#using real themes or realistic approaches

[astrofaeology]

Mercury in the Signs

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ᡣ𐭩 Please support me by reposting, liking, following me and commenting your placement. Mercury is the planet of communication and rules over siblings. By analysing your mercury placement you can understand more about how you think and communicate.

0º is the degree which doesn't have a coresponding sign assigned to it. It's a fresh new degree and will amplify the themes of the sign that it's in

Aries (1,13,25º) Your tounge is like a spitfire, you have a force that you project to the people you talk to. Your mind is s quick, direct, and often impatient. You speak and think impulsively, valuing honesty and straightforwardness above all else. You're a natural initiator of ideas, eager to jump into discussions and debates, though you may sometimes speak before fully considering all angles. Your communication style is energetic and enthusiastic, often inspiring others with your bold and pioneering thoughts.

Taurus (2, 14, 26°) This placement gives your communication and thought processes a careful, methodical, and useful approach. You take your time and carefully consider the information before drawing well-founded conclusions. You have a talent for breaking down difficult concepts into easily understood terms, and your statements are frequently well-founded and trustworthy. Even though you might be slow to change your mind, once you've made up your mind, it's hard to get rid of.

Gemini (3, 15, 27°) Gemini blessed you with a naturally curious, flexible, and clear mind as Mercury's home sign. You excel in compiling data, having different kinds of discussions, and tying several ideas together. Your writing is clever, flexible, and sometimes marked by a fast-fire delivery. You are a real master of words since you have a great capacity to pick things fast and modify your approach of communication to fit any audience.

Cancer (4, 16, 28°) Mercury in Cancer offers your communication a simple, sympathetic, and usually emotionally charged approach. Your emotions greatly shape your ideas, and you usually interact sensitively and warmly. Your words help to create comfort and security and you are quite good in picking the unspoken subtleties of a conversation. You might communicate best when you feel emotionally linked and safe.

Leo (5, 17, 29°) Your communication approach with Mercury in Leo is confident, expressive, and often dramatic. You value recognition of your ideas and enjoy listening. Often trying to inspire and entertain your audience, you clearly and passionately express your ideas. You can make even the most boring subjects sound fascinating and interesting; you have a natural knack for narrative.

Virgo (6, 18° ) A precise, analytical, and well-organised mind is bestowed by Mercury in Virgo. You are very good at classifying information, processing details, and accurately and clearly communicating. You tend to be a very good editor and proofreader, and your ideas are realistic and focused on solving problems. While sometimes critical, your communication is always well-intentioned and aims for improvement and efficiency.

Libra (7, 19°) Mercury in Libra promotes polite, fair-minded, and appealing communication styles. In your contacts, you seek for balance and harmony, taking into account various points of view before expressing yourself. You excel at resolving conflicts and finding common ground. Your remarks are typically graceful and polite, and you have a natural ability to establish connections and hold pleasant conversations.

Scorpio( 8, 20°) Mercury in Scorpio provides you a sharp, introspective, and frequently private intellect. You explore beneath the surface of topics to uncover hidden facts and motivations. Your communication style can be passionate and direct, and you excel at discovering secrets and asking probing questions. While you may not always express your whole ideas, your words have weight and frequently create an indelible impression.

Sagittarius (9, 21°) Your mind is broad, philosophic, and constantly seeking out new information when Mercury is in Sagittarius. You take pleasure in delving into complex concepts, offering your opinions, and engaging in discussions about more general subjects. Though you may occasionally be prone to overgeneralisation, your speech is usually straightforward, enthusiastic, and upbeat. You love inspiring others with your inspiring ideas and are a born teacher.

Capricorn (10, 22º) Your communication and thought processes will be more methodical, pragmatic, and strategic when Mercury is in Capricorn. You value accuracy and measurable outcomes, and you approach information methodically. You frequently use succinct, authoritative language that is goal-oriented. You have great organisational and long-term planning skills, and you speak with accountability and foresight.

Aquarius (11, 23°) Mercury in Aquarius brings a creative, unbiased, and often unconventional intellect. You enjoy thinking imaginatively, challenging conventions, and examining unusual notions. You frequently speak in an educated, progressive, and humanistic way. You might have a distinct communication style, and you excel at brainstorming and generating novel ideas.

Pisces (12, 24°) Your thinking is curious, creative, and incredibly sympathetic when Mercury is in Pisces. You use emotion and intuition to interpret information, often picking up on nuances and feelings that are not expressed. You can use metaphor and symbolism to make your speech artistic, sympathetic, and occasionally indirect. You are very good at understanding different viewpoints and communicating in a universal way.

DISCLAIMER: This post is a generalisation and may not resonate. I recommend you get a reading from an astrologer (me). If you want a reading from me check out my sales page.

@astrofaeology private services 2025 all rights reserved

[reveriedraffs]

۶ৎ MOVIES IDEAS TO SCRIPT IN YOUR ACTRESS DR ⠀ 𖥻 𝗢𝟭 ⠀ᰋ

— because your DR deserves cinematic masterpieces.

If you are a K-pop idol in your K-pop DR, you can use these ideas for movies you would work on or turn them into full K-dramas! 🎭

1. The Mirage Market

Genres: Fantasy | Mystery | Thriller | Comedy | Drama

Themes: The price of knowledge, temptation, fate vs. free will, the power of forgotten things

Plot:

You receive an invitation—a slip of parchment tucked into your pocket by unseen hands. It lists an address and a single promise: The Mirage Market welcomes all. Bring what you can afford to lose.

Curiosity pulls you in. You step through an unmarked alleyway and suddenly, the world shifts. The market stretches before you like a dream—twisting alleyways filled with glowing lanterns, merchants selling impossible things: bottled starlight, laughter sealed in a jar, forgotten lullabies. You browse, enchanted, until you see something impossible—a trinket you recognize. Something from your past that shouldn’t be here.

You approach a vendor, but they only smile. You must trade to uncover secrets.

You make your first deal. A small memory—a childhood fear you no longer need. But the moment the trade is complete, the market starts to change. The stalls seem to move when you aren’t looking. The exits aren’t where you remember. You realize: the market isn’t just a place. It’s alive. And once you’ve started trading, it won’t let you go easily.

Major Twists:

🔮 The market feeds on lost things, and the longer you stay, the more you forget who you were.

⏳ Some of the merchants were once customers,were trapped here forever.

🕰 You learn that you already traded something important—before you even entered.

Ending:

To escape, you must make one final trade: your deepest desire in exchange for your freedom. You step through the exit… but something feels off. You can’t remember what you lost, only that it was important. And as you walk away, you hear a merchant whisper: See you next time.

2. Rehearsal for the Apocalypse

Genres: Sci-Fi | Comedy | Drama | Thriller | Psychological

Themes: Reality vs. fiction, existentialism, performance as survival, paranoia

Plot:

You land your dream role—a hyper-realistic, unscripted film where you must survive an unfolding apocalypse. The director is known for extreme methods, but this is different. The city-sized set is eerily convincing. The disasters feel too real. And once filming starts, the cameras never turn off.

At first, you assume it's method acting. Then, co-stars start disappearing. A crew member whispers a warning before vanishing. You find a discarded script… with your own handwriting in the margins, predicting things before they happen.

Then comes the worst realization: no one ever called “cut.”

Major Twists:

📺 It’s not a film. It’s an experiment designed to test human behavior in a crisis.

🎭 Some actors are in on it. Some aren’t actors at all.

⏳ The real apocalypse already happened—this “set” is the last remnant of civilization.

Ending:

You discover that the cameras are broadcasting to an unseen audience—humanity’s final survivors, watching from a hidden location. You have two choices:

Escape into the wasteland and face the real world.

Stay in the simulation, playing your role forever, never knowing what’s real.

You make your decision. The screen fades to black. But did you choose, or was this just part of the script?

3. The Seventh Rewrite

Genres: Mystery | Fantasy | Time-Loop | Thriller | Romance

Themes: The weight of unfinished stories, destiny vs. authorship, obsession, the power of endings

Plot:

You’re a struggling screenwriter, trapped in a never-ending cycle. Every time you finish your latest script, time resets, and you wake up on the same morning, remembering just enough to know something is wrong.

You try changing the ending. The loop continues.

Then, the story starts bleeding into reality. Strangers seem to recognize you. A love story unfolds, but your partner never remembers you the next day. You find pages of your script hidden in places you don’t remember leaving them. And then, you find a version of the script that isn’t yours—written in your handwriting, but with words you don’t recall writing.

Major Twists:

📜 You are not the writer—you are the story.

🔄 Past versions of you have all failed. You are just the next draft.

🖋 The final rewrite is already written. You just have to find.

Ending:

You finally uncover the perfect ending. But instead of escaping, you realize you were never meant to leave. To exist, the story must go on. You close your laptop… and wake up, once again, on the same morning.

This time, however, the story is different.

part 2!!!

[redphlox]

the fact is izuku managed to save tenkos soul his body was too far gone due to what afo done to him and the damage in his mind lets be real here if toga and tenko had lived they would have been put in prison for their tragic pasts don't change the people they killed and the fact their identities were well known

Look dude - come closer, come sit down next to me. Lets talk.

I'm not sure how to explain that this is a fantasy story. That means that it doesn't have to reflect our current world 1:1, which has flawed systems. Storied aren't biographies. You can tell the difference between reality and fantasy, yes? I hope so. If your mom let you borrow her phone so that you can get on Tumblr to talk to me, then maybe you can have her explain if you're still confused by the time I'm through with you.

If you're using this argument for why the villains who were humanized by the author had to die cruel deaths in a story that preached about giving people Second Chances, then I'm led to believe that you also believe that Bakugo surviving his exploded heart was realistic. And that's completely unrealistic, just in case you're not sure.

There were a lot of unrealistic aspects to this story, including the part about people having superhuman abilities like creating explosions from their palms and making things float. Those abilities aren't real either, just in case you are confused. You might have picked up this story and thought it was an autobiography or a history textbook, so I advise that you ask your mom to take you to the library and talk to a librarian about the differences between literary genres.

Now - hold on to your seat, this is why I had you sit down; this next part is going to be really perplexing to you if you believe quirks are real - stories are usually used with the purpose of conveying a message, of exploring our Humanity and to experience of some kind of catharsis or emotion using our imaginations. You know the story about The three little pigs? That are also unrealistic, but it serves a purpose - it teaches little kids about perseverance and working hard. The first two little pigs didn't want to put in the effort to make a solid house, so they paid for it in the end with their lives. Do we live in the world where wolves literally come knocking on our doors trying to eat us? No, but we do live in a world where it's important to persevere and work hard. Disney's The Little Mermaid also isn't real, because Mermaids Don't exist, but it dealt with very real human experiences that we all deal with such as feeling out of place in the world, our identity, etc.

So, you can see that authors use fantasy stories to explore very real human emotions, social issues, what have you. BNHA starts off like that too. The very first words are exactly, "people are not all born equal", and it goes on to tell the story of a teen who's basically considered disabled because he's different. He's bullied, discriminated against, and he deals with very real human experiences such as disregarding authority to go after a friend he really cares about because he felt it was the right heroic thing to do, experiencing death (Night eye, Midnight), dealing with abusive parents (Endeavor) and comforting abuse victims (Shouto, Eri.)

These characters are not real, but they go through very real human experiences. These are real world issues.

You're still following me, right? Characters and stories aren't real, but their issues usually reflect real life issues.

All right. Not that we've established that stories often and talk about real world problems that we experience in everyday life, let's talk about how authors can approach these topics. It's all about using different Tools in your writing to convey your message.

Let's go back to my example with the Three Little Pigs. The moral of the story, the message, the theme, is that hard work pays off. If you slack off, you're possibly putting yourself in danger. But what if the last little pig's house had fallen down anyway despite his hard work? What if the wolf had eaten him anyway? Then the moral of the story is no longer that hard work pays off. The moral of the story is that no matter how hard you work, sometimes things just don't work out the way you imagined or planned.

Okay - so, which one of these morals is more realistic? That your hard work always pays off, or that sometimes, no matter how hard you work, you fail? I'm not sure where you are in life, but it's the second one. It's true. Sometimes no matter how hard you work, life fucks you in the ass without prep. People go to college with the aspirations of becoming medical doctors and can't get into med school no matter how many straight As, perfect grades they get. They worked hard, yet they didn't achieve what they wanted. Many families have a two income household but still can't make ends meet because of unexpected expenses such as medical bills, car accidents, deaths etc. You could be the world's most safe driver and still die in a car accident because of someone else's negligent driving.

That's the harsh reality of life. Does that mean that the moral of the Three Little Pigs story is wrong? No. It's a story and it teaches a really important lesson about resilience and survival. In a perfect world in that story, hard work always pays off. That's comforting to adults and helps little kids understand the importance of persevering and working hard. Those are good qualities to have.

Sometimes a storys themes and messages don't align with the readers personal views of the world but that doesn't mean the writing is bad. You could even have a moral disagreement with the themes presented in a story but have the writing still be good writing. For example, I personally don't agree that hard work always pays off. But in reference to The Three Little Pig, when it's a story for little kids, I agree that the writing fits. If I were the author of The Three Little pigs, I would make the theme be, "it's always good to work hard, but if your dreams don't come true then that's okay." I would write a story about all the pains of working hard and meeting failure but then overcoming it and being happy anyway in the face of failure. The story's theme would be resilience, not about hard work always paying off.

But the Three Little Pigs isn't like I just decribed, so do I think it's bad writing? No, because the theme of the story matches the conclusion .

This is where My Hero Academia fails. The beginning of the story, all the messages about giving people Second Chances , fall flat. It presented a highly nuanced issue that's very real to the world we're living in about reforming criminals and getting to the core of understanding criminal behavior. The story presented itself like it would address this issue with societal change... and instead it gave us superficial change such as holding hands with victims who appear to be blameless and morally pure like Eri and that new mysterious crying boy who is literally nameless.

The issue with that is that it's really naive. A lot of times, people who break the law, people in need - mentally ill people, the sick, the poor aren't perfect victims. I work in a hospital and a lot of the people who seek treatment REFUSE to heed the doctor's medical opinion. Does that mean that they deserve to die? No. Does that mean I should give up on them? No, I'm going to educate.

Following the logic of BNHA though, you would give up on these people. The suicidal person who's about to jump off the bridge? Well, if they don't take your hand willingly, then why should you keep trying to save them? The crying boy at the end is only saved because he took the grandma's hand. What if he had pushed her away? If he had, the story's logic says that he deserves whatever is coming to him. And of course this is a more nuanced topic than I'm portraying it to be - victims and people in need also have a role in helping themselves, but this story makes it seem like they get only one chance and they're doomed if they don't take it. Which is literally a message that the story presents through Endeavor and Gentle and La Brava: people deserve second chances. But only specific people, according to the story. It teaches you that not all people are born equal. Which is literally what the story set out to disprove.

Do you see how the math isn't mathing?

[sometimeslwish]

Skyfall: All things End

@leighsartworks216 @comatosebunny09 seeing you guys being angsty rubbed off on me, so I'll thank you for inspiring this mess of an idea. So, I was listening to Skyfall on loop cause it reminded me of the spoilers I've seen about Sylus' myth, and because I've been reading angst lately:

Mc has been reborn, but her memories went to someone else, that someone else is... well, you.

You've always been creative as a child, great at telling stories and even better at singing thanks to your family. You've dreamt about those moments since you were 12, always thinking those were just dreams, leftover from your wild imagination, even if they crushed your soul in the process with how vivid and realistic they were.

You grow up to become an actor, singer and songwriter. The songs are filled with themes of mystery, violence, fantasy, obsession and references to a forbidden love that ends much too soon after the death of a lover. The details change, but the story is always the same.

A woman, reborn time and time again, sometimes powerful and feared, others afraid but determined, many variations that lead to the same outcome: she encounters a man. He's the opposite of what she is or stands for, born as each others enemy. Sometimes it starts rough, both at each other's necks, sometimes it's just one of them who wants to kill while the other is simply entertained by the attempts. There's times when she'll be afraid of him, but will still stand her ground, others where he's her subject, even if under a leash.

On each one, they learn and become stronger, reaching the same level of power and growing comfortable with each other, only for it to be all ripped away.

Sometimes he dies, sometimes it's her.

You've started to gain traction after your last album. The songs are a little bit more hopeful and empowering, but they still carry the hints to the pain. You're in the middle of an interview, talking about your inspiration when you talk about your dreams. You mention considering the idea of making an album for a movie centered on the dreams, how you've gone back on your dream journals to organize everything and the fact that you're halfway through.

The interview ends with you talking about who you would like to cast for the male lead, if the choice was on your hands, and that's when you mention the man. You give chopped up features, mentioning how you've never fully remembered his face, only his voice and height. You end up describing the up and coming actor named Sylus without being aware of it.

The internet goes crazy with it.

They keep mentioning it even after your tour and next thing you know, it's no longer an idea, but a full sized project. Of course, Sylus said yes– or his manager did, who knows– and when you meet him, your world shifts on its axis. It's him, the man you've been dreaming of, the voice in your dreams you started using in your head to encourage yourself. He's real and alive.

You have no time to recollect and center yourself as he approaches along with his manager. You recognize her too, she's the woman you've seeing in your dreams. Great to finally meet the lovers, you think bitterly.

You're tense and jumpy, but you manage– through internal screams and tears, but you manage. He offers nothing to you as both of you read the script and exchange comments on scenes, and the concoction of emotions inside of you leave a sour taste in your mouth.

Does he remember? Doesn't he suspect you? Their past lives are detailed in that script, and somehow you know every detail without being her. Does he know you're the one who wrote the script? He has to, that part of the interview was the most popular, it made rounds on the internet for a while.

Why won't he say anything?

You feel more conflicted each time you see them interact, and it's even worse after you and Sylus start getting closer and comfortable with each other. Bitterness, happiness, sadness, hope, dread. Those are the emotions that you stew in. You use them to write on restless nights, songs filled with despair and yearning alike. It's harder to keep the facade the longer you go.

You don't explode, that would be a lie, you simply break during a particular scene. You can still tell between reality and fiction, but your heart doesn't. When you're acting the scene in which you loose him, holding him in your arms as you wail, you bring everyone to tears with you.

Everyone congratulates you after the scene.

"Your acting was great," says a background actor.

"That scene will surely get you an award," whispers your manager.

"It gave me full body chills!"

You smile and say your thanks, try to be humble even through the numbness of it all. There's a difference in Sylus' behavior after that, you can't pinpoint what it is, but you can guess what the reason is.

The curtain is about to close, so you pay no mind to it, you've accepted your fate, even if it hurts like hell.

Read more here

[aqours]

real talk if we do get 8.5-2 it's probably just going to be Shenanigans Like A Distortion On The Way To Q Corp (maybe it's Q Corp)

since Canto 6 the formula has been one Intervallo is directly related to the events of the Canto (WARP Express and Nocturnal Sweeping) and the other doesn't really contribute a lot other than being a detour even if we still get good lore (Regular Check-Up, Timekilling Time)

even though Xichun and Sinclair are central characters in the Intervallo i imagine it'll still like, talk ab it more about Ryoshu too, the Spider's House, maybe about Lei Heng's comment about her "baby" and probably end with the realization the next place they're going to go to is Ryoshu's own home district and likely towards the Spider's House with what they learn.

if they've decided they don't want to do 8.5-2 to focus on getting Canto 9 out quicker, i think chances are we're going to get the Ryoshu tidbits and buildup in the next Intervallo. so if we do get 8.5-2 if they just genuinely need more time to work on Canto 9, it's probably safe to assume it's going to be another Distortion-related detour to fill in the time. like maybe we'll get more Ryoshu buildup but i think realistically all of the main buildup is going to be in 8.5-1 and if there isn't that just wasn't the plan for this one. i feel like that like... also while those two Intervallos did have a lot of foreshadowing for what would be in Canto 7/8 and discussion of some themes it's not like they were devoted to that. Nocturnal Sweeping despite giving lots of buildup to Canto 8 was ultimately about securing a safe place to sleep and then fighting the Sweepers while also dripping us lore that's gonna be relevant to Canto 8 so it wouldn't be an infodump.

if they do intend to have Ryoshu foreshadowing and buildup to her Canto it will also be related to Xichun's and Sinclair's training, i think it's probably safe to assume there'll be buildup there too. i could be wrong, but i imagine that's how they're gonna approach it

[ms-cartoon]

Hazbin Hotel Rewrite-- That Scene with Valentino and Angel

TW: Emotional abuse, coercive control, manipulation. This scene contains psychological trauma and implied exploitation. Please proceed with care if you're sensitive to themes of abusive power dynamics.

I made a little rewrite of this scene cuz it felt off to me, with Val's character and his "talk" with Angel. I get that Val is probably supposed to be hot-tempered and violent. That’s not the issue.

The issue is how that violence was handled.

Angel’s assault felt forced and rushed, like it was crammed in without real weight. There’s barely any buildup—just awkward comedy, and boom, it’s happening. It’s all sudden, physical, and more uncomfortable than impactful.

There was and wasn’t danger. You feel something’s coming, but it plays too much into comedy with Val’s irritation at Charlie. The tone gets confused. It doesn’t balance serious abuse and slapstick well—it just clashes.

Charlie is more mature and emotionally aware in this version—she’s not naive to what’s going on. As for Valentino, I made his character more grounded overall. Instead of cartoonish outbursts, he uses quiet control and psychological pressure, making him more intimidating and realistic throughout.

This scene could’ve been done better. With more weight. With better pacing. With actual emotional payoff.

[INT. VALENTINO’S STUDIO – AFTERNOON]

The camera glides across gaudy decor: velvet couches, scattered lighting rigs, a heavy musk of perfume and sweat in the air. Music plays faintly. Actors lounge between takes. A few demons in various states of dress pose under hot lights.

Angel Dust sits on the edge of a prop bed, adjusting his robe nervously. His eyes flicker toward the door as it creaks open.

Charlie: (peeking in) "Angel?"

Angel Dust: (startled, snapping to his feet) "Charlie?!"

Charlie: "Relax, I knocked. Twice. Nobody heard me."

Angel Dust: (rushing over, lowering his voice) "What the hell are you doing here?! This ain’t the kinda place you just drop into!"

Charlie: (lowers her voice too) "I wanted to talk to your boss, but I texted you first to see if we could arrange a meeting. Except you never saw my message, and it's been hours so. . . "

Angel Dust: (glancing around, clearly panicked) "You picked the worst possible place, princess. You gotta go."

Charlie: (frowning, noticing his expression) "Angel... what’s wrong?"

Before he can answer, a smooth voice cuts through the air behind them.

Valentino (O.S.): "Now, now... what’s all this tension about?"

Angel flinches. Slowly, Valentino slicks his way behind him, dressed in a sharp red and black suit. He approaches with the calm ease of a predator who's already cornered its prey.

Valentino: (Notices Charlie, smiling coldly) "Ahh! Your Majesty. What a surprise to see you here! To what do I owe the pleasure?"

Charlie: (With a respectful smile, professional tone) "Hi! I take it, you're Valentino? I came to talk business. Regarding Angel."

Val eyes her up and down—calculated. A deliberate step forward.

Valentino: "Mmm. Business. Of course." (He walks a slow circle around them, resting a hand lightly on Angel’s shoulder. Angel freezes.) "You’ve got a funny way of doing business... barging in uninvited, distracting my star mid-shoot."

Charlie: (measured) "Right. I'm REALLY sorry for the intrusion, but I think Angel could. . . uh."

Angel Dust: (quiet, almost a whisper) "Charlie... please."

Charlie’s eyes dart to him. Something’s wrong. She sees it now—the tension in his posture, the subtle flinch under Val’s hand.

Charlie: (more softly now) "Umm . . . Maybe I can talk to him. . . elsewhere?"

Valentino: (chuckling, his hand still perched on Angel’s shoulder) "Elsewhere? And miss the magic of moviemaking?" (leans in just enough to breathe against Angel’s ear) "You know how hard it is to find reliable actors these days?"

Angel Dust: (tense, trying to play it off) "Val... it’s nothin’. We’ll be quick."

Valentino: (still smiling, though crookedly, but his voice tightens) "Quick is a problem, Angel. You don’t walk off set. Not when I’m paying for every second of film we burn." (he finally looks at Charlie) "You’re a royal. I'm sure you understand the value of time."

Charlie: (face still polite, but now concerned) "Of course. And I didn’t mean to cause a delay, I just... wanted to speak as one professional to another. About Angel’s well-being."

There’s a stillness in the air. A pause. Valentino’s smile doesn’t fade, but something behind his eyes sharpens.

Valentino: "His well-being, huh?"

He finally removes his hand from Angel, only to straighten his jacket. The act is controlled. Practiced.

Valentino (No longer smiling): "Tell me, Princess. Do you walk into every place of business and question how we treat our employees?"

Charlie: (more serious now) "I'm not trying to imply anything. I care about the people I work with. Angel’s part of something bigger now—something that helps him. Helps all of us."

Valentino: (dryly amused) "Hm. Something bigger than me?"

Angel Dust: (desperate whisper) "Charlie, don’t—"

Charlie: (eyes locked on Val’s, careful) "I’m not trying to start a problem. Just asking for understanding. That’s all."

Valentino stares at her for a long moment. Then he laughs—not loud, not kind. He turns and claps his hands.

Valentino: "Back to positions! We’re rolling in five!"

The studio crew jumps to attention. Lights power up. A camera swings into place. The actors scurry like rats. Charlie starts to say something else, but—

Valentino: (snapping his fingers at her without looking) "You. Royalty. Out of the shot."

Charlie: (stunned by the tone) "...Right. I see what this is. . ."

Angel gives her a helpless look. She hesitates—wants to say more—but the lights hit, and the camera rolls. She turns and walks slowly toward the exit. She gets just to the door when—

Valentino: (without looking up from his monitor) "Angel Dust. Dressing room. Now."

Angel freezes. The room goes quiet. The crew pretends not to hear. Valentino still hasn’t looked up—but that tone... it cuts.

Angel Dust: (softly) "...Yes, Val."

Charlie pauses at the door, turning back just in time to see Angel slip off set with his head lowered. She watches him disappear into a dressing room.

[NEXT SCENE. INT. DRESSING ROOM– VALENTINO’S STUDIO]

Angel stands by the mirror, tugging his robe shut. His hands tremble slightly as he tries to adjust the collar. Valentino’s footsteps echo as he enters quietly, shutting the door behind him.

VALENTINO (softly) "Be honest with Daddy, baby-- You brought her here, didn't you?"

Angel freezes. His eyes lift in the mirror. Valentino doesn’t shout—he doesn’t need to. His voice is low, unreadable, and calm, like still water with something dangerous underneath.

ANGEL DUST "I didn’t—she just showed up, I swear. I tried to get her to leave."

Val walks slowly across the room. The heels of his shoes click, but his tone stays almost kind. Almost.

VALENTINO "That little bleeding heart princess… barging into my studio. Smiling like she owns the place."

Angel turns around, hands raised slightly. Not defiant—defensive. His robe slips a little, and he quickly adjusts it.

ANGEL DUST "I’ll talk to her. She didn’t mean any harm."

Val walks right up to Angel, but doesn’t touch him yet. He just stares, close enough that Angel can feel the heat of his breath.

VALENTINO (His voice slowly raising) "See, that’s the thing, mi bella. She did mean harm. She embarrassed me. In my house. In front of my crew. And you let her."

Angel flinches as Val slowly lifts a hand to tuck a strand of fur behind Angel’s ear. The gesture is sickeningly gentle—a mockery of tenderness. With his single hand, a thumb in one cheek, the rest in the other. He then pressed Angel's face, his grip growing increasingly to the point of Angel's twinge of pain.

VALENTINO (Low growl) "You think she can protect you from me?"

ANGEL DUST "No. I didn’t bring her here for that."

VALENTINO "Then what? For pity? Sympathy? A way out?"

Angel says nothing. His silence is answer enough.

VALENTINO "You forgot something, baby."

Valentino manipulates his smoke into a golden contract, signed with his Angel's real name, "Anthony.” He forcefully turns Angel's head to face the contract.

VALENTINO "You signed this. You made a deal. You gave me you. That includes your body, your name... and your loyalty."

He puts the contract away, let's go of Angel, and steps back, like he’s done talking. Then—

VALENTINO "You humiliated me today."

Still no yelling. That makes it worse.

VALENTINO "So here’s what’s going to happen. You’re going to finish your shoot. You're going to film ALL night. And you’re going to remember who owns you."

Angel stands frozen. For a second, it looks like he might say something. Fight back. But then—he nods. Barely.

ANGEL DUST "Yes, Valentino."

VALENTINO "Good boy."

Val brushes past him like nothing happened, pausing at the door.

VALENTINO "And Angel?"

Angel looks up, exhausted.

VALENTINO "If I ever see her in here again… it won’t be just your shoot that gets cut."

He exits, calm and cold. Angel stares at the door, then at himself in the mirror. His eyes linger on his reflection—the makeup, the robe, the forced smile—and slowly fade into hollow silence.

[angst-and-fajitas]

Sorry if ur not doing request anymore but can you please write something for Maddie and caspian and their son I beg of you. There’s no fanfiction in this fandom 🥺 and ur writing is so good

I should probably make it clear real quick that I don't do writing requests, BUT anon you are in LUCK, because I will gladly use this as an opportunity to PLUG MY LONGFIC WIP!!

May I introduce you to...."The Miracle of Backups"!!!

It has exactly what you're asking for: lots of Maddie and Caspian and Dave!! Lots of Maddspian, Kim-Keyes family fluff, and...some crushing angst too. Because that's how I roll 💖

Here's the summary:

"Unbeknownst to Caspian, Maddie makes a backup of his upload just before his fight with Holstrom. After he dies in the battle, she resurrects him. This does not solve their problems." "A chronicling of twenty years of love and loss shared by one small, damaged family amid a changing world."

So basically, this is a canon-divergence plot where nothing changes aside from the fact that Caspian gets resurrected from backup immediately following the end of episode 6. This immediately sparks another massive existential crisis for our boy, but ultimately means that he gets to live through that whole 20 years he would've otherwise missed. The fic will follow the entire 20 years of this AU, and will probably be around 45 chapters long. I have the whole thing outlined!

Features: digital first dates! the utter chaos of surprise teen pregnancy! A more focused and thorough exploration of human-UI politics! Maddie and Caspian being loving parents!! No one going to therapy even though they really need it! (eventually) Maddspian Marriage! Cool aunt Justine!

Anyways, I'm being silly here, but I'm intending this to be a very serious fic, and my approach to it is staunchly to keep it grounded in Pantheon's themes and Ken Liu's ideas, and in how the characters would realistically handle such a situation, with all the messiness that entails. Lots of love, lots of loss, and lots of messy relationships. It's pretty important that people be aware that this is not a fix-it fic at all.

Anyways again! Dave himself doesn't show up for several chapters, but what I have here for YOU, anon, who is so very kind, is an excerpt from a chapter in the middle of the fic, at around the 10 year mark.

Context: Maddie and her engineering team have just completed the first full version of the upload androids we see in s2 ep7 and 8. Now that they have to beta test it, Caspian is, inevitably, her first choice for this. The Kim family heads to the Logorythms HQ to go see Caspian in the flesh for the first time in 10 years.

Final disclaimer: things will be edited as I start posting the story (SOON...), and the final version may end up different from this one! this is just a fun sneak peak :)

[tumblingxelian]

CRWBY & the White Fang - To Critique or Compliment?

There's no denying that when discussions of RWBY's quality come up, the specter of the White Fang, Blake & Faunus plot lines will almost inevitably rear their head.

So, I wanted to take some time to analyze my own critiques of CRWBY;s handling of these subjects, which thee writers themselves have said they found fault in regarding their work.

But, to also outline what I think was done well and address some common complains that I see, as I think there is a much more nuanced discussion that could be happening here.

With that in mind, lets begin:

My issues lie in the Execution:

CRWBY simply don't have the budget or time to give this topic the necessary breathing room to be handled with as much nuance as it needs; which at times can lead to a subject not being explore sufficiently, or a bit like in Mistral, a seemingly easy solution being applied to a complex issue. 

While I understood the logic of having Sienna supplanted as she was, and the tragedy of her death. The loss of her character and a more active counterweight to Ghira's pacifism has weakened a lot of the stronger aspects of their writing on this topic.

The plot of the series while allowing for the exploration of some of the themes at play means that in universe, characters need to logically prioritize the apocalypse witch over other matters sometimes.

My Praise is in the details:  

Faunus bigotry varies from regions to regions & country to country, in Vale it's heavily rooted in microaggressions, harassments and presumptions of guilt. In Mistrals its not only legalized to discriminate against Faunus, but there are outright lynch mobs. Meanwhile in Atlas it is blended with heavy doses of classism and the impoverished of Mantle are placed against the impoverished Faunus in the crater. 

The writers consistently acknowledge that this is a complicated issue, not in the sense of "Ooh poor bigot has a reason to be that way" but in the sense of "Fighting for a better world is hard, complicated work, where there is no a neat and tidy ending, or simple solution." Which is frankly far more realistic than I see in a lot of media that want to cap off stories with "& then bigotry was solved!" 

While Ghira has been returned to a prominent role, he outright respected Sienna Khan, and acknowledged the faults in his all too passive approached in the past. It also seems that thematically Blake is the one being set up to eventually take the reigns of the movement and seek out a path between easily exploitable militarism and all too self effacing pacificism.

Counters to Common Complaints: 

The White Fang are presented as faceless mooks -  This is indeed an issue in Volumes 1 through 3, however, it is also one CRWBY course corrected on, and I'd note Blake is also meant to be our primary window into the White Fang. What's more, the radicalization of the White Fang took time, with Sienna's era notably having actually seen genuine progress for Faunus, before Adam ended it in fire and blood.

What's more, if we look at resistance movements like the real world IRA, we will see that they too can start out using moderated violence, only to be co opted by self serving despots who harm their own people as well as others, so their shift is not exactly unrealistic.

Making a victim like Adam a villain is in poor taste -  A questionable claim as I think that is all down to execution and he's hardly the only character like that, & there's many others who overcame similar issues, so tis hardly "Abuse makes you evil."

But more to the point, given how a lot of people who have dealt with abusive stalkers, including those who weaponized their own history of abuse or trauma for sympathy said he was the most realistic portrayal of an abuser they've seen, I think there's a great deal of merit to his portrayal.

I would also note that the philosophical stance, "X person was a victim and therefore cannot be bad" is a poor and rather problematic idea. Because there is no demographic of person that makes one incapable of causing harm. Plus, Adam's life and death is still framed as a tragedy, despite all the harm he did, his life still had innate worth even to the people he hurt most.

(Well, the one's still alive anyway XD)

The White Fang being antagonists is corporate/military apologia -  I already addressed most of this above, but I wanted to re-center it because I had some interesting thoughts to share. Specifically how in another show this would be true, but it's not true in RWBY.

Because in most shows where the freedom fighters/terrorists are villainized, the institutions they target are propped up and defended, where its claimed, even if they are "flawed" they are "better", "Necessary", or more "well meaning" than the rebels.

Not true in RWBY

The SDC is every bit as bad as it's advertised, and Jac outright enables the villains in a selfish bid for power to protect his own wealth. Ironwood, who in other shows would be the "Good military man" type, reveals himself to be a craven coward and despot.

Ironwood and Adam's character songs even hit on the same themes of egotism and entitlement. Adam's is angrier & Ironwood's more grandiose because of their respective life experience, but they are men cut from a very similar cloth & playing similar roles amongst their peers and in the wider narrative.

Blake was originally a street kid, her being a princess is bad- That's not true in both cases and I appreciate CRWBY subverting the tired trope of "Violent minority girl gets saved and civilized by nice Caucasian girls" the post below goes into more detail on that: https://www.tumblr.com/kkglinka/176246425849/rwby-racial-trope-inversion?source=share 

Conclusion:

Ultimately, RWBY grew beyond, explored or outright subverted a lot of the usual issues that come attached with these complaints and had a lot more nuanced stuff to say on the subjects they tackled.

Even with their issues in tackling these subjects, I feel that there is much more interesting stuff to talk about than a lot of what I usually see come up when this subject comes around, which is a shame.

There's room to acknowledge where there were flaws without tearing down the entire concept, or glossing over what was done well, I think.

[novlr]

How do I create laws/rules for my world-building?

Creating laws and rules is a crucial aspect of worldbuilding in any piece of fiction. Well-crafted guidelines help maintain consistency, add depth, and enhance the reader’s experience by making the fictional universe more believable and immersive. When fiction is set in our world, in current times, these rules are implicit but still exist. The trick is to make all readers, regardless of genre, feel that same familiarity.

Why are laws and rules important?

Laws and rules provide structure and order to your fictional society

They help define the boundaries and limitations of your world

Consistent laws and rules make your world feel more realistic and believable

They can serve as a source of conflict and tension in your story

Laws and rules can reflect the values, beliefs, and cultural norms of your fictional society

Understanding your world’s laws and rules will help you create a world that’s more immersive

Consider the context of your world

Take the genre and tone of your story into account when creating laws and rules

Consider the technological advancement and magic system (if applicable) of your world

Think about the political structure and power dynamics within your society

Reflect on the history and cultural background of your fictional world

Determine the environmental factors that may influence laws and rules (e.g., resource scarcity, climate)

Tailor your laws and rules to fit the unique context of your world

Draw inspiration from real-world examples

Study historical and contemporary legal systems for inspiration

Look at how different cultures and societies have approached law-making

Analyse the laws and rules of other fictional worlds you admire

Consider how real-world laws and rules have evolved over time and why

Examine the consequences and implications of real-world laws and rules

Adapt and modify real-world examples to fit your fictional world

Balance realism and creativity

Strive for a balance between realism and creativity when creating laws and rules

Ensure that your laws and rules are logical and consistent within your world’s context

Allow room for creative and unique elements that set your world apart

Consider how your laws and rules can contribute to the overall narrative and themes of your story

Don’t be afraid to break conventions and introduce unconventional laws and rules

Remember that your fictional world is an opportunity to explore new ideas and possibilities

Integrate them into your story

Introduce laws and rules organically through character interactions and world-building elements

Use laws and rules to create conflict and tension

Show how characters navigate and respond to the laws and rules of your world

Explore the consequences of breaking or challenging the established laws and rules

Use laws and rules to reveal aspects of your characters’ personalities and motivations

Integrate laws and rules seamlessly into your narrative to enhance the overall reading experience

Evolve and adapt laws and rules

Consider how laws and rules may change and evolve in response to events and character actions

Reflect on how these changes impact your world and its inhabitants

Have laws and rules be dynamic and responsive to the needs of your fictional society

Explore how different groups or individuals within your society may interpret and respond to changes in laws and rules

Use the evolution of laws and rules to showcase character development and growth

Consider how the changing laws and rules may impact the overall plot and direction of your story

[paragonrobits]

There’s a phrase I like to use when people question why, in fantasy series, people don’t just take the most efficient and ruthless option. I say, “This isn’t Game of Thrones.” Bluntly put, apart from having a very unsatisfying ending to its character arcs due to a realistic but very abrupt swing from the character arcs it had been building up (and in one notable case, a character arc that WAS built up the whole time, but not in a way people anticipated), Game of Thrones is most notorious for a very realpolitick approach to how the characters make their decisions.

Efficiency, immediate needs and ruthlessness regardless of personal qualms comes up a lot in what people seem to have taken from that show’s success, and you see a LOT of people thinking that pragmatic ruthlessness is the most basic and standard solution to any story’s problems, regardless of whether or not its consistent with a story’s given themes and morals.

The Avatar setting is NOT one of those. In this setting, spirituality is vitally important; the reason WHY things are done, as well as HOW they done, are just as important as the actual end result, if not more.

So, one thing I see a LOT in fandom circles (usually in bad takes floating around and being mocked by the circles I am adjacent to, or ideas popular among Big Name Fans who are kind of sheltered from the actual themes of the show itself and have distanced themselves from what the show is actually like in favor of what is functionally a completely original series that appeals to their own preferences) comes down to discussions arguing that AtLA would be better if Aang just took down every one he fought and killed them all without hesitation; there is a popular implication among these ideas that Aang is considered weak to them BECAUSE he doesn't want to kill. Because killing is anathema to his people, because the deliberate taking of life is a HUGE deal to both the Air Nomads and the real life religions that they are based on.

These takes conclude that none of that matters; that his morals and compunctions should just be immediately tossed aside in order to achieve his goals. There's usually something like 'who cares about spirituality when the world is so bad' or the ends justifying the means. And the thing is that we DO see characters in AtLA saying that, quite often. Characters who don't care about the spiritual consequences of their actions, who do whatever it takes to accomplish their goals.

They're the villains.

In AtLA, ruthlessness, pragmatism and 'whatever it takes to get what I want' is SPECIFICALLY and EXCLUSIVELY associated with the antagonists. General Fong; Azula, Ozai, the entirety of the Fire Nation... one thing they all have in common, besides opposing Aang, is that they're not just willing to be ruthless, they have no interest in achieving their goals or really doing anything at all without being ruthless and amoral about it. There's a common point in the narrative here, and I think the episode the Avatar State neatly sums it up through its story, as we are presented with Fong, who is seemingly an ally, demanding that they ignore the spiritual demands in favor of just weaponizing a force of nature no one involved really understands.

His emphasis on the people dying in the meantime does make for a potent image, but he is ultimately and frequently established as a ruthless jackass who cares more about trying to weaponize the Avatar State (and mere mortals do not get to have a say in its decisions or what the World Spirit, in its fullest power, wants to do). Apart from this indicating a more or less full departure from a strict moral binary within the series, there's also an emphasis on Katara growing increasingly uncomfortable with the non-spiritual plan they're taking, to the point that she won't have anything to do with it, and she is very much the show's heart. If she disapproves of something with plot relevance, its usually a bad sign.

So this whole THING you have with people going 'everything would be better if Aang killed everyone immediately except for the secret Good Guys even though he has absolutely no way of knowing them out of context'... its genuinely really bewildering and I think its kind of proof of people not engaging with the show's themes or ethics, but assuming that ruthlessness and efficiency are the default way of handling everything. AtLA is not subtle about this and if you think that the show at any point suggests that this is a likely outcome, I don't think you're really engaging with it, or you're misunderstanding the context (such as the Ocean Spirit rampaging being framed as a last second moment of hope; I think people conflate its destruction as generally a Cool Thing, rather than the world itself protecting a dying culture from near certain destruction as the moon itself is... well, dead.)

(There's also a protagonist-centered morality in that they seem to want their characters to BE rather amoral, being all about love and acceptance and tolerance but also brutally and remorselessly kill everyone in their way without hesitation, and the people making these statements don't see any kind of logical flaw. I dunno but that's WEIRD to me.)

[befuddledcinnamonroll]

These two are going to be married before they figure out how to date.

Awww, Pun is such an adorable bird dad.

Flirty Chain, flirty Chain!!! Did our boy have an awakening last night, post-spaghetti interference?

It is interesting how hesitant Peem is to fully believe in Phum's crush. He acts so confident generally, but he seems to have some deep rooted insecurities that pop out from time to time. Which, honestly, I find super relatable.

Damn, Phum, you smooth talker.

I know there are some folks frustrated their relationship hasn't moved faster, but I'm enjoying the set up that is happening here.

Because yes, both of these men are objectively gorgeous, and it's easy to fall into the "how the heck can they have any doubts they are desired" perspective. But realistically, all human beings have insecurities. And in romantic relationships, you are both going to have moments where those insecurities get loud, and you need reassurance from your partner.

They are doing such a good job setting up how these two are going to ultimately be fantastic partners to each other, and how they both are capable of being what the other needs in their weaker moments.

Just like Peem was able to be soft and compassionate when Phum was struggling, now Phum is not getting angry or taking it personally with Peem, because he knows that it's not about him, but Peem trying to reckon with his own feelings.

Aww, brother time. Cuuuute.

Lol, Chain just cannot stop himself from babying this man.

The cuteness!!! Q is already starting to show his indulgent side for his boyfie, and I love it.

Don't mind me, just being distracted by how good Boom looks.

But also, oof, poor Phum. You can tell he's never gotten over being sent away, and for good reason.

See, this! This right here! Peem was having his insecure moment earlier, but now Phum needs him, and he's able to be his safe space. This is good relationship building, y'all!

I'm glad we're getting this chance to see Fang's perspective. It might seem like he had it easy, but he was damaged by their parents' choices too.

And showing us how Tan & Fang work not because of adoration, but because having that person you can be emotionally vulnerable with is everything.

Theme of the show alert!

Almost like you and your loves and your friends can become... found family? Haha.

Ok, this entire scene is absolute gold.

Oh, we are all about the emotional vulnerability today.

Wow, this hits hard. Because yes, it explains why he and Fang are so close now, but also shows how his parents could have done the same, and chose not to. They didn't even talk to their child when he was away.

Y'know, I'm not mad that Phum's earlier choices still have some consequences. His initial approach to Peem was pretty awful, and I like that it's not completely forgotten about for the sake of "romance".

And it makes sense to me that Peem is much more willing to make out with Phum than he is to make an emotional commitment. Because what if that first side of him is real? Sure, Phum apologized, but apologies aren't that hard. The key is showing that you are going to behave differently moving forward, and being consistent with that over time.

There's such an emotional maturity to this show that is just so damn refreshing.

[elbiotipo]

Oh that thing with good and bad culture sounds interesting, and I can see how that would influence things. In my experience, the way people explained to me distinction- many unrelated people, in many branches of art- was like...

''True'' art has to have certain existentialist and abstract element, to ask Big Questions (tm) about humanity, universe, morality and so on; this is not just elitism or genre snobbery in my experience. I had met people who were acclaimed artists and created ''important'' and ''serious'' works, who were of opinion that certain of their critically acclaimed works do not count as ''real'' art because they ''merely'' commented on specific sociopolitical issues, lacking in metaphysical depth; while for example, considering Isaac Asimov as ''real'' art and literature, not ''merely'' sci-fi writer

That ''real'' art has to be cerebral, complex and erudite. This is most often in my experience discussed in literature circles, but I have seen it within TV and movie community- the difference is, I have been told, between laying back and passively enjoying TV, versus that TV forcing you to ask questions and working your brain to puzzle out what is being talked about, what is context

Finally, that ''real'' art has to somehow engage with history and tradition of both medium and genre, but also your society, that it has to be both referential but also deconstruct and offer new approaches and thus create certain impact on local arts scene. So for example, somebody creating very realistic portraits that emulate Renaissance art, or is obviously inspired by Hieronymus Bosch, or somebody putting on production of Shakespeare or Ancient Greek tragedies, doesn't count because they are only imitating what already exists

Most of all, that if something is mass-produced or intended to be commercial, instead of being done for sake of it's own passion, it does not anymore count as ''pure'' art

And while I have often encountered this in form of people, even successful ones, dissatisfied with their output ( ie, writers and actors and musicians dissatisfied that they are swamped with more commercial projects that don't allow them to focus on their auteur dream projects), I have also encountered reverse- writers and pop singers and like who are adamant that what they are creating isn't intended to be ''art'', that they do not want to make some ''statement'' or be innovative, that they do not want to provoke discussion or have ideological ( not in sense of politics, but in sense of, analyzing or dissecting certain theme or motif at all) layer, that they just want to be catchy.

Again , not my own opinion, but I think it is interesting framework to consider, that I see repeated across many fields, across people both in media and outside of them, on both sides of divide.

I love this ask because it really summarizes a lot of what I've seen and thinking.

I would also add that similar to what we see in anthropology where "culture" or someone "culture" means what the West understands by culture (for example, classical music, classical philosophy, etc.) excludes other cultures and the idea of culture as a human universal, these narrow definitions of art could also (and have been) used to exclude artistic expressions on art in other cultures. It's not art, it's something else, custom, or "artesanías" como diría Galeano

I think that a better question to ask than "what is art" is "what WE as a society think is art" and also "what is CREATIVITY" which in my opinion is the source of all art.

[brightlotusmoon]

More than a clever rhetorical turn, in using the words of his opponent’s father against her, Picard’s statement returns all of the Starfleet personnel who are present back to first principles. Yes, they’re scared. Yes, things look bad. But that’s all the more reason to hold to our ideals.

“The Drumhead,” in which Picard issues his warning, isn’t just one of the best episodes of Star Trek: The Next Generation. It’s one of the best Star Trek entries of all time. So it might be a little unfair to compare “The Drumhead” to the recent movie Star Trek: Section 31, which is already on its way to infamy as one of the worst Trek stories ever.

And yet, the issue here isn’t a matter of quality, but rather of theme. Where Section 31 takes a cynical approach to heavy themes, “The Drumhead” conjures up the possibility of Starfleet becoming a totalitarian army and responds with hope and optimism…

We need that classic Star Trek optimism now more than ever.

....

Robinson’s right to point to Star Trek as a once-reliable provider of utopian vision. In “Arena,” Kirk relies on trust and logic to overcome his fear of the bestial Gorn captain to see not an enemy, but a fellow captive, finding that they can work together. The Romulans debut episode “Balance of Terror” sees one of the Enterprise crew turn to xenophobia and paranoia upon realizing that the enemies look just like Mr. Spock, earning a stern rebuke from Kirk.

Picard takes it even further in The Next Generation, delivering passionate orations about our highest ideals. Even beyond his warning against giving into fear in “The Drumhead,” there’s the defense of Data he makes in “The Measure of a Man,” urging another Starfleet officer to see the lieutenant not as a piece of materiel to be dissected but as a new form or life to be respected. In the midst of being tortured by Gul Madred in “Chain of Command,” Picard shares a story about a bully, calling upon his captors’ sense of pride and civility instead of simply wiping the baddie out.

Countless more examples can be found across all of the series. Even the original Section 31 story from Deep Space Nine serves more as a reaffirmation of Starfleet ideals, as Dr. Bashir rejects the shadowy organization’s covert ways and Odo sacrifices himself to undo the group’s genocidal tactics.

Are these choices realistic? Anyone who’s turned on the news recently would answer with a sardonic “no!” Are these stories corny? Sometimes, yeah. It’s hard to imagine anyone getting a chance deliver a Picard-esque speech to the current president or his cronies, let alone that the speech would change their minds.

But the fact that we consider solutions based in empathy and community so unrealistic only makes fiction about these ideals all the more important. We live in a world where the government does actually send military groups to commit horrific acts, where political posturing and expediency almost always outweigh any real concern for people’s lives, a world in which kind and professional people who are good at their jobs are consistently overworked and underpaid, and the vulnerable and underprivileged are victimized and reviled.

We don’t need Star Trek, of all things, to reflect that reality. We need them to keep going forward, to keep seeking out new life and new civilizations, in the hopes that they’ll inspire and galvanize us when we need it most, and remind us that it’s possible to make our lives and civilizations better.

[questionableratatouille00]

Ⱨ₳Ʉ₦₮ɆĐ

Pairing: Bucky Barnes x reader, Romanogers (light, not explicitly stated).

Summary: Bucky gets a little scared in a haunted house.

Warnings: descriptions of gore, hospital-themed gore, use of the word ‘insane’, insane asylum themed haunted house, descriptions of someone ‘going crazy’, mentions and allusions to torture.

“C’mon, it’s just a haunted house! It’ll be a walk in the park for us.” You reasoned, attempting to coax your boyfriend into the extravagantly decorated Halloween attraction.

“More like a walk through hell.” Bucky grumbled, holding your hand tightly.

“You were literally the most successful assassin the world has ever seen.” You stared blankly.

“This is different.” He huffed.

“It’ll be fine, Buck. You’ll enjoy it.” Steve encouraged. Natasha nodded alongside him.

“C’mon. Please? I’ll hold your hand the whole time.” Begging him, you watched as he finally relented.

“Yeah. Okay. Sure.” Allowing you to pull him along, he entered the haunted house.

“Wow, Tony did a good job. This looks so realistic.” You complimented, admiring the blood splatters on the sides of the red carpet you were walking. It was dark, dimly lit by flickering neon lights. There were plenty of features—dilapidated signs, cobwebs in the corners, broken bits of “glass” and wood.

“He did.” Nat agreed. “Looks pretty real. What’s that?” She pointed with her chin at a wall of signs.

You read one of the larger signs, covered in blood in the bottom right corner. It read: New York Insane Asylum, and graffitied over it were the words do not enter.

Glancing over, you could see that Bucky’s brows were furrowed. Nevertheless, you kept going.

Down a few stairs, at the end of the hall, you could see a man, coated with blood and presumably chunks of flesh, banging on an exit door.

“Let me out! Please! Let me out. Let me out. I want out. I’m not crazy!” He howled, his voice wet and weepy and utterly tortured. He was a damn good actor, whoever this guy was.

You slowly approached as he banged and scratched and slammed at the door. Without warning, he whipped around, facing you.

“Wh-oh shit.” Steve breathed, and Nat snickered beside him.

The man’s face was a gory mess, looking as if parts of his features had been melted off.

He made aggressive movements, jerky and wild, as he bawled out the same cries of fear and agony.

And then he switched it up.

“I’m not crazy. You guys remember me, right? You remember me? Please—tell the doctor. He’s gotta listen to you guys, right?” His voice was pleading as he focused on Bucky, who watched with wide eyes.

“Yeah, Buck. Don’tcha?” Steve nudged him, a grin on his face as Bucky glared at him.

After the guy pointed down the hall to a door labeled Doctor’s Office, he switched it up again and started howling against the door.

You walked down the hall, and you could see Bucky getting tenser and tenser.

He leaned down to whisper in your ear. “Promise not to laugh at me if I scream.”

You squeezed his hand. “You can close your eyes if you really don’t like this part. I’ll make sure you don’t bust your ass.” You murmured back.

“Thanks.” He said quietly before continuing on. Steve and Nat took the lead now, and you walked through the automatically opening doors.

Ooh. Yikes.

The set was an operating table, coated with blood and other chunks of remains along with scratch marks below the wrist restraints. The rest of the room fit the theme: sharp tools laid out on the counter, papers strewn about on the floor, empty syringes and bloody gloves lying about.

Bucky sucked in a breath, but didn’t close his eyes.

Up until a male nurse with a chainsaw began chasing you guys through the halls, everything had been going relatively fine.

Bucky was short of breath, gently tugging at the collar of his shirt as soon as the nurse had disappeared somewhere along the way.

“Hey. All good?” You asked, voice now serious.

“Yeah,” he said breathily. “Yeah, s’just—I’m—fuck, I—“ he couldn’t keep up with the sentence.

You take his hand, squeezing it in sections to help the blood flow. Or something. Regardless, it was grounding.

“Thanks.” He muttered, embarrassed.

“Of course. Look. That’s an exit.” You pointed to a door. Looking back to Steve and Nat, you smiled apologetically. “I think we’re gonna bounce. Sorry.”

“Not a problem.” Steve said, glancing at Bucky with understanding in his eyes.

Natasha said something to Bucky in Russian and he nodded. It was too quick for you to translate, but you believed that if it was important he would tell you later.

You walked towards the door, opening it and feeling the cool, crisp air shoot against your skin. Much better. Much less stuffy.

Bucky seemed to have the same thoughts as he slowly relaxed beside you.

“C’mon, babydoll. Let’s go find somewhere to sit.” You offered, and he nodded.

Bucky sat, scratching at the wood of the picnic table with his finger.

Stark was hosting an entire Halloween festival it seemed, with booths and games and other random things that seemed to belong at a state fair, but with a Halloween twist.

You returned, carnival/fair food in your hands. Setting it down, it was clear to you that he was thankful to not be in that dreaded haunted house anymore.

“That kind of scared me.” He admitted quietly as he munched on a fry.

“It’s okay. I’ll protect you. No scary goblins will get you.” You say teasingly, though there’s a sympathetic look in your eyes.

“Thanks.” He smiled to himself as he took another handful of fries.

And suddenly, there was an aggressive grip on your shoulders and the voice of Sam Wilson shouting ‘boo!’ rang through the air.

Yeah, all black eyes acquired in the incident were well deserved.

A/n: Hi!! Anyone who already follows me (particularly for my Bucky fics) may have noticed that Highway to Hell chapters haven’t been coming out these last two weeks, and this is why! I’ve got a couple of Halloween fics coming out, but no worries about that series! I promise more updates will be out on regular schedule after Halloween. ☺️

graphics by @saradika-graphics

[lailoken]

What are your favorite pieces of media that you think accurately represent magic and spirit work? Movies, books, even music..

This is an interesting question, but one that requires a lot of thought, as I have read and watched an inordinate amount of books and movies. Plus, even really good fiction with pagan themes that I've read/watched is generally inaccurate in most ways, with some realistic aspects of magic woven in here and there. Some of my very favorite media relating to the subject can't really be included, simply because of how inaccurate it is overall, but there are a few that have caught my notice.

I'm sure I'll end up missing ones, which bugs me, but I'll do my best to recount some examples that I can think of:

The Love Witch (2016) is a movie that I think presents a strikingly realistic portrayal of what magic can look like. It manages to show some of the ways one might use magic to great effect, without actually skewing into fantasy at all. Clearly, the magic shown isn't going to line up with every paradigm, and its not exactly a heady or spirit-based story, but I think it's a very real look at how ritual and magic is/can be approached by many folks in the modern day.

The Witch (2015) is, above all else, a great slow-burn horror film and an excellent period-piece. However, it also portrays quite an accurate conception of folkloric beliefs about Witchcraft in the 17th century, which inexorably inform the realities of modern Witchcraft traditions. It does just barely skew into fantasy horror, but the actual folkloric information being presented is quite sound.

A Dark Song (2016) is a film that portrays ceremonial magic realistically in many ways. Ultimately, it is still a supernatural horror film, but the bulk of the magic in the movie is based directly on the Abramelin Operation, which was interesting to see. A lot of the ways that the magic "takes shape" in the film feels real enough to me, too (though it certainly takes it to extremes at points, as horror movies are wont to do).

We Have Always Lived in the Castle by Shirley Jackson is a horror novel I much enjoyed when I read it a coulple years ago, but I also remember that it happens to contain small, but meaningful, instances of sympathetic magic within the story that I appreciated as a practitioner looking in. This one has been made into a movie as well.

Cunning Folk by Adam Nevill is one of the more realistic looks at magic—including the uncanny side of it—that I've come across. It's still definitely a horror story, first and foremost, but there's an oomph to the ritual and magic described therein that a lot of other similar fiction lacks—even when the ritual act being described isn't necessarily accurate in terms of historicality or my personal experience of the Craft.

The White People by Arthur Machen is a Welsh short horror story from the turn of the century, which I think is worth including here. There are elements and aspects of the story that feel surprisingly real in terms of Gloaming initiation and the Gloaming Spirits—though, of course, it takes creative liberties informed by the paranormal beliefs and trends of the time (1890s).

The Craft (1996) is a movie that I'm sure a lot of pagans have of nostalgia for in one way or another, myself included. I struggled with whether this movie should be here or in the Honorable Mention section, but I included it here in the end because a lot of the ways magic and ritual are presented in the film are accurate enough. I also think it did a fairly good job of capturing how it can feel to discover, revel in, and then become overwhelmed by magic. However, since it is a supernatural horror film, a lot of magic shown is portrayed more fantastically than the real thing, and there are aspects of the magic (rituals, entities, etc.) made up entirely for the sake of the story.

As implied above, there are also some pieces that, while largely inaccurate or too far into the realm of fantasy, still manage to succesfully capture some essence of realistic feeling magic in them. I will list those here as Honorable Mentions:

Practical Magic (1998) is another movie that I'm sure a lot of Pagans have nostalgia for in some way or another. I won't claim that it's a genuinely "accurate" representation of magic—and it certainly strays into outright fantasy at times—but there are little things throughout the movie that managed to ring a bell for me, as someone who grew up with magic in my family. I know this was originally a book, but I actually haven't read that as of yet, so I can't speak to it.

Pan's Labyrinth (2006) is a movie is squarely in the fantasy-horror genre to me, but even still, I include it here as an honorable mention because a lot of the lore depicted is drawn from real lore, and the overall ambience it manged to evoke strongly reminds me of some of my own experiences with chthonic journeying.

The Good Witch franchise isn't one I have ever actually watched any part of before, but I include it here because, oddly enough, multiple practitioners have mentioned to me that they think the magic is surprisingly realistic for a Hallmark series. As I understand it, the main character is a sort of local Wise Woman who helps the folk in her little town using things like folk-knowledge, remarkable intuition, and an uncanny ability to seemingly sway people and circumstances. Since I haven't seen it myself, my take on it may be somewhat lacking, (which is why I listed it as an honorable mention), but based on the description, it actually sounds like it may be one of the more realistic interpretations of magic on this list.

I know this is a strange addition, as it's not exactly magic, per se, but much of how Stephen King writes about psychic abilities like clairvoyance and healing throughout his works manages to touch on something all too familiar for me. I think, sometimes, that he may have known someone with the Sight and/or the Touch in his real life, as it comes up a lot in one shape or another in his writing.

As I said, I'm sure there's stuff I'm missing, but this at least a serviceable overview. I encourage others to share any other media that they think deserves a mention, too!

[venus-haze]

Rip This Place Apart (Driller Killer x Reader)

Summary: He’s gonna rock your world, baby!

Note: Female reader, but no other descriptors are used. This is based on an anonymous request. I wrote this while I was dealing with a bout of insomnia, ironically. Do not interact if you’re under 18 or post thinspo/ED content.

Word count: 1.5k

Warnings: Descriptions of blood and gore. Sexually explicit content. Do not interact if you’re under 18.

A man kept appearing in your dreams, and he wouldn’t go away. Leather-clad and oozing obnoxious amounts of sex appeal, he was the opposite of a problem, until your dreams started feeling a little too real. Maybe it was your subconscious’ way of telling you to get laid, but every time you had some kind of interest in a man, he clouded your mind until you either made a fool of yourself or retreated.

That night was going to be different, though. You and your friend Marcie had spotted a flyer for a funky looking local band called Shriek and the Spyders, a group of self-professed psychobilly hooligans who were known for their wild shows and over-the-top onstage antics. A bartender who’d overheard you and Marcie discussing the show the day before advised, “Wear something you won’t mind getting stained.” Your interest piqued, and you figured a skimpy black top and similarly black skirt would do.

The Crypt was a hole-in-the-wall joint that certainly lived up to its name. You could hardly see inside, save for a few red overhead lights, because of course they were red. The light fog that swathed the room was either from an effects machine or so many people chain smoking. When you approached the bar, you scanned the cocktail menu, all named after and inspired by classic monsters. You ordered a Frankenstein-themed drink, wondering if it were possible for a place to be too campy.

“C’mon, let’s try to get closer to the stage before they go on,” Marcie said once you both got your drinks.

About fifteen minutes later, the band strutted onstage, an abundance of leather and pompadours. Almost like—no, you weren’t supposed to be thinking about him. Not bothering with introductions, Shriek and the Spyders went right into an upbeat song that made the raucous crowd go wild. They didn’t let up, sweat dripping down Shriek’s face as he ran back and forth across the stage, microphone in hand.

In the middle of their third song, a spray of fake blood rained over the crowd, leading to cheers and screams nearly drowning out the music. Some of the effects looked a little too realistic for your comfort. The bass player’s “eye” popped out at one point, and the lead guitarist’s face seemed to literally melt during a solo a few songs later. 

You and Marcie had been dancing along to the whole set, your drinks long since discarded, half spilled on each other as other concert-goers bumped into you. It was the most fun you’d had in a long time, but you couldn’t shake the sense of foreboding that settled in your gut no matter how much you tried to focus on the show.

In the middle of another song, Shriek broke into a howl as a giant drill emerged through his chest, spraying the crowd with blood again. Except, this time you weren’t so sure it was fake. No one else seemed to care. The carnage only electrified the people around you as they roared and cheered when Shriek collapsed near the microphone stand, his guts hanging off the stage. The floor beneath you shook at the crowd’s riotous stomping and jumping at the scene they’d just witnessed. When you looked up at the stage, you were horrified to see him. Gore hung from the end of his drill-tipped guitar, splattering the crowd as he revved it, keeping eye contact with you and grinning slyly at your disbelief. 

He leaned into the mic, the corners of his lips curling into a cat-like grin as he announced with a swoon-worthy croon, “This is dedicated to the one I love.”

Then he pointed right at you.

The energy in the room shifted to a tangible malignancy, or maybe it was your own panic as you tried to push and shove your way out of the crowd. Instead, you only found yourself being forced closer to the stage, his romance-laced innuendos and skillful guitar strumming overwhelmed your senses and made your skin crawl. It felt like the whole crowd was in on his scheme to get you.

With each song you were shoved closer, and closer, until for the first time since he manifested in your dreams, you were able to reach out and touch him.

Was he even real?

You were dizzy by the time the show ended, hardly able to protest when you were manhandled and told something about wanting to be seen backstage.

“I want details!” Marcie shouted, oblivious to your plight as the rent-a-cop shuffled you away from her. 

Backstage was a stretch. More like a narrow hallway with a utility closet and a small, graffiti-covered room that had been requisitioned by the bands. The door to the makeshift dressing room slammed behind you when you stumbled inside. He was waiting there for you, sitting on a grungy looking red velvet couch, his leather-clad legs spread wide open. His jacket was discarded in the corner of the room, revealing the sheen of sweat and blood that coated his body.

Your eyes drifted to his drill, large and intimidating, with a red tip that looked angry against its large shaft. You could’ve sworn you saw it twitch a bit, and recoiled at the thought of it penetrating you. 

With a click of his tongue, he drew your attention back to him. Raising his hand, he beckoned you over to him with a curl of his index and middle fingers. You felt a jolt rush through your core at the motion. Almost involuntarily, you approached until the points of your kitten heels touched the tips of his steel-toed boots.

“How’d you like the show, baby?” he asked.

“It was…a lot.”

“It was all for you.”

“Yeah…” you trailed off, blatantly ogling the bulge straining against his tight pants.

He grinned, thrusting up toward your face. “Could use a little help, sugar,” he crooned, eyes dangerous as he palmed his crotch. “Don’t be cruel to a heart that’s true.”

You let out a shaky breath in response, and proceeded to sit on his lap. He threw his head back, groaning at the sensation of your weight on him. Tangling your fingers in his slicked black hair, you pressed yourself closer to him, kissing his neck as you rolled your hips against his. You nipped at his throat when you felt his cock twitch against your pussy.

“Goddamn, baby,” he moaned. “Gimme more of that.”

Rolling your hips again, you let out a soft whimper at the friction from his pants on your clit. It was as if a switch flipped inside you, desperation flooding your senses as you chased your pleasure, grinding against him, almost embarrassed at the sounds your wet pussy was making as it rubbed against his hard cock. 

Your breathing shallowed, muscles ached as you rutted against him, feeling yourself getting closer to orgasm. For a moment, it felt like he was only there for you to use, to get off with like some living, leather-wrapped sex toy. Maybe he was. You weren’t thinking clearly enough to question it.

“Wanna go all the way with you, baby,” he forced out. “Wanna make you mine.”

You moaned at that. “Yours.”

You swiftly shifted so you could pull off your panties, tossing them aside on the couch. He undid his pants, his leaking cock springing free from its leather confines. Your pussy involuntarily clenched at the size of him, and your eyes frantically met his smug face. 

He reached between you, his fingers stroking your sensitive pussy. “Cat got your tongue?”

You kissed him again, more teeth and tongue than before as you lifted your hips, slowly lowering yourself onto his cock and whimpering into his mouth at how it stretched you mercilessly. You caught his bottom lip in your teeth, biting down a little too hard and drawing blood, but he took it in stride, licking it from his lips.

He sung your praises, his hands firmly on your hips as he guided you, your pussy taking all of him. His five o’clock shadow scratched at your sensitive skin as he pressed kisses to your neck and shoulders. 

“Fuck!” you cried out as you bounced on his dick, your cervix pounded by his length. Your vision blurred with tears, thighs burning as you kept riding him. So close. “I—I’m gonna—“

“That’s it, sugar. Come for me.”

Your orgasm rolled through you, rocking your hips against his as you held onto his shoulders to steady yourself. Your pussy pulsed around his cock, and you could feel his hot cum fill you as your body milked his seed from him. He was vocal when he came, your name practically echoing throughout the room in a perverse melody.

Riding out your orgasm, you shuddered against him, feeling his soft, spent cock still buried inside you. 

“That was…are you real?” you asked breathlessly.

“In dreams you’re mine, all the time,” he answered cryptically, kissing you with a disarming tenderness.