless, where am i supposed to go when my roommate need the room to fuck his boyfriend?”

you snicker. “good point. is it really that bad, though?”

“they’re like feral rabbits…” he mutters.

the next day, you hear a knock at the door at 12:27. she’s punctual, that’s a good sign. you open the door, breath catching in your throat when you see her. she smiled at you and you died a little. 

damn, why didn’t sean tell you that she looked like that?

she’s tall, definitely athletic by build, pretty eyes, and a warm smile. you’re fucked.

“hey, i’m paige.” she holds her hand out for you to shake and you have to physically refrain from shuddering. hello, paige. her voice…welcoming and warm, you hand to clear your throat to stop yourself from screaming.

it’s a great terrible idea to fuck your roomate. you remind yourself over and over again as  you take her hand, tell her your name which she already knew, and invite her into your apartment.

“nice place…” she steps inside cautiously. 

“thanks.” you stop yourself from checking her out any longer, not wanting to be creepy. stop being fucking creepy.

she looks around, you’d just finished cleaning. 

“so you’re an athlete?” you clear your throat, trying to politely strike up conversation.

“yeah, basketball.”

you internally groan at the slight smile she gives you when she answers your question.

“that’s –– ” hot. “cool.” 

she nods, turning to face you. “so is there anything i should know before i agree to move in?”

“oh…well, my best friend sean comes over sometimes. he sleeps on the couch occasionally but he’s really clean and respectful.” she nods, not looking bothered by that information. “and, um…i’m gay if that sort of thing bothers you…”

she snickers, shaking her head to herself. “doesn’t bother me at all…”

“oh? are you…?” “yeah.”

damnit. she looks like that and she likes girls? you’re so fucked.

“what about you?”

“what about me?” she licks her lips.

“anything i should know about you before i give you the key.”

“well, i’m kind of in…a relationship. kind of, not really.” fuck, that sounds complicated. too complicated. “it’s…i dunno…but, uh, she might come over if that’s okay?”

you swallow thickly, yes that sucks goodbye!!  “no, i get it…no problem as long as you pay your rent on time.” you die a little on the inside again.

she smiles again, it’s painfully beautiful. “i can definitely do that.”

you hand her the key and clear your throat again. “alright, roomie.”

[firestorm09890]

stray canto vii part 1 thoughts (warning: long)

so many cool new designs!! it made me realize how few of interest we got in Canto VI. Then almost everything was pretty standard (classic maid and butler outfits, lots of suits, Cathy had a fancy dress at least? and everything was brown. yes I know, T Corp color drain, but still. and Öufi came before season 3 ended so that didn’t count), but this time we have Camille, the P Corp guys, Fanghunt Office, Hugo I guess, Hong Lu’s sister, the firefist guy? if he counts? he barely appeared, Sansón, and all the fancy dressed up bloodfiends. woo babey!!

speaking of Jia Xichun, I like her! She’s cute! I didn’t expect to see anyone related to Hong Lu, but in retrospect I probably should’ve, since his turn is next and his family is massive. I hope nothing bad happens to her. I've never read Dream of the Red Chamber

also speaking of Hugo, lol. lmao. when he was talking about pressing the button to get the reward I was like “oh hopkins 2, got it” and then Ryōshū sliced off his hands so I guess… not hopkins 2

ALSO the blonde Fanghunt guy is named Romero, which is apparently the name of a character in Vampire: The Masquerade. I wouldn’t be surprised if it was an intentional reference

Sinclair cursing that one guy out was so awesome. I remember when Canto V part 2 came out and he censored himself saying “Bitch Brother” people were worried that the new translators were making him softer than he actually was, but, nah, he tries his best to be a polite boy but when he’s actually genuinely pissed off he does not hold back. Ryōshū correcting him BUT THEN SAYING HIS INTERPRETATION WAS GOOD absolutely killed me. my son demands respect

it’s a good day to be a Leviathan fan

The scripted loss encounter was so cool. They set you to level 45 no matter what level your LCB Don is, and take away all your EGO except the base (which you can’t even use), and I don’t know how far you can actually get in this fight because I flipped tails every single time and lost every clash

let’s talk about the Barber! leave it to Project Moon to look at the character who didn’t have very much of a personality who stuck around with the priest and attempted multiple plans to bring Don Quixote back home so he could become sane again (and burned a bunch of Quixote’s chivalry books, also with the priest), and turned him into an insane vampire woman with big scissors and a shrill cackle who stitches masks onto people’s faces.

interesting choice to have Sancho and Dulcinea both named in a single line and then not acknowledged or mentioned again

Sansón! so based on his story log portrait background being bisexual, the blue name, and him resembling someone in Demian’s group in the Limbus Company PV, I feel confident saying he’s part of Demian’s Group. The spot where his Sign would be is covered by his mask, though, so no one in-universe knows

I think this is why Sinclair was cast in the role of the Knight of the White Moon: he also has the sign, which Sansón (who is the Knight of the White Moon) would be able to see, and even if other sinners have it too, they’re not Demian’s special guy. everyone else, though, seemed to be cast in the most humiliating role possible: horse to be ridden for Gregor, wild animal for Heathcliff, random peasant for Rodya, presumably homeless old person for Outis

ok Sansón. in the book, he’s a young college student who read the first part of Don Quixote and, in part 2, approaches Quixote saying he’s a big fan and encouraging him to go back out and do more knight stuff. However, he actually just thinks Don Quixote’s antics are very amusing and isn’t actually an earnest supporter, and is conspiring with the barber and priest to get Quixote back home to stay. the way they (priest and barber try to bring him home in part 1 is by tricking him with an adventure that’s conveniently in the same direction as their home village, but then they get sidetracked in an inn for a long time so they just put him in a cage and drive him home. in part 2, they want to play on Quixote’s terms for a more effective result. near the beginning of the second part, they have Sansón dress as a knight (called the Knight of Mirrors/Knight of the Forest. these titles have no significance in the book but apparently the mirror thing forces Quixote to see himself as the frail old man he is in Man of La Mancha), say his lady is fairer than Dulcinea to get Don Quixote to duel him, and then make Quixote promise to stay home for a year when he loses. however, Sansón is the one who loses, because he wasn’t expecting Quixote to actually be good at jousting. Later, near the very end, which iirc is 3 months after the first encounter, another knight called the Knight of the White Moon issues the exact same challenge to Don Quixote (it’s just Sansón again, and "White Moon" has no significance in the original book either), but this time Sansón wins, so Don Quixote goes home, dejected, and then becomes “sane” again and dies.

Since this Sansón is part of Demian’s group, I don’t think his intentions will be the same- the Barber was a bloodfiend, and he sees beyond the ambitions of the bloodfiends now- but it’s fun to know how he is in the source nonetheless

I really like how he didn’t show up after the Barber’s defeat to say something cryptic and then leave, he told us quite a bit, and though his methods were… questionable, he DID force the sinners to actually finally pay attention to Don Quixote

speaking of the stage play, I like the juxtaposition between Sansón’s play and the Barber’s. in a different context, what Sansón did might’ve been framed as horrifying, and we’d be talking about how uncanny and unreal this is, but I don’t think that’s the intention here. the sinners might be playing roles, and all the enemies are cardboard cutouts, but it’s better than putting targets on real people (though I guess they’re not “people”, they’re bad, bad, bloodfiends). the cheerful music in La Manchaland is distorted and out of place, while the stage play is nice in comparison. the music for the talking sections is a bit too upbeat for the situation, but the music during the battles really immerses you. guitar! trumpet! maraca! this music is clearly composed to emulate spanish music, and it’s very earnest, which I think is important, with how easily music sets tone in media.

in both cases, Don Quixote is in a delusion. nothing in the stage play of her adventures is real, but she’s also completely wrapped up in the narrative of evil bloodfiends without the knowledge that she is one. a violent nightmare and a peaceful dream, both of which she needs to wake up from.

they both do this thing with black-and-white thinking, too. there’s a difference between the “good” bloodfiends, which you should get along with, and the “bad” ones, which you need to kill (though Don sees them both as bad), and then the bandits in the stage play are cartoonishly evil and love to bully the weak. except it seems the first is the narrative the Barber wanted to sell, while the second is Don Quixote’s reality… I mean, the play is definitely inaccurate, but we’ve seen how Don behaves

if you follow me for kingdom hearts and are for some reason reading this you know how much I love Nobodies in kh. people who used to be human, but aren’t anymore, who look close enough but are different on an intrinsic and physiological level, that everyone automatically treats as unreasonable monsters that need to die when they’re more complicated than that… I love it so much, I’m cheering and clapping whenever bloodfiend morality is brought up. Moses said that Larierre was cordial and offered her a place to sit and talk, but then also said bloodfiends are insatiably hungry and you shouldn’t underestimate them. agh I love it

also THE MUSIIIIIC every fight theme so far has been a banger. songs that were already good but with typical carnival instruments, big brass swing, the aforementioned nice spanish music, and the fucked up and evil sequel to dubstep electroswing featuring evil laughter

and finally, the helm of mambrino. in early part 1 of Don Quixote, he sees a barber (COMPLETELY unrelated barber to the other barber btw) carrying a basin on his head, and thinks it’s the amazing mystical Helm of Mambrino, so he attacks the barber and steals the basin. Don Quixote wears it as a helmet a few times and everyone thinks it looks really stupid. they did not fight a bear for it, nor did they go into a cave. idk what this might actually be in the City. either we’ll see or we won’t

[itsactuallycorrine]

inertia

buddie; 1K words; feelizings realizations; s08e06 spec

If Buck still had his math superpowers, he’s sure he could’ve told everyone how statistically unlikely it is for them to be on a second call where a kid fell down a well.

Even without the powers, he has an inkling: really, really, really fucking unlikely.

And yet here they are, staring at another kid stuck in a pipe, and icy cold dread ties Buck’s stomach into knots the minute Eddie opens his mouth.

Bobby says something about Eddie not fitting, and while Eddie, Bobby, and Chim are brainstorming solutions, Buck knows he needs to get his head back in the game, needs to be here, in the moment, doing his job.

Instead, his mind is cast over four years back, his eyes watch the sky for signs of a storm, his ears ring with the memory of a deafening crack, and his heart beats desperately against the cage of his ribs, pounding and pounding like it’s looking for an escape, any way out. 

“You good?” Hen murmurs to him, sliding him a solicitous glance and nudging her arm into his. 

Mouth dry, he nods. “Why wouldn’t I be?” he manages, and it convinces neither of them. 

Hen doesn’t call him out on it, though, just raises one brow. “He’s not going back down—he’s all right. No cut lines today.”

Buck’s still nodding, doesn’t know if he’ll be able to stop. An object in motion and all that, Newton’s first law, he vaguely remembers from one of Christopher’s science assignments last year. “Yeah, yeah,” he says. “I know.” Nodding, nodding. 

She frowns, brows drawn low in concern, before a small smile pulls at her lips. “That was the first time I suspected, you know,” she says, quiet and teasing, and it’s so unexpected, he’s finally able to force his head to stop, to tilt it her way instead.

“Suspected what?”

“That maybe you weren’t as straight as we all assumed.”

It’s even more unexpected. He gapes at her. “What? Why?”

That skeptical brow goes up again. “Really?” she asks, bone dry. “You can’t think of any reason why someone might have seen you that night and suspected that maybe, just maybe, you felt a little more than friendship for your coworker?” When he stares at her, lost, she softens, grasping his arm as if to steady him for the next blow. “Buck, you were wailing and clawing at the ground like you’d just lost the love of your life.” 

Her words strum at something, buried deep down inside him, and its sonorous echoes bounce within the boundaries of his skin, making his head ring. He inhales sharply through his nose, casting his gaze away, from her, from the team, from the call. It’s not like he doesn’t remember that, remember Bobby bodily hauling him up from ground, holding Buck as he sobbed. Remember them talking to him in their gentle hysterical-victim-handling voices, assuring him that no one had given up on Eddie and they were doing what they could to get him out. Remember the heady relief of Eddie showing up on his own, cracking jokes like he hadn’t almost died, radiating cold and hardly able to stand. 

It had felt like a miracle. It still did. They’d all had their share of them, before and since, but that had been the first time it’d happened for Eddie, to Eddie, since they’d met. The first time Buck had to sit with the idea of losing him, of being left behind in a very real and permanent way, one from which there was no coming back. 

Fully-realized, post-therapy, semi-mature Buck can admit now that he’d never given himself the time or space to process that. Instead, he’d just put it away, on to the next thing. There had been Red, and then Abby’s return, and, in retrospect, an obvious dotted line that connected all three of these events, drawn in tears and sweat and blood and abandonment issues. 

But that didn’t mean what Hen was insinuating. He shakes his head. “It was Eddie,” he says, helpless. “I didn’t—I’m not… I can’t. Hen, I can’t.” It’s the last thing he needs on top of everything going on between him and Tommy, and Christopher still being gone, and all the other ripples finally calming in the wake of last spring. He cannot afford an ill-timed revelation right now.

Her lips part as she stares at him. “Buck, I didn’t mean—” she starts, only to be cut off by Chim’s urgent call of, “Hen, need you over here.” But still she hesitates until Buck gives her a nod. “We’ll talk more later,” she promises, and there is nothing Buck wants less, so he ducks her the rest of shift, and doesn’t even change out of his uniform before he takes off the next morning. 

In his loft, he struggles to keep his mind blank as he showers and changes, but as soon as he lays down, sleep eludes him and the floodgates open.

He closes his eyes against it, the childish thought that if he can’t see it, it can’t hurt him. But it’s there, and real, spilling out and touching everything, an unstoppable rising tide, and Buck curls up into a ball as it picks him up and carries him along, gasping for breath as it buffets him from every side. He wants to fight, wants to push it back, but it’s too much, years and years of moments big and small, touches, looks, words, deeds. 

It’s You can have my back any day and There’s nobody in this world I trust with my son more than you and You act like you’re expendable, but you’re wrong and You don’t have to be anything for anybody.

It’s fond eye rolls and soft smiles and secrets shared and fears unburied and shoulder touches and the right kind of teasing. 

It’s fear and joy and laughter and tears and friendship and grief and comfort and…love. Always love. 

Hen was right; he had been acting like the love of his life had been buried alive, because he had. Because that’s what Eddie was—is—for Buck. 

Fuck.

ao3

[lurkingshan]

A list of sins in the Wandee Goodday finale

Yak finally confessed that he is still having hallucinations when he steps into the ring—and Dee did NOT tell him to bow out of the fight.

Dee magically cured Yak’s years long trauma ringside and there were zero consequences for Yak lying and hiding his mental health struggles for the entire show.

Yak gave a big speech about Dee believing in him more than he believed in himself—which is not the actual story we got on our screens. Cool fanwank of your own show, though, I guess!

The show began with telling us that Yak could not be out with a man because of the effect of homophobia on his career, and now he’s doing love confessions in the ring and this is apparently fine. Add it to the list of GMMTV shows trying to have it both ways with the bubble.

They only gave us Kao’s love story via a retrospective exposition dump and an awkwardly shoehorned in asexuality PSA. They could have actually written him a plot and showed us these themes, but I guess that was too much to ask.

The money problems magically went away by Yak winning one fight, and there was no fallout for Yei hiding things from Cher.

Ter and Taem were paired up as expected—A POX ON YOUR HOUSES WRITING TEAM. Everyone who caught the signs that they intended to redeem Ter was correct; I have no idea why they chose to have him harass and assault Dee when this was their intention the entire time. Pairing him with a character who survived a different assault makes it so much worse. Just another sign of the poor judgment behind this show.

Yak’s graduation becomes a background detail handled with a two second appearance in a montage.

And instead we spend time on a very strange PSA telling us that old people have sex, too? How this is relevant to anything I could not tell you.

Continuing their bad dynamic from the entire story, Dee pretends he’s not going to thank Yak in his little beauty pageant speech (that he’s giving for receiving a professional scholarship, for some reason). Contra the writers of this show, I don’t actually think it’s funny that Yak feels so insecure and Dee is always fucking with him.

DEE SANG A GODDAMN SONG. WHY?!? This show has just gotten so embarrassing.

Dee finally asks Yak to be his “real” boyfriend, but it has no meaning because he already has been for weeks. And they already did the big public kiss moment in episode 11! It’s like they wanted the tension of not letting them get together until the end but were not willing to sacrifice the weekly ship moments so they tried to have it both ways. It just did not work. Tell a good story or make a branded pair content vehicle removed from story, you can’t do both.

They made Yei and Cher’s wedding kiss so weird by having Yak and Dee do it first whyyyyyyyyyyy

Welp! At least I got to see Oyei and Cher get married; I’ll be hanging onto that one.

This one goes down as the show that finally pushed me over the edge re: GMMTV and their tendency to start strong before completely losing the plot. I was primed to love this show and it thoroughly let me down. None of the threads they set up at the start were followed through and virtually nothing that happened in this story had real consequences or meaningfully mattered. What an absolute waste of a fantastic cast and a solid and fun premise. I will be skipping most GMMTV dramas going forward unless I hear they hold up all the way through.

[winterdaphne2]

Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.

[exhuastedpigeon]

there ain't no turning back

Buddie 🚘 Explicit 🚘 28.3k 🚘 Complete Road Trip | Future Fic | Getting Together

Eddie let out a yelp when he finally took in the room. It was a two queen room, white blankets, a TV, a desk and chair near the window, nothing about the furniture was strange, except for the fact that Buck was lounging on the bed closest to the windows, his legs crossed at the ankles, feet clad in MIT socks that he’d gotten for himself the day Chris sent his application in because Buck was that confident he’d get in.  “You made good time,” Buck said with a grin, his eyes bright as he looked at Eddie.  “You’re here? How are you here?” Eddie felt like crying as he toed off his shoes and walked over to Buck.  “Did you know JetBlue has a direct flight from LAX to Buffalo that runs once a day at 1:58?” Buck asked by way of answer. “And did you know that I racked up a lot of credit card points furnishing my apartment last year?” “I did not know that.” “And did you know that I had like eight weeks of PTO banked from never taking time off during my three year marriage, which actually, in retrospect might have been a sign that things weren’t going well,” Buck said, his smile a little sad but still so very Buck that Eddie couldn’t help but smile back.  “That so?” OR The Buddie healing road trip fic

Read on Ao3