#ymmv but i have thoughts about it

[daily-sloop-john-b]

I know we all love to say "fuck mystra" this and/or Gale's Folly (subtitled: How Could You Be Such A Callous Idiot)—but really, Gale and Mystra are primarily REALLY BAD at communicating. The whole issue started when Mystra a) couldn't provide a satisfying answer to Gale's desire for more, b) Gale decided that instead of being vulnerable and working through it, he'd do a Secret Project(TM), c) Gale didn't bother telling Mystra what said project was, and/or she only vaguely warned him off it. And then Gale rolled a nat 1 on his arcana check, and then a second nat 1 for insight b/c the DM was attempting to take mercy on him and was staring at Gale and the book, worrying 4d6 under the table while not breaking eye contact and saying, very slowly, "...are you sure?"

[rubberduckyrye]

@kindlyre

Okay so to preface this: I am VERY Italian and my hair is a natural texture of 3A-3B due to the fact I am Italian. Your mileage will vary greatly depending on your hair texture!

Second of all while trying to find the product I actually realized it IS a hairspray. Or it's labeled as one. Oops! But it's not the kind of hair spray that makes you gag or stiffens your hair I don't think? Still!

Anyway So when I say my hair is at "max curls" I mean that normally, I don't take very good of my hair, so it's usually a wavy texture, and I thought I had wavy hair with maybe one big banana curls until I learned that like. Normal shampoo is not a one hair texture fits all, actually. In fact there were hair products designed for curly hair!

So I started using SheaMoisture products.

I use the really intense hydration line because I don't take the best care of my hair, so it picks up the slack for me. The Hold and Shine mist/hairspray is what I was talking about tho. I've only used it twice and both times it's held my "curly hair is wet and curlier now than when it dries" curls without that awful crunch texture so I'm digging it!

But like, these products aren't making my hair curlier, they're bringing out the natural curls I never knew I had and holding them. So I'm sorry if this is a bummer but if you suspect that your hair might actually be hiding some curls I would give this brand a shot!

[coriander-candlesticks]

Note to self: word prayers better when doing divinatory sessions

I think I've mentioned this before, but I do yes/no stone pulls on Sundays to ask for guidance about maintaining my health re: my commute because it's 2-2.5 hours each way via public transit if everything runs on time. It's rough on me in multiple ways and can lead to even more migraines than usual or being too fatigued to work at all, and it can be difficult to tell whether I'll have the spoons to go in person.

This past Sunday I was exhausted & stressed because of, you know, the horrors, and said my initial prayer a little differently than I usually do. I still invoked Apollo and Hermes as always, as both of them cover divination by lots, Apollo's domain covers health & disease, and he's the one I turn to for divination by default.

Now, the vast majority of the guidance and lessons Apollo has given have had to do with recognizing my physical & mental limits, especially around this issue. The answers I was getting this time around were...odd but not quite in the way they have been with just dud pulls, so I started asking clarifying questions to figure out what was going on. After a few - establishing that there was a reason for the answers but it wasn't a test or punishment or Apollo messing with me (which would have been. odd) - I realized that while I'd invoked Hermes as a god of divination by lots alongside Apollo, I had not explicitly asked him to act as a messenger and aid in communication this time around, nor had I asked Apollo to guide the divination session with the wording I usually use.

I think you can see where I'm going with this.

I re-said the prayer (correctly this time) and confirmed that it was, in fact, Hermes at first while re-doing the initial set of questions (which were much more consistent in the usual way), as well as confirming that the issue was the prayer wording. Lesson learned lol

[bluestockingbaby]

Moll Flanders the book is a better adventure than Robinson Crusoe and Moll Flanders the character belongs in the ranks of the great first-person narrators.

[soweirdondisney]

Just odds and ends - feel free to answer what piques your interest and ignore the rest

Money - with 6 hit albums and Rick and Molly writing songs (and I would think owning publishing, since Irene is very good at her job), I was thinking Molly ought to at least have tens of millions of dollars. Though we see nothing indicating that. Thoughts?

Do you have any good ideas on how to incorporate Atlantis/the cheese wheel in the final battle? I'm contemplating a headcanon where Rebecca's families are genetically Atlantean. I just kind of like the idea of her being able to have a world in-sync with aging and have a real life and keep connections and so on.

Any ideas for future careers for Fi, Jack, and Clu? I've thought about urban planning or child psychologist for Jack - something helping people or making the world a better place. Fi could totally pursue tech, as she likes that, but she loves the supernatural and fighting evil. And, with her tech-ness, maybe long-term that could end up with website/channel about those thing while she did some traveling and world-saving. Clu's a difficult one for me - we've seen him try to make a documentary once and I guess John Kane could give him entry into the field. But I'm not sure I regard that as more than a passing fancy.

After the end - original season 3 version: Rick is back from the dead. I know Fi would want the whole world to know the truth of what happened. That would make things very different that our world. If we keep the SW-world outwardly seeming like the real world for the majority, then they are going to have to come up with a story about Rick. Any ideas on what it could be?

TZIGONE!! You have been in the fandom and the forum for years, and your questions always push me to think outside the box. I welcome it! I’m going to try my best to answer all of them.

#1 - One

I’ve actually been working on something like this for a few weeks now! Ned’s comment to Molly about “being back in our old studio” (Medium) made me think of it. It’s too long to put here, and it’s very speculative, but there will be an upcoming deep dive on the success of PKB.

With that said, there’s a gap between Rick’s death and Molly restarting her music career. Chrysalis sort of fills in the blanks that Molly was an alcoholic after her husband died.

She might've spent a lot on her addiction (since we’re not sure how long that went on) and recovery (did she go to rehab?), lived off some of it before working in ads, and maybe doesn’t keep a lot of cash on hand for the sake of holding herself accountable.

Rick could’ve had life insurance, they likely purchased their million-dollar home outright, we mostly hear Ned and Irene discuss money woes (the struggle of putting two boys through college, most of Nightmare, etc.), so Jack and Fi are likely set up, and are we sure Hope Springs High is a public school? The students spent at least three days of their spring break doing a science fair that involved a live performance complete with a buffet line for lunch. That doesn’t seem public-funded.

My conclusion is comfortably upper class because they pinch pennies and are cash poor. Their net worth, not income, might be a few million.

#2 - Two

This one’s a little tricky but here’s what I came up with: in the original s3 Fi is contacted by an alien who is also a teenager with a lost parent and the same thing is happening throughout the universe that had sentient life on it.

The alien that contacts her is from space (above Earth), Atlantis is in the ocean (below Earth), and Fi is on Earth. She is “the destined leader in the fight against evil” … because she is the center. The alien is a teen, meaning it ages, but Rebecca (a possible Atlantean) is also a teenager, but ages slower, and has not lost a parent. Her existence goes against nature.

But as above so below, so – and maybe this isn’t what you wanted but it’s where my brain has gone – does Fi have to, literally, break the wheel to free Rebecca from her immortality and right the universe? Or maybe similar to the Banshee tradeoff Fi gets a compromise that lets Rick live and Rebecca have a real life and remain immortal (or not)?

Rebecca’s family collected artifacts and Carey teased it would be the cheese wheel that finds Fi next time. While researching her father’s death Fi could come across old photos of Molly and Rebecca with the cheese wheel in the background. Fi can’t stop thinking about it and wheelie knows that.

Unrelated: do we think the cheese wheel can roll like Rubber (2010)? I don’t think it would get that, pardon my language, cheesy and it shouldn’t be a gimmick but if it works…

#3 - Three

Jack would make a great child psychologist... or guidance counselor or recovery companion (the Chrysalis ending sort of plays in there). Long-term he could work within the prison system as an educator or even social worker. He has that no-nonsense approach.

Clu is tough! Like you, I don’t put much weight in his film making endeavors. UC Santa Cruz is known for research and public service. Mutiny’s a good example of his compassion, plus he has an interest in surfing, so maybe something to do with oceanic sciences? Not necessarily a biologist (although wouldn’t that be a twist!), but maybe he uses his social skills to do presentations, apply for grants, and get funding for research projects. Aside from s3, which can be excluded or not, we don’t ever see how college *changes* him as he enters adulthood so that leaves a lot of possibilities.

I agree with Fi getting in tech, maybe as a web developer for others (like helping lawyers have user-friendly websites since she practically insults Rachel’s note and research skills in Avatar😆). Through the show we see Tad give her software upgrades that she uses out of their initial, so she could end up working for (with) Tad. She could even expand her blog posts and online journal to a published book. More than Jack and Clu, I see Fi taking on different careers simultaneously.  

#4 - Four

Hmm. Fi WOULD want everyone to know because she’s not good at secrets (like telling the internet about Rebecca), and this is where Fi’s credibility comes in to play. Fi’s time on the road and chronicling her experience means she has “proof” of other supernatural phenomenon that people like Ryan, Candy, James, Rebecca, Claire, etc. could believe and defender her on, even before she helps bring her dad back.  

We don’t know if Rick shared his findings, who with, or kept journals, so, yes, Fi would want to share and have an ally in Rick, but it would ultimately be his decision what to say. The safest explanation, as a writer, would be to play with folklore/the supernatural and, like the show, make up what suits the story.

For instance, wraiths are a supernatural creature So Weird never touched on. When I first learned about them I understood they were only allowed to come back to life after they fulfilled an order/task. Maybe in Rick’s case his task was guiding Fi (Web Sight, Troll, Twin) to save the universe. Other stories have wraiths as the enemy of vampires (!!) who haunt the living - think Molly’s dialogue at the end of Medium, Another World performance in Encore, the ending of The Muse. Rick could be that, a mix of wraith characteristics that still identify him as one, before returning entirely.

That’s pretty out there BUT even Ryan accepted an unreasonable theory. And because of how Werewolf and Lost ended happily, as long as they’re not thought of too hard, it wouldn’t be too far-fetched if everyone accepted the story.

Rick’s return would be akin to Kamilah’s revival after a decade, except he wasn't in a coma, and Laura’s ability to change depending on the time of day, except he would be permanent.

Molly, Jack, the Bells, John Kane, the fans - they all knew he was dead. His every moment would be the proof that what happened, happened. And his return would give credibility to Fi's other findings and the people touched by her travels the same way that their experiences with her would give credibility that Rick’s story should be believed, whatever it may be.  

Hopefully the lengthy answers make up for the lengthy response time. You always ask great questions, and hopefully you got some ideas out of this.

[sirellas]

love how every casual star trek fan i see on here is like omg yes finally wonderful canon spirk!

and then everyone in the trek trenches is rolling their eyes

[uozlulu]

I don't normally feel this way about dead historical figures but I really am curious if Grover Cleveland has any thoughts about the second president to have non-consecutive terms.

[punk-lucifer]

aag!oliver would not have lied about a dead dad, she would have faked a miscarriage

[leothil]

fuck it frisaturday

Dearest Morgan @rewritetheending tagged me yesterday while I was out social dancing, so please accept this humble post today instead! I was pondering what to share when I realised I never shared pics of an actual slightly-more-artistic project some friends and I cooked up.

In mid-march the student society I spent a large part of my years at uni at celebrated its 151-year anniversary, and since it was ten years since I sat on the board, I, along with the rest of my board, was invited to the year ball.

Going on a tangent here because I honestly don't know what to call it in English. It's a formal event, starting out with the current board receiving gifts (usually more funny than useful, and usually including some kind of alcohol) from other invited student associations, then a three course dinner, then some ballroom dancing, then afterparty lead by a dj. (And the next day at 12 the official after-afterparty starts.)

Well, we wanted to give the current board something funny but not completely useless. So we bought a toy cement truck, spray painted it gold (a callback to our board days when we specialized in coming up with year ball gifts that we could spray paint gold. I don't remember how it started but that was our trademark the whole year), and tested that we actually could get it to spit out servings of liquid without leaking all over the place (mostly successful).

Behold!

We got the board a big bottle of some nicer akvavit that we used to demonstrate how the truck works. As we hoped, they were delighted, and some of the other guests also complimented our truck. 😄 In the bottom pic, the sitting chairman of the board is receiving a serving of akvavit from me.

The video below shows one of the tests I and a friend ran on the truck.

No tags as I'm a day late, but if you weren't tagged and wanted to share something, this is you being tagged!

[laufire]

maybe we'd live in a different world if someone had sat the creative team of this is us down, held their hands and said. hey. hey. you know you don't have to write kevin and sophie together if you don't want to, right?

[talkorsomething]

its TOMORROW and im not like freaking out freaking out but if i sit still for too long i can Feel It

[beannoss]

So I've been thinking about them:

Specifically I was wondering what the moment was (if there even was a specific moment) that cinched it for Twilight developing feelings for Yor.

[Spoiler warning: this post references manga chapters not yet animated]

I think for Yor it's pretty quick. Like, this moment here:

Not that Yor fell in love with Twilight then (ymmv) or that she's fully aware of her feelings, but it's explicit that she felt connected to him here and attached in meaningful ways.

But for Twilight, it wasn't so clear. For a while I'd kind of decided that it just came over him slowly (and I think there is something to that) and that there wasn't any singular moment which stood out. But that didn't feel quite right. The more I thought about it, the more I thought there were two stand-out moments, only one of which Twilight actually (semi-)clocks.

The first, which I think passes him by entirely, is this:

In my view, this laugh is an entirely authentic response. I think he is, despite himself, delighted by this woman who 1. just unexpectedly saved him from being stabbed, and 2. did it by sending the guy flying across an entire alleyway.

This is accentuated in the anime, I think, by the jaunty, puckish music that makes up the first part of their marriage theme song. I am dying for the reappearance of this music in some fashion, btw, it's so fun and cheeky and I'm hoping foreshadows their vibe after various revelations and particularly when they start working together as Agent Twilight and Thorn Princess:

The second moment for Twilight, I think, is more subtle for all it's more impactful. Or at least, the degree of its importance passed me by on initial read/watch, and I think it's deliberately downplayed by Twilight himself. Because he does actually clock it but if he looks more closely at it, well... then he might have to do something about it. And maybe that something won't comport with what the mission needs, and then what?

It happens when Twilight first bugs Yor, and then poses with Franky as SSS agents to test whether she knows Yuri is with the SSS.

It's clear in the lead up that Twilight recognises he has some feelings about/for Yor, and he doesn't want to spy on her; he doesn't want to mistrust her at all. He has to convince himself to take seriously that she may be a potential threat.

And even then, the convincing only sort of mostly works, because he hesitates again:

Which is, by the way, bananas. At this point, they've been a fake family for maybe a handful of weeks? Twilight is an experienced, accomplished spy with a finely honed and necessary sense of paranoia. Of course he should be suspicious. Her brother is an SSS agent! Canonically, the SSS are both Twilight- and SSS self-described as Twilight's greatest existential threat. It shouldn't be a question whether or not to verify Yor's knowledge here. And yet.

We all know how the rest plays out. He decides that listening in isn't enough, he needs to confront her insofar as he's able. I wrote previously about Twilight's relationship with Anya and the pivotal moment for him in how his view of his relationship with Anya changes based on Anya's (and Endo's) choices. I think a similar thing happens in this scene with Yor.

See, it would have been enough for Yor to continue to deny, continue to not call on Yuri's help, to prove she didn't know, and to put Twilight's mind at ease.

Endo takes it further.

Y'all: THIS IS ABSOLUTELY WILD. It borders on levels of impulsive foolhardiness that Twilight should actually take as a negative for the person playing his wife for Operation Strix. Yor even alludes later to the problems this could cause!

The SSS are indiscriminate; if Yor was facing down actual SSS agents, first assaulting and then threatening them would 100000% land her in custody. Were it not for Yuri, it may even get her disappeared, based on how casually and frequently Yuri references having people executed. It would absolutely put the Forgers at risk, in general and in the implicitly sexist Ostanian society, because if Mrs Forger behaves this way, how does Mr Forger behave? And why can't he control his wife? The Secret Police are not known for their leniency, their modesty, their discerning, their temperateness, their mercy. They are known for the exact opposite of those things. And due to being a spy, Twilight probably knows they're actually much worse than even their public reputation.

And here's Yor saying: you can question me but if you threaten my brother or my husband, I will fucking end you. Bodily.

Of course, it's entirely in keeping with her character, and it's an entirely revealing moment of who she is. And I think this is the moment for Twilight. He's already been trusting her bit by bit, as he says above, intuitively. I'd suggest that maybe even more than that though, Yor taps into something Twilight deeply wants: backup. Someone and somewhere safe. Maybe we could describe a person fulfilling that role in an adult relationship as a partner...?

It's because he doubts his intuition (his wants, his feelings, things he shouldn't be countenancing) that we get to this point where he (overzealously) tests her.

She blows his test right out of the water.

The SSS are basically the group he fears most; this is reiterated throughout the story. He doesn't trust them specifically because of who he is and also just generally. He doesn't trust their judgment. He doesn't share their values or their priorities. He doesn't like them around. He doesn't like them looking. He doesn't like being anywhere near them. (Also, he's right.)

And here's Yor. Not only standing up to them on his behalf but actually going on active defence on his behalf.

(I pause here to note 'on his behalf' is a bit, mm, tricky, since it's actually technically on Loid's behalf and I have Thoughts and Feelings about Twilight & Identity. But for the sake of the impact of this moment on Twilight, we'll take it as writ that in this moment there's no appreciable difference between Twilight and Loid.)

I think from here on out, it's incredibly difficult for Twilight to ever doubt or distrust Yor. He perceives her as firmly in his corner, that if the chips are down — if his worst enemy and his worst fear come knocking — she'll be on his team, unflinchingly. He may not think there will be much she can do (heh.) or much she can offer given the power of the SSS and her civilian status (I reiterate: heh.), but it matters that he believes that she'll be by his side.

And you know what? He's right. She will be.

That isn't something he's had since he was a little boy. Even WISE doesn't seem to offer that to its agents, given Nightfall's thought here:

Twilight's had to rely on himself for decades and now here's this astonishing woman who will threaten the Secret Police for his sake. Of course he trusts Yor. Of course this moment widens the cracks in his barriers. And further: of course those cracks start to reach into those walls deep, deep inside that protect his heart. This is all before getting to other moments, like when he reflects on how Yor is creating a better world in ways he (thinks he) can never aspire to do himself. That she loves Anya openly, freely, with such dedication, to the point of sacrificing her own needs. That she just never gives up, she persists and persists and persists, always doing her best. That she reminds him it's okay to accept peace and to rest. That she wants and tries to take care of him... On and on and on.

Of course we get to this point:

I'm particularly taken with his body language a little later in the scene. He manages to get himself to sitting but he's still sprawled, open, even as he can't wrap his mind around what exactly is happening or why, and he's feeling vulnerable for all that. But at the same time, this is Yor. And she's safe.

In my view, if the Mole Arc hadn't happened immediately between this moment and the earlier where Yor declares herself unhappy, it would have been clearer how much stress he felt specifically due to Yor's apparent sudden unhappiness with their arrangement. The stress got subsumed (conveniently, ahem, Endo) into the stress and violence of the Mole Arc, but I think it rattled him pretty profoundly. It's also additionally why her warm greeting hit him as hard as it did: relief across multiple lines, such that he had to remind himself not to relax, despite Yor's apparent return to normal.

And there may be added layers to Twilight's reactions to Yor's bad moods due to his familial history, as pointed out by @unhappy-sometimes in this post; the inverse, of course, is that Yor's general good-naturedness would add layers to Twilight's sense of security with her. And the apparent loss of that, all the more devastating.

Rounding out the original moment though, I think this in many ways demonstrates the point:

Twilight throws away the bug. That is also wild. It isn't like that bug could only be used on Yor; it wasn't somehow modified to only respond to her person. It was a device that could be used and reused on different targets, on people who actually are worthy of being bugged, etc. But instead of pocketing it for later use, Twilight throws it away.

Actually: he not only throws it away, he crushes it first. Perhaps because he couldn't stand to have that particular device around, the device he used when he doubted Yor?

Seems kind of irrational, Twilight.

Seems kind of telling.

I mentioned my last Twilight meta about his relationship with Anya: in that, I suggest Twilight recognised entering into a compact with Anya, which subtly modifies, for him, the motivations around Strix. I think something like that happens here, too. If Yor is willing to go to such apparent extremes to protect him, he'll do his utmost to protect her.

I've had this meta in my drafts for a while, but I'm chuffed by this panel from the most recent chapter, as it kind of underscores all this by Yor's positioning of herself:

(Of course the point is there isn't a dichotomy: they'll protect each other, as indicated by Yor's if I had to choose: she won't have to choose.)

Back to Twilight, at this point, he can still justify all this as being within mission parameters. Of course he should protect Yor: she is an innocent civilian and if anything happens to her it would threaten Strix. But if/when this line is tested, if/when there comes a point where protecting Yor is actually the option that may put Strix at risk or put him somehow in opposition to WISE, then we'll see.

And more importantly, Twilight will see, too.

[cybernaght]

The fandom echo chamber: fanon, microanalysis and conspiracy brain 

As someone who has been in fandom spaces, on and off, for 20 years, I find some fascinating trends popping up in the last decade that I thought to be fandom-specific but clearly aren’t. So, I would like to do a little examination of where those things come from, how they are engaged with, and what it says about the way we consume media. This is a think piece, of sorts, with my brain being the main source. As such, we will spend some time down the memory lane of a fandom-focused millennial.

This is largely brought about by Good Omens. But it’s also not really about Good Omens at all.

Part one. Fanon.

The way we see characters in any story is always skewed by our very selves. This is a neutral statement, and it does not have a value judgement. It’s simply unavoidable. We recognise aspects of them, love aspects of them, and choose aspects of them to highlight based entirely on our own vision of the universe. 

Recognition comes into this. There is a reason so many protagonists of romance novels have a “blank slate” problem. Even when they do not, we love characters who are like us or versions of us that we would like to be. And when we say “we”, I also mean, “me”. 

(I remember very clearly this realisation hit me after a whole season of Doctor Who with writing which I hated utterly when I questioned why I still clung so incredibly hard to Clara Oswald as my favourite companion. Then I looked at myself in the mirror. Oh. Well. That would do it, wouldn’t it?)

Then, there is projection, and, again, this is a neutral statement. Projection exists, and it is completely normal and, dare I say it, valid way of engaging with — well, anything. Is the character queer? Trans? Neurodivergent? Are they in love? Do they like chocolate? Are they a cat person? Well, yes, if this is what the text says, but if the text does not say anything… You tell me. Please, do tell me. Because, in that moment of projection, they are yours. 

And then, there is fandom osmosis, and that is the most fascinating one of them all, the one that is not very easy to note while you are inside the echo chamber. It’s the way we collectively, consciously or not, make decisions on who or what the characters are, what their relationships are, and what happens to them.  

(Back when I was writing egregiously long Guardian recaps on this blog I actually asked if Shen Wei’s power being learning actually was stated anywhere in the canon of the show. Because I had no idea. I have read and reread dozen of fanfics where that is the case, and at some point through enough repetition, it became reality.)

We are all kind of making our own reality here, aren’t we? 

Back when things were happening in a much less centralised manner - in closed livejournal groups, and forums of all shapes and sizes - I don’t remember there being quite as much universally agreed upon fanon. Frankly, I don’t remember much of universally agreed upon anything. But now, everything is in one place: we have this, and we have AO3, and it’s wonderful, it really is so much easier to navigate, but it’s also one gigantic reality-shifting echo chamber, with blogs, reblogs, trends, and rituals. 

Accessibility plays its part, too. If you were, say, in Life on Mars (UK) fandom between seasons, and you wanted to post your speculation fic, you had to have had an account, and then find and gain access to one of the bigger groups (lifein1973 was my poison, but ymmv), and then, if you feel brave you may post it, but also, you may want to do so from your alt account if you wanted to keep yours separate, and then you would have to go through the whole process again. And I’m not saying that fan creations then were somehow inherently better for it than fan creations now (although Life on Mars Hiatus Era is perhaps a bad example - because some of the Speculation Fic there was breathtaking), but there is something to say about the ease of access that made the fandoms go through a big bang of sorts.

(I mean, come on, I can just come here and post this - and I am certain people will read it, and this blog is a pandemic cope baby about Chinese television for goodness sake.)

The canon transformations that happen in the fandom echo chamber truly are fascinating to witness as someone who is more or less a fandom butterfly. I get into something, float around for a bit, then get into something else and move on. I might come back eventually when the need arises, but I don’t sustain a hiatus mind-state. This means that when I float away and return, I find some very intriguing stuff.

Let’s actually look at Good Omens here. Season two aired, and I found it spectacular in its cosy and anguished way; deliberately and intelligently fanfic-y in its plot building; simple but subversive, and so very tender. (I will have to circle back to this eventually, because, truly, I love how deliberately it takes the tropes and shatters them - it’s glorious). And, to me - a person who read the book, watched the first season, hung around AO3 for a few weeks and moved on - absolutely on-point in terms of characterisation. 

So imagine my surprise when the fandom disagreed so vehemently that there are actual multi-tiered theories on how characters were not in possession of their senses. Nothing there, in my mind, ever contradicted any of the stated text, as it stood. This remained a strange little mystery until I did what I always do when I flutter close to an ongoing fandom.

I loaded AO3 and sorted the existing fic by popularity. And there it was, all there: the actual earth-shattering mutual devotion of the angel and the demon; willingness to Fall; openness and long heart-aching confession speeches. There was all of the fanon surrounding Aziraphale and Crowley, which, to me, read as out of character, and to one for whom they became the reality over the last four years, read as truth. 

Again, only neutral statements here. This is not a bad thing, and neither this is a good thing, this is just something that happens, after a while, especially when there are years for the fandom-born ideas to bounce around and stew. I can’t help but think that so much of what we see as real in spaces such as this one is a chimaera of the actual source and all the collective fan additions which had time and space to grow, change, develop, and inspire, reverberating over and over again, until the echoes fill the entirety of the space. 

Eventually, this chimaera becomes a reality. 

Part two. Microanalysis 

Here are my two suppositions on the matter:

1. Some writers really love breadcrumb storytelling. 

Russel T Davies, for instance, on his run of Doctor Who (and, if you are reading it much later - I do mean the original one), loved that technique for his seasonal arcs. What is a Bad Wolf? Who is Harold Saxon? Well, you can watch very very carefully, make a theory, and see it proven right or wrong by the end of the season. 

Naturally, mystery box writers are all about breadcrumb storytelling: your Losts and your Westworlds are all about giving you snippets to get your brain firing, almost challenging you to figure things out just ahead of the reveal. 

2. We, as humans, love breadcrumbs.

And why wouldn’t we? Breadcrumbs are delicious. They are, however, a seasoning, or a coating. They are not the meal. 

Too much metaphor?

Let’s unpack it and start from the beginning.

Pattern recognition colours every aspect of our lives, and it colours the way we view art to a great extent. I think we truly underestimate how much it’s influenced by our lived experiences.

If you are, broadly speaking, living somewhere in Western/North-Western Europe in the 14th century, and you see a painting in which there is a very very large figure surrounded by some smaller figures and holding really tiny figures, you may know absolutely nothing about who those figures are, but you know that the big figure is the Important One, and the small ones are Less Important Ones, and the tiny ones are In Their Care. You know where your reverence would lie, looking at this picture. And, I imagine, as someone living in the 14th century, you may be inspired to a sense of awe looking at this composition, because in the world you live in, this is how art works. 

If you, on the other hand, watch a piece of recorded media and see the eyes of two characters meet as the violins swell, you know what you are being told at that moment. You don’t have to have a film degree to feel a sort of way when you see a green-tinged pallet used, when cross-cuts use juxtaposing images, or notice where your focus is pulled in any given shot. This stuff - this recognition of patterns - has been trained into us by the simple fact that we live in this time, on this planet, and we have been doing so long enough to have engaged recorded media for a period of time. 

As humans, we notice things. Our brains flare up when they see something they recognise, and then we seek to find other similar details and form a bigger picture. This often happens unconsciously, but sometimes it does not. Sometimes we do it on purpose: finding breadcrumbs in stories is a little bit like solving a mystery. It allows us to stretch that brain muscle that puts two and two together. It makes us feel clever. 

So yes, we love breadcrumbs, and, frankly, quite a lot of storytelling takes advantage of this. It’s very useful for foreshadowing, creating thematic coherence, or introducing narrative parallels and complexity. It’s useful for nudging the viewer into one or the other emotional direction, or to cue them into what will happen in the next moment, or what exactly is the one important detail they should pay attention to.

Because this is something media does intentionally, and something we pick up both consciously and not, it is very hard to know when to stop. We don't really ever know when all of the breadcrumbs have been collected. It becomes very easy to get carried away. There is a very specific kind of pleasure in digging into content frame by frame, soundbite by soundbite, chasing that pleasure of finding. 

But it is almost never breadcrumbs all the way down. They are techniques to help us focus on the main event: the story. I truly believe those who make media want it to reach the widest possible audience, and that includes all of us who like to watch every single thing ever created with our Media Analysis Goggles on and those who are just here to enjoy the twists and turns of the story at the pace offered to them. And I think, sometimes in our chase to collect and understand every little clue we forget that media is not made to just cater for us.

One can call it missing a forest for the trees. But I would hate to mix my metaphors, so let’s call it missing a schnitzel for the breadcrumbs. 

Part three. The Conspiracy Brain. 

If you are there with me, in the midst of the excited frenzy, chasing after all those delicious breadcrumbs, then patterns can grow, merge together, and become all-encompassing theories. Let’s call them conspiracy theories, even though this is not what they truly are.

So, why do we believe in conspiracy theories?

One, Because We Have Been Lied To. 

All conspiracies start with distrust.

If you are in fandom spaces - especially if you are in fandom spaces which revolve around a queer fictional couple - especially-especially if you have been in such spaces for a period of time, you have most certainly been lied to at one point or another. 

We don’t even have to talk about Sherlock - and let’s not do that - but do you remember Merlin? Because I remember Merlin. Specifically, I remember the publicity surrounding the first season, with its weaponised usage of “bromance” and assertions that this whole thing is a love story of sorts, and then the daunting realisation that this was all a stunt, deliberately orchestrated to gather viewership. 

And, because we were lied to in such a deliberate manner for such an extensive period of time, I genuinely believe that it forever altered our pattern recognition habits, because what was this if not encouragement to read into things? Now we are trained to read between the lines or see little cries for help where they might not be. Because we were told, over and over again, that we should.

(Yes, I think we are all existing in these spaces coloured by the trauma of queer-bating. I am, however, looking forward to a world where I can unlearn all of that.)

Two, Cognitive Dissonance.

The chain reaction works a bit like this: the world is wrong - it can’t possibly be wrong by coincidence - this must be on purpose - someone is responsible for it.

Being Lied To is a preamble, but cognitive dissonance is where it all originates. In so many cross-fandom theories I have noticed a four-step process:

A) this is not good

B) this author could not have made a mistake 

C) this must be done on purpose

D) here is why 

(Funny thing is, I have been on the receiving end of the small conspiracy spiral, and it is a very interesting experience. Not relevant to this conversation is the fact that a lot of my job revolves around storytelling. What is relevant is that my hobbies also revolve around storytelling. And one of them is DnD. Now, imagine my genuine shock when one of the players I am currently writing a campaign for noticed a small detail that did not make a logical sense within the complexity of the world, and latched on to it as something clearly indicating some kind of a secret subplot. Their thinking process also went a bit like this: this detail is not a good piece of writing — this DM knows how to tell stories well — this is obviously there on purpose. It was not there on purpose. I created a clumsy shorthand. I erred, in that pesky manner humans tend to. And, seeing this entire thought process recited to me directly in the moment, I felt somewhere between flattered and mortified.)

This whole line of thinking, I think, exists on a knife’s edge between veneration and brutal criticism, relentlessly dissecting everything “wrong”, with a reverent “but this is deliberate” attached to it like a vice, because it is preferable to a simple conclusion that the author let you down, in one way or another. 

Three, Intentionality 

I believe that there is no right or wrong way of engaging with stories, regardless of their medium, and assuming no one gets hurt in the process. While in a strictly academic way, there is a “correct” way of reading (and reading into) media, we here are largely not academics but consumers; consumption is subjective.

However, this all changes when intentionality is ascribed. 

The one I find particularly fascinating is the intentionality of “making it bad on purpose” because, as open-minded as I intend to always be, this just does not happen.

It certainly does not happen in long-form media. Even in the bread-crumb mystery box-type long-form media. 

When television programs underdeliver, they also underperform, and then they get cancelled.

If all the elements of Westworld Season 4 that did not sit together in a completely satisfactory way were written deliberately as some sort of deconstruction for the final season to explore, then it failed because that final season will now never come.

(There will likely never be a Secret Fourth Episode.)

And look, I am not here to refute your theories. Creativity is fun, and theorising is fantastic. 

But, perhaps, when the line of thought ventures into the “bad on purpose” territory, it could be recognised for what it is: disappointment and optimism, attempting to coexist in a single space. And I relate to that, I do, and I am sorry that there is even a need for this line of thinking. It’s always so incredibly disappointing that a creator you believed to be devoid of flaws makes something that does not hit in the way you hoped it would. It’s pretty heartbreaking. 

Unfortunately, people make mistakes. We are all fallible that way. 

Four, Wildfire.

Then, when the crumbs are found, a theory is crafted, and intentionality is ascribed, all that needs to happen is for it to catch on. And hey, what better place for it than this massive hollow funnel that we exist in, where thoughts, ideas and interpretations reverberate so much they become inextricable from the source material in collective consciousness. 

Conspiracy theories create alternate realities, very much like we all do here. 

So where are we now?

I am not here to tell you what is right and what is wrong; what is true, and what is not. We are all entitled to engage with anything we wish, in whichever way we wish to do it. This is not it, at all. 

All I am saying is… listen.

Do you hear that echo? 

I do. 

[darqx]

[It's going down] I'm yelling timber

Several doodles in this one!

❗️For commonly asked qs please see my BTD FAQ

Everything is similar but she wears a dress version.

Yes (after becoming a Royal) but it's more of a "formaility" as he hasn't had any reason to use it yet. There's a lot of gaps since he relies more on mobility than brute force, and he can also rapidly fill in any areas with harder ichor if need be.

He used to work for the previous King as a Collector.

I think it depends, since he's a Royal now they tend to use some variation of their demon signs as an official "signature" so it might look like the first pic. His prior signature might look something like the second (fancy cursive).

Base: [x]

Rire's ichor tentacles are directly controlled by his consciousness/sub-consciousness so yes technically they could do such things XD But that is something that would have happened more when he was a child/learning how to use the ichor powers - he has such fine control now that the likelihood of it happening anymore is negligible.

...you could kiss them if you want I suppose, he does have some feeling through them lol.

I once described Rire's ichor as existing but not existing at the same time (ah, dichotomy haha). Basically if the ichor is not connected to the manifestation point on Rire's back all trace of it will eventually disappear. So that's handy in more ways then one :d

This post goes into more detail about the ichor consistencies:

Rire was born 973 years ago and was primarily raised by his mother after both his father and then later his stepfather died when he was a child/teen.

He would raise a child similarly to how he was raised. 🤔 YMMV whether this would be considered good parenting but he does have affection towards his own parents so there's that.

Well i did draw the baby!BTD in that same picture so...however i drew them as lol XD; Thanks muchly and keep at it!

Yes the years are the same. As stated in my BTD FAQ "I don’t know if you could classify what he feels as “love” in the same definition we are used to…" :d

Short answer: no.

Long answer: if you consider real world biology it would be like this

SOME species of demons are close enough to humans that they could reproduce with them. If the offspring is viable it's usually infertile like a liger (cross between a lion and a tiger) or a mule, though sometimes/rarely it could result in fertile offspring.

This works similarly between different demon species (different ones are more compatible with certain species compared to others etc), though the likelihood of fertile offspring is greater. Also depending on the species some genes are way more dominant so a child might end up basically being more or less one species type.

[An excerpt from a World War letter. Several similar letters have been documented from both Allies and Central/Axis Powers]

My dearest, I witnessed the most peculiar scene several days ago. Honestly I am not sure if it actually happened or if my mind was playing tricks on me. I was on my evening sentry duty over No Man's land when I saw him - a man, standing alone in the fog past the razor wire and amongst those poor souls neither side had managed to retrieve. Dearest, I swear that man had not been there a second ago! At first I thought this was enemy activity, but his uniform was clearly not German and neither was it one of ours - maybe the oddness is what stayed my tongue at the time. Out of a morbid curiosity I watched as he crouched near several bodies for a long moment - perhaps to pay his respects? - before walking off and disappearing out of sight. I am honestly surprised no one had shot at him! The next day there was a large shout as a grievously injured Johnson - whom was lost in No Man's Land after a failed trench raid - was suddenly within reaching distance just over our trench walls! It was a miracle! He was delirious and had no idea how he had made it back by himself, but mentioned a "General" who had offered help in his lowest moment. Clearly he was unwell as there were no Generals around...but dearest...I can't help but wonder --

[Johnson would survive his injuries and go on to become a well decorated soldier before returning home a hero. He would die 10 years later from "idiopathic anaphylaxis" with an odd look of fear on his face.]

I'm not sure why some of you think this but to put it as clearly as I can (since this is not the first time I've been asked this):

Cain is not my character.

I would hope that you guys understand that just because someone doesnt seem to be on the internet anymore it doesnt mean their character is suddenly an adoptable/up for grabs???

No - I have enough of my own characs I dont need to actually steal someone else's. (Also see above answer)

IMO in any universe Rire and Cain are like oil and water. So, i would say yes there is a way that they could get together but it would probably involve kidnapping and criminal confinement on one of their behalfs :d

I never read Warrior Cats so I have no particular thoughts about this lol.

Demon!Strade is a Gatoverse creation XD; - meaning Gato created him and so it has no correlation with my demon types. He would probably be like a level 4 or 5 maybe (aside from being LARGE, idk about his other power sets lol) and a clear case of needing an exorcism :d

Both of them are naturally charismatic (though, Demon!Rire can dial his up to noticeably unnatural levels). Human!Rire can be considered more manipulative and subtle than the demon version since in his 'verse "real world" consequences are actually things he has to consider. He is also a bit less interested in mind games than Demon!Rire.

-...gestures at humans, which he prefers to mess with for the sheer variety of reactions-

That is not part of his skill set, no :d Also much in the same way that animals with sharp teeth don't willy nilly bite their tongues off, demons with sharp teeth are like...used to having/biologically designed to have sharp teeth.

THANKING YOU \o/

It wouldn't lol. Also if i saw Rire IRL i would immediately pretend to have NOT seen him because that would mean that I've somehow had a hand in creating a tulpa.

[transmutationisms]

hi - looking to get more into reading history books instead of just researching online… do you have any tips on vetting books/authors for liberalism, racism, etc… in the past i’ve found this very hard to do with nonfiction before actually reading the book. are there publishers, etc i should be looking out for? esp bc there’s ideas/trains of thoughts/scholars i might not recognize as biased, liberal, conservative etc. if i’m not well-versed in the discourse of the subject.

in general if you are looking for refereed (peer-reviewed) academic nonfic, you are going to have to assume the texts will reflect not only the ideological values of the institutions (universities and university presses) that produce them, but also the winnowing effect that ensures only a select few people even get the opportunity to publish this way -- these individuals also have class interests and those tend to overlap heavily with those of the institutions, both because people who can make it to this stage of an academic career tend to be bourgeois and petit-bourgeois to begin with, and because even those who weren't almost invariably come down with a case of temporarily embarrassed petit-bourgeois syndrome sometime in between phd candidacy and book manuscript submission.

which is to say I really cannot give you a good vetting list to eliminate liberals and racists from your academic nonfic reading. sorry! you will spend a lot of time reading people you disagree with, people who did valuable archival research but interpret it in chronically liberal idealist ways, people who are right on one historical point and wrong on all the others, &c. even when I read the rare communist historian I can't remember ever co-signing the entirety -- this kind of criticism is just part of the process.

I do think, though, there are some helpful things you can look for that can cue you as to whether a book is worth reading critically or is just straight up trash. ymmv and this is definitely a non-exhaustive list but here's some of what I look for:

read the methodology notes in the intro. phrases like "contextualist history" (= social and economic context) are a good sign. "history from below" or "social history" also tend to be helpful (read: this book talks about 'ordinary people' and labourers, not just heads of state and military).

intros should also signpost if the book deals with colonialism and/or imperialism; look for substantive statements about these.

in rare cases in certain subfields you may see references to a distinction between 'internalist' (idealist, whiggish, great man histories) vs 'externalist' (contextualist) approaches.

everybody in history footnotes foucault, so that means nothing in any direction. anybody who footnotes marx positively in the last 30 or so years is at least going to be a fun time, but is often also a dipshit. scan for other big 'theory' names you may recognise -- even before you know the historiography, this can help indicate what you're getting into

you can also read intro + conclusion first, and that can help you gauge whether the chapters are worth it. not always perfectly indicative, though

academic presses are all clowns but if you read a lot in specific areas you will definitely start to get a sense of certain clusters of clownery if you're paying attention to the frontmatter. like for example if a history text came out of berkeley in the 90s it might still be stupid but I do kind of know what flavour of stupid it will be and what I can expect to extract from it

on that note, it literally is helpful to skim the acknowledgments at the beginning and idk why more people don't do this lol. look for names of scholars they credit as having given feedback (on manuscripts or conference presentations), as well as the name of their advisor if it's a first book. the first few times you do this you won't recognise any names and that's fine, but when you start to see repeats or see names you've read before you actually gain a lot of information right off the bat on the author's ideological and political milieux lol

look at what journals it was reviewed in. again reviews in flagship journals don't automatically mean it's good but it tells you about the intended audience, with all the baggage that entails

books reviewed in mass media (legacy newspapers, etc) tend to be aimed at a popular audience and are intended to be more readable, with less dense scholarly references and often thinner primary source work. again this doesn't mean the academic publications are automatically good.

zero shame in reading book reviews, either before or after reading the book. reviewers are part of the same clown system as authors and publishers. but seeing how other scholars talk about the book and topic is very helpful for clueing you into what sorts of debates are happening in the field, what their ideological parameters are, and how the author in question comes down on them

you are allowed and even required to disagree if an author is wrong lol. I would say the no. 1 thing I run across in what I read is like, decent to good historical work on racialisation but the interpretation will be completely distorted by the author being a horrendous liberal who does in fact think that 'race' has some biological reality (while often not believing that they even hold this belief, lmao). when you start seeing arguments like this it's your cue to follow the footnotes and look at the data and archival material included in the book. and if there's none that's just bad methodology!

[katabay]

sort of revisiting this scene, mostly just playing around with it while I figure out the visual vibe I want bad governance to have! this is more like an abridged version of the scene I ended up writing.

for some scene context, Felix was planning on red tagging Cesar as payback, since Cesar’s family was Felix’s political opponent in the elections, but Crasso convinced him not to do it (Crasso’s family was murdered by cops when he was a teenager. It’s a cycle, baby)

I don’t really like to attach too many Ancient Rome sources for these anymore because it’s not supposed to be a modern retelling (again, the naming conventions were inspired by the Iron Heart, but for fun I thought I’d lean into it more. really ham it up, especially since Ancient Rome has a “relationship” with the Philippines lmao), but we’re still in the fucking around stage so as a treat, I’ll mention that this particular thread was partially inspired by the theory that Crassus might have been involved in getting Sulla to back off harassing Caesar. ymmv on whether or not it’s likely, but for me it’s delicious drama to think about.

I’ve also introduced Seth into the plot because politics and business go hand in hand, like you can’t really do one without the other. This is Seth’s historical counterpart, btw!

Crassus, Catilina, and the Vestal Virgins, Ronald Syme

⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app / tip jar!