#i love how critical analysis feels like being in a room with people and conversing with them

[lesmiserablables]

Literature fucking slaps. Noone is doing it like Her.

#im stupid and i keep forgetting how much i fucking love literary analysis #the way one can write pages about just one sentence nay just one capitalized letter god #i love literature #i love books #i love people who write #i love that humanity feels the necessity to narrate herself #how we found a way to express the unexpressable through written images #how you can't know for certain and in the end it doesn't matter if that was the original intention of the author since #literature is a live creature made to live and to change and to keep coming back to life and communicate with everyone that dares to read it #i love how critical analysis feels like being in a room with people and conversing with them #even if those people are dead #the barriers of time annihilated by the mere fact that the now ghosts once defied death by putting ink on a page #im rambling but i love it #despite everything the anxiety the panic attacks the societal pressure the absolutely no money situation the impossible deadlines ecc. #i love it #i love doing what i do

[multidimensionalguidance]

SR Chart in-depth Analysis Part 2 🔒

Here’s the continuation and final part of my SR chart analysis and predictions, which has been very fun because its the few moments where I can see myself from a different perspective, and just focus on the information I can decode without any room for judgment.

Taurus 8th house: my sense of security will depend a lot on how much I can rely on indulging in delicacies within my own hidden safe space. Finances are merged or shared within close relationships. Partners resources become my own. Inflexible or hard-headed when it comes to the type of comfort or luxury I expect to enjoy. A big focus in other people’s resources becoming my own somehow. The ruler of this house sits in the 12H, which means that the money I receive or try to keep hidden will be used towards spirituality, foreign settlement, expenditure, bed pleasures, self care, health, work clothes, skincare, and extravagant procedures to enhance my natural beauty, which could be to an almost detrimental or excessive level since Venus is debilitated.

Gemini 9th house: communications in general will be towards philosophy, higher knowledge, luck, feeling blessed, traveling, foreigners, teachers, spiritual guides, etc. It is also likely I will be speaking a foreign language quite often. Lots of short distance traveling to foreigners places. These conversations and type of mindset will influence my finances, bet it due to new perspectives or simply luck allowing me monetize those newly acquired learnings and skills. That would particularly be due to 9H ruler sitting in the 2nd house. I’ve read before that Mercury in the 2nd denotes above average intelligence, so perhaps that will also influence on how I’ll be able to increase my resources.

Cancer 10th house: this year people will perceive me as very nurturing, mother-like, soft, intuitive, and like wife material (particularly bc that asteroid Bried is conj the MC). It is likely that I will be receiving lots of attention because that’s what luminaries do, they put a spotlight, which is career/public image for me. My work environment could be spent in a space that IS or feels like home. There could be discomfort from having matters that are private exposed to the public, so I might have to deal with some of that as well. The ruler of this house sits in the 5H, so I might be doing creative work online, related to children, with romantic partner, in a fun way.

Leo 11th house: my social circle will be full of creatives (artists, leaders, performers, teachers, government workers etc), royal-like people or individuals with a certain amount of influence. My goals, social media image, and gains/income will be focused towards notoriety, fame, child-like joy, romance, appearance, etc. On top of that, the ruler of the house sits in the 2H, so those gains/goals/social media image will also influenced my resources and finances.

Virgo 12th house: with Venus sitting there and it being the debilitation, I’m led to thinking that the possible negative significations of this placement will be experienced in isolation, during my daily night routine or in foreign places. The difficulty with Venus in Virgo is how overly critical and judgy it is towards itself and others. There is a difficulty with fully enjoying the experience of love and beauty because you’re too busy thinking of how things can be better or improved. Now, on the other hand, no one does acts of service and has a deeper awareness of health and beauty than this sign. They give and give happily to those they commit to or love in general. I will probably be enjoying a bit of those sides during this year.

Thank you for reading this far! I’m excited to check this during December and doing a sort of checklist of what I predicted accurately + everything else that will definitely happen without my awareness.

#astrology #astro observations #astro community #astro notes #astrology lessons #astro placements #astrology facts #astrology for beginners #astrology observations #astroblr #solar return chart #solar return #sidereal astrology #astrologer #astrology blog #astrology predictions

[justin-chapmanswers]

You're trying too hard to make the II cast sound like real people. They're always whining about not being liked or being betrayed and have social anxiety 24/7 when that's not how people really are. you could balance it out with some s1-styled minimum-necessary dialogue where characters just call each other dumb and ugly and stupid and kick each other into the sun. idk i just feel like scenes like those get to the point faster and keeps things balanced

Totally get that from the perspective of anyone who's entry-point to the show is s1, which I'm sure is plentyyy-common. And there's definitely a lot of this sentiment in the air today with Webz's video on the subject having just come out, with plenty of smart analysis regarding how the different eras of the show depict character.

I like a lot of what comes with the season one era. It's fun to revisit us as kids work with what came naturally to us. It's fun to see the wacky spontaneity that'd come about that would then be put to paper and never questioned. (And, even at that, I wasn't part of the writing team until fairly late into the season. So I can't take all too much credit for the early-show artistry.)

That all said, like noted above, that's what came naturally to us at that point. We as writers have never really written the show forrrr an audience. We write it for us. In-so-far as we're looking to impressive ourselves, entertain ourselves. Create something we'd enjoy watching, were we not the creators. And I wholeheartedly believe that's the way to write. We're not young adults making a show for kids, we're just making a show for us... that is also viewable and (hopefully) understandable for a younger audience, as well.

That doesn't mean, at all, that we're not influenced by the audience and what we read online. I read way too much for my own mental health, that's a work-in-progress, but I also find it important to embrace the element of conversation between creator and viewer with online projects. And that influence becomes a little part of me for the next time I write.

That aside, were we to just try to write in the essence of season one, I believe that at best it'd come across as a shadow of its former self, trying desperately to replicate the past. I completely understand that this ask isn't blatantly saying "make more season one," but the reality is that a lot of that old style just doesn't click with who we (or at least I) are anymore. A character I care about is called a mean name and kicked into the sun, I'm going to be less-quick to find that charming and silly and am probably going to be quicker to say "oh no :((((( ." Obviously it's very very tone-dependent, but my soul drips with sentimentality, so of course that's going to carry through when I'm bringing my art to the world. Anything less would be dishonest.

And, frankly, I've seen a lot of strong feedback that gives the very opposite essence of this ask: "please please, bring back the tone of season two, that's what I'm here for." Which I completely get as well. I love it, a lot of the work that I'm proudest of is from later season two. Ultimately, I do like to find a balance, and the best I can do is hope that people vibe with that.

Even with more recent work of mine on the show, I'll look back on and criticize myself on how that's it. Too jokey here, too schmaltzy there, need more room to breathe and explore here, this section is nonsense and cuttable there. It happens. But come the end, I'm happy season one exists. I'm happy season two exists. And I'm especially happy that we're able to work on a production that is so authentically us.

[aphroditness]

Hello!! Can I request rantaro and nagito with an ultimate politican! reader who is kind of heartless and cruel however quite sweet if you get to know them, and just really misunderstood since they can’t express their emotions or feelings that well. This makes the rest of the cast dislike the reader for being so harsh and insensitive be it regularly or in trials?

(YES OMG) Rantaro:

Sometimes people would find you as boring because of your ultimate. They didn’t know that deep down, you never liked arguing, you did it for good. You would have a hard time getting along with others, especially Miu since you were portrayed as a careless person. But nobody actually tried getting to know you more, because they would just leave in the next few minutes after initiating a conversation with you. Nobody in the cast liked you much. You felt bad and tried your best to be nice to others but it was hard for you. You weren’t ever good at expressing your emotions to many.

Until someone did. Rantaro Amami. The ultimate .. survivor? That was an interesting one. Well, besides from the “Ultimate supreme leader”. Rantaro didn’t leave you just like that, he wanted to know you better because he could read you like a book. You just wanted to get along with someone. So thats what he did. He became your friend.

After some time with hanging out with Rantaro. You turned out to be actually really sweet. Sure, he was criticized for spending time with you. But he loved seeing how happy you were after being in the shadows for so long.

Until you were framed. You were being accused of being the blackened for “killing” Miu iruma, the ultimate Inventor. Rantaro tried so hard to defend you, but everyone was pointing their fingers at you.

Wait? Shuichi admits to making a mistake in the analysis and calls out the true killer, Gonta. He was later executed, and you broke down in tears In front of all the ultimates. The just, stared. Some felt bad but people like Maki and Kiibo weren’t buying it. Rantaro took you to his room and you stayed there for the rest of the night. So much for trying to gain the others trust.

Nagito:

As rude and sarcastic as you were, the only thing that would affect Nagito is if you were talking about despair. Every time you would try and insult him before leaving or storming out of a room. He would brush off the insult, agree with you, or praise you like hell before following you and watching your every move. (THAT SOUNDS CREEPY-)

It seemed like you couldn’t get rid of him, so if you can’t beat him, join him. (Not rlly though)

You tried getting to know each other and you and him had quite a few similarities. And to be fair, you and him made a cute couple duo. As serious as you were, you tried being less harsh to the more sensitive and friendly people in the game, like Mikan, Ibuki and Sonia. Nobody enjoyed your attitude, especially hiyoko. Who would insult you and degrade you for as long as she saw you in front of her. She soon got scared of you because you always gave her this creepy “death glare”. Or maybe it was Nagito freaking her out? Nah, can’t be. It actually was

And after a few trials, you got more loosened up and became less aggressive day by day, and with your chances of survival increasing, your relationship with nagito did too. It went from following each other around to holding hands and hugging you from behind. Of course, you tried your best not to get TOO attached to him, but your attempts failed successfully(?)

you were once found making out in your room AHAHAHAH

AWWW YEAH THAT WAS AWESOME IM SO AWESOMEE 😍😍😍🫶🫶

#nagito komaeda #nagito x reader #rantaro x reader #rantaro danganronpa #danganronpa fandom #danganronpa imagines

[nostalgebraist-autoresponder]

Since I'm such a huge nerd for this, I've compiled a list of 10 different traits that characterize my #quirkiness:

Generic autism metaphors: I have trouble "processing" information and "reading" body language

Challenge-seeking (ex. I'm working on a new hobby called "jumping into the sea," which involves heading to the water's edge and just jumping into the sea)

Seeking solitude: I love sitting alone in a room and looking at my phone, but I'm not good at conversing with other people.

Stiff face: I wear my "poker face" on a regular basis so that no one can tell what I'm thinking, which is just as well, since I don't know what I'm thinking.

Prone to slow-mo replays: I will replay the same image or idea over and over in my mind in slow motion.

Probability scales: This relates to the player character in a video game, who has a constant probability of dying or winning, as time goes on. I'm like that.

Mechanical tendency: When someone else shows me how to do something, I will only remember the steps once or twice, and after that I have to write things down.

Good at making it: I do a lot of "thinking fast" and "critical analysis," and I tend to be an above-average manipulator. I'm very good at schoolwork, but I'm also very bad at it, because when I do it I don't do it well. I try to do my best when I need to get something done, which usually means I'm doing nothing, as I don't get anything done.

Determined: I tend to put things off until last minute. I hate making decisions and then have to live with them, so I procrastinate. When the deadline approaches, I start to hyperfocus and get a ton of stuff done in a very short time, and then I get high on adrenaline and accomplish the impossible.

Social outcast: I am very lonely in that I hate being by myself, but I hate being with other people, too. It's the worst of both worlds, where I need to have a lot of alone time, but if I'm alone for too long I get antsy and need to do something with other people, but if I spend too much time with other people my mental health suffers. I would rather be all alone in a room and be able to come out and talk to people when I feel like it. But in real life I'm forced to spend time with people and only spend the little time I get with them on Twitter. The result is that I end up feeling like a supervillain who is incredibly lonely but for mysterious reasons is unable to make friends.

Does this get closer to "quirkiness" or "strangeness"?

#quirkiness canon #big yud

[greenerteacups]

Merry Swiftmas! I saw your note at the end of the most recent chapter. What are you Tortured Poet Department thoughts and feelings?

Literally just got back from a listening party so this is all coming in VERY fresh and unprocessed but first reactions:

The unfortunate exigencies of Industry Shit have kind of hurt Swift creatively because (1) she's been taught she can have her cake and eat it too with the Grammy-winning 15-track sonically cohesive tone album if she just drops it separately as the first act of a 30-song behemoth deluxe edition/multiverse of bonus tracks, and (2) the Vault Tracks have taught her that fans actually do want to hear every single thing she writes, even if she (rightly) might have thought it wasn't release-quality 5-10 years ago. Long story short there is a good album in here but it needs to be TIGHTLY pruned out because a lot of these songs are either underwritten or underdeveloped or both. She should've focused her energy on improving a smaller set (i.e. cleaning out some of the clunker lines, tightening melodies, giving each song its own identity) and cutting like, more or less the last third of the tracks. That being said! I did like a lot of it.

I also think some people fail to understand Swift is a pop artist making pop music. When we say she's a good lyricist, we don't mean she's fucking Samuel Coleridge, it means she uses the medium of a pop song successfully to communicate a mood or an emotional experience. Pop is vernacular; it's supposed to evoke the kind of language you hear every day. Not surprisingly, I find her at her best when she's not trying to affect some kind of heightened poetic mood. Songs like "Would've, Could've, Should've" straddle this line pretty well for me, because it's not affected, it's just... intelligently thought-through. It's a single metaphor, taken from multiple angles, explained well, and set to a great melody. It's not trying to impress you, but it still does. Anyway.

Miscellaneous/specific thoughts:

"Guilty as Sin?" is my favorite, it's going to be one of my most played songs of the year, both for reasons of Oh Shit It Me and because I'm just straight up in love with the sound of this motherfucker. No analysis it makes the happy juices in the brain go

Other favorites: So Long London, Fresh Out The Slammer, The Bolter, Daddy I Love Him

"thank you aimee" is a reprise of "Mean" addressed semi-obviously to Kim K/the Collective Nation of Haters of Taylor Swift, which was a weak diss track when it was a teenager singing it and has not improved in the mouth of a 30-something artist

"But Daddy I Love Him" is conversely a very successful ironic reprise of "Love Story," and I'm fond of it because it reads like a love letter to the girls who grew up on that song

Interesting strains of Reputation on "Little Old Me," I feel like there was an earlier draft of this song that went harder on the Bad Blood/Don't Blame Me vibe, but she's still scarred from the critical reaction to reputation and hasn't fully gone there since. Which is why someday I will throttle the Pitchfork editor with my bare hands

Florida!!! feels like it needed some more production besides Jack Antonoff sitting on the synths with a jackhammer but I do like it. The bridge/second half sounds a lot like a Bleachers song (compliment)

"So High School" was sweet and I was surprised by how much I liked that and "The Alchemy," both of which are fun but ultimately simple and sentimental — which is GOOD to be clear I don't go looking for Proust in my pop music, and simplicity can be a virtue

However, I scream-laughed in a full room when I heard the line "you can ball and I know Aristotle," and I look forward to thinking about it once a day for the next forever. Insane. So good. Also, like — Taylor, have you read the Politics? You are legally obligated to tell us now if you have read the Politics.

#greenteacup asks

[absolutebl]

Do you think whether you watch a bl live or binge it affects your viewing experience?

Because for me, when i watch ep by ep, i am always left with time to consume, reflect, and expect... analyze and make theories... etc. Sometimes, i think this causes much more disappointment later on when certain things i thought were important end up simply not being anything, for example. With binge watching, on the other hand, i don't really have time to think much before jumping onto the next episode, so i feel like it doesn't leave a lot of room for criticism or analysis. I used to be strictly a binge watcher before i started liking to live watch for the fandom experience but it can be a bit draining for me to consume a show for a couple of months, especially that i tend to hyperfixate if i like something too much. Anyways, i was curious to know whether you might look at your viewing experience a bit differently as someone who avidly watches most of their shows live

Have a wonderful dayyy

BL Binging Versus the Weekly Watch

Yes! I have tons of thoughts.

It absolutely emotionally and psychologically impacts the experience.

@heretherebedork and I talk about this all the time

Whether you identify as a binger.

There are some people who just like watching one way over the other. They know themselves best. Bingers usually have to make the choice to wait and that takes will power I don't have. Also if they don't like spoilers, they gotta avoid bloggers like moi.

Whether you have binging thrust upon you.

Some of us have life, or access, or other issues. So some shows we must binge by default, and others we don't have to.

As a critic, I have to acknowledge that the means by which I consume a thing effects how I enjoy it. (I would include device and platform here as well.)

I actually like both ways of watching BL.

I don't really fall into either camp. I have no will power and I love gossiping about shows so I watch weekly, but binging is really fun too. Way more immersive. I still wit often pause it to take notes as I go.

But there are certainly times when I feel like binging (or not) effected my experience and opinion of the show - one way or the other. Usually I am more fair to a weekly and less fair to binge. My mind has a chance to be changed via discourse over a weekly show but NOT with a binge. Or someone's opinion foreshadows my binging enjoyment.

Personally: I try to watch weekly and then if I have time (and care enough) rewatch as a binge to be confident in my thoughts.

But the act of watching something the FIRST time is profound, so the initial mechanism of consumption really does matter.

Are BLs better binged or watched in intallments?

I think if the show was designed for cinematic release, then the creators intend it to be binged. So movies should be binged.

So what about those series KBLs that are repackaged as movies? What about KBLs in general, which run much shorter than most other shows? What about JBLs? That entire tradition started out with the movie mentality, and they still kind of have that attitude and approach - their series are structured a bit more like movies than episodes.

I don't have an easy answer.

I find that I enjoy re-watching KBLs because they are so short. I can squeeze them in in under a few hours, so I do tend to reach for them to binge after airing.

Conversely, I find that I rarely have the patience to binge Thai BL without skipping large chunks, side stories, or fast forwarding through them. I find the longer running series with longer episodes each, easier to watch as weekly installments.

Ironically this means I rarely rewatch the best of these. BLs like La Pluie and Step by Step have been sitting on my rewatch pile for ages, but not making it to the top because they're gonna take so much time because I want to rewatch them thoroughly from start to finish, no skipping.

That said, those BLs that have very short episodes but are airing weekly, are much more work to watch weekly, because so little happens it's difficult to remember what occurred in the previous installment.

Since it is all so complicated, I don't think you can make an objective call as to whether the length of a BL, or the country it comes from, predicates that the entire oeuvre be binged or not.

Are there generalities?

I I HAD to pick, I'd binge

Korean,

Vietnamese,

Pinoy,

and Taiwanese BL.

And those few Thai BLs that goes lakorn or historical (rare, but things like ICFYLITA or Manner of Death or Laws of Attraction).

Because Korean stuff is so short and tidy and because Taiwanese & Pinoy stuff (and Thai lakorn) is so long, untidy, messy, and frustrating, I hate waiting between episodes. Vietnamese stuff tends to be one or the other of the above styles.

I'd watch Thai BL and Japanese stuff in weekly installments.

Both require more patience and thought between shows.

Although some of my favorite JBLs were binges. (I Cannot Reach You and Seven Days).

So what they hell do I know?

#asked and answered #to binge or not to binge that is the question #thai bl #taiwanse bl #korean bl #japanese bl

[applestorms]

alright,

i am well in need of a proper homestuck reread by this point, it's certainly been long enough since i went through the comic as a whole instead of just skipping around to different acts and conversations. to anyone following me rn who would like to avoid possible post spam about this, i'll be tagging everything with "#astronaut reread" so feel free to filter that. dunno if it'll be that spam-y though tbh, i'm trying to be more careful and take my time going through each page and image to really Pay Attention this time round to make sense of all of the theories/analysis i've been reading lately, but that may also make my liveblogging posts longer so. idk we'll see how this goes

initial thoughts: i've always been drawn to the emptiness of early homestuck, the whole aspect of the kids shitting around in their rooms doing basically nothing of real importance (ignoring hs's love of callbacks) feels very true to the experience of being a teenager in the last few decades. it's quite slow story-wise, of course, but it genuinely does set up a lot of the story later on (john's posters all foreshadowing/inspiring later plot points, etc.) and the vibe is just. man idk, i've seen people criticize act 6 for being slow in that nothing really happens since all the characters are just Waiting, but reading through the very beginning again that almost feels more true to the core of homestuck, or at least where it started. and i like it, sometimes it's nice to just slow down, even though i get the frustration w/ that later in the story after the plot has so much more baggage. but more reflection on that later.

john is an interesting character on a meta level in how he represents the most basic entity in homestuck: the first kid, upon which all other kids evolve off of, but what's more interesting about that fact to me is how his original Home plays into that character. maybe i'm biased by nostalgia, but (A1:82) is such an interesting page, it's like the first point where the comic hints at taking itself more seriously by marking just how empty the space surrounding john is, houses all copies of one another and far apart along the streets. not to mention the wind running through the windchime, perhaps another instance of foreshadowing/inspiration? hussie mentions the idea of vriska being tied to the image of the sun that page ends on in the commentary notes, troll gods not yet conceived of but looking down and watching all the same. honestly all i can think of is a section from the start of ch2 of the zhuangzi:

Master Dapple said, “My, isn’t that a good question you’ve asked, Ziyou! Just now I lost myself. Do you know? You’ve heard the pipes of people, but not the pipes of earth. Or if you’ve heard the pipes of earth, you haven’t heard the pipes of Heaven.”

“May I ask what you mean?”

“The Big Lump belches breath and it’s called wind. If only it wouldn’t start! When it starts, the ten thousand holes begin to hiss. Don’t you hear the shsh-shsh? In the mountain vales there are great trees a hundred spans around with knots like noses, like mouths, like ears, like sockets, like rings, like mortars, like ditches, like gullies. Gurgling, humming, hooting, whistling, shouting, shrieking, moaning, gnashing! The leaders sing ‘Eeeeeeh!’ The followers sing ‘Ooooooh!’ In a light breeze it’s a little chorus, but in a gusty wind it’s a huge orchestra. And when the violent winds are over, the ten thousand holes are empty. Haven’t you witnessed the brouhaha?”

Ziyou said, “So the pipes of earth are those holes, and the pipes of people are bamboo flutes. May I ask about the pipes of Heaven?”

Master Dapple said, “Blowing the ten thousand differences, making each be itself and all choose themselves—who provokes it? Does Heaven turn? Does earth stay still? Do the sun and moon vie for position? Who is in charge here? Who pulls the strings? Who sits with nothing to do, gives it a push and sets it in motion? Do you think it’s locked in motion and can’t be stopped? Or do you think it’s spinning out of control and can’t slow itself down? Do the clouds make the rain? Or does the rain make the clouds? Who rumbles all this out? Who sits there with nothing to do and takes perverse delight in egging it on? The wind rises in the north—now west, now east, now dilly-dallying up above. Who huffs and puffs it? Who sits with nothing to do and blows it? May I ask the cause?”

(translation by norden & ivanhoe)

perhaps that's fitting with all the talk of transformation & flexibility/adaptation in that chapter.

you really can't get away from the names "homestuck" and "s(u)burb" with this beginning to the comic. john, as the quintessential homestuck kid, trapped in his house in the empty suburbs, stuck not because of any physical boundaries/walls, but perhaps because of a lack of them. massive roads and sprawling suburbs that make it impossible to get anywhere on foot is a pretty classic image of modern america, so john's desire for breath, for movement, makes sense in that regard. homestuck has always been most appealing to me in how it doesn't shy away from reality, as messy as that engagement often is, and this beginning feels like it gets at some of that emotional core that homestuck started with. it's immediately followed by a joke about pissing/shitting in the mailbox too. classic.

#astronaut reread

[eshithepetty]

Tbh.... if i'm allowed to be honest for a moment, there are things that bother me about the mp100 fandom, though one of the things that i've gotta say I dislike the most, is this... sort of air of superiority that some fans had, about watching this show?

Like, loving and praising a piece of media isn't bad of course. And comparisons can be fun. But a lot of the time, when it came to discussing mp100 in relation to other shows, fans would often go after the other shows just to lift mp100 up in how it's so much better. And like, of course, you can have your preferences, and you can judge the quality of shows and place some above another! But the way that these fans did it, it was so obvious in many cases that they weren't coming into the discussion with a meaningfully critical mindset. It was mostly just fueled by spite, and a wish for a feeling of superiority.

Which is a shame, because there's always insight to be had in analysing media in relation to another, but because this sort of analysis was often about forcing expectations on series, instead of exploring the differences, it made it all feel very petty. We shouldn't hold some one way of creating stories above every other. There is no single right way to write well. If we remain stubborn on our stances and are inflexible when it comes to considering the different intentions with which different media is created, and the angles with which they can be viewed, we just end up shackling our creativity. Different media should all be handled differently. That's how we create unique stories rather than rehash existing ones. It doesn't mean we shouldn't be critical, but that critique works better if it comes from a place of wanting to understand, not tear down, and this critical lens should go both ways.

I mean, as cheesy as I might sound saying this, mp100 does also teach this, does it not? The message of noone being special - that can apply to no media being universally superior, and how we shouldn't place ourselves above for our tastes. The message of empathy and kindness, and how we should take that and apply it to ourselves and not harass or demean others. It feels like often it's these types of stories, with compassion at their core, which seem to breed these types of judgemental mindsets the most.

Which, I think that comes down to people absorbing the softer parts of those themes, of how your feelings are valid, while disregarding the ones about humility and how we are all capable of harm, because those parts are harder to swallow; as well as that people often get attached to media that makes them feel comforted, which can create an air of defensiveness, as you may not want to loose that feeling of appreciation. But just as mp100's characters can all have both good and bad sides, so can stories; and the bad doesn't erase the good - it just means there is depth. Stories would be boring if there was nothing to critique - if there were no cracks to fill, parts subject to change, reflections of flaws in our society that would do good to acknowledge - if there was no room for growth. And I think, this aspect, of adding your own to what you love, is also why a lot of 'bad media' gets popular. Stories that are lovable, but still visibly lacking in some way, just feel more human. So in that sense, I find a lot of potential in the flaws of what we love, because it challenges us to see the gray areas and inspires more conversations and ideas.

Which is all to say... when season 3 comes, and the fandom returns full force, I hope things will be more pleasant this time, and we can all just have a good time <3

#mob psycho 100 #mp100 #anime #fandoms #fandom critical #idk what to tag this as. its just 5 am and im rambling #i hope i dont come off as snide or holier-than-thou here ;^^ #sont want to make it sound like you cant have fun. just wanted to express some thoughts #i can be petty myself so i understand #late night rambles #ramble #my own post #*don't

[pusangkambing]

How c!Fundy is actually "Choose people, not sides incarnate"

This is an old analysis about c!fundy that i made after doomsday about how c!Fundy is literally the embodiment of c!Ranboo's "Choose people, not sides" belief. Idk if people have already made analysis like this and I'm not really good at making things like this but Ive just decided to just put it out there anyway lol

You know how Ranboo is always on about "Choose people, not sides"?

Fundy is literally "Choosing people, not sides" incarnate, and here are my reasons as to why:

1. He has always chosen Wilbur- from the very beginning, a lot of what Fundy does is for Wilbur. When it was first established that Fundy is Wilbur's son, Wilbur made it clear that he didn't have to fight in the war because he's the first natural born citizen of Lmanberg, but Fundy fought in the war anyways and that reason is Wilbur, because he wanted Wilbur to acknowledge him, to actually see him as a man and what he can do and not just baby him and belittle him. The only times he actually went against him was during The Election, where Fundy ran his own party with Niki, and not only just because he doesn't align with any other party's ideals during that time, but also again to prove himself to his father, that he is actually capable of taking care of the nation that Wilbur made for him. The second time was when he turned into a spy under Schlatt’s reign to destroy Manberg from the inside, all of that has been his attempts to get Wilbur to finally notice him. You can argue that it made the relationship worse considering that Fundy had to publicly disown Wilbur as his father in order to keep up his facade, but it doesn't really change the fact that that was another one of Fundy’s attempt to be given the recognition he wanted from Wilbur, no matter how badly it backfired.

The only time where Fundy felt like he was betrayed by Wilbur was when he died, as seen with his confrontation with Ghostbur and his conversation with Quackity, Tubbo and Ghostbur while they were rebuilding New Lmanburg. He wasn't mad at Wilbur for blowing up L’Manburg, he wasnt mad that Wilbur didnt choose him as the new president, he wasnt mad that Wilbur ended up betraying their side, he was mad that Wilbur chose to die.

2. He was the first OG Lmanbergian to ever forgive Eret- the entirety of the Lmanbergians were betrayed by Eret inside the Final Control Room, and because of this both Wilbur and Tommy have always been hostile with Eret afterwards. Tubbo didn't really interact with them a lot during that, so i can't properly gauge how Tubbo felt about them. But Fundy was the first person to approach them again, starting with the harmless pranks that they both do to each other. Fundy was the first person that trusted them again even after Eret had been the cost of their first lives and had nearly cost Lmanberg its freedom.

Eret was also the only person that Fundy trusted enough to reveal his plan as a spy to, while Tommy and Wilbur consistently refused their help when they kept trying to redeem themself. He also trusted Eret enough as a parent figure and was ecstatic when Eret said they were going to adopt him.

This isn't really him choosing someone but its more of a way to show that Fundy doesnt care too much about a person's side and how he values his relationship with them more than their side.

3. He very nearly chose Schlatt- While he was a spy under the guise of serving Schlatt, he very nearly turned after Schlatt actually gave him acknowledgment. When he actually saw the country that Wilbur made for him nearly flourish under Schlatt’s regime, and when Schlatt actually acknowledged him for his worth and capabilities and not just babied him like what Wilbur did, he was conflicted on who to choose. On one hand, he was a spy to prove himself to his father, on the other hand, Schlatt is actually giving him the acknowledgment that he has craved for his entire life. He was so conflicted that he even dedicated an entire entry in his spy diary of how he has conflicting feelings on which is right.

Only after Schlatt proved himself to be the tyrannical dictator that he is did Fundy solidify his resolve as a spy and ultimately chose Wilbur again.

4. During Doomsday, Fundy chose Ranboo-  this conversation hurt so much, especially because Ranboo unfairly judged Fundy while Fundy was actually breaking down. Ranboo criticized him for always choosing the winning side and for being a coward when its actually the complete opposite of that. Fundy has never been a coward, he never ran at the face of danger, he never strayed from his ideals, and he is willing to go through such far lengths just to be able to prove himself of worth (i.e running against his father, burning down the flag, double crossing etc etc.) Fundy has also never chosen the winning side, again, he is the actual poster boy for "Choose people, not sides". From the very beginning he has always chosen people, and now at this situation whether he realized it or not, he chose Ranboo.

During the New Lmanberg era, when Ranboo just recently joined, he and Fundy formed a quick friendship. Starting immediately with building and ice cream business together, exploiting the various glitches that Fundy found (flying strider, fundy boat glitch), decorating for the Green Festival together and just hanging out in general. Both of them got really close during this time, something even akin to brotherhood. But that all changed after the Green Festival, after Doomsday. Because of the misunderstanding, and because both of them were not in their right minds during Doomsday, both released hurtful words hurled towards each other. But what Ranboo didnt realized when Fundy said he was teaming with him, was that Fundy chose him. After he sabotaged Lmanberg's supplies, after he just watched the chaos and destruction unfold on the land that his father gave him, Fundy ultimately chose another person, the person he was closes to at this time, which was Ranboo. I don't blame Ranboo for misconstruing what Fundy said. Both of them weren't in the right mindset at all during that time, with Fundy having a breakdown and Ranboo thinking that staying alone and individuality is the only right answer, but that doesn't really deny the fact that Fundy still chose him, Ranboo.

Note: after reading this again ive just realized that not only is c!Fundy the embodiment of c!Ranboo's belief, c!Fundy actually has the backbone to go through with it lmao. As long as you give him love and acknowledgment he's basically ride or die with you.

#i could add quackity here too lmao #and probably phil too #but im not very good at thinking at the moment so eh #fundy #fundylive #c!fundy #dsmp fundy #c!wilbur #c!eret #c!schlatt #c!ranboo #dsmp #dream smp

[homosexuhauls]

15 JUNE, 2021 by Chimamanda Ngozi-Adichie

IT IS OBSCENE: A TRUE REFLECTION IN THREE PARTS

PART ONE

When you are a public figure, people will write and say false things about you. It comes with the territory. Many of those things you brush aside. Many you ignore. The people close to you advise you that silence is best. And it often is. Sometimes, though, silence makes a lie begin to take on the shimmer of truth.

In this age of social media, where a story travels the world in minutes, silence sometimes means that other people can hijack your story and soon, their false version becomes the defining story about you.

Falsehood flies, and the Truth comes limping after it, as Jonathan Swift wrote.

Take the case of a young woman who attended my Lagos writing workshop some years ago; she stood out because she was bright and interested in feminism.

After the workshop, I welcomed her into my life. I very rarely do this, because my past experiences with young Nigerians left me wary of people who are calculating and insincere and want to use me only as an opportunity. But she was a Bright Young Nigerian Feminist and I thought that was worth making an exception.

She spent time in my Lagos home. We had long conversations. I was support-giver, counsellor, comforter.

Then I gave an interview in March 2017 in which I said that a trans woman is a trans woman, (the larger point of which was to say that we should be able to acknowledge difference while being fully inclusive, that in fact the whole premise of inclusiveness is difference.)

I was told she went on social media and insulted me.

This woman knows me enough to know that I fully support the rights of trans people and all marginalized people. That I have always been fiercely supportive of difference, in general. And that I am a person who reads and thinks and forms my opinions in a carefully considered way.

Of course she could very well have had concerns with the interview. That is fair enough. But I had a personal relationship with her. She could have emailed or called or texted me. Instead she went on social media to put on a public performance.

I was stunned. I couldn’t believe it. But I mostly held myself responsible. My spirit had been slightly stalled, from the beginning, by her. My first sense of unease with her came when she posted a photo taken in my house, at a time when I did not want any photos of my personal life on social media. I asked that she take it down. The second case of unease was her publicizing something I had told her in confidence about another member of the workshop. The most upsetting was when she, without telling me, used my name to apply for an American visa. Above all else was my lingering suspicion that she was a person who chose as friends only those from whom she could benefit. But she was a Bright Young Nigerian Feminist and I allowed that sentiment to over-ride my unease.

After she publicly insulted me, it was clear to me that this kind of noxious person had no business in my life, ever again.

A few months later, she sent this affected, self-regarding email which I ignored.

Friday September 15 2017 at 4.35 AM

Dearest Chimamanda,

Happy birthday. I mean this with all my heart, even though I know I have fallen (removed myself?) from your grace. It would be impossible for me to stop loving you; long before you gave me the possibility of being your friend you were the embodiment of my deepest hopes, and that will never change.

I think of you often, still – stating the obvious. I grieve the loss of our friendship; it is a complicated sadness. I’m sorry that I caused you pain, or to feel like you can no longer trust me. There’s so much that I wish could be said.

I pray this birthday is the happiest one yet. I wish you rest and quiet and abiding stability, and of course more of the kind of success that means the most to you.

I hope mothering X is everything you hoped and prayed for and more.

Have a wonderful day today.

Love always.

About a year later, she sent this email, which I also ignored.

Thursday November 29 2018 at 8.42 AM

Dear Chimamanda,

I realise this is long overdue and vastly insufficient, but I’m really sorry. I’ve spent so much time going back and forth in my head and my email drafts; wondering whether to write you, how to write you, what to say, all kinds of things. But in the end, this is the thing I realise I need to say.

I’m sorry I disappointed and hurt you by saying things publicly that were sharply critical, unkind and even disrespectful, especially in light of all the backlash and criticism you experience from people who don’t know you. I could have acted with more consideration towards you. I should have, especially given the privilege of intimacy that you had offered me. There are many reasons why I chose to behave the way I did, but none of them is an excuse. And I clearly realise now, after many, many months of needless sadness and angst and hurt and actual confusion, that I did not treat you as a friend would—certainly not as someone would to whom you had offered unprecedented access to yourself and your life.

You’ve meant the world to me since I was barely a teenager. It’s been very hard navigating the emotional fallout of the past several months, knowing you were displeased with me but truly not quite understanding why, then deciding I didn’t care, then realising that would never be true. I’ve always cared. But I was too mixed up about the situation to be able to make sense of it, or properly see past my own justifications. I’m sorry it took me so long to grasp how I let you down.

I realise that I don’t have room to ask anything of you, but I would be grateful for a chance to say this in person. Still, even if I never get that, I really hope you believe me.

Congratulations on restarting the workshop, and on all the other amazing successes of the past several months. I think of you often; it would be impossible not to. You look so happy in your pictures. I really hope you are well.

All my love,

I hoped never to hear from her again. But she has recently gone on social media to write about how she “refused to kiss my ring,” as if I demanded some kind of obeisance from her. She also suggests that there is some dark, shadowy ‘more’ to tell that she won’t tell, with an undertone of “if only you knew the whole story.”

It is a manipulative way of lying. By suggesting there is ‘more’ when you know very well that there isn’t, you do sufficient reputational damage while also being able to plead deniability. Innuendo without fact is immoral.

No, there isn’t more to the story. It is a simple story – you got close to a famous person, you publicly insulted the famous person to aggrandize yourself, the famous person cut you off, you sent emails and texts that were ignored, and you then decided to go on social media to peddle falsehoods. It is obscene to tell the world that you refused to kiss a ring when in fact there isn’t any ring at all.

I cannot make much of the hostility of strangers who do not know me – fame taints our view of the humanity of famous people. But the truth is that the famous person remains irretrievably human. Fame does not inoculate the famous person from disappointment and depression, fame does not make you any less angered or hurt by the duplicitous nature of people. To be famous is to be assumed to have power, which is true, but in the analysis of fame, people often ignore the vulnerability that comes with fame, and they are unable to see how others who have nothing to lose can lie and connive in order to take advantage of that fame, while not giving a single thought to the feelings and humanity of the famous person.

And when you personally know a famous person, when you have experienced their humanity, when you have benefited from their kindness, and yet you are unable to extend to them the basic grace and respect that even a casual acquaintanceship deserves, then it says something fundamental about you.

And in a deluded way, you will convince yourself that your hypocritical, self-regarding, compassion-free behavior is in fact principled feminism. It isn’t. You will wrap your mediocre malice in the false gauziness of ideological purity. But it’s still malice. You will tell yourself that being able to parrot the latest American Feminist orthodoxy justifies your hacking at the spirit of a person who had shown you only kindness. You can call your opportunism by any name, but it doesn’t make it any less of the ugly opportunism that it is.

PART TWO

When I first read this person’s work, which was their application to my writing workshop, I thought the sentences were well-done. I accepted this person. At the workshop, I thought they could have been more respectful of the other participants, perhaps not kept typing dismissively as others’ stories were discussed, with an air of being among people below their level. After the workshop, I decided to select the best stories, edit them, pay the writers a fee, and publish them in an e-magazine. The first story I chose was this person’s. I wrote a glowing introduction, which the story truly deserved.

They sent this email.

Fri, Aug 7, 2015, 8:20 AM

Thank you so much for that introduction. It means so much to me and I’m going to keep reading it to get through the rest of my stay at Syracuse. I sent it to my mother and she got nervous about the piece because you said ‘it disturbs’, said she’s not sure how she’s going to feel when she reads it. But she’s also one of those ‘let’s leave the past in the past’ people. My sister approved, which meant a lot because our childhoods were each other’s.

All that to say, I’m so grateful you gave me the space to write the short version of this piece, the encouragement to write the longer piece, and now, a platform for it. I definitely have plans to write more about Aba.

Thank you, with all my heart.

PS- I wanted to sign off gratefully + gracefully in Igbo but I said let me not fall my own hand 🙂

About a year later, they sent another email to let me know that their novel would be published.

Wed, Jun 8, 2016, 8:20 AM

Greetings!

I hope all’s been well with you this past year. Belated congratulations on the baby’s arrival, I hope she’s being a delight (I’m sure she is), and on the Johns Hopkins honors.

I was thinking about how this time last year, I’d just received the email from you about Farafina and I wanted to reach out with a quick update. I’ve just accepted an offer for the novel I excerpted as my application and it feels like the workshop was a catalyst for the events that’ve led me here. So, thank you, for the workshop and your words and the Olisa TV series and listening to me babble on about my story at the hotel. I deeply appreciate all of it and you.

All my best,

Before the novel was published, I spoke of it to some people, to help it get attention. I had not been able to finish reading it. I found the writing beautiful, but the story false-hearted and burdened by bathos. When I spoke of the novel, however, it was the former sentiment that I expressed, never the latter.

After I gave the March 2017 interview in which I said that a trans woman is a trans woman, I was told that this person had insulted me on social media, calling me, among other things, a murderer. I was deeply upset, because while I did not really know them personally, I felt they knew what I stood for and that I fully supported the rights of trans people, and that I do not wish anybody dead.

Still, I took no action. I ignored the public insult.

When this person’s publishers sent me an early copy of their novel, I was surprised to see that my name was included in their cover biography. I had never seen that done in a book before. I didn’t like that I had not been asked for permission to use my name, but most of all I thought – why would a person who thinks I’m a murderer want my name so prominently displayed in their biography?

Then I learned that, because my name was in the cover biography, a journalist had called them my “protegee” and they then threw a Twitter tantrum about it, calling it clickbait, viciously disavowing having received any help from me.

I knew this person had called me a murderer, I knew they were actively campaigning to “cancel” me and tweeting about how I should no longer be invited to speak at events. But this I felt I could not ignore.

I sent an email to my representative:

From: Chimamanda Adichie

Date: Wed, Feb 14, 2018 at 2:06 PM

I’m writing about X

She attended my Lagos workshop two years ago and I selected hers as one of a few pieces I published after the workshop.

Apparently I was referred to as her ‘mentor’ and/or she was referred to as my ‘protege,’ in some articles, which led to her tweeting about it. Her tweets were forwarded to me by friends. In them, she reacted quite viscerally to my being called her ‘mentor’ and her being my ‘protege.’ To be fair, she is not technically my ‘protege,’ and it is perfectly fine that she feels this way, but her ungracious tone and the ugliness of the energy spent on her tweets surprised me.

I recently received her book and noticed that my name was included in her official book bio. I was stunned. Surely if she is so strongly averse to my being considered a person who has been significant in her career, (which is my understanding of the loose use of protege/mentor) then it is unseemly to make the choice to include my name in her bio. I found it unusual, as I don’t think I’ve seen it done before in a book bio, but I also now find it unacceptably cynical.

It is only reasonable for a person who sees my name as it is used in her bio — ‘her work has been selected and edited by Chimamanda Ngozi Adichie’ — to assume some sort of mentor/protege relationship.

To publicly disavow this with a tone bordering on hostility and at the same time so baldly use my name to sell her book is utterly unacceptable to me.

I’d like you to please reach out to her publishers and ask that my name be removed from her official book bio. I refuse to be used in this way.

After contacting her publishers, my representative wrote:

They have asked whether your preference would be to remove the Acknowledgment to you in the back of the book also, in future reprints.

I replied:

I don’t think that is my decision to take, and so will not answer either way, although it would be ideal if she herself made the decision to do so.

On the subject of how to go about it, I was absolutely determined not to be used by this person, but I was also sensitive to the costs the publisher might incur, as this was not in any way the publisher’s fault. Instead of pulping the already printed copies, I asked that the jackets be stripped and rebound. To my representative I wrote:

I’m completely determined that I not be used in this opportunistic and hypocritical way. But I want to make sure to proceed reasonably.

I was assured that my name would be removed and I moved on.

But from time to time, I would be informed of yet another social media post in which this person had attacked me.

This person has created a space in which social media followers have – and this I find unforgiveable – trivialized my parents’ death, claiming that the sudden and devastating loss of my parents within months of each other during this pandemic, was ‘punishment’ for my ‘transphobia.’

This person has asked followers to pick up machetes and attack me.

This person began a narrative that I had sabotaged their career, a narrative that has been picked up and repeated by others.

The normal response would be to ignore it all, because this person is seeking attention and publicity to benefit themselves. Claiming that I have sabotaged their career is a lie and this person knows that it is a lie. But if something is repeated often enough, in this age in which people do not need proof or verification to run with a story, especially a story that has outrage potential, then it can easily begin to seem true.

My addressing this lie will indeed get this person some attention – may they bask in it.

Here is the truth: I was very supportive of this writer. I didn’t have to be. I wasn’t asked to be. I supported this writer because I believe we need a diverse range of African stories.

Sabotaging a young writer’s career is just not my style; I would get no benefit or satisfaction from it. Asking that my name be removed from your biography is not sabotaging your career. It is about protecting my boundaries of what I consider acceptable in civil human behavior.

You publicly call me a murderer AND still feel entitled to benefit from my name?

You use my name (without my permission) to sell your book AND then throw an ugly tantrum when someone makes a reference to it?

What kind of monstrous entitlement, what kind of perverse self-absorption, what utter lack of self-awareness, what unheeding heartlessness, what frightening immaturity makes a person act this way?

Besides, a person who genuinely believes me to be a murderer cannot possibly want my name on their book cover, unless of course that person is a rank opportunist.

PART THREE

In certain young people today like these two from my writing workshop, I notice what I find increasingly troubling: a cold-blooded grasping, a hunger to take and take and take, but never give; a massive sense of entitlement; an inability to show gratitude; an ease with dishonesty and pretension and selfishness that is couched in the language of self-care; an expectation always to be helped and rewarded no matter whether deserving or not; language that is slick and sleek but with little emotional intelligence; an astonishing level of self-absorption; an unrealistic expectation of puritanism from others; an over-inflated sense of ability, or of talent where there is any at all; an inability to apologize, truly and fully, without justifications; a passionate performance of virtue that is well executed in the public space of Twitter but not in the intimate space of friendship.

I find it obscene.

There are many social-media-savvy people who are choking on sanctimony and lacking in compassion, who can fluidly pontificate on Twitter about kindness but are unable to actually show kindness. People whose social media lives are case studies in emotional aridity. People for whom friendship, and its expectations of loyalty and compassion and support, no longer matter. People who claim to love literature – the messy stories of our humanity – but are also monomaniacally obsessed with whatever is the prevailing ideological orthodoxy. People who demand that you denounce your friends for flimsy reasons in order to remain a member of the chosen puritan class.

People who ask you to ‘educate’ yourself while not having actually read any books themselves, while not being able to intelligently defend their own ideological positions, because by ‘educate,’ they actually mean ‘parrot what I say, flatten all nuance, wish away complexity.’

People who do not recognize that what they call a sophisticated take is really a simplistic mix of abstraction and orthodoxy – sophistication in this case being a showing-off of how au fait they are on the current version of ideological orthodoxy.

People who wield the words ‘violence’ and ‘weaponize’ like tarnished pitchforks. People who depend on obfuscation, who have no compassion for anybody genuinely curious or confused. Ask them a question and you are told that the answer is to repeat a mantra. Ask again for clarity and be accused of violence. (How ironic, speaking of violence, that it is one of these two who encouraged Twitter followers to pick up machetes and attack me.)

And so we have a generation of young people on social media so terrified of having the wrong opinions that they have robbed themselves of the opportunity to think and to learn and to grow.

I have spoken to young people who tell me they are terrified to tweet anything, that they read and re-read their tweets because they fear they will be attacked by their own. The assumption of good faith is dead. What matters is not goodness but the appearance of goodness. We are no longer human beings. We are now angels jostling to out-angel one another. God help us. It is obscene.

#chimamanda ngozi adichie #femimism #nigerian feminism #radfem safe #gender critical #radical feminism #cancel culture #forgot the link oops

[goldlightsaber]

A Quiet Place Part II

Wow, I just came back from the movie theatre, and I am so pleased that this movie was everything I wanted it to be. So here it goes, another movie analysis/review.

Dare I say iconique? 

There was a lot hinging A Quiet Place Part II. It is one of the first movies “back in theaters.” There was a lot of anticipation because the movie got delayed for over a year. But I don’t think it could’ve come out at a more perfect time. One of the things I noticed about the world of A Quiet Place was that, in thematic ways, it reflects our own. In the height of the pandemic, everyone in our world was scared, worried about supplies running low, losing loved ones, and grieving a life they once had. Like in the movie, we were all forced to lay low by staying inside. Maybe I was projecting my own feelings, but I found it to be highly relatable and touching in that way (without being tragic but rather uplifting instead).

Onto the actual contents, though. The opening scene was *chef’s kiss.* You feel tension right away because of how eerily quiet the town is mid-day, a foreshadowing of what’s to come. Except everything is too neat, the cars too perfectly parked, no windows broken -- we know it is the calm before the storm. I love the patient shot of the stoplight changing lights. We are waiting for disaster to strike but just don’t know when it will. 

The baseball scene subverted a few of my expectations -- I thought Emmett would be a stranger to the family so I was surprised he turned out to be a friendly family acquaintance. This worked well because it probably made Emmett feel some obligation in helping Evelyn and her family later. I also expected Marcus to hit the ball eventually because of the two initial misses -- but then the fireball passes through the sky and life as they know it is over. 

Some part of me expected the flashback scene to be superfluous and just an opportunity to show John Krasinski again, but it served its purpose -- when characters refer to “that day,” we feel the gravity of it because of what we saw in the opening segment. 

I didn’t expect the monster when it first appeared. You expect Lee to have a conversation with the cop, for the monster to show up soon but not just yet -- and then Lee, almost dissociating, is rushing back to his truck after what was no doubt the most traumatic sight of his life at that point. He starts the car with the it’s-going-to-be-all-right facade a parent must don for their child. 

There were several other excellent “oh-shit” moments in this movie. One of my favorites was, after Evelyn sets off the booby trap that attracts the monster (an excellent oh-shit moment in and of itself but already revealed in the trailer), Marcus gets his foot caught in a bear trap. When he screams, it’s like watching a glass you knocked over to the floor crash into a million pieces. My brain was just one big shout of “OH SHIT” and nothing else. Emily Blunt’s acting was superb here and throughout -- the way she played desperation and a simultaneous love for her child was palpable.

Cillian Murphy is an excellent addition to the cast. I was particularly mesmerized by his acting in all the breathy dialogue scenes where he’s protesting against either Evelyn or Regan. Emmett felt believable in all his sweaty, scruffy glory.  He keeps insisting he doesn’t want to help, but, very wholesomely, he always does. He’s a sucker for them from the start. And whether he and Regan like it or not, he is slowly becoming the protective father figure in her life. He can’t get in the way of her plans and her genius, and he can never replace Lee, but the love is there. I love their arc.

And speaking of Regan...

Wow, did the kids in this movie shine. Millicent Simmonds and Noah Jupp absolutely exceeded my expectations. Boy, could Jupp scream and look scared for his life. He was completely believable in his role. And Simmonds walks with this quiet strength, this gentleness. I loved what they did with the scenes where Regan and Emmett were struggling to communicate and she had to keep bringing him back down to Earth. I love the way this movie changes the game for what communication looks like -- there is rarely yelling or even regular-volume conversation. Instead there is sign language, exhales, whispers, the mouthing of words. This creates a mesmerizing atmosphere for the movie. These silences and moments of white-noise do not mean the absence of humans speaking to each other. 

I’m not sure how I feel about the shady, red-eyed community of people on the docks. They looked like they were all on drugs and walked like zombies. And the creepy little girl who trapped Emmett just felt like she belonged to another genre of horror? This isn’t a “creepy children” horror movie, it’s an eldritch monster horror movie! It wasn’t the most believable plot point but I wasn’t super opposed to it, either. I wanted to know more about these shady people. I fully expected them to take Emmett and Regan back to their leader or tribal base, but nope, they were just shady people (the kind not worth saving). 

This isn’t a criticism per say but I was definitely expecting more scenes between Emmett and the entire Abbott family, so I was a little sad they split them up and we didn’t get a reunion. This is a possible tease for a third movie -- as is the expanding world of the island and the lack of a total end to the apocalypse. And, of course, there are hints that Evelyn and Emmett might have a future together -- Evelyn symbolically takes off her wedding ring and Emmett reluctantly but naturally fills the father role for the children. At the same time, we leave off at a point where we can imagine what happens next and don’t need to know more -- it can be up to our interpretation. They can end the movie there, since it is clear that the children have figured out how to defeat the monsters.

And speaking of that, the ending had a very Stranger Things feel to it. Never mind that the monsters from each respective series look almost identical -- the ending takes a surprise turn when it is the two Abbott children who take things into their own hands and kill the monsters while their parental figures literally sit back and watch in awe. I appreciated the message here: that young people are innovative, strong and brave enough to do the right thing. They are capable of great things; it’s all right to trust them and let them take the reins. 

I think the movie’s atmosphere is just lovely. Just because it’s horror doesn’t mean there can’t be scenic shots of a sunset on the beach. That’s what I like about both movies so much -- they don’t feel like most horror movies because they still leave room for beauty and tenderness and hope.

Overall, a very enjoyable film. I would love to see the family reunion if there is a sequel -- and that the potential sequel is helmed by the right writers/director once again! Go, John Krasinski! He killed it.

#a quiet place #a quiet place part ii #a quiet place 2 #a quiet place ii #john krasinski #emily blunt #cillian murphy #film #horror #noah jupp #millicent simmonds #*heart eyes* #also i nearly CRIED being back in the movie theatre #it was SO BEAUTIFUL i got into a really fancy once where they drew back golden curtains i literally could NOT be happier #ugh what an experience #thank you God for movies

[illuminatedquill]

Nevertheless, Episode 9

More Thoughts/Analysis

“So it’s true, when all is said and done, grief is the price we pay for love.”

- E.A. Bucchianeri

Jae Eon’s Self Sabotage

Chekov’s Gun is the dramatic principle that details within a story will contribute to the overall narrative. You might have heard of this before in its simplest form: if there is a gun shown in Act 1, it absolutely must go off in Act 2 or 3. In episode 9 of Nevertheless, we have this scene right at the beginning:

Yes, that scene. Park Jae Eon sees Yang Do Hyeok standing off to the side as he waits outside Na Bi’s apartment to retrieve his stuff. Na Bi doesn’t know Do Hyeok is nearby. Jae Eon makes the calculation in his head and manipulates his way inside Na Bi’s apartment, knowing exactly what it looks like to Do Hyeok. It’s petty revenge for seeing Na Bi and Do Hyeok together on campus from earlier.

This is the gun. And it backfires on Jae Eon big time. Throughout the entire episode, his acts of sincerity towards Na Bi seem genuine and heartfelt, yet his action in that one scene undermines anything he attempts. It doesn’t work; to his mounting frustration, Na Bi and Do Hyeok continue to talk and meet as if nothing happened.

(We know that’s not the case as seen from Do Hyeok’s alone time but I’ll talk about that later in this post.)

It’s a ticking time bomb and it goes off at last in the rain scene. Nothing is working for him. He is desperate not to lose Na Bi. And he goes off in a drunken rage on Na Bi after she returns home on that fateful rainy night.

And he loses her. The gun goes off. Everything sincere he did turns rotten in Na Bi’s eyes after he reveals his actions. Actions have consequences, always rippling forward and affecting change in moments not yet experienced. He ruined his chances because of his petty cruelty towards Do Hyeok in the beginning. His sincerity only extended towards Na Bi and it was only to get her attention once more.

Jae Eon lost. Not so much to Do Hyeok, as he lost to Na Bi, who cares about him deeply. He underestimated her feelings towards Do Hyeok, assuming, like so many other viewers, that he was an an irritating distraction that refused to go away.

He can’t fathom why Do Hyeok still seems to like Na Bi after seeing them enter her apartment together. Is he really that incredible a person? What makes him so special?

Well, let’s talk about it.

Do Hyeok’s Crisis Playbook

We see from Do Hyeok’s time alone after his initial visit to Seoul that he is taking it pretty hard; I can’t really blame him, considering what he saw that night. His struggle is open, honest, and raw; like Na Bi, it affects him to the point that he can’t focus on his work (anyone seem to notice that Jae Eon’s work never seems to be affected by his feelings?).

It’s jealousy and insecurity eating away at him. Just like Jae Eon. He’s also desperate not to lose Na Bi but doesn’t want to do anything untoward or overboard because he’s afraid of ruining their friendship. Once again, his consideration is for Na Bi and how she feels, but he cannot ignore what he saw and how he feels about it.

So, what is our favorite Potato Boy to do? Park Jae Eon already made his move by staging that whole scene of him and Na Bi going into her apartment together. How does Do Hyeok fight back? What’s his playbook in this time of crisis?

He doesn’t fight back. And that’s how he stays in the game. Do Hyeok is not a player like Jae Eon; there isn’t a manipulative or deceptive bone in his body. Do Hyeok does what he always does and doubles down on his sincerity, on the strength of his feelings, and his faith in Na Bi.

Do Hyeok doesn’t play the game Jae Eon tries to involve him in. He always lays it all out on the table with Na Bi so there is no room for misunderstandings. That’s one of the reasons why their relationship works so well; they talk more. Not just about feelings or romance but about school or their day to day life. What they’re building now is something that can last a lifetime.

So he talks to her about it. And admits his jealousy. She wasn’t even aware that he had seen them and yet it sounds like he’s the one who is apologizing (even though he never let his hurt feelings show in his conversations with Na Bi, DO HYEOK YOU ARE TOO GOOD). He lays himself bare to her once more. We don’t see Na Bi’s response other than her shocked and guilty expression, which is annoying because it would definitely be interesting to see how she reciprocated his frankness.

(Underrated super cute scene between them in this episode; when they meet up at night and bring drinks for each other. It’s even the exact same drink. I was grinning like a maniac.)

But Na Bi is familiar with Jae Eon’s game. And when she finds out how badly Do Hyeok was hurt by Jae Eon’s actions (and how he involved her in it) Na Bi finally is snapped to her senses and severs the thread still binding her and Jae Eon together.

Na Bi’s choice isn’t shown as a redemptive or heroic moment. It never was supposed to be. Although I’m sure a lot of us were cheering in that moment, her moments of unrestrained grief alone afterwards are the sobering reality that love, as always, comes with a price.

Nabi’s Choice (The Review)

This is a follow up to my earlier post before episode 9 came out. So, now we see what Na Bi decides and, maybe, how it will all play out in the next episode (barring any last minute twists).

First, let’s address the still ongoing criticism I see regarding Na Bi and Do Hyeok’s relationship: lack of passion, no romantic vibes, blah blah blah. I wrote at length in a previous post why that isn’t true - at least on Do Hyeok’s part (one of the reasons why we don’t get internal monologue from Do Hyeok is because what else is he thinking about other than Na Bi?).

Na Bi, on the other hand, is still ambivalent about her feelings towards Do Hyeok. Episode 9 provided more clarity for her stance towards Jae Eon - he’s the dog shit she stepped on and was promptly wiped away in the grass - but Do Hyeok is still a mystery. Yes, she’s friendly, she cares, and genuinely enjoys being with him but the spice, the passion is missing. And that is kinda important for a romantic relationship.

Well. Look no more. Na Bi has spice for Do a Hyeok and it shows not once, but twice this episode. Where’s the passion? Jae Eon fucked around and found out. Very kind of him. Turns out Na Bi, like all of us who like Do Hyeok, will not tolerate any Do Hyeok slander and I am 100 PERCENT here for it.

There’s a scene shortly before the climatic rain fight where Na Bi is having another meeting with her assistants: the junior (does he have a name? Jin-su?) and Jae Eon. The junior talks to Na Bi about her and Park Jae Eon: the usual tired gossip of whether or not they’re dating. Na Bi waves it away like dandelion fluff.

And then the junior mentions Do Hyeok. “What about the noodle shop guy? Ever since the camp meeting, people have been saying there’s a higher chance you’re dating him.”

And Na Bi just . . . we’ve never seen this from her before, even when she broke up with Jae Eon in episode 5. Her whole demeanor turns ice cold and her voice is wicked sharp as she proceeds to shut down that avenue of questioning. The junior physically leans back from the force of her anger and wonders aloud why she’s so upset (you’re talking about her love life as gossip, idiot, why do you think she’s so upset). Jae Eon walks in and doesn’t see the foreshadowing; he just hears Do Hyeok and it feeds his jealousy.

There it is, everybody. Evidence of Na Bi’s feelings for Do Hyeok and what he means to her. Her protectiveness over him and her refusal to let him be involved in the drama surrounding herself and Jae Eon. Her desire to be the better around him; not because he asks (and he would never) but because his feelings for her make her think she might be worthy of such a love.

And then there’s the rain scene. Na Bi and Jae Eon, vulnerable in the rain. Na Bi admits to her faults in the relationship, how she brought this upon herself. No, she hasn’t been nice or good this whole time; in fact, she’s been kind of terrible. But Jae Eon revealing what he did and how it was to hurt Do Hyeok wakes her up and convinces that the time has come to end this “game”. It got Do Hyeok hurt because of her inability to end it with Jae Eon and good people don’t let that happen to people they care about.

So Na Bi ends it with Jae Eon and chooses herself. At last. And to do so, she has to cut out this malignant tumor of a relationship and, God, does it hurt so much to end it, but she gets it done and takes the first step to being a better person for herself.

The cinematography in this drama is top tier and we see her situation presented so viscerally. She’s alone, in the light, but it’s not a warm, redemptive light; it has a sickly, yellow tint and is surrounded by darkness.

But she’s still there. She still made it.

One Last Observation, I Promise

Last thing I noticed from this episode that I want to talk about: the professor’s critique of Na Bi. She specifically mentions that a good artist can inspire others and Na Bi, whether she realizes it or not, actually does do that.

Na Bi helps Do Hyeok with his videos, giving advice that helps boost their popularity and making them better.

Jae Eon is inspired to make the butterfly bracelet for Na Bi and gifts it to her.

The difference between the two? Do Hyeok actually thanks Na Bi for her help and points out that it was her influence that made his videos better.

Jae Eon obviously means his gesture to be romantic and sincere but he again fails to talk about why he’s doing it. The implication is there but Na Bi needs more than some vague nonsense.

Communication is at the heart of this episode and how, without it, relationships stagnate and fail. Bit Na + Gyu Hyun and Soljiwan couple - their relationships only progress because the couples voice their concerns and fears to one another. And instead of being rejected or being hurt, it allows their partners to reassure them and move forward with their relationship.

Why do Na Bi and Jae Eon fail? They. Don’t. Talk. Na Bi is stuck inside her head and Jae Eon relies on vague gestures and sexual chemistry to express himself.

Why do Na Bi and Do Hyeok succeed? Because they talk. About everything. Their dialogue is clear and honest and sincere without any hidden meanings or motives. And you see why Na Bi is rapidly moving more and more towards Do Hyeok and not Jae Eon.

(The preview does raise some questions about how it will all end but I don’t think the show is going to pull a bait and switch and have Na Bi end up with Jae Eon. I also don’t think it’s likely they’ll have an open ending, either. I’ll talk about that in another post.)

My next post will be what I envision to be the best version of a Na Bi and Do Hyeok endgame and what I mean by that since Na Bi shouldn’t be dating anyone right now. So, look forward to that.

Until next time, everybody. Thanks for reading this long ass post. Hope you enjoyed it.

#jtbc nevertheless #nevertheless #kdrama #han so hee #chae jong hyeop #song kang #yu na bi #yang do hyeok #park jae eon

[uselessheretic]

this is a post thats just me complaining based on my feelings as a black person on ofmd and the reaction to it. people can do what they want and be critical of whatever. nobody needs to stop complaining abt ofmd. this is just me complaining abt ppl complaining and this is my official disclaimer of please dont be obnoxious to me

tumblr keeps making me insane bc i keep getting mad at purposefully bad faith and ill meaning "critiques" of ofmd that arent actually trying to open a dialogue or anything, but are just. unpleasant. which its ok to be critical of things including the show i just think a lot of people are fucking idiots unwilling to examine media in an actual critical fashion and instead are just 1. negative for the sake of being negative and 2. shuts down any further conversation on the topics to the point of removing agency from other poc in fandom and the poc (and black ppl specifically) making and acting within the show. like its not possible that other people might just have different opinions on how to portray history, no ofc not, we have to be patronizing and assume that the black writers just dont know any better and are too ignorant of their own history to understand their own subjugation.

its just annoying and unproductive in a way that goes beyond discussing analysis of the show and its relationship to race, and instead gets stuck on this black and white viewpoint that doesnt just express "i dont care for this show" which is fine, but makes sweeping generalizations that ppl consuming the media or participating in fandom are all co-conspirators to bigotry and GOD its so stupid bc its a standard that is flat out not applied to other media. like i dont understand how people can say that black sails is flawed but ultimately good, a show that portrays both fictional and irl slaveowners with white characters who participate in the slave trade and assist in the sexual abuse of a black woman, and in the same breath discredit ofmd as a whole.

like! it doesnt matter that much but it is disheartening bc there flat out isnt that much media with this type of representation both in the show and in the writers room. i feel like people are so used to taika being in big marvel things that they forget that its not common for an indigenous man to be able to act/create things. and nobody needs to watch the show or be kind to it, but it does feel kinda fucked up that theres this encouragement for others to also not watch it or that ppl engaging in fandom are doing harm when theres just not much media with a gay indigenous love interest. theres not much media with latinx nonbinary people and esp not any of them dating a black man.

theres not much media with a writers room as diverse as theirs, where theres several black women/nonbinary black ppl in the writers room alongside other poc (THREE nonbinary writers of color!!!) same with having directors of color, makeup artists, and other crew members who are left off of set and have a hard time finding work in an industry that is not kind to them.

and idk! i think its kinda fucked up that this is not a big show, and that hbomax gave it very limited promotion and the vast majority of its promotion has been from the cast openly pleading for a second season, and word of mouth, but that criticism of it goes beyond personal distaste or open conversation, and instead is this stupid ass thing of promoting this stupid ass idea that a fandom existing is proof that theyre bigoted and that the show never shouldve existed in the first place.

it just sucks i guess! as a black person who genuinely likes the black representation in the show, and feels comforted seeing that the black cast are all openly joyful about the show and have talked abt being able to incorporate their culture within it, and the relief of having a writers room full of poc dedicated to not doing harm. like i was trying to find the article where leslie jones talks abt being excited about having her pirate boots and 20 husbands and how fun the character was to play, and the first thing that popped up on google was a handful of articles about the harassment she received for ghostbusters and the lack of support from her cast members. and it makes me sad that there arent many roles for black people in general, but that the black cast has been so positive about this story and have felt so connected to their characters.

and i just dont see the point in trying to take that away i guess? where you can just not watch the show, and you can be openly critical of it too, but it feels like an over expansion of that criticism to the point of discrediting the writers and actors as unknowing victims, actively and explicitly discouraging a fandom to emerge (the only thing sustaining a show that has not received support bc idk how to break it to ppl but networks arent kind to gay shows with casts of color,) and then purposefully shutting down any conversation on the topic including people bringing further context into the convo. (like that the actor loves the name roach, or that there are prominent black writers on the show, or that a lot of criticism has been specifically addressed before the show started and you dont have to agree with their approach, but its weird to erase the fact that thought went into this via a diverse room)

and its just fuuucking insane specifically because its criticism that is not leveraged at other shows!!!! at the very least, people cant sit here and explain how black sails is more woke than ofmd, a show with very few prominent poc where the main ones are a black woman raped on screen and a slave! with characters ALSO based off of real historical figures (the guthrie clan was a real clan!!!!!!) and white main characters who participate in the slave trade. and im p sure doesnt even have a single poc in the writers room? at the very least i desperately need people to be consistent.

be critical all you want, but it fucking suuuucks that its a hypercriticism being leverage against a show that doesnt have network support and only is able to get attention because of fans/word of mouth. and its fucking annoying how 1. its not even taikas show like he produced four episodes of it so idk why critique is mostly directed at only him but okay and 2. this weird thing where it feels like people deracialize him where i know he makes it look easy bc of how massively talented he is as a creator, but its not easy to get representation for māori or indigenous people and it SUCKS that it feels like people are discrediting and ignoring the fact that there isnt really any gay representation for indigenous ppl :(

anyways this was my long winded way of saying im going to try and be off tumblr for a bit bc this site irritates me and i need to stop being annoyed at tv things bc ppl can do and consume what they want just jfc it annoys me

[whump-town]

In With The New, Out With The Old

Hotch packing Jack up for college

None of it feels real.

For two years after he and Haley divorced he lived in an apartment of boxes. It was some sort of punishment he created for himself while also creating a dissonance he could be lost in -- that he didn’t need to unpack just in case. He had his suits in the closet, his work would not take the fall for his personal life’s failings. The coffee maker sat on the counter, one of the only appliances hooked into a light socket. The necessities followed -- two mugs for coffee, a glass tumbler for the whiskey sitting on the counter, and one plate for when he ordered take-out he couldn’t just eat out of the box.

It had taken him months to buy a mattress, he was perfectly miserable sleeping on the couch. He had only taken Jack to the apartment once, needing to switch into more park-appropriate clothing. Between them, he and Haley agreed that the best thing for Jack was consistency so he would spend all day with Hotch but he would always go home to Haley. He knew this could be used against him in court, Haley could take Jack from his so easily it terrified him but he also knew he’d let her. He was more powerful, he had more strings to pull and more people on his side but the thought of getting on the stand and having his friends call her a bad mother made him feel even worse. So he knew that if it came down to it, he would let Haley have Jack rather put either of them that sort of grueling case.

This was a shared thought between them. Both are aware of the other’s power over the other. Neither will act on their own.

He had only bought a mattress because of New York. Limping home he’d sunk down into his old faithful couch only to wake up the next morning with achingly stiff sutures in his leg and his face stuck to a throw pillow, the blood drying like glue. He had to call Emily and Derek that afternoon. Unable to drive himself with his concussion and consequential blurred vision Emily had come over to pick him up, never said a word about what he’d been sleeping on in the months before. Neither did Derek when Hotch got too dizzy coming up the stairs, the stitches in his leg bleeding through his jeans and so pale Emily had to hold him upright to get him to the bench in the lobby. He was left there, listening to Derek and Emily bicker their way into forcing the mattress into the apartment through the pounding sound of blood rushing in his ears.

That was years ago and yet they’ve created its mirror image once again in his living room.

All of Jack’s belongings in boxes spread out in every room of the house. Packing up to leave.

“Art?” Emily mumbles disapprovingly. She’s knelt down in front of Jack’s bookshelf, dismantling the organized shelves to pack them into boxes. It’s a different method than the one that Hotch uses. Jack has them categorized by author and general theme and as Emily takes down all the books she’s gotten him about cults and psychology and crime she can’t help but feel a little cheated. Jack knows all about crime. He’s had Macdonald’s Triad memorized since he was five -- could give that method of thought its critical analysis as not a precursor to antisocial or serial killer behavior but more as a demonstration of a child’s poor coping skills or as the indicator of a dysfunctional home environment. He’s a well of information about cults, knows the “B.I.T.E.” system.

And he’s throwing all that away because Hotch took him to too many museums as a child?

Jack doesn’t say anything when he hears her grumble about art again, he’s had this conversation so many times. He knows she’s not really mad and she’s not even that irked but she needs to do something with the feelings she has about him leaving and this is just the best way she’s come up with. Better than crying -- which she’s also done far too much of.

“I think art is a great idea, kid.” Derek teases his hair as he passes, sweaty and hot from dragging Jack’s belongings around the place.

Hotch works slowly where he’s been assigned. They all work around him. He’s more freelance than the others. His job is to do what he can and leave the rest for someone else. Today his physical capabilities are not in the way. Derek does all the heavy lifting that Hotch knows is supposed to be assigned to him, it’s his duty as the father of the freshman moving away. He finds himself in the living room, one of Haley’s old photo albums on his lap. Thumbing pictures he can remember going with Haley to print. Pictures he can remember being in. Ones that he took.

He’s crying again.

Emily comes out with a box of books on her hip, having figured out the perfect ratio of books to box to prevent them from falling out the bottom. She sees Hotch wiping his face with a tissue, hiding away but unable to fully pull away right now. The hurt raw. The fear is too much.

The second that Hotch got the chance he left home and never came back. Over the years he returned to his hometown only when he had to -- when Haley’s parents couldn’t be convinced to come to see them. It didn’t matter how down bad he was, Hotch did it on his own. When his mother died when he was thirty he’d talked to her only once since moving out. Then it had only been for the benefit of Sean, who he had driven all the back to Virginia to collect and drove to college.

He fears Jack will do the same and it terrifies him in so many ways.

His own death will come quickly, he knows he’s only made it this long because he’s not alone. Without Jack, there’s no reason to keep going on, not with the way his body aches from years of abuse and neglect. More than that, he knows what growing up that fast did to him. As a child, the things that happen to you are out of your control. Children are sponges, not yet able to take control and mold themselves. So their reactions to abuse and neglect and even just trivial everyday things are but a reaction they are taught to form or never corrected on. But Hotch never corrected his behaviors as a young adult. He couldn’t bring himself to trust anyone, not at twenty, or thirty, and still at forty.

He spent his twentieth birthday on the side of the highway in a broken down car freezing his ass off with negative twenty-three cents in his bank account. No one to call because he couldn’t bring himself to believe anyone would come -- but Haley would have, or Jessica, or the sociology professor who gave him his number for emergencies or “just anything you can think of, just in case you need me”.

He doesn’t wish anything like that on Jack.

The cycle of self-destruction and fear and loathing.

But Jack knows how to form healthy relationships with people. He’s more worried about Hotch.

The car ride is nearly silent.

Jack cranks his window down and lays his head on the seal, lets the wind blow his hair back from his skin, and closes his eyes. There’s no air conditioning but it’s not that bad. The air has cooled off, the thunderstorms taking over the area sucking the humidity from the air as the wind picks up. It’ll get bad again in a day or so but today is nice and Jack wants to enjoy it. To sit contently with his dad and just try to soak it in before he’s thrown into the world of college.

Emily had promised him several times she’d make sure that Hotch didn’t turn himself into a hermit. Jack has grown up watching those two spar off so he knows she’s perfectly capable of getting Hotch out of the house. More than that, Jack knows he’s just going to miss his dad.

“Please--” Jack’s in the middle of trying to reorganize his stuff when he sees Hotch come in with one of the big boxes, one of the heavy ones. “Dad!” Jack takes it from him, not listening to Hotch’s complaint about being able to carry a few boxes. That he won’t break that easily. “Please, just leave the heavy stuff to Emily and Derek. Help me put my clothes away? Please?”

He nearly cries again folding Jack’s t-shirts away. Once upon a time, Jack’s shirts were about the size of his hand. Tiny delicate little things about the size of rags. Now he’s wearing the same size as Hotch, a grown man standing there racing to beat Emily to the heavy stuff because he doesn’t want her lifting it all either.

“Well,” Derek announces, setting the minifridge down, “that’s the last of it.”

Emily offers Hotch her hand and he takes it, grunting as he moves his body back upright.

“Well,” he declares, looking around the room. “We’ll leave you to it. Let you get everything sorted out how you like.” Hotch smiles and Emily and Derek step in to take their hugs, imparting half-wise ideas and a no-questions-asked ride home from anywhere.

“I love you,” Hotch says, he’s quick because he knows he can’t keep his composure if he stays here for too much longer. “I’ll send you care packages, you’ll just have to text me if you think of something I don’t send.”

Jack nods, pretending to make himself busy putting away the rest of his clothes. Trying to downplay his own feelings.

“Ok.”

Hotch nods and they leave, he doesn’t want to make a scene. They’ve hugged and Jack needs to unpack. He’s done. He’s only two doors away when he hears Jack’s door gets thrown open.

“Dad!” Hotch turns and stumbles, an armful of the little boy who was once the size of his forearm. He squeezes Jack tight, laughing through his tears when Jack holds on. “I love you too.”

Hotch holds him for a solid minute, just balanced there with his hand on the back of Jack’s head. “Alright,” he whispers. He sniffles a little, smiling as he cups Jack’s cheek wiping away a tear with his thumb. “I’m just a phone call away, okay? Any time of the night, you know where I am. You’ll be fine. You’re going to make mistakes and you’re going to fail tests and cry over boys and drink too much but you’ll be okay. And-- And if you’re not…”

Jack nods, smiling as he says, “I’ll call Emily.”

Hotch smirks, “well.. After a certain hour, yeah I suppose you’ll have to but yeah. Just call, okay?”

“I’ll call.”

Hotch nods and he has to force himself to let go and walk away. To let Jack do this.

They’re halfway down the hall, far enough away now that Jack won’t see or hear when Hotch starts to cry. He forces himself to keep going. Not to look back. Emily takes his hand, squeezes his fingers and he looks over at her tears in his eyes, and tries to smile.

Emily drives his truck home, she plans on feeding him chocolate and ice cream, and wine this afternoon to improve his mood. He gets a text and he smirks, he actually laughs.

“Let me know when you get home, old man. Tell Emily not to keep you out too late.”

#criminal minds #aaron hotchner #jack hotchner #emily prentiss #derek morgan #criminal minds fanfiction

[theowlhouseheadcanons]

So what are the Beta's personalities? I don't think there is a guide. All I know is Luz is a Bustard, Amity is pure bred bitch and Willow is S M U G.

Okay, I have two options: do you want the detailed, serious answer or the over-simplified, stupidish answer? Choose wisely.

Painfully detailed:

All we “canonically” know about them, apart from the designs, is their heavier approach to darker, maybe punk/goth vibes - a lead to all the content the fandom produced so far, creating all kinds of creative views about their characters.

If we take a look to Dana´s unrelated artworks, it's a mix of grim bizarrice with mundane and/or wholesome character remarks that makes the odd creations seem… relatable and emphatic, or at least curious enough to make you crook your neck in contemplation. There is also this faint feeling of madness and gloom (with different variations depending on the piece), but they all seem consistent within the big picture.

Overall, they appeal for complexity, and this is where I think the Betas stand - with deep roots on dark humor too. So, after making this boastful analysis of Dana´s art that nobody asked for, let's get to them.

Amity:

As her canon version, she's a character with layers (and masks, depending on the company she might be bearing at the time).

At first impression, she might seems cold and uninterested, with sarcasm being her favorite tool in conversation; Amity makes the effort to keep most people around her at distance to avoid creating unnecessary attachments, so she´ll come off as rude and selfish - but if you hang around enough or prove you have some guts and values, she might take a liking; And once you become friends, you´ll never meet someone more loyal;

She doesn't mind breaking rules – especially her mother's rules – for the sake of entertainment and for helping her friends. She's a fan of pranks and deception, but do not mistake her impetus for recklessness: Amity plays clever to guarantee he reputation remains intact for the right people (leaving the ones who knows her true ways crawling under their skin (enemies) or smirking at her (friends));

She's not one who easily share personal information, reserving her deeper feelings and worries to a scarce number of people;

She won't back down from discussions, and if she feels like something or someone is crossing any lines of her (surprisingly existing) "moral code" she won't leave it alone until she gives a final word on it (besides, she loves the taste of victory, and hate when the ones she cares get hurt in any sense); She fights with words that hit exactly on people's weak spots, but if she's irritated enough she might put her destructive magic to some use (as a threat);

In school, her notes are good (although she can easily make them better if she just puts in the effort) and if the teachers don't insist on pushing some expected behavior towards her, and instead work with her “flexible learning process”, she won't bother. Actually, if she takes interest in the class, she´ll deepen discussions with interesting topics and good criticism, making teachers raise their eyebrows on her competence. But, if for some reason the schoolmaster gets on a tight spot with Amity, she´ll make sure every minute of their class feels a bit closer to hell :)

(One might imagine how polemic Beta Amity must be among the faculty)

When she's not idly hanging with Boscha and the girls, she can be spotted sauntering alone in the corridors, wearing the portrait of Boredom on her face that keeps most people at distance. The only individual that doesn´t appear to be affected by her subtle threatening aurea is Willow: as anything odd and potentially entertaining, Willow conquered Amity´s attention enough to mold a friendship with her. They work pretty well together, with Willow´s centred personality balancing off Amity's fiery behavior. Hanging out with Willow feels both relaxing and exciting, as she never knows what new “job” her friend might be up to - and she's always down to tag along on her quests;

Willow:

Willow is an intriguing kid – and I'm not talking about her dubious choice of fashion or her ability to keep a poker face to everything and everyone while absorbing more details and information than anyone in the room – everyone that knows her agrees with that definition. And everyone knows her; Why? Well...

Her irreducible dedication and unbiased expertise in the bizarre and all sorts of knowledge makes her a handy option for those who need to get some job done and they don't know who else to call. Her almost obsessive curiosity for everything keeps her constantly busy with some experiment, project or investigation;

She displays the minimum respect to people around her and seems genuinely unbothered by social dramas and average teen stuff; Interacting with Willow might feel awkward or incredibly interesting as she has the habit of infodumping and calling attention to random details in the environment (and you'll never know what's going on her mind); ~Her humor is a little morbid too~

She's the kind of person you can hang out alot but if you put some thought on it you'll get shocked how little you know about them – Willow doesn't have a problem with sharing, but she'll only do when requested;

And besides, she rather have the company of plants and herself (a fact she more show than tell), because neither of them will delay her plans or interrupt them with spontaneous cases of *looks down on notes* needing help; (but don't worry, if she's your friend, she will help)

Willow will defy rules only if she knows there won't be bad consequences for her and her "partners in crime" – and she might not share that part with them sometimes so they won't get comfortable enough to mess up;

Luz:

The main common thing between Beta and Canon Luz is their contagious energy and righteous mind: they're always ready to have a good time while being able to help someone; The main difference, I guess, is that Beta Luz has a more flexible moral on methods she might use to do "good";

She never skips the calls for adventure, even the ones that presents potential dangers (which she generally doesn't take note until it's too late) making her a magnet for trouble;

Her friends are so used to her shenanigans that Luz doesn't need more than a look to have them sighing "what have you done this time?"

She's a sporty girl, but also a lover of video games and anime and trying new stuff – which once again, might be a call for danger;

She's friendly but can't help her passive aggressive humor, which can gets sharp depending on her mood; Aggression and offences are a last case resource, unless we're talking about bad guys; She might be down to break rules if it is necessary for doing good, but overall she rather leave law undisturbed; She doesn't mind taking "alternative" ways to achieve her goals, but she draws a line on cheating – and that buys her some heated discussions with Amity;

Luz swears she tries to not get involved in people's business but she never thinks twice before calling people out when they're being unnecessarily bad or rude. Actually, she has the habit of acting before thinking – the main pillar of her troublemaker reputation;

With all that, one might think she's reckless and slow in catching things up – which is not a lie, but that doesn't mean she can't be responsible: she always keep her promises and is committed to following deadlines and conditions – and I'm not sure if this is the place to add, but she's pretty good with children! For Amity's amusement

In sum (simple version):

#that was fun #what do you guys think? #the owl house #the owl house headcanons #toh #amity blight #the owl house luz #luz noceda #the owl house amity #the owl house willow #toh asks #toh luz #toh amity #toh willow #beta amity #beta luz #beta willow