#and his own traumas was very important!

[donutcats]

[aggressively knocking on the door that holds all of rei’s childhood trauma] hey what the fuck is going on in there for rei to see a note that essentially says “be back later” and immediately come to the conclusion that him and miri have been abandoned??

[quietwingsinthesky]

the doctor is emotionally manipulative. he’s very good at it, and even better at justifying it both to himself and the people he’s doing it to. he can see when his approval, his affection, is valuable enough to someone that withholding it will be an effective way of getting them to do what he wants. this is one of his best flaws, that he’ll do this to people and do it to them for his own definition of what’s good for them.

(gestures vaguely) twissy.

[nonokoko13]

Rollo Flamme is autistic. I had suspicions about it but after reading his vignette I heard a voice in my head confirming it. God has told me the truth and I must spread the word

He would also be ok with Batman, if he's not his most favoured hero. Oh and he also probably has PTSD and depression. Thanks for coming to my ted talk

[ethanhuntfemmefatale]

billrita emotionally constipated sex fic very fun project so far. rita wants complete command of cage's body and mind and tries to get it through sex. but the more intimate they become the more obvious it is that she can never control him completely. so she hurts him as punishment--but he likes getting hurt so much that his submission becomes proof of his agency. cage voice if you need to bite something let me put my hand in your mouth. rita voice im not supposed to be the dog you are. i love gay people

[hella1975]

no bc like. trk is SO hard to read. like. Thanksgiving. That SceneTM. boy. i read aftg in a single week when i was fifteen and i regret doing it at that age so much bc MAN that was a hard couple scenes to read

right?????? and there's nothing inherently wrong with writing scenes like that i just always think nora misses the mark with how it's handled. like even AFTER that reveal in trk about What Happened To Andrew And Why He Acts The Way He Does, he still gets treated as some soulless maniac? and that's so damaging to any victims reading that also - god forbid - dared to respond to that trauma in a 'bad' way

[llycaons]

and like....a huge part of wwx’s character/desires even though it rarely comes though in his actual actions (bc he’s driven by things other than what he personally wants) is how deeply he wants to be part of a home and to belong somewhere, and to belong with someone. and this arose naturally due to his childhood but it keeps getting reinforced throughout each tragedy he encounters in the story as well

orphaned at such a young age, naturally he clung to LP and to the family he found there and to the community of people there....and later he threw everything he had into making the BM hospitable and the wens made it more comfortable for him by building him a place that reminded him of his old home...he loves so fiercely and so selflessly and every single family he’s had and every single home he’s had he’s lost to violence and destruction and misfortune and cruelty and he’s been abandoned, relentlessly, again and again and again, left to pick up the pieces and expected to deal with it all alone, rarely with anyone to comfort or reassure him. all this as a teenager/very young adult. all this. the fight that killed jxz was terrible for so many reasons, but one of the smallest details was the most painful - jin ling’s bracelet being destroyed, wwx being told you can never have this, you don’t belong with them. no wonder he was moved to tears when jiang yanli stepped in front of him to defend him to the jins. no wonder he took the estrangement with the jiangs so poorly. no wonder he craves returning to LP long after he believes it to be impossible

and that’s (one of the reasons) why lwj simply standing beside him and vowing to help him postres is so important to him. even if he can’t articulate it, even if he’s too used to solitude not to deny himself it out of habit. there’s a lot of things he wants but this reassurance from lwj satisfied a very deep need he’s had for a long time. to belong with someone, to be supported, to be able to rely on someone else and not do everything alone. something this basic, this foundational to him that he craves even as he reflexively rejects it

I do think he needed that journey at the end of the show but I also think once he’s done with it he’ll never want to be alone for that long again. I think postcanon wwx wants stability. a home. to belong to a place and to a community, and most importantly, to belong with a person, a partner who’s on his side. and I don’t know if that place will be CR but that person will definitely be lwj

[delta-piscium]

listen, sometimes you will just have to dye your hair black because your mom prefers it ginger and she pissed you off and that actually is an okay way to deal with things

[xhatake]

anyways kakashi has a bad track record when it comes to how he treats his friends in this essay, i will ---

[kurthummeldeservesbetter]

just thinking about sam wilson <3

[tofixtheshadows]

I've been thinking a lot lately about how Kabru deprives himself.

Kabru as a character is intertwined with the idea that sometimes we have to sacrifice the needs of the few for the good of the many. He ultimately subverts this first by sabotaging the Canaries and then by letting Laios go, but in practice he's already been living a life of self-sacrifice.

Saving people, and learning the secrets of the dungeons to seal them, are what's important. Not his own comforts. Not his own desires. He forces them down until he doesn't know they're there, until one of them has to come spilling out during the confession in chapter 76.

Specifically, I think it's very significant, in a story about food and all that it entails, that Kabru is rarely shown eating. He's the deuteragonist of Dungeon Meshi, the cooking manga, but while meals are the anchoring points of Laios's journey, given loving focus, for Kabru, they're ... not.

I'm sure he eats during dungeon expeditions, in the routine way that adventurers must when they sit down to camp. But on the surface, you get the idea that Kabru spends most of his time doing his self-assigned dungeon-related tasks: meeting with people, studying them, putting together that evidence board, researching the dungeon, god knows what else. Feeding himself is secondary.

He's introduced during a meal, eating at a restaurant, just to set up the contrast between his party and Laios's. And it's the last normal meal we see him eating until the communal ending feast (if you consider Falin's dragon parts normal).

First, we get this:

Kabru's response here is such a non-answer, it strongly implies to me that he wasn't thinking about it until Rin brought it up. That he might not even be feeling the hunger signals that he logically knew he should.

They sit down to eat, but Kabru is never drawn reaching for food or eating it like the rest of his party. He only drinks.

It's possible this means nothing, that we can just assume he's putting food in his mouth off-panel, but again, this entire manga is about food. Cooking it, eating it, appreciating it, taking pleasure in it, grounding yourself in the necessary routine of it and affirming your right to live by consuming it. It's given such a huge focus.

We don't see him eat again until the harpy egg.

What a significant question for the protagonist to ask his foil in this story about eating! Aren't you hungry? Aren't you, Kabru?

He was revived only minutes ago after a violent encounter. And then he chokes down food that causes him further harm by triggering him, all because he's so determined to stay in Laios's good graces.

In his flashback, we see Milsiril trying to spoon-feed young Kabru cake that we know he doesn't like. He doesn't want to eat: he wants to be training.

Then with Mithrun, we see him eating the least-monstery monster food he can get his hands on, for the sake of survival- walking mushroom, barometz, an egg. The barometz is his first chance to make something like an a real meal, and he actually seems excited about it because he wants to replicate a lamb dish his mother used to make him!

...but he doesn't get to enjoy it like he wanted to.

Then, when all the Canaries are eating field rations ... Kabru still isn't shown eating. He's only shown giving food to Mithrun.

And of course the next time he eats is the bavarois, which for his sake is at least plant based ... but he still has to use a coping mechanism to get through it.

I don't think Kabru does this all on purpose. I think Kui does this all on purpose. Kabru's Post Traumatic Stress Disorder should be understood as informing his character just as much as Laios's autism informs his. It's another way that Kabru and Laios act as foils: where Laios takes pleasure in meals and approaches food with the excitement of discovery, Kabru's experiences with eating are tainted by his trauma. Laios indulges; Kabru denies himself. Laios is shown enjoying food, Kabru is shown struggling with it.

And I can very easily imagine a reason why Kabru might have a subconscious aversion towards eating.

Meals are the privilege of the living.

[intersex-support]

Help an intersex family in Gaza!

Hi everyone. I'd like to share about a fundraiser that is very important to me. A good friend of mine is in contact with the organizers.

(Described in alt).

Their story:

"Hello, my name is Abeer. I'm organizing this fundraising campaign from Belgium on behalf of my family, who currently live in Gaza. 

Since October 7, all families in Gaza have been subjected to genocide. My family is one of those families that has had to flee its own home several times because of the threat of regular attacks. 

After two months, my family decided to return home and take the risk of being bombed at any moment rather than stay in the street. Our 4-floor building now contains over 100 people who have fled from different parts of Gaza. We always open our hearts for our own people, but we can't do it without your help and support. 

My parents, Kamal (53) and Moukaram (51), are suffering from the war because of their age and health. My brother Suliman, his wife Rawan Abualnaja and their two-year-old daughter Bisan are trying to stay strong, but it's complicated by their little daughter's enormous needs. My other siblings who are not married are Mohammed 25, Inas 22, Ibrahim 17, Abdallah 15.

My family medical condition during the war:

My father suffers from delusional disorders. He can't work or help my family financially. Mohammed and Ibrahim suffer from a chronic disease, congenital adrenal hyperplasia. It is difficult for them to obtain medication in Gaza. One of their medicines has not been available in Gaza for two years. During the war, they couldn't get their medicines because they simply didn't exist anymore. My family members are still suffering. They don't want to be potential victims. They want to escape death and live like other families on the planet.

 On 01/01/2024, they attacked the local mosque and the missile failed to explode and ended up in front of my family's house. My family is in danger and the missile will explode any second.

Since then, my family has decided to be evacuated from Gaza because of the senseless attack on our city. Please help me evacuate my family to Egypt so that they can rebuild their lives in peace.

I've been in Belgium for over five years. I feel useless because I haven't been able to do much except try to help them with their daily living expenses. That's why we created this campaign. We're raising funds to evacuate my family to Egypt, a place that offers a glimmer of hope and stability. However, the cost of the evacuation is high, hence our call for crowdfunding.

Every contribution makes a difference The funds we raise will be used for :

- Evacuation from Gaza for both families (Rafah border crossing fees for 9 people total)  - Two months of temporary living expenses in Egypt, including food, shelter, and transportation  - Passport fees  - Food expences untill they leave Gaza 

No matter how small your contribution, it can make all the difference in breaking the cycle of violence and uncertainty. By supporting our campaign, you are offering a lifeline to our families so that they can rebuild their lives, heal from their trauma and make a fresh start in a safe and secure environment. Please leave a comment and share our campaign with your friends, so we can reach more people and make a bigger impact. Together, we can make a difference!"

They are using a French platform called Papayoux Solidarite instead of GoFundMe. Abeer also has a Paypal account for non European donors.

They are currently at 33 588,78 €/ 50,000 €.

Let's see if we can get them to 34,000 today. Any donation matters, even $1 or $2 donations can add up.

We need to help them meet their goal. Intersex liberation means intersex liberation everywhere--it is so important that we show up in solidarity. Those of us living with CAH know how dangerous salt wasting crises are without medication, and how important it is to urgently help Mohammed and Ibrahim get access to the medications they need to support their CAH. Intersex solidarity means that we need to show up and support intersex people facing genocide.

If you can't donate, please share. Consider doing an art raffle to raise money. Do whatever you can to help this family because it is urgent, and we need to act in solidarity with them now and make sure that the intersex community is here to support them!

[unexpectederawhilesubmitting]

WARNING: DOCTOR WHO SPOILERS EXPLAINING REGENERATION SHENANIGANS

-------------------

okay so I was kind of not on board with the concept of bi-regeneration, mainly because of how it seemed like all of the Sad and the Trauma that the Doctor had undergone got kind of handwaved away? i'm all for ncuti's Doctor being sort of a fresh start/jumping on point for new viewers, but i didn't get how that could work if like, literally 40 minutes ago he was David Tennant being a sad wet puppy dog of a man

however, after rewatching it, i've realized what i think happened there, and it goes all the way back to something introduced with the 4th doctor's regeneration that was never explained: the Watcher

^this spooky guy

so, for those that don't know (or haven't seen every episode of a show that is over half a century old), the Fourth Doctor regenerates at the end of a story called Logopolis (he falls off a satellite dish, but that's not important right now). all throughout the episode, this weird figure, The Watcher, stands off in the distance, and even intervenes slightly by saving the Fourth Doctor's companion. there's not much given in the way of an explanation until the Fourth Doctor regenerates, saying "it's the end. but the moment has been prepared for..."

the watcher walks up, and gets absorbed in a super rad 1980's digital effect (never change doctor who), while his companion just gives us the not-super-helpful-for-lore statement "He was the Doctor all the time!"

then, in a crossfade, the Doctor goes from Four to weird-powder-man to Five

canonically, the Watcher is explained as a future version of the doctor that comes about in sort of a weird overlapping thing with the doctor's timeline, it's very wibbly-wobbly timey-wimey.

-------------------------

SO what does this have to do with biregeneration and satisfying character arcs/moving on from trauma?

Well, remember, Fifteen said this, about Time Lords doing rehab out of order:

so, here's the thing: Fifteen is the Doctor AFTER Fourteen (duh, I know?) But to be clear...Fourteen lives out an entire lifetime with Donna and family, gets to a ripe old age, and then, when his lifetime of healing is over, he gets yeeted back through his own timestream just to zoot himself out of David Tennant's chest.

Remember, his first words to Fourteen (after popping out of his chest) are "So good to see you! So good!", not the RTD classic "what?". He greets himself like he's almost expecting this, he then says "does anyone want to tell me what the hell is going on here?" which only makes sense if he's coming from a different point in his own timestream (remember, when two doctors interact, memory gets really weird, 10 and the War Doctor don't remember the events of Day of the Doctor until they live through them as 11).

SO TO BE CLEAR: Ncuti Gatwa is playing the Doctor AFTER he has spent years healing from his traumas. His Doctor is fine because Fourteen takes the time to rest and work on himself.

tl;dr: I didn't like biregeneration at first because I thought it looked like this:

In actuality, it looks more like this:

[softgrungeprophet]

obviously i did choose to use the backstory from SM and Power-Pack #1 for my AU but that was largely for plot parallel reasons and tying together, basically, Peter, Gwen, Janine and Kaine all as parallel characters in a small way (though gwen will be spared for the most part but obvs still shaken by being attacked), but I'm ngl the more I have read of various comics, as well as screenshots of various scenes i haven't gotten to quite yet, the more it dooooes feel kind of believable as a backstory from a character standpoint

obviously peter has always been a fighter even as a child and got in 6v1 fistfights and so on, and that's something i always keep in mind cause his anger etc. is really so key to his personality including as a kid, but (and i don't mean in a shy quiet way but rather an inability to say "no" way) he seems to struggle a lot with asserting himself/his boundaries in unwanted romantic/sexual situations like... on a recurring basis (at least in the 80s but i wanna say it was other eras too), so the notion that an older boy who he thought was his friend would be able to coerce him that way doesn't feel like much of a stretch at all really, esp for a small kid who looked to be somewhere around 10 or 12 at the time

i guess it depends on what comics you look at though and how much weight you give to issues from specific years. i'm realizing a lot of the examples i can think of ARE from the 80s lmao

i have like screenshots and notes in my timeline doc lol but i'm just musing, not trying to make a like, Rebloggable Meta Post. just something i was thinking about recently after reading some miscellaneous comics including more of Jenkins' which arguably has at least two instances of (attempted) sexual assault if you count the symbiote bonding with Peter against his will (which considering the blatant domestic abuse subtext for venom in the comic, i think it's fair to count that as a parallel to sexual assault even if it's not exactly that), as well as, of course, the Spider Queen kissing him against his will while he's immobilized (though peter did manage to fight back)

of course that comic is from the early 2000s so it postdates SM&PP #1 by like. 20 years.—idk if Jenkins was thinking about that comic (but who knows, I'M using it almost 40 years after the fact so...) or if it's just that peter is sexually harassed kind of often enough in minor ways throughout regular-ass spidey comics for situations like that to just fall into place

for jenkins though it does make sense because the really strongly recurring throughline in his runs on spider-man just based on what i have read (piecemeal, randomly, probably about half of both?) have been peter's sense of being adrift, uncertain and in many cases helpless, and he explores that a lot via both current events in both his PPSM and TSSM runs (including the plot with flash's coma), as well as flashbacks to like, Peter's stage fright as a child—whether or not you consider that in-character (i don't think it's wildly ooc cause it does seem like peter's confidence is strongly situational but i'm never quite sure whether i think it fits or not. i'm certainly not opposed to it), it's definitely part of an ongoing theme in his Spectacular run specifically, juxtaposing his sense of being lost and confused with his anger and love and stuff like that (the contrasts between the gentle way he touches his loved ones vs. the vicious way he fights Otto... chef kiss, ty ramos). i thought the scenes in the final issue were also interesting cause it has the stage fright stuff but it also has the nightmare scene where peter is naked (again, helpless and vulnerable) and the villains all around him are threatening to do awful things to him which they refuse to tell him.

idk if i'd say it's fully at sexual assault symbolism but there does feel like a hint of that there just because of the lack of specificity and peter's nudity in the dream plus the earlier stuff i mentioned w/ venom and the spider queen. i do like the stage bow at the end cause there's this strong sense of spider-man being peter's shield against the world and the symbolism of him basically existing to protect his child self (also a theme with several of the supporting cast members, in other comics by other writers, namely flash and harry)

of course that's just one author (in case you can't tell i am a little bit into Jenkins' writing 😂😂😂 he does whiff sometimes (more than sometimes) but when he hits he just really gets it for me, personally)

other earlier comics like ASM #230 and issues relevant to that plot/its characters (from 1982, so pre-dating the child molestation PSA/backstory issue by a couple years in this case) are more lighthearted or humorous in their approach but i do think they take on some kind of discomfort in the greater context of spidey, tbh... the way peter struggles to refuse amy's advances is like, a little notable to me.

i'm sure there are other examples but anyway i was just rambling idk why i suddenly was thinking of this 😂

[inhonoredglory]

Aziraphale’s Choice, the Job Connection, and Michael Sheen’s Morality

Update: Michael Sheen liked this post on Twitter, so I'm fairly certain there is a lot of validity to it.

I’ve had time to process Aziraphale’s choice at the end of Season 2. And I think only blaming the religious trauma misses something important in Aziraphale’s character. I think what happened was also Aziraphale’s own conscious choice––as a growth from his trauma, in fact. Hear me out.

Since November 2022 I’ve been haunted by something Michael Sheen said at the MCM London Comic Con. At the Q&A, someone asked him about which fantasy creature he enjoyed playing most and Michael (bless him, truly) veered on a tangent about angels and goodness and how, specifically,

We as a society tend to sort of undervalue goodness. It’s sort of seen as sort of somehow weak and a bit nimby and “oh it’s nice.” And I think to be good takes enormous reserves of courage and stamina. I mean, you have to look the dark in the face to be truly good and to be truly of the light…. The idea that goodness is somehow lesser and less interesting and not as kind of muscular and as passionate and as fierce as evil somehow and darkness, I think is nonsense. The idea of being able to portray an angel, a being of love. I love seeing the things people have put online about angels being ferocious creatures, and I love that. I think that’s a really good representation of what goodness can be, what it should be, I suppose.

I was looking forward to BAMF!Aziraphale all season long, and I think that’s what we got in the end. Remember Neil said that the Job minisode was important for Aziraphale’s story. Remember how Aziraphale sat on that rock and reconciled to himself that he MUST go to Hell, because he lied and thwarted the will of God. He believed that––truly, honestly, with the faith of a child, but the bravery of a soldier.

Aziraphale, a being of love with more goodness than all of Heaven combined, believed he needed to walk through the Gates of Hell because it was the Right Thing to do. (Like Job, he didn’t understand his sin but believed he needed to sacrifice his happiness to do the Right Thing.)

That’s why we saw Aziraphale as a soldier this season: the bookshop battle, the halo. But yes, the ending as well.

Because Aziraphale never wanted to go to Heaven, and he never wanted to go there without Crowley.

But it was Crowley who taught him that he could, even SHOULD, act when his moral heart told him something was wrong. While Crowley was willing to run away and let the world burn, it was Aziraphale (in that bandstand at the end of the world) who stood his ground and said No. We can make a difference. We can save everyone.

And Aziraphale knew he could not give up the ace up his sleeve (his position as an angel) to talk to God and make them see the truth in his heart.

I was messed up by Ineffable Bureaucracy (Boxfly) getting their happy ending when our Ineffable Husbands didn’t, but I see now that them running away served to prove something to Aziraphale. (And I am fully convinced that Gabriel and Beelzebub saw the example of the Ineffables at the Not-pocalypse and took inspiration from them for choosing to ditch their respective sides)

But my point is that Aziraphale saw them, and in some ways, they looked like him and Crowley. And he saw how Gabriel, the biggest bully in Heaven, was also like him in a way (a being capable of love) and also just a child when he wasn’t influenced by the poison of Heaven. Muriel, too, wasn’t a bad person. The Metatron also seemed to have grown more flexible with his morality (from Aziraphale's perspective). Like Earth, Heaven was shades of (light?) gray.

Aziraphale is too good an angel not to believe in hope. Or forgiveness (something he’s very good at it).

Aziraphale has been scarred by Heaven all his life. But with the cracks in Heaven’s armor (cracks he and Crowley helped create), Aziraphale is seeing something else. A chance to change them. They did terrible things to him, but he is better than them, and because of Crowley, he feels ready to face them.

(Will it work? Can Heaven change, institutionally? Probably not, but I can't blame Aziraphale for trying.)

At the cafe, the Metatron said something big was coming in the Great Plan. Aziraphale knows how trapped he had felt when he didn’t have God’s ear the first time something huge happened in the Big Plan. He can’t take a chance again to risk the world by not having a foot in the door of Heaven. That’s why we saw individual human deaths (or the threat of death) so much more this season: Elspeth, Wee Morag, Job’s children, the 1940s magician. Aziraphale almost killed a child when he couldn’t get through to God, and he’s not going through that again.

“We could make a difference.” We could save everyone.

Remember what Michael Sheen said about courage and doing good––and having to “look the dark in the face to be truly good.” That’s what happened when Aziraphale was willing to go to Hell for his actions. That’s what happened when he decided he had to go to Heaven, where he had been abused and belittled and made to feel small. He decided to willingly go into the Lion’s Den, to face his abusers and his anxiety, to make them better so that they would not try to destroy the world again.

Him, just one angel. He needed Crowley to be there with him, to help him be brave, to ask the questions that Heaven needed to hear, to tell them God was wrong. Crowley is the inspiration that drives Aziraphale’s change, Crowley is the engine that fuels Aziraphale’s courage.

But then Crowley tells him that going to Heaven is stupid. That they don’t need Heaven. And he’s right. Aziraphale knows he’s right.

Aziraphale doesn’t need Heaven; Heaven needs him. They just don’t know how much they need him, or how much humanity needs him there, too. (If everyone who ran for office was corrupt, how can the system change?)

Terry Pratchett (in the Discworld book, Small Gods) is scathing of God, organized religion, and the corrupt people religion empowers, but he is sympathetic to the individual who has real, pure faith and a good heart. In fact, the everyman protagonist of Small Gods is a better person than the god he serves, and in the end, he ends up changing the church to be better, more open-minded, and more humanist than god could ever do alone.

Aziraphale is willing to go to the darkest places to do the Right Thing, and Heaven is no exception. When Crowley says that Heaven is toxic, that’s exactly why Aziraphale knows he needs to go there. “You’re exactly is different from my exactly.”

____

In the aftermath of Trump's election in the US, Brexit happened in 2018. Michael Sheen felt compelled to figure out what was going on in his country after this shock. But he was living in Los Angeles with Sarah Silverman at the time, and she also wanted to become more politically active in the US.

Sheen: “I felt a responsibility to do something, but it [meant] coming back [to Britain] – which was difficult for us, because we were very important to each other. But we both acknowledge that each of us had to do what we needed to do.” In the end, they split up and Michael moved back to the UK.

Sometimes doing the Right Thing means sacrificing your own happiness. Sometimes it means going to Hell. Sometimes it means going to Heaven. Sometimes it means losing a relationship.

And that’s why what happened in the end was so difficult for Aziraphale. Because he loves Crowley desperately. He wants to be together. He wanted that kiss for thousands of years. He knows that taking command of Heaven means they would never again have to bow to the demands of a God they couldn’t understand, or run from a Hell who still came after them. They could change the rules of the game.

And he’s still going to do that. But it hurts him that he has to do that alone.

[ariaste]

Apparently there was some lil drama in Good Omens fandom again about people being deeply nervous and scared of the end of Season 3, and I wrote this in the replies of one of the asks that Neil Gaiman answered, but I feel like it is deserving of being crossposted into its own post (in a slightly expanded form) so folks actually see it.

cmere, good omens fandom, we're having an intervention. a Come To Jesus talk, if you will.

First of all, I'm literally begging the fandom to:

learn what personal boundaries are, especially around parasocial relationships with strangers. (Suggestion: When sending asks to authors you like, use "polite work email" etiquette, not "joking with a friend" etiquette. The latter comes off REAL weird sometimes, and sometimes outright mean/rude/bullying).

take a couple deep fucking breaths

embrace the philosophy of The Author's Intent Only HAS To Matter To The Author, It Does Not Have To Matter To YOU. If you do not like the author's intent, you can say "hmmmm no thanks" and write some fanfic. That's what it's for.

Friends, Romans, countrymen..... Stop trying to make Neil Gaiman responsible for your happiness. For one thing, that is an absolutely unfair and cruel burden to put on a stranger who doesn't know you. Neil is only responsible for Neil's happiness. You're responsible for your own happiness. In fact, do not rely on ANY external source to guarantee your happiness, not even very nice people like Neil, not even your significant other, not even your family members. Yes, those people might be able to help you with your happiness, but they cannot guarantee it. Expecting a third party to guarantee your happiness is how corporations exploit you, and it is the source of all media trauma. Take agency over your own joy! Don't give away your power! Plan to DIY your personal ideal ending!

Neil is not telepathic, Neil cannot know all your hopes and dreams and wishes, nor SHOULD he be expected to know them, nor does he have space to know them. He is busy with things like his own and Terry's hopes and dreams and wishes. Their hopes/dreams/wishes are just as valid and important as yours, aren't they? Yes, they are. So calm down. caaaaaaaallllllm dowwwwwn.

Yes, I love the show very much too, but at the end of the day it is just a story. And the great thing about stories is that you are empowered to retell them in a different way. It is not real, so if you end up unsatisfied by S3, then blithely impose your own reality and build your own joy. It's not like it's the End Of The World or anything (lil fandom joke there for you)

And look, if you read this and you're feeling Mad and Upset or Frustrated about it, that is a symptom that you are maybe feeling a little stung in your Media Trauma parts. I am sorry that other stories have let you down in the past, and I really sympathize that you are feeling scared about the fate of this story that really matters to you. You've invested a lot of love into it! I really understand the fear! You don't want to be hurt again, and that's super understandable and normal.

But bestie, literally the only way for you to find a story that's exactly perfect for you and that won't hurt you at all is for you to write it yourself. I know that sucks to hear, but it is the truth. If you keep pinning a hope of perfection on other people's stories, you will keep getting traumatized by the media you consume. Love other people's stories for what they ARE, not for the stories that you WANTED them to be -- the same way that we love people, you know? You have to let a person be their own person; you can't force them to be someone else. That's fucked up, so if you notice that you keep trying to do that, maybe go to therapy so you can be that Someone-Else person for yourself (or, if you can't afford therapy, read some self-help books from the library or find some good channels on Youtube who make content that might help with that (I really like JulienHimself)).

If you need a story to be something big and important for you, if you are seeking catharsis and healing from a story that matters to you and you're really scared that you won't get it, then open a Word document and start typing. You can do it. You're a human being, and you evolved to tell stories. Literally it's a species specialization. You got this. It's gonna be okay, because you're going to seize the means of production and MAKE it okay. Yes? Yes.

Good Omens S3 will be what it will be. It will be what Neil wants it to be and what Terry would have wanted it to be. Period. That IS actually the highest achievement and the most noble and admirable accomplishment that we can hope for. And hey, maybe what they want overlaps with what you want, and that will be wonderful! But that will be merely a happy coincidence. The only person who can TRULY center your wants is YOU. So stop trying to trap Neil into doing it, please, because he's busy and it's not his job, AND because your wants do matter and you deserve to have someone who can give your wants their 100% full attention (aka you. that's you. only you can do that. Not even your best friends in the world can do it. Not even your mom can do it, at least not if you're old enough to know how to read.)

It's gonna be okay. Really. Really, it is. No, stop typing the snarky melodramatic reply. This is not the time for jokes; I'm being serious. It's going to be okay. Neil Gaiman can only break your heart exactly as much as you allow him to do so. That's how art works. You have to consent in order to be affected by it, and you can withdraw your consent at any time. You're going to be okay. I promise. As long as you choose to claim your own agency and your own empowerment as an individual, then all will be well and all manner of things will be well.