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walkuntilthedaylight · 3 years

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The people have spoken! How can I not give them what they want?

I'm gonna put this all under a cut, since it's a bit long, and also because it's highly interpretative/speculative and not everyone likes those kinds of posts as they can be rather subjective and, I suppose, invasive. I want to give two major caveats to my thoughts below: first is that I tend not to buy the idea that Paul was the "stable/normal" Beatle, mostly b/c I view marijuana dependency and workaholism as addictions and I take them pretty seriously. Second is that I really do love this kind of tabloid/gossip/personal account shit; I think it should be taken with a handful of salt, but I don't think it should be entirely dismissed out of hand either. I read this stuff like I'm piling up sheets of stained glass: I'm intrigued by the places where the colours blend and overlap, and ignore things that fall outside the prism. Anyway, let's dig in:

Okay, so what I found fascinating about 'Body Count' is that it's one of the only sources which observes Paul McCartney's mental health during the period between the India trip and when the band breakup really got rolling. I think it's overall a fairly self-absorbed text that definitely has some lies and exaggerations peppered in there to make things spicier and more dramatic, but its broad characterization - as I mentioned in my first post - isn't exactly libelous or out of left field. Some elements that make me think it's generally if not wholly authentic are: Paul's simultaneously forceful and dorky seduction style, his terrible Liverpool diet and poor housekeeping, the bouts of thrill-seeking recklessness, avoidant adventure crafting, dark moods when drinking non-socially, the occasional hot and cold bouts with the Apple Scuffs camped out at his gate, and the way in which he underplays his drug habit, which is SO "in truthfulness we spent most of the filming of Help! slightly stoned":

These details are so bizarrely specific and have significant overlap with both sympathetic and spurned personal accounts of Paul I've read in the past, so I believe Francie is just telling "Her Version Of The Truth" here rather than crafting a piece of pure fiction. The most important and revealing anecdote in the book is this one.

There's no reason not to believe this is a fairly accurate representation of something that actually happened, imo, since we know that anxious purse strings were an ongoing issue in the unusual turnover rate within the band Wings, and there are plenty of confirmed and rumoured cases alike of extended family members feeling entitled to a "piece of the pie"; this is just like, the kind of thing that happens to working class people who get catapulted into fame and fortune. And Paul in particular already had deep-seated financial anxiety for whatever reasons he'll never fully admit (as is his right, but I think his offhand claim that he "once heard some adults arguing about money and that's why" might actually be alluding to having heard some adults - y'know, like his parents - arguing over money fairly frequently). What esp interests me about the anecdote is the way Paul seems to connect the conflict b/t his dual "identities" with these financial expectations. Perhaps the CAPSLOCK emotional hysteria related in the book is puffed up for drama, but it does bring to mind one of the most revealing comments Linda ever made about their relationship, which is that Paul needed to be told he would still be loved when the cameras weren't rolling. And that's the thing: Francie caught Paul at the exact moment that the pillars of his Smile-For-The-Camera "Beatle" identity were collapsing; the dissolution of his relationships with John and Jane.

Whatever all this could possibly mean re: the breakup of the Lennon-McCartney partnership is a post for another time. What I wanna do instead is apply the level of speculation we usually reserve for that relationship to the endpoint of Paul and Jane's courtship.

So like, Paul and Jane: I know people are resistant to this specific POV, but I honestly just don't... think it was that deep? "Not deep", mind you, doesn't mean "not significant". Paul was obviously Jane's first love (u never forget), but the feeling I get from Paul's side (as a subconscious process I mean) is that Jane's importance was primarily as a lynchpin in his London Socialite persona. He loved her family, he loved the friend group, the artistic scene dating her gave him access to, as well as the leg up he got in the class system, etc. He liked to be the kind of guy who was dating Jane Asher. But I don't know that he was the guy who was dating Jane Asher, you get me? When people describe their "great love" they accidentally tell on them (Cynthia innocently describing Paul as being pleased to have her on his arm like a trophy; John: "it was an ordinary love scene"; Alistair Taylor noting that Paul was humiliated by the breakup). Paul's a serial monogamist who U-Hauls like a lesbian, of course, so he definitely took the relationship VERY seriously, but it's telling that all of his love songs to her were either about hitting a brick wall in arguments (certainly not dreamy, fond, yearning of "sunday morning fights about saturday night"; and occasionally expressing hints of class tension too), or completely non-descript Guy With A Guitar Trying To Get Laid shit. I could extrapolate a lot about Linda just from listening to McCartney I/RAM and the Wings discography, but 'And I Love Her' doesn't tell me a single thing about Jane besides that she's pretty. It could be about literally anyone the same way 'My Love' or 'Maybe I'm Amazed' could only be about his dynamic with Linda. Some of this is obviously the natural result of getting older and gaining emotional maturity; what I'm saying is that Paul's behaviour and self-expression in this relationship does not suggest to me that it was one in which his emotional maturity was able to develop or flourish.

I want to stress again that I don't think this belittles the significance of the relationship or makes it "bad" or "fake". Like, sometimes hot people just date for a while in their teens and twenties and love each other without necessarily unlocking their inner emotional cores, usually because they don't know how to. It's, like, fine. You need to experience relationships like that as stepping stones. I simply believe that this sort of front-facing social importance being prime in the romance is a major factor in why it ultimately didn't work (and probably in Linda's reported lingering jealousy of Jane, who wasn't just an ex, but also a symbol of the life Paul ditched to build a new identity w/ her, and sometimes still pined for). With Jane, Paul was dating the "right" kind of girl (didn't put out on the first date, erudite and middle class, as serious about her career as he was, a good "celebrity" match), but the relationship often wasn't doing what he wanted it to do. Francie's observation is that by 1968 it also wasn't doing what he needed it to do either. This is the overwhelming "mood" in her affair with Paul McCartney: that he needed something very badly from a romantic partner that he just was NOT getting, and Francie couldn't figure out what it was either:

(note that she means "queer" as in "mad", not "gay")

This was an EXTREMELY roundabout way of asking: well, what WAS it that Paul needed a relationship to do for him? And I think this is Francie's big, accidental insight. The most scandalous claim in 'Body Count' is that Paul told Francie that he hit Jane and it "turned her on".

I personally think this is p. absurd absent any real proof to back it up, but like, what is Francie actually saying HE'S saying here? If she's exaggerating or lying, she's trying to make it believable within the psychological parameters laid out, right? It's not an expression of some secret desire to dominate women she's accusing him of, but emotional disturbance and confusion at the idea that the woman he was with might like that sort of forceful, masculine violence more than his softer, feminine side, which he was - yeah, we all know it - deeply insecure about.

Regardless of whether specific details are true or false (and I think there's both in this story, all hyper-magnified to make it, y'know, a ~STORY~), I think what might be true is the emotional undertow of the retelling, that this all taken together is actually representative of the side of Paul McCartney she was exposed to, at a time when his public and private facades had both become unbearable to the point of cracking and the drug-fueled optimism of the Summer of Love was getting scrubbed off of everyone and everything. It's the Paul McCartney who eviscerated frogs because he was worried he was too "soft" for compulsory military service. The Paul who modelled his masculine teen behaviour off John Lennon's fake "Marlon Brando" swagger, but was actually more fond of the velvet "Oscar Wilde" interior.

What's SO FASCINATING about all this to me, is I deeply believe that one of the key factors in what makes The Beatles music so unique and compelling is that both the songwriters experienced psychological strain from the tension b/t their parochial socially-defensive "masculine" pride, and their sensitive "feminine" core, the latter of which they were able to express in the unburdened emotionality of their music. The reason I care about doing these totally unhinged psych analyses is because I do think it reveals something about the underpinnings of the music, as well as the reasons why the band was such a hysteria-inducing phenomenon (the rise of psychology, imo, is almost as important as the rise of industrialization as a defining factor of the modern and postmodern eras; mass psychology can be understood and wielded in precise ways, and The Beatles were one of the first empires built on that). The subconscious drives caused by this tension have been ENDLESSLY picked apart re: John's psyche, but Paul's "mirrored" issues are very under-discussed (mostly b/c he's still alive so people are a little more leery about putting him on the "couch" as a historical figure). 'Body Count', intentionally or not, painted a portrait to me of someone who was drowning in their own ill-fitting celebrity "suit", collapsing under the weight of "Being" "Paul McCartney". A guy who desperately needed some sort of space to be vulnerable without feeling emasculated for doing it. By 1968, there was no one in his life anymore - and maybe there hadn't been for a while, or ever - who was giving him this space.

In other words: the thing he needed to avoid going "stark raving queer and killing himself" was simply someone who would love him 'after the ball'.

EDIT: read the comments for further clarification and discussion! ;)

#/#//#///#////#/////#the beatles #mccharmley #analysis #long post #Talking About Paul The Way I Talk About John lmfao #Taking Tabloid Bullshit Seriously #(if not literally)#*gets out my fake spectacles and jumps into the psychiatry armchair*#idk if i laid out my thoughts v well here but i hope it satisfied all the people who asked #i also tried to warn what genre of post it was for those who hate this kinda thing lol #i feel like i have more to say re: how toxic 'The Beatle' facade got for all of them by this point #and paul and john's mirrored post-india breakdowns #but francie's perspective is specifically on how it felt to be the girl he used to divebomb his relationship with jane asher SO

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ordinaryschmuck · 3 years

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What I Thought About "Eda's Requiem" from The Owl House

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...

...HOW IS SEASON TWO SO GOOD?! WE'VE HAD SEVEN EPISODES SO FAR, AND EACH ONE OF THEM WAS A HIT!

Take "Eda's Requiem," for example. It's yet another episode where I have NOTHING bad to say about it! That's two weeks in a row where that happened! HOW DOES THIS HAPPEN?!

HOW!

...But anyways, "Eda's Requiem." It's another fantastic episode, and I'm about to dive into explaining how and why. Just keep in mind, it's gonna require spoilers to do so, so be wary of that as you keep reading.

Now, let's review, shall we?

WHAT I LIKED

Eda’s Checklist and Grom Photo: Within the first second, "Eda's Requiem" perfectly sets up Eda's central conflict in the episode. Despite spending years being on her own and looking after herself, she now has two kids that she's constantly caring over. Eda can try all she wants to say that she doesn't care, and I bet she has in the past. But given the hard work she's putting into getting King and Luz what they need and having a grom photo of the three of them together pinned in her mirror, it's pretty clear that those two knuckleheads wormed their way into her heart and are never getting out.

Eda’s Worried About King and Luz Leaving: And thus, that's precisely why something like this bothers her so much. Eda inadvertently adopted two rambunctious rapscallions (Yeah, I know. I'll get to it), so the idea of them not being around her anymore is going to be terrifying. That is a situation most parents, especially mothers, can identify with. It’s called empty nest syndrome and it proves just how much Eda loves Luz and King that she can't stand the thought of her babies leaving the nest. It's yet another well-made, wholesome, found-family moment that this series continues to excel at each week, making me extra excited for more like it to come...while also readying myself for heartbreak when one of them eventually does leave Eda.

Eda and Raine’s Music: Ok, I don't know the exact instruments that were played during this episode, but I also don't care because it was all (for lack of a better term) music to my ears. Every time Eda and Raine played resulted in melodies that are so beautiful and filled with so much emotion and feeling that I'm honestly tempted to listen to them again, multiple times, on repeat. Shows rarely do that for me, as background music doesn't always draw me in as much as lyrical songs do. Usually, it takes something so extraordinarily composed to give me the desire to listen again, and that's the case here. So huge congrats to Brad Breek for doing so. Seriously, the man's been killing it this season.

Eda’s Bard Magic Causing Things to Turn to Ash: This was assuredly a surprise side-effect of the curse. The fact that Eda can sort of do magic at all was its own shock. To then reveal that a specific type can do dangerous things to people and environments is...Well, it definitely brings up its own fair share of questions. Like, how can she do this? Will she do it again, one day? And are there other types of spells that can be negatively affected by Eda's curse? We don't get answers for any of these questions, and odds are, we never will. But that's alright with me. Because if a show makes me consider these many possibilities after a brief amount of time, it is a show that has to be doing something right. Even if I don't get the answers I want, the fact that it caused such a reaction makes me less willing to care.

Raine Whispers: Hey, would you look at that. Another fun, interesting, and compelling character added to the list of this shows' other fun, interesting, and compelling characters...how is this series so good at this!?

Joking aside, Raine's pretty good. I like Raine. They could have been this super serious leader who lost all their fun after years apart from Eda, but I'm glad that they're not. There are moments when Raine takes their job as leader of the BATs seriously, as one would, but I still prefer the fact that they kept a jovial nature despite how grim their situation is. It's an admirable trait to have, and it avoids the trope of making leader characters boring just because they're the ones who have to take things seriously.

Oh, and also, Raine's Disney's first non-binary character who has a stake in the plot. This is a tremendous deal, as you don't usually see that many non-binary characters in children's animation, let alone ones that hold importance to the story. So it's pretty cool for the writers to feature Raine, as it helps several kids feel as though they're finally seen and respected. And the fact that Disney of all companies gave the thumbs up is even more impressive. I hear people say that Dana Terrace should have pitched The Owl House to more progressive networks to avoid pushback, and while I absolutely see your point, I'll have to respectfully disagree. Disney is the largest entertainment industry of all time, so if you want to make LGBTQA+ representation normalized, you gotta stop making splashes and start making waves. Because if the same company that made three racist cats in the span of a few years manages to say that being gay is a-ok, then you know there's something wrong with you. Yes, Disney ended up screwing over the show anyway. But for that one moment, when kids felt pride after seeing a character like Raine, then, in the end, it's kind of worth it.

Also, if you're still having issues with more representation like this popping up in kids' shows, then allow me to redirect you to the complaint department.

...I made that post earlier today for this bit. YOU HAVE BETTER APPRECIATED IT!

Day of Unity is meant to be a Secret: At least, that's what I got when Raine stumbled over their own words. So if it's true, then I wonder why? Why does Belos want to keep the most critical change in the Boiling Isles a secret? Does he want to make it a surprise for his grateful subjects, or does he not want to spread worry and fear amongst the wild witches? It has to be something big if he doesn't want his followers to even say the words "Day of Unity." Whatever reason he has, we most likely won't know until the future. A future that I grow more and more afraid of each week.

Hooty Eating Echo Mouse: My heart sank in that brief moment when I thought that Hooty intensely screwed Luz over in getting back home. But looking back...it is pretty funny.

Just the suddenness of Hooty eating the poor creature that Luz desperately tried to earn its trust is priceless in how shocking it was. And also, Luz's expression.

That was the look of a young girl who immediately shoved her hand down an owl demon's throat the second the scene cut away. The Owl House may not always be a hit in the comedy department, but scenes like this prove that when it's funny, it is hilarious.

Luz and King Entering the Grand Prix: Not much to discuss here. It's just a cute subplot that adds frivolity to the intensity of what's going on through Eda and Raine's story. But I will say that I love how both stories occasionally interconnect with each other through the many moments of Eda being worried about King wanting to leave to find his father and avoiding any conversation about it. It helps both plotlines feel like they belong together, without being something like "Through the Looking Glass Ruins," whereas both stories could have been in their own episode. Which is neat.

How Bard Magic Works: I really love how this season is diving into how the other magic types work. More specifically, the ones that seem a little vague. I mean, stuff like healing, potions, and plants are easy to figure out, but what does it mean when a witch's talents are construction, beast keeping, and bard magic? We've been getting a lot of clearing up lately, with bard magic looking like a witch can control their environments and enemies through the power of music. Which is fair. Music is pretty powerful in the metaphorical sense, and I actually love that it's powerful in the literal sense when in the Boiling Isles.

The BATs: Not much to comment on these three either. The BATs have the potential to have an entertaining dynamic, but they do very little in this episode that I can't say much other than I hope they make a return in the future. But I will make this claim: Amber is my favorite. I'm sorry, but her screaming "You're not our mom!" to then go, "Bye, mommy Eda" is just too precious for me not to love.

I'm a simple man who falls for cute s**t. Leave me alone.

Raeda (RainexEda): Well, EdaxCamila, you were a fun crack ship while it lasted, but I'm afraid that this is now goodbye. The current canon has provided an incredibly adorable and believable relationship that I would be a monster not to support with my whole bi-heart. It's been real.

Ok, back in serious mode: I love these two together. Eda and Raine are grown-ups, and they still act all flustered near each other as if they were still Luz and Amity's age. It's definitive proof that you're never too old to get flustered near a crush, and seeing them interact adds a sense of wholesomeness when seeing them together as well as heartbreak when they're forced apart. Plus, we get confirmation that Eda's LGBTQA+! Whether she's bi, pan, or whatever, now that we know Eda can catch feelings for someone like Raine, it's yet another case that The Owl House is the most important series to the community. Because having the main character be queer is fantastic in its own right. But having the same apply to the motherly mentor figure? That's is an extra bit of normalization that anybody would be willing to appreciate.

Unique Guard Designs: Not many fans are going to appreciate this, primarily compared to everything else this episode does perfectly. For me, I actually like that you see a few Coven Guards looking differently from the others, as it helps make them less like clones and makes it seem like anybody of any body type could be a part of the coven.

Gus Looking Uninterested when Presenting Grand Prix with his Dad: I am positive that you didn't notice this (I didn't even notice it until someone else pointed it out), but there's something to dissect here. It hints that perhaps Gus isn't as interested in his father's field of work as one might think. If he did, he would look a lot less bored and much more excited to be helping Perry Porter present the race. It could just be the race itself, but judging from Gus' expression, it really seems like the kid would prefer to be anywhere but there. And why would he have that reaction to a race that his best friend is competing in? To me, this seems like an inkling of what Gus' relationship with Perry could be, which may not actually get time to shine, what with how little wiggle room the series has now (Thanks Disney). Regardless, it is interesting to notice, and it will certainly have fans thinking for a while.

Bump Being Smug of Luz Being in the Lead: That's it. Principal Bump looking smug as his human student is beating the students of his rivals is yet another moment that proves why Bump is easily the best cartoon principal.

Darius: First of all, this guy is f**king fabulous, and I love him. *Snaps*

Second, he is definitive proof that you do NOT want to f**k around with Coven Leaders. Lilith may have had her intimidating moments, but none of them compare to the guy who can turn himself into an abomination monster where only magic that hasn't existed before can take him down. It's genuinely scary to see Darius lose control, and I fear for the day when Luz inevitably ends up in his crosshairs.

With that said, Darius' still a ton of fun! He may be threatening, but he's just a flamboyant guy that hates the idea of getting his outfit the tiniest bit dirty. And I love that. I love that these Coven Heads have actual personalities instead of being generically evil. I consider it preferable to make villains entertaining rather than blatantly scary as I'll remember the personalities first and the villainous acts last.

Eberwolf: But this one's my favorite. I told you: I'm a simple man who gets easily swayed by cute s**t. And Eber? I mean, just look at her:

She's just a cute widdle rascal! I just want to pinch her cheeks, give her a belly rub, and--

...Eberwolf is not a cute widdle rascal. She is a strong, independent woman, and I will respect her as such from this moment forward...lest I feel her wrath.

That is all. Let's move on.

Eda and Raine Attempting a Final Performance: This was the best scene of the episode. It looked gorgeous, it shows the dedication Eda and Raine have for stopping Belos, and it says so much through so little. Go back and look at how Eda and Raine regard one another when performing Eda's requiem. Through their expressions and a few short words, you know they understand that if they complete the song/spell, they probably won't make it in the end. And yet, they don't care. They both know bad stuff will happen if Belos wins, so Eda and Raine put everything to the side, both their feelings for one another and the people they leave behind if it means putting an end to a tyrant. That level of dedication...Words can't fully describe how powerful that is.

Raine Sacrificing Themselves Instead: But in the end, Raine can't do it. Not when they know the life that Eda has and the people she'll be leaving behind. It's an extra bit of nobleness to the character seeing that Raine refuses to take away a woman from two kids who need her the most. A tad bit selfish, sure, knowing what Belos has planned. But when it comes to love, the romantic, familial, or platonic, the best decisions aren't always the logical ones.

Eda Crying: Luz crying tears me up, but seeing Eda cry is a whole different level of heartbreak. Like Lilith, Eda has her emotions locked up tight, with the closest she came to weeping were those two tears in "Young Blood, Old Souls." In "Eda's Requiem," she cries but almost quickly stops herself. As if she knows that doing so isn't going to save Raine. That is...even worse than seeing Luz break down after losing Eda. The fact that Eda refuses to give herself time to mourn losing someone she loved is tragic because crying is the most natural way of showing grief. Turning that off isn't healthy, and seeing her do it with little resistance is sad to me. It's sad to see a character I love can easily shut off all emotions despite how badly she may want to embrace them. It's one of those moments that, again, by doing so little, it shows so much.

“No one watches Crystal Balls anymore. It’s all about streaming.”: Oof. Even I felt that burn towards cable.

King’s Message: King's message was the pick-me-up I needed after the heart-wrenching sadness this episode put me through a few minutes ago. Seeing King say who he is and listing all the things he loves is nothing short of adorable. On top of that, I adore that Eda willingly recorded the whole thing. She may not want King to leave, but that doesn't mean she'll sabotage the one thing he wants. Especially not after Raine gave up everything so Eda could be with her kids. The opening scene may prove how much Eda cares about a rascal like King, but this heartwarmingly sweet moment reveals just how far she'll go to make him happy.

King’s Dad Reveal: ...ok, I'll be honest, I did not think we'd get that reveal this soon. Dumb of me to say, considering the number of times I've said that these writers don't waste time getting to the s**t, I know. But still, it's pretty cool knowing that King's dad is alive and well, added with the fact that we've got a fair idea of what he looks like. At this point, it's only a matter of time before we see him figure out where the Clawthorne residence is and witness the tear-jerking moments that will follow.

King Changing his Name to King Clawthorne: Not the official adoption I was expecting Eda to make...but DANG IT, is it still diabetes-inducing levels of sweetness!

Personally, I feel like the main reason why Eda breaks down this time is not only because she shouldn't be worried about King leaving her life, but also because Raine's sacrifice wasn't in vain. Her kids really do need Eda because no matter how far apart they'll be, she will always be a part of their life...dang it, I'm going to cry too!

What those Coven patches really do: Well...that was horrifying to see.

...Writers, if you kill off the best non-binary character in animation (it's a short list, I know), we are going to have PROBLEMS!

IN CONCLUSION

"Eda's Requiem" is--surprise surprise--another A+. The emotions hit hard, the representation hits harder, Raine is a fantastic addition to the cast, and it was all surprisingly cute at times. Season Two is currently on a hot streak, constantly winning with every episode that's come out so far. When a bad episode does eventually show up (IT'S GONNA HAPPEN!), I'll be sure to sing my requiem then. For now, I'm just gonna enjoy the ride.

#the owl house #the owl house season 2 #the owl house reviews #eda clawthorne #raine whispers #raeda #king of demons #toh darius #toh eberwolf #what i thought about

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snifflesthemouse · 3 years

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I'm still rather new to Tumblr. While I've clearly displayed my ability to post my ramblings, I'm still figuring out the other various features of this platform. For the sake of reference, I have posted a screenshot below.

While I completely agree with @youhavebeenmarkled that it's grossly inappropriate to suggest Catherine, the future Queen Consort, is a drug addict... I want to add to the discussion and further develop why the concept of Catherine microdosing heroin is entirely ignorant.

@youhavebeenmarkled mentions several excellent points as to why the concept is ridiculous; from genetics to muscle tone and more. But there's deeper reasons why this idea of Catherine being on heroin is so far from the truth and reality, it's out of this world. Some could even argue it sounds like a page from a Hollywood script.

Before I get started, though, I want (and need) to stress a few things. I am in no way shaming anyone. As I've shared in the past, I am the last person in the universe qualified to pass judgement on anything or anyone. My posts are simply my perspectives, my opinions. I look at facts in the public domain, and with my own knowledge and life experience, I form my thoughts.

Please remember while you read this, I am not looking down on anyone. I am not bragging about knowing what drug addiction is or is not. I am only sharing some insights with you, the reader, on what real life heroin addiction is like. My only goal is giving insight.

I am not proud of my past, and I am not condoning it. Nor should you. Accountability is how I stay clean. Please do not feel like I am suggesting non-addicts are ignorant or "square". Not knowing or understanding heroin addiction is a blessing. It's a good thing to be in the dark about certain things because it means you're smarter than people like me.

Be proud of the fact you don't automatically see why these blind items are total nonsense from the start. And if you aren't proud of yourself, just know I am proud AF of you. For those of you like myself who have been through the hell of addiction, remember we do recover. With all that being said, let's get going.

You see, anyone with firsthand experience or knowledge of true heroin addiction would automatically know these rumors are absolutely ridiculous. Why? Because heroin addiction doesn't work that way.

Now don't get me wrong. The world is filled with functioning closet addicts. I myself was a functioning closet addict for years before the world was any the wiser. The key point, though, is the world did eventually get wiser.

Heroin addiction usually starts out in one of a few ways. Most Americans addicted to heroin became that way because of prescription painkillers. For example, I first got addicted to pain pills. When the pain pills became impossible to get, I took what I could get that was the closest equivalent. That was heroin.

But some people start using heroin because they did some at a party with friends. Or they have a loved one addicted and wanted to see what the fuss was all about. Some people are hooked on other drugs, like cocaine or ecstasy, and their usual dealer offers a free sample of the latest batch of heroin. There's a saying among addicts; "The first one's free."

Dealers know they can increase their profitability if they can get established clients addicted to other products they traffic. But these are just a few examples of how people get started using heroin. Very rarely does anyone start out on heroin simply because they want to stay thin. Contrary to the popular belief known to many as "heroin chic" that came from supermodels in the mid 80s and 90s.

Heroin is what addicts refer to as a euphoria narcotic. It has a euphoric effect, and it is sometimes called a "downer". Cocaine, crack cocaine, methamphetamine, or amphetamines are called "uppers" or "speeders" because they stimulate the brain and give energy. While heroin can have that affect on people, it is not the traditional go-to for illicit weight management.

In other words, if Catherine really did use microdosing (a concept I will debunk in a moment), her first, best choice would be a stimulant like cocaine because it's much more effective at appetite suppression and providing energy. Heroin wouldn't be the first, best choice for many reasons.

Because of its nature, heroin is highly addictive. Most users begin snorting the drug in powder form. Within seconds to a minute, the substance enters the bloodstream and hits the brain. The brain then releases endorphins that travel the rewards pathway in the brain. The first time one uses heroin is the highest they will ever feel from using. Every subsequent dose releases less and less endorphins in the brain. This is why recovering addicts talk about chasing their sobriety like they chased their first high. This is also why microdosing is an almost-impossible behavior.

Microdosing means taking tiny, small amounts over time. Meaning that you only use the minimum amount to achieve the effect you desire. But the problem is, your brain becomes physically dependent on the substance over time. Every time an addict uses, the brain gets more dependent on that substance to function. So, while a non-addict's brain has no issues with their brain producing endorphins, an addict's brain does. This is why heroin is so addictive.

Eventually, a heroin addict's brain will become so reliant on heroin to produce endorphins, the addict will become entirely dependent. This is also known as becoming hooked. When the addict doesn't have the minimum amount of heroin the body is accustomed to, or depending upon, the addict will start withdrawal. This is often called being "dope sick" or "detoxing".

Detoxing or being dope sick is the driving force behind addicts staying addicts. Being dope sick is the biggest fear of an addict. So much so, the fear of detoxing is enough to drive otherwise good, decent human beings to doing absolutely whatever it takes to avoid detoxing. Stealing from loved ones, manipulating innocent bystanders, lying, cheating, robbing, selling your body... are the half of it.

Being dope sick is like having the worst flu of your life times a million. You will vomit, have uncontrollable diarrhea, and your body will hurt worse than anything you could ever imagine. If you detox for more than a day, you will begin to feel like your insides are shaking, burning, and pulling apart inside. You can't sleep. You can't eat. You can't get out of bed. You miss work and lose your job (if you still have one at this point). You get desperate before this point, and you get carnal after this point.

Your brain and entire body becomes dependent on this substance to function subpar. Without this substance, everything begins to stop working properly. Depending on exactly how much you use normally, your withdrawal can become life threatening. You can have seizures, strokes, or even go into cardiac arrest. Hopefully you can see by now why I say the concept of microdosing is ridiculous.

To be able to micro dose would require the self control and willpower of a super human. This reminds me of an article I once read about a college professor who advocated for drug use. He claimed he wasn't addicted, had control of his drug use, and was a productive member of society. He said he'd use heroin like others drink after a long day of work. Yet, he's been using it for over a decade. Yet, he experienced detoxing. That professor is a prime example of an addict in denial. But I digress...

My points are this:

1. Heroin wouldn't be the first choice for weight control or appetite suppression; cocaine or stimulants like meth or ritalin would be.

2. Microdosing is an almost-impossible method of drug use because the body gets hooked quickly. Which means the dose will only increase in amount in order to have the same effects over time.

3. Heroin causes an addiction that results in serious, life threatening withdrawal that drives even the nicest person to doing the worst of the worst.

4. Heroin addiction, even in small amounts, takes no time to invade and overtake one's life. It literally only takes one time to get hooked. It literally takes no time to destroy everything.

Oh, and one more thing before I put a sock in it... at the height of my active addiction, I was using around 2 grams a day to feel normal. I spent at minimum $200 a day on heroin. Sometimes even more. When I started out, I was only using a tenth or less. It takes 10 of those to make a gram. So within two months of starting, I went from doing one tenth to needing 20 of those tenths just to feel normal and function. All the while, I never got smaller than 150 pounds.

I know it sounds terrible, but I would lament over how unfair it was. I was doing all this heroin, and I was still thick AF. I would literally joke to fellow addicts I would use with how it was total bullshit. How was it I was using 2 grams a day and still a size 12 or 14? That's how sick I was in my disease. Which is my final point.

Not everyone on heroin is "heroin chic" skinny. The effort, will power, and self control it would take to "microdose" would be far greater than what it would take to control one's diet and exercise. Plus it would be much cheaper to hire a trainer than employ a drug dealer.

I hope this very long, detailed, winded post gives better insight to the deeper reasons the blind item is so dumb. I also hope it gives insight to the real life of heroin addiction. My goal was, and is, to provide real examples to the blind item's absurdity. If I can help people better understand heroin addiction, potentially deterring someone from ever touching it or even a loved one learning something that could help someone they know struggling with addiction... well that would be a bonus.

P.S. If you or a loved one you know is struggling with addiction, there is help out there. If you have any questions or just need someone to listen, please feel free to message me. I will do my best to help. I've been there. They say the only way to keep your sobriety is by giving it away... I have plenty to give. Be forewarned, though, I am unapologetically blunt and honest to a fault. I mean no harm, but I will not sugar coat anything.

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notcrypticbutcoy · 7 years

Text

Wrecked (post 2x11)

(I don’t usually write things that are set right after an episode has aired or whatever, but this just popped into my head. I don’t think it will ever particularly contradict canon, it’s just a little insert between 2x11 and 2x12)

***

Every time Alec’s phone buzzed to alert him to a new text in the morning following their encounter with Azazel, he found himself yanking it out of his pocket, unlocking it in anticipation of a text from Magnus.

But—nothing.

Magnus had said he’d call, Alec thought, as he shucked off his gear slowly with the others, after following Jace and Clary down an alleyway to follow a group of demons for…god, he couldn’t even remember. Something pointless, he expected. But there’d been nothing by radio silence. Not even a text to let Alec know that Magnus was alright, after his exhaustion the previous day.

Although, it hadn’t quite seemed like mere exhaustion. Magnus had looked…confused, bewildered, shell-shocked. He’d seemed uncertain, eyes darting around. And, more importantly, he hadn’t met Alec’s gaze until right when he’d said goodbye.

It wasn’t like Magnus’ breathless collapse all those weeks ago after healing Luke, when he’d sagged against Alec’s chest as though he couldn’t make his muscles work for another moment, only to recover a few hours later.

When Alec asked, Jace promised to cover for him and call him, if anything urgent arose, and so Alec snuck out of the Institute at a little before eleven o'clock, heading across the city to Brooklyn.

He stopped off at a pastry shop he knew Magnus liked before he dashed across the street to his boyfriend’s loft, hoping that the surprise wouldn’t be an unpleasant one. It wasn’t like Magnus had ever made him feel unwelcome; he’d just acted so strangely the day before.

“Magnus?” Alec called, frowning when the door didn’t swing open for him. He rapped his knuckles against the wood. “Magnus, are you home? Can I come in?”

For several moments, there was silence. Perhaps Magnus really was fine, and he was out on a job, visiting a client or having a meeting or whatever else Magnus’ job entailed.

But then he heard footsteps, and the door clicked open. He smiled when Magnus’ profile was revealed in the doorway, and raised his eyebrows.

“Hey,” he said, and shook the bag of pastries lightly in front of Magnus’ face. “I know this is spontaneous, but I just wanted to make sure you’re okay. I brought you breakfast. Or, brunch, I guess.”

Magnus’ eyes flickered down to the bag, and then back up to Alec’s face. Defensiveness was written into every line of his body, and it made Alec’s brow furrow a little as he swept his gaze up and down again, searching Magnus for some sign of injury, or discomfort.

Alec twisted his head to one side, lifting his chin in question. “Can I come in?”

Magnus purses his lips. “Alright.”

Another hard look, and then Magnus turned on his heel, striding confidently into the loft. The movement lacked the fluid elegance Alec had come to associate with the warlock, but he put it down to stress, or exhaustion. Something yesterday had clearly affected Magnus more than he was willing to admit, and Alec was determined to get to the bottom of it.

Not that he planned on pushing into dark places Magnus wasn’t ready to discuss with him, if it really came to anything so serious. But he wanted to be good to Magnus. He wanted to support him, and talk to him, and put in effort to their relationship.

And, more simply, he loved Magnus, and he wanted him to be happy and healthy and flourishing, above anything else.

“I got that apple strudel you said you like,” Alec said, dropping the bag gently on the kitchen counter to pull the wrapped food out. “And some of those cinnamon pastries.”

He looked up when Magnus remained silent, and got a strained smile when their eyes met.

“Thank you,” Magnus said, but his smile didn’t seem to reach his eyes.

“Hey.” Alec abandoned the food, concern furrowing his brow, and stepped closer to Magnus, reaching out to grasp his shoulder. “Are you okay?”

Magnus jerked his head in a nod. “I told you yesterday, Alec. I’m fine.”

“Are you sure?” He rubbed up and down Magnus’ arm absently, searching his eyes for some clue that he wasn’t being entirely truthful. “You seem shaken.”

“I’m fine,” Magnus said, rolling his eyes a little, and pulled away from Alec’s grasp to peer down at the food with a definite note of suspicion on his face.

He wasn’t wearing any jewellery, Alec noticed, nor was he wearing any make-up, but remnants of eyeliner remained around his eyes, as though he hadn’t bothered to persevere with wiping it all off. And Alec admitted that he knew fairly little about fashion, but he was also fairly sure that Magnus was wearing the same shirt he’d worn yesterday—when did Magnus ever wear the same clothes two days in a row?

“You know you can trust me, right?” he asked, keeping his voice as soft as he could. He didn’t want Magnus to feel like he was pushing, but at the same time… “I mean, if something’s wrong, you can tell me. Not…anything that makes you uncomfortable, or details, or whatever, but if you’re not okay, you can say that you’re not okay. I won’t ask if you don’t want me to.”

Magnus shrugged, and it seemed such a bizarre movement on Magnus’ body. “Nothing’s wrong.”

Alec exhaled through his nose in frustration. “Look, if you want me to go, can you just say so? I don’t know if I’ve done something to annoy you, or if you’re just tired, or if something else is going on, but if you don’t want me here, just- just tell me.”

Magnus didn’t turn around, and instead peeled back some of the thick paper wrap to scrutinise the apple strudel. “I’m just a little busy. How about I call you later?”

Alec curled his fingers into his palm to stop himself screaming, and instead clenched his jaw and closed his eyes, counting to five to calm himself before he opened his mouth to reply.

“Fine,” he said, and grabbed Magnus’ arm to turn him round. He sighed when he met Magnus’ gaze, eyes that deep brown and so painfully familiar, and shook his head. “I don’t want to argue with you. Can I stop round for dinner, tomorrow? When you’re less busy?”

Panic, clear as day, flashed in Magnus’ eyes. “I don't—”

“Alright, alright, fine. I’ll call you tomorrow.”

He leant down to kiss Magnus goodbye, and felt fear ricochet through him when Magnus jerked back. He paused, and searched Magnus’ gaze, but he decided not to comment, instead turning to kiss Magnus’ cheek instead.

“No—”

A hand pushed on his chest, forcing him back, and Alec stared at Magnus incredulously. His boyfriend refused to meet his gaze, while Alec’s heart hammered painfully against his ribs, cracking and shattering at being slapped in the face with rejection.

“Fuck it,” Alec mumbled under his breath. He held his hands up, palms forward in surrender, and turned to walk out. “I’m done. Don’t call me tonight. I don’t want to shout at you.”

He slammed the door on his way out, breathing heavily, and stopped outside, leaning against the smooth black wood. Chest rising and falling heavily, he lifted a trembling hand to his eyes, shockingly unsurprised when they came away wet.

What the fuck was going on?

But there wasn’t time for that. He had to pull himself together and get back to work. He couldn’t lounge around outside Magnus’ loft, moping and heartbroken over some stupid non-argument.

He heard muttering coming from inside the loft just as he readied himself to leave, and paused, tilting his head to listen.

“Fucking fags,” he heard, the syllables barely a mumble under Magnus’ breath, and Alec’s eyes widened, a numb horror spreading through his body.

What the fuck?

***

Across the city, Magnus Bane sat locked in a cell with his head pressed into his knees, forcing back tears that wanted to slide down his cheeks. He wouldn’t give any Shadowhunter the satisfaction of seeing him cry—even if they didn’t know who he was.

He wondered where Alexander was, now. He wondered where Catarina and Raphael were, and how long it would take them to notice that the racist, genocidal maniac occupying his body and taking advantage of his magic was not him.

He thought about the way Alec had reached down to him - well, to Valentine - in the aftermath of Azazel’s appearance, the way his hand had lingered, concern saturating his voice as he helped him up off the floor, asking if he was alright, attention fixated on Magnus’ wellbeing.

It made his heart shatter. He had to let Alec know. He had to make Alec believe him. He had to communicate it, somehow. But who the hell would believe him? Valentine was being tortured, was going to be killed, in all likelihood. He’d say anything to get out of it.

Alexander. He had to see Alexander. He had to say something, do something, to make him believe it. Tell him something only Magnus could possibly know.

But even then, there was no guarantee…

His breath hitched, fear running through him despite himself, and he swallowed heavily, wishing, not for the first time, to feel Alec’s fingers on his, palms pressed together, breaths intermingling and lips warm on his skin.

“Alexander,” he whispered, under his breath, too quietly for the cameras to hear. “Please come. Please, please come. You’re my only hope.”

But why would he? What possible reason would Alec have to visit Valentine? The man meant nothing to him.

Someone, someone, had to come, surely? Someone he could convince. Jace, or Clary, or Isabelle…

Raphael and Catarina flashed in his mind. He’d be able to convince them, with all their decades of friendship. But they’d never come to the Institute. They couldn’t. Not without being invited.

And so he prayed, futilely, for the appearance of hope in the form of Alexander Lightwood.

Little did they both know that the other was sprawled on the floor across the city, both feeling wrecked and devastated and horrified, praying for the comfort of the other’s embrace, and the warmth of their love.

#my fic #writing tag #malec #malec fic #magnus bane #alec lightwood #shadowhunters #post 2x11

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