theblacklistforever97

[theblacklistforever97]

THIS IS SO GAY (YES IT'S CANON, it's from a novel), they're such lesbians, SHE THINKS THAT ENID IS BEAUTIFUL, Wednesday fell first AND HARDER

credits to @caroldenvrs on twitter

it's from here

[theblacklistforever97]

WENCLAIR + Wednesday: A Novelization of Season One (part one) insp

[theblacklistforever97]

You don't like Wenclair? Absolutely OK, that's all very well, but to call it forced is just a big mistake and I will explain why (the artist of the fan art on Percy and Annabeth is Sethkiel, Tumblr, Twitter and Instagram) + Percy Jackson spoilers about his romantic relationship in the books

Enid is in effect an ideal choice as a partner for Wednesday Addams not only because of their obvious character complementarity, but also because of the positive impact a relationship based on their dynamic could have on both personalities.

Various psychological and social studies support the idea that interpersonal relationships based on complementarity and mutual acceptance are more likely to be healthy and long-lasting. Wednesday, with her introverted, cynical and distant character, is balanced by Enid, who stands out for her emotional openness, empathy and desire to connect with others.

This polarity creates a synergy that not only enriches their friendship but could serve as the basis for a meaningful romantic relationship.

One of the key components is the unconditional support Enid offers Wednesday. According to research on the psychology of relationships, emotional support is one of the strongest indicators of relationship satisfaction.

Enid, despite the difficulties Wednesday poses to her, constantly stands by her side, demonstrating a patience and understanding that goes beyond mere friendship.

This type of dynamic is consistent with the findings of Feeney and Collins (2015), who highlight how relationships characterised by a partner who serves as a ‘secure base’ improve resilience and psychological well-being for both parties. For Wednesday, who often shows difficulties in trusting others and expressing her emotions, having a figure like Enid beside her could help her explore deeper aspects of her emotional identity.

Moreover, Enid represents a form of positivity and optimism that counterbalances Wednesday's cynicism. This counterbalance, far from being a hindrance, proves beneficial. Studies conducted by Gable et al. (2006) suggest that relationships in which one partner promotes positive emotions and encourages the other to experience joy and pleasure have a positive impact not only on individual well-being, but also on couple cohesion. Enid's ability to celebrate life's simple moments and accept Wednesday as it is can offer her a safe space in which to lower her defences without feeling judged.

The chance of a queer relationship between Wednesday Addams and Enid Sinclair is not only coherent with the long history of the Addams Family, but also represents a natural evolution of Wednesday's character.

The Addams Family, since its creation, has been a symbol of rebellion against social norms and celebration of difference.

Charles Addams conceived the family as a parody of traditional American families, overturning their conventional values.

While middle-class American families aspired to normality, the Addams family found pride and beauty in their eccentricity. This attitude made the family an icon for anyone who felt marginalized or different, including queer communities. Their gothic aesthetic, black humour and unqualified acceptance of all forms of strangeness made them symbols of inclusivity, even if this theme was rarely made explicit directly.

Wednesday Addams, in particular, embodies this challenge to social projections. From her earliest appearances, she has been portrayed as an intelligent, sarcastic and deeply independent outsider who rejects imposed social norms. In the films of the 1990s, this nature is clearly expressed: Wednesday, despite being young, is perfectly aware of her identity and interests, refusing any attempt to force her to conform.

An emblematic example is her relationship with Joel Glicker in The Addams Family 2.

Joel, an insecure and nerdy boy, becomes an ally and romantic interest, but the relationship is clearly devoid of the traditional dynamics of teenage romance.

Wednesday shows interest, but expresses it in his own way, with humour and detachment. This episode shows that Wednesday is not ‘immune’ to romance, but lives it according to her own rules.

In the Netflix series Wednesday, the dynamic with Enid Sinclair adds an even greater level of complexity. Enid, with her sunny disposition and expansive nature, is the perfect counterbalance to Wednesday's coldness.

Their relationship is built on a foundation of trust, emotional intimacy and mutual support that far surpasses any other connection Wednesday develops in the series, including those with her male romantic interests, Tyler and Xavier. Psychological studies, such as that of Aron et al. (1997) on interpersonal intimacy, show that the strongest relationships are often based on complementary differences. Wednesday and Enid embody this complementarity: the dark and the light, the rational and the emotional, detachment and empathy.

This kind of dynamic is often the basis of the most memorable romantic relationships in fiction, and it would be only natural for their bond to evolve into something more.

The criticism that a queer relationship between Wednesday and Enid would be a ‘stretch’ often masks prejudices about queer inclusivity. Interestingly, audiences unreservedly accept heterosexual romance in contexts that do not always align perfectly with the characters' personalities.

For instance, in the 1990s films, no one criticised the fact that Wednesday, a deeply cynical and aloof girl, had a romantic moment with Joel. Similarly, in the Netflix series, her interactions with Tyler and Xavier are accepted without particular objection, despite the fact that Wednesday shows very little genuine interest in either of them.

This demonstrates a double standard: heterosexual romance is perceived as ‘natural’ and acceptable, while queer romance must be justified or considered as extraordinary.

Queer representation in the media, as studies by GLAAD (2022) show, is crucial in normalising these relationships and offering positive role models for those who identify outside traditional norms. The relationship between Wednesday and Enid would not only be consistent with the characters, but also an important step towards greater inclusivity. Furthermore, the argument that Wednesday ‘is not made for romance’ is easily disproved by her narrative history. She has never been a traditionally romantic character, but that does not mean she cannot develop genuine and deep connections.

Her emotional openness towards Enid in the series is a clear sign of personal growth and openness towards meaningful relationships.

Finally, it is important to point out that many of the most famous romantic relationships in fiction were born out of deep friendships. From Harry Potter (Ron and Hermione) to Friends (Ross and Rachel), the transition from friendship to romance is a widely accepted narrative trope, especially when it involves heterosexual couples. It is hypocritical to consider it a stretch only in the case of queer relationships. In the case of Wednesday and Enid, their emotional intimacy and mutual support lay a solid foundation for a romantic relationship that would not only be consistent with the Addams Family's history, but would also represent a natural evolution of Wednesday's character, keeping her rebellious and non-conformist essence intact.

Let's take a concrete example to show that the basis of the Wenclair ship is valid?

Percy Jackson.

The relationship between Percy Jackson and Annabeth Chase is built in a gradual way and represents a story arc that starts with friendship and grows into romance, making it a perfect example to show that it is not ‘forced’ when a close bond turns into love.

The saga of Percy Jackson and the Gods of Olympus offers an excellent example of how a friendship can develop naturally into a romantic relationship. The dynamic between Percy Jackson and Annabeth Chase develops gradually, reflecting a relationship-building model that emphasises mutual growth, respect and trust. Initially, Percy and Annabeth meet in the context of Camp Half-Blood, where significant differences in their characters emerge. Annabeth, rational and strategic, tends to see Percy as an unprepared novice, while Percy perceives Annabeth as distant and authoritarian. Nevertheless, their shared adventures lead to a mutual respect that becomes the basis for a solid friendship.

In later books, such as The Sea of Monsters and The Titan's Curse, their relationship deepens through moments of vulnerability and emotional connection. Annabeth shares with Percy her ambitions and fears, such as the dream of building something lasting or the burden of her loyalty to the gods. Percy, for his part, shows a growing sense of protection towards Annabeth, being willing to risk his life to save her on several occasions. These episodes mark a gradual evolution of their relationship, but without ever abandoning the friendly core that sustains it.

The turning point occurs in the fourth book of the saga, The Battle of the Labyrinth, when Percy begins to acknowledge his romantic feelings for Annabeth. However, the transition does not happen abruptly; both characters, being still teenagers, navigate uncertainly between friendship and love, making their relational development realistic and free of narrative forcing. In later books, such as The Final Clash and especially in the Heroes of Olympus series, Percy and Annabeth consolidate their romantic relationship without ever losing the bond of friendship that characterises them. This balance is particularly evident in The House of Hades, where their mutual support, even in extreme situations, underlines the depth of their bond.

The transition between friendship and love in the case of Percy and Annabeth is an example of a well-constructed narrative, reflecting real dynamics also highlighted by psychological studies. According to Kaplan and Keys (1997), many successful romantic relationships develop from pre-existing friendships due to the presence of trust and emotional intimacy as solid foundations. Moreover, this dynamic is widely accepted by the public, as it reflects common human experiences. The story of Percy and Annabeth demonstrates that the transition from friendship to romance can be organic and believable, especially when constructed with attention to the emotional aspects of the characters.

Applying this perspective to the case of Wednesday and Enid, it becomes clear that such a transition would not be ‘forced’, as is often claimed by some critics. The two girls share a relationship that is based on complementarity and mutual growth: Wednesday is cynical and reserved, while Enid is expansive and empathetic, and together they create a balance similar to that between Percy and Annabeth.

To ignore this possibility is to operate a double standard, considering acceptable for heterosexual couples a dynamic that is labelled as unnatural or artificial in the case of a queer couple. The representation of Wednesday and Enid in a romantic relationship would not only be consistent with traditional narrative dynamics, but could also contribute to greater inclusivity and a richer, more nuanced representation of relationships in pop culture.

[theblacklistforever97]

You don't like Wenclair? Absolutely OK, that's all very well, but to call it forced is just a big mistake and I will explain why (the artist of the fan art on Percy and Annabeth is Sethkiel, Tumblr, Twitter and Instagram) + Percy Jackson spoilers about his romantic relationship in the books

Enid is in effect an ideal choice as a partner for Wednesday Addams not only because of their obvious character complementarity, but also because of the positive impact a relationship based on their dynamic could have on both personalities.

Various psychological and social studies support the idea that interpersonal relationships based on complementarity and mutual acceptance are more likely to be healthy and long-lasting. Wednesday, with her introverted, cynical and distant character, is balanced by Enid, who stands out for her emotional openness, empathy and desire to connect with others.

This polarity creates a synergy that not only enriches their friendship but could serve as the basis for a meaningful romantic relationship.

One of the key components is the unconditional support Enid offers Wednesday. According to research on the psychology of relationships, emotional support is one of the strongest indicators of relationship satisfaction.

Enid, despite the difficulties Wednesday poses to her, constantly stands by her side, demonstrating a patience and understanding that goes beyond mere friendship.

This type of dynamic is consistent with the findings of Feeney and Collins (2015), who highlight how relationships characterised by a partner who serves as a ‘secure base’ improve resilience and psychological well-being for both parties. For Wednesday, who often shows difficulties in trusting others and expressing her emotions, having a figure like Enid beside her could help her explore deeper aspects of her emotional identity.

Moreover, Enid represents a form of positivity and optimism that counterbalances Wednesday's cynicism. This counterbalance, far from being a hindrance, proves beneficial. Studies conducted by Gable et al. (2006) suggest that relationships in which one partner promotes positive emotions and encourages the other to experience joy and pleasure have a positive impact not only on individual well-being, but also on couple cohesion. Enid's ability to celebrate life's simple moments and accept Wednesday as it is can offer her a safe space in which to lower her defences without feeling judged.

The chance of a queer relationship between Wednesday Addams and Enid Sinclair is not only coherent with the long history of the Addams Family, but also represents a natural evolution of Wednesday's character.

The Addams Family, since its creation, has been a symbol of rebellion against social norms and celebration of difference.

Charles Addams conceived the family as a parody of traditional American families, overturning their conventional values.

While middle-class American families aspired to normality, the Addams family found pride and beauty in their eccentricity. This attitude made the family an icon for anyone who felt marginalized or different, including queer communities. Their gothic aesthetic, black humour and unqualified acceptance of all forms of strangeness made them symbols of inclusivity, even if this theme was rarely made explicit directly.

Wednesday Addams, in particular, embodies this challenge to social projections. From her earliest appearances, she has been portrayed as an intelligent, sarcastic and deeply independent outsider who rejects imposed social norms. In the films of the 1990s, this nature is clearly expressed: Wednesday, despite being young, is perfectly aware of her identity and interests, refusing any attempt to force her to conform.

An emblematic example is her relationship with Joel Glicker in The Addams Family 2.

Joel, an insecure and nerdy boy, becomes an ally and romantic interest, but the relationship is clearly devoid of the traditional dynamics of teenage romance.

Wednesday shows interest, but expresses it in his own way, with humour and detachment. This episode shows that Wednesday is not ‘immune’ to romance, but lives it according to her own rules.

In the Netflix series Wednesday, the dynamic with Enid Sinclair adds an even greater level of complexity. Enid, with her sunny disposition and expansive nature, is the perfect counterbalance to Wednesday's coldness.

Their relationship is built on a foundation of trust, emotional intimacy and mutual support that far surpasses any other connection Wednesday develops in the series, including those with her male romantic interests, Tyler and Xavier. Psychological studies, such as that of Aron et al. (1997) on interpersonal intimacy, show that the strongest relationships are often based on complementary differences. Wednesday and Enid embody this complementarity: the dark and the light, the rational and the emotional, detachment and empathy.

This kind of dynamic is often the basis of the most memorable romantic relationships in fiction, and it would be only natural for their bond to evolve into something more.

The criticism that a queer relationship between Wednesday and Enid would be a ‘stretch’ often masks prejudices about queer inclusivity. Interestingly, audiences unreservedly accept heterosexual romance in contexts that do not always align perfectly with the characters' personalities.

For instance, in the 1990s films, no one criticised the fact that Wednesday, a deeply cynical and aloof girl, had a romantic moment with Joel. Similarly, in the Netflix series, her interactions with Tyler and Xavier are accepted without particular objection, despite the fact that Wednesday shows very little genuine interest in either of them.

This demonstrates a double standard: heterosexual romance is perceived as ‘natural’ and acceptable, while queer romance must be justified or considered as extraordinary.

Queer representation in the media, as studies by GLAAD (2022) show, is crucial in normalising these relationships and offering positive role models for those who identify outside traditional norms. The relationship between Wednesday and Enid would not only be consistent with the characters, but also an important step towards greater inclusivity. Furthermore, the argument that Wednesday ‘is not made for romance’ is easily disproved by her narrative history. She has never been a traditionally romantic character, but that does not mean she cannot develop genuine and deep connections.

Her emotional openness towards Enid in the series is a clear sign of personal growth and openness towards meaningful relationships.

Finally, it is important to point out that many of the most famous romantic relationships in fiction were born out of deep friendships. From Harry Potter (Ron and Hermione) to Friends (Ross and Rachel), the transition from friendship to romance is a widely accepted narrative trope, especially when it involves heterosexual couples. It is hypocritical to consider it a stretch only in the case of queer relationships. In the case of Wednesday and Enid, their emotional intimacy and mutual support lay a solid foundation for a romantic relationship that would not only be consistent with the Addams Family's history, but would also represent a natural evolution of Wednesday's character, keeping her rebellious and non-conformist essence intact.

Let's take a concrete example to show that the basis of the Wenclair ship is valid?

Percy Jackson.

The relationship between Percy Jackson and Annabeth Chase is built in a gradual way and represents a story arc that starts with friendship and grows into romance, making it a perfect example to show that it is not ‘forced’ when a close bond turns into love.

The saga of Percy Jackson and the Gods of Olympus offers an excellent example of how a friendship can develop naturally into a romantic relationship. The dynamic between Percy Jackson and Annabeth Chase develops gradually, reflecting a relationship-building model that emphasises mutual growth, respect and trust. Initially, Percy and Annabeth meet in the context of Camp Half-Blood, where significant differences in their characters emerge. Annabeth, rational and strategic, tends to see Percy as an unprepared novice, while Percy perceives Annabeth as distant and authoritarian. Nevertheless, their shared adventures lead to a mutual respect that becomes the basis for a solid friendship.

In later books, such as The Sea of Monsters and The Titan's Curse, their relationship deepens through moments of vulnerability and emotional connection. Annabeth shares with Percy her ambitions and fears, such as the dream of building something lasting or the burden of her loyalty to the gods. Percy, for his part, shows a growing sense of protection towards Annabeth, being willing to risk his life to save her on several occasions. These episodes mark a gradual evolution of their relationship, but without ever abandoning the friendly core that sustains it.

The turning point occurs in the fourth book of the saga, The Battle of the Labyrinth, when Percy begins to acknowledge his romantic feelings for Annabeth. However, the transition does not happen abruptly; both characters, being still teenagers, navigate uncertainly between friendship and love, making their relational development realistic and free of narrative forcing. In later books, such as The Final Clash and especially in the Heroes of Olympus series, Percy and Annabeth consolidate their romantic relationship without ever losing the bond of friendship that characterises them. This balance is particularly evident in The House of Hades, where their mutual support, even in extreme situations, underlines the depth of their bond.

The transition between friendship and love in the case of Percy and Annabeth is an example of a well-constructed narrative, reflecting real dynamics also highlighted by psychological studies. According to Kaplan and Keys (1997), many successful romantic relationships develop from pre-existing friendships due to the presence of trust and emotional intimacy as solid foundations. Moreover, this dynamic is widely accepted by the public, as it reflects common human experiences. The story of Percy and Annabeth demonstrates that the transition from friendship to romance can be organic and believable, especially when constructed with attention to the emotional aspects of the characters.

Applying this perspective to the case of Wednesday and Enid, it becomes clear that such a transition would not be ‘forced’, as is often claimed by some critics. The two girls share a relationship that is based on complementarity and mutual growth: Wednesday is cynical and reserved, while Enid is expansive and empathetic, and together they create a balance similar to that between Percy and Annabeth.

To ignore this possibility is to operate a double standard, considering acceptable for heterosexual couples a dynamic that is labelled as unnatural or artificial in the case of a queer couple. The representation of Wednesday and Enid in a romantic relationship would not only be consistent with traditional narrative dynamics, but could also contribute to greater inclusivity and a richer, more nuanced representation of relationships in pop culture.

[theblacklistforever97]

“the fact that people can see those characters [maggie and negan] together is because there is chemistry”

— jeffrey dean morgan

[theblacklistforever97]

SO HERE IS THE WHOLE STORY (SO FAR).

I am on my knees begging you to reblog this post and to stop reblogging the original ones I sent out yesterday. This is the complete account with all the most recent info; the other one is just sending people down senselessly panicked avenues that no longer lead anywhere.

IN SHORT

Cliff Weitzman, CEO of Speechify and (aspiring?) voice actor, used AI to scrape thousands of popular, finished works off AO3 to list them on his own for-profit website and in his attached app. He did this without getting any kind of permission from the authors of said work or informing AO3. Obviously.

When fandom at large was made aware of his theft and started pushing back, Weitzman issued a non-apology on the original social media posts—using 

his dyslexia; 

his intent to implement a tip-system for the plagiarized authors; and 

a sudden willingness to take down the work of every author who saw my original social media posts and emailed him individually with a ‘valid’ claim,

as reasons we should allow him to continue monetizing fanwork for his own financial gain.

When we less-than-kindly refused, he took down his ‘apologies’ as well as his website (allegedly—it’s possible that our complaints to his web host, the deluge of emails he received or the unanticipated traffic brought it down, since there wasn’t any sort of official statement made about it), and when it came back up several hours later, all of the work formerly listed in the fan fiction category was no longer listed. 

THE TAKEAWAYS

1. Cliff Weitzman (aka Ofek Weitzman) is a scumbag with no qualms about taking fanwork without permission, feeding it to AI and monetizing it for his own financial gain; 

2. Fandom can really get things done when it wants to, and 

3. Our fanworks appear to be hidden, but they’re NOT DELETED from Weitzman’s servers, and independently published, original works are still listed without the authors' permission. We need to hold this man responsible for his theft, keep an eye on both his current and future endeavors, and take action immediately when he crosses the line again. 

THE TIMELINE, THE DETAILS, THE SCREENSHOTS (behind the cut)

Sunday night, December 22nd 2024, I noticed an influx in visitors to my fic You & Me & Holiday Wine. When I searched the title online, hoping to find out where they came from, a new listing popped up (third one down, no less):

This listing is still up today, by the way, though now when you follow the link to word-stream, it just brings you to the main site. (Also, to be clear, this was not the cause for the influx of traffic to my fic; word-stream did not link back to the original work anywhere.)

I followed the link to word-stream, where to my horror Y&M&HW was listed in its entirety—though, beyond the first half of the first chapter, behind a paywall—along with a link promising to take me—through an app downloadable on the Apple Store—to an AI-narrated audiobook version. When I searched word-stream itself for my ao3 handle I found both of my multi-chapter fics were listed this way:

Because the tags on my fics (which included genres* and characters, but never the original IPs**) weren’t working, I put ‘Kara Danvers’ into the search bar and discovered that many more supercorp fics (Supergirl TV fandom, Kara Danvers/Lena Luthor pairing) were listed.

I went looking online for any mention of word-stream and AI plagiarism (the covers—as well as the ridiculously inflated number of reviews and ratings—made it immediately obvious that AI fuckery was involved), but found almost nothing: only one single Reddit post had been made, and it received (at that time) only a handful of upvotes and no advice. 

I decided to make a tumblr post to bring the supercorp fandom up to speed about the theft. I draw as well as write for fandom and I’ve only ever had to deal with art theft—which has a clear set of steps to take depending on where said art was reposted—and I was at a loss regarding where to start in this situation.

After my post went up I remembered Project Copy Knight, which is worth commending for the work they’ve done to get fic stolen from AO3 taken down from monetized AI 'audiobook’ YouTube accounts. I reached out to @echoekhi, asking if they’d heard of this site and whether they could advise me on how to get our works taken down.

While waiting for a reply I looked into Copy Knight’s methods and decided to contact OTW’s legal department:

And then I went to bed.

By morning, tumblr friends @makicarn and @fazedlight as well as a very helpful tumblr anon had seen my post and done some very productive sleuthing:

@echoekhi had also gotten back to me, advising me, as expected, to contact the OTW. So I decided to sit tight until I got a response from them.

That response came only an hour or so later: 

Which was 100% understandable, but still disappointing—I doubted a handful of individual takedown requests would accomplish much, and I wasn’t eager to share my given name and personal information with Cliff Weitzman himself, which is unavoidable if you want to file a DMCA.

I decided to take it to Reddit, hoping it would gain traction in the wider fanfic community, considering so many fandoms were affected. My Reddit posts (with the updates at the bottom as they were emerging) can be found here and here.

A helpful Reddit user posted a guide on how users could go about filing a DMCA against word-stream here (to wobbly-at-best results)

A different helpful Reddit user signed up to access insight into word-streams pricing. Comment is here.

Smells unbelievably scammy, right? In addition to those audacious prices—though in all fairness any amount of money would be audacious considering every work listed is accessible elsewhere for free—my dyscalculia is screaming silently at the sight of that completely unnecessary amount of intentionally obscured numbers.

Speaking of which! As soon as the post on r/AO3—and, as a result, my original tumblr post—began taking off properly, sometime around 1 pm, jumpscare! A notification that a tumblr account named @cliffweitzman had commented on my post, and I got a bit mad about the gist of his message :

Fortunately he caught plenty of flack in the comments from other users (truly you should check out the comment section, it is extremely gratifying and people are making tremendously good points), in response to which, of course, he first tried to both reiterate and renegotiate his point in a second, longer comment (which I didn’t screenshot in time so I’m sorry for the crappy notification email formatting):

which he then proceeded to also post to Reddit (this is another Reddit user’s screenshot, I didn’t see it at all, the notifications were moving too fast for me to follow by then)

... where he got a roughly equal amount of righteously furious replies. (Check downthread, they're still there, all the way at the bottom.)

After which Cliff went ahead & deleted his messages altogether. 

It’s not entirely clear whether his account was suspended by Reddit soon after or whether he deleted it himself, but considering his tumblr account is still intact, I assume it’s the former. He made a handful of sock puppet accounts to play around with for a while, both on Reddit and Tumblr, only one of which I have a screenshot of, but since they all say roughly the same thing, you’re not missing much:

And then word-stream started throwing a DNS error.

That lasted for a good number of hours, which was unfortunately right around the time that a lot of authors first heard about the situation and started asking me individually how to find out whether their work was stolen too. I do not have that information and I am unclear on the perimeters Weitzman set for his AI scraper, so this is all conjecture: it LOOKS like the fics that were lifted had three things in common:

They were completed works;

They had over several thousand kudos on AO3; and

They were written by authors who had actively posted or updated work over the past year.

If anyone knows more about these perimeters or has info that counters my observation, please let me know!

I finally thought to check/alert evil Twitter during this time, and found out that the news was doing the rounds there already. I made a quick thread summarizing everything that had happened just in case. You can find it here.

I went to Bluesky too, where fandom was doing all the heavy lifting for me already, so I just reskeeted, as you do, and carried on.

Sometime in the very early evening, word-stream went back up—but the fan fiction category was nowhere to be seen. Tentative joy and celebration!***

That’s when several users—the ones who had signed up for accounts to gain intel and had accessed their own fics that way—reported that their work could still be accessed through their history. Relevant Reddit post here.

Sooo—

We’re obviously not done. The fanwork that was stolen by Weitzman may be inaccessible through his website right now, but they aren’t actually gone. And the fact that Weitzman wasn’t willing to get rid of them altogether means he still has plans for them. 

This was my final edit on my Reddit post before turning off notifications, and it's pretty much where my head will be at for at least the foreseeable future:

Please feel free to add info in the comments, make your own posts, take whatever action you want to take to protect your work. I only beg you—seriously, I’m on my knees here—to not give up like I saw a handful of people express the urge to do. Keep sharing your creative work and remain vigilant and stay active to make sure we can continue to do so freely. Visit your favorite fics, and the ones you’ve kept in your ‘marked for later’ lists but never made time to read, and leave kudos, leave comments, support your fandom creatives, celebrate podficcers and support AO3. We created this place and it’s our responsibility to keep it alive and thriving for as long as we possibly can.

Also FUCK generative AI. It has NO place in fandom spaces.

THE 'SMALL' PRINT (some of it in all caps):

*Weitzman knew what he was doing and can NOT claim ignorance. One, it’s pretty basic kindergarten stuff that you don’t steal some other kid’s art project and present it as your own only to act surprised when they protest and then tell the victim that they should have told you sooner that they didn’t want their project stolen. And two, he was very careful never to list the IPs these fanworks were based on, so it’s clear he was at least familiar enough with the legalities to not get himself in hot water with corporate lawyers. Fucking over fans, though, he figured he could get away with that. 

**A note about the AI that Weitzman used to steal our work: it’s even greasier than it looks at first glance. It’s not just the method he used to lift works off AO3 and then regurgitate onto his own website and app. Looking beyond the untold horrors of his AI-generated cover ‘art’, in many cases these covers attempt to depict something from the fics in question that can’t be gleaned from their summaries alone. In addition, my fics (and I assume the others, as well) were listed with generated genres; tags that did not appear anywhere in or on my fic on AO3 and were sometimes scarily accurate and sometimes way off the mark. I remember You & Me & Holiday Wine had ‘found family’ (100% correct, but not tagged by me as such) and I believe The Shape of Soup was listed as, among others, ‘enemies to friends to lovers’ and ‘love triangle’ (both wildly inaccurate). Even worse, not all the fic listed (as authors on Reddit pointed out) came with their original summaries at all. Often the entire summary was AI-generated. All of these things make it very clear that it was an all-encompassing scrape—not only were our fics stolen, they were also fed word-for-word into the AI Weitzman used and then analyzed to suit Weitzman’s needs. This means our work was literally fed to this AI to basically do with whatever its other users want, including (one assumes) text generation. 

***Fan fiction appears to have been made (largely) inaccessible on word-stream at this time, but I’m hearing from several authors that their original, independently published work, which is listed at places like Kindle Unlimited, DOES still appear in word-stream’s search engine. This obviously hurts writers, especially independent ones, who depend on these works for income and, as a rule, don’t have a huge budget or a legal team with oceans of time to fight these battles for them. If you consider yourself an author in the broader sense, beyond merely existing online as a fandom author, beyond concerns that your own work is immediately at risk, DO NOT STOP MAKING NOISE ABOUT THIS.

Again, please, please PLEASE reblog this post instead of the one I sent originally. All the information is here, and it's driving me nuts to see the old ones are still passed around, sending people on wild goose chases.

Thank you all so much.

[theblacklistforever97]

Werewolf Women

@monstrousdesirestudy Based on our back and forth I've been trying to find more media focusing on female werewolves, or at least werewolf stories from women's perspectives. I found some pretty good ones.

First one is of course Ginger Snaps 1 & 2, for anyone who hasn't seen them yet. The werewolf girl movies.

When Animals Dream, about a line of Danish werewolf women suppressed by the men around them with sexual harassment and drugs.

Wildling, about a werewolf girl raised in captivity and drugged so she won't turn. Similar themes to When Animals Dream.

The Beast Within, which uses lycanthropy as a metaphor for abuse.

Blood & Chocolate, a gothic forbidden romance about a girl from a werewolf clan who falls in love with a human. Twilight, eat your heart out!

Wilderness, based on the Dennis Danvers novel, about a woman who's spent her whole life hiding her lycanthropy until she falls in love.

The Howling is a classic movie about a news anchor who survives an attack, and retreats to a small town that turns out to be the worst place she could've gone.

Cursed, a movie about a bunch of young adults hunting the werewolf that infected them before it's too late.

Lastly Wolfwalkers, the amazing animated film about Irish werewolves struggling against English settler-colonialism and environmental destruction.

[theblacklistforever97]

#literally everyone knows 

Bonus:

[theblacklistforever97]

When Wednesday says

"I'm not you , mother. I will never fall in love or be a housewife or have a family" is not because she doesn't want to. She even looks sad saying that.

It's only because she thinks her mother wants her with a boy, specifically, and she was never ever ever attracted to any boys.

Because she's a lesbiaaaannnn!

And in this essay I will...

It's even canonized through the novelization that she only goes to the dates with boys because she thinks it's what Enid wants from her: talking about boys and dates.

If only she understands Enid will talk to her about anything and everything.

[theblacklistforever97]

I love this !!!!!

[theblacklistforever97]

Werewolf Training Bootcamp with Emma Myers.

[theblacklistforever97]

The MacArthur Park Wedding Scene: HD Clipped Version

turns out the 1080p movie is already floating around online so of course I had to strip this scene down again to the good parts bc this ship is RUINING MY LIFE.

[theblacklistforever97]

Beetlejuice Beetlejuice (2024): Phone Popups Clip

So I uuhhh seen a post about this scene (will reblog) that looked like it could use some HD footage for, uhm, RESEARCH.

HERE'S THE GIFs OF IT AS WELL:

AND A COUPLE SCREENIES TOO WHY NOT:

乁( ◔ ౪◔)ㄏ Happy Beetlebabbing <3

[theblacklistforever97]

Beetlejuice Beetlejuice (2024): Phone Popups Clip

So I uuhhh seen a post about this scene (will reblog) that looked like it could use some HD footage for, uhm, RESEARCH.

HERE'S THE GIFs OF IT AS WELL:

AND A COUPLE SCREENIES TOO WHY NOT:

乁( ◔ ౪◔)ㄏ Happy Beetlebabbing <3

[theblacklistforever97]

Every time you watch this edit, an anti's flawed logic is obliterated into a thousand pieces.

credit: link

[theblacklistforever97]

character development™ - Beetlejuice Beetlejuice (2024)

[theblacklistforever97]

I literally just picture Evelyn & Patrick in American Psycho as Wenclair's dynamic 💀 😂. The way their dynamic would totally match up with Enid/Wednesday lol. Enid planning the wedding & Wednesday being like "whatever". And there's that Reese Witherspoon reference again. The way Enid is literally late 90's/early 2000's Reese Witherspoon...

I am a gomefication of Wednesday hater and lover. Idk how to explain this but I can see Wednesday having dramatic love confessions and going to extreme lengths to make Enid happy, yet at the same time I don’t see her being exactly like her father. Wednesday is a reserved person she wouldn’t do PDA or loose her common sense over Enid, in a way she would be like her mom but also not really. Like she is the combination of both of them and she is her own person, we don’t have to make her fit into her parents relationship dynamic we can just create a new dynamic for them to be their own ship. Wednesday doesn’t need to be either Gomez or Mortician she can be her own person and have a different dynamic. But that’s just my random opinion and I would continue to read gomefication and antigomefication of Wednesday fanfics.