#would love to hear other takes on this

[ozimagines]

The Trouble with Robson…

So… I’ve seen some discourse on this site about James Robson… and I want in lol.

I’ve got a lot of thoughts about this man, and based on everything I’ve read from other Oz fans, I might have an unpopular opinion.

Please don’t get me wrong! Season 2-Season 5 he was a tremendous piece of shit. Like in every way possible it is to be a piece of shit. But that said I have two points: 1) that’s what makes him an good CHARACTER, not a good person, and 2) a redemption arc doesn’t mean that person is automatically forgiven, but are going down a better path and MIGHT be forgiven for their actions at a later date. It is with this, your honor, that I submit that Robson’s redemption arc was actually one of the better plot lines in Oz. (Please don’t hate me lol)

Okay, so Robson season two, pretty easy to characterize. He’s a Nazi. He’s violent. He’s a rapist. Very easy to hate. Season three, he’s lieutenant to Vern Schillinger in the Aryan Brotherhood. He boxes and such. In season four, he’s a menace, coming into his own character. He threatens on his own and has his own plot lines now. Season five is more of the same, at first, he rapes Peter Schibetta, he tries to ruin Beecher’s life, etc. He commits one of the more heinous of his crimes in my book when he kills the young Muslim man in the store room. A long, drawn out process that James is smiling through. He LOVES violence. More than anything he seems like he was made for prison. Then he learns about his gums, makes racist remarks to the doctor, one thing leads to another, he has black man gums and gets kicked out of the brotherhood.

He’s destitute and alone, which is all he deserves. But even Kareem Said finds pity for him and says “God is trying to teach you something. Please be smart enough to learn.”. What can even God attempt to teach someone like James Robson? He does what he needs to survive. He joins Cutler and agrees to be his prag. Here’s where some views from other Oz fans and I start to diverge. You look at videos on YouTube, many of the comments you’ll find say “good, he deserved it.”. The best argument I heard for this was actually from Funky Frog Bait on YouTube talking about misgendering murderers. Many people misgendered the nonbinary Nashville shooter. Why would you respect the pronouns for a person that horrible? Because, as Funky Frog Bait said in their video, it revolves around your opinion of gender as a whole. If you can just revoke someone’s preferred pronouns when they’re bad people, how “bad” does a trans person have to be to not have their pronouns respected? People of differing “politics” (morals) say different things, but if we apply this argument to Robson’s situation, I think it has to do with one’s overall view of rape. How “bad” does someone have to be before being raped is considered a reasonable punishment? For me, it’s never. For me, just as in never revoking someone’s right to their preferred pronouns, I also think it’s never justifiable to rape someone. So, no, I don’t think Robson deserved to be raped, even though he was a serial rapist himself, because there’s no situation where I think rape is a justifiable response. People may disagree with me, but I think it’s a slippery slope when you can deem someone as deserving of rape.

We learn during this time, as he’s being beaten and abused sexually by Cutler, that James was beaten and abused by his father as a kid. He confirms that this occurred while he was only five years old. His first introduction to life and sex was violence. Maybe this gives you sympathy for him, as it did me, but maybe you say fuck him, it doesn’t excuse anything. But I don’t think that it was meant to be an excuse, I think it was meant to be an EXPLANATION. I think we were learning how he became James Robson of unit B, not justifying his actions as James Robson of unit B. He was a child and the person he was supposed to trust most in this world gave him very harsh lessons very early on: no one cares about you, and do what you need to do to survive. He becomes demure and pitiful in Sister Pete’s office. One line that stuck with me was “here I am, 35 years old and I have nowhere to run.”. He’s been running his whole life. Running away from an abusive father and running away from his own actions. “I shame to think of what I’ve done. Look on it again, I dare not.” Is Cutler’s line as MacBeth in the play. It is an apt line for James. He’s been running from his own actions for as long as he could remember. Like I said, none of this justifies the lives he’s ruined and taken, but it does explain the inter-workings of a character that was pretty static for four seasons. That he survives. He tells Sister Peter Marie that all he does is run from things. I truly believe that some of the reason he was able to be as ruthless as he was is because he doesn’t let himself think about his own actions.

Finally season 6! He kills Cutler with some kinky play, joins the brotherhood, and it seems like he’s back, right? Only when he sees his wife, we see some of the shame come back. Some of the embarrassment of being taken in that way. If he feels this way now, he felt this way for however long his dad was abusing him. He loses it with her for calling him a “cock sucker”, which CLEARLY he’s embarrassed/ashamed about. He hurts her, and immediately, instantly, feels bad about it. I love learning the morality of immoral characters. With everything he’s done, why was hurting his wife crossing a line? Because she trusts him, just like little James trusted his dad. I think, personally, that he sees himself as her personal protector. Since he couldn’t protect himself, he became the protector for her, and then for Vern, but James isn’t stupid enough to think Vern can’t take care of himself. I think hurting his wife tore him up so much because he remembers when he relied on his dad for everything, and his father took advantage of his state.

Then he finds out he has AIDS. He joins a support group for rape survivors. They talk about their experiences and James listens to all of them. He thanks them towards the end, saying it was good to “hear it from both sides” which we know is something he knew already since he was at least five. But hearing those stories, all of which are upsetting but some are straight gruesome, puts FORCES him to face his actions. He can’t run anymore, his lifestyle caught up with him. Am I saying he deserves AIDS? 🤷‍♀️ Chissà. Who’s to say? He has it though. There’s a deleted scene where he lets Clarence rape him (I understand “lets” and “rape” don’t make much sense together but I don’t think coerced consent is consent at all so it’s still assault), and it gives Clarence AIDS. Robson says something interesting, with his classic smile on his face. “Retribution. It’s all about retribution.”. That’s what Oz is about. Retribution. It should be about Rehabilitation, but it’s all about Retribution. This is where James’ story ends on the show. With him moving to unit F, the AIDS unit. Finally, even if only physically, is he forced to face his actions.

This is why I think his story was beautifully written. He’s just a meathead in the beginning, but we learn about his morality -because he does have a code, even if it’s not a good one-, his past, and his future. They took a character that was frankly very flat and gave us a wide enough view on his life and character to confuse our anger into sympathy into more anger and into sadness. I don’t know if anyone else felt this way but my heart just dropped when he mentioned his dad. James Robson never stood a chance. He was a monster in training since he was five. But no one deserves to be raped. (A good reference is Adam Gunzel who was a BIG prick… but never deserved that shit.) Anyway these are just some of my thoughts on one of the most interesting characters in Oz (to me at least) and gave us an actual character out of a plotless muscle man.

One thing I think we can all agree on:

Retribution. It’s all about retribution.

[thelaurenshippen]

finally taking the time to read through the SAG agreement summary and oof, I hope they have an AI town hall soon because...well, there are things to discuss!

so, in case folks are curious, here are my immediate takeaways from the deal as a SAG actor, a SAG producer, and person who is not any kind of expert but spends a lot of time being skeptical of contracts I sign. this is a summation/commentary, not a holistic breakdown of every point, nor even an in-depth discussion of the points I do talk about. and it is, of course, in no way legal advice or voting advice.

this post is already maybe the longest post I've ever written on tumblr (lol) and I feel like I've barely scratched the surface. to be clear, nothing I'm saying here represents how I'm going to vote, how I think other actors should vote, or my be-all-end-all stance on a particular issue. this is me reading through, flagging what concerns me, and asking myself questions. and I'm here to take your questions too! though of course my expertise is limited.

(what?? something I wrote got annoying long?? in my tumblr? it's more likely, etc. huge write-up after the cut)

the good

self-tape stuff: this is one of the more niche/the thing that the general public will find least interesting, but they've put in a lot of provisions to make sure self-tape auditions have limits (# of pages, no stunts, no nudity, doesn't have to be professionally shot, etc.) which is amazing because these types of auditions have gotten out of control since the pandemic. this feels like a great gain

data transparency: in no world did I think the streamers were ever going to agree to any data sharing with either the wga or sag so even though the data is limited, this still feels huge to me.

folks who sing and dance will be paid for both of those things now, which is great

they've added MLK day and Juneteenth as holidays (about time)

a performer cannot be required to translate their own lines

principal performers are required to be given hair and makeup consultation or reimbursed for obtaining their own services - this seems like a small thing, but it's being put in here pretty much entirely because HMU services have generally been appalling when it comes to textured hair/a variety of skin tones. there's also stuff in here about working to hire more diverse HMU artists

it looks like it's going to be easier/provide a path for folks getting IMDb credits even if they're not credited on screen

miscellany: there's a bunch of gains in wage increases, P&H increases, relocation fees, franchise language etc. that all seem good to me, though my limited knowledge on those subjects prevents me from going in depth on them.

this is not important, but it tickled me, there's a term to replace all instances of "telegraph" in the contract with "email & text" which like...why has it taken us thirty years to do that lol.

the "...hm..."

intimacy coordinators: oof. when I watched the press conference SAG gave, I was fucking thrilled when they said that the new agreement required folks to hire intimacy coordinators for nudity and simulated sex scenes. that was almost reason enough for me to vote for it tbh - not requiring it is the exact reason I voted no on our last contract. however, reading the contract summary now, the exact language is: "Producer must use best efforts to engage an Intimacy Coordinator for scenes involving nudity or simulated sex and will consider in good faith any request by a performer to engage an Intimacy Coordinator for other scenes. Producer shall not retaliate against a performer for requesting an Intimacy Coordinator." this....sucks. "best efforts" and "good faith" are not the same as "required". IMO, an intimacy coordinator is the same thing as having a stunt coordinator or, like, any number of health and safety requirements. OSHA doesn't say you must "in good faith" put your "best effort" to providing fire exits. it's great that performers can request coordinators for any kind of scene, and this is still the strongest language we've ever had in a contract but....c'mon guys.

residuals: look, I can't speak to these new terms in any concrete way. there are increases, there are bonuses for streaming success, there's a whole thing about a fund regarding those successes that I need explained to me more in depth, but overall, it looks like we made some in-roads here. as someone who employs actors under digital distribution contracts that has no residuals (podcasts), I know how genuinely cumbersome the unholy trifecta of "views-success-profit" can be (as in views do not equal success, success does not equal profit, etc.). I also have no sympathy when the majority of companies dealing with that cumbersome trifecta are massive media conglomerates. anyway, long story short, idk if this is good enough, I'm hoping to attend the next info meeting sag has.

the bad

the new hair/makeup provisions are explicitly for principal actors. while I hope it leads to better, more inclusive HMU services all around I haaaate that this implies supporting or background actors (who oftentimes also have to sit in HMU) don't deserve the consideration. (then again, background actors are usually required to do their own HMU/bring their own costumes, but for productions where that's not the case, the same HMU provisions should apply IMO)

as with every contract, there's language that could be stronger, clarity that needs to exist, and important things missing - but this isn't the final contract and I'm not a lawyer, so I'm gonna leave that stuff to the experts.

but, "lauren", you say, "what about all the AI stuff? where does that go?" well, reader, I was planning on including that in the above but it's the hot-button issue right now and I think it's wickedly complicated, so I wanted to break it down separately, after I had a chance to point out all the good-bad-in-between stuff that's not getting talked about.

a note: in my career, I've learned there's two big things to keep in mind when reading a contract you might sign:

what is the worst case interpretation of this language (thank you to my lawyer, prince among men, for teaching me how to do this in practice (that said, anything I say here is not legal advice, he'd also want me to say that lol))

what are you willing to lose/compromise on/what are the limits of your pragmatism? contracts are not about a company giving you everything you want out of the goodness of their heart - it is always a compromise. pragmatism has to be a part of the equation.

so, with that said, I'm going to play a little devil's advocate here, and a) try to find the good/the pragmatic and b) catastrophize the worst case scenario. but first, it might be handy to look at this SAG infographic for some basic definitions. let's go.

the AI good

a ton of stuff here requires consent. that is not a small thing, and the consent continues even after your death (whether it was a yes or no; though this can be complicated by your estate/your union)

the language does establish that the consent must be a separate signing from the employment contract, even if its in the contract, which is great (but more on that below - timing matters)

actors often do get paid for use of their digital replicas, though it's different based on the use/type of replica.

the actor must be provided with a "reasonably specific description of the intended use". this language is vaguer than I would like, because it allows producers to decide what "reasonably specific" and "intended" means - there's always going to be some vagueness when it comes to this specific thing, but a good start would be for producers to require not blanket consent, but conditional consent for each significant use of digital replicas.

if the replicas are being used in other mediums, that must also be consented to, thank god.

replicas cannot be used in place of background actor counts on a given day - if I'm understanding this correctly, this means a production can't just have a bunch of fake background actors by themselves, they have to engage real people up to a certain number first (which in this new contract is 25 for TV and 85 for movies). we're already filling in background with digital people or copy-pasting of the same crowd over and over and have been doing so since at least the late 90s, so it's good we're continuing to put up boundaries around that.

the AI "...hm..."

it's unclear (to me) when an actor can be asked to consent. IMO, everything is meaningless if the consent is happening as part of regular contract negotiations. these things have to happen when - and only when - the actor has already been engaged in a role and feels empowered to say no

the use of independently created replicas (replicas pulled from existing footage, not created by the actor) being allowed without consent under first amendment reasoning - this is obviously concerning a lot of people bc first amendment arguments are so broad. that said, there's a pragmatism part of me that understands this is already happening/has been happening for a while and used in ways I think are perfectly fine - I was just watching the new episode of For All Mankind (one of the best TV shows right now!) and it's an alternate history, which meant that in the opening scenes of this season they had some bonkers good deep fakes of Al Gore saying stuff he never said. I think that's okay to do in a fiction show that imagines a different US history! "but Lauren", you might be saying, "Al Gore isn't a member of SAG!" are you sure? are you positive? because I'm pretty certain he is - he was in several episodes of 30 Rock, way more people are in SAG than you think (every NPR reporter for instance), and the two worst presidents we've had in the last 50 years (yes, those ones), are both definitely members of SAG (even if one is dead). now, the other side of this is that public figures like politicians are under a different social contract than actors, and if they wanted to sue, they could, unlike the average SAG actor who might have their image abused. this is why this is in the "hm" column - deep fakes and parody/satire/commentary use of replicas is already here and there's always going to be a 1st amendment argument to make, so we need to figure out how best to limit those and protect the most vulnerable.

alteration: with this language, a project can digitally alter without consent if the script and performance stays "substantially" the same. again, this language is too mealy-mouthed. I don't know that I have a huge problem with a line of dialogue getting replaced with a digital version of that actors voice if, for instance, a word was mispronounced, or wind garbled the sound or whatever - yes, it would eliminate the need for ADR, but if we put some limit on it like..."if there are more than 5 lines in a given episode/movie that require digital alteration in the service of clarity, the actor must be engaged for an ADR session or paid for the digital replacement" then I could see this being workable. I'm also personally okay with things like costumes being digitally altered but, again, we need limitations on that. digital altering cannot replace the art of costuming but, for instance, if a costume needs to be altered to include a hate symbol or something, I think that's fine (example: I have friends who worked at the VFX house for an alternate history TV show that involved a lot of Nazi costuming and set design - a huge part of that VFX house's job was to put swastikas in places, rather than props making nazi flags. I'm okay with that!) but again, these fringe cases do not a compelling arugment make, and this contract language can be interpreted too broadly for my comfort! like everything else in this "hm" category, I need to see the final contract language to decide.

the AI bad

there's a bunch of circumstances in which actors don't get paid for creating their replica/use of it and those circumstances are too broad for my taste.

synthetic performers - this is just awful. no. no, we should not be allowing AI to generate entire actors. just............no. there's some language about the producers having to talk to the union if the synthetic performer is "used in place of a performer who would have been engaged under this Agreement in a human role" but this doesn't apply to non-human characters so....wouldn't that be all roles?? leaving the producers room to be like "this role has to be synthetic, we never would've cast a human!" is bullshit. also, even if we're having AI create a magical talking unicorn whole cloth (which, like, also no, we have artists for this), that unicorn still needs to be voiced by a human person. this whole section is a disaster.

the exceptions to consent for digital alteration are bad-bad. I talked about the potential ADR replacement above and that has a whole host of issues with it that I didn't even get into, but I can see the argument. the rest are very troubling:

there is an exception under "any circumstance when dubbing or use of a double is permitted under the Codified Basic Agreement or Television Agreement" - okay, so does this mean we can replace dubbing artists and stunt performers entirely? this section is about digital alteration, but who's to say alteration couldn't turn an actor broadly miming a fight into an entirely digital, expertly performed fight that usually a stunt double would have done? with AI translation technology, does this mean we're replacing VO artists for dubs entirely? bad!

similarly, "Adjusting lip and/or other facial or body movement and/or the voice of the performer to a foreign language, or for purposes of changes to dialogue or photography necessary for license or sale to a particular market" - Justine Bateman has a great twitter thread on the terrible puppetry potential of this but I want to draw attention to the particular market bit - we all know that selling to china is such a huge part of studios' strategies that they'll remove entire scenes or lines around queer stuff. to me, this clause makes all of that so much easier. I know the argument here is going to be "we can replace swear words and license it for kids!" which.......sure? fine? but, uh, we already have ways to deal with that? and the potential for abuse here is terrifying to me. with all the digital alteration stuff too, there's just so much icky implication for the beauty/body standard to get so much worse.

if a background actor’s digital replica is used in the role of a principal performer, they'll be paid as if they actually performed the days for that role, which, sure, but uhhhh why are we saying it's okay for a digital replica of a background actor to suddenly be a leading role!?!?! I can't think of anything more demoralizing than going to set to act in background (a job I've done! an important job! a fun job a lot of the time! but creatively limited) and then getting a much bigger role (the dream!) and.....not being able to, you know, act that role or be in scenes with other principal actors or do the thing that you've dedicated your life to doing. nightmare stuff.

woof. there's so much more to say but I'm going to leave it there. these are the concerns I'm going to go into SAG's meetings with, and the concerns I'll be considering as I decide how to vote. I know there are things I didn't address and very possibly things I misinterpreted or misrepresented - if you're an actor, I highly recommend a) reading that Justine Bateman thread and b) attending SAG's meetings to ask questions and express your concerns. and I'd love to hear what y'all think! my ask box is open.

[sysig]

Ellen McLain’s commentary from my trivia playthrough

[sincerely-sofie]

*Skitters up to you on all fours and drops this in your lap, then scrambles up the walls and onto the ceiling and immediately falls asleep*

Comic time! Lucky wakes up in the middle of the night and has a chat with Sen in this one.

[beaulesbian]

maybe it's how luffy's love for zoro is more subtle in the animanga (even if it's everpresent), and people usually more point out zoro's devotion to luffy than how luffy cares for him., that the live action show really went and made luffy say to zoro: I need you. It's so simple, I need you. to instantly get across just how important zoro is to luffy

[swordheld]

hi! your blog is one of my favourites and i absolutely adore reading your thoughts. my grandfather recently passed away and it feels like i lost myself with him. how do i continue living after this? there is this constant weight on my chest and it feels like an emptiness has made a home inside of me. how do i go on when it feels like the world crashed on my shoulders?

hello, love! this is so very sweet and kind of you, and i hope you're treating yourself gently and kindly right now - there aren't words for a loss like this. that heaviness is difficult, and hard, and painful. it's okay if things don't feel okay, right now, or even soon - i think that's something that a lot of the people i know that have gone through similar grief feel: like they should be able to get back to a relative 'normal' in a [insert far too short period of time].

but it's okay if it hurts. that's where i'd like to start. you're allowed to feel that emptiness, that world-crashed feeling that goes beyond words, beyond time. don't feel like you have to rush this to feel some sort of better. things get easier with time, i promise you this, but sometimes painful feelings are important to feel, too. cry, scream, feel your emotions. they're a part of you. grieve.

it's perhaps a little silly, but when i think about death i always think about a couple of space songs: mainly drops of jupiter by train and saturn by sleeping at last. there are perhaps others that speak to the emotions better, but these two have always hit something a little deeper for me, and are popular for a wide-reaching reason.

and while personally i don't know much about grief like this, i do know a lot about love; and i think they're a lot of the same thing.

the people we love are a part of us, and this is why it takes from us so deeply when we lose them, because it does feel like we've lost a part of ourselves in the wake of it. but it's because they were so central to our experiences of living - our lives, that the separation introduces a hollowness - a place where they used to be. a home that now goes unlived in.

an emptiness, like you said.

but just because they're not here physically, doesn't mean he's not still there, in your heart, in your life, your memory. you can hold him close in smaller ways, as well: steal a sweater, or cologne/scent for something a little more physical and long lasting for remembering. hold onto the memories you cherish, the things that made you laugh, the ease of slow mornings and gentle nights. write them all down, slide a few photographs in there, go through it and add more when you miss him. keep them all close, keep them in your heart.

you're not alone, in this. he's still there, with you, it's just - in the little things.

he's with you in the way you see and go about your daily life, in doing what he liked to do, in the ways he interacted with the world that you shared with him. the memories you recall fondly when the night is late or the moment is right and something calls it into you like a melody, an old bell, laughter you'd recognize anywhere.

but i think, perhaps most importantly above all others - talk about him. with your family, your friends, his friends, strangers; stories are how we keep the people we love alive. the connections they've made, the legacies and experiences they've left behind, and so, so many stories.

how lucky, we are - to love so much it takes a piece of us when they go. grief is the other side of the coin, but it does not mean our love goes away. it lives in you. it lives in everyone who knew him, in the smallest pieces of our lives.

the people we love never really leave us, like this: they're in how we cook and the way we fold our newspapers, our laundry, in the radio stations we tune in to and the way we decorate our walls, our photo albums. they're in the way we store our mail, organize our closets, the scribbled notes in the indexes of our books. the meals we love and the drinks we mix, the way we spend time with one another. they've been passed down for generations, for longer than history - and we are all the luckier for it.

think about what you shared with him, and do it intentionally. bring him into your life, like this, again. whether it's crosswords or poetry or sports or anything else. if one doesn't help, try another. something might click.

i hope things feel a little easier for you, as they tend to do only with time. i hope you find joy in your grief, even if it is small and hard to grasp at first. know that your hurt stems from so much love that there isn't a place to put it properly, and that it is something so meaningful and hurting poets and storytellers have been struggling to put it into words and sounds that feel like the fit right for eons, and that it is also just simply yours. sometimes things don't have to make sense. sometimes they just are - unable to be put into words or neat little sentiments, as unfair and tragic as they come.

but i promise it will not feel like this forever. your love is real. and perhaps, on where to begin on from here - i think it's less on finding where to begin and just beginning. and you've already started. you've taken the most important and crucial step: the first one. wherever you go, after that, from here? you'll figure it out. you always have, and you always do. it'll come, as things always do. love leads us, as does light - and you're never alone in your hurt. in your grief, your missing something dear to you. i think if you talk about it with others, you'll find they have ways of helping you cope as well - and they have so much love of their own to spare, too.

as an aside, here is the song (northern star by dom fera) i was listening to when i wrote this, for no other reason more than it makes me think of connections, and love, and how we hold onto the people we love and how they change us, wonderfully and intrinsically. it's a little more joyous than the others i've mentioned, and plays like a story, and it made me think of what is at the core of this, love and stories and i am here with you, and maybe it'll bring you some joy, if you'd like it. wishing you all my love and ease 💛

[napping-sapphic]

Really truly want to date someone who is my complete opposite so bad, i love hearing about interests i would never have or concepts i would never study i love explaining my interests to people who don’t have any involvement in them i love the idea that with every conversation we get to learn something new about each other

[theswedishpajas]

💙🌌💀🌌💙

[i-really-like-phrogs]

Protective wifey core

[octaviasdread]

I hereby conduct this tortured poets society album meeting in all of its mania and sorrowful blues as I move from unhinged impressions to unhinged first-listen analysis because I am incapable of saying less.

(and to all the Aimees i’m so sorry but that’s on Kim)

This Anthology is taking me so long to process, but nothing feels like the first jarring moments of I Can Do It With a Broken Heart - the cacophony and flashes of a birthday breakdown bopping to 80s arcade game synth. It's crumbled cake and mascara streaks when Bejewelled is actually a delusional Mirrorball,

and The Secret Garden reference in I Hate It Here, oh god, she’s so me:

I hate it here so I will go to / secret gardens in my mind / people need a key to get to / the only one is mine / i read about it in a book when I was a precocious child

I need to come back to that. But the whirlwind of Who’s Afraid of Little Old Me? Plans cancelled. IM THE ONE barricaded in the bathroom with a bottle of wine, actually. It's me chained-up in that poor things victorian mourning dress shrieking elegies in my tortured nightingale screams.

She's Grammys Taylor looking at the crowd of her peers rolling their eyes, she's the litany of snide jokes diminishing her success, and the children, sisters, friends, and girlfriends of those who wronged her loudly singing her songs.

so i leap from the gallows and i levitate down your street / crash the party like a record scratch as I scream / who’s afraid of little old me

i was tame i was gentle til the circus made me mean / don’t you worry folks we took out all her teeth

ohhh, the throwback to Speak Now and the significance of MEAN. The song and its titular word show how childish language encapsulates that pointless spite and the bone deep hurt mean behaviour breeds - but now she’s a phoenix risen, and they hurl her youth and her downfall back in her face - word for word, surprised face - its the dark side the The Lucky One, of not escaping the cage of fame games.

you lured me and you hurt me and you taught me / you caged me and then you called me crazy

i wanna snarl and show you just how disturbed this has made me / you wouldn’t last an hour in the asylum where they raised me / so all you kids can sneak into my house with all the cobwebs / i’m always drunk on my own tears isn’t that what they all said?

PUT NARCOTICS IN MY SONG took me out. This album is funny in the most sardonic and absurdly humorous ways,

like the classic cowboy western guitar strings in her crime songs (I Can Fix Him, No Really I Can - pistols drawn), but especially the ones leading into Fresh Out The Slammer. Fucking genius, and to follow on with static sounds at 2:26ish to the house where you still wait up, is exactly the kinda detail I adore.

Naively, I thought Florence was done with me after Florida!!! It's a lyrical meme for single 20 & 30 somethings who moved away from home,

my friends all smell of like weed or little babies / and the city reeks of driving myself crazy / little did you know your home’s really only / a town you’re just a guest in

and the haunting morphs from the ghost of your girlhood into the catalogue of decisions and delusions which get you through adulthood. Yet it feels almost like an interlude within the song when

me and my ghosts we’ve had a hell of a time / yes i’m haunted but i’m feeling fine / all my girls got their lace and their crimes / and your cheating husband disappeared/ well no one asks questions here

appears like an alternative pov for No Body, No Crime with the girls and their ghosts and their pacts made over wine. Every Action has an Equal Reaction. Run away to Florida, or Texas, and lose yourself to lose the heartbreak. Its self-destruction, it's trauma-healing, bonding, and its breaking.

(what a song for an angsty girl collab, problematic girl in hand with problematic girl, lyrically and thematically, maybe the real love story is the friends we make along the way.)

And that wasn't even the last of it. It's Florence 2.0 with B side Cassandra, but instead of Dance Fever, its Taylor’s glorious mythology with all the allusions, parallels, intertextual and lyrical ruining of my mind:

when the first stone’s thrown they’re screaming / when its burn the bitch they’re shrieking / when the truth comes out its quiet

so they killed cassandra first cus she feared the worst / and tried to tell the town / so they filled my cell with snakes i regret to say / do you believe me now?

No apologies anymore. A girl given the gift of prophecy by Apollo, the GOD OF POETRY, is cursed with her prophecy never being believed: Burning all the witches even if you aren't one, indeed. She saw the truth of the Trojan horse, and the Trojans insulted her. Rep snake branding and the current cultural view of KK and Ye. I don't need to say anything else.

i was in the tower weaving nightmares / twisting all my smiles into snarls

the family the pure greed the christian chrous line / bloods thick but nothing like a payroll / bet they never spared a prayer for my soul

I literally played that THREE times before I got over it enough to finish my first listen,

and i’m still thinking about Clara Bow and that Stevie Nicks tambourine we collectively freaked over from the Spotify installation, and all the silent movie speculation from the track title release.

you look like Clara Bow in this light - you look like Stevie Nicks in '75 - you look like Taylor Swift

Three women whose public profession became entangled with their pain. Silver Springs. Boyfriend songs. The jokes. Clara Bow.

Clara feared being left behind by 'talkies.' Miss Americana. The fear of 30 bringing death to a woman's Hollywood/Musical career,

beauty is a beast that roars down on all fours demanding more / only when your girlish glow flickers just so / do they let you know?

Three women who beat the odds - three women whose talent, craft, and popularity carried them through.

But there's something more to unpack here with cycles and patterns - of the past endlessly repeating. It's the transient nature of fame and our fleeting view of beauty mapped out in the untouchable, ever-changing, and culturally worshiped moon.

It's a body of physical craters, a natural body we call discovered, and fight to claim. We project emotions and create rituals of worship - you're the new god we're worshipping. Endless stories are told about her, but we can never fully see the moon with human eyes. Eclipses, shadows, - 'half moonshinе, a full eclipse' - half-truths and half-moons:

this town is fake but you're the real thing / breath of fresh air through smoke rings / take the glory, give everything / promise to be dazzling

There's a play on light and a play on words in the repetition of Dazzling, shining so bright so blindingly bright. Who is dazzled? Who is doing the dazzling? There's an instability between Director - Public - Star. It's Hollywood lights, No one in my small town thought I'd see the lights of Manhattan / No one in my small town thought I'd meet these suits in LA.

She beat the 'War Big Machine' - but for me, there's ambivalence and illusion on all sides of the final lyrics, you've got edge, she never did / the future's bright, dazzling.

(and ‘Edge’ is particularly ironic when you consider the songs on this album…)

Moving again into the B Side, it's Taylor's departure from Invisible string, red strings of fate, and golden threads à la the golden chain of fate in Charles Dickens, A Tale of Two Cities that strikes me.

First, I thought her writing was a complete departure from the themes of destiny and fate, but then, The Prophecy:

cards on thе table / Mine play out like fools in a fablе

it isn't an absent symbol; it transformed. It's the evermore forest amped to the max. Witches, folklore, fairy-tale and fable - a homeric epic. Its the hero's journey distilled as she opens the song with a move from 'full throttle' adventure, to slowing down 'Hand on the Throttle' to appeal for Supernatural aid at the hero's transformative fall.

and it was written / I got cursed like eve got bitten / a greater woman wouldn't beg / but I looked at the sky and said / please I've been on my knees / change the prophecy

Lover asking Traffic Lights becomes spending my last coin so someone will tell me, and this might be the most slept-on heartbreaking line. Her search for reassurance can't be framed as an arbitrary musing anymore. It can't be dismissed as a mere thought on her drive home, or something triggered throughout the day - its intent. It's a quest for answers, a plea, a last-ditch hope difficult to deny.

and I sound like an infant / feeling like the very last drops of an ink pen/ a greater woman stays cool/ but I howl like a wolf at the moon / and I look unstable /

gathered with a coven 'round a sorceress' table / a greater woman has faith But even statues crumble if they're made to wait / i'm so afraid I sealed my fate / no sign of soulmates

She's asking for a gift from the Gods, and when the God's won't answer, she plunges straight down from heaven or Olympus into the self seizure of power in witchcraft. And when it fails, she descends further - Spending my last coin so someone will tell me it'll be okay - paying mortal fortune tellers, even if they lie.

The song leans on figures without redemption, on the Eve's, on the women cursed and punished, and those who scream like infants rather than enduring burdens and pain in silence. She's poisoned, infected like Aurora from the wound of the pricked hand with dreams of him. Is this a punishment?

She's infected, cursed like Eve got bitten, [lyric of all time!!!!] but does a monster always do monstrous things? Who is the monster? Who is the folkloric, the literary Mad Woman? Perhaps she's written from the desperate, the scarred, and the wronged.

and the transition into another tale with Peter? As in Peter losing Wendy? Is it an epilogue to the Betty trilogy? or a different use of the metaphor?

and I didn't wanna hang around / we said it was just goodbye for now /said you were gonna grow up / then you were gonna come find me / words from the mouths of babes / promises oceans deep / but never to keep

The triangle is echoed in love's never lost when perspective is earned, reflecting the different povs of Betty, August, and James, and placing Peter as the new conclusion - the shelf life of those fantasies has expired / lost to the lost boys chapter of your life/ the woman who sits by the window/ has turned out the (porch?) light.

Promises wear out. Wendy's window closes, and so does this chapter in her life.

my lost fearless leader / in closets like cedar / preserved from when we were just kids / is it something I did? / the goddess of timing / once found us beguiling

is also - intentionally or not - Narnia coded. Is the storybook collecting dust in her closet? Or is the closet still holding a portal to another fairytale land accessible only in youth, another home you can't return to (and another folklore parallel with mtr, anywhere I want just not home).

Side B is so harmonious with ttpd being the end of a chapter as the anthology moves through all the seven stages (or Taylor playlists) of grief.

The Manuscript, the signing of the autopsy, is the Death of the Author. It's the Roland Barthes realisation of All Too Well reborn in joy and fan culture, the story isn't mine anymore, of the Eras - 'I hope you hear these songs and think of this night' - Tour. She knew what the agony had been for - art. connection. - and its these things that create the hope lost in ttpd's journey through mania, disorientation, loss and despair. It all leads to healing, nothing left but a manuscript.

So many thoughts from listen no.1 and they’ll probably change, but i’m so exhausted from this 31 song rollercoaster that I'm just gonna let this sit. death of the author, I guess.

[fishing-lesbian-catgirl]

Girl who can’t stop thinking about how arknights characters would play in a fighting game.

[kitkatsgalore]

you have my soul, you have my heart ♡

[mars-is-me7]

man, i have so many thoughts about qfoolish. he's just a silly little goofy guy but then when you peel away the first layer that you see of him and realize that he's rather a complex character. I feel like he's such a different type of character than what is usually shown. (and honestly, it's something that brings me a lot of comfort as i relate quite heavily to his very laid back nature that people will sometimes take as being unserious or even uncaring) Warning, this gets long (like 2.2k long to be exact) lol and i ramble a lot- also, disclaimer for my own sanity: this is an analysis of the characters! i adore any of the creatures mentioned here so please don't take any of this as a negative view on them! :D

Foolish's motivations are just very different than what typically motivates a character forward and in some sense it's really easy to skew what you think about him. As in, it's really easy to misinterpret his character i think. He express himself in a different way than i think most people are used to. He laughs in serious situations and is constantly just joking around. I think this causes people to think he cant/wont ever be serious, but the thing is that he's perfectly capable of being serious when he needs to be. For example, if he thinks that he and Leo are going into a serious situation, then he tells her to put her armor on. Really, just anything involving Leo he makes sure to be serious if the situation calls for it. Or like, fighting in dungeons only if he deems it dangerous enough to take seriously. but like, if he doesn't think a situation calls for it, then he just continues to be his goofy self. And sometimes when the situation calls for it, he is just in between those two points in a way that others aren't. He's just not afraid to joke around even when the situation seems dire (cellbit's kidnapping and rescue comes to mind. like, he played such a large role with his symmetry wand, but despite all the serious moments going on,, he was still just a goofy guy).

And one thing about him being so silly all the time is that even the other members on the island sometimes get a misconstrued picture of what they think foolish's goal and wants are. I think in some sense it's true to say that what motivates his wants is what the value of something he perceives is. For example, the sunbird he only wanted because of how cool it sounded and how rare it was. The cloud he wants because its something unique and useful. He wants Cucurucho's friendship because that's something no one else has and Cucurucho has access to items and is powerful.

But these wants aren't the most necessarily the most important things to him. Their something he has interest in, yes, but they're not more important than say his friends and family. Which, i feel like some people might not recognize about him. After all, he is constantly talking about wanting a cloud or how he'd have no issue in killing Bad (and holy shit is landduo and their relation something i could go on about for a whole more hour cuz there's so much there)

Because one vital thing that's so *so* important to recognize is that Foolish is very possibly one of the most loyal people on the island. And despite all of his flaws, he would never really want to truly hurt those he cares about. He is loyal to the people he cares about to an absurd amount. I think it's very clear to see his devotion for Vegetta and his adoration for Leo, but his loyalty also applies to his friends on the island. He would never *intentionally* want to harm anyone he cares about. I don't think some people understand that Mr. Mustard fell under that category as someone he cared about. The entire reason Cucurucho was able to lure him into accepting the mission It gave him is because it brought Mr. Mustard's name into the mix. It told Foolish that Pac and Mike were the ones responsible, and with nothing better to do, Foolish set out to complete this task.

To talk more about the recent events with him arresting Tazercraft: he would never truly want to harm or hurt them. However, when you're looking at the grand scheme of how things went down, he was manipulated and really had no other choice. Sure, he seemed to enjoy arresting them at first, but the thing is I don't think he really processed or even thought about how this action would be received by others. To him, arresting Pac and Mike sounded like enough fun, and it was coming from Cucurucho (who he's wanting to be friends with for actual months now, and Cucurucho literally called him friend in the book it handed to him) and being arrested sounded like something he'd enjoy. Again, like something *he'd* enjoy and that he therefore thought Pac and Mike would enjoy.

You have to realize, Foolish doesn't have the same perspective on these serious situations as some others do. And the thing is that he judges how others react based on how he would react to them. So, in that sense, he views being kidnapped/arrested as a good and fun thing! he even said today on stream, "apparently when you arrest someone, others won't find it funny". it might have just been one line, but in my eyes this gives a really clear insight into his character. To him, arresting Pac and Mike was only a positive thing because it would help him find his friend and it could be a fun event for them. His friend that he was told, by cucurucho, that had disappeared because of Pac and Mike. Foolish doesn't hold any ill intent, but that doesn't necessarily come across in others view of him. Although it might not be clear, he cares about Pac and Mike. Today he even expressed worries about them and said that he still considers them his friends (even though he's aware that they might not share those feelings about him anymore). He doesn't know about their past traumas, to him this was just a fun little event that would be fun for both them and him. When first accepting Cucurucho's mission to him, I'd say he doesn't realize the consequences his actions would have. That by arresting Pac and Mike, it'd leave the other members of the server doubting him and mistrusting him. That others would be angry at him for something that he hadn't realized the gravity of.

(just random thing i want to say here: honestly, if Foolish had any malicious intent towards Tazercraft, he could have easily made their arrest go unnoticed for at least a few days. just think about it: if he had said that the surprise he had was just for the two of them. if Jaiden hadn't accompanied them as a witness. people wouldn't of known then what happened to them, but the thing is that he wasn't thinking in this way because he would never seriously want to harm them. he even wanted Jaiden there as a witness)

I think he realized the backlash of his actions in the Favela when everyone seemed to swarm him and then when he got interrogated. In which, he never really lied. All things considered, Foolish is a rather honest guy. I'd even say that he almost never lies. Like, if he's trying to hide the truth about something, he often times will find a way to skirt around the question without lying. Like, just looking at the mess that was the interrogation yesterday (/lh) you can see that he doesn't ever actually lie. He just blabbers a bunch of nonsense and skirts around the issue without ever revealing anything. The issue arises when you look at the lie he did tell.

for those that don't know, Foolish gave Jaiden a rundown of what happened before arresting Tazercraft. and in this he tells her that Cucurucho gave him the option to either 'arrest Pac and Mike' or to 'kill Richarlyson'. Not even going to lie, when he said this is took me (and i think all of stream) off guard. because Foolish practically never lies in that way and so blatantly. because this was just 100% untrue. However, it makes sense why he did it. At that point, he realized that people were going to keep badgering him on why he arrested Pac and Mike, but at the same time he knew they wouldn't take him telling the truth seriously. He may care about Mr. Mustard but the truth is that the other members don't hold those same thoughts towards most the Capybaras in general. Like, just look at Fit's interaction with him today. Foolish literally reiterated the truth of why he did it over and over again, but Fit didn't believe him even slightly. Foolish didn't lie once about his motivations and yet he was just not believed.

I think he realized at some point soon after arresting Pac and Mike that people weren't going to trust the truth. Not from his mouth at least. So he lied to Jaiden because it's a lie that people will easily understand. it's a choice they'd stop questioning him about. Again, he doesn't do this out of malicious intent but because it's something easier for people to understand and relate to. It's something they're not going to hound him about, not like they will when he tells them the truth. This lie is more easily digestible for the island members and it also brings Foolish less stress if they take this and believe it. Everyone is willing to make sacrifices in order to protect the eggs. And he had to of realized that Jaiden was going to tell other people. The islanders almost always spread these types of details to each other, that's just how it goes. Telling this lie to her in secret makes it all that more believable when she goes and tells some of the others about it later cuz it's something Foolish told her in confidentiality. To the other members, it paints foolish only in a good light. Of course he wouldn't have actually wanted to arrest Pac and Mike, he did it to protect Richas! and that's all it takes to stop them from getting angry at him. All things considered, it's a smart move to pull. Although, I do have to wonder how this will come to bite foolish in the butt. Because i can only imagine that it will be revealed eventually, some way or another.

From what i understood, Cellbit immediately dropped his anger on Foolish once he was told it was to protect Richarlyson. When Jaiden tells him this information he doesn't even thing to consider that Foolish could have lied. After all, why reason would anyone have to lie about that? In my mind, i can only imagine that the lie will protect him for now and in the short term, but once revealed that it's a lie, i think there will be some repercussions against Foolish for sure. Like, even Jaiden doesn't know that he's lied. Jaiden, whom he's been telling everything about. Jaiden who is only one (aside from Leo) who now knows of Foolish's secret detective role. Jaiden, whose the one he's told almost the entire truth to.

An interesting thing to note though, is that I think Foolish's decision to lie to Jaiden was still rather spontaneous. like, it's not something he thought too much about. it's a fib that makes his life a little bit easier (a little bit less lonely) and right now it doesn't seem to hold any repercussions. the interesting thing, though, is that he hasn't repeated the lie at any point in time. and like, he also hasn't done any lying to reinforce the lie he's told. it'd be so easy to paint a story that he's being blackmailed, but he just *doesn't* even though it's a lie he's made himself.

Foolish, all in all, is someone that just acts or speaks before really thinking too much about what he's doing. About the possible side affects of his actions. He just *does* them.

I think it also plays in very well with the idea that he's lived for thousands of years. the things that affect the typical mortal just don't phase him in the same way, not when he's viewing everything as an adventure or an element that is fun. i think that also taking into consideration that he's lived for such a long time, it's rather surprising how easy he is to manipulate. Because that is what Cucucrucho is doing, when looking at the whole picture. cucurucho holds a lot of power and we all know that it easily could have arrested Pac and Mike without the intervention of Foolish. So why make him do it anyways?

Well we don't know that for sure, but we can make some guesses. To sow distrust between the members. To see how far Foolish was actually able and willing to go for the Federation. To place blame on someone aside from itself. All possibilities.

Regardless, Foolish has played right into their hands. He's a silly guy that's gotten himself into a serious situation. One in which he might end up having to navigate alone because even though he has Jaiden he's still lied to her, and even though he has Leo, he would never want to put his daughter into harms way. He said something at the end of the stream about how this might just end up being a lonely road he's taking and i couldn't agree more.

Anyways, that's all i got for tonight as it's late and idk what im getting at here, i just think Foolish is really neat and wanted to attempt to put that into words. :D

[givemewallywestorgivemedeath]

Can't stop thinking about Irey slowly suffocating, being choked to death, five feet away from the world's greatest heroes. This little girl was dying at the hands of a monster and yet they were moving so fast that none of the heroes in the room even knew they were there.

She was staring at half of the Justice League and no one could save her.

Her thoughts were screaming for help so loudly that even the homicidal telepath strangling her wondered who she could possibly be asking for. There was no one to rescue her, so who was she calling out for?

Jai.

In a room full of superheroes Irey was only focused on Jai. Her brother. Her twin. Her other half. She was dying and he was frozen in time. She stared at him, unable to breathe, and he stared back, unable to comprehend.

But he didn't need to comprehend. Irey was calling for him. She needed his help. Conscious or not, he wasn't going to let that call go unanswered. His speedforce connection wasn't going to let that call go unanswered.

I just think it's beautiful that she reached out to the one person she would always reach out to, knowing he wouldn't be able to answer, and yet he did. He unconsciously reacted to his sister's distress and grabbed on.

Then Irey used him to beat the living hell out of the bad guys.

[mid-nightowl]

untitled lil fic #1 (jason todd and gotham war)

here's some gotham war rewrites i needed to get out of my head, the brainrot was killing me omg

warnings for violence, cursing, whatever the hell Bruce is doing (just Bruce as a full warning tag, the man is more unhinged than Joker in this)

---

“Oh Jason. How I’ve missed you, my sweet boy.”

The words are sickeningly sweet, poison-saturated words falling from bloody red lips. Delivered with a crooked smile, Joker looks up at him, uncaring at his position. His fingers curl in the clown’s suit collar, lips curling with a snarl.

Jason punches him again, the clown’s jaw cracking and his body straining against the ferry railing. Joker merely giggles, head lolling around through the air before his mismatched eyes meet his mask. 

“Shut the fuck up!” He snaps, unholstering his gun and digging the muzzle into Joker’s cheek.

His murderer raises his hands, waggling his fingers in surrender, grinning and smirking and smiling. 

He hates it, he hates it, he hates it. 

“I want you to think about this real carefully,” He digs his gun into his skin. “This could be the last joke you ever make, you understand? That’s what you want to go with?”

“You know,” His nightmare giggles, chuckles like a wind-up toy before he wipes the amusement off his face. The clown looks up at him, head tilted, pleased and patient and thoughtful. There’s not a single sliver of hate and destructive menace, or anger or disappointment or suspicion. 

Wrong, wrong, wrong, he thinks. There’s something wrong here. There’s something wrong with Joker—and not in the usual way. 

“The best jokes deliver a difficult truth, but hide it with a fun fiction,” Joker explains, smushed but coherent words strung together despite the gun halfway in his mouth. “Without humor all we have left is being mean and lying.”

“What?” He can’t stop the words before they stumble out of his mouth. He doesn’t let the gun go lax in his hand despite the way the clown’s words throw him off guard. 

Off-kilter is a genuine feeling that digs into him, shocking him to the core. The clown does this, he knows it. He knows this is how he does things, how he worms his way out of every situation and every attempted manslaughter, he knows how the clown operates, intimately. 

Jason knows him. 

Joker, historically, has been so many things. But he’s always been a psychotic, impulsive mass-murderer. Someone without restraint, without limitation. 

It’s why he’s always been Batman’s true nemesis. Bruce, he needs a fine-tuned control of everything and everyone. He is someone who has limits and restraint. 

Controlled, focused, and without limitations—Jason is almost the happy medium to both of them. 

Almost.

The three of them are similar, different, opposites and identical. It’s like walking in one of those mirror mazes where you can’t tell who the real you is. 

Who is the real Bruce Wayne? The man who cherishes his children or the one who maims them?

Who is the real Joker? The cold, purposeful mass murderer or the dumped-in-acid man who can’t tell the difference?

Who is the real Jason Todd? The bloody crime lord or the declawed crowbar wielding vigilante?

Joker simply smiles and pats his arm, as if Jason’s not trying to kill him.

He slams the clown against the railing again, snarling. 

“Enough games!” He growls and flips the safety off. The noise doesn’t even phase Joker, if anything he grins harder. His mismatched eyes—one red-brown, one green—flick above them before returning to his. 

“Are you really going to use that big bad gun of yours with Daddy watching? He’ll be so mad at you.” His murderer grins, letting his head hang limply in his grasp.

“What? Batman-!” He jerks back, head snapping up to the ferry roof cover. 

Empty. No looming monster demanding a painful compromise is here.

Joker’s hands push him back, and he grunts, stumbling into the ferry wall. The clown tumbles over the railing, disappearing from view. His laughter haunting the air. 

“No!” He shouts, dashing to the railing. 

The clown is gone under the waves and ice, sinking into the dark of Gotham Harbor. 

He’s not dead. He can’t be dead, Jason thinks, gripping the ice-cold railing, I haven’t killed him yet.

He’s not dead.

But that was mean. 

--

The last words Jason hears remind him of his grave. 

No, not the one he was buried in. Six feet of dirt above him and smothered in satin, watched over by that stupid weeping angel.

There’s a memorial in the cave with his name. ‘Good soldier’ and nothing else but his name. Both of them: Jason Todd and Robin. 

A monument to Bruce’s failure, his greatest mistake, a grave to his complicated teenage years, his love. 

“You’ve always been a good soldier. Rest now.” Bruce told him, jabbing him in the neck with the needle. 

A grave, a memorial, a monument. It makes him sick. The reminder that he will always be the dead Robin, the sad Robin, the angry Robin. 

Dead, dead, dead.

The violence done to him, inflicted and imprinted into his skin and bones was more important. The guilt and the lesson were more important than his cries for justice, for his life’s blood.

The monument and altar, raised after his murder, were never for him, but for Bruce.

He was dead, why would he care?

The story Bruce will tell would never be the truth, just excuses and wrong-doings. He would take accountability after the fact, but not before. 

Bruce would let his murderer walk and let him rot. 

Maybe that was why he buried Jason six feet under, so he wouldn’t have to face the decay and decomposition. That he could keep this golden, blurry image of him as Robin, as the straight A student, the good son. And not a weightless body splinted a thousand different ways to look human. 

But now that he’s resurrected—not in Bruce’s image, but as something broken and jagged, something lost and filled with dirt and green-green-green—Bruce refuses to acknowledge him. Refuses to believe this is who he is. 

Refuses to believe that he remade (destroyed) himself from the ruins, from the broken bones and empty veins and black thread that mended his corpse back into the image of Jason Todd. Refuse to think that if a girl can come back as a soothsayer, that a boy can come back as a gun. 

“Hnnng…Bruce,” Jason groans softly, heaving himself off the couch. 

Batman turns to him, looming with his face mask in his hands. The fluorescent lights, a nauseous lime-yellow, cut over his figure, his face, his mask. Almost a green-green-green, almost a pool of rage, almost a pit of madness.

His mask crackles alive in Bruce’s hands, Selina’s voice wavering between annoyance and worry. 

“Red Hood? Hood, please check in and let me kno-” Batman clicks his comm off. 

The resounding silence smothers him. 

His exhale comes out shaky, his heart beating too fast behind his bruised ribs, a chill crawling over his exposed skin. 

Something’s wrong. Something is very wrong. 

“...Batman? You…” He swallows roughly, mouth filled with dirt and blood and thread. “Wha…What did you do?”

“Nothing I’m proud of, Jason.” 

His heart sinks and skips a beat at the same time, stomach twisting with anxiety and fingers trembling against the ugly brown couch cushions.

Inhale. 

He pushed too much.

Taking Selina’s side?

He went too far.

Hood didn’t kill anyone?

Exhale. 

“Hh! Ho…” Jason croaks, getting his boots on the ground. “Y-you…you..”

“Take deep breaths, Jason.” Batman turns back to the computer hub glowing behind him, ignoring his attempts to speak, to demand answers. 

His arms shake as he holds himself upright, but when he tries to stand instead he chokes, falling to his knees in front of the couch. Gasping for air, he lays his palms flat against the cool tiles. His legs are quivering, heavy and unable to hold his weight. 

His whole body trembles with it, this feeling unfolding through his blood and bones, engulfing his head and voice. 

Fear, fear, fear.

“Years ago I created my backup personality, Zur, using techniques I learned from an old mentor and this machine that I built,” Batman starts, monitoring the screens in front of him with one hand on the keyboard and the other on his belt.

Bruce doesn’t turn to look at him, to face him, someone he calls son, someone he considers family, and explain what he’s done to Jason.

He never has. 

“I can’t change your personality with it, Jason…” Batman sighs, low and quiet. “But I can add to it. A small thing: your failsafe.” 

Failsafe. He slams the heel of his palm on the floor, cheeks tingling with his telltale sign of tears. A failsafe?!

Because Red Hood needs a failsafe instead of justice.

“What?!” He tries to snarl, to hiss and yell and scream his rage. But his voice fails him, anxiety chewing at his throat and tongue, voice tilting too high, too unsteady, too weak. 

“Now when you have heightened adrenaline, when you’re about to do something dangerous, your fear kicks in,” Batman continues explaining. “It…I’m sorry Jason. But it’s the only way.” He clenches his eyes shut—inhale, exhale, inhale, exhale—and tries to ignore his rabbit heart battering against its cage, pounding to the frantic rhythm of fear, fear, fear.

“I love you.” 

The words feel like gunshots, the knuckle prints on his skin after the two of them fought over Penguin, the smack of Selina’s whip against his fingers, the crowbar on his skull, his legs, his ribs, over and over and over. 

“I love you, but you are a murderer,” Bruce condemns him, over and over again. “You’re a bull in a china shop and I go round after round with you, trying to figure out how to help make you a better man, to heal you.” 

“H-heal me?” He whispers, rage cut off at the roots. “This isn’t…this isn’t you, Bruce.”

Batman, finally, turns to Jason. He looms, tall and foreboding, darkness dripping around him, drenching him in fear, fear, fear. 

Batman takes a step forward and he crashes back against the couch, spine digging into the wooden frame painfully. 

He can’t breathe. Batman moves and he knows it in his bones, knows it down to the scars Gotham and its guardian have left on him, that he’s not here to save him, to help him. 

“I got you a new identity. A place in Metropolis.” Batman keeps walking forward, despite Jason’s growing hyperventilation, despite the way his blunted nails scratch at the floor. Despite the way he shakes, black stitches snapping apart, the pieces of him falling to the floor of this slaughterhouse, at the feet of his butcher. 

“B-bat…Batman,” He whimpers, hand twisting into the fabric of his suit. 

“You can live a normal life. Fall in love, do meaningful work. This isn’t punishment, Jason,” Batman kneels in front of him and removes the cowl. “I love you.” Jason shrinks back, shoulders back and legs curled to his chest. Bruce’s face is sharp and pale, with bags under his eyes and days old stubble on his jaw. 

His eyes are dark with absolute rage. 

Batman is going to hurt him. Batman is going to hurt him.

Bruce is going to hurt him again. 

“This is a gift. Any way you look at it, you should be in prison for all the people you’ve killed,” He chokes at Bruce’s words, barely smothering the terrified cry in his throat. “This is me saving you from that. Save you from yourself.”

Jason can only stare at the man before him—the man who took him in, who raised and trained him, who loved him—does his best to bury him.

fear, fear, fear. 

--

“Please..don’t…please,” Jason pleads, covering the girl with his frame, caging her in with his bruised and burnt arms.

“Let’s begin.” Scarecrow’s voice reverberates, it shakes through air to match his erratic breathing.

“P-please, I’ll do anything you want, anything,” He begs, fear, fear, fear burning in his veins. “Please. Just stay…stay away.” 

Scarecrow closes the gap between them, rocking back and forth on his crooked, long legs. His mask distorts and mutates, a familiar green-green-green splashing over the darkened void of his gas mask.

“You’re going to die tonight. I know you know this,” Crane looms over him, green-green-green trickling out his eyes, gushing out like an open wound. “But we can still have fun, can’t we.” 

The girl trembles underneath his chest and Jason tries to smother the whimper begging to pour out his lips. It’s gnawing at him—rabbit heart frantic in his chest, hands trembling from the burning pain and anxiety, smoke and ash gathering in his lungs—fear, fear, fear.

He can’t think of anything else. 

“Those fools were right. Your terror…it’s real and it isn’t mine,” Scarecrow sneers, kneeling in front of him. “There is no thrill in driving terror into the heart of a baby bird.” 

Scarecrow takes his jaw in his hand, needles tickling at his exposed skin, forcing Jason to look at him. He can’t help but jerk his head at Crane’s touch, needles pricking into his cheek when Crane holds him tighter, another inescapable cage around him. 

His chest heaves with every shaky inhale-exhale, his anxious fear fanning over the rogue’s mask. Scarecrow leans in closer, the glass over his eyes gleaming, reflecting the fire roaring around them. Jason can hear the screams in them, watching the shadows morph around them and the straw on Crane’s shoulders wiggle. 

“This is my moment of triumph, and it is snatched away from me by..by him?!” Scarecrow shakes Jason’s head in his hand, needles scratching into his skin but still not drawing blood.

Scarecrow lets his head drop, needles disappearing from his sight before they’re clawing at his throat, wet and cold against his clammy skin. Jason whimpers and clenches his eyes shut, unable to do anything but beg. 

He knows praying for someone to help him is futile. 

No one is coming to save him. 

“Never let it be said Scarecrow has no pity,” Crane says, voice cutting in and out his head like radio static. “I will quickly finish what your daddy started.” 

“Doesn’t mommy get a say?”

A voice slices through the flames licking at his skin and the fear smothering him. And when Jason’s gaze finds him, he can’t help the tears. 

“Step away from the vigilante, pervert.” Joker grins, dark red lips stretched too wide, too thin. Ash rains down on his green-green-green umbrella, rolling down the crooked dark patches and shamrock-colored nylon. 

“You’ve already killed him once. It’s time you learned to share, Clown.” Scarecrows speaks with thin, razor-sharp disdain, glaring over his shoulder at the newcomer. 

“You should know this by now, Doc. I don’t play well with others.” The clown throws aside the umbrella, knife materializing from thin air as he descends upon Scarecrow.

“You’re not even really him, are you? Do you think I don’t know about you? Delusions and megalomania with-” Scarecrow baits and taunts the clown, before the two of them are ducking and weaving and slicing at each other with barely concealed rage and annoyance. 

“Blah, blah, blah. Do you know why you’re always going to be a C-List villain, Johnny?” Joker jokes and Jason can imagine the sharp grin on his face. “Because doctors aren’t scary. They’re annoying.”

He ducks his head down and curls tighter around the girl. She cries underneath him, hiccups soft under the roar of flames closing in on them, the screech of metal on metal and creaking of deteriorating wood. 

He can’t move. He can’t do anything but try to breathe. But all he tastes is smoke, choking him, billowing down his throat and in his lungs. His heartbeat is so loud, jumping under its bone-cage, a heady, heavy thing—badump-badump-badump-badump. It’s too fast, erratic, out of control.

“You’re a bull in a china shop and I go round after round with you, trying to figure out how to help make you a better man, to heal you-”

Always out of control. Jason whines, hands scrambling against the wood below him. It burns, seering through his fingertips. It hurts-it hurts-it hurts, he can’t do this. He can’t.

He can’t breathe.

“Ahhhh! Ack! Achhhhh!” Scarecrow screams, guttural and wobbly and when he looks up, Jason can only watch as Crane crashes through the fifth story window. 

Tears continue to stream down his face, his heart trembling in his chest and the realization strikes him then, cracking down on his skull like a crowbar, over and over and over. 

Joker saved him. Joker saved him. Joker saved him. 

His murderer saved him.

 “A-are you real?!” Jason cries out, fingers curling into the withering floorboards. “Is this real?!” 

“Oh, don’t worry about him. I didn’t even give him a real dose of Joker Gas. I ran out. Heh!” Joker laughs, rubbing at his jaw. Blood and green-green-green stain the edges of his mouth, smeared down his chin and throat before disappearing under the orange sweatshirt he’s wearing. 

“But now, it’s just you and me. And…your daughter? Did you have a daughter and not tell me?” The clown tilts his head in question, tucking away the green-green-green gun in his hand. He steps closer, uncaring of the flames licking over his pale skin.  

Jason can’t tell if it's real or an illusion, can’t tell if his murderer is here and saving? rescuing? tricking? him. He can’t tell if this is just another nightmare he’s trapped himself in, or if this is the real punishment Bruce promised him. 

“She’s just a kid. Please…don’t,” He pleads, the tears searing down his ash-stained cheeks. 

Joker leans down, bringing his face close to Jason’s. His mismatched eyes—one green, one red-brown—bore into his and the clown smiles, too wide, too cracked and broken, too bloody and green-green-green. 

He sobs, cracking under everything. He can’t do this, he can’t. 

“My, my. Even like this you still think you’re the hero. Batman would be proud if he didn’t hate you,” His murderer says, before his bony hand is cupping Jason’s face, calloused fingers dancing over his skin. 

Jason clenches his jaw when it threatens to wobble and tremble, but knows the fear is shining in his eyes. Knows the clown can see it, knows he recognizes it in his baby-blues. He’s been here before.

They’ve been here before, together. 

“But don’t worry my sweet boy, I’ll find a way to fix you. Nobody is going to hurt you. I won’t let them. Because I need you.” His voice is honeyed and threatening, curling and clawing and cloying into his head like a sickness. Joker pets his hair, gentle and caring, and Jason knows he means it. 

He’s going to fix him. He’s going to heal him. 

He’s going to save Jason.

“Don’t worry, sweet boy. We’ll see each other soon,” Joker pats his cheek with a crooked green-green-green smile. “I promise.” 

His heart beats frantic to the words—fear, fear, fear—eyes unable to look away from Joker.

Jason believes him.

[dapg-otmebytheballs]

something ig is a bit of a hot take (maybe not on twt tho) is the whole people speculating about dan’s gender. it all just feels a bit off because i sort of think of it as his whole sexuality journey and how people were so onto him. he has said that he is comfortable as a man but obviously if that were to change it would be fine and we would be accepting.

as well as saying phil is autistic or neurodivergent based on some behaviours and videos. he has not stated it so we don’t know but if he came out and said he was it would all be fine. i just feel weird about the whole speculating aspect of it.

It's fine to not want to engage with particular kinds of fandom activities, you can always curate your experience so that you don't see people posting that

It's odd that you throw this at me though, who has a whole autism tag for keeping track of these instances where Phil does things that make autistic me feel represented

No one is pressuring them, no one is tagging them, this is just what marginalised people are Like when we see kindred spirits and go all Leonardo DiCaprio pointing meme at them. We aren't trying to get personal info from them, nor are we trying to spread misinformation about them. It is something of interest to me though that when people try to shut down speculation because 'we shouldn't assume', they don't realise that you are taking being cis and being allistic and otherwise neurotypical as the 'normal' there. "They haven't said they are trans so you should assume they are cis" "They haven't said they're gay so we shouldn't assume they are" what should we assume in these scenarios? That they are the 'normal thing to be'? Because people are hardly ever uncomfortable about speculation when it's shit like 'maybe they like cats more than dogs' 'do you think this celebrity is gonna marry his girlfriend this year? I think he is' etc etc it's somehow always only when marginalised people are like 'ooh I really relate to those experiences and went through that phase of discovery, wonder if they are also a part of this group' that people start being uncomfortable. Which is like. Honestly, genuinely, betraying some internalised queerphobia and ableism.

If you have your reasons for it good for you, yk, you can learn to make it so you don't see shit that makes you uncomfortable. It's just v weird to go to marginalised people of that group to say 'hey it made me uncomfortable that you even suggested that someone might be like you'. Yeah we know, we hear that like. All the time. Lol.

This askbwasn't worded very hostile so I'm taking in good faith and assuming you just didn't think about it this way before, so like. Anon if you see this please do a bit of introspection about this. We are tired of having our identities treated like they're radioactive