#not really a 'theory' the way most people seem to think of it

[keepingsecretstokeepyoutk]

This is going to be very long and sound a little crazy at first, and maybe a little mean but please hear me out…

I’m convinced that Taylor sometimes purposefully includes one line or multiple lines of poorly written or clunky lyrics in specific songs to make a point.

We all have seen some version of this with bearding songs like London Boy, a simple bop whose lyrics were immediately detected as sounding disingenuous, even with the general population (the locations she was signing about were the most touristy and too far away from each other to visit on the same day, etc, basically implying that she doesn’t actually have a long term local bf there that she spends a bunch of time with exploring the city with, etc).

But just like everything else on the album, I think she’s doing maybe a more in your face version of that. No holds barred.

So High School is an obvious example of this, with all of the early 2000’s hs imagery, she seems pretty blatantly to be mocking the idea the public has of her “living out every American girl’s high school fantasy” of dating the tall popular football player. With lyrics like “touch me while your friends play grand theft auto” (barf), etc, shes being clear enough that this is not a serious song.

This is the possibly controversial part, but I’m so curious to see what others think about this - I think another iteration of this on this album is the title track, The Tortured Poets Department. Hear me out.

(First, I want to reassure you that there are lines in this song that I really like and think are well written, like: “you’re in self-sabotage mode/throwing spikes down on the road” and “but you awaken with dread/pounding nails in your head/but I’ve read this one/where you come undone/I chose this cyclone with you”. And I fully agree with the idea that these sentiments are from Karlie’s perspective. Basically, when you take out the chunks I’m about to talk about this song makes way more sense and has a beautiful sentiment of undying love behind it - which makes the following parts stick out that much more!)

The first time I listened through the album, and this was the second song, I got terrified because I didn’t understand its place in the whole narrative and when I heard the first clunky line “scratch your head like a tattooed golden retriever” I got the ick. Then the bridge with no structure and no wit and no clever turns of phrase, no metaphor, just “you put my ring on the finger people put wedding rings on” and “that was the closest I’ve ever been to my heart exploding”. So over simplified and cheesy, and doesn’t sound anything like her writing, especially the caliber of her recent lyrics

I know art is largely subjective, but I insist there is no way that the same person who wrote Cowboy Like Me wrote these lines into her title track if she didn’t have a reason and a point to make. To make it clear that this isn’t a matter of genre personal taste, because I know CLM is a very specific sound and a style that music snobs often take more seriously - I love SO many of her candy pop bangers, they are infinitely more clever, articulate, and overall works of art by a true wordsmith than this. Karma, The Very First Night, etc are all a master classes in clever words and tight writing being tucked into an “unserious” pop song.

The lyrics I cited above to me sound like what haters believe her writing sounds like, even fans who make little jokey TikTok’s about her and make up a spoofy something to sing while in character - that’s what these lyrics sound like.

Im worried im being too harsh, but please stay with me because the more I think about the more genius I think it actually is.

In the context of the themes of rest of the album, (her being trapped, miserable, manipulated, ready to burn it all down, screaming to be seen) this theory became clear to me. I think she’s leaning into her public persona (in more ways than one, we’ve already seen it with the stunting), in a way setting a “trap” for her fans and the public, that will essentially call them all out on how they ignored the real her in favor of her pr narrative, making the album about paternity tests, etc, all of which I’m guessing will become very clear in retrospect, possibly after she comes out? (Of course it’s already clear to us now, which is another purpose of the beard songs including clunky writing - to signal to us that these are not serious and that she knows that we know that she knows (like Phoebe on friends lol))

Ultimately, this is (along with So Highschool) a classic beard song. When she writes in this voice, she embodies the most extreme versions of her public persona, not just the one she has cultivated on purpose, but also the one that people have of her that don’t know her (as she did in Blank Space), including those that don’t take her seriously - because her identity as a boy crazy psycho ex girlfriend is directly tied to people dismissing her art as vapid because, they’ve only ever heard her singles, they don’t know the full her.

That voice is the straightest, the most boy crazy, the most one note, and sometimes the most unsophisticated writer version of her that people have in their minds, including her fans - the fans that refuse to see her as a whole person, the real, that believe she is head over heals for big football boy, that believe “he knows how to ball, I know Aristotle” is a romantic line about how opposites attract, the fans that say they don’t “get” some of her most beautiful and well-written songs, the fans that don’t see her and haven’t been seeing her.

They didn’t see giant Taylor on the eras tour, they refuse to see all of her queer signaling, etc, and I think she’s making the bearding songs obvious to underscore the difference between her Taylor(TM) and Taylor(person) personas.

She knows that despite the fact that the lyrics don’t even come close to measuring up to the rest of the album, the public, and many of her fans, will make this song one of the most listened to simply because they are looking for evidence of her relationships from the past year. We’ve all commented on how insane it is that this layered, complex, devastating album is being reduced to the usual paternity tests. This is currently one of the top songs precisely because it is “about Matty”. And of course, So High School is one of the tops songs along with it because it’s “about Travis”.

The juxtaposition of the bearding songs alongside her beautifully written poetry of Prophecy, Peter, Whose Afraid of Little Old Me, Cassandra, How did it end, The Albatross, etc mirrors the juxtaposition of her two selves during the Midnights era.

She has proven the point that if they think she wrote every line of this song completely in earnest, then they see her largely no differently than her haters do, as a subpar writer who writes absurdly cheesy love songs praising trashy to mediocre, problematic men. By eating it up they tell her that’s what she’s good for, for being the subject of tabloids and warring fans who make this entire album about two (purposefully) mediocre songs and the men who “inspired” them.

She has proven her point - that a subset of her fans will be distracted by a lesser song simply because they think it’s about one of the greasy men that’s she been seen holding hands with. That they will ignore once again all of her pleas to be seen, that she’s in pain and caged, and has been driven insane by their willful ignorance. That they don’t appreciate her full potential and talent, that they don’t even see it, and just want to be confirmed in their ideation of her.

This song is essentially the “forget him(her)” pill at the beginning of the fortnight mv, but it’s a sedative for the fans, who are addicted to her straight narrative. Similar to Willow’s 13 chants of “that’s my man” that started off evermore, casting a spell of heteronormativity over everyone who wanted it, so that they could choose to just completely ignore the following 14 gayest songs ever written. Don’t pay no mind to her singing directly about women with zero male perspective - she said “that’s my man!” We’re good! She’s still straight!

Taylor in the fortnight mv had to a take a sedative to be able to go into the next room and write her bearding songs - ie she self medicates to deal with keeping up the straight persona and to get through having to release dumbed down songs to feed the masses. (I also see the pill as something forced on her, I think it represents both layers)

From the first time I watched the music video I thought the writing Taylor looked so miserable and the bearding songs are why.

In this room she’s trapped, churning out the songs that her fans expect of her, the songs that make her team money, the songs that make her money, but that she has to compromise her truth to create.

But when she frees herself she’ll burn the stories that weren’t true, the filler that doesn’t represent her.

I’m curious to hear other’s thoughts on this - have you ever felt like Taylor purposefully inserts off-sounding lyrics that are written in a different voice to make a point?

I want to reiterate that it’s not the entirety of either song that I think is terrible, I genuinely love bopping along to both So High School and TTPD (track). Like I said above, when you remove the clunky lines from ttpd (track), the song has another layer and likely gives voice to some Karlie insight that is beautiful and tragically profound. It’s the red herrings, the pieces specifically meant to tie this song to a bearding narrative, that I’m dissing, and the only reason they are suspicious in the first place is because I know how gifted Taylor is with the written word.

Taylor is such a skilled writer that she can embody the voice of the bad writer that dismissive ignorant idiots believe her to be, just to make a point!

I even wonder if maybe there is a second version of this song locked away in one of those drawers in the fortnight writing room that leaves out the red herrings and is a thousand times better than the bearding version we got.

I hope one day we get to hear it.

#gaylor #kaylor #bearding #closeting #ttpd #so high school

[genericpuff]

I've been seeing you say/speculate Rachel Smythe has been cut loose from webtoon, could you elaborate what you mean by that?

It's only a tinfoil hat theory that people should take with MOUNTAINS of salt (seriously, I'm more likely to believe that Rachel really is just done with LO), but there's a general suspicion that LO wasn't meant to end here and that Webtoons decided to cut the cord. I've made a post about it before but some new stuff has surfaced since then.

1.) The announcement the series was ending was made quietly at NYCC and not shared to either Webtoons' socials or Rachel's socials.

The only way fans initially knew about the series ending was through a screencap from the Discord where someone else who had been attending NYCC passed on the info from a Q&A that LO would be entering its final arc.

For a good while the only other way to know the series was ending was through the Discord, a Cosmopolitan article, and my own post.

Though it sounds odd for a series to get cancelled halfway through its third season, it's not uncommon for Webtoons to suddenly axe series while they're on their midseason hiatuses, it's happened before. So there's a general suspicion that Rachel may have found out during NYCC that LO would only be given one more arc.

2.) The actual finale announcement was made in a text post on Instagram that suddenly announced it would be ending on May 11th, despite the fact that there was still lots to wrap up in the story.

What this implies is that Rachel was given one more arc, with no concrete end date... until Webtoons told her to wrap it up in a limited number of episodes, hence why despite us knowing it was in its final arc, the end date still felt too soon. This is also supported by the fact that her initial announcement was vaguely "early/mid 2024" - she couldn't give a more accurate end date because she didn't plan for the actual ending.

3.) Things that Rachel has said implies that she was either hoping for the final arc to go on longer, or that she didn't think LO was going to be ending now.

(that "nothing is set in stone" quote further supports the theory that she may have been hoping to get renewed in spite of the lukewarm ending announcement - that the only reason the announcement was so quiet was because WT hadn't fully committed to it yet and wanted to see how the series would do upon its return; now that they see it falling behind to other series, it might mean WT became more sure in their decision to cut it and gave her an actual deadline to wrap it up by.)

4.) Webtoons has stopped promoting Lore Olympus despite it ending.

Any promotional spots that it has gotten have been stuffed into the dead zone of the banner reels (seriously, anything past the 3rd spot is practically useless because it takes actual committed scrolling to get there vs. the first 1-3 banner spots which can be seen as soon as you open the app/site) and the banner art itself does not in any way advertise the series being in its final arc. These banners also only seem to be appearing for a day at most, compared to the days upwards of weeks they used to get.

Webtoons also hasn't been doing any sort of promoting on their socials for it. Considering The Mafia Nanny has been consistently beating out LO in the top rankings for weeks now, and that LO's rating and view count is still dropping, it appears that Webtoons has finally given up on shoving it down people's throats and put their focus elsewhere.

Again, this is all tinfoil hat speculation, so take it with massive doses of salt. Considering this is Webtoons, I wouldn't be surprised if they finally decided to put LO out of its misery, but this is also Rachel and I wouldn't blame her in the slightest if she finally wanted to be done with it after the past two years of people clowning on it. And I say that knowing I, myself, am a clown LOL

Either way, I feel like either outcome is plausible in its own ways, but whatever is the true reason, it doesn't change the fact that LO is ending and has 3 episodes left to wrap itself up. And whatever comes after will likely involve the launch of Inklore which was estimated for the spring.

#lore olympus critical #anti lore olympus #lo critical #anon ask me anything #anon ama #ama #ask me anything

[cosmicghoul99]

An interesting Hannibal theory I think you should know about

I'm not sure how many people know this, but if you're unaware, some really interesting things relate to the show and Hannibal's character specifically. (Wanna add that I am not religious, so apologies if I get something wrong. I mean no offense to anyone, this is just a little analysis on my part)

There are a lot of biblical references in the show. It makes sense; religion has always been a deep, moral, and philosophical concept, and Hannibal loves to incorporate the ideas of religion and God into his actions and that of those around him. One of these references is a recurring one. Hannibal is often referred to as the devil. Like this quote from Gideon:

"You really are the devil," Abel Gideon - Antipasto

Or this one from Bedelia:

"Who holds the Devil, let him hold him well. He will hardly be caught a second time." Bedelia Du Maurier - The Wrath of the Lamb

Add this to all the religious imagery, the references to stags and the wendigo, plus the season three discussions about Dante. Bedelia says that she was "swallowed whole" by the beast at the mouth of Hell. You get the picture. There is a lot of talk and allusions to Hannibal being "the Devil."

Obviously, this is a metaphor first and largely used because he is the main "evil" or antagonistic character, but there's actually some truth to this.

Both Bryan Fuller, the creator, and Mads Mikkelsen, the actor of Hannibal, have stated that Hannibal is meant to be the literal devil. He is meant to be both a personification of the devil and the literal devil.

According to Bryan Fuller, Mads Mikkelsen plays Hannibal like he is Lucifer. In an interview, he stated that "he is as close as you can come to the Devil, in the sense that the Devil has no reasons," following it up by saying that Hannibal's reactions aren’t something of a person, but of the Devil. He intentionally plays the character through the lens of the fallen angel, Lucifer. Hannibal is meant to, in the eyes of the actor, be a manifestation of the Devil

Bryan Fuller has also said in interviews and online that he believes Hannibal is the devil. Of course, he states that this is his opinion and that others are up to their own interpretation, but the show's main creator and writer believes this also means that we can reasonably see this in the show.

Throughout the show, Hannibal is simply on another level. Many times, he does not seem human but rather otherworldly. I think that is where Mad's acting presents itself, alongside whenever Hannibal is talking about humanity and God.

Hannibal loves to play at being God and also criticizes God as well. I believe it is in episode three after Will kills Hobbs, that they discuss how Will killing Hobbs felt good. Hannibal responds with this.

"Killing must feel good to God, too... He does it all the time, and are we not created in His image?" Hannibal Lecter - Amuse-Bouche 

Oh boy. This is such an interesting line. He talks about being created in His image. Let's be honest; he speaks as if he were God or knows God at least. His comment actually makes more sense if you view this as him being the Devil. Lucifer, the fallen angel, was cast from Heaven for rebelling against God. He feels that it was unjust. Most people talking about God and His actions view him with benevolence. Hannibal does not. In the bible, Lucifer had a problem with humans. And humans are, of course, said to be created in God's image. You could also argue that angels, especially Lucifer, were created in that same image, too. Hannibal has an issue with the rude. Why the rude particular? It is because those who are rude often showcase the worst of humanity's attributes and free will. Hannibal despises the rude because I believe that it, in some ways, represents the hatred that the Devil, or Lucifer, holds for humanity. The Devil had an issue with humans gaining free will and felt they did not deserve life via God's hands. This is similar to how Hannibal feels that those who are rude do not deserve to live. Hannibal, then, of course, being Satan himself, would be resentful of God for casting him from Heaven. Again, Hannibal often discusses God's motives, or what God feels doing certain things. Literally, a few seconds later in that episode, he says this:

"Hannibal: God's terrific. He dropped a church roof on thirty-four of his worshippers last Wednesday night in Texas while they sang a hymn.

Will: Did God feel good about that?

Hannibal: He felt powerful." Will Graham and Hannibal Lecter - Amuse-Bouche 

That last line about him feeling powerful gets me thinking. Hannibal is speaking not just about this but also about his own fall. But more importantly, he's also showing us what he thinks of himself. Killing makes God feel powerful. That means that killing makes Hannibal feel powerful as well. He is both giving motives and somewhat criticizing God at the same time. Hannibal seems to find the situation amusing. I think he believes it quite funny that humans were killed while worshipping God. He might even see a comparison between what happened to him and what happened here. He is simultaneously praising God and calling Him a hypocrite.

Hannibal's motives for killing are also interesting, and I said earlier that I think the reason why he kills is because he believes that rude and ill-tempered people are the problem with humanity. And he wants to get rid of them.

Now, let's explore how this connects with other metaphors, his decisions in canon, and his relationship with Will.

Let's talk about the stag. I did some research, and in many religions, including Christianity, stags represent God and his might, at least from what I could find. I find this interesting because stags are also meant to represent opposition to the snake, another symbol of the Devil. Why is the representation of Hannibal, at least in Will's mind, a stag? I think it actually represents the darkening of Will. If stags are meant to represent good, then that means that Will starts off that way and then slowly follows the stag and is affected by it, which, to me, means that Will is slowly being corrupted. Just like the stag was corrupted due to Hannibal's influence, Will is starting to change and fall deeper and deeper into darkness. It's also interesting that the dynamic between Hannibal and Will is clearly that of one between the Devil and the person they are trying to tempt. Hannibal is trying to tempt Will into changing himself and embracing the darkness inside of him.

Will is Hannibal's realization that humans are actually not that bad. They are complex, and their free will actually makes them relate to him more than he thinks. Will is his weakness, and Hannibal is intrigued by him. If the Devil, which is Hannibal, is the snake, then, in Hannibal's own words, Will is the mongoose that preys on the snake. Hannibal originally fell because of humans, and at the end of the series, he falls because of humanity again. He fell for Will. Will is meant to represent the lamb of God. The symbolism is that Hannibal fell for Will, who sacrificed himself to keep the Devil away, getting corrupted in the process.

Dolarhyde is also a factor. The original painting, "The Great Red Dragon," represents Satan. How does that tie into this idea? I think it's not Dolarhyde who is meant to be Satan; rather, it is Hannibal. We know that Dolyrhde idolizes Hannibal in a sense. Like Will and many of his other patients, which I'll get into later, Francis is influenced by what Hannibal says. Yet another temptation by the Devil. This is also connected to Will coming into his own life because Francis is also manipulated by Will. There is a connection between Hannibal and Will, which is shared via the tempting and manipulation of Francis.

I mean, we have this statement by Jack talking about The dragon, the lamb, etc. Jack says that,

"He's not the Dragon, you are. The Devil himself bound in the pit." Jack Crawford

Hannibal compares Jack to God. But I think they both are, in some way.

Many of Hannibal's patients and the people in his life, in general, are manipulated by him. I mean, some of his patients are tempted and influenced by him to do bad things commit crimes, and murder people. That's very indicative of the Devil's work, in my opinion. Even Jack and Alana end up being manipulated and deceived by him.

There is a lot of other religious imagery and symbolism, so I'll only discuss some of it. To start with, the reference to Bedelia's presentation and Hannibal's name in Italy and what they could represent. I mentioned earlier that in season 3, Bedelia talks about her time in Florence with Hannibal. She talks about how Dante gave a physical space to Hell, a solid concept, but before that, people would say, the "mouth of Hell." Then she says that she was "swallowed by the beast." This refers to Hannibal, but here's the interesting thing. In the Bible, the Devil is also referred to as the Beast. Bedelia is yet again referring to herself being used and brought into the mouth of Hell by the Beast, Hannibal. The name that Hannibal was monikered by in Italy is also the same. "Il Mostro" translates to the monster, which can be interpreted as yet another way to refer to the devil. Then, there is the obvious references to lambs in the show, with it being a sacrificial symbol. I'm sure that's been talked about a lot, and I mentioned it earlier.

There are many mentions of justice, redemption, retribution, and more in the show. This connects with the religious themes, of course, but it also plays into Hannibal's view of himself as a God, as well as how the show depicts him as the Devil. He is the one who casts judgment onto people, like his patients, and onto the rude, like a God. He is the one who issues punishment for sins and misdeeds, like the Devil. I think it's so interesting to see them both working in tandem.

I once saw a post saying that Hannibal acts like he's lived the same life a hundred or so times. And I agree. He does. He acts like he has been around for a time so long that many have forgotten it. It makes sense why he's so confident, and nothing seems to phase him. Nothing that happens has any consequence for him. The only thing, really, that he cares about is Will. That's why he tries to get Will to have his Becoming and Fall with him. He wants Will to be there with him. Which is sweet, I think :) And not to bring up related trauma for anyone that has ever been a fan of Devilman or Devilman Crybaby, but IMO, it really really reminds me of Akira and Ryo and how Ryo is stuck in the same cycle over and over again as a lesson. Idk, my opinion. Let me know what you think.

I also wanted to touch on some other interpretations of the raven stag shown alongside the wendigo and how other religions and beliefs might relate to this.

The Wendigo is a demonic entity or evil spirit from the Algonquian people of Canada. It is a winter spirit that is meant to represent greed and gluttony. When humans succumb to greed, like being greedy for money, being cruel to people, or generally evil things, the Wendigo spirit can possess you. During harsh winters, when food is scarce, people commit taboo acts and consume another human, participating in cannibalism. This also causes a possession and turns this person into a wendigo, never to be satisfied and constantly craving forever. I am not Algonquian, or even Indigenous/Native American, so I can't speak too much on this, and I don't know too much, but I hope I explained it well enough. I apologize if I did not. The show has its own visualization of this, and Wendigos traditionally doesn't look like the one in the show, but the overall message is the same. Even if Hannibal is not the Devil, he could be some manifestation of a Wendigo. It makes sense. Remember his back story? He was forced into captivity while hiding by soldiers during an extremely harsh winter during the war. Harsh enough that food became scarce, and the soldiers had to resort to cannibalism. They fed Mischa to Hannibal, which might have triggered something. Ofc this is a reach, but I did want to bring another interpretation into this.

Obviously, this is all just speculation. I love this show, with its dark complexities and incredible depth, and I wanted to talk about something I've been thinking about for a while now. Again, not everything might be correct. I apologize if that's not the case. Please feel free to correct me. I also apologize if this made no sense or was not cohesive, it's pretty late for me, but I couldn't get this out of my head.

I hope it was interesting ;)

#hannibal #nbc hannibal #hannibal lecter #will graham #hannigram #just a little analysis #i'm sleep deprived so apologies if this makes no sense #i just really wanted to share

[artigas]

I’m really happy that Black Sails is experiencing a bit of a renaissance, but (predictably) some of the takes I’m seeing online are so busted. It’s wild to me that anyone would complain about the fact that Anne Bonny kisses Jack after she’s developed this life-changing relationship with Max. It’s absolutely wild to see anyone roll their eyes or feel uncomfortable about the fact that Flint has sex with Miranda when he returns to her in season one or that Max is most likely a lesbian but actively has sex with men for pay and knows how to make that pleasurable. It’s crazy to me that some of the very audiences who claim to want queer representation feel so discomforted when they actually see the mess and seeming inconsistencies of queerness that they asked for.

The reality is that there are lesbians who have had (and will have!) meaningful, mutually-gratifying, and deeply sexual relationships with men. There are gay men who’ve enjoyed having sex with women, who are gay as the day is long and nevertheless feel sexually attracted to a woman or two and are nevertheless gay men, full stop. There are gay cis men who are happily married to trans women. There are femme dom tops and butch bottoms and there are mascs who like femme boys. There are non-binary people and trans men who actively identify as lesbians. There are ace and aro people who enjoy thinking about and engaging with sex — sometimes in fiction and sometimes in real life. Queerness, in fiction and in reality, defies neat categorization. That is the beautiful, power, and (perceived) unorthodoxy of queerness.

Now, I’ll say this — do I think the straight men behind Black Sails were actively thinking deeply and insightfully about the paradoxes and fuckery of queer identity when they wrote Black Sails? No! By their own admission, Steinberg and Levine have owned up to the fact that some of the writing of the show was really hinged on their own blind spots as people who are not (to my knowledge) members of the queer community. If I want to be generous, I think that the beautiful mess of Black Sails is that, in not feeling like experts enough to designate specific identity labels to any of their characters, the writers stumbled their way into more authentic representation of lived queer experience, which is to say that the notion that James Flint was actively thinking of himself as a gay man was anachronistic. As many lesbian archivists and theories have noted, the notion of a queer identity — as in, queerness is who you are, not what you do — was patently unthinkable for most cultures in the past. In other words, the idea that Anne Bonny operates in the eighteenth century as a lesbian and thus would not willingly engage in relationships with men is not only untrue of the series, but untrue of most recorded lesbian experiences in the real world. The notion that a lesbian would operate her entire life without engaging sexually or romantically with men is a very new privilege that some of us are very lucky to enjoy, but it is not true for the vast majority of human history — hell, it’s not even true of our present world.

This is all to say that think that there’s something really funny about how we want queer characters to fit into neatly organized boxes. This isn’t a new problem, either. When the show was still airing, the BS fandom would get itself into tizzies about wether or not Flint is gay or bisexual, wether or not Anne Bonny is a lesbian, wether or not Silver is queer when his only canonical relationship is with Madi, etc etc. We’ve been having these discourses for years and I don’t know. I get that much of it is fueled by how badly some people want to see themselves represented in media, but . . . well. The siloing of queer characters and queer narratives into neat little boxes has never felt very authentic to me and nine times out of ten, it’s also just so damn boring.

#black sails #anyways I gotta stop yapping #its just wild seeing the same arguments play out on twitter and other corners of tumblr when like #lmao I was there for the day when like 2.5 people got very angry that I referred to Max as a queer woman ONCE #and interchangeably with calling her a lesbian lmao #when I tell you … I love this show but those writers were not being that intentional with any of this lmao

[arkus-rhapsode]

Are We Returning To 2000s Era Shonen Anime/Manga (A Discussion)

So this is going to be way more of a thinkpiece than I usually do for this blog, but recent trends in the space and niche that I devote a lot of time to, Anime/Manga, have been showing themselves that got me thinking. This is not meant to be a serious sociology case study taken as fact, it's going to be more a theory based on observations of the community that I, like many others, devote a lot of time into than a full on claim, but I do want to ask, is the anime and manga community is experiencing a resurgence in 2000s era shonen manga?

Background

Now let me get this out of the way, there is bias in these observations as I am a western anime fan, but also a North American anime fan. Meaning my gateway and gauges of pop culture are mostly determined by the history of my area of the world’s relationship with anime. From the OVAs of 80s hyper violent and hyper sexual sci fi that you had to purchase from the backs of video rental stores, to the Toonami era of 90s and early 00s programming block the centred around action anime and cartoons, the 4kids era of mass market japanese animated kids shows that were really just giant commercials with some of the earliest memetics in western sphere, and the explosion of shonen battle series in the western sphere in the mid to late 2000s marked by the rise of the colloquially named “Big 3” of shonen jump. I understand that continents like South America or Europe may have undergone a different exposure to the Japanese medium, but as I am going in with some bias in this observation, I would like to make it clear on where the formula is coming from. I also would like to lay down a certain clarification before making this, when discussing the topic of nostalgia I think a lot of people have forgotten what it actually means. If we go by the Cambridge dictionary definition, Nostalgia is “a feeling of pleasure and also slight sadness when you think about things that happened in the past.” This is often invoked when talking about pop culture because people from say 20 years ago don’t seem to enjoy or relate to the interests of today. The belief is that nostalgia is generational ergo if you grew up in the 80s you’re likely wishing to recapture the feelings of childhood that you associate with those trends from 20 years ago. In fact, most revaluation in media has often been catalyzed by a difference of those who grew up in an era rebuffing the opinions of those who didn’t. 

There is the well known “20 Year Rule” regarding pop culture nostalgia. That every decade it longs for what was popular 20 years ago. Probably no better example than “That 70s show” being popular in the late 90s, the return of many beloved 80s franchises like “Ghostbusters” returning in the 2010s as well as series like “Stranger Things” that wrapped itself up in 80s aesthetics. 

Now it goes without saying that the 20 year rule isn’t a “real” rule, rather an observation that certain trends make a return to popularity because the ones who grew up with a certain media will be the ones who add to the discourse when they come of age and will be the ones having a chance to create consumable art for the masses and that may just be revivals of once popular IP. This isn’t necessarily wrong in regards to nostalgia, but I do believe that one doesn’t need to have been born in a certain era to be nostalgic for something when we discuss pop culture. Pop culture is really just trends and preferences that become en vogue and people can acquire a taste at any given time. Sometimes it can be due to those who grew up with something now having the chance to create and drawing upon their own childhoods, sometimes it's just due to not being exposed, other times it can be a certain feeling of disillusionment of the now, and seeking something that peaks your interest, and even sometimes it can be major corporations or networks looking for things with existing audiences to draw upon that actually expand the audience. In fact one of the most prominent Netflix adaptations of the 2020s has been live Action Avatar the Last Airbender and One Piece, both shows that got their start on American televisions in 2004 and 2005.

So I want to stress this is not necessarily about how if you grew up with the original Mobile Suit Gundam show you are being replaced by the kids who were watching GetBackers. And or if you are a fan of shows that came out in the 2000s you yourself were born in the 2000s.

But what was the landscape of the English speaking anime community like back in the 2000s? Well let me paint a portrait for you.

What was the 2000s like for anime fans?

The term I used, “shonen boom period”, is somewhat mythologized in the western anime sphere. There was a glut of high profile shonen anime running around the same time that most people identified with this time period and was arguably when we saw the most influx of people getting into the hobby. One Piece, Naruto, and Bleach served as big series known for their massively large casts, MCs with a level of attitude, some of the most hype centric power supernatural/extraordinary power systems, and certain brand of “Japanese-y” humor. We can’t deny that it wasn’t just these series however, as series like Fullmetal Alchemist became many people’s introduction to more narratively intricate series interspersed with a somewhat gothic action style. The gothic and somewhat edgy Death Note became many fans' first ever “battle series that’s not a battle series” that also incorporated many biblical and gothic horror elements into its presentation. And things like Code Geass also incorporated this combination of hyper stylized cat and mouse with ornate and gothic aesthetics and fighting robots. 

Series like Ouran Highschool Host Club and and Haruhi Suzumiya were basically gateways to the more hyper extraordinary slice of life series that didn’t shy away from fanservice and loud comedy. With ecchi like Rosario + Vampire taking it to an even greater extreme. For people willing to go even deeper, series like Fairy Tail began to pop up and share a distinct similar flavor to series like One Piece and Naruto which arguably started the popular conception of it coming from the same magazine as the latter. That’s not also discounting the amount of holdovers from the 90s like Dragon Ball z, Trigun, and Yu Yu Hakusho, which also had an edge towards fantastical combat and comedic oriented series.

All of this is to generally illustrate the media diet of what an average anime fan was expected to have some level of access to. As this was far before the eras of Funimation or Hulu having online services. Not a homogenized spread by any means, and im certain plenty of readers could name more underground or smaller series like Mushishi or Elphen Lied, but generally the popular mainstream you could tell that there was a consistent theme of long form media with a very loud, very flashy, and very action oriented type of series. Which I think is fair to say had skewed some people’s perception. And while I cannot claim with utter certainty that Japan was the same in this regard, you can look at magazines like Shonen Jump and notice a somewhat synchronistic trend. With series like Hitman Reborn, Gintama, D. Gray Man, Eyeshield 21, Bobobobo, etc.making a clear marcation of what was commercially successful at the time. Even series not inside the magazine but had smaller nicher, Tokyo-pop-esque series like Rave Master, Flame of Recca, Air Gear, History’s Strongest Disciple Kenichi, Soul Eater, etc all had a similarity to the shonen jump magazine. To the point it was not uncommon to see so many jump characters in a collage and one from shonen sunday or shonen magazine in there as if this was all coming from the same place.

Changing Landscape

Now with the advantages of the modern internet, we have the ability to actually keep up with the jump magazine in real time as opposed to the common practice of relying on scanlation site and fansubs that were often devoted to the most popular works. But with simultaneous publication and services like Crunchyroll, being able to access a wider variety of shows and series that we may or may not have access to. I believe that the 2010s in the english speaking fanbase was the decade we saw a somewhat expansionism of what people perceived as anime. Anime could be One Piece and Naruto, but it could also be Erased, it could be the Promised Neverland, Attack on Titan, K-On, Haikuu, and Durarara. With the representatives of the 90s no longer being holdovers in syndication like dragon ball but rather full on revivals of the likes of Jojo’s Bizarre Adventure and Hunter x Hunter. 

All of these could be "shonen" but also other genres like Seinin, Josei, and Shojo all had their own varying layers of what they could be in their demographic

The mood of what was popular was also changing, not just in the fact that more flavors of anime and manga were becoming mainstream, but new works from shonen jump showed a rise in almost subversive series like My Hero Academia and Demon Slayer that seemed to consciously deviate or place new spins from traditional tropes of the 2000s characters, and we saw works that were derivative of previous serious like Black Clover drawing upon Naruto the same way it was known that Naruto had drawn upon Dragon Ball before them. Series like The Promised Neverland and Doctor Stone offered up more dramatic series that still infused a certain energy of the shonen genre. 

And of course the series like Attack Titan whose much more darker and gorey storytelling seemed to have become one of if not the biggest hit of the generation with a well regarded adaptation, but something that had felt so removed from what were once contemporaries like the then ending Bleach or Naruto. We can also note that the late 2010s saw the rise of series like Chainsaw Man and Jujutsu Kaisen that began a trend of popular urban fantasy stories. Where fantastical concepts were now in contemporary Japan and the stories that focused on concepts like self identity and the harshness of maturing were juxtaposed to the real world inhabited by monsters. 

It seemed many tropes of the previous decade were still alive in the rise of Isekai anime. Which was particularly the only popular outlet for fantasy stories with an action orientation. But these almost felt disconnected from the wider world of manga as things like heavy harem action series had actually decreased in mags like shonen jump. There was also new tropes being established in this subgenre that became unique popularizations of tropes all on their own, such as the overpowered protagonist whose power everyone believes is weak. But many of these were based on light novels, a form of media that only in the last few years western readers are having official access to and not simply scans found on the internet.

We in North America truly have gone from anime being a niche that was primarily accessible through dedicated TV blocks like Toonami, to a full blown cultural relevance shift.

We also need to talk about this era in its perception of the past also shifted. The 90s and the early 00s often blend together as classics of the anime community. Somewhat encased in amber. However, there is no denying that “feels like a 2000s series” had become a bit of a shorthand for very goofy, Very horny, very action heavy series. Series like Fire Force and and Undead Unluck had their show what more problematic elements be equated to the problematic trends of the past that people just accepted as “a part of the medium.” But lets keep in mind, this is not really describing a time, more a trend. Superficial elements that invoke similar feelings of the past. 

Speaking of anime fans…

Fan Culture

So while I wanted to paint a picture of creatively the landscape has changed, there’s no denying that in the age of internet accessibility, the anime fan community has also changed. It is much much easier now to get in contact with people who are anime fans now than it was to rely on word of mouth like it was back in the day. I can still distinctly remember my anime club which wasn’t even really a club devoted to anime but rather other geek stuff like D&D and TCGs. Our hobbies just happened to have similar overlap.

Now though, anime fan culture is much more relevant and thriving. Going from just posting weekly reviews, to long retrospectives, comedy videos, abridged series, clickbait articles, fan theories, and podcasts. However, I think a defining feature of fans of the 2000s era of anime that were at their most prominent was hype culture. 

Due to many of the biggest anime series at the time being released weekly and focusing on action, many many many discussion boards and videos were often about staying in this cycle of wanting to see what happens next and the action made people very excited to see just how characters were going to win fights or even if they’d have fights at all. 

I want to make it clear that this type of activity doesn’t belong to a certain era, but you can see it shaped by the 2000s era. Especially when discussing “what is the next big 3.” As if it were a true position and title, rather than a moment in time where there were just three very distinct shonen series in the fanbase.This doesn’t necessarily have a “negative” effect on the discussion of anime/manga but you can see that certain genres lend themselves to hyping fans up more and more. 

Someone isn’t reading the most recent chapter of a romance like Blue Box with the same level of anticipation of who will face who like it was One Piece. But there have certainly been series that try.

The Present

Now we reach the 2020s and this decade is still young, so it is hard to say what the future will hold for certainty, but we can look at the last four years and notice some significant waves being made recently in Shonen Jump alone. I already spoke of Undead Unluck, a series that almost wears it would now be considered retro inspirations on its sleeve. With an opening chapter that establishes an MC that seems motivated by a sexual joke, A power system follows a verbal naming gimmick, and a loose enough world that allows for characters of varying aesthetics and to be incorporated into groups. With groups of these powerful characters splitting up to face each other and use their ridiculous power to the extreme. Even in the series' own meta arc about creating manga, the in-universe analogy for Undead Unluck’s manga is commented on as feeling retro. There is no doubt the biggest viral hit of the decade so far has gone to Kagurabachi, a manga about sword fighting and magical crime lords that seems almost indulgent in its stylistic slicing and or dicing of baddies. Its memetic success was primarily due to a somewhat sincere and somewhat ironic belief that it would be the “next big thing” as it promised to be a stylized action series. Another surprise viral success has been the manga Nue’s Exorcist which sees another supernatural swordfighter boy harness the powers of his sexy spirit lady while getting into harem shenanigans that echo a particular form of ecchi of anime’s past that had actually been somewhat absent in the past decade in jump. Both of these series have a somewhat noticeable similarities to Bleach, a long running shonen action series that has seen its own revival in the last few years of writing this with the long awaited adaptation of the final arc of the bleach anime. 

While the other members of the “big 3” never truly went away and became almost inter-generational, Bleach truly did feel like a “come back” as it was absent for so long. And unlike Hunter x Hunter and Jojo which were never really popular in the west and even their older anime are more regarded as anime deep lore. Bleach was one of the most popular series in the west at the time to never receive a conclusion animated. 

Speaking of anime of the 2000s Trigun Stampede was a reimagining of the original late 90s show. This errs a bit similar to Hunter x Hunter’s style of revival, but also seems uniquely its own in actually trying to find a balance between the original series but adding in things cut from its original late 90s early 2000s counterpart. 

And now we must examine other shonen magazines. Series like Gachiakuta created by a former assistant of Okubo, the creator of Soul Eater, carries with it much of the similar energies of that series. Its also noticeable as being a truly dark fantasy series. Not an urban fantasy, but rather a completely new world that had a very grunge and dirty world building. And then there is Daemons of the Shadow Realm, a series by Fullmetal Alchemist creator Hiromu Arakawa. This series is also set in modern day japan with supernatural elements, however Arakawa’s style of writing is practically unchanged from her time on FMA. With an emphasis on action, intricate mysteries, and character building comedy with her trademark over exaggerated blocky style. 

This to me shows that we are  seeing a bit of a combination of people who are now entering the workforce inspired by creators of the past, but also that creators of the past still exist 20 years later and are still making content that hasn’t really undergone significant change. 

Of course, we can’t also forget the implementation of the Manga Plus/J plus service which has opened up a very interesting ground for creators to have some of the most creatively out there series than what you may have expected from the shonen jump brand. I genuinely don’t think series like Make the Exorcist Fall in Love or Fire Punch would’ve ever been acceptable in the pages of a weekly shonen series. However one series in particular does feel like it could've and boy its been quite the success. Kaiju no 8.

Kaiju no 8 almost feels as though it is the AoT of a new generation with the amount of anticipation this one series has as well as the similarities between the series superficial elements. However, I'd say the key distinction between the two has been the tone. AoT took a dark and practically dour tone on its titan infested world. With an MC declaring war on all of his enemies. The pain was realistic, with human bodies being brittle and vulnerable. And the belief that just because you were a good person you weren't going to make it out alive. Kaiju no 8 instead opts for a more action oriented tone. Down playing the bleak realism for more "Hell yeah!" moments. With super science weapons that feel more akin to a tokusatsu show and fights and battles between humans an kanji the feel like the Dragon Ball style wrestling matches of old.

And of course, that’s not to say Jump hasn’t continued with series that feel more modern like the realistic and mellow romance of Blue Box or the dramatic coming of age story of Akane-Banashi. 

But the presence of these series has caused somewhat of a friction with the popular conception of the magazine. Its safe to say that while “shonen” tends to think of action male oriented series, it can really just mean works aimed more at adolescents. But I think many tend to associate this familiar feeling of “what is shonen” with their popular introduction of the magazine. With a saturation of action and brash comedy series. This is further complicated by the fact many action series in jump are actually ending over the last decade. With new ones not popping up to replace them as frequently and series like One Piece and MHA and Black Clover basically stretching out across an entire decade or longer. In fact, I don’t think it's unreasonable to believe that the hype for something like Kagurabachi was in part a belief that it signaled a return of a type of familiar series and genre that had been missing. Or at the very least, looked to fill an inevitable gap the magazine was obviously going to be facing. Followed by the other commercial success of Nue’s Exorcist, we are likely to see these series last for a long time. At the time of this writing, Tokyo Revenger’s author Ken Wakui has released Astro Royale, a series that feels very similar to his previous work yet infused with this almost GetBackers flavor.

So that leaves us with the question at the start, are we seeing a rise in 2000s nostalgia in anime and manga?

Conclusion

So I'm sorry if I disappoint, but the best I can say is, I’m not certain. I do believe that from my observation I think it is reasonable to say that we are seeing a rise in creators in the shonen space being ones inspired by series from 20 years ago. However, I think we are also seeing creators who are from that time period also returning to write how they have always written. 

On the consumer side, I think we can see that fans of anime and manga have changed in the sense their tastes can now be shaped by a much larger catalog of series at their disposal. But in the case of shonen, I think we are simply seeing those who likely got their start in anime at around the 2000s resonating with newer series drawing upon those series, but also with younger fans now likely to grow up with the tail end of what was popular in the 2010s now being influenced by the 2020s. I also believe that one of the defining features of the anime community in the last decade is hype culture. And currently we are seeing a rise in series that actually feel more catered to hype, be it a revival of a series they liked or predicting what will be the next success. 

All and all, this piece was trying to tunnel on the shonen demographic in general, which is more likely than not going to have similar traits relative to itself. I do see us as a community endorsing trends of the past and there’s an excitement for these things to “come back” even if they may or may not have left. If you liked this please drop a like or reblog because I may do more of these think pieces in the future.

#anime #manga #think piece #discussion #shonen #shonen jump #kagurabachi #gachiakuta #nue's exorcist #undead unluck #kaiju no. 8 #bleach #one piece #naruto #yomi no tsugai #attack on titan

[nukaberries]

Hellooo again!! Glad to see your up and going again! could you do sole acting gullible to all of deacons tall tales but they eventually tell him they know he’s making things up but just go along with him cause they like hearing how creative he is with his lies.

HI!! Yeah, it's about time I brought this blog back from the dead lmao, I've been meaning to get around to it for a while now, so this is long overdue. As for this request, I love Deacon so much (I think I just have a soft spot for silly guys w sunglasses tbh???? Because I also love Johnny Cage from Mortal Kombat) Deacon deserves way more love though, I don't think I ever would've romanced him personally, but I do wish the option was there for the Deacon lovers.

//

Deacon with a 'Gullible' Sole

Deacon doesn't question it initially, most people tend to fall for his lies, apart from the likes of his fellow Railroad agents, who are more than used to his antics.

Besides, saying he's a synth isn't exactly something that Sole can disprove, unless they plan on killing him to find out, which doesn't sound like an ideal outcome, if you ask him.

But when Sole seems to believe his claim that he's the real leader of the Railroad, no questions asked, he starts to wonder if he's just a good liar or if Sole is somewhat naïve.

He decides to test out his theory, seeing how bold his lies can be until Sole stops falling for them.

At first, he starts small. "Hey, did you know I once beat a Super Mutant to death with a box of Sugar Bombs?"

They eventually get more outlandish, until he's effortlessly convincing Sole that Carrington is a Brahmin, who became sentient and has a really good surgeon.

He has more fun than he expects to, telling the most ridiculous lies he can think of, coming up with intricate stories behind them, more to entertain himself than anything.

Eventually he starts to feel a little guilty about all the lying, surely, this is just bullying at this point, especially when Sole believes him wholeheartedly every single time.

So, he decides to come clean... Well, Glory insists he comes clean, by threatening to put a dead bloatfly in his bed.

Much to his surprise, when he tells Sole the truth, they simply nod and tell him that they've known all along.

He hadn't planned for this outcome, and it starts to make him question the whole situation. Who'd been fooling who?

Sole explains that they'd known he was lying after taking a look at the 'recall code' he'd given them and after that, they'd just enjoyed seeing how creative his lies could get.

Admittedly, Deacon can't help but be impressed that, for once in his life, he's the one being tricked.

But he will make a point to dramatically sulk about it for a few days, his pride is a little hurt after all.

#fallout #fallout headcanons #fallout imagines #fallout x reader #fallout 4 #deacon #deacon fallout #deacon x sole survivor #i will always side with the railroad and deacon is a big reason for that #and glory #and tinker tom #all of the railroad actually #i love those little freaks so much

[hyuuukais]

⋆.˚𖦹°‧✮‧°𖦹˚.⋆ ERROR 404

pairing ~ yang jeongin x fem reader

synopsis ~ y/n starts getting messages from an unknown number after buying a used phone for cheap. as she finds out more about the boy she's talking to, it turns out there's much more to this than a wrong number --- he died, and she's talking to his spirit, yet he has no idea what happened to him. will y/n have what it takes to solve the mystery of his death? or will the boy's spirit remained trapped in his phone?

warnings ~ gen, death, blood/injury, implied child abuse

MASTERLIST | PREVIOUS | NEXT

CH 2 ~ THE PLAYGROUND (wc: 2.9k, 2 screenshots)

Nothing you find online even hints at foul play, or at least, nothing official. There's a blog you come across called Souls of Seoul, a conspiracy theorist obsessed with fishy deaths citywide, and they just so happen to have classified the death of Yang Jeongin, a 23-year-old actor about to snatch his breakout role, fishy. She has multiple posts dedicated to it, but you skim most of them as they repeat information or add details that are a little... out there. You finally reach the final post where she writes an in-depth analysis and theory of what she thinks really happened.

"And then his rival and best friend... ah," you click the continue reading button, wanting to learn as much as you can, but the page refreshes to find nothing, a big, red message screaming at you.

ERROR 404 : PAGE NOT FOUND !

You refresh the page again, but the same words flash at you. Weird. There's contact info at the bottom of the page, but when you try and text the number, your messages don't go through, almost like the universe is trying to stop you from uncovering the truth. At first, you weren't really sure if you believed Jeongin's death was something deeper than the story told, but evidence keeps piling up, making you become suspicious.

On the bus ride to work, you can't help but ponder the strange dream you had last night. You can still feel the breeze on your cheeks and hear the breath in your ear. Something isn't quite right, the air around you too still when the bus is stopped too long at a red light. The bus lights flicker, then turn off completely. You're sitting near the back by the door, watching a man walk onto the bus and gasp at the sight of him.

There's a large butcher's knife digging into his neck, wet blood slick around the site of the wound, soaking his shirt and beige coat red. He pays the fare, sitting down in a seat closer to the front. No one else seems to notice, but no one else is moving either. People around you are frozen in their seats, paused mid-movement. A girl across from you has one earbud in her hand, centimetres away from her ear. Another passenger beside her has just dropped their water bottle, the object half way to the floor. You hand covers your mouth as you take everyone else in, eyes finally landing on the man again.

He's looking at you, seemingly just as shocked that you can see him too. His eyebrows furrow, mouth shut in a tight line as he gets up and moves to sit next to you.

"You're not dead," his voice is raspy.

"I'm not," you whisper, hand falling away from your mouth to grip the pole beside you, fighting the urge to run off this bus.

For all you know, the bus is still moving and this is another lucid dream. The last thing you need right now is to try and leave, ending up in the hospital for leaping off a moving bus. Although this doesn't feel like a dream, you can always tell, you won't risk it.

"How are you not dead?" His fingers brush up your jaw, cold and dry. "What are you doing here?"

"Trying to get to work," you reply, voice shaky.

His eyes snap down to yours and his hand drops. "Oh."

Then the lights come back on, there's a clang of metal hitting the floor, and the man is gone, leaving you with a raging headache.

-

You're distracted all day as you help Changbin catch up on client orders, mind wandering to the man you saw on the bus when you're alone in the back of the shop. Changbin left to watch the front of the store, leaving you to work on a bouquet someone ordered last minute yesterday, thanking you both immensely for doing it on such short notice. The arrangement consisted of white and black roses tied with a simple ribbon, and you wonder what, or who, they were for. Of course, you never asked personal questions, always left creating your own story for each client.

When you prick yourself on a thorn, the blood has you back on the bus in an instant, letting the red liquid drip onto the table. The air is thick, and you shut your eyes to regain focus, bringing your finger up to your lips until you can find a bandaid. There's one in your apron pocket; you really should stock up again and soon.

The question of this man bothers you, and the way he's affected you bothers you more. Why could you see him? Why did time seem to stop? What's happening? You think, Jeongin might know; you should text him.

Y/N : Why can I see other ghosts and not you?

"You can see other ghosts?" You jump, dropping a pair of scissors to the floor with a clang.

"What the fuck!" You whisper-shout, backing against the table.

In front of you stands Jeongin, dark black hair nearly covering his eyes. He's wearing the same clothes as he did in your dream, a blue sweater and black jeans, but they aren't worn or tattered. They look brand new, actually, like he had just bought them. There are no signs of death on him at all, the bleeding and matted hair gone.

"Y/n?" You hear Changbin call from the front. "Everything okay?"

"Everything is fine!" You shout back, not wanting him to come back and see Jeongin- that is, if he can. "Just dropped scissors."

"Listen, I need to bring you somewhere." Jeongin steps back into your view, blocking the hallway Changbin's voice drifted down.

"Can't you see I'm working?" You gesture behind you. "Whatever it is, it's gonna have to wait. I'm busy."

"Please, I think this could help," he pleads, his hand about to grab your arm, but he sees how you flinch back and stops himself. "C'mon, you only die once, and I'd really like to know how it happened. I know you do too."

"You don't know shit about me," you scoff.

"Really? Well-" he huffs. "You're right, but I know enough, otherwise we wouldn't be having this conversation at all right now."

"Ugh, fine, let me tell Changbin-"

"Just text him! Let's go!"

As you sit down on the playground swing, you send a quick heart emoji back to Changbin. Part of you feels bad lying to him, but a bigger part is wrapped up in the mystery of the man sitting next to you. You wonder what other people at the park might see, if there were any people here. It's weirdly deserted, but then again it is pretty overcast. Would they see a girl and a boy talking on the swings? Or would they only see the girl, talking to an imaginary entity?

When you look over at Jeongin, he's focused on the monkey bars with a sad smile on his face. Following his gaze, you see two little boys, one sitting at the end waiting for his friend who's seconds away from slipping. If you were to stand underneath, you could touch the bar with the tips of your fingers, maybe even wrap your hand around one without much effort, but you know for this kid the ground seems a million feet away.

"Hyunjin! Hyunjin!" The kid's feet are starting to kick wildly, panic present in his voice. "I'm scared!"

"You're fine! If you freak out now, your palms will sweat and then you'll fall," the other kid stands, leaning against the pole connecting the bars to the landing. "C'mooooon, I thought you said you could do this."

"I can," the boy, who you know assume is Jeongin, huffs and reaches for another bar. His fingers slip and his body swings back with a twist, the hand still on the equipment slipping as well. "Owwww!"

Little Hyunjin jumps down to his new friend, little Jeongin clutching his red knee with tears welling in his eyes. He's trying hard not to cry as Hyunjin assesses his scrapes, running over to his bag by the edge of the sand and pulling out a band-aid and a water bottle. Jeongin's tears have fallen by the time Hyunjin returns with the supplies, instructing him to stretch his leg out.

"If you don't wanna look like you peed yourself, you'll do it. Then all the water will fall on the sand and not you." Jeongin does as he's told, wincing as he straightens his leg. "Okay, this might sting, but I don't know cause it's just water, so it might not."

"Okay."

The water runs over his knee and flushes the blood away, leaving damp skin and red marks. After patting the area dry with his sleeve, Hyunjin sticks the band-aid diagonally across the wound.

"See? Not so bad." Hyunjin sits next to Jeongin in the sand shoulder to shoulder. "You need to practice landing on your feet."

"I wasn't trying to fall," Jeongin pouts. "I could have made it if-"

"Hwang Hyunjin!" A deeper, male voice calls out, and you jump a little when a man appears in the corner of your eye. "What happened to no wandering?"

"Sorry dad," Hyunjin mutters, standing up and moving away from Jeongin quickly.

"What's that?"

With a side glance to Jeongin, Hyunjin hangs his head. "Sorry sir."

"Better. Now, how about we head home?" It's only now that you hear the slurring of his words, and your chest tightens with empathy for the small boy. "We can... I'll put on that show you like, have some family time, quality time. Let's go."

When Hyunjin doesn't move, his dad sighs, throwing his head up to the sky and placing his hands on his hips.

"Don't be difficult, c'mere." He still doesn't move. "Have it your way."

His dad is tense as he walks over, grabbing Hyunjin's upper arm and practically dragging him over to a rusty car parked in a driveway not too far away. The whole time little Jeongin had been watching intently, taking in the way Hyunjin's cool-guy attitude changed once his dad showed up, the way he flinched when his dad started walking over. Present day Jeongin is watching them walk away with his lips pulled tight.

"That's when I decided to make Hyunjin my best friend," he says, eyes glued to the scene. "Make an excuse for him to be home as little as possible, and it worked. He was almost always at my house on the weekends. We only made plans to go over to his occasionally when my parents would start to question why we didn't."

"Was he really that bad?" Jeongin finally looks at you again with sad eyes, and you already know the answer.

"You have no idea."

-

"Hwang Hyunjin, where are you now?" You're typing his name into the search bar on your laptop, Jeongin looking over your shoulder.

Jeongin disappeared shortly after the memory, leaving you to go home and do your own research. One thing bothered you- how familiar Hyunjin felt. You've never met him, not properly at least. Looking at his photo you realize he's the same guy you ran into at the café, but other than that? Nothing. You shrug off the feeling and continue digging.

"Oh- look here, Hwang Hyunjin hits the big screens this summer with new movie Side Effects, a look into a man's life as he navigates adulthood after the tragic death of his twin sister. Could this be his breakout role... read more... hm," you lean back in your chair. "You both were actors?"

"Y-yeah, we were..." Jeongin slides into a chair beside you.

You're sitting in your dining room with your laptop open on the table. It's getting late, so you know Changbin will be here soon and you'll have to wrap up what you're doing quickly, but there's so much more you want- no, need, to know. There's an itch you can't scratch in the back of your mind saying there's more to this than two best friends with tragic tales.

"We were both auditioning for that movie," he starts, looking away from you and places a palm flat on the table, long fingers outstretched. "I guess he got the role then. I'm proud of him."

"Did he ever get away from his dad?" You ask, too curious not to.

"I..." Jeongin squints, shaking his head. "I don't remember."

With a frustrated sigh, Jeongin puts his head in his hands, elbows on the table. His fingers run through his hair as he tries and tries to remember, but nothing is coming to mind. The problem is he knows there's something- something important, but it's just gone.

"It's okay-"

You're interrupted by a loud knock on your door, the sound of your door opening behind you catching your attention. Closing your laptop, you notice Jeongin is gone again. You wish there was more you could do for him, to help him remember; you can't begin to imagine how aggravating it is for him to have everything just beyond reach.

Changbin is politely toeing his shoes off onto the rack by your door, his hands full with bags of takeout and snacks. Wrapping your sweater around you tightly, you shut the door for him.

"Thanks for coming by," you take a bag from him. "I'll bring this to my room, meet me there?"

"Where else will I go?" Changbin laughs.

Sitting down on your bed, you gently place a wooden tray down for the food to keep it stable. As you're waiting for Changbin, a million questions race through your mind. Something doesn't sit right with you about what you've learned tonight, but you also don't know enough to form a proper theory either.

"What's on your mind?" Changbin sits next to you, shaking the tray just a bit. You put a hand on the edge to keep things from spilling. "Or is it just pain? Oh! Where's your heating pad? Let me-"

"I lied."

"What? About what?"

"I lied about the cramps," you admit, avoiding his eyes. You can feel his stare on you. "I need to tell you something, but I might sound crazy. Remember how I asked if you believed in ghosts?"

"Y/n, where are you going with this?" Changbin's voice is low. "Why would you lie to me? Ditch me at the store during our busiest time-"

"There's a boy I've been seeing-"

"You ditched me for a boy?! Y/n!"

"No! Just- just let me finish!" You snap. "There's a boy who I've been seeing named Yang Jeongin, and he's dead. The phone I bought used to belong to him and we both think that's our connection. For some reason, it didn't work for anyone else, but it worked for me and then I started communicating with him."

Changbin is silent, taking in your words and waiting for you to finish.

"We think there's more to his death than what people say, which is suicide. He can't remember much."

"Is..." Changbin is glancing around your room. "Is Jeongin in the room with us...?"

You snort at his reaction. "No, but I was with him right before you got here. It's like, he just shows up sometimes. I have no way of contacting him outside of texting, but even then he doesn't always reply. Look, I'll try now."

Picking up your phone from your nightstand, you click Jeongin's contact and press call. It's silent when there should be ringing, a robotic voice telling you after a few seconds that the service has been disconnected. Tossing your phone to the end of your bed, you're about to complain about that when it starts to ring. The phone is lying face down, but you already have a feeling you know who's calling. Flipping it over, you accept the call.

"Jeongin," you breathe.

"Y/n."

"What do you want?"

"Who's that guy you're with? Wh- wait, can he hear me?"

You look over to Changbin, who is staring at the phone warily. "Um, I guess so. He's my best friend. His name is Changbin-"

"Yah! Don't tell the ghost my name!" Changbin slaps your arm lightly.

"What? You don't want me to haunt you?" Jeongin taunts. "Listen, I can't talk for long. I needed to let you know that I think other spirits are catching onto your ability."

"Don't phrase it like that! Ah, that makes me sound like some kind of psychic..." you frown. "It's freaky."

Without a reply, the call disconnects and you roll your eyes.

"See what I mean? Unreliable!" You groan, but catch the look on Changbin's face. "That's your thinking face."

"I have this friend who used to be a private investigator," Changbin blurts, looking over at you. "He doesn't do it anymore, but this might just be interesting enough for him to pick up. I'll give you his number later. And not to question you, but how do I know you're not pranking me right now?"

Reaching forward to grab your phone, you pull up a few videos of Jeongin for Changbin to hear his voice. There aren't many out there that you could find, a few audition tapes and personal videos on his socials, but that's it. After, you search for a news article about his death and show him the photo of him they used, one of his headshot right before his death.

"Okay, I believe you," Changbin exhales. "Minho might too."

~

notes ~ i seriously can't wait for the lino storyline u have no idea

taglist ~ @chaeryred @toplinelix @channie-143 @bloomingstay @sona1800 @dollschan @defnotfertilizedtoesw @thisisnotjacinta @kayleigh-28 @kayleefriedchicken @lailac13 @linocvp1d @ilov3jeong1n @mooseung

reply or send an ask to be added (18+)^^^ green means i can't tag you

[chiarrara]

i caught up on jjk. favorite panels in the last few chapters, plus:

thematic catharsis coming around

#jjk manga #jjk spoilers #jjk manga spoilers #jjk #jujutsu kaisen #i really think fushiguro is more of a parallel to geto than he is to gojo #geto saved gojo first but gojo failed to save geto #fushiguro saved itadori first and itadori's going to save fushiguro #it's also propping up my theory that gojo is an unreliable narrator #and most important things he's said in the series are going to be proven wrong #1. love it the most twisted curse of all #it's actually the key #2. you can't save someone who isn't prepared to be saved #you can and he will #those are my thoughts #i don't think the manga has gotten as bad as people are saying it has #but it does have issues #and the style change and quality dip in the illustration is bugging me #and don't think characters being introduced and dying quickly is that bad either #the ones that matter are written well and their deaths are significant and well integrated #the main issues cropping up now are also the issues that have existed for much much longer than post-shibuya #villains motivations make no sense #random battles that don't have thematic significance abrupt the pacing in an annoying way #the magic system isn't always well integrated narratively and thematically #gege has too many ideas and not all of them needed to make it past editing #but a lot of problems are just typical shonen problems that jjk seemed above when the story was a little tighter #also i don't think the magic system is as smart and complicated as people are pretending it is #i don't think it will be hard to adapt in the anime #i think the weaknesses in pacing and the increase in exposition are going to be more exposed in the anime though #and more people will catch on to the basic rules of the magic system being inconsistent or underdeveloped

[conduitandconjurer]

How do I even articulate this?

Basically I continue to think Klaus is very fucked up but not in the same way that 90 percent of the fandom seems to think (or prefer) and it is the WEIRDEST experience. I'm just constantly like, "oh yeah, I guess that IS how most fans perceive this character."

Does ANYONE else (aside my long-trusted mutuals) get this?

#ooc #my sole consolation is that Rob Sheehan himself doesn't seem to think differently from me) #it's 100 percent a fellow fans thing) #and i have theories about why) #what fascinates me is that i only ever had this to this extent with one other muse) #Gabriel from SPN) #which is interesting bc Gabe and Klaus have a lot of similiarities including classic “mascot” role in an abusive family dynamic) #and being perceived as way way shallower than they really are) #they mask their pain and insecurity similarly with humor and hedonism) #and it's like everyone BUYS it) #meanwhile i'm like “but that's a trauma induced persona y'all”) #and then i realize maybe the audience identifies with that trauma and ALSO needs to mask) #so this is their comfort character that they turn into a safe self projection) #but to me the most counter intuitive part of this is that people need Klaus to be selfish and self thwarting and 'lazy' and 'cowardly' ) #Klaus is their FAVORITE and they call him 'pathetic' and seem to RELISH that he's a 'loser' and 'doomed' to relapse) #and they say 'same' and 'me too' and i realize maybe they need this) #maybe it helps them feel less awful about themselves if their comfort character indefinitely fails to recover) #idk)

[calamitys-child]

Listening to a podcast discussing conspiracy theories and deconstructing the ideas behind them and it's reminded me of the coolest practical lessons in critical thinking I ever got, both in high school, both from the same teacher. One was a month long project on who killed jfk in which we could basically present any theory as long as we cited all our reasons and it got us really excited about research and interpretation, but it was the follow up that I liked best.

Our next project she brought us into class and showed us a documentary claiming the moon landing was faked. Gave us worksheets to do that sided with that stance. And at the end of class a bunch of us were like miss wait this doesn't seem right?? and she said okay, we'll discuss that next week. The next lesson, she showed us a mythbusters episode countering all the claims of the original documentary and gave us worksheets for that, and another bunch of people went wait miss you can't teach us two opposing things, which one is right? What do we put on the exam??

So she split the class in two and told us each to present a case based on each side, and to explain why our source was or wasn't the more reliable of the two. Got us to debate each other directly and use additional sources to back us up and explain why those sources were reliable and should be believed. And because they were randomly assigned there was no guarantee you'd agree with the stance you were presenting, but you had to present it like you did. At the end of the project she asked us all which stance we found more convincing and why, and the majority of us basically said "we think that the moon landing is real because most of the arguments against it seem like someone reacted to a confusing thing without testing it, but when you test it and ask the person running the test to explain the science it makes sense once you have more information. Also, one documentary was made with the help of scientists with qualifications and experience and the other was made by people who don't have that but like to write mystery books, which looks like a less reliable way to get an answer. But we still dont understand why you showed us both if one is wrong."

And she was like excellent. You've done exactly what you should do. At high school level, we as teachers are expected to filter for the reliable sources for you, so you know to repeat that to pass an exam, but if you want to be historians on your own, I won't be your teacher any more once you graduate. Lots of people have opinions and theories and research about times in history, and it's your job to learn how to look at them and decide who you want to trust. This won't be on the exam, but I need you all to know it. You all did a great job following the school's instructions to repeat information you were given, but for some of you, that information wasn't on a reliable foundation. I know you all know how to pass an exam. You're smart and you've been trained to follow these instructions. What you deserve to be taught is how to use all this once you don't have to do exams any more.

And then as a reward for us doing a good job at figuring out the value of checking your sources' sources she let us watch Bush get hit in the face with a shoe before we had to go to maths. Shoutout to you Ms Hannah you were a good'un I hope you're doing well ten years on from that class

[glow-in-the-dark-death]

A Week (He Will Take You)

~

Danny moved to Gotham for school, while there he noticed that Gotham's ambient ecto was really murky for lack of a better word.

This didn't really affect him too much besides a mild headache every once in a while but that also just might be stress from all his school work so maybe not.

Anyway

This murky ecto seemed to effect the people who lived there or more importantly the ghosts,

They were visible to the human eye like most ghosts back in Amity but instead of looking very much like a ghost they still looked like humans if a bit off putting.

They all seemed to be continuing their normal lives as if still fully alive, with the people around them none the wiser.

Danny noticed this and began approaching them to figure out what was going on.

Apparently the murky ecto in the city had made it so that they were strong enough to still continue a somewhat normal life but not be able to cross over to the GZ.

In other words they were stuck in Gotham

Danny was the Ghost King so he could easily fix this problem, all he needed to do was give them a bit of pure ecto for around a week to fully stabilize them them then he would just open a portal into the GZ and they could cross over with all their things also transferring into the GZ for their new haunt.

Unfortunately this looked rather worrying to an outsider,

Imagine you're used to your neighbor being very outgoing so you and others see them a lot suddenly this man seems to appear in their life out of nowhere an at exactly one week, your neighbor and all their belongings in their home disappear no trace to be found.

You tell people and they begin saying the same story they knew someone and them a man with black hair and blue eyes appeared in their life, then they and all their things disappear in exactly one week.

Of course the police in Gotham do the bare minimum so they're no help.

But it starts to begin a trend, especially online.

"Oh careful or the blue eyed man will make you disappear in a week"

This of course after time catches the bats attention, Gordon had already given them all the information he had.

"Young adult early twenties, dark hair, blue eyes"

That was it.

The bats look into it and from their point of view Danny is a serial killer.

But they can't find the connection between all of his victims, they range from young children and the elderly from different backgrounds absolutely no connection,

Worrying enough he doesn't just make one person disappear he has taken entire families up to over a dozen, without anyone figuring out how he's doing it or why at all.

The disturbing thing also being that he seems to take everything in their home, leaving it like it has always been empty

Like no one had been living in it.

People have tried to take photos of Danny get some kind of evidence of his existence, but when they try to do it, it either comes out completely corrupted or their devise simply shuts down fully.

Danny of course has no clue what is happening he's just happy that he's able to help so many ghosts, and is trying not to fail his exams.

~

Danny leaving the house he just helped: "That went easier than I expected!"

Neighbor peeking from the window: "Shit it's that guy! "

~

Red Hood marching down into the cave: " The fucker took many from my territory without me even realizing it!"

~

Tim: "I'm pretty sure his kill count is nearing the hundreds and he just started like maybe 4 months ago, this is bad."

Barbara: " I think I got a theory, this matches up with the new school year beginning so maybe their not a Gotham native which narrows down my suspect list."

Bruce: "Hn."

Tim: "Yes thank you B for the insightful commentary"

~

Danny trying not to fall asleep while on his way to class: "Strange I keep seeing shadows following me, oh well must be the stress!"

Bats who are pretty sure Danny is the killer: "Has he done anything suspicious yet?"

~

Just an Idea

#dp x dc #danny phantom #dc x dp #dpxdc #batman #danny fenton #dp x dc crossover #dc x dp crossover #prompt fill #story prompt #prompts #writing prompt #dp #ghost #ghosts

[ew-selfish-art]

DpxDc AU: Tim as a child was never given a lot of information regarding the scribbling messy handwriting that appeared over night all over his arms- naturally he came to his own conclusions.

Tim Drake was home entirely alone at 9 years old and was about to go out for the night to test his brand new long exposure camera lens when he sees the writing on his arm. It’s not English, like he assumed it was at first, but it was using the alphabet to represent… Tim isn’t bad at math but this formula is complex for his little genius brain.

Looking at his camera, he decides he can spare a moment to look it up, solve it, and get back out into old town Gotham in time for Batman and Robin’s final patrol lap. He does just that, finding the problem to relate to some aerospace engineering and then quickly deduces what laws and theorems need to be applied. He finds a pen, writes down his findings in much neater handwriting onto his arm, and goes out. It’s barely a remarkable night at all. He gets a much more memorable photo of Robin roundhouse kicking a hench person.

Things just continued on that way. Tim would find some complex math, physics or chemistry prompt on his arm (surrounded by various question marks or notes or sad faces)- he’d answer it as best he could and move on with his life. Perhaps his parents were manifesting these pop quizzes? Perhaps his subconscious felt guilty about abandoning his studies for more Bat related pursuits? Tim really didn’t care to think much about it once he became Robin- there was too much on his plate and too many peoples problems for him to fix.

Notably, however, after the attack at the Tower, the pop quiz appeared and Tim wrote back that he wouldn’t be able to find an answer to this one. It was the only time Tim questioned the markings appearance and it was because the next thing that appeared was “Hope you feel better soon.”

… his parents wouldn’t include that on a pop quiz. Cursed then. Tim decided it must be a curse, whatever, he’d deal with the implications later in life.

Tim then has the worst year of his life, hes 15, no longer Robin and the questions from his curse are getting less math oriented and more… philosophical. A lot of mentions of death that, in hindsight helped him actually grieve, and a lot of theories about dark matter and souls. Tim answers back as best he can but he’s drained and his answers aren’t very good in his opinion. He gets minimal feedback.

It all comes to a point that he’s at a family dinner, Bruce is at the head of the table, Jason has promised just to stay for dessert, Damian hasn’t thrown a single insult his way and Steph was laughing at him- when a new theoretical model appears on his arm.

“You’re just as bad as Bruce, Timberly. Hiding a soulmate from all of us, how fucking typical.” Jason points out, while watching Tim scribble back some math with a question mark onto his arm.

“A what? No, this is just a curse. I get pop quizzes every now and then.” Tim bats away Steph who rapidly approaches and began to analyze his arm (the rest of the family isn’t far behind).

“Drake. Explain how you came to this conclusion.” Damian seems more curious than anything, if his lack of insults was anything to go off of.

“Since I was young I’ve had at least weekly math check ins, I never had a parent or anyone else around so I assumed my parents had me cursed to ensure I stayed on top of my studies. Sometimes it’s physics or chemistry, for a while there it was a ton of philosophy and behavioral psychology.” He shrugs his shoulders.

“Master Tim, I believe the lack of adults in your life has led you towards a false conclusion. That is most certainly a soulmate mark. The individual to whom you are responding is undoubtedly your other half.” Alfred attempts to calm the room before explaining to Tim. Tim isnt sure if he believes the butler, though Alfred only very rarely lied, so he grabs the pen once more. He writes his first question back: “Who am I to you?”

The room waits in anticipation and within moments a brand new line appears on Tim’s arm and he is vindicated: “We do math together???”

——

The reason Danny is failing English is because his built in homework helper sucks ass at metaphors and has apparently never read any classic literature. The tutor on his arm is great at puzzles and math tho.

Danny gets a reply back one night that he wasn’t expecting (Who am I to you?) and he mentions it to Jazz. Who goes insane that Danny didn’t even question it and just went with “meh, probably haunted” as his explanation for the phenomenon for all these years.

Apparently, if Jazz was right, he had a soulmate who was uh, super fucking smart. That was an overwhelming thought.

The next day Danny is in crisis mode and writes back “Wait, WHAT AM I TO YOU??? Can I help on your homework??”

Danny gets vindicated when the writing on his arm presents a shit ton of dates and information for an unsolved Gotham cold case. See, Haunted.

———

Eventually between Danny becoming the top candidate for astrophysics at Wayne Enterprises and Tim Drake being outed as having contributed tips to the GCPD that solved cold cases- they meet and realize just how dumb they’ve been.

#dcxdp #dpxdc #dc x dp #dp x dc #danny phantom #dc crossover #dp crossover #long post #braindead ship #brain dead #deadtired ship #tim x danny #soulmate au #soulmate marks #I feel like I really cooked something here #two super smart total dumbasses #in my head then then fall in love and try to pretend that they’ve known this whole time lmao #Tim looks at college level physics questions on his arms as a kid and is like ‘must be a pop quiz’ and then solves them #danny just thinks it looks neat at first but then his haunted arm replies back with actual answers and explanations??? #your honor these two meet in person realize that they are literally soulmates admit no fault and carry on like they’ve always been in love #tim is naturally paranoid and Danny is naturally curious so tim always answers and Danny always asks

[uglyducklingofthe2000s]

Glitter Bug - Max Verstappen

Summary: Media and fans begin to notice that Max seems to always have a dusting on glitter on him recently. But where is it coming from?

Also for context, this is not based around any real race events of this season or previous season. I'm just making stuff up for excitement.

No part 2 requests please

"Oh Max, you got a bit of-you've got a dusting of glitter on you." The interviewer comments as he walks into the media pen after qualifying.

"Must be from the fan celebrations." Max dismisses seeming to think nothing of it before he speaks up again. "I think I walked through a cloud of glitter from some little fans."

Lies but for now he thinks it'll work as a cover for now.

"You looked great out there, good pace. How did it feel?"

"Good, unexpectedly good. But I'll make the most of it tomorrow and see what results we can get." Max states earning a small nod from the journalist.

He goes through a few questions before heading into the unit to change into something else to get back to the hotel.

"You have glitter on your face." GP comments as Max walks in. "Was that there before?"

"No. Y/n caught me before I got to media." Max states trying not to smile since while he isn't exactly eager to be covered in glitter, the fact it's from his girlfriend means it isn't something he's so bothered about.

"How nice of her." GP laughs before Max disappears into his drivers room where y/n is looking down at her phone, just waiting for her boyfriend.

"Hello, baby." Max smiles moving towards her knowing that one kiss is about to have a new coating of glitter all over his face again. "You glitter is spreading around. A journalist pointed it out in the media pen."

"Oh...I'm sorry, I didn't realise it was so-"

"Don't be sorry, it doesn't bother me. Although, I think I may need to work on explaining why there's glitter on my face."

Y/n is admittedly a bit of a glitter bomb, she uses it as make up and in place of where someone might put fake freckles on their cheeks and nose she dusts glitter. Max has never really thought of asking why, but he would definitely never ask her to change. And on the few occasions in the day time he's seen her without glitter she almost seems incomplete.

Inevitably it means Max gets a cost of glitter whenever he kisses her.

“I think you look nice with glitter.” Y/n smiles lightly earning a smile from Max before he leans down and kisses her.

Their relationship isn’t necessarily something Max is going out his way to keep completely secret but he also doesn’t feel like broadcasting it and sharing it with the world is the right thing to do right now. If only to protect her from the scrutiny he knows she’ll be forced to endure.

A few other drivers he’s closer to and people within the team know about her. He suspects some of the media have noticed her and probably have their theories. But there’s been nothing officially confirmed.

“I think you look beautiful with glitter. You wouldn’t be the same without it.” Max states then moving to get changed.

-

Being back at the hotel, y/n does her usual routine of trying to remove the glitter from her skin. Which Max has to admit, he doesn’t think works in 100% effectiveness.

Though she seems to manage to do a better job with Max in helping him wash his face to get the second-hand glitter from his own skin.

“All clean?” He questions moving up behind her at the sink as she uses a hand towel to pat her face dry from the double cleansing. “Clean but not quite glitter free.”

“I don’t know if I ever want to be completely gli.ter free.” Y/n shrugs smiling at him in their reflection, leaning back on him slightly as she feels his arm hug her and his hand press flat on her tummy just to hold her closer. “Not enough glitter that I’ll be passing it onto you though.”

“Ready for bed?” Max hums knowing she has many more steps in his skincare routine so it’s not a question really worth asking.

“Just a few more things. You can go ahead, I’ll catch up.” Y/n murmurs while seeming to grab one of the little bottles.

If Max tried to guess what she’s putting on her face, he really thinks he’d only get it wrong. She's actually already put it on his face, always dragging him into an involuntary skincare routine. Again, he'd do anything for a smile from her so he never says no.

-

"Oh gosh, that's-a lot is on your face." Y/n gasps rushing to brush her hands at Max's face to wipe his skin as best she can. "Wait, wait. I'll get a cloth, it'll go in your eyes when you're sweating in the car."

Max smiles sort of taking a moment to enjoy y/n's worry. It would definitely be a problem if his sweat got glitter in his eyes, but the fact she thinks about that and considers the risks really just makes him realise how perfect this woman is for him.

"I think I got most of it." Y/n murmurs then frowning as she inspects his skin. "Ok, you should be ok."

"I'll get my share of glitter later at the end of the race?" Max smiles making her nod trying to tone down her smile a little before she clears her throat.

"Ok, I'll see you at the end of the race. I'm going to go just take my seat." Y/n states earning a nod though when he tries to kiss her again she quickly moves back giggling. "No, I just got the fglitter off of you. You'll have to wait for a celebratory kiss."

"What if I don't do well? Do I get a pity kiss?" Max asks making her grin and nod. "And lots of glitter?"

"All the glitter I can manage." Y/n laughs then hugging Max tightly instead of allowing for a kiss. "Ok, go on."

"I love you."

"I love you too."

-

Max DNF'd.

Not necessarily of his own doing, at least the stewards deemed it a racing incident. Probably because him and the other driver both landed themselves out the race.

"I'm sorry baby." Y/n pouts as she walks with Max heading towards the Red Bull unit for him to change after being weighed upon his return to the paddock.

Max is unhappy but he'd managed to get a message to y/n in time for her to rush out of the garage where she'd been watching and to him.

Y/n goes to speak again, only to find herself lifted and carried by the Red Bull driver as he makes the most public display of affection with several kisses that successfully give him his fair share of glitter.

"Max..." Y/n murmurs looking at the driver with a soft sigh, trying to ignore the few cameras around them. "You know what you just did."

"I know." Max shrugs then smiling when he kisses her again. "But I really needed that."

Y/n smiles always happy to hear that she's being a help if only by her presence with him.

"You stay at the unit. I'll come find you after media." Max states finally placing her down on her own feet. "Don't talk to anyone who you don't already know."

"I'm not a child, Max. I know not to speak to media." Y/n laughs earning a hum before he cups her face looking happier than anyone as ever seen him for a DNF. "Go on, I'll be waiting."

Max quickly changes into some less sweaty clothes before moving to the media pen. One of the luxuries of a DNF is really there's not quite the rush to get to media as there is at the end of a race. Though admittedly, they still don't want him to take too long.

When he gets to media it's obvious word is spread about Max's mystery girl and he can tell they're holding off asking because they don't want to come across as unprofessional.

"You have glitter on your face again." The same journalist from yesterday comments making Max smile. "The same kids stage another glitter attack?"

"I think glitter might be a new part of my uniform after races." Max states with a nod. "I was waiting for someone to comment but you have all been very careful about asking. I thought you might change that."

"You seemed very happy out there as soon as we saw you with her." The journalist comments sincerely while Max can't hide his smile. "Usually you're not so happy after a DNF but it's good you have someone who can perk you up a bit more."

"I think it's the glitter too." Max comments jokingly then nodding. "I wasn't happy about the DNF and I don't think I will ever be happy but it was nice to have y/n there afterwards."

The journalists eyes practically twinkle with the tid bit of information that is y/n's name. Before today there had been a mild rumour of him being in a relationship, but really no one expected her to be so suddenly out on the scene.

After finishing up media, Max heads back to do the debrief of his own short-lived race before heading to his driver's room where y/n has relocated herself.

"You told them."

"I told them." Max confirms without an ounce of doubt about it. "Don't worry, I'll protect you if they're mean."

"It's ok, I'll throw glitter in their eyes." Y/n grins making Max laugh. He shouldn't really encourage her to be violent but violence with glitter feels so harmless from y/n he's not sure he can do anything other than laugh. Even if the idea of glitter in someone's eyes is probably enough to blind them.

"I think that might be the cutest but most effective form of self-defence ever." Max comments then checking himself for the amount of glitter he managed to steal from her.

"You know all we need is bows and you're the prettiest driver in the paddock."

"I love you, but not enough for bows." Max laughs earning a grin from the young woman.

"Ok, no bows. But I'm going to start getting more colour with the glitter...maybe I'll get you your own glitter-or I'll wear blue glitter for race day."

"All of those sound amazing." Max nods moving to kiss her again and maybe steal more glitter which is beginning to be his favourite thing.

Taglist: @namgification @hiireadstuff @jsjcue @geniusalpaca @itsjustkhaos @llando4norris

#f1 #fanfic #formula 1 #max verstappen imagine #max verstappen fanfic #max verstappen #max verstappen fic #max verstappen f1 #max verstappen x y/n #max verstappen x reader #max verstappen x you #max verstappen one shot #mv1 fluff #mv1 x reader #mv1 imagine #mv1 fic #mv1 x you #mv1 x y/n #mv1 #mv1 one shot #mv33 x y/n #mv33 #mv33 x reader #mv33 imagine #mv33 fic #mv33 x you #mv33 one shot #red bull racing #red bull f1 #red bull formula 1

[ghostaholics]

fuck it i'm thinking about grump x sunshine trope and a neighbor au with ghost where he's known for being the building's loner-tenant, this brute bear of a man that keeps to himself.

nobody's ever seen him smile or caught a glimpse of the entirety of his face because he always wears a black surgical mask when he's going to and from his flat; nobody's ever had a full-length conversation with him, because true to his callsign, he's in and out of the building with as much silence and stealth as a ghost. the other residents gossip about him: the water-cooler talk usually goes along the lines of them trying to piece together his story, who he is, what he looks like, whether they should be worried about the fact that he lives there (because there's nothing wrong with being a recluse but he does give off slightly terrifying vibes due to his size and demeanor). the rumor mill’s churning out these outlandish ideas about his private life and they kind of make assumptions based on little things they’ve noticed about him since he’s started living there.

enter in his new neighbor who's never met him, but was advised on her move-in day that he doesn't interact much with the other residents, basically a light debrief on how he can come off as cold and aloof and while some people have made attempts in the past to greet him, they’ve been dissuaded by his general standoffishness and avoidance of any social interaction.

anyways, simon wakes up at odd times throughout the night because he's got the most fucked sleeping schedule from deployment; he can start his day anywhere from 4am, 6pm, and so forth but on one particular morning, he's up at 3:30am, ready to go out for a jog of all things at this hour and then in the hall, he runs into his cute neighbor who's holding this also equally cute german shepherd puppy in her arms; his reaction consists of slowly blinks and a blank expression because he doesn’t quite know what to make of the sight in front of him

and she's staring back at simon with wide, frightened eyes not because she finds him intimidating or anything of that nature (honestly she doesn’t really give two shites about what the others say about him) but because the landlord has a severe and well-known, no-pets policy so she's been sneaking the puppy outside to use the bathroom in creative ways (one of them being at a time where she's certain none of the other tenants are awake) – she's basically been caught red-handed and fuck she's not sure if he's the type to snitch so all she can really say is:

❝ You didn't see anything. ❞

to which he deadpans,

❝... Sure. ❞

because he’s really just trying to mind his own business and not get involved, ducks his head before shouldering past her in the corridor to get outside – he tells himself he can’t bring himself to care about this new development

however, she's not entirely confident that he's going to make good on his word, so she bakes these cookies (special recipe of hers that she’s hopeful will win him over), leaves them in front of his door as a bribe with a card that says please don’t get me evicted ♡ on the inside, which seemed like an excellent plan in theory until he shows up the next day with an empty plate, a very real, very genuine request for more, and a serious demand to see the german shepherd that’s trying to squirm its way out the door to greet simon

edit: love thy neighbor masterlist

#I have more to say but I’m stopping myself right there #part one is being written #simon riley x you #simon riley x reader #ghost x you #ghost x reader #simon riley headcanons #ghost headcanons #simon ghost riley #simon riley

[createserenity]

Aziraphale and Crowley's relationship dynamic fascinates me and what fascinates me even more is how people perceive them, partly because I seem to have a much more optimistic view of their dynamic than a lot of what I read suggests they do.

With that in mind I started trying to unpick how I see their dynamic and why and what I ended up with was a series of rambles on various aspects, including confidence, trust, silliness and what they ask of each other. This one is about what they ask of each other and why their relationship isn't some weird one-sided thing where Crowley gives Aziraphale everything he could possibly want or ask for.

I see a lot of posts and things suggesting Crowley always rolls over and does anything Aziraphale asks of him. I don’t know to what extent most people really believe this or if it’s just a fun joke (and I’m not saying that’s bad, I think it’s a fun joke too, I love reading all that stuff and it makes me laugh). The point I wanted to make here though is that I don’t think it’s true and also why I don’t think it’s true.

Everything from here on out is my opinion, but I won’t keep stating that in order to make it more easily readable, just take it as a given. If your opinion is different that’s absolutely fine, I love that we can all see this stuff in different ways depending on our experiences and personalities, it’s why the fandom is so fun. (It’s also why my opinion on so many things in season two ricochets wildly from one theory to another).

So back to Crowley and Aziraphale – I don’t think Aziraphale walks all over Crowley, or certainly not to the extent that people sometimes think he does. Also Crowley doesn’t and wouldn’t allow himself to be walked all over anyway. Why is this even relevant? Because I’ve seen people say that in the final 15 minutes Aziraphale finally asked Crowley to do something that pushed him over the edge and that Aziraphale was shocked when Crowley didn’t roll over and do it because Crowley always does what Aziraphale asks. This isn’t at all true for a start, but also this view tends to include a second assumption, which is that their relationship is one-sided and Aziraphale never does anything for Crowley, that he dismisses him and takes him for granted, which also is not true in a lot of ways. I think it’s a fundamental misinterpretation of their relationship dynamic.  

First of all why can Crowley’s actions be interpreted as just rolling over and doing whatever Aziraphale wants? Well, the answer to that is three-fold – firstly Crowley is a genuinely unselfish in many ways, he does things for people because that’s the way he is, it doesn’t make him a pushover, it just makes him nice. Secondly he loves Aziraphale deeply. Whether he knows it or not doesn’t matter, he cares for Aziraphale and wants him to be happy. This isn’t the same as being a complete doormat, it’s simply compromising with the person you are in a relationship with and occasionally prioritising them over yourself. Both these things come together in the third thing, which is that Crowley’s love language is acts of service – he enjoys doing nice things for Aziraphale, he enjoys rescuing him, or going along with him and letting him have his own way, so why not do it? The point is he’s never railroaded into it by Aziraphale, it’s always a deliberate choice. He is literally saying, I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you.

How does Aziraphale see this behaviour?

Well that’s a tricky one, because in many ways Aziraphale is the more complex character, not least because he changes the most over the course of their history together. Is there a slight element of him taking Crowley for granted in some of their interactions, especially in season two? Possibly, but mostly I don’t think that’s it at all. When someone gives you things because their love language is acts of service you develop a (mostly sub-conscious) confidence in that relationship dynamic and if you also have confidence in yourself (which Aziraphale absolutely does – I’ll write more on this another time) then when you want something you ask for things. You ask not because you learn to expect, but because you think you’re worthy of asking and you think that your relationship is strong enough to stand up to the ask. I ask my husband for things all the time, sometimes they’re things I know he’ll give me – these are easy asks (I don’t just mean physical objects, I also mean acts of service such as helping me with something), sometimes though I’ll ask for things knowing he probably won’t give me that thing or without having a clue what his answer will be – these are harder asks, the sort you don’t do early on in relationships because they might break it either in one go or over time. Sometimes a hard ask results in me getting what I want, sometimes it results in a bit of back and forth before I get what I want, sometimes I get a no and I’m temporarily annoyed or upset, sometimes I get a no and I accept it because I knew it was the most likely outcome.

The point is that I ask, and so does Aziraphale. You ask because you have confidence that you are worthy of the ask and also that your relationship is strong enough to bear the request, even if the answer is no. Can a no still be annoying or upsetting? Yes absolutely. Can a no still be wrong on the part of the other person? Also yes. The point is that sometimes the no isn’t wrong and it doesn’t necessarily break the relationship. By the time season two comes along Aziraphale is confident enough in his relationship with Crowley to feel it can bear the weight of him asking.

So what happens when he asks? Does Crowley roll over?

Well no, he doesn’t. One big example of this is right at the beginning of the series, in episode one. Here Aziraphale makes a massive ask of Crowley and he knows it’s a big ask. Even before he tells Crowley what the problem is he’s aware of the possibility of a no. “Is it something I can help you with?” Crowley sayss, and Aziraphale merely shrugs. It’s not because Nina is there, she’s gone by that point. It’s also not because he doesn’t have faith in Crowley’s ability to help him, he always has faith in Crowley’s abilities (this is a whole other thing on trust). What he’s doubting is whether Crowley will help him. It’s why they’re meeting in the café, not the bookshop. He wants to break this one to Crowley a bit at a time – there’s a problem and I need help. I want your help, it’s why I called you, but you aren’t going to like it and I’m not even sure whether you will help so I’m establishing that I need help first, rather than showing you Gabriel immediately, so that you aren’t completely surprised when I present the whole problem to you.

Once they go to the bookshop and Crowley is confronted with Gabriel he offers the help he feels able to give by saying that he’ll drive Gabriel somewhere and dump him. He’s stating his willingness to help (which is important later), but for now he’ll only help in one specific way. What he isn’t willing to do is any more than that, not even for Aziraphale.

Help me take care of Gabriel. Help me sort this mess out, Aziraphale says, and what does Crowley say? No. Absolutely not. You’re on your own with this one. Even after Aziraphale practically begs him for help, complete with puppy dog eyes and the magic word, “I’d love you to help me,” Crowley still says no. That is not the reply of someone who lets themselves be walked all over or who rolls over every time the angel they’re in love with flutters their eyelashes.

Okay so what about the fact that he returns? Well, the stakes have been raised: for a start Aziraphale is now directly in danger, which alters the balance in favour of helping him, and remember he was already willing to help, he said as much, but he was previously only willing to help in one way. Now that’s changed. Doing things you wouldn’t normally do for someone you love when the stakes are raised is a perfectly normal rection in a relationship and does not indicate an unhealthy dynamic. Crowley has now realised that getting rid of Gabriel is no longer an option - his preferred plan (dumping Gabriel somewhere) will no longer work, so the only choice is now Aziraphale’s plan of keeping him in the bookshop and taking care of him.

This is why he returns.

A quick note on the call

Just backtracking a bit here – when Aziraphale calls Crowley to ask him for help Crowley agrees to be over in two minutes. It’s instant, no questions asked and at first glance looks like Aziraphale calls and Crowley comes running just because. But nope. Later we are very clearly told that Crowley knows something is wrong the moment he picks up the phone and Aziraphale starts speaking, “This was your ‘Something’s Wrong’ voice.” Crowley already knows there’s a problem and what do you do when your closest friend calls you and tells you about a problem? You try to help. Whether that’s advice, comfort, physically going around to help out or whatever the situation calls for. Of course Crowley says he’ll be there in two minutes, he doesn’t exactly have anything else on and his friend has just indirectly told him something is wrong. He’d be a pretty shitty person/entity if he didn’t agree to drop round and try to help.

So what about the 'I was wrong' dance?

This whole interaction, that many people say indicates how under the thumb he is actually shows us the exact opposite. What’s the first thing Crowley says when Aziraphale asks him to do the dance? “I don’t do the dance.” This tells us a hell of a lot about their relationship dynamic up to this point – for a start Aziraphale has clearly done the dance before, at Crowley’s request, and he lists off the occasions. The dance is silly and slightly demeaning and Aziraphale has done it several times for Crowley, whilst Crowley has never done it, yet somehow we read this whole scene as Crowley being the whipped one? Um. No. Also heavily implied in Crowley’s, “I don’t do the dance” statement is, You’ve asked me to do this before, I’ve always said no because I don’t want to. You’ve always accepted my no before and I want (expect!) you to accept it this time.

But this time Aziraphale doesn’t accept the no. Just like Crowley wouldn’t go along with his plan earlier, Aziraphale now won’t go along with Crowley’s no. Clearly he has done so in the past, but this time their dynamics are different. They’ve been much more open about their friendship for the past four years, they’ve both accepted that they are at least close friends, if not more. They’ve saved the world together and saved each other. They both acknowledge they “carved (this existence) out for ourselves” and that brings strength to their relationship. Now that Aziraphale has more confidence in what they are to each other, he takes that confidence and tests the limits of what Crowley will do for him, to push them more towards equality. Why should he always be the one to do the dance? Crowley responds by acquiescing not because he would just roll over and do anything for Aziraphale but because he recognises three things. Firstly that Aziraphale is pushing and that this is new and that this means something to him in the context of their relationship, secondly because he reluctantly accepts Aziraphale’s point that it isn’t really fair that he never does it, and finally because the request for him to do the dance isn’t about him refusing to help (Aziraphale was never certain he would), it’s about the fact that he’s broken Aziraphale’s trust by refusing to help (which is a slightly and very subtly different thing). To illustrate this, right before Crowley does the dance, just after he says “fine,” he gets this very brief, soft look on his face – this is him acknowledging to himself that Aziraphale deserves this dance, that he loves the angel and that he’s doing this because of both those things – he could have continued to insist on a no, he clearly has before, but this time he chooses not to.

I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you.

All right, what about the car thing?

What about it? Lending your car to the person you love is very normal. Ok so the car means more to Crowley than a normal car does to us, but the point still stands. Aziraphale is making a reasonable request here. Does he expect a yes? Absolutely, because he also knows it’s a reasonable request given where their relationship is. Does he flirt to get his own way? Hell, yes. Does Crowley know exactly what Aziraphale is playing at? Also a hell yes. And Crowley totally plays up to it, he’s not as opposed to it as he claims. He’s playing up his “no” and his grumpiness for effect, to encourage Aziraphale’s silly flirtiness. Look at the difference between this no and the no he gave Aziraphale earlier. There’s no anger here, there’s no real sense that he thinks Aziraphale is asking too much, he’s playing a role in their relationship and they’ve both played this game before. Look at that little slap of the hand, which Aziraphale responds to equally playfully. The game even continues after Muriel turns up at the shop, when it’s already quite clear that Crowley is going to let Aziraphale use the car (he’s already taking the plants out). Even in the back-room Crowley still teasingly grumbles about trains whilst Aziraphale smiles flirtily, and Crowley playfully withholds the car keys when Muriel interrupts them. They both know Aziraphale is going to end up with them, there’s no point to him not directly handing them over in spite of the interruption, it’s just an excuse to tease Aziraphale back. I mean, look at him – he spends the rest of the conversation wiggling his hips, grinning smugly and confidently handling the Muriel problem by talking about love. Aziraphale’s very overt reaction tells you all you need to know about the dynamic of this one.

Two can play at this flirting game, angel.

But he follows him around like a little puppy!

Well, yes and no. Sure he follows him around whilst he goes around asking all the shopkeepers to the meeting, but he does that because it’s fun for him. He’s curious, Aziraphale is acting oddly, doing something he’s never done before and Crowley wants to know what it is. He’s always found him fascinating – what silly and ridiculous thing is the angel up to now?

Also wanting to hang out with the person you are in love with isn’t at all strange or a sign you are in some sort of weird relationship where only one of you calls the shots. It’s normal. Crowley knows Aziraphale has a tendency to be silly or do unexpected things and he wants to watch him do them and also flirt with him whilst he’s doing them. Looking grumpy and reacting to Aziraphale’s silliness with disbelief is how Crowley flirts-without-flirting. Both of them know, understand and like that dynamic, and he has that role not because he’s unhealthy levels enthralled with everything Aziraphale does but because of the levels of trust they have spent millennia establishing.

What Crowley doesn’t do is wait around for Aziraphale. Look at the scene where Aziraphale daydreams about Job. In that scene he’s aware Aziraphale has something else to show him (the record clue), but he doesn’t stick around whilst Aziraphale ignores him. He could have sat down somewhere in the shop and waited – he’s got an eternity, waiting an hour or so is no big deal, but waiting around like that would suggest he really is a doormat, just waiting for the next time Aziraphale shows him any attention. He doesn’t do that, instead he goes off and does… well, something. There’s a lot of speculation over what it is, but whether he goes off to read Pride and Prejudice or just wanders off to find something more interesting to look at than the back of Aziraphale’s head, he’s clearly saying here that he has a life outside of whatever Aziraphale wants to do.

Also side note - you know what else he doesn’t do for Aziraphale? Adjust his driving style. Aziraphale clearly hates it, it makes him nervous and he even asks Crowley to change several times whilst they’re in the car together, but Crowley never does. This is how I am angel, accept it or don’t, but this is the line and I’m not changing this for you. Related to this is his refusal to accept Aziraphale altering the Bentley. Aziraphale tries to persuade him, “But it’s pretty,” and Crowley really isn’t having it. It’s another hard line and he’s not going to let Aziraphale cross it.

Anything else?

There’s a few other examples that I’ve seen listed in the, “Crowley does whatever Aziraphale says/wants” evidence piles. Things like Aziraphale assuming he’s going to get the drinks in the pub. Well, someone has to get them, and it makes perfect sense that they both assume it’s Crowley here because he’s the one more comfortable with pubs. Having a role that you take on within certain situations in a relationship is healthy and normal, imagine how exhausting it would be to debate who is going to do every little thing all of the time.

In the first series the coat cleaning is another example often cited, but this is something Crowley is perfectly happy to do. Aziraphale is flirting, which is delightful, and he’s not being asked to do anything difficult or dangerous. I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you, which is totally different from, you always ask, I always give, and you always take.

What about Aziraphale. When does he give?

All the damn time. We just don’t notice it as much because Crowley asks different things of him. His love language is acts of service towards others, but he doesn’t really ask or require them in return. Sometimes he gets them from Aziraphale anyway (Holy water anyone?) Also notably in the Globe Theatre when he’s clearly the one pushing the Arrangement, and Aziraphale more or less agrees to do his work for him (“That doesn’t sound like hard work”) even before he’s asked, before they’ve gone through their little dance of Crowley pushing and Aziraphale supposedly-reluctantly agreeing.

The other things Aziraphale gives Crowley are much more nuanced, and much less measurable to us as the audience, but he gives them constantly, or more or less constantly, throughout their relationship. He gives him acceptance (although he occasionally partially withdraws it, such as in the bandstand scene), his silliness (which is more important than it first appears), a safe space (not just the bookshop, but also a safe space for Crowley to air his real views without fear of consequence, which is important irrespective of whether or not he persuades Aziraphale to agree with him), his physicality (by 1826 he’s really in Crowley’s space so much of the time) and most importantly he gives Crowley himself. Crowley constantly pushes Aziraphale to grow as a person, it’s one of the original reasons he entertains developing a friendship with him. What he asks of Aziraphale is for Aziraphale to think – really think – about what he believes. And Aziraphale does so, but only for Crowley. Humans have constantly questioned religious beliefs throughout history, they’ve written books, made speeches and even had wars over religious doctrine and the problems, inconsistencies and absurdities within it. Crowley is saying nothing to Aziraphale that he won’t already have indirectly heard from humans and dismissed or ignored. But when Crowley says it, he thinks and he changes. That’s what Crowley asks of Aziraphale and it’s what Aziraphale gives him.

What was the point of all this waffle?

Well, honestly there isn’t much of one. Only that their relationship is much more balanced than some suggest and I think I just wanted to spell that out. It also has an implication for the final 15 minutes. There’s no way Aziraphale goes into that with some sort of fake confidence that he can persuade Crowley to follow him to heaven simply because Crowley always follows him – Crowley doesn’t, he has very clear limits that he enforces with Aziraphale and Aziraphale knows this. He might feel confident for other reasons (such as thinking Crowley will be happy to be an angel again) or something else entirely different might be happening (so many theories!) but I’m pretty sure it’s nothing to do with thinking Crowley always does what he asks, because he very clearly doesn’t.

It's also why Crowley waits around afterwards to watch Aziraphale leave. It’s a way indirectly of saying one final time, I love you and I enjoy making you happy… but this is something I cannot give to you.

#good omens 2 #good omens #good omens meta #apology dance #ineffable husbands #ineffable fandom #acts of service #crowley loves aziraphale #aziraphale loves crowley #aziraphale #crowley

[just-late-roman-republic-things]

Things I look for in history books:

🟩 Green flags - probably solid 🟩

Has the book been published recently? Old books can still be useful, but it's good to have more current scholarship when you can.

The author is either a historian (usually a professor somewhere), or in a closely related field. Or if not, they clearly state that they are not a historian, and encourage you to check out more scholarly sources as well.

The author cites their sources often. Not just in the bibliography, I mean footnotes/endnotes at least a few times per page, so you can tell where specific ideas came from. (Introductions and conclusions don't need so many citations.)

They include both ancient and recent sources.

They talk about archaeology, coins and other physical items, not just book sources.

They talk about the gaps in our knowledge, and where historians disagree.

They talk about how historians' views have evolved over time. Including biases like sexism, Eurocentrism, biased source materials, and how each generation's current events influenced their views of history.

The author clearly distinguishes between what's in the historical record, versus what the author thinks or speculates. You should be able to tell what's evidence, and what's just their opinion.

(I personally like authors who are opinionated, and self-aware enough to acknowledge when they're being biased, more than those who try to be perfectly objective. The book is usually more fun that way. But that's just my personal taste.)

Extra special green flag if the author talks about scholars who disagree with their perspective and shows the reader where they can read those other viewpoints.

There's a "further reading" section where they recommend books and articles to learn more.

🟨 Yellow flags - be cautious, and check the book against more reliable ones 🟨

No citations or references, or references only listed at the end of a chapter or book.

The author is not a historian, classicist or in a related field, and does not make this clear in the text.

When you look up the book, you don't find any other historians recommending or citing it, and it's not because the book is very new.

Ancient sources like Suetonius are taken at face value, without considering those sources' bias or historical context.

You spot errors the author or editor really should've caught.

🟥 Red flags - beware of propaganda or bullshit 🟥

The author has a politically charged career (e.g. controversial radio host, politician or activist) and historical figures in the book seem to fit the same political paradigm the author uses for current events.

Most historians think the book is crap.

Historical figures portrayed as entirely heroic or villainous.

Historical peoples are portrayed as generally stupid, dirty, or uncaring.

The author romanticizes history or argues there has been a "cultural decline" since then. Author may seem weirdly angry or bitter about modern culture considering that this is supposed to be a history book.

The author treats "moral decline" or "degeneracy" as actual cultural forces that shape history. These and the previous point are often reactionary dogwhistles.

The author attributes complex problems to a single bad group of people. This, too, is often a cover for conspiracy theories, xenophobia, antisemitism, or other reactionary thinking. It can happen with both left-wing and right-wing authors. Real history is the product of many interacting forces, even random chance.

The author attempts to justify awful things like genocide, imperialism, slavery, or rape. Explaining why they happened is fine, but trying to present them as good or "not that bad" is a problem.

Stereotypes for an entire nation or culture's personality and values. While some generalizations may be unavoidable when you have limited space to explain something, groups of people should not be treated as monoliths.

The author seems to project modern politics onto much earlier eras. Sometimes, mentioning a few similarities can help illustrate a point, but the author should also point out the limits of those parallels. Assigning historical figures to modern political ideologies is usually misleading, and at worst, it can be outright propaganda.

Extraordinary claims require extraordinary evidence. "Big theory" books like Guns, Germs and Steel often resort to cherry-picking and making errors because it's incredibly hard for one author to understand all the relevant evidence. Others, like 1421, may attempt to overturn the historical consensus but end up misusing some very sparse or ambiguous data. Look up historians' reviews to see if there's anything in books like this, or if they've been discredited.

There are severe factual errors like Roman emperors being placed out of order, Cleopatra building the pyramids, or an army winning a battle it actually lost.

When in doubt, my favorite trick is to try to read two books on the same subject, by two authors with different views. By comparing where they agree and disagree, you can more easily overcome their biases, and get a fuller picture.

(Disclaimer - I'm not a historian or literary analyst; these are just my personal rules of thumb. But I figured they might be handy for others trying to evaluate books. Feel free to add points you think I missed or got wrong.)

#jlrrt essays #historiography #media literacy #critical thinking