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whirlybirbs · 8 months ago

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— CAN'T WE BE SEVENTEEN? ; shoto todoroki ; 焦凍

summary: he's loved you since he was seventeen. pairing: f!reader x pro hero!shoto ; reader was a 1-A student tags: mutual pining, heavy make-out, thinly veiled sugar daddy shoto, reader does not go pro, touya might be a dick but he's a hero now, shoto is bad at feelings wordcount: 5.6k a/n: i do not fucking know what came over me, enjoy your food my little todorokinas. yes the title is what you think it is. no i will not elaborate.

You never did go pro.

Truthfully, you thought there would be more pushback when, in your senior year, you announced your plan to pursue a degree in early childhood education with a focus on non-conforming quirk development.

The War changed a lot. It changed you, your classmates, and the world. But, through it all one thing stuck with you:

What if someone helped Tenko Shimura?

How different would his life have been? How different would history have spun?

You graduated at the top of your class and joined the faculty at Chiba Prefectural Preparatory School for Quirk Specialties two years ago.

Chiba Prep was opened eight years ago in response to a societal cry for more infrastructure around what was dubbed "non-conforming quirks": a nice way to say quirks that can injure, maim, or kill. Maybe even all three on a bad day. Some parents still see their child being labeled as a non-conforming quirk user in the national database as akin to social suicide.

You see it differently.

Your quirk allows you to manipulate emotions — anger, sadness, betrayal, love, hatred. If you can feel it, you can sink it into another's psyche deep enough to drive them to act. You can even imbue things with feelings. For example, a cup of warm milk can transform into more than just a simple comfort, now it can hold the feeling of home and safety, or even exhaustion strong enough to put even the biggest foe to rest.

You could easily use your quirk with nefarious intent.

You could steep hatred in someone's bone so deep it drives them to harm themselves. You could sew fury so solid into someone's mind it drives them to violence.

Just a touch and you can control others with something so intrinsically personal it only exists within themselves: their feelings.

What makes you any different from little Asuke, a shy little girl with a quirk that allows her to see people's greatest fears, and then manifest and control them? You're convinced she can use this for good, if only with practice. In your mind, her future is bright and glimmering. Perhaps she will become a therapist, focusing on exposure therapy? Or, maybe the most prolific horror novelist in their time?

Or, bright and sunny Tao — a transplant whose parents sought out Chiba Prep's specialized education — whose heteromorphic quirk makes his bodily fluids, namely saliva, eat through nearly anything but his own biologics. A sneeze is quickly the most dangerous thing in the world for the cheery, lizard-bodied class clown.

He's just a boy given a quirk that needs more care.

He isn't a villain-in-training.

None of them are.

It's important to teach them that young — and as their teacher for Year 3 of their elementary schooling, you aim to hammer that in as much as possible. They deserve to feel normal. To feel loved and supported. They aren't scary, they're children.

So, you take it upon yourself to insist on pushing for privileges like field trips. There aren't many public spaces that welcome the classes of Chiba Prep with open arms. Over the years, there have been plenty of incidents. But, a day trip into the city to visit Tokyo's Hall of Heroes is green-lit with bubbling excitement from both faculty, the children, and their parents.

You usually keep your history as a graduated member of Class 1-A quiet.

After all, you never did go pro.

And even still, Shoto Todoroki never stopped thinking about you.

He remembers that weekend everyone moved back in for their last year before graduation. He remembers you smiling at him, and helping him drag up a duffel of luggage from the common room to his dorm. You made a joke about how you're sure he got taller over the summer, and how his hair is longer now. You said you liked it.

It was the beginning of the end, then.

His crush was a silent, smothering thing. It made it hard to think. Shoto had enough on his plate thanks to Touya's acceptance into the Villain Rehabilitation Program and his father's insistence on staving off retirement. Not to mention his parent's divorce — no matter how amicable, it was still a separation. Add on training, tests, studying, finals, and j-term classes... And a desperate, writhing, burning crush on the nicest girl in class?

Touya's elbow digs into Shoto's side.

It drags him back to reality — to the stifled quiet of the historical Hall of Heroes.

Suddenly, the doors to the wing squeak open, and a tour guide ushers in the elementary school class. The buzzing excitement and wonder are visible on each of their faces as the attendant — one of the HoH's lead tour guides — excitedly explains the newest, in-progress addition to the Hall:

Endeavor's wing.

There's a whisper of awe that ripples through the children as their teacher and co-teacher follow, and as the class moves through the large, open space. They're staring up eagerly at the gilded statue in the center of the room. It's larger than life and intimidating. Years ago, Shoto might have had to fight the odd tremble in his knees at the reminder it brings: to be small in his father's shadow again. But, things are different now.

Very different.

Touya scoffs. "I thought this wing wasn't open to the public yet."

"They're just children," Shoto hums, turning his back on the gaggle across the way to inspect the large mural winding along the back end of the installation, "I'm sure it's—"

"Oh, ho, no way!"

Shoto quirks his brow at his brother's outburst. His elbow digs into Shoto's ribs again.

"Ain't that the pretty girl you never got the balls to ask out your senior year?" comes the rasped drawl of his older brother's voice. Touya is clearly amused, his white hair hanging in his eyes as he leans forward to squint, "She is cute, Sho'—"

"Shut up," Shoto grits, turning his head over his shoulder; he tries to bite back the flurry of nerves that ignite in his gut, "Stop talking."

It is you.

You look... good.

Happy.

You're crouched by a small, timid girl in the back of the crowd. Your hand is in hers, and you're pointing upwards at the large paneled screens replaying Endeavor's most historic fights. You're explaining something to her, your knees bent as you squat. You look... the same. As if in the six years since they graduated, you sat still in time.

For a second, it's like he's seventeen again.

It's his senior year, and he's stuck at the corner of the gym's edge with a half-empty glass of punch in his hand. The lights are low, and there's slow music playing. His tie feels too tight. Bakugo keeps telling him to 'ask her to dance already', and Kirishima is considering bashing his head through the wall. Even Midorya is trying to persuade Shoto.

"It's prom, man! C'mon, this could be your last chance—"

Touya is about to be a real pain in the ass — his favorite pastime — and make some comment about your ass, but when he turns to lob the one-liner at his baby brother, Shoto's gone.

Shoto is on the move.

The crescendo of gasps draws your attention first.

Then, the cry of "WOAH, IT'S SHOTO!" leaves you dumbfounded. The rippling murmur of excitement bleeds into the children as their eyes — and the eyes of the tour guide — widen at the sight of the approaching Pro Hero.

Shoto Todoroki.

He looks... good.

Really good.

He's a bit older, and a bit more filled out than when you were both teenagers. You can see the strength in his arms and shoulders — it's a distant echo of his father's physique, though Shoto is so much more elegant and much... prettier. He's always been.

For a second, you're seventeen again.

It's your senior year, and you're sprawled across Momo Yaoyorozu's bed.

They had finally wrangled out of you who your crush was: something they hadn't been able to do in all their years as classmates.

There's a sticky, Miss Midnight-themed face mask clinging to your expression as you try to flip through the large magazine in your hands as nonchalantly as possible. Mina's voice, as she paints Ochaco's nails a bright pink on the floor, is sweet and saccharine as she looks up at you.

"I think you and Shoto would be, like, the cutest couple ever."

You're still crouched when the tour guide nervously — like she was caught doing something naughty — introduces The Pro Hero Shoto to the already-aware crowd of elementary school students and their teachers. It's like igniting a match; the uproar of excitement leaves you laughing as three of your boys push forward to bombard him with questions about his quirk.

Asuke is smiling shyly, now. That's a small win. She's intrigued by the appearance of a real hero, not the "scary statues" — and her big, fat tears stopped rolling the moment you laid a gentle hand on her to quell her anxiety over the new environment with a push of comfort through your quirk. She unhooks her pinkie finger from yours as you guide her towards your co-teacher.

"Boys," you call with a crisp air of authority as you stand and lead Asuke toward the bulk of the field trip group, "What have we learned about personal space?"

"It's fine, really, Insight," comes Shoto's voice; as warm and placid as you remember.

"Insight?" mutters your co-teacher at the presumed hero-name; a look of confusion plasters itself on her face, and her big, feline ears perk up. She leans in to whisper in a way that borders on conspiratory, "Do you two know one another?"

"Old classmates," you confirm, not daring to get into the finer details.

Shoto's attention is entirely rooted in the way you manage the kids. There's something beautiful about the ease with which you handle the bouquet of students; you quell the excitement into a manageable decibel like it's as easy as breathing.

"Shoto," you start as you gesture to him, "Has a very special quirk — Toyamai, he has ice like you. And, fire like Tojiro. He can regulate his temperature. Can anyone tell me what that means?"

There's a wave of hands shooting up, a few me, me, me's rise from the gaggle.

You're using him as a teaching moment.

Shoto's smile is soft.

You nod at Ogomi, excitedly nodding as the reserved child speaks up. Normally, he hates public speaking. But, recently, he's started working with the speech pathologist during lunch. The boy bounces a little as he answers. "He doesn't g-get too hot, or too c-cold."

"Exactly! Isn't that cool?" you grin at the lazy attempt at a pun, "This is why it's important to learn about our quirks as much as we can!"

Touya thinks this whole thing is just too cute.

You're different than he remembers — but, granted, things were sorta different last time he saw you. He was a little too busy tryna kill his old man and lil' Shoto. He's different now, too. A changed man! A real licensed hero. Support items and all.

He hangs back.

He... I mean, he is a jack-ass but he isn't gonna ruin this for Shoto.

...It's kinda cute.

Just about as cute as Fuyumi said it was.

Apparently, Shoto had opened up to her and Natsuo about his feelings after graduation — about how he regretted not doing anything about it. Fuyumi then told their mum, who then off-handedly mentioned it to Touya... and well Touya dug in because, duh, he is a whore for good gossip. He might be the family's black sheep, but Shoto is the glue that binds.

And he deserves to be happy.

Your co-teacher is ushering the kids to the next installation — a viewing of All Might's Legacy, a new documentary following the retired pro's teaching career. It will be a good wind down for them, in comfy seats and the dark. It's hardly the sort of content an elementary school student would find riveting, but it is All Might. And they love him.

You hang back.

Shoto's heart is hammering in his chest.

"Hey."

"Hi," you greet back, closing the door to the theater and stepping forward as you weave your arms around you, "Long time no see."

"Yea," Shoto breathes, his hands in his pockets as he meets you halfway across the museum's marble floors, "I... I see you're teaching."

His eyes are as pretty as they were back then. Slate grey and piercing turquoise. "I'm in my second year," you confirm softly, fiddling with the material of your sweater, "Congrats to your old man."

You gesture up at the statue, then wave around to the rest of the installation.

Shoto inhales, then nods; he's staring at your face, blissfully realizing you're just the way you were all those years ago. Kind. "I'll pass it along."

"How's he handling it?" you ask, your eyes raking across his expression and trying not to stick to the sharp slope of his jaw, or the bob of his Adam's apple, "Retirement, I mean."

"He's happy, I think. Touya and I are working together and... things are... good."

Last month, Endeavor finally retired. He cited his age, and his dedication to passing his legacy to his two sons: Shoto and Touya. Shoto has planted himself firmly within the Top Ten in the last year or so, and shockingly, Touya isn't far behind. People love an underdog's redemption story, you suppose.

And the underdog in question can read a room.

This is getting a little too sexually tense for even him.

"Heeeeey, girl," he rasps out, staggering backward with a thumb over his shoulder, "Nice t' see ya. I'll let you two catch up, yea? I'm gonna go pop my head into the theater, see how the kids are handling the snooze fest on screen—"

You jump.

How long has he even been there?

"Hi, D— Touya," you strain, wincing a little; the rehab'd villain doesn't seem to mind.

"Hi, teach'. That cool with you?" he asks, wobbling his thumb and quirking a pierced eyebrow; it's comical, like he's trying to disarm you with humor, "Don't want you thinkin' I'm corrupting your youths—"

"It's fine," you breathe, ignoring the sting of age-old mistrust. You know better. Shoto wouldn't be here, with him, if Touya Todoroki hadn't changed. Endeavor wouldn't be entrusting his legacy to the ex-League of Villain member if he didn't believe in his capacity for good, "Just don't be disruptive."

Casting judgment on someone whose life was nearly destroyed by his own non-conforming quirk would go against everything you taught the kids anyway.

"Touya's whole thing is being disruptive," Shoto grits as his oldest brother slips silently through the doors, "I apologize for him—"

"No," you wave him off, laughing a little, "Don't. It's... nice to see you two together."

Shoto's expression is soft as he wanders a little closer. "It took time — and a lot of therapy — but we've all managed to come out the other side."

"That's great to hear, Shoto," you breathe, your eyes flitting across his face, "I'm really happy for you."

There's a long silence, then — and you can't help but ignore the roil of butterflies in your stomach. The eye contact is heavy with some unspoken thing, and both of your tongues are weighted by secrets-never-turned-confessions.

It's like finally this dance you've been doing around one another for years breaks — and the two of you throw caution to the wind at the exact same moment.

"Would you like to—"

"Are you free—"

Hesitant, slow grins bloom on both your faces.

"Dinner?" is all he manages after a sweet moment of soaking up your soft smile, "If you're available...?"

You make yourself available.

Yaoyorozu almost dies when you call her that night — winded from tearing through your entire wardrobe. You explained you had nothing to wear a-and you needed something nice, and you only have an hour to get ready, because Todoroki — yes, stop screaming, Todoroki — is picking you up at 8pm.

Little bro is nervous. Touya can tell.

From his spot on the sofa, the white-haired ex-degenerate scoffs. Natsuo is digging around for some cufflinks in Shoto's dresser.

"Seriously, Sho'? A suit?"

"It's a nice restaurant," his brother says tightly, adjusting the collar of the black button-down, "I booked the upstairs dining room for privacy."

"Who the hell told you t' do that?" Touya quirks a skeptical brow.

"Father was the one who suggested it."

"...That old dog."

Natsuo rolls his eyes at the exchange before throwing his hands as he emerges from the closet. "Do you have any links that aren't emblazoned with U.A. High School's crest?"

The ones in Natsuo's hands have his graduation year on them.

Shoto winces.

"Want me to ask dear ol' dog of a dad?" Touya snarks from the corner, his posture becoming less and less upright as he scrolls on his phone.

"Already did," comes the soft voice of Fuyumi; she's smiling, padding into Shoto's room with a velvet box, "He offered up his nicest pair. He also says not to screw it up with Insight. He likes her."

Of course, he likes her. You worked under Endeavor for a brief work-study period during your third year. Shoto remembers hearing grumbled praise over dinner one night about your talent for de-escalation.

"You told him who I was seeing?" Shoto asks incredulously, taking the box and working the cufflinks on. He's starting to feel exasperated.

Fuyumi nods, popping down beside Touya.

"He asked. I'm not gonna lie to him."

"Did y' tell ma?" Touya rasps, peeking up over his phone to inspect Shoto's outfit. Not half bad, honestly. He looks good in all black. A man after his own heart, "M'sure she's gonna be real excited—"

"Yes," Shoto grumbles, "I called her earlier—"

"Chiba Prep is a really good school, y'know," Natsuo buts in as he tries to find a tie that matches Shoto's outfit. Ultimately, though, the middle brother decides against it and tosses the options over his shoulder, "They're, like, on the leading edge for quirk therapies."

"Hey, nerd? Quiet down. The big kids are gossiping," Touya shirks, turning back to Shoto, "What did mum say?"

"She wants me to call her after—"

"One, you're gonna call mum the morning after," Touya raises a finger, "Because if you don't get laid, I'll be so fuckin' disap—"

Fuyumi slaps Touya's chest. He lets out a pained yelp at the solid smack.

"Uh, ow," he rubs his sternum. "An' two, take a deep breath. You look like you're gonna shit yourself. Those are my pants and they're expensive."

Shoto lets out a long breath.

Fuyumi's smile is sweet like honey. "Aw, Sho'! It's gonna go great. You two have known each other for such a long time, and catching up is going to be amazing. Just be yourself! Confident and kind—"

"—Hold the door open for her, and pull her chair out," Natsuo adds as he adjusts Shoto's collar for him, "Car door, too—"

It's Touya's turn. He's dead serious. "—And do not chicken out on kissing her at the end of the night. I swear to god."

Easier said than done.

You never did go pro.

Those years of hardened battle instincts have lost their edge. You try to remind yourself this is just Shoto, not The Shoto — but you're a little lost in the whole celebrity of it all when he picks you up in a very nice, sporty little car with ENDVRplates.

You answer the door and he forgets how to breathe.

He has flowers for you. They're blue and blooming and beautiful.

Fuyumi's contribution.

You settled then you were going to kiss him at the end of the night.

The restaurant is... nice. Really nice. The sort of nice you could never aspire to experience on your teacher's salary. Even the valet is a concept that has your head spinning. But, Shoto handles it all with cool ease. The entire time, his hand is settled on your lower back.

It feels like you've been lit on fire.

You're glad Momo was able to create a dress fitting for the occasion. It's sleek and black. Comfortable, too. Not much can be said for your heels on that front, but it's fine.

Somehow, Shoto managed to book the entire upper floor of this place in all its glimmering glory — it's just the two of you alone in a sea of tables.

The waiter is pouring you a glass of the chef's suggested pairing of sake.

You thank him, smile, and take a sip as Shoto unbuttons his suit jacket and watches you.

For a second, you're seventeen again.

Sero and Kirishima were always in cahoots when it came to parties back then — somehow, between the two of them, they always managed to smuggle enough booze onto campus to obliterate any semblance of promised sobriety from even the most stoic members of 1-A.

You remember one night, after a lot of hounding, you finally gave in and joined a few of your classmates on the back lawn for a few drinks.

A few beers turned into a cup or two of wine, and then another big gulp of whatever deranged jungle juice concoction Kaminiari managed to cook up. It tasted terrible, but you were too drunk to really care. Shoto was no better. He was nursing his fourth drink of the night — a rarity he was even drinking at all — and seemed completely fine with the way your arms brushed as the two of you sat close in the grass.

He was always so nervous around you. Now, he just seemed... happy.

"I can't believe there is only one week left until graduation."

Graduation day was the last time you saw him.

Until this morning, that is.

You smile into your drink.

"What?" you ask when his eyes never leave your face.

His fingers twitch towards his own glass. Shoto blinks, then rolls his jaw. He was caught staring. He clears his throat, looking a bit shy. "Nothing."

"Nothing?" you press playfully, cocking your head to the side.

"You..." he starts, then bawks. You're stunning, and it's making it hard to even think straight. He thought these feelings might have mellowed out over the years but seeing you again has just reignited everything. He feels like a hormonal teenager again, "You look beautiful."

Your expression falters into something lovesick. You chew your lip. "You're not so bad yourself, Todoroki."

He manages a half-smile. "Touya had me worried the suit was a bit much."

The idea of Touya offering him advice on his outfit strikes a chord in your heart. It makes you smile even bigger than before. "Well, you can tell Touya that I like it. A lot."

You rake your eyes up and down him. On purpose.

He notices.

Shoto's face feels hot.

He tries to shake the bone-deep want that has swept his entire body up in its grip, but it's difficult when every single word out of your mouth reminds him just how in love he was with you back in school. You explain, excitedly, why you chose to teach at Chiba Prefectural Prep and catch him up on where you've been living since graduating. He's pleased to learn you're still in the area, living in the city, and decidedly in love with the commute to the school.

Shoto's always been a good listener — but you can see how much he's changed when he begins to speak about his career. He seems so much more sure of himself than he was all those years ago. It wasn't that he was... unsure... but, no. He was shy. Quiet.

Now, less so.

It's adorable.

Dinner comes and goes with conversation over sushi that is far too good for you to even process. It's easy talking to him. It was easy talking to Shoto back, then, too but... Things are different. You're both different. Not in a bad way, but in a way that feels like coming home.

While you both wait outside for the valet, Shoto shrugs his jacket off and puts it over your shoulders without a single word. Suddenly, you're cradled in a warmth that's very Shoto — his cologne clings to the collar and you bury yourself a little deeper into it.

Shyly, you step closer and steal his hand. It's calloused and warm. He laced his fingers with yours as if practiced. You bite back a grin. You give his hand a little squeeze when you spot the car coming around the corner.

His silence is calming — and he squeezes your hand back. When you look up at him, you realize he's already looking at you.

His face is close. It's so... intimate. Very. Nearly better than a kiss.

But, you've wanted to kiss Shoto Todoroki since you were seventeen.

The valet driver interrupts the moment with a respectful call of Shoto's name and offers the keys with a shake of the hand. With a little bit of hesitancy, Shoto remembers the thing Natsuo said — the car door, too — and moves around the passenger side to open the door for you.

It's sweet.

Really sweet.

The car ride back to your apartment is punctuated with easy conversation — you ask him about Bakugo and Midorya, and you're pleased to hear they're both doing well. He asks about Momo, and if you still keep in touch with Mina and Ochaco. He smiles to himself when you admit you did call Momo for help with an outfit.

"She did a beautiful job," Shoto breathes, a palm moving from the gear shift to brush over the dress' fabric on your thigh.

His hand settles there.

Your stomach does a flip.

You chew your lip, swallow down a sudden burst of nerves, and let your hand rest over his. You squeeze it. Shoto tries to focus on the road. His gaze drifts for a moment at a red light, his heterochromatic eyes dancing across your figure.

Keep it together.

He isn't seventeen.

He's twenty-five. He's a Professional Hero. One of the Top Ten in all of Japan. He's more than capable of keeping it together in the face of physical touch from the woman he's dreamed about for years.

...Right?

Green light.

His hand is still on your thigh when he pulls up to your apartment.

The touch is relinquished in favor of putting the sports car in park.

It makes your chest ache.

Shoto swallows thickly.

Do not chicken out on kissing her at the end of the night.

He'll never forgive himself. But, admittedly, he's bad at this. He's not good at reading body language, or even knowing himself enough to realize he looks mildly terrified as you blink up at him in the passenger's seat. His heart is hammering a mile a minute.

What if you don't want to kiss him?

When would he even kiss you? Now? Or at the door?

Why does he feel like he's going to die?

"This was really... Shoto, are you okay?" you ask as you unbuckle your seatbelt; you pause, your brows knitting tightly.

"What?" he asks, blinking back to the present moment. The look of fear disappears, "Sorry. Yes. I'm fine."

You're working his jacket off your shoulders, gently leaning to fold it neatly in your lap. Your voice dips low, into something playful. "You didn't look fine..."

"I—" Shoto clamps his mouth shut as he leans an elbow on the center console, "Sorry. I suppose I'm just nervous."

"Nervous?" you grin, a little giggle punctuating your words as you wriggle in the red, leather seat, "Why?"

Your expression makes his expression crack. He ducks his head as he huffs out a laugh. You continue to egg him on via expression alone. "I... Stop it."

"Stop what?" you push some more, your back pressed to the door as you face him in the car, "You're the one being weird—"

"I'm not being weird—"

"Then what's wrong, Shoto?" you tease in a sing-song voice.

"I'm nervous because I want to kiss you."

His words are punctuated by a slow look that takes in every inch of your face. Butterfly wings kiss your stomach walls. And your knees. You feel a little tremble in your chest.

It feels like someone has sucker punched you square in the sternum. Shoto's no better. He isn't entirely sure what the expression on your face means. Is that... good? Are you happy?

Your voice is a little quieter now. You duck your head and fiddle with his suit jacket as you lean back against the seat, a little closer now.

"You don't need to be."

Shoto's breath catches at that.

So, he makes his move.

His hand comes first — his calloused palm settles nicely against your face, his thumb brushing your cheekbone as his pointer finger brushes the underside of your jaw. Shoto is slow. Methodical. It's like he's trying to ground himself in the moment.

Truth be told, he thinks he might be blacking out.

Your eyes flit up his wrist — a dark leather band around his wrist with an expensive watch face, a dark dress shirt with glimmering cufflinks, strong arms and a broad chest, and you can see the dip of his collarbone where the top two buttons of his shirt remain undone.

He looks so damn handsome with his sharp jaw, pretty eyes, and his trademark white and crimson hair. Even his scar is beautiful.

The touch pulls you in like he's got his own personal orbit.

Your elbows are braced along the center console, your eyes flicking across his face as his fingers continue to brush along the soft expanse of your cheek. You wring your fingers together.

Then, his eyes stick to your lips.

"Can I kiss you?" he whispers, his breath fanning across your face.

You never did go pro.

But, Shoto did.

It shows.

Because, at this moment, all you can do is nod feebly before you're swept into the sort of kiss people go to war for. It's the sort of kiss that sticks to your ribs, that feels like warm, fresh food. It's the sort of kiss that would drive you to the brink, that would make you nod and agree sure, let's get married and have three kids, let's name one after your father, and paint the house blue like your mother's favorite flower—

His mouth is eager, but not in an overbearing way. It's gentle. Slow. As if he needs to remind himself this is real and not some midnight fiction that leaves him aching and alone. Shoto reminds himself to be tepid, pliable, and easy, which is easier said than done when somewhere deep inside of him there's a seventeen-year-old screaming in victory.

It's better than anything he could have ever imagined.

And then you whimper.

It's a sound tied between bliss and relief and it's muttered against his mouth as you lean in and let your fingers brush the fabric of his dress shirt. The tips of your fingers brush his abdomen and he flexes, the feeling foreign and warm. It warrants his other hand to drift to your face and you break for a breath; he doesn't care that there's lipstick smeared across his mouth. He's kissing you again — this time a little bit more feverish, a little bit more aching.

You melt against him, this time your hands trembling to grip his wrists.

He needs to slow down.

He is not having sex with you in his father's car.

That's shameless.

He needs to slow down.

He has to, or he'll lose himself in this and he refuses to fuck this up.

Shoto's breath is ragged when he finally peels himself away, his lip parted and eyes half-lidded. His grip on your face is still so soft, so gentle. It's very him.

You're glad you didn't do this when you were seventeen.

It would have permanently altered your brain chemistry, you're sure of it. How could you ever kiss someone else again after that?

He's rubbing your cheek with his thumb. You swallow, and try to level out your breathing. It's hard when he's still so close, when he's so... perfect.

"I've wanted to do that," he murmurs against your cheek, "Since our last year at Yuei."

A well-kissed smile breaks across your face. You reel back, your nose wrinkling as you shake your head in disbelief. Shoto is smiling. A real smile. The sort that's so rare you can count on one hand the amount of times you've ever seen it in person.

"Are you serious?"

"Very," he says, chastely pressing another to your other cheek as he leans back.

"Me too," you admit shyly, "Can we... do it again sometime?"

Shoto's eyes widen incrementally. Then, his smile eases back onto his face.

"Are you free this weekend?"

"I can be," you reply easily with a honeyed look, "And I will be. For you."

"I get off patrol on Saturday around seven," he explains before asking timidly, "We could... do dinner again?"

"Works for me," you breathe as you move for the handle of the car door, "After all, I never went Pro. Weekends are free."

Shoto scoffs.

Then, as you open the door and swing a leg out:

"Oh, and tell Touya I thought the suit sexy."

Shoto's laugh is dry. You leave his jacket on the seat and scurry into your apartment with a lovesick wave. He swears he sees the silhouette of a familiar ponytail greet you at the door, but he doesn't dwell on it. He waits until you're inside and the lights to the front door are shut off.

Then it hits him. He has another date with you this weekend.

Not so seventeen anymore, Shoto Todoroki.

#todoroki x reader #shoto todoroki x reader #shoto todoroki x you #shoto todoroki imagine #mha imagine #bnha imagine #shoto x reader #shoto x y/n #touya todoroki #i LOOOOVE HERO TOUYA #HE IS SOOOOOO CUNTY

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debralynndraws · 2 years ago

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View this post on Instagram

A post shared by Debra Lynn (@heavenlymush)

instagram

#my act of defiance until the databases are opt IN #meanwhile i continue working (art is work) for free #and putting my stuff on the web for 'exposure'#because how the hell else will i ever get commissions?#you need a following first #Instagram

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cripplecharacters · 4 months ago

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would y'all happen to know of any databases/collections of photos or art references of people with facial differences? maybe in the vein of FatPhotoRef (a website with self-submitted pose references with fat models)?

I'm a learning visual artist and I've found one of the best ways for me to hone some aspect of drawing is to do timed sketches from photo references. I'm going to focus on facial expression soonish and want to cover people with various facial differences as well as the typically non-facial-difference-having models on mainstream reference sites. Any resources would be appreciated--even just non-art-focused websites with lots of neutral/positive photos of people with facial differences that I can sketch!

Thanks for all the work you do!

Hello!

The closest one to what you describe is probably Positive Exposure, which aims to photograph and portray all kinds of disabled people (not just visibly disabled) in a less medicalized/dehumanizing way. If you know which conditions cause facial differences then you can go through their albums and pick some of them out - there's a ton of them. The one I linked goes to their ichthyosis shoot.

Here are some other photo resources I do know of, but just be aware they might be underwhelming for what you're looking for;

Portrait Positive - focuses on women with facial and bodily differences;

HOW DO YOU C ME NOW? - focuses on people with large birthmarks;

Here I Am - focuses on adults and seniors with Down Syndrome;

About Face - focuses on people with various kinds of facial paralysis, mostly Bell's palsy

Classic Stock Photo Website - exactly what it says.

These are video resources, obviously less convenient, but you can try screenshotting and redrawing a shot that you like;

#FearNoFace

I Am More Than Just Your Villain

AboutFace's Awareness Videos (unrelated to the other link named similarly)

Outside these you can always try looking for models/actors with facial differences. Some you can look up include Adam Pearson, Catrin Pugh, Austin Halls, Justin Stewart, Alison Midstokke, Loide Ndemueda, or Turia Pitt.

I hope this helps! Good luck drawing

mod Sasza

#mod sasza #flickersprout #face difference #art reference

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whatisamettafor · 6 months ago

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I saw a horrible AI Tam and Lucy this morning in animal onesies and had to use my actual human hands to make a better version.

After drawing the whole thing I was like damn....I should have made s*xy pin ups with little ears, so if you want to tell me to do that, consider joining the patreon

Edited because tumblr absolutely will not allow me to reply to messages, so I'm trying to reply to @booksnwriting:

The difference is that the other person put their prompt into a computer and the computer program took a bunch of artists' hard work and skill without permission to fill that prompt. I'm taking human skill, time and effort and using it to fill a prompt. What I'm doing is no different than any art challenge, or draw your OTP like this meme or whatever. Do I have their permission? No, but frankly if you're out here stealing other people's skills and calling it art, then I think it's only fair that your ideas can be turned around and used as prompts by people with those skills to produce actual drawings. Furthermore, what I'm doing is not hurting them, but if they didn't have access to a database of stolen work, maybe they would have given money to an actual human artist to draw their prompt, maybe they would have held a little drawing prompt contest and shared the art and gained real artists exposure which could then allow those artists to find work doing other commissions. Even if they didn't do either of those things, even if not having AI meant their idea just stayed in their head never to see the light of day, the existence of AI art in general devalues skills people had to work to develop and takes jobs away from those people by taking their existing work. That actively hurts artists. I'm "bashing" them because what they're doing is actively harming me and people like me.

Based on your user name I assume you are probably a writer, and I would like to ask you: is there more value in an actual human being writing things like fanfic (stories using other people's ideas as their jumping off point) or original books that include genre tropes than there is in typing prompts into a text generating AI?

Would you be annoyed if someone chose to write a retelling of Dracula using their own brain and hands in response to hearing that someone else was marketing a Dracula retelling that they'd "written" using a text autofill program?

And just so we're clear, the thing that makes the AI horrible is that it's AI, not whether or not it's nice to look at.

#tamlin #pro tamlin #lucien vanserra #acotar #sjmaas

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therandomartmaker · 2 years ago

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[Image ID: An artwork featuring Danny Phantom, full green excluding his hair and white accents, transparent, sitting on a pile of rubble head tilted slightly upwards with his eyes closed. His hair is wispy, he’s got pointed ears and he’s much more identifiable as a ghost. The rubble includes the F of the Fenton Works sign, a satellite dish of some kind, pipes and concrete. The rubble, and Danny, is surrounded by yellow-black striped caution tape. Above Danny’s head is a conversation, in white, “It’s been ten years,” has been written, and in green, “It’s only been 10 years,” is written. /End ID]

Day 31: “It had been a decade since anyone last lived at Fenton Works. Or so people thought.”

tbh this took like. Less than half an hour to make haha. I may have forgotten to do this yesterday lmaooo. To make up for it, here’s a continuation of this prompt by @cryinginthevoid that i filled, wherein Danny has been stuck haunting the rubble of a ruined Fenton Works after his permanent death, only to later be approached by a very much alive Damian, who is the first person to See Danny in over 10 years. So yep, bonus challenge post 2 under the read more :D

Damian had visited. He’d promised and he’d followed through on it, Danny sitting still and watching as Damian approached, day after day, even after Danny had no more words to say, no more information to give. To quote, he was “a tolerable friend despite your intolerance for proper respect.” Danny had no idea if that was a good or bad thing, if he were to be honest.

But still! It’d been 10 years since he’d to spoken to someone, something other than the air. Damian said his brothers wouldn’t follow him, despite saying he’d bring them to meet Danny during one their tentative hangouts, and Danny supposed that was a good thing. He didn’t want Damian to sound crazy or look crazy for talking to thin air, especially not by his family.

Though, what was interesting was the weird amount of black-haired blue-eyed outsiders hanging around town. The FentonWorks rubble had a pretty good view of most of town, despite it’s slow erosion into dust, so Danny was able to see the several strangers in town whenever he went looking.

Damian said his family was looking into ectoplasm due to it’s relation with the dead, and trying to find if anyone around town knew how to access their information databases. They needed to know if there was a way to relieve “Jason’s” burden of the “Lazarus Rage,” and prepare in the case someone else in the family acquires it. And that ‘Lazarus Pits’ are classified information, but who did Danny have to share it to, no one could talk to him except Damian, anyway.

And truthfully, those Lazarus Pits Damian mentioned sounded like pools of ectoplasm that Maddie and Jack would’ve killed for. Danny could only suggest looking into ‘ecto-acne’ treatments, as from one of the stories of Vlad Masters Danny’d heard, it sounded like the short-term effects of ectoplasm exposure.

—

Damian didn’t know why he was sharing so much confidential with Daniel, but he didn’t seem to mind, and didn’t seem to talk to anyone else. He figured it’d be fine. Daniel needed to know as much context as possible in order to help Damian.

Daniel was strange, he spoke in large amounts, but quieted as though he doesn’t expect someone would respond to him. He rarely moved, and there was something unnatural about him. Perhaps the lack of a rise and fall of his chest, or the way his eyes shined.

Damian couldn’t help but make comparisons to the dead he’d seen. Lightless glossy eyes, pale skin, sallow flesh. Daniel was built like a dying or dead person.

Damian… worried. He’d grown close to the other boy, Daniel’s snark to Damian’s sharp tongue and his acceptance of Damian’s veganism, multiple other factors about Damian never drove Daniel away from him. It was nice, being accepted by someone outside of his family. Daniel’s health was concerning, malnutritioned and Daniel’s reaction time was slow. Multiple things were off-kilter about him, and Damian wanted to know why. So he could help.

Because Danny was his friend.

—

Dick observed Damian. He’d taken to pacing the length of the hotel room, and he seemed worried about his new friend (!!! Dami has a friend!!!! And he’s worried about him!!!), muttering about bringing food to the next time he visited. Dick kinda felt bad about what he was about to tell Dami.

“Richard, why are you looking at me?” Dami asked, stopping his pacing to look up at Dick, a soft half-hearted glare on his face.

“Uh well, Tim…” (fuck! He wasn’t supposed to mention Tim!)

“What did Drake do?”

“Tim told me to tell you that we’d gotten enough information and that we were leaving in two days, just in case something new crops up!” Dick rushed, knowing that Dami would loathe the information, but despise Dick more for not telling him.

Dami needed to say goodbye to his new friend, after all, but from what Dick could tell, they couldn’t even have long-distance communication, because “Daniel Who Liked Being Called Danny” didn’t even have a phone!

Dami’s click of his tongue was expected, and his expression had worsened too. Dick had messed up, but he didn’t think there was anyway to break it gently that Damian would have to leave his newfound friend.

The boy stormed off, leaving the room with a door slam. Dick felt bad, man. Well… Dick did have a spare phone he was free to gibe to someone… Perhaps Danny would like it?

#randomartmaker writing #randomartmaker art #digital art #dpxdc #dcxdp #danny phantom #short story #small story #dick grayson #richard grayson #damian wayne #damian al ghul #ectober 2023 #ectoberweek2023

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religion-is-a-mental-illness · 1 year ago

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By: Christina Buttons

Published: Apr 4, 2024

[ Figure 2: Representative images of Hematoxylin and Eosin-stained sections of testicular tissue biopsied from the testis from GD patients (A) with and (B) without PB exposure. ]

In a groundbreaking study from the Mayo Clinic, a globally recognized leader in medical research and patient care, researchers examined the effects of puberty blockers on testicular development in gender dysphoric male children. Their investigation revealed evidence of mild to severe atrophy in the sex glands of these children, leading the authors to express doubt in the claims of “reversibility” often made about puberty blockers.

The authors assert, “We provide unprecedented histological evidence revealing detrimental pediatric testicular sex gland responses to [puberty blockers].”

This preprint study, not yet peer-reviewed, presents evidence that puberty blockers induce significant cellular changes, impacting testicular development and sperm production in ways that are not fully reversible, with potentially permanent effects on testicular function and fertility. It challenges the longstanding view of puberty blockers as a reversible "pause button" on puberty.

As noted by the researchers of this study, no long-term studies exist for the use of puberty blockers in the context of stopping puberty for gender dysphoric children, and many potential health consequences remain unknown. In particular, the long-term impact on reproductive health is uncertain, making this study critical for filling this knowledge gap.

To address these unknowns, the Mayo Clinic has established the largest collection of testicular samples for patients aged 0-17 years, including those with gender dysphoria who have and have not yet received puberty blocker treatment, creating a database of over 130,000 individual cells for analysis.

Using a novel approach, the research team meticulously analyzed testicular tissue samples from youths undergoing puberty blocker treatment, with those not on puberty blocker treatment serving as controls. This comparison provides important insights into the potential cellular and molecular changes induced by these drugs.

Key Findings

The study utilized the Mayo Clinic's Pediatric Testicular Biobank for Fertility Preservation, which has been recruiting patients primarily from pediatric urology departments since 2015. Researchers analyzed testicular specimens from 87 young individuals (ages 0-17) undergoing fertility preservation surgery for various health reasons. Among these, 16 were gender dysphoric boys between the ages of 10 and 16, all of whom began identifying as transgender girls between the ages of 2 and 15. At the time of surgery, 9 patients (56%) were already on puberty blockers, with exposure ranging from 3 to 52 months. The authors noted that 100% of the 16 children would eventually go on to take them, highlighting “the widespread nature of PB intervention in this demographic.”

Among nine patients treated with puberty blockers, two exhibited unusual features in their testicles upon physical examination. One patient had abnormalities in both testicles, including incomplete development of the tunica albuginea, which is a protective covering around the testicles. The other patient had a right testicle that was difficult to detect.

In one part of the tissue-level analysis, over 400 testicular biopsy samples were analyzed and stained to examine the differences between those treated with puberty blockers and those who were not. Comparisons showed that testicular development in those treated with puberty blockers was abnormal compared to non-treated individuals. There was variability in how individuals responded to puberty blockers, leading to different outcomes in testicular development, including the degeneration of testicular tissues.

The study authors presented a case of a 12-year-old patient who underwent treatment with puberty blockers for 14 months. In this individual, 59% of the sex glands showed complete atrophy, along with the presence of microlithiasis—a condition where small clusters of calcium form in the testicles. This insight suggests that puberty blockers could lead to lasting structural changes. Additionally, research has shown a link between testicular microlithiasis and testicular cancer.

[ D) Representative images of normal (top) and fully atrophied sex gland (bottom). ]

This study also utilized single-cell analysis to investigate the effects of puberty blockers and aging on testicular cell composition. It took a very detailed look at individual cells from the testicles of a 14-year-old who had been on puberty blockers for over 4 years. The study analyzed a total of 130,100 cells, including 11,199 cells from the juvenile puberty blocker-treated patient.

The study observed that over 90% of the cells responsible for sperm production in this patient were stunted at an early developmental stage, unable to progress further. Additionally, it found "pathologically" higher and lower levels of two types of support cells (Sertoli cells) necessary for healthy sperm development. These findings suggest that puberty blockers can disrupt the normal maturation process of cells critical for sperm production.

In another part of the analysis, the authors found distinct cell-specific changes, including altered expression patterns of puberty-associated genes in endothelial cells, due to puberty blocker treatment. The authors believe that these drugs might induce juvenile testicular atrophy in part by disrupting the normal function of testicular endothelial cells.

Another aspect of the study focused on examining the effects of puberty blockers on the genetic activity of early-stage sperm cells, revealing significant changes that could potentially influence their development and fertility. By analyzing the activity of specific genes within these cells, the researchers found that puberty blockers may have caused alterations in gene expression, affecting processes crucial for the normal growth and function of these cells. This analysis suggests that the use of puberty blockers in gender dysphoric youth could have lasting implications for their reproductive health, particularly by impacting the ability of these early-stage sperm cells to mature properly.

Study Impact

Puberty blockers are increasingly used as a treatment for gender dysphoric youth to halt the development of secondary sex characteristics, such as breast development and widening of hips in females, or the growth of facial hair and deepening of the voice in males. Thousands of children in the United States are placed on this medical pathway as part of the gender-affirming model of care, under the presumption that these drugs are safe and fully reversible.

However, many aspects of the long-term consequences of puberty blockers, which have been administered to children off-label in an experimental manner, remain unknown. This study contributes valuable insights into the potential irreversible harm these treatments can cause to bodily and reproductive functions.

Arguably, the most critical finding is the evidence of mild to severe sex gland atrophy in children treated with puberty blockers. This atrophy signifies potential damage or impairment to the structures essential for sperm production, raising serious concerns about the long-term fertility impacts of these drugs for these individuals.

Given the Mayo Clinic's esteemed reputation in the medical and research communities, should the study pass peer review without any issues, its findings will carry significant weight.

Broader Implications

Puberty blockers belong to a group of synthetic gonadotropin-releasing hormone (GnRH) analogues. These drugs act on the pituitary gland to hinder the release of chemical signals that typically trigger the production of estrogen and testosterone. Historically GnRH analogues were used to treat conditions such as prostate cancer, fibroids, and endometriosis and, in some cases, as a measure to chemically castrate sex offenders.

In children, puberty blockers prevent the natural changes of puberty driven by sex hormones and have been used to treat central precocious puberty, a condition where a child begins to sexually mature much earlier than usual. In gender dysphoria, puberty blockers are administered experimentally, lacking long-term testing.

Notably, the U.S. Food and Drug Administration (FDA) has not approved puberty blockers and sex hormones for use in pediatric gender care. No clinical trials have substantiated the safety of these drugs for such non-approved applications and manufacturers of puberty blockers have repeatedly declined to conduct safety trials for their use on this cohort.

While puberty-blocking drugs are often promoted as “safe,” "reversible" and a "pause button" on puberty, these characterizations seem to stem from their approved use for treating central precocious puberty in younger children, not their burgeoning off-label use for managing gender dysphoria in adolescents.

Past studies have indicated possible negative effects on bone density and brain health. There is also a concern that these drugs might solidify gender dysphoria in adolescents, potentially leading them down a lifelong road of biomedical interventions. Following reports in 2016 of suicidal ideation in children administered puberty blockers, the FDA instructed drug manufacturers to include a warning about potential psychiatric issues on the drugs' labels.

Puberty blockers are increasingly administered to adolescents at Tanner Stage 2, the first signs of puberty. Research shows administering puberty blockers at this stage, followed by cross-sex hormones, may result in infertility, sterility, and sexual dysfunction. Furthermore, they inhibit the development of mature male genitalia, making it difficult to create a pseudovagina in the event of a later vaginoplasty due to a lack of sufficient tissue.

The National Health Service England recently announced it would no longer prescribe puberty blockers to youth outside of research settings and closed down its only national clinical service for pediatric gender medicine, following a review that deemed the service "not safe.”

Several European countries, including Sweden, Finland, the UK, Denmark, and Norway have updated their guidelines for youth transition to align with systematic evidence reviews, the gold standard in evidence-based medicine. These reviews concluded that the risks associated with youth transition outweigh any purported benefits. Consequently, these countries have implemented restrictions on medical interventions, prioritizing psychotherapy as a first-line response for minors experiencing gender-related distress.

They're sterilizing boys and giving them cancer. When "god" does it, we call him evil. When humans do it, we call it "gender affirming care."

#Christina Buttons #puberty blockers #atrophy #medical scandal #medical malpractice #medical corruption #sterilization #fertility #irreversible #gender affirming care #gender affirming healthcare #gender affirmation #queer theory #gender ideology #gender identity ideology #intersectional feminism #religion is a mental illness

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argumate · 3 months ago

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Within minutes, we found a publicly accessible ClickHouse database linked to DeepSeek, completely open and unauthenticated, exposing sensitive data. It was hosted at oauth2callback.deepseek.com:9000 and dev.deepseek.com:9000.

This database contained a significant volume of chat history, backend data and sensitive information, including log streams, API Secrets, and operational details.

More critically, the exposure allowed for full database control and potential privilege escalation within the DeepSeek environment, without any authentication or defense mechanism to the outside world.

lol

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innuendostudios · 11 months ago

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youtube

by a wide margin the weirdest video essay I've ever release: List of Songs that Represent "Smart Music" Ranked from Most to Least Appropriate to Put in a Video Essay

this video is sponsored by Nebula, where you can watch ad-free and (sometimes, slightly) better edited versions of my videos for 40% off an annual subscription. just follow this link.

as a quick note: YouTube has already demonetized this video, as two different corporations are claiming copyright on recordings they do not own the copyright to - both are Creative Commons recordings of public domain music, that, in one case, YouTube has misidentified as a different recording, and, in the other, YouTube has the music in its database as under copyright despite it being having been released under CC BY-SA 3.0. I am disputing these false claims and will (hopefully) get whatever money I am owed, but, for now, YouTube is not paying me a dime for this.

so it would be a bigger help than usual if you would either watch the video on Nebula or back me on Patreon.

thanks. transcript below the cut!

List of Songs That Represent “Smart Music” Ranked From Most To Least Appropriate To Put In A Video Essay (And Presented In Drill Bit Order).

1. Clair de Lune, Debussy

This has been top dog ever since the teaser for Godzilla: King of the Monsters, and cemented its position against challengers with a showcase in Everything Everywhere All at Once. Said film could have been the shark-jumping moment where the song was irretrievably lost to irony, given directors Kwan and Scheinert (Daniels)’s style mercilessly marries the aesthetics of prestige and shitpost. Yes, despite its silliness, EEAAO is achingly sincere, but could the general public be trusted to recognize that? But then it won Best Picture, so apparently yes! Beautiful, delicate, to score a film or video with Clair de Lune signals a desire to be seen not only as an intellectual, but as an aesthete. The song could lose potency if the Clair de Lune sequence were parodied enough, but how does one parody EEAAO???

9. Gymnopedie No. 1, Satie

I fear we must, as a society, and as a community of video essayists, move on from Gymnopedie No. 1. It held the title longer than, I think, any champion previous, and for that it deserves merit. But its time is over. It is, like the phrase “mad dated,” mad dated. It is saying “lmao” out loud. Did you know the original screenplay for 2005 film The Island specifically stated that, in the weird culty enclave in which the film opens, Gymnopedie No. 1 must be playing over the loudspeaker? I don’t think Michael Bay followed that directive (I’m not rewatching the movie to find out), but that is how long this was the “Smart Music” song - since 5 months after YouTube launched. If you must - absolutely must - put Satie in a video essay, use Gnossienne No. 1, though it too is on its way to passe. At this point I’m prepared to say Vexations or GTFO.

2. Ave Maria, Schubert/Liszt

Nothing was certain after Satie vacated the throne, and for a while it seemed we might have a Starks vs. Baratheons situation between Schubert and Debussy. Following several appearances in pretentious YouTube videos, the Ave Maria made its strongest showing yet by scoring the opening scene of the grimdarkest Batman film so far, an entire twenty days before getting fully Lannister’d by Everything Everywhere All at Once. Unbowed, unbent, and unbroken, still she nips at the heels of the king, and may yet take his place. No one else poses a comparable threat. Hers is a curious strategy, being a religious, Christmas, and even classic Disney standard now repurposed as “Smart Music;” she gets a big boost every December, but can she take the top spot before this cyclical exposure nudges her back into a prior niche?

8. Moonlight Sonata, Beethoven

If you were in a film program in the mid-2000s, you are sick to death of Moonlight Sonata. Also if you were in a music class where you were asked to determine a song’s time signature by ear - how am I supposed to tell the difference between waltz time and 4/4 with all triplets without the sheet music in front of me? To say scoring a video with Moonlight Sonata is a hack move - you’d have to be a hack to not already know! This was the soundtrack to the blind cave salamander level of Earthworm Jim 2, there’s no coming back from that! I mean, the association with Tallarico Studios alone… It’s done. Roll over, Beethoven.

3. Cello Suite No. 1 (Prelude), Bach

This one is firmly-rooted. It is not going anywhere, both in the sense that nothing could soon push it off the list but it’s hard to imagine rising any higher. It is just slightly too beautiful, too expressive, too legato to fall into the stiffness of Habanera or the pomposity of a De Beers ad, but just close enough to them in tone to always read as a hipper alternative. So you’ll never be overexposed, but never go that long without hearing the Yo-Yo Ma version. And so here it stays, third on the podium, solid bronze, the waterbender, the Plup; with you as always is Prelude to Cello Suite No. 1. (Frankly surprised it took us this long to get to Johann, but don’t worry - he’ll be Bach.)

7. Air on the G String, Bach/Wilhelmj

Told ya. It’s not that she isn’t a beautiful piece of music, and it’s not that she already had her time. In truth, she never got her flowers. Inasmuch as she had a run, it was squished between the omnipresences of Beethoven and Satie. You’ll still hear from her now and then; she crops up, like a lucky penny. And you’ll smile, every time, but you know the stars in your eyes are not present joy, but nostalgia. A fondness for what was and what could’ve been - what should have been. Why - why couldn’t this have had the legs of Gymnopedie? I mean, even the Fucking Champs version - could that have made a run? Could TikTok pick up on it? But comes the day you have to accept - if it was gonna happen, it would’ve happened by now. Air on the G String grows weary; let her rest.

4. Duo des Fleurs, Delibes

Bit of a dark horse, this one. Didn’t exactly come out of nowhere - it’s been here the whole time - but you didn’t see it coming! It’s like that time I went snorkeling, and I wondered, “Where are the fish?” I was told there would be tropical fish, but all I saw was blue. Then I caught one flitting by my head and, as soon my eyes registered the shape, I realized they were everywhere! I just hadn’t taken them in. This is the one that makes you ask, where did I hear that before? Was this the one at the end of Margaret? No! How did it go? How do I hum dyads? But then it shows up and, oh yeah, that’s the one! The really pretty one. I knew it’d come around again. Has staying power, could make a run for the top if it sees an opening, but seemingly content, for now, to dance around the periphery, appreciated when heard if only half-remembered the next day.

6. Prelude in E Minor Op. 28 No. 4, Chopin

The bottom end of acceptability. Anything lower, you must avoid. But you can use Prelude in E. It is a risk, and it takes skill. But you can use Prelude in E. It is not for the faint of heart. This is the ending of Fez we’re talking about here. This is that one TED Talk about how everyone loves classical music they just don’t know it yet. This was all over Anatomy of a Fall. Are you sure you wouldn’t prefer something lighter? Nocturne in E-flat [Op. 9 No. 2] is very nice. Prelude has just enough penetration that some people are going to recognize it, and enough clout that those who do are going to expect things of the person who puts it in a video essay. You can’t just throw this under a rant about The Snyder Cut. But you can - with care, with effort, and with grace - use Prelude in E.

5. Spiegel im Spiegel, Part

We are not ready for Spiegel im Spiegel. The rare “Smart Music” that is, rather than classical, contemporary minimalist. This is - I have been led to believe - all over the film festival circuit. It is the go-to for aspiring arthouse directors. So I assume it is only a matter of time until it reaches general cultural awareness. But we - the YouTube video essay community - are not, at this point in time, pretentious enough to pull off Spiegel im Spiegel. This is not a statement on the song: it is a lovely, sparse, and unpretentious piece of music, which is why pretentious people are drawn to it. And we are not there yet. But I believe in us.

POSTSCRIPTUM

The List of Songs that Represent “Smart Music” is not ranked by quality; they are all, as a baseline, masterpieces. They are ordered, instead, by their possession of antipodal qualities. Beethoven’s Fifth may be a beautiful piece but it’s too well-known - to the casual listener, it reads only as “classical music.” Vltava is a beautiful piece, but it’s not recognizable enough - to most, it will read only as “music.” Pachelbel’s Canon works in too many contexts. Mozart’s Lacrimosa no longer works in any context but “Shit’s About To Go Off.” The Song that Represents “Smart Music” must balance these humors: suggestive, but not too specific; recognizable, but not overfamiliar. The kind of thing one imagines cultured people listen to, and fancies oneself cultured for having noticed it. Just popular enough to signify obscurity to a large number of people.

This impossibility of being both popular and obscure is what keeps the list in motion. Many songs drift back into obscurity before reaching the top, but, once in the primary position, a song begins its slow procession to overexposure. And when, at last, it is too popular to be niche, it does not slip to number 2; it plummets to the bottom, as did Icarus.

Due to this slow but constant movement, new songs will, at intervals, join the ranks, taking the place of those that became gauche. And if, dear listener, you were aiming to trendset, to score your next whatever-it-is-you-do with the newest Song to Represent “Smart Music,” and were I a gambling man… Bach’s Prelude in C. And I’ll tell you why: it appears in the Netflix series Bodies alongside Chopin (#6), mirroring Satie’s dual appearance in The Queen’s Gambit (#9); its arpeggiated structure makes it usable in scenarios similar to the Cello Suite (#3) (Johann did love him some broken chords); and it forms the basis of the Gounod version of Ave Maria, if you would like a Cool Person’s Alternative to Schubert (#2). You may feel I’m playing too safe, but I tell you truly: this song is due. But if I can impart one piece of wisdom let it be this: whatever you do, whoever you are, you cannot use Fur Elise. You cannot. You can’t do it. It can’t be allowed. Don’t fu-

#video essay #Youtube

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