#(no! that does not invalidate my opinion!)

[walker-lister]

I just have to remind myself sometimes that no matter what anyone else says, the way a piece of media makes me feel and the positive impact it has had on my queer identity is valid, and that tearing myself apart thinking I have to defend it or questioning my own place within queer communities is not at all important when compared to the almost tangible sense of 'rightness' that piece of media helped me to feel about myself.

[abluehappyface]

Not to sound like a cave dwelling spider or anything but how is anyone having opinions? Do you guys actually hear something and form an Opinion about it immediately? You don't just let information hit you like a wall and then do nothing with it? Did you actually expect me to respond?

[lionblaze03-2]

idk about anyone else but for me /personally/ assigning any of the wof dragon tribes a single equivalent human culture or accent feels kind of weird or off. Unless you’re like. Specifically from that culture and know what you’re interpreting

like sure the ‘nightwings are British because they’re voiced that way in the audiobooks’ is funny at first but I once saw a post break down the accents by tribe and assign sandwings a Nigerian accent. Which IMMEDIATELY makes the fact that they’re commonly rogues and thieves in the story not a fun cowboy thing but a vaguely racist thing suggesting that all Nigerian people scam and steal, which. Given the ‘Nigerian prince’ thing is already a stereotype, well…-

and it definitely isn’t JUST that, I’m not trying to call a single person out. But these kind of 1-1 correlations lead to results like this 9/10 times and it just feels strange. Just mix stuff together. Mash ideas from different places into one. Don’t make the dragons a 1-1 parallel to a specific human culture because then any story you tell that may connect to a stereotype of that culture will come off really, really bad

[setaflow]

Fanfiction Writer Bingo

Tagged by @glitchinginthegarden to fill out my bingo card~

Green is 100% 'yes, I do this', while blue requires a bit more explanation:

Multifandom writer: I've written fics for several different fandoms over the years, but never more than one at a time-- I get into phases lol-- so multifandom in the sense that I HAVE written for multiple fandoms, but not multifandom in the sense that I don't do it concurrently.

Keeps an outline for writing: I outline by writing WIP snippets and sticking them in order in a big document, so it's not a conventional outline and I don't really do it for every fic-- it just helps keep my thoughts and ideas in order.

Needs Coffee or Tea to write: I need coffee just to function in my day to day, never mind to write lol.

Has that one fic that deserves more attention: Sort of? In the sense that my most popular fics kudos/hits wise are pieces that were sort of spur-of-the-moment and borne of a fun idea but they weren't really passion projects, and nevertheless got WAY more attention and commemoration than works I put more effort into. If I had it my way, I'd flip them around, but it is what it is.

Wants to be a professional writer someday: Over the years I've had wild fantasies of making a career as a successful writer but I'm 1) decent but not at a professional level, 2) don't have a lot of experience fleshing out original ideas, and 3) aware that writing is not very lucrative unless you strike gold. Maybe one day, and I'd certainly love to pursue it if the winds blew right, but it's just not in the cards for me.

Thanks again for the tag! 🥰

[gothhabiba]

🍉🇵🇸 eSims for Gaza masterpost 🇵🇸🍉

Which eSims are currently being called for?

Connecting Humanity is calling for:

Nomad (“regional Middle East” plan): code NOMADCNG (they are completely out)

Simly (“Palestine” and “Middle East” plans)

Airalo (“Discover” plan)

Gaza Online is calling for:

Holafly (“Israel” and “Egypt” plans): code HOLACNG

Nomad (“regional Middle East” plan): code NOMADCNG (can now be used multiple times from the same email)

Airalo (“Middle East and North Africa” plan)

Sparks (“Israel” plan)

Numero (“Egypt” plan)

For Connecting Humanity: if you sent an eSim more than two weeks ago and it is still valid and not yet activated, reply to the email in which you originally sent the eSim. To determine whether the eSim is still valid, scan the QR code with a smartphone; tap the yellow button that reads “Cellular plan”; when a screen comes up reading “Activate eSIM,” click the button that says “Continue.” If a message comes up reading “eSIM Cannot Be Added: This code is no longer valid. Contact your carrier for more information,” the eSim is activated, expired, or had an error in installation, and should not be sent. It is very important not to re-send invalid eSims, since people may walk several kilometers to access wifi to connect their eSims only to find out that they cannot be activated.

If a screen appears reading “Activate eSIM: An eSIM is ready to be activated” with a button asking you to “Continue,” do not click “Continue” to activate the eSim on your phone; exit out of the screen and reply to the email containing that QR code.

Be sure you're looking at the original post, as this will be continually updated. Any new instructions about replying to emails for specific types of unactivated plans will also appear here.

Check the notes of blackpearlblasts's eSim post, as well as fairuzfan's 'esim' tag, for referral and discount codes.

How do I purchase an eSim?

If you cannot download an app or manage an eSim yourself, send funds to Crips for eSims for Gaza (Visa; Mastercard; Paypal; AmEx; Canadian e-transfer), or to me (venmo @gothhabiba; paypal.me/Najia; cash app $NajiaK, with note “esims” or similar; check the notes of this post for updates on what I've purchased.)

You can purchase an eSim yourself using a mobile phone app, or on a desktop computer (with the exception of Simly, which does not have a desktop site). See this screenreader-accessible guide to purchasing an eSim through each of the five services that the Connecting Humanity team is calling for (Simly, Nomad, Mogo, Holafly, and Airalo).

Send a screenshot of the plan's QR code to gazaesims@gmail.com. Be sure to include the app used, the word "esim," the type of plan (when an app has more than one, aka "regional Middle East" versus "Palestine"), and the amount of data or time on the plan, in the subject line or body of your email.

Message me if you have any questions or if you need help purchasing an eSim through one of these apps.

If you’re going to be purchasing many eSims at once, see Jane Shi’s list of tips.

Which app should I use?

Try to buy an eSim from one of the apps that the team is currently calling for (see above).

If the team is calling for multiple apps:

Nomad is best in terms of data price, app navigability, and ability to top up when they are near expiry; but eSims must be stayed on top of, as you cannot top them up once the data has completely run out. Go into the app settings and make sure your "data usage" notifcations are turned on.

Simly Middle East plans cannot be topped up; Simly Palestine ones can. Unlike with Nomad, data can be topped up once it has completely run out.

Holafly has the most expensive data, and top-ups don't seem to work.

Mogo has the worst user interface in my opinion. It is difficult or impossible to see plan activation and usage.

How much data should I purchase?

Mirna el-Helbawi has been told that large families may all rely on the same plan for data (by setting up a hotspot). Some recipients of eSim plans may also be using them to upload video.

For those reasons I would recommend getting the largest plan you can afford for plans which cannot be topped up: namely, Simly "Middle East" plans, and Holafly plans (they say you can top them up, but I haven't heard of anyone who has gotten it to work yet).

For all other plans, get a relatively small amount of data (1-3 GB, a 3-day plan, etc.), and top up the plan with more data once it is activated. Go into the app’s settings and make sure low-data notifications are on, because a 1-GB eSIM can expire very quickly.

Is there anything else I need to do?

Check back regularly to see if the plan has been activated. Once it's been activated, check once a day to see if data is still being used, and how close the eSim is to running out of data or to expiring; make sure your notifications are on.

If the eSim hasn't been activated after three weeks or so, reply to the original email that you sent to Gaza eSims containing the QR code for that plan.

If you purchased the eSim through an app which has a policy of starting the countdown to auto-expiry a certain amount of time after the purchase of the eSim, rather than only upon activation (Nomad does this), then also reply to your original e-mail once you're within a few days of this date. If you're within 12 hours of that date, contact customer service and ask for a credit (not a refund) and use it to purchase and send another eSim.

How can I tell if my plan has been activated? How do I top up a plan?

The Connecting Humanity team recommends keeping your eSims topped up once they have been activated.

See this guide on how to tell if your plan has been activated, how to top up plans, and (for Nomad) how to tell when the auto-expiry will start. Keep topping up the eSim for as long as the data usage keeps ticking up. This keeps a person or family connected for longer, without the Connecting Humanity team having to go through another process of installing a new eSim.

If the data usage hasn't changed in a week or so, allow the plan to expire and purchase another one.

What if I can't afford a larger plan, or don't have time or money to keep topping up an eSim?

I have set up a pool of funds out of which to buy and top up eSims, which you can contribute to by sending funds to my venmo (@gothhabiba), PayPal (paypal.me/Najia), or cash app ($NajiaK) (with note “esims” or similar). Check the notes of this post for updates on what I've purchased, which plans are active, and how much data they've used.

Crips for eSims for Gaza also has a donation pool to purchase eSims and top them up.

Gaza Online (run by alumni of Gaza Sky Geeks) accepts monetary donations to purchase eSims as needed.

What if my eSim has not been activated, even after I replied to my email?

Make sure that the QR code you sent was a clear screenshot, and not a photo of a screen; and that you didn’t install the eSim on your own phone by scanning the QR code or clicking “install automatically."

Possible reasons for an eSim not having been activated include: it was given to a journalist as a back-up in case the plan they had activated expired or ran out of data; there was an error during installation or activation and the eSim could no longer be used; the eSim was installed, but not activated, and then Israeli bombings destroyed the phone, or forced someone to leave it behind.

An eSim that was sent but couldn’t be used is still part of an important effort and learning curve. Errors in installation, for example, are happening less often than they were in the beginning of the project.

Why should I purchase an eSim? Is there any proof that they work?

Israel is imposing near-constant communications blackouts on Gaza. The majority of the news that you are seeing come from Gaza is coming from people who are connected via eSim.

eSims also connect people to news. People are able to videochat with their family for the first time in months, to learn that their family members are still alive, to see their newborn children for the first time, and more, thanks to eSims.

Some of this sharing of news saves lives, as people have been able to flee or avoid areas under bombardment, or learn that they are on evacuation lists.

Why are different plans called for at different times?

Different eSims work in different areas of the Gaza Strip (and Egypt, where many refugees currently are). The team tries to keep a stockpile of each type of sim on hand.

Is there anything else I can do to help?

There is an urgent need for more eSims. Print out these posters and place them on bulletin boards, in local businesses, on telephone poles, or wherever people are likely to see them. Print out these foldable brochures to inform people about the initiative and distribute them at protests, cafes and restaurants, &c. Also feel free to make your own brochures using the wording from this post.

The Connecting Humanity team is very busy connecting people to eSims and don't often have time to answer questions. Check a few of Mirna El Helbawi's most recent tweets and see if anyone has commented with any questions that you can answer with the information in this post.

[myname-isnia]

Honestly this cold would be 5x more bearable if the way our mom used to treat colds when we were kids wasn’t so insanely traumatising

[wilwheaton]

hello mr wil wheaton when you were my age (like exactly i think) you were filming stand by me

I turned 13 during production, so if you're about to become a teenager, I hope you'll let me offer some thoughts that I wish an adult had shared with me, then?

I know this is a wall of text, and giving someone this much of your attention is a HUGE ask. Maybe bookmark this for another time, if you're not into hearing an old man talk.

I wrote this a few days before I turned 50. Thank you in advance for listening, and I wish you a life filled with joy, unconditional love, kindness, and adventure.

Hey everyone! An old man is talking!

In seven days, I will be 50 years-old. This is ... weird. I do not feel the way I expected I would feel when I was approaching 50, nor do any of my friends. The only time I feel like I'm middle-aged is when my body does some bullshit that takes me down for hours because I had the nerve to stand up quickly. And I really hate it when I have to use the flashlight on my phone to see a menu. I mean, at that point, I may as well be dropping my pants for free and singing the Old Gray Mare.

Anyway. This has been on my mind for a little bit, so I had something to say when someone used my tumblr ask me thingy earlier this week:

Q: I hope I'm as cool as you when I'm 49. I'd like to think I'm taking the right steps towards that version of myself. A: So I'm not sure I'm cool, but I do know that I don't suck, and that it's a choice I make every day. I desperately wish someone in my family had told me, or shown me by example, that getting older doesn't mean getting stupid and boring and stuffy and extremely uncool. I wish I'd known that, because I spent all of my life until I was in my 40s feeling like there was this day coming very soon when I would have to stop listening to punk, stop playing video games, put on a suit, and start yelling at kids for no good reason. I didn't know that you don't have to suddenly stop being who you are and become something or someone you hate, just because of a certain age. I know that's super obvious, but to young me, it was not. My dad was an asshole, my mom never showed up for me. Directors and people on set had been treating me like a thing for my entire life. I got yelled at for no reason from adults who knew better almost every day. Most of my elementary school teachers were authoritarian, evangelical assholes. All of these different adults, consistently, shut me down and made me feel like I didn't matter, the things I liked were stupid, and my opinions were invalid because of reasons I didn't understand because I was a dumb kid. So I presumed that when you got to be a certain age, that's what happened. I didn't want to be that, at all, and I was sincerely afraid of the day it would happen. But as I got older, I discovered that all that stuff I hated about adults doesn't automatically happen. Those adults I just mentioned all made a choice to be an asshole. I just didn't know it. I was in my early 20s when I did a movie with a cinematographer who was, I think, 45 at the time. He was the coolest, kindest, most artistic dude I'd ever known. He mentored me and we had epic fun making great art together. I remember telling him, "I'm not afraid of being in my 40s like I used to be. I didn't know you could still be cool." It's sad, that I grew up in such a toxic environment, and didn't know any of these things. So, 9 days before I turn 50, here are a couple things I have figured out: You know who sucks when they hit 49 and 50? People who sucked when they were 20 and never grew up. You know who is an asshole at 49 and 50? Yep. Someone who was an asshole as a kid and never experienced consequences for being an asshole. Hitting middle age has been awesome for me. Other than the aging of my body and its reluctance / refusal to do what I want it to do, I love everything about it. I wish I hadn't spent so much of my life being afraid that, when I hit 50, it was all over. Because honestly it's kind of just starting. The coolest stuff in my life to date has all happened in the last ten years, and I'm so grateful that it coincided with me figuring out a lot of shit so I could enjoy it.

The best part of getting older, by several thousand light years, is the part where we figure out how to stop putting up with other people's bullshit, and we contract our social circle until it's only populated with a VERY few people who deserve us. And I am incredibly grateful for these occasional opportunities to be a 49 year-old dad who can say all the things that would have been reassuring for 19 year-old me to hear (he wouldn't have understood, but 29 year-old me would have remembered, and he would have understood. I think.) I sincerely hope someone hears it and finds it helpful. Anyway, you're gonna be fine. Just remember that being cool, kind, honest, honorable, reliable, listening and showing up … they are all choices. If you want to be cool when you're 49, make the choice and set the example for someone to follow you. Treat kids the way you wanted to be treated when you were young. Listen to them when they offer you the privilege, because that means they trust you, and you have credibility with them. Be a mentor. Be supportive. Show up. Make a choice to be the person you need in the world, and never stop being that person. Start today, and when you're nearing 50 like I am, hopefully you'll remember who you needed right now, so you can be that person to someone else in the future. You're already asking the right questions and taking the first steps. I believe in you. You've got this.

Okay, if you've come this far, perhaps you'll follow me a little bit more, and read a thing I wrote about talking to students just a tiny bit older than you, which contains my core values.

Be honest. I’m a very old man, relative to y’all, and I’ve learned that the only currency that really matters in this world is the truth.

Be honorable. This dovetails with number one. You attract to yourself what you put into the world. Dishonorable people will take everything from you and leave you with nothing. Do your best to be a person they aren’t attracted to.

Work hard. I don’t mean, like, at your crappy minimum wage job you hate. I mean do the hard work that makes relationships work, that gets you ahead in your education, that gets you closer to your goals. Everything worth doing is hard. Everything worth doing requires hard work. Sooner or later, you’re going to run into something in your life that’s really hard, and you’ll want to give up, but it’s something you care so much about, you’ll do whatever you can to achieve it. It’s going to be hard, but it’s going to be less hard for someone who has practiced doing the hard things all along, than it is for someone who doesn’t know how to do the hard work because they’ve always chosen the easy path.

Always do your best. Even if you don’t get the result you wanted, doing your best — which will vary from day to day, moment to moment — is all you can ever do. We tell athletes to leave it all on the field. Whatever your version of that is, do it.

This is the most important one. This is the one I hope you’ll all hear and embrace. This is the one I hope you’ll share with your peers: Always be kind.”

When I read number 5, I looked up at them. I was so happy to see a classroom filled with teenagers who were all listening intently, even the ones I thought had tuned me out. “Here’s the thing about being Kind, versus being Nice,” I said. “I have interacted with lots of nice people who are incredibly unkind. Why is that? How do you choose to be nice but not kind?”

I pointed to my head. “This is where nice comes from,” I said. Then, I put my hand over my heart. “This is where kind comes from.” I put my hands out, like, “get it?”

There was this collective gasp of realization that I did not expect, at all. One kid said “Oh damn!” I saw a few kids look at each other like the trick had just been explained to them. They heard me. They really, really heard me. And it was amazing.

Okay, that's all. If you're still here, thank you for giving me so much of your time and attention. I hope you'll come back in a few years, and let me know how you're doing.

[daybrightsims]

Alright, they've lived in my brain too long; Time to air out my thoughts about the polyamory in BG3

To give a little context: I am currently ethically non-monogamous with my primary partner of almost 7 years. I am not a monolith of thought when it comes to polyamory/ENM/open relationships. These are my own personal thoughts and feelings. I've also completed the game with Astarion and Halsin romanced. Spoilers ahead, read at your own risk.

TL;DR - I don't share the current opinion of whether or not Astarion is okay with Tav pursuing Halsin and the discourse around his agency and choices in the relationship are bumming me out and frustrating me.

I am getting increasingly frustrated about the conversation about Astarion being polyamorous/okay with Tav being with Halsin in the game, primarily because I think a lot of the "think pieces" are coming from 1) monogamous people who have only ever been monogamous, 2) monogamous people who have been burned/cheated on/forced into polyamory by a partner (I feel for ya'll, that wasn't okay), 3) people who are very VERY protective of Astarion, and 4) people who are blatantly uncomfortable with polyamory. My goal is not to invalidate anyone's experiences, but to share an alternate perspective.

I do think that Astarion is not only okay, but happy with Tav dating Halsin. I glean this from how he responds to being poly with ANY OTHER companion. If you ask him to share with literally anyone else, he will say no and give his reason.

Gale: He doesn’t want to be in a love triangle (which with Gale, it would be).

Lae’zel: He’s uncomfortable and Lae’zel would kill him (also true).

Wyll: He knows Wyll is old fashioned and monogamous.

Karlach: He knows Karlach’s feelings for you are strong and he doesn’t want to stand in the way of that (he even says he’d be cool with an arrangement but knows Karlach will need all of your affection based on what she’s been through).

Shadowheart: He would be cool IF Shadowheart had more experience and ya’ll were together longer. But he knows Shadowheart is fragile in her current state.

Minthara: He REALLY doesn’t like this idea and will dump you immediately.

I did also see that ***SPOILER*** they updated or are updating some of the spawn Astarion language to have issues with your affair with Mizora should you pursue it, and it requires a persuasion/deception role to keep you two together.

Up to this point in your relationship with Astarion, he has become more comfortable voicing his opinions and concerns with you. He is learning to value his autonomy and his non-physical relationships. He will tell you when he doesn’t want to do something. In fact, he’ll break up with you over pushing his boundaries. He is fine with you pursuing the Drow twins and fine with you sleeping with Haarlep, even comforts you when Haarlep uses your form. So when he says he is okay with you pursuing Halsin, he means it. Yes, he voices his insecurity with you that you may be pursuing Halsin because you and he haven’t had sex in a while. But he acknowledges that Halsin has experience in this arrangement and doesn’t pose a threat to your relationship. Plus, if you kiss Halsin in front of him, he’ll say “don’t mind me, I’m just enjoying the show.”

To me, the idea that this is the ONE thing that Astarion doesn't have agency over in an arc of showing he can speak up for himself is you sleeping with Halsin is an idea that takes more agency from Astarion. He is a grown man. A 240 YEAR OLD man. That trauma he's endured does not mean he needs to be babied or coddled because he can't make his own choices. I think that's an unfair assumption to put on him that Halsin and Tav being together is the ONLY thing he can't enforce his boundaries on.

If he didn't want you to be with Halsin, he would say no like every other monogamous character in the game.

If you want a good example of someone saying yes just because they want to keep you, look at Karlach. You can tell she is HEARTBROKEN when you ask her, but she says “I don’t want to lose you”. That is not an enthusiastic participant in a polyamorous relationship. Astarion says “yeah, go for it! Just give me some reassurance”. Polyamory is not immune to insecurity. I've asked for reassurance in my own relationships and so has my primary partner. That’s not unenthusiastic. That’s realistic as shit. If you ask him about the relationship after you finish his questline, he doesn’t need reassurance because you’re having sex again. That’s also super realistic.

Am I sensitive to this as someone who practices ENM? Almost certainly. It's hard to see a lifestyle I live be villainized and claimed to be "forced" onto characters. I was actually really excited that I could pursue both Astarion and Halsin, and that Halsin places so much importance on consent and not misleading your partner. And it sucks SOO much to see one of my favorite characters be reduced to "oh, he's only doing it because he's afraid to lose Tav." It makes me almost feel bad for liking the interactions between them and enjoying to option. Do I think people mean to make me or other poly people feel bad? No.

But it does.

Headcanons are headcanons. I get it. People are absolutely allowed to interpret the poly aspect of BG3 how they want to. People are allowed to feel uncomfy with how it's portrayed and not pursue it. But it still bums a queer ENM Astarion and Halsin lover out.

Now excuse me whilst I live out my Astarion x Halsin x Tav polycule fantasies in the form of fanfiction.

[howtofightwrite]

Most traditional boxing instructors will tell you that if the opponent is taller than you, has longer arms than you, or is heavier than you, you're fucked and you need to stay extremely aware and work really hard to compensate for all the advantage he has over you.

In a recent forensic survey, it was determined that most traditional boxing instructors who get into real world altercations die when they're shot in the head.

This is the problem with a lot of these kinds of arguments. No one practices traditional boxing. At least, no one does so publicly. How do I know this? Because traditionally boxers fought in the nude. Yeah, we're not seeing that, are we? Now, maybe they meant bare knuckle boxing, but really no one does that either, these days. Boxing without safety equipment is not a particularly good idea, for fairly obvious reasons.

The only reason the word, “traditional,” is in the ask is to lend their statement unearned credibility. It's an attempt to make their statement sound more authoritative, without offering any evidence to support the statement.

Who said that?

“Traditional people did.”

Okay, but, 'traditionally,' people cleaned shit off their ass with a stick. So, maybe appealing to Hellenic sports isn't the best gauge of how a fight will play out.

Also, I know I just said it, but, who are these authoritative sports guys? Because they're not named. We're simply told, “most,” of them agree. Which starts to sound a lot like “four out of five dentists agree.” Who are these instructors? What do they teach? Why are the currently in prison for indecent exposure? And how much did you pay them to get their uninformed opinion? Salient questions which may need to be answered, if the original question wasn't invalid on its face.

Why do I say it's invalid?

Because boxing isn't fighting.

Boxing is a sport.

Boxing has rules.

Kick your opponent in the groin, or shin, and you're punished.

Step on their foot, push them, and watch them tumble to the ground before you start stomping on them, and you'll be punished.

Throwing your opponent will be punished.

And of course, as mentioned at the top, pulling out a gun and expanding your opponent's mental horizons is extremely frowned upon.

These are all things that can happen in a real fight.

These are all things that do not benefit from increased height or reach.

There is one genuinely accurate statement. In a fight, you do need to be very aware of what's going on around you. Everything else is the product of someone who's been punched in the head repeatedly until the CTEs got them thinking that boxing is analogous to a real fight in any way. (And, statistically, will probably end their career sitting in a jail cell over an aggravated assault charge, because their emotional self-control was completely destroyed by those same head injuries.)

The rules that boxers need to follow are designed to (somewhat) protect the participants. It reduces the dangers of a boxer being killed in the ring. In an observation that I would hope to be self-evident, those rules don't exist in actual combat.

It's also amusing, because the original Asker had to go so far as to single out an ill-defined, “traditional” boxing, because no other martial art they checked gave them the soundbite they wanted.

And, of course, women box. Historically, you could say, “traditionally,” there were even boxing matches between men and women. It wasn't until the 1880s that women were excluded from competitive boxing in the UK. (I'm not sure of the exact date when women were banned from boxing in the US, though that prohibition lasted for less than a century, before the modern return of women to the sport.)

So, either these “traditional instructors” don't know the history of their own sport... which doesn't sound particularly “traditional” to me, or they're full of shit.

My advice to everyone would be, maybe, don't take the advice of a sports coach about how he's secretly an absolute badass in all the delusional fantasies he's cooked up about how he'd like to inflict violence on others because they wouldn't date him.

-Starke

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[weepingchoir]

can you give some concrete examples of what "writing defensively" sounds like? I'd like to apply the advice to my work but I don't know exactly what it means.

It manifests differently in nonfiction and fiction.

Nonfiction is easier. I get a lot of essays that take momentary asides to promise that they're making a point, and that we'll all get to enjoy the point soon, if you just bear with them. Not only is saying that you're making a thesis not in fact making a thesis (and by literary rudiment, wordcount bloat), it's also drawing attention to the ways you haven't yet arrived at your thesis. It is counter-thesis.

In fiction, I find that it manifests in largely two ways:

Good King Syndrome. You take the time to explain to the audience that this particular instance of something you understand to be real-life ethically, socially or politically incorrect (pardon my french) is exceptional and good.

Very Bad King Syndrome. You take the time to remind the audience that you are real-life aware that the thing you're portraying is wrong.

Both of these methods of literary self-defense preempt a dialogue with the audience, a dialogue that doesn't actually have to include the real-life you. A complete work of literature can, if you let it, be a standalone entry into a discussion. It can run its own course. By preempting the dialogue, though, you are opening it, and by emphasizing the ways in which it does or doesn't reflect your real-life morality, you are inserting yourself into the dialogue. You've created a gap in your work through which your actual self is vulnerated, like a House of the Dead boss.

Often, defensive fiction will warp a character into a mouthpiece for author opinions. Readers can very easily pick up on when you're doing this. It disbelieves their suspension, and it turns the rest of the work into an open hunt for your real-life beliefs, invalidating its worth as narrative fiction in favor of a morality essay. Writing morality essays is the favorite activity of most bad writers, and most bad writers are readers. Which is why defensive writing doesn't repel haters, but in fact attracts them. You're giving them free raw material!

[thekatebridgerton]

HAVE YOU SEEN WHAT THEY DID TO MICHAEL STIRLING?!

I haven't seen part 2 yet but I definitely saw the spoilers on my dashboard. And for all that its worth, I'm really sad about it right now.

I've seen a lot of posts invalidating the feelings of book fans by saying things along the lines of 'if you don't like Michaela Stirling you're ...you guessed it a #BadPerson' and I'm trying to process which person's feelings matter and don't matter in a world where those same people preach acceptance and support. I want my feelings to matter, I want to be allowed to be sad about the fact that this character I was looking forward to seeing is no longer going to be on screen. But the truth is a lot of people keep saying that my sadness and sorrow is invalid shaming people who feel like I do with all the self righteousness of a pastor in church. because apparently not liking the genderbeding of Michael Stirling makes me a #RaginghaterOfMinorities.

And lets be clear, everyone can say what they want, but book Michael Stirling is not going to be on screen, his story was too emeshed with the gender roles of the era, for a genderbent take to not strip and reorder the character's motivations and major plot lines in order to make him a woman. Michaela Stirling is for all intents and purposes a new and improved character. More power to her.

Still that doesn't take away the fact that I am sad and disappointed that Michael Stirling won't be on screen and that it will take me time to process this in a healthy way.

So in case nobody has said this to the crowd who is heartbroken over the genderbeding of Michael Stirling, those who feels upset and disappointed over the loss of a beloved character and don't feel brave enough to express it. Let me be the first to tell you that your feelings are valid, disliking the change in direction that was taken for a fictional character doesn't make you racist or homophobic or anti feminist or any other of those ' you are a raging hater of minorities ' epithets. ( Some of you may even be the kindest people I've met on the site) In my opinion, those feelings just make you human, and you should be allowed to feel it and process the loss in a healthy way without being told youre selfish and a bad person.

Does being heartbroken over this give anyone the right to go and harass actors like Masali Baduza for doing a job they were hired and paid to do? No. Does it give anyone the right to go send nasty harassment anons to people who actually liked the change? Also no. In fact it doesn't give the right to people who have a different opinion to harass you either. Boundaries are a two way street. Don't harass others and don't consent to receiving harassment is a rule we should all follow

But it does give you the right to feel your emotions, process them, accept the change and move on with a healthy mindset.

Its going to take me a while to get there myself, but that's what I'm doing.

And that's the tea

[my-autism-adhd-blog]

From Autisticality’s post:

Whenever I hear someone say "I think I'm a little bit Autistic too" or "we are all a little bit Autistic at the end of the day", it really annoys me. Not just because it is massively untrue, but also because it diminishes everything we go through as Autistic people just to simply make it through our days.

And whilst I'm aware these aren't the criteria for being Autistic and are based on my personal experiences as an Autistic person with other factors at play (ADHD, depression, social anxiety etc), the post is mainly to make a point that we are not all a little bit Autistic because if we were then the world wouldn't treat Autistic people as poorly as it does.

Whether your intentions are kind to make it seem like the Autistic person is not alone, this phrase does nothing to make us feel better but instead is a slap in the face in my personal opinion.

Image description: "We are NOT all a 'little bit Autistic'

> Do you also physically and mentally dread leaving the house?

> Do you also have nightmares remembering what happened at school?

> Do you also get excluded just because you are ‘quiet’ or don’t speak?

> Do you also have to go to extreme efforts to prove you are struggling just to get any support?

> Do you also feel so alone and misunderstood that you sometimes wish you weren’t alive?

Think before you make comments that invalidate, minimise & diminish what a minority experiences."

#autism #autistic #neurodivergent #ActuallyAutistic #AutisticPride #AutisticAcceptance #AutisticCulture #adhd #MentalHealthAwareness #neurodiverse #neuroqueer #neurokin #AutisticAppreciation #neurodiversity #neurodivergence #AutisticExperience #InfinityNotPuzzle #GoldNotBlue #NothingAboutUsWithoutUs #AutisticAcademic #AutisticJoy #AutisticAppreciation #autisticfuture

Autisticality

[disruptivevoib]

Long Ramble about CCCC and my overall feelings on what the album means and such

Something I find important about CCCC is like.

The fact that all three of them are, in some way, trying.

Heart is emotion, he is prone to himself and being reactionary, in the moment. Prone to the past of learned behavior and trauma. Reactive and rapidly changing. He isn't going to make pure sense because he isn't based in logic or in societal ideals or views. He is an instinctual response to the environment and circumstances. His manipulation is not intentional. He has very little control of himself in the end. Its why Mind talks about claiming to relish entropy yet clearly needing help. But, Heart in earnest wants them to be okay and safe. He believes that Mind's control will drain the life from them. It will make things monotonous and the same. Too much order.

Mind in turn, believes Heart is manipulative with intention. He wants to control Soul or wants to just drag them all down with him into this depressive state. Mind is logic, he is the reasoning out of your emotional instinct. Your inner critique, and when unchecked, that inner critique goes from a guiding hand for your emotion to one that debates and bullies it. Invalidating its responses. Ultimately, though. Mind just believes he is helping. He is doing what must be done and telling the "hard truths" to Heart. And that Heart is being the petty child. Which- I mean. Sort of sure. But Mind is definitely fucking petty and childish. He's stubborn! Prideful! So ofc he is. Admitting you're wrong? No.. why would he EVER do that.. nuh uh.

Which is what makes Light so crucial. Mind asking Heart for help- but also. There is Soul.

Who while ambiguous in purpose, is mostly that background voice. Your inner narration. If Mind is Logic and Reason then Heart is Emotion and Instinct,, Soul is all that lives between it. And he is constantly silenced or spoken over or around. He does not get a word in edgewise until TSE. He may show up in the background occasionally but as much as Heart and Mind claim to want to keep him alive and help him, they also fail to actually acknowledge what he says.

Which is that they both are right and wrong. That this fighting is doing directly what they both feared it would. Soul is desperate by the end. He is angry and resentful because.. well. Self hatred due to intense self awareness and reflection is rather ig. Common. Im not a professional here but from personal experience, you get so tired of rehashing the same shit with yourself over and over. It all feels pointless.

The only out, by the end of it all to Soul is that if they cannot be Whole, whats the point? He is desperate. He does not want to die but he feels theres no other solution.

And. About Whole, Soul throughout the album seems to want that. At the beginning, to be Whole or Harmonious is to be mentally healthy, maybe even "normal" by society's standards. To be able to put a mask over your problems and be, again, "normal". It takes the entire album for Soul to realize that this:

1. isnt possible

And

2. There isn't anything evil or wrong with him for that.

Mental health is a struggle. But you are not evil and should not be othered because you struggle. You also do not need to be fixed for being a little different and people's opinion of you is not what matters most so long as you are happy (and not hurting others. Lol).

Thats what Two Wuv is entirely about as a song. Its a "fuck you. Fuck this! I thought I needed to be this! But I DON'T. Stop telling me who I am! How to be! I'm gonna be me!"

His entire arc is parallel to Heart and Mind's and is crucial in the culmination of becoming yourself again and accepting yourself.

But, as mental health will always be, this period of respite and self acceptance is not always forever. And as life continues or as you lapse back into a depressive episode.. you cannot help but forget what it is like when you're not this way- and hell! Vice versa too! Some people have this disconnect between the periods. Where the things from the depressive state seem dramatic or obtuse to you while you are doing better. And from the other end, you just want to be happy again.. but you get so lost in it all you can struggle to feel like you've ever been happy.

The album is about the human experience. It is about self-sabotage, mental illness, self-hatred and reflection and it is, maybe more importantly about self-acceptance and healing. Having a bit of mercy on yourself. Accepting that you are imperfect and that this is okay. And whatever flaws you may have that need to be mended or worked on, can be. And that who you are, for example, if you are queer, is okay. And no one has the right to take that identity from you! That the internalized ideas of how someone should be are not always correct or right. Not for you, at least. Stuff like that.

[cursedvida]

It's really crazy to me to see the hate Mae gets, like I was reading some reviews and I can understand not liking a character but as soon as they start with the name calling their opinion is invalid to me because they have no reason to be calling her a bitch, among other things, like it just reeks of mysogyny, (it's like they just want an excuse to call women names) and seeing it coming from other girls makes it worse like..

"Oh the girl was such a bitch why did she do that 🙄" ..is it really that hard to think for a moment about the circumstances in which mae was raised?? Do they need it spell it out for them?? Like, c'mon guys do you really think that the people trapped in a bunker for generations have anything nice to teach/say about the apes?? Wes Ball please give us Mae's backstory in the sequel!! Your audience needs it bc they are out there calling Mae the real villain and saying Proximus was right 💀 (when he was literally everything Caesar hated in an ape)

Look, I'm usually a polite person when expressing my opinions, but I'm fed up with the hate towards Mae, basically because the arguments people give seem incredibly basic to me, typical of people with little to no understanding. Sometimes I doubt if these people have watched the same movie as me or maybe they have some sort of cognitive dissonance, but seriously, I find them ridiculous. Either that, or they are basically the typical comments from misogynistic guys or women with internalized misogyny who can't stand morally gray and questionable female characters.

And well, having said that, I'm going to present my doctoral thesis on this topic:

One of the things I've seen the most is people saying that Mae is evil, the true villain, or an ungrateful traitor to Noa. This argument seems quite incomprehensible to me because, even though we don't have much data about her, I believe there's something very important that explains why she acts as she does: the Proximus apes killed the people in her group, including her mother. I mean: her damn mother. If we add to that the UNDERSTANDING (I mean, you have to be very short-minded not to assume something so obvious) that she has been raised in an environment where they've probably told her all her life that the apes are the reason for all the evils of humanity and the main reason why humans live in shitty conditions, I think anyone with half a brain has enough information to understand why she does what she does.

Yes, Noa is a good guy, but he's not helping her. Noa and Mae have a common goal and decide to ally themselves momentarily to achieve that goal, which is to reach Proximus. As much as they've formed a bond throughout the story, it's not yet strong enough for Mae to set aside what she has worked for so hard. Mae not only bears the weight of humanity on her shoulders but also emotionally carries the idea that she, as the sole survivor of her group, must complete the mission at all costs. Are those who criticize her telling me that if they truly thought that with certain actions they could not only save their species but also honor their loved ones who have been killed infront their eyes, they wouldn't do them? And that they wouldn't do them for someone they've just met, no matter how much they like them? That's just not realistic, it makes no sense. We would all do the same as Mae in her situation. I mean, I have no doubts.

Another thing I love is when they say she's the "true villain" as if it weren't clear enough that she feels bad every time since she forms a bond with Raka and Noa when she does something that she knows may harm them. She feels pain for Raka's death and clearly, you can also see the conflict and remorse when she detonates the bomb. It's not something she enjoys doing, but she HAS to do it. In the final scene, even though she's carrying a gun, you can also clearly see her in conflict with herself. Clearly, she doesn't want to kill him. Clearly, she has nothing against Noa, and this is evident when she finally accepts the necklace and they even shake hands. You can't tell me that's the attitude of a villain, narratively it's not presented as such, and seeing it that way is to have understood nothing.

Mae is a complex character whose life is based on survival, she's no different from the characters we're used to loving and idolizing in other post-apocalyptic series, the difference here for me is that she's human and humans have to be bad by default and also that she's a woman. Because female characters always have to be the support, the romantic interest, or the unconditional friends of heroic male characters, and Mae is none of that. Mae is a character with her own story and ambitions that go beyond Noa's plot. Mae has her own plot, and it seems that's something that bothers people a lot.

I'm sorry, but the hate towards Mae seems very similar to the one people had for Sansa Stark in Game of Thrones, which basically stemmed from people being misogynistic and hating complex and imperfect female characters, combined with how much they hate seeing protagonist characters with such human and real characteristics that they can't bear the idea of seeing themselves reflected in them.

But hey, for Sansa Stark, I would have killed, and now for Mae too. Mae haters basically DNI

[graysoncritic]

A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Barbara Gordon

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

Out of this entire essay, this was the section that I considered cutting entirely. After all, in the past there have been instances when Barbara Gordon and her romance with Dick Grayson have been weaponized by Taylor and his fans against his critics. 

The example that comes to mind was when Taylor and Redondo were criticized for not including Duke in a Nightwing cover that parodied The Brady Bunch.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022)

Personally, I believe that, while discussions of how Duke’s positioning in the Bat Family is warranted, the matter was blown out of proportion, and many of the attempts to cancel Taylor crossed the line into harassment (make no mistake, while I believe him to be a terrible writer, I do not wish him any ill-will). That being said, Taylor also escalated the matters when attempting to pin said negative comments onto DickKory shippers who did not like that he wrote DickBabs.

(While the original Tweet has since been deleted, the screenshot used is available in this tweet 

Neb | 🏳️‍🌈 [@NebsGoodTakes]. Twitter, 20 June 2022, https://twitter.com/NebsGoodTakes/status/1538939571789934593)

For this reason and this reason alone, I considered removing this part of the essay. While I have no idea if anyone will read this monstrosity, I did not want my arguments to be invalidated simply because I did not have a favorable opinion on the DickBabs.

However, after much consideration and numerous discussions with other Dick Grayson fans, I found that the subject of Barbara Gordon’s portrayal in this run (as well as in many recent DC media), and her romance with Dick perfectly embodies many of ideas I wish to explore in this essay — mainly, how shallow approaches to progress ideals create deeply problematic narratives that not only undermines the themes of a story, but they also destroy characterization.

I will start by once again stating that I do not believe this is a problem unique to Taylor’s writing. As I alluded to above, I believe DC’s modern portrayal of Babs does a great disservice to her wonderful, empowering, complex character. This is but the analysis of one of the stories she appears in. It is my hope to prove that in Taylor’s Nightwing, Barbara Gordon is not written as a woman with a strong sense of self and an internal life, but rather idealized girl whose existence revolves around the men in her life, and whose perfect yet shimmering depiction serves only to make her into the reader’s proxy-girlriend.   

Barbara Gordon in the late 90s and early 2000s was a mature and confident woman in her late-20s to early-30s. She had her own job, her own friends, team, villains, and the type of confidence that can only come with age and experience. She was serious while still having a sense of humor, pragmatic, and she knew exactly what she wanted for herself. 

(Gail, Simone, writer. Bennett, Joe; Barrows, Eddy, illustrator. Perfect Pitch: Part One. Birds of Prey. 87, e-book ed. DC Comics, 2005. pp. 22)

She was also flawed. She could get angry at people for little reason, she could be too cold or too straightforward without considering the other person’s feelings, she could be purposefully petty and selfish, she could get unreasonably jealous, she was impatient, she could be too proud to admit when she was wrong. It was all of these factors which allowed Barbara Gordon to be her own person — to be a fleshed out, well-rounded woman. 

(Dixon, Chuck, writer. Leonardi, Rick, illustrator. The Gun. Birds of Prey. 39, e-book ed. DC Comics, 2002. pp. 16)

Babs’ life did not revolve around Dick. Yes, she loved him, but she still had some interiority. She had a life outside of Dick Grayson, outside of Bludhaven, outside of Batman, and outside of Oracle. She had her own goals, her own dreams, her own likes and dislikes that worked independently of the men around her. She had her own history that informed her decisions, she had both positive and negative relationships with other women and those relationships were not dependent on her connections with Dick or Bruce. 

(Gail, Simone, writer. Timm, Bruce; Lopez, David; Melo, Adriana, illustrators. A Wakeful Time. Birds of Prey. 86, e-book ed. DC Comics, 2005. pp. 02)

By comparison, Taylor’s Barbara is not a woman, but a girl. She is very young and very immature. If Dick is written like a young man who just left home and is experiencing adulthood for the first time, then Babs is written as his girlfriend who is still in college and does not have concrete plans for her future. 

Note that when referring to Taylor’s Babs, I mainly characterize her through her relationship with Dick. That was intentional. While writing this essay, I struggled to think of Barbara having any meaningful interactions with characters who were not Dick or Dick’s friends, the Titans. I also struggled to think of her doing something for herself rather than for Dick and the Titans. I struggled to define her goals independent of Dick, I struggled to describe the plans she has for her future that do not revolve around her relationship with Dick, and I struggled to give an account of what she does in her spare time when she is not helping Dick, Nightwing, the Titans, or Batman. That is because everything in Barbara Gordon’s life, as written by Taylor, is constructed around Dick (As many may know, it is really hard to prove a negative. How can I get supporting evidence from the comics that Babs does not have a life outside of Dick Grayson when my argument comes from those factors not existing? For this, though I hate to do so, I’m afraid I’ll have to rely on the reader’s familiarity with the run being discussed).

Barbara is a constant presence in Taylor’s Nightwing run. She is a secondary protagonist, and she is often portraying helping Dick Grayson behind the scenes,

(Taylor, Tom, illustrator. Redondo, Bruno The Battle for Bludhaven’s Heart Part Two. Nightwing: Rebirth. 93, e-book ed. DC Comics, 2022 pp)

Helping Nightwing as Oracle,

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 19)

Or fighting by Nightwing’s side as Batgirl.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. You are Nightwing. Nightwing: Rebirth. 105, e-book ed. DC Comics, 2023. pp. 05)

She is always present, she is always doing something… But all of that is in the service of the men around her rather than for herself.

As Dick Grayson Fan A pointed out during a discussion, “Modern Babsgirl is forced to be perfect at everything. She's never allowed postcrisis Babs' edges, her flaws and intrinsic motivations. Taylor's Babsgirl is designed to be the perfect girlfriend for his blank self insert Nightwing. There's no meat to her bones, she's just shimmer and gloss.” (The subject of Babs came up when DC announced the lineup for Birds of Prey (2023) and Babs was not included on the roster.)

In other words, Babs as portrayed in Taylor’s run lacks any bite, edge, and maturity that would make her feel like a woman with her own sense of self and with a life that is not dependent on her boyfriend. Babs’ portrayal is a shallow girlboss-type of feminism, where though Babs is powerful and intelligent, she is not allowed to be a real person for she serves no purpose other than to be the perfect, understanding, badass girlfriend.

As a result, Dick and Barbara’s relationship becomes hollow. Because Babs lacks interiority, individuality, and agency, she becomes a flat character. This, in turn, makes it so it is hard to understand why Dick and Barbara are together other than for the fact that DC mandates it. The over reliance on the childhood friends-to-lovers trope only increases this hollowness rather than fleshing out their relationship. While Taylor includes flashbacks of Dick and Babs as friends when children, growing up together as teenagers, and fighting together as Robin and Batgirl, those instances feel removed from their individual histories. These moments exist in isolation, removed from the context of the rest of their lives, be it together or separately.

(Taylor, Tom, writer. Redondo, Bruno, illustrator The Battle for Bludhaven’s Heart. Nightwing: Rebirth. 92, e-book ed. DC Comics, 2022. pp 06 - 07)

DC currently treats Dick and Babs as a foregone conclusion. As a result, Taylor does not make an effort to get his readers on board with the relationship because he assumes that they should already support it. Dick and Babs are portrayed as getting along great, never having had any conflict, tension, or disagreements. This idealized romance would not necessarily be a problem if it didn’t come at the expense of developing Dick and Barbara as individuals outside of their relationship. They are not one being, but two separate people coming together. They should be written as such, but in trying to create the perfect relationship, Taylor robs Dick and Babs of their identity outside of their romance. 

Not only does this inseparability that Taylor attempts to portray as “charming” destroy Dick and Babs’ individuality, it can also be downright insulting. In #106 Taylor infantilizes Dick when making it so Babs needs to be the one to wake him up so he can start his work as Nightwing. 

As I mentioned previously, Dick is known for his toxic perfectionism, his obsessive tendencies that often come at the cost of his health. Making Dick laze around in bed while people need his help and having his girlfriend tell him to get ready for the day, as if she was his mother and he was a teenager who did not want to go to school in the morning, is not only out of character, it also diminishes Dick’s competence. It makes it seem like he cannot function as a responsible adult without Babs being there to hold his hand through everyday difficulties. 

Not only that, the scene also plays into incredibly sexist dynamics where women are expected to carry the domestic labor in a relationship — the man cannot keep track of his own schedule, and so it becomes the woman’s responsibility to attend to his needs. What was intended to be a “cute” scene portrays Dick as being immature and irresponsible, and portrays Babs spend her time keeping track of an adult man’s responsibilities.

(Taylor, Tom, writer. Byrne, Stephen, illustrator. The Crew of the Crossed Part One. Nightwing: Rebirth. 106, e-book ed. DC Comics, 2023. pp 08)

This unhealthy codependency further insults Dick when, in #107, Babs demands Dick come back home as he is about to help his ex, Bea. Rather than believing Dick’s capability as a vigilante who has been operating in the field for far longer than she has, Babs shows her complete lack of faith in Dick’s ability to get anything done by himself by telling him that she “wants him home now.” 

(Taylor, Tom; Byrne, Stephen The Crew of the Crossed Part Two. Nightwing: Rebirth. 107  e-book ed. DC Comics, 2023. pp. 19)

This is a great contrast to Nightwing (1996) #66, where Babs encouraged Dick’s independence and had full trust in his abilities to take on such difficult challenges on his own. When Lockhaven goes up in flames, Babs trusts Dick to be able to handle the situation by himself, even though she also knows that Dick’s mind is greatly preoccupied with Bruce and the murder of Vesper Fairchild. Indeed, in the next issue (not part of Murderer/Fugitive, but happening simultaneously to it), Dick does handle the Lockhaven fire by himself, without requiring any assistance, before returning to Gotham to help with the investigation that should clear Bruce’s name.

(Dixon, Chuck, writer. Burchett, Rick, illustrator. The Unusual Suspects. Nightwing. 66, e-book ed. DC Comics, 2002. pp 18 - 19)

This healthy separation and this unconditional trust not only portrayed Dick and Babs as both trusting each other’s abilities as heroes — Dick did not worry about Babs’ capability of taking care of herself, and Babs knew Dick could handle his own — it also portrayed them as being more secure in their relationship. They were individuals first. They had their own independent lives and personalities outside of their romance. They trusted the other’s ability to win on their own and handle their own cases without help. And that, in turn, made it so that they could stand on their own, and so that their relationship did not feel so vulnerable.

That being said, it wasn’t as if previous depictions of Dick and Babs didn’t present them with hardships, or demonstrated how, at times, they could bring out the worst in each other. As much as they could compliment one another, Dick and Babs could also disagree, get into arguments, and even fights. That is because they were individuals first, with their own opinions, preferred way of doing things, and their own background that would sometimes come in conflict.

Taylor avoids having meaningful conflicts in his story. While this negatively affects his narrative in a myriad of ways, the lack of the conflict in the plot also affects the relationship between Dick and Babs. It is fine to have a wholesome, sweet romance, so long as it is balanced with a plot containing other forms of tension. This way, the relationship can be a safe harbor for the main characters, the one space in their lives where they can be safe, and the one source of strength they can draw upon when facing the challenges ahead. By balancing a conflict-filled plot with a wholesome romance, the stakes of the plot feel higher while the romance feels sweeter. They foil one another to create a cohesive and unified story.

In Taylor’s Nightwing, all major plot beats take a backseat to the sitcom-like relationship between Dick and Babs. The lack of conflict in the plot and the lack of conflict in the romance makes it so everything is stagnant.

I do believe that Taylor thought he was writing a “Will-they-won’t-they” style romance in the beginning of his run. In Nightwing #95, for example, Batwoman implies that the reason Dick and Babs aren’t together is because Dick and Babs are scared of crossing that line. 

(Taylor, Tom, writer. Redondo, Bruno The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 17)

Wally also played into that idea when, in #91, he pointed out that Dick and Babs were already together and just needed to make it official.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 91, e-book ed. DC Comics, 2022. pp 19)

More than that, I believe Taylor attempted to make a commentary on comics imposing needless conflicts in relationships to keep two characters apart. In Taylor’s view, Dick and Babs were always in love, always meant to be together, and never had a complicated history that prevented them from rekindling their romance when Dick is trying to regain some control over his life after recovering his memories. This shows a lack of understanding as to why Dick and Babs often break up and does a disservice to both their characters.

Now, to explain this, I’ll borrow heavily from a private discussion I had with a Dick Grayson Fan A once distinguishing the difference between external and internal conflicts in a romantic plot. While we were not talking Dick and Barbara then, much of what we said still applies to their relationship.

External conflicts, as the name suggests, involve external forces that keep the couple from being able to develop their relationship despite their mutual feelings for each other. This is the case with a romance like Clark and Lois. Given Babs’ laugh at Dick’s condescendingly sexist claim that Babs shouldn’t be with him because it is too dangerous (as if he doesn’t know very well that Babs can easily take care of herself), it seemed that Taylor believed that this was the conflict that has been keeping Dick and Babs apart. And so, with one panel, he dismissed the idea that external forces could keep Dick and Babs apart because they are able to face their enemies together.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022. pp. 17 - 18)

But in the past, what broke Dick and Babs up were not external conflicts, but internal ones. If external conflicts are created due to external forces, internal conflicts preventing a couple from being together come from the characters not yet being who they need to be in order to be happy together. This can be due to a clash of personalities, worldviews, needs, wants, or goals. To prove my point, I want to look at Dick and Bab’s break up in Nightwing (1996) #87 and the Nightwing Annual #02. (I’ll be honest in saying that it pains me to cite Nightwing Annual #02 in this essay, for I absolutely detest it. I believe Dick is written incredibly out of character and it, quite frankly, captures one of my major problems with how some writers choose to depict DickBabs. In trying to prop Babs up, Dick gets knocked down and ridiculed, and often burdened with the full responsibility as to why Dick and Babs haven’t been able to get together due to timing and Dick’s immaturity. As such, writers make it so Dick and Dick alone must change in order to become a partner worthy of Babs. They greatly mischaracterize him, fault the failures of Dick and Babs’ relationships on those mischaracterizations, and then portray Babs as the patient woman waiting for her immature soulmate to grow up. This is both an insult to Dick’s character and a propagation of sexist tropes where a woman must put her life on hold in order for the man to “catch up” to her maturely. Not only that, it unfairly requires that only one party makes changes for another. It is not Dick and Babs that must change for each other, but Dick who must change for Babs.)

Just as Taylor uses Dick and Babs’ shared history to bring them together, their breakup explores how shared history can make being together so difficult. 

In Devin Grayson’s run, their shared history can be painful to Babs. Not because she doesn’t look back on their time growing up together fondly, but because it was such a happy time in her life that it makes her feel bitter about what she lost. While she is incredible as Oracle, she is still frustrated that she can't be Batgirl anymore. The past, no matter how good, is a reminder of what she can no longer be, and Babs wants to move forward. So Dick bringing up their time as Robin and Batgirl, however fondly, is painful for it makes her feel like they are stuck in the past they shared rather than moving forward together.

(Grayson, Devin, writer. Zitcher, Path, illustrator The Calm Before. Nightwing. 86, e-book ed. DC Comics, 2003. pp 21 - 22)

But to Dick, the past you share with someone is what makes your relationship in the present special. The past informs the present and the future. Dick, much like Bruce, doesn’t move forward by disconnecting himself from the past. His parents are part of his past. So is Robin. His childhood with Bruce. The past is something good to Dick, even when it's also so filled with pain. Dick is not shackled by his past the way Bruce is because he does not see it as something that needs to hold him back. You can move forward while still embracing who you once were and honoring the legacy you carry on your shoulders. The past informed who Dick is now, the relationships he has, and the person he wants to be. The past is where much of what he loves exists. So when he brings up their shared history when talking to Babs, he is not doing it because he loved Batgirl but cannot love Oracle, and he is not doing so because he is just focused on who they were then and not who they are now; he does it it's because to Dick, there's no such distinction between Batgirl and Oracle. They are both Babs, and he loves both of them. 

(Grayson, Devin, writer. Zitcher, Patch, illustrator. Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 16)

The way Babs copes with trauma is by divorcing herself from the hurt, by letting go of who she was and embracing who she wants to be. Dick, on the other hand, merges who he was then with who he is now. He doesn't see those people as separate entities, but rather as extensions of him. And that makes sense when you consider that Babs' main trauma relates to something that was taken away from her, and for Dick, the only way he can remain connected to his parents is through the past. It's a great example of incompatibility. Neither one is "at fault" for how they view this issue, neither of them is more correct than the other. They are just different. They care for each other, but the way they understand and interact with the world prevents them from being happy together at this moment. For that to work, internal change is needed. 

In portraying Dick and Barbara as complex individuals first, who have different attitudes towards looking back at the past and looking forward to the future, Grayson managed to make their relationship feel real. There’s a weight to their breakup, you can see why they care for each other and why this decision is painful and not taken lightly. They love each other, but they are not in a place where they can be themselves and be happy together yet. It is not danger that keeps them apart — it is the very same differences which they admire most about each other which pushes them away. 

In Nightwing Annual #02, we see other reasons why Dick and Babs failed to come together so often. These included Babs being scared of Dick eventually leaving her due to tensions between Dick and Bruce

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 22 - 23)

Timing,

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 25)

And, perhaps most importantly, the way in which Dick devalues his own life. 

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 37 - 38)

This is something Grayson also alludes to during her run, when she often portrays Babs being both worried and frustrated at Dick’s tendencies to push himself too far.

(Grayson, Devin, writer. Zitcher, Patch, illustrator Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 13)

In both Grayson’s run and the aftermath of Infinite Crisis, the toxic perfectionism referred to many times during this essay led Babs to break off their relationship despite their mutual love. 

Having lost the mobility of her legs due to the Joker, Babs sees her life as Oracle as a second chance, and one which she will use to its fullest by putting herself first. It makes sense, then, that she sees Dick’s self-sacrificing tendencies and his desire for approval as both concerning and irritating. As Dick constantly puts himself in near-death scenarios for even the smallest of things, Babs decides that she would rather wait for a time when Dick learns to value himself more rather than to continue in a relationship where she is the only one who cares about whether Dick lives or dies. 

Whether this is the right solution to their relationship is up for debate. Personally, it irks me that stories will often frame this as Dick having to mature to be with Babs and not place an equal burden on Babs having to learn to accept that this is just who Dick is. But that is irrelevant to this discussion, for what matters is that there have been plenty of reasons why Dick and Babs did not work out in the past, and those are almost always rooted in who they are as individuals struggling to perfectly fit together as a unit. Dick and Babs have a messy history, both as individual characters with their own stories, and together as friends and romantic interests. They are two different people who, although their morals align, approach life differently. The development in their romance, then, comes with how willing they are to change for the other, and how willing they are to accept the things that cannot — and should not — be changed. It is about a balance of give and take, and when Babs and Dick broke up in the past, it was because they were not able to find that balance. It is because they, as individuals, clashed. As Fernando Gabriel Pagnoni Berns and Cesar Alfonso Marino put in their essay analyzing Dick’s portrayal in the Batman Family (1975-1978) series, Dick and Babs will often find themselves in “point[s] of inflection which marks that both heroes must go their separate ways to avoid further tensions (developed by sexual attraction and/or problems about leadership).” (Pagnoni Berns, Fernando Gabriel and Marino, Cesar Alfonso “Outlining the Future Robin: The Seventies in the Batman Family.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 32)

In other words, it was about interior conflicts, not exterior ones.

When taking this into consideration, one can see how Taylor’s portrayal of Dick and Babs’ relationship is not only incredibly hollow, but incredibly cynical. Because Taylor removed Dick’s self-destructive, toxic perfectionism, that is no longer a point of friction in their relationship. Because Babs is no longer the pragmatic woman who doses out tough love, that is also no longer a point of friction in their relationship. But as a result, Dick and Babs are no longer themselves, and their relationship is no longer representative of their shared history. Instead, we are left with an insulting and purposeful misrepresentation of their past relationship, with Taylor displaying a blatant disrespect and disregard for anything his predecessors contributed to these characters. Dick and Babs were never apart because of danger. Dick would never condescend to Barbara in this manner, and Barbara would never let something so trivial go unchallenged or get in the way of what she wants. What got in their way was a matter of compatibility. They may compliment each other in the field, be great friends, get along well, but in previous attempts to make their relationship work, they found that they were simply too different to share a life together, their goals did not align, and their approaches to life did not work together. Getting and staying together was not a matter of external factors, but rather whether they could do the difficult internal work necessary to make their romance last. 

I want to make it clear that I actually love the childhood-friends-to-lovers trope. But what makes friends-to-lovers interesting is the fact that it creates inherently messy romances. If you two characters who have loved each other for so long, then they naturally have a history. They have seen each other at their best and at their worst. Yet, insecurities, timing, and compatibility keep them from being able to get their happily-ever-after. That creates a messiness that adds weight and meaning to the relationship. Seeing them overcome these challenges, become better individuals, and then finally come together is what makes the narrative so effective.

Dick’s and Babs’ romance, as currently portrayed, lacks that weight. Taylor and DC want that history, that “true love” aspect of their relationship without acknowledging the complications that come from having lived so many years in close proximity. In other words, they want the appearance of a long shared history without acknowledging the contents of said history. This robs both Dick and Babs of their individual personalities and backstories, for it is there where the source of their conflicts lie. All of the things that make them interesting individuals are sacrificed for the heteronormative DickBabs amalgamation. There is no Dick Grayson. There is no Barbara Gordon. There is only a happy, wholesome, smiling couple of nothingness — as it was put earlier it is all “shimmer, gloss, and no substance.”

And this does not affect only them.  

In making Dick and Babs inseparable, Babs has become heavily involved with the Titans. This leads to the majority of Babs’s interactions in the current canon to be with Dick’s friends. And because, once more, Taylor skirts away from conflict, that means that all of Dick’s friends have become Babs’ friends. However, by making Babs friends with all of Dick’s female friends, Taylor created a shallow girlboss feminist narrative where all of these women’s individual personhoods are reduced their relationship to one man. He does not take into account who they are, only their gender and their mutual connection to Dick. In trying to do a girl-boss feminist empowerment, Taylor instead creates a deeply misogynistic narrative. 

Kory and Babs, for example, should be allowed to dislike each other despite being on the same team. They are, after all, supposedly fully realized women with their own personalities, values, and goals. Their existence is not dependent on Dick Grayson or their romance with him. Real world women dislike one another for various reasons that are unrelated to men. Male characters often hate each other without it being because of a woman. So why can’t the same be true for female characters? 

To attempt to make Kory and Babs friends simply to undermine expectations because one of them is Dick’s ex and the other one is Dick’s girlfriend is not empowering. It sacrifices characterization for the purposes of subversion.To think of the dynamic between these two characters in terms of their relationship with Dick reduces their existence to a man by implying that the only possible reason they could dislike one another is because of said man. It is not due to different value systems (which would be incredibly reasonable given their different background and cultures), it is not because their personalities clash (as they are two different people), it is not because their likes and dislikes may contradict (once more, because they are two different people). All the things that would make them realized individuals with agency are ignored in favor of focusing on their relationship with Dick. 

Babs is a cisgender, straight, middle-class white woman from New Jersey. Kory is a warrior Princess from a different galaxy. It would not be unreasonable to expect their opinions to conflict when their backgrounds, upbringings, and experiences also differ. After all, those are things that shape our value system, dictating our perspectives. 

Having different values or different ways to express your opinion does not mean that one is right and the other is wrong. It does not mean one is superior to the other. It only means they are different. Diverse. To believe one must be correct and the other must be wrong is to fall into the traps of ethnocentrism. By making Kory and Babs values indistinguishable, the story implies that there is only one correct way to interact with the world. This eliminates diverse perspectives in favor of a monolithic one. The fact that Kory's culture is the one that is ignored so that they are compatible with Babs implies that Babs – the cisgender, straight, middle-class white woman from New Jersey – is the one whose culture and world views are correct and, therefore, superior.

Dick’s relationship platonic relationship with Donna is also devalued and watered down in favor of Dick and Barbara’s romance. Because Dick and Barbara are depicted as having been each other’s best friends since childhood — when, in reality, Dick was closer to Donna during his preteen and teenage years, and Donna is often portrayed as his best friend — Donna’s place in Dick’s life is replaced by Babs. Babs must be everything to Dick — his true love, his longest childhood friend, his one female best friend. 

This creates a narrative in which Dick cannot have a significant interaction with another woman without it being a threat to his relationship with Babs. Needless to say, this is an incredibly heteronormative worldview which implies that men and women who are not related cannot share deep and significant platonic intimacy without some underlying romantic tension. So naturally, Donna cannot he Dick’s longest friend, his best friend, because in the heteronormative world portrayed in Taylor’s run, that would mean that she is a rival to Babs.

Perhaps it is for this reason that Melinda was revealed to be Dick’s sister so soon into her introduction. If Melinda and Dick were not related but were still meant to interact with each other, that would create a bond that some might see as romantic or sexual. So by presenting Melinda as Dick’s biological sibling within moments of the two first interacting, Taylor strips Melinda of any romantic or sexual appeal. In this heteronormative world, only by being related can Dick and Melinda share intimacy without threatening Babs’ position in Dick’s life. 

Needless to say, this heteronormative worldview which only allows for the relationship between non-biologically related men and women to be seen through lenses of romance and sex is also a misogynistic, male-centric worldview. In this story, women are not treated as people and are instead perceived solely through their relationship to Dick Grayson.

[slvt4em1lyprenti2s]

Emmy

Summary: You’ve had a crush on your best friend Emily for a while but see her flirting with JJ, or so you think…

Word Count: 2.1k

Fluff, self doubt? slight miscommunication

Pairings: Emily Prentiss x fem!reader

!NOT PROOFREAD!

Reader POV:

Why does she have to sit like that?? Like it's so hot. Never thought I'd have a thing for man spreading but here we are. To be honest I never thought I had a thing for brunettes but then Miss Emily Prentiss waltzed into my life and now my perspective of everything has changed.

She's talking to JJ about something and I see Jayj brush over Emily arm, she's flirting, teasing. I'm suddenly grounded again and look down at the file I'm supposed to be working on. I can feel that godforsaken lump in my throat forming. Fuck sake, I can't cry at work. Especially over some stupid unrequited crush. I though Emily was just busy and that's why she's been blowing me off more lately but clearly not. She's found someone else.

I knew Emily would never like me, but damn did it have to hurt this bad? We're best friends which doesn't help the situation although I thought I made my feeling abundantly clear with my glances, touches, comments and flirting. Clearly not. I look up again at the sound of Emily laughing. I could listen to her laugh in repeat all day, it's the best sound in the world in my opinion. But, I soon realise the reason her head is thrown back and her cheeks have become flushed is because of JJ. She's laughing at some joke she made.

I take this as my queue to take my work and go sit with Garcia for a bit, she's like my sister we don't have secrets. I tell her everything, she tells me everything. That's how we work.

I'm walking down the corridor lost in my head and accidentally bump into Rossi.

"Hey, kiddo. Slow down, your gunna run someone over if you keep that speed up!" He said light heartedly with a warm smile. I look at him and mumble a sorry before I try continue my previous beeline to Pen's office. He obviously realised something is off as he grabs my bicep before I can run off again.

"Y/L/N, are you okay?" Those stupid three words, 'are you okay?'. I hate it when people ask because then the waterworks take that as their signal to turn on.

I turn and look him, teary eyed. "Yeah, I'm okay, ah uhm I was just going to see Garcia."

I say chocking back tears.

"Oh kid." He immediately brings me into his embrace, rubbing my back soothingly. This is his way of saying 'I'm here if you wanna talk but I won't press' and that's why I love Rossi. He's always there but never forces you to talk before you happy to. I pull away after a minute.

"Thanks Rossi. I needed that, but I should get to Penelope I have a couple things to run by her." He could tell I was lying and that I was only going to Pen because I needed to talk to her but he went with it anyway.

"Okay well, I'm around if you need okay?" I nod and continue walking to Garcia's office.

I knock the pattern that me and Pen made up my first day on the team so she'd know it was me knocking on the door. "Come in my love!" I hear her call out cheerfully from the other side. Her chair swivels round so she can see me and her once chirpy mood is instantaneously changed to one of extreme concern. "Oh honey what's wrong?" She says as she brings me into a hug.

"It's stupid, Pen." I say realising how childish I'm being right now.

"No," she says pulling away so I can look he in the eye "Your emotions are never stupid. Don't invalidate your feeling y/n/n. Ever." I smile gratefully at her and pull a chair from the corner and sit next to her at her desk. "Okay, so..." and off I went.

I told her about my massive crush on my best friend and how we have been flirting on and off, spending more time alone together, the glances the lingering touches. I told her everything. My cheeks were stained with tears by the time I finished.

"Honey, I don't understand why you're crying though that's all so amazing, what's got you down?" She says the confusion evident in her voice.

"She's been blowing me off so much recently and I didn't know why but I think I just figured it out." My skin around my nail is now bleeding slightly where I've been picking at it. A habit both Emily and me share.

"What is it?" Garcia says realising my hesitation.

"I don't wanna sound jealous or crazy or just downright mean but I think she likes JJ. I mean just now they were talking in the Bullpen and JJ was touching her arm and it wasn't just an innocent touch you know? I could just tell. Then when I tried to ignore it and finish my work I heard Emily laugh at one of her jokes and I looked up to see Em with her head back laughing and Jayj's hand on her shoulder." I choke back sobs while ranting to Pen when someone knocks on the door. "Shit." I mumble under my breath and Pen tells me not to worry and just face the computers and look busy. So I do just that.

"Hey Garcia I need a really quick favour from you if that's okay?" I hear the person say from the doorway. At this moment I think the universe must have it out for me at this point. The person who needs a favour from Garcia is the exact woman I've just spent the last 30 minutes crying over. Emily Fucking Prentiss.

"Oh hi y/n/n!" She says all too cheerfully to be the person who's been cancelling all her plans with me.

"Hi Emmy." After I say hi back I immediately regret it because you can hear the tears in my voice, it's gone all groggy and horrible.

"Oh my god, are you okay?" she rushes over to my side after she hears me speak and brings my head to her stomach as she's standing and i'm sitting. Even though she's the reason I'm in this state to begin with I can't help but wrap my arms around her waist and stuff my head into her shirt and take in her comforting presence.

"Uhm I'm gunna leave you two be for a minute." I hear Pen say before she leaves and I hear the door click shut.

Goddamnit Garcia. I think to myself.

"What's got you all worked up, huh?" She says in the most soft, loving voice I've ever heard which just makes me swoon even more.

"Okay, look Em, I'm gunna say a lot of things and I just need you to listen right now okay?" She grabs Garcia's chair and sits opposite me, our knees brushing as she takes my hands in hers to make me stop picking my nails.

"Okay, go for it. I'm all ears." she stares into my eyes and I gaze back into her honey brown eyes, god I could stare at them all day and never get bored.

"You're the reason I'm crying Emmy." she looks taken aback but keeps true to her word and let's me continue nonetheless.

"Emily, I am so scared to say this but there's truly no other way to explain why I'm so upset without telling you. I'm so helplessly in love with you it hurts Em. I thought I was dropping hints with the flirting and the touches and glances but clearly I wasn't obvious enough. You keep blowing me off and saying you're too busy to hang out but I realise now that's not the case. I saw you and JJ in the Bullpen today and the way she was looking at you and how her hand lingered on your arm, and the way she held your shoulder when you were laughing. Even just the way you laughed you threw your head back and everything. Emmy, if you're into JJ that's fine but I just wished you told so I could be let down gently and not feeling like I've been stabbed in the heart."

About halfway through my little rant I started crying again and she started to say my name to try get me to stop talking but I wouldn't listen because I needed to get my feelings out in the air.

"Are you done?" She asked as she brings my hands, that's she's still griping, into her lap, causing me to lean a little closer to her.

"Yes." I say quietly so only she could hear.

"Okay now I'm going to do something and you're not allowed to interrupt me, okay?" The only expression I could see on her face was love and admiration which confused me but I nodded anyway.

"Good. Now, what I want to say is, I love you too y/n/n." A smile is plastered across her face as she confesses to me, my face was quite the opposite. My jaw was on the floor and my eyes were slightly wide.

"What do you mea-" all of a sudden her finger on my lips silenced me.

"I'm not finished." She says with a smirk.

Her finger that was on my lips, now rests on the side of my face cupping my cheek. Her thumb is brushing over my skin as she pulls me in.

Our lips collide and I know it's super cliché but I felt sparks. It's like all the doubts I'd ever had had just dissipated within a millisecond of her lips being on mine. Her free hand moved to my waist as I deepened the kiss by weaving my hand into her raven curls and pulling her impossibly closer. Slowly she coaxes me off the chair and into her lap, and she rests her hand on my hip the other firmly planted on the back of my neck, making sure I don't pull away. Her lips glided across mine like we had done it a thousand times before. Her tongue grazed my bottom lip asking for entrance which I gave her.

After a few minutes of just making out her lips detached from mine and made their way to my neck. I leaned my head to the side to give her more access. She pulled down part of my shirt and sucked at the pale skin. She pulled away and kissed the now purple spot on my chest before covering it back up with my shirt and making her way back to my mouth.

This time the kisses were sweet and short, we broke apart to look at each other when I broke the silence.

"What does this mean Emmy?" I say, My voice full of hope.

"Well my tongue was just down your throat I hope it's clear what this means." She joked and I let out a laugh. "I want to be yours y/n/n, if you'll let me. Also, I never had nor will I ever have a thing for JJ, I promise sweetheart." The use of the nickname made me smile brightly and she noticed taking a mental note to keep using them. She kissed my forehead as I began to speak. "Of course I'll be your girlfriend Em."

At this she kissed me, but this one felt different. All the love and passion we had for one another was poured into this short interaction.

We pulled away as we heard the door click open again and watched Garcia walk in.

"Oh my god! You guys!!" She squealed delighted at the scene in front of her. I smiled and climbed off Emily's lap. "Are you two..?" Pen said, gesturing between me and Emily.

"We sure are!" Em said, looking at me lovingly. I just nodded and thanked Garcia for listening to me cry for nothing before making me way to the door.

Emily's hand found it's way into mine as we began to walk out of Pen's office both smiling and chatting quietly just to one another.

As we walked back into the Bullpen Rossi looked out his office window and gave me a thumbs up, I returned the gesture and sat down at my desk, filled with happiness and briming with excitement about what the future holds.