#like i was specifically talking about how people have a sort of... well this is gonna sound mean but a very one dimensional -

[sgtpeppers]

Okay so the quick version of this is: saw Two Of Us today, adored it even more than I adore the film, the choice to keep them in John's building worked really well to further highlight the mental health message the director talks about in his little note in the programme, the rooftop scene is somehow even more intimate and lovely in this version and the ending is even more painful! I'm gonna write down more under the cut about it all:

Playlist: The playlist before the show/during the interval is everything you would want it to be and it includes Monkberry Moon Delight which I feel like I never hear in public! 

The overall experience was also just super wholesome, one thing I always love about Beatles events is the range of people there it just makes you feel like your part of such a special thing, so shout out to all the old women talking about Paul near me, the middle aged men in their Beatles shirts, and the girl behind me who was sooo excited to be there and I hope she got to meet the cast after like she wanted to! ALSO the Beatles drinks are so funny, idk why Ringo’s is just earl grey tea 😭

Performances: OKAY let’s get into it. So one of my only real complaints about the film is that although I think overall Jared Harris and Aiden Quinn do an amazing job but I do find the quality a little inconsistent (especially the accents) but Richard Short and Barry Sloane are soooo so good, the accents, the little verbal quirks (which also, kudos to the writer as well) and the physicalities are jarringly good at points, especially Barry Sloane’s John. I also feel like a lot of Get Back was watched in preparation because there were so many little things, like the way John plays with his hair that just took me right back to that. Sometimes with fictional Beatles things I’m constantly thinking about how you’re watching two people try to portray these real people, but I definitely found that they were convincing enough that I wasn’t thinking about it too much. 

Outfits: I did find it kinda weird they went for the Get Back looks rather than how they looked in 76, I feel robbed of the New York City vest tbh but they did look great 

Changes from the film: basically they cut out them going for the walk to the park and to Luigi’s and instead John sets up the table for them like they’re in a restaurant in his kitchen. I think it works really well because they play into John not wanting to leave the building, which just adds into that whole mental health thing, and I think it actually makes the rooftop scene more poignant when they get there, because it feels more like Paul has broken through a bit and coaxed him outside, even if it’s baby steps. Anyway, they still have all the same conversations really the script is just chopped up a bit. 

One interesting thing is that the conversation that happens with the fan in Luigi’s still happens, but John sort of pesters Paul about whether he really thinks silly love songs should be number one, and it’s a nice extra layer to Paul’s insecurity which I enjoyed 

Mental health conversations: I think going into it knowing that the director wanted to make this because of the mental health themes, specifically men’s mental health and how having someone to reach out to is so important, is really interesting. They definitely amped up John’s anxiety from the film, his fidgeting and little moments to himself where he’s trying to get himself together were just so palpable, and Paul talking about his depression after the Beatles broke up was even more raw and upsetting seeing it in front of you. My absolute favourite line in the film is ‘I’m thirty-five years old and I still feel like I’ve done something wrong’ and god, my heart just broke seeing it on stage, I think that’s such a common feeling, just that sense that you’re in trouble for something but you’re not really sure what? Anyway, I just loved Sloane’s delivery of it. 

The Kiss: Okay, look I actually don’t care that much about the kiss in the film, I’m glad it’s in there as a little nod to John’s queerness but it really isn’t anything imo, but I liked it a lot more in this! For one thing rather than coming after a little play fight (which is still cute, don’t get me wrong) they do one of their silly dances where they’re spinning each other round etc, so the scene already feels more tender, and then John just kinda grabs him and it goes on a little longer than in the film. I still think it’s far from one of the most intimate moments in the show, but I do think they made it into something more here. 

Rooftop scene: It’s just. It’s everything. They sit right at the front of the stage, facing each other, cross legged and Paul gives him the whole ‘I see a beautiful baby boy speech’ and it’s PERFECT, this was the moment I was most worried about them screwing up and it was perfectly delivered and they have this lovely big hug after it and it made my heart ache in the best way. And idk, if seeing some guy dressed up as Paul McCartney saying that we should focus on fun and get out our own heads and how we don’t have to stay stuck as the kids who were just scared and trying to survive, doesn’t do something for you, then we’re just very different people. 

SNL scene: okay it’s pretty much the same but the way John is sleeping on Paul was everything, it wasn’t just a head on the shoulder he was fully laying back against Paul!! 

The ending: this is just so brutal because Paul doesn’t leave the flat to get his guitar, he borrows one of John’s and so when Yoko calls and John starts doing the whole ‘I wish you were here, you’re the only one who stops me disappearing’ it’s literally…. In Paul’s face. And it hurts. Then at the very end they cut between John on the phone to Yoko and Paul on the phone to Linda, and so Paul says ‘I love you’ to Linda, then John says ‘I love you too’ to Yoko but it sounds like they said it to each other, and then Here Today plays. The fact most people didn’t appear to be crying baffled me quite frankly. 

Yoko: They decided to have Yoko be the one who actually invited Paul, which felt like an odd choice and didn’t really add anything for me, but there we go 

Okay I’m gonna shut up there because this is way too long and I doubt anyone’s read it but ahhhhhhhhh it was so good and you’re just all lucky I can’t text you because my friends have had much more incoherent versions of all this

[spidermasc]

Can we talk about cnc with Dom lottie because 👉🏻👈🏻

lottie is the type of person to get off soooo much on your consent. even if you're not doing cnc, she could ask if she can touch you here or there, and when you verbally respond, because she'll wait until you do that, shaky puffs of breath spill from her lips, and her pupils blow up all wide and her panties get impossibly wetter. it excites her so much when you give her permission to do things to you!!!

talking about a specific scenario with her beforehand and asking what you're okay with and if she can say XYZ during it. always, always establishing a safe word, even if it's a simple 'red.'

always been obsessed with her using the wilderness as an excuse to fuck like yes ma'am!!! has a thing for using you in the rituals she does for the community. an even bigger thing for tying you up to a tree and using you however she pleases. when she starts hearing/feeling the wilderness again, she loves to chase you into the woods :) kinda like the card pulling but no matter what card you get, you don't get a say in anything. she's gonna take you regardless. she makes the hunt so scary as well and it genuinely feels like she's gonna rip you to shreds as she yells for you to give in, to give your body up for her.

pushing your boundaries @__@ she'll stop immediately if she even feels you become slightly uncomfortable or senses any sort of uncertainty, but she loves seeing how far she can go. stripping you naked in her office space and seeing how you hide yourself as she stares, knowing how many people walk through that building and hang out right outside the windows where you're by. forcing you to show off your body for her and when you pull your hands away from your center, you're soaked. so soaked that it's dripping down your thighs.

"i thought you didn't want this? your pussy says otherwise." or "you can fight it all you want but i know what's best for you." alwayssss words like this that get you so dizzy and horny @__@

rough rough rough!!! if you're too slow in doing something, she's pushing you around and molding you into the perfect little doll that actually listens. taking too long to strip for her and she ends up tearing your shirt off and using her knife to cut your clothes off :3

been thinking about this a lil but a scenario you've talked about with lottie for a while involves some of the girls... having them come up and make advancements towards u despite being with lottie and coaxing you into letting them touch you. group circles in the sharing shack where you're just being friendly with nat and sitting on his lap whlie lottie talks about whatever. thank god a blanket is draped over your lap otherwise your girlfriend would see the way nat forces her fingers inside your hole, gripping your thighs to keep them open and hissing in your ear for you to stop wiggling around so make and let this happen

[tater-tot-jr]

Yapping time! Spoilers for DRDT C2E14

So the entire episode was great, but there’s one part I’d like to talk about most. David’s monologue towards the end. Specifically the second half, where he gets away from his logical stuff and into the more interpersonal stuff. I’ll break it down line by line.

“All I want is for Teruko to distrust others.”

Okay we are starting off interesting. Now, due to David’s nature we can’t trust him to be honest. We cannot take this as explicit confirmation of any sort of goal. With that said, his goal appears to be fucking up the class trial in some manner. We don’t know his motive, but that goal seems consistent enough to work with. So let’s work with it. Teruko is literally one half of this classes helpful trial participants. Her and Charles are the entire brain of this class. Charles can be killed, he has a glaring flaw in a debilitating fear of blood, he’s easy enough to deal with when the time comes. Teruko is stupidly resilient. To everything. The one thing she obviously struggles with is her trust issues/paranoia. If you’re looking to get under her skin that’s where you gotta go. Saying this is a clear demonstration he intends to poke at Teruko emotionally, which is an interesting thing to admit out loud. If I had to guess, it’s because he’s trying to kill two birds with one stone and make the class start to distrust Teruko as well.

“That’s why I’m doing this, telling such obvious lies.”

This is him saying he’s lying about seeing the body, I think. He’s doubling down on inciting paranoia, in both Teruko and the class. It’s interesting he would say this out loud. He’s hyper focused on fucking with Teruko and it shows. If you take out the brain, the body goes as well. It’s certainly a strategy of all time.

“There is no other proof of Eden’s innocence.”

As far as we know, this is a true statement right now. Unless I’m unaware of something that was the biggest piece of evidence meant to clear her name, and he brought it into question.

“As long as there’s a possibility that the evidence is false, as long as there’s even the slightest reason to distrust others, then Teruko cannot trust Eden.”

Oof, he’s got her dead to rights. I don’t think there’s a good faith argument for him being wrong. It’s cool to see how much he understands the cast. It’s an interesting way to show how Teruko’s thoughts process works without betraying her guarded nature. Having a character so ready to pick at her weakness is a good writing choice, and I hope they keep David around for a time. Teruko is the least trusting character I’ve ever seen in any fangan game, granted I haven’t played them all but still. There’s a chance the story doesn’t have any sort of lesson, and we’re just gonna watch Teruko suffer. The idea that she can’t bring herself to trust if there’s even a 0.001% chance of something being false is such a good character flaw. She’s clearly terrified of risk, and she doesn’t know how to get rid of her paranoia, even though I think she wants to.

“Isn’t that right, Teruko?”

Ohohoho you smug piece of shit. You fucking dick. This is more proof he’s not just saying these things in an objective way. He’s just trying to hurt her, as far as we can assume.

“…”

Yeah she’s fucking rocked. Teruko really doesn’t take things lying down. Befitting of her backstory, she’s the type to struggle and fight back against anything she can. But here she has nothing to say. David has read her for filth and they both know it. Now that I think about it, this probably also plays on her fear of being vulnerable. What could possibly be more vulnerable than someone telling you your own exact thought process?

“It’s in your nature to distrust people.”

This is a more interesting statement than it appears at first glance. Specifically because he says it’s in her nature. To him, this isn’t a choice she’s making because of the killing game. It’s not circumstance that has pushed her into this. No, this is who she is, and this is who she’ll always be. Which is a horribly insulting thing to say, because it’s within most humans nature to trust each other somewhat, and it’s life circumstances that push them away from collaboration. He’s saying that Teruko is so fucked in the head that she’s fundamentally different from the standard human baseline.

“Everyone you know has already betrayed you. There’s no one in this world who won’t hurt you. Even the people you love will turn their backs on you in the end. You know that well enough, don’t you?”

…Jesus Christ. He really is just the devil on her shoulder. These are her worst thoughts said out loud and back to her. Do you think she considers someone dying on her and leaving her alone a betrayal? Is that a part of this? Him saying “even the people you love” is interesting, does she really even have anyone she loves in the cast? Or does she just tolerate them. He’s making grand, sweeping statements about her life potentially before the killing game and hitting the nail on the head every time. An impressive feat of manipulation and perceptiveness.

“So distrust in others. Because that’s the only way you know how to live.”

Ow. Ouch. Owie. Not only is this a banger way to end the monologue but it’s just so telling. Teruko doesn’t even say anything in response she just waits for Charles to change to subject. Also, is he even really wrong? She tried to afford people trust and then she got stabbed and everyone else blamed her. She’s definitely swung too far the other way, but it’s not like she was good at knowing how much trust to afford people. This life is really the only way she knows how to live. How things are now, she’ll suffer any other way. It’s such juicy character writing. Damned if you do damned if you don’t. David has definitely been watching Teruko’s behavior, and quite frankly he has her figured out. He’s perceived her, and she hates it. I think we all know Teruko is lonely, she deeply wants people around her. But between being a danger to them and all her trust issues she shuts herself away. David is doing everything he can to keep her as far away from forming meaningful connections as possible. He’s clearly got some sort of plan.

—

There’s also a few things I want to talk about that I didn’t have the ability to put under a spoken line, so I’ll yap down here.

Firstly, Teruko extending some “trust” to Eden doesn’t prove David wrong. If anything, it strengthens his argument. Looking at the actual content of Teruko and Eden’s back and forth, it’s barely a scrap of trust and it’s completely conditional. Teruko basically said “because you helped me last trial I will trust you enough to investigate you second” which is still incredible progress for her, but it’s nothing close to genuine trust. This is not to diminish the progress Teruko made in that scene, but it’s nothing close to countering David’s claims.

Secondly, THAT VOICE ACTING HELLO?!?? David’s VA has always been great, but combined with DRDTdev’s wonderful writing and sprite design/choices he really brought this scene to life. He was perfectly smug and condescending. He had a voice that really portrayed that “I’m 100% right about you and you can’t do anything about it” vibe. Just a total piece of shit. 10/10 would listen again.

[bee-devilling]

Oooh, that's so cool! Been a while since I listened to Ride the Cyclone. What's the fic about? And how much angst are we talking about? I am a sucker for angsty fics sometimes, whether or not I'm in the fandom.

The fic is set in an Everyone Lives AU (well, except Karnak and Virgil I guess. They're still very dead) but it goes into some detail as to how everyone is left after the accident. It ranges from temporary disabilities like broken bones, permanent disabilities like amputated limbs, and also not accident-related permanent disabilities, because when your body is under immense stress sometimes you discover shit you didn't realise you struggled with before.

But most of what I've written has been little bits and pieces after these events, some of which include:

All of the choir members learning ASL to communicate better with Ricky (unbeknownst to him, at least for the first while). Some members were fluent already (Specifically Constance. Noel would also sort of be in this category, but the second anyone tries to fingerspell something longer than 3 letters, he gives up.), some knew bits of it, like "please", "thank you", "yes" and "no", etc. and some were complete beginners. But they realised after the accident that Ricky has a lot to say, even if it wasn't verbally, and they wanted to bridge that gap. The first thing Ocean's signs to Ricky is a genuine, heartfelt apology for the way she's treated him.

Everyone is just A Little Off after the accident. Nothing big, no major health risks or nothing, and also I haven't quite decided what's happening to who. But one of them is just incredibly twitchy, and it's entirely uncontrollable. Another has levels of brain fog that is really starting to affect their studies. Another has heart palpitations, which took several incidents for them to realise they're not dying, this is just a thing that happens to them now. Not entirely the "came back wrong" trope, they're all basically the same people, but their bodies just didn't quite catch up to being reanimated.

Talia passing away. I feel a little horrible writing it, but I wanted to give her character a bit more respect than what most of the fandom gives her (which is just removing her in the quickest way possible to make room for Nischa) and I feel like letting Mischa grieve is a kinder way to remove her from the story. Also I haven't written the actual chapter in which this occurs yet, but I've written the 3 page letter (could be more, it's not 100% done) Talia sends Mischa to apologise for not telling him about her illness sooner.

Ocean dealing with hEDS after the accident (cos we love giving characters similar disabilities to me), because why not have her learn to stop spreading herself too thin by making a physical barrier in her way to stop her from pushing herself.

Mother-son bonding between Noel and his mom. Because yes, this is the woman who told her son to "dial it back" on his queerness but at the end of the day, it's 2009 in the middle of Bumfuck Nowhere, and I just feel that she wants her son to be safe above all else. Parents go about things the wrong way, but it doesn't make them inherently evil or abusive. Give her some understanding, some empathy.

Some of them just being a little queer. Or a lot queer. Noel fucking around with his gender expression, wearing dresses and makeup (though maybe not as risqué as the Monique Gibeau outfit), Ricky and Penny using each other to test out new pronouns, also I read a fic (I'll tag the writer if I can find it again) where Penny/Jane uses the name PJ and I wanna steal that idea so bad, I love it. Ocean cutting her hair short and wearing the "boys'" St. Cassian uniform (Butch Ocean is not a want, it's a need)

Anyway this is all I can remember right now, I'm sure there's more I could add. Thanks for the ask :D

[mrs-stans]

Sebastian Stan Talks Career Interests And His ‘A Different Man’ Film

By Jeff Conway

Sure, you likely know him for his many Marvel film appearances as Bucky Barnes, but actor Sebastian Stan has often taken “the road less traveled” when it comes to his career, having built quite the unique repertoire of memorable performances in far less conventional films.

That observation has arguably never been more visible than with his involvement in the new A24 film, A Different Man. Written & directed by Aaron Schimberg and co-starring Adam Pearson and Renate Reinsve, it tells the story of Edward (Stan), an aspiring actor who undergoes a breakthrough medical procedure to transform his facial appearance, but soon regrets his decision when he becomes obsessed with reclaiming what he has lost.

I sat down with Stan, Pearson and Schimberg to uncover the origin and the creative thought process that went into this new project, which is now playing in select theaters in New York and Los Angeles - nationwide come October 4. For filmmaker Schimberg, this purposefully uncomfortable narrative and the overall project hits rather close to home.

Schimberg said, “I mean, for me, it’s sort of a personal story. I have cleft palate and it’s just sort of me thinking about how it’s affected me in my life and others’ perception of me and my perception about myself. My previous film [Chained for Life] also dealt with the subject in some ways, so that’s sort of what I am always thinking about when I am starting to write a film. I was also thinking about Adam because I had worked with him previously and he played a shy character in Chained for Life, my last film, and he’s not shy at all - and yet, people I think sort of thought that he was playing himself in my movie because they sort of assumed that he must be shy. So, I was inspired to write something that was closer to who he is - taken to a comical extreme, maybe, and I wanted him to show off his range, but I also just wanted to work with him again, so these were some of the starting points.”

Pearson, a British actor with neurofibromatosis, which is a rare genetic disorder that typically causes benign tumors of the nerves and growths in other parts of the body, went on to share what it was about A Different Man and his Oswald character that most intrigued him to want to make this his next film.

“Well, I enjoyed working with Aaron the first time, so when he said, ‘Would you consider working with me again?’ Straight away, I was like, Ding Ding! Round two - let’s rock and roll. Then the script - all the words have weight. There’s very little wasted motion in the script. The end result of the film is quite challenging and holds up a mirror to an audience. I’ve never been a fan of hand-holding or sugar-coating. I think audiences can be a lot smarter than we often give them credit for. A good film will change what you think for a couple of days, but a great film will change how you think for the rest of your life. We’re certainly trying, at least, to be in the great film business.”

With Stan not only acting in A Different Man but also an executive producer, I wondered how he has perhaps noticed his interests and priorities towards the stories that matter most to him as a professional and human being evolving as time goes on.

Stan said, “Well, you get a little older and the questions get a little scarier. A few years ago, I just decided to kind of just be a little bit more aggressive about finding specific work that was interesting and different and kind of challenging for me than what I was getting to do. Eventually, you find yourself in conversations that are in the development of certain things and that might lead to a producing kind of aspect. I think in this [A Different Man] situation, I was involved before A24 came on, which never really happens for me. Not only because of obviously how I felt about the story and so on, I felt really brought in by Aaron and [producer] Vanessa [McDonnell] into their journey with this film and like what they were wanting to do. So, I felt a much bigger attachment than I usually do as an actor in a way.”

When it came time to film A Different Man, Stan recalls the production not having much time, which he actually found to be helpful within his producer role “because when you’re involved in some capacity beyond acting, sometimes you can kind of go, Hey, let’s continue shooting or something. You can help add more to the making of it in some capacity and that was big for us, given our time - that we didn’t have a lot of time.”

In fact, during one particular scene in the film, Stan remembers while everybody else was wrapping up the production trucks for the night, he decided to head out on the streets of New York City with his A Different Man director of photography Wyatt Garfield and Schimberg to grab additional footage. “I just kind of took one of his other little cameras and then we started going up and down Columbus Avenue. It was Friday night and we just got all these shots. Maybe you don’t always get to do that, so that was helpful.”

As I began to conclude my conversation with these three gentlemen, I wondered what Pearson and Stan would say to their A Different Man characters, Oswald and Edward, after seeing their stories play out on-screen and understanding their wants out of life.

Pearson said, “I’d be like to Oswald, Maybe turn it down a little bit. Be nicer to [Stan’s character Edward] because he might not say it, but he loves you and he needs you right now.”

As for the message Stan would tell Edward, he said, “Listen to me! I’m here - I’m telling you. I don’t know how I feel about this. Just hear me out.”

He then added: “It’s very interesting because we all have these moments in life, big or small, where you make a decision or you even say something because you’re with other people or you’re supposed to say something the right way, but you know your reaction in the moment or the decision you’re making is not what your gut is like really telling you. Then, you feel kind of like you’ve abandoned yourself, but then you just quickly deny that - that can kind of like spiral down. We’ve all kind of not owned certain things in the moment and that’s sort of what happens. He kind of drowns out that voice.”

[moonkhao]

hi.

[waywardstation]

WIP FRIDAY

I apologize for getting this out two days late, I’ve been busy with lots of packing and events! But I have a little reprieve, so I wanted to post another WIP; this one is from Heart Full, Bowl Empty.

BE AWARE THAT THIS SEGMENT INVOLVES A CONVERSATION REVOLVING AROUND UNWILLING BUT INTENTIONAL STARVATION. I know there are people who say they can’t read this fic because of themes like this, so be aware of this before reading this WIP!!

I included this snippet in today’s WIP because I have like three versions of the entire segment this snippet is from. I feel like it’s a really important segment with a really important conversation, and I’ve had a hard time balancing all the emotions the way I want to between Ingo and Akari, with frustration, sadness, anger, and empathy, to realistically get them to the resolution I want at the end of it.

The final version will probably only include a few parts from this particular segment.

Enjoy!!

—————

“I knew it! You’re doing it again!” Akari’s eyebrows scrunched, trying to understand through the frustration. “You said you wouldn’t!”

“Circumstances will improve soon.” Clearly done with the conversation, that was all Ingo said, but it was confession enough that he had fallen back on his word. Shame contaminated his voice, but if there was any regret, he hid it well.

“No, it won’t!” They were not even half-way through winter yet. “And you know it won’t!”

Ingo said nothing as the kits carefully moved around his slumped form, finding comfortable places to settle around him. She didn’t know if he intended to snuff the conversation out with angered silence, or if he was just too exhausted to care about arguing with her anymore. If it wasn’t for his small occasional signs of movement or acknowledgement, she’d think he was actually sleeping.

Akari carefully stepped into the nesting layers, moving to sit down next to Ingo. She settled with her back against the cavern wall, pulling her knees close as a few kits shuffled around to accommodate her. “You know I’m right.”

Huffing out an irritated sigh and nothing more, it didn’t seem like Ingo had any intentions to engage with her argument anymore.

“You couldn’t even pull yourself up over the ridge,” She prodded at him again, trying to motivate more conversation out of him. “I had to help you!”

“There are many, many factors that go into that.” A reluctant answer, perhaps a reflexive attempt to quell her worry; Ingo feebly rubbed his wrapped hand, almost as a display for his excuse.

“I’ve seen you do more when you’ve been hurt worse.” Akari retorted, a little softer now but still cold.

Ingo’s eyes remained closed, though his hardened expression implied that it came across as more accusatory than she’d intended. But perhaps it was precisely the time to be accusatory.

“Ingo, you’re so tired all the time now – you stopped coming to the training grounds because you just can’t make the trips all the time anymore! And you’re sleeping so much more than you used to, and it’s like you’re always hungry all the time, even though all I see you doing anymore is gathering food!” Akari’s voice grew more jagged as she continued to jab at him, entirely uninterrupted.

It was getting difficult. With Ingo’s tunic still sopping by the bucket, still somewhat red from the exhausted effort of washing out the blood, it could not hide the ribs that pressed out just a little bit more, or help fill out what the waistline had lost under the loosening belt. The abject dread of directly acknowledging that was too much.

“And- and look! You aren’t even willing to hold a conversation with me anymore, and I don’t know if it’s because you just won’t, or because you can’t!” The kits shifted uncomfortably as Akari retreated back into her own frustration instead. “People think you’re sick, Ingo! They’re asking me about you! What are you doing?”

The exhausted man remained where he laid in the nesting material, only moving his hands to rub at his face and sigh — a deep, forced sigh that swelled his side before releasing. Akari almost didn’t think he’d answer her, but with some effort, he propped himself up first onto his elbows, then slumped forward. The teen watched him run shaky fingers through his hair as he sat next to her.

“…I don’t know what I should do.” The guilt. The weary guilt cracked his voice and tore Akari’s anger down to heartache.

[liquidstar]

a friend who'd wait :)

[moe-broey]

No context but I got So distracted. I did not set out to do All That today. I don't even know where the fuck I am anymore. It was all an impulse decision and I didn't even write down the second distraction because it was So Strong. In my mind. But then a second distraction hit my two braincells. I have no idea whwre I am anymore. I was just gonna whip up a shitpost doodle and then go back to my main project. I never even got to the shitpost doodle. 🧍

[fvckw4d]

The concept of queerbaiting annoys me. I was told that it refers to a work of fiction pretending to cater to a queer audience but then pulling back from it to avoid alienating homophobes, which is an incredibly specific thing. But a lot of people seem to think that it instead means "any time there's any gay subtex, metaphor, or ambiguity" or "whenever something from 1995-2012 was being a normal amount of homophobic for the era."

[terriblelizbians]

whenever im really really stressed and too scared to open my computer bc there’s deadlines in there, and then i finally peek at my email and there’s something saying the deadline has been pushed back. oh it does something bad to my brain. but good to my heart...

[britneyshakespeare]

There's no reason not to tip at a restaurant in the United States of America unless you are either A) a confused foreigner who has no idea that if you don't tip, your waitstaff WON'T GET PAID FOR THEIR WORK or B) a selfish asshole.

If you can afford the luxury of going out to eat, your budget for that expense best include a tip. If you don't wanna pay a tip, go get fast food. Buy food at a convenience store. Cook for yourself. Whatever. Loads of other options that are more cost-efficient for consumers than going out to eat anyway. If you are demanding food that is SERVED to you hot then you best be prepared to PAY FOR THE SERVICE YOU ARE DEMANDING.

The tipping system is fucked up in the way that workers' income relies on the politeness and generosity of random members of the public, and that it's completely legal for them to be stiffed out of their regular earnings by cheap assholes. I wish I didn't have to personally do my part in making sure my waiter can make rent at the end of the month. I wish they just got compensated regularly for their work like any other job! But they don't, and everybody knows that, and I still sometimes go out to restaurants and order food, so while that is a reality and I am contributing to that system I will make sure to compensate the servers for their work as I am reasonably expected to do.

IF YOU ENCOUNTER A WORKER WHO DEPENDS ON TIPS FOR THEIR REGULAR EARNINGS, THEN FUCKING TIP THEM SO THEY CAN AFFORD TO LIVE

[snekdood]

why do ppl call shark3ozero a debate bro when like. I hardly ever see him actually debate anyone..? usually he’s just talking about current events?? is talking to vaush like twice really enough for ppls black and white thinking to be triggered about ppl????

[floralovebot]

I think Riven was poor in the show... I think Riven hated Sky for being a prince too. They're fighting was because of that too. Are you saying that Riven did not hate Sky because he is a prince? Riven said a lot that he did not like Sky because he is rich and rich people are unfair. Please share your thoughts for me.

I'm pretty sure this is in response to this post? But let me know if not!

Anyway, Riven coming from a poor or even "middle class" background isn't canon, it's just a really good headcanon. I say it's a headcanon because when it comes up, it's always a vague implication that could also be about something else. Like his mother abandoning him could definitely have led to him growing up poor, but it's also not an exact confirmation. His mother leaving for money could mean they were poor, but it could also mean she just wanted More Money. Darcy saying he has "a darkness inside him" is likely about mental illness and trauma rather than him being poor and taking it out on the others (also anyone who uses this as an example just know i am beam blasting your house so hard). Riven calling out nepotism and classism could definitely be more personal but it could also be an example of his very high morality and moral judgment. (like riven is extremely intelligent and stands up for people in less fortunate situations a lot.)

Like,,, it's never directly stated that he's poor and the implications that people usually see could very easily be about something else. Kind of like the headcanon that Helia grew up at RF or comes from a military family; lots of good implications, but not canon. Or s1 implying that Flora could be a lesbian or wlw; lots of implications, but not canon. On the flip side, there are tons of things about Riven that are directly stated or directly implied (like his trust issues, issues with administration, his mental health issues, and even his mother leaving him). But Riven coming from a specifically poor background is something that's more often than not just an implication that could be implying something else. I'm not saying that implication isn't there at all, but it can definitely be read in other ways (for example, I've seen people headcanon that Riven comes from a noble family and hates classism because he's seen it up close). But regardless, Riven being poor is just an implication because it's not stated or shown in canon.

Also, I should note that my post wasn't about shitting on this headcanon. I like the idea that Riven comes from a poor background. It makes sense within canon, I do think it's implied (even some of the weaker implications are still fun to me), and I often use it in other headcanons and aus. But again, it's not Canon and his rivalry with Sky and the other specialists had a lot of components that aren't related to classism. My post was specifically about how the Sky vs Riven rivalry wasn't just about classism. Riven absolutely does not like royalty or the idea of different classes in general. However, his rivalry with Sky was never just about Sky being a prince.

Riven calls Sky out for having advantages over them, yes. Riven calls out the other characters for not knowing something, for being privileged, for nepotism, etc, yes. But his dislike of Sky specifically didn't stem from classism. Like I said in that post, classism was absolutely a factor but it wasn't the Biggest Factor.

Riven had a lot of internal issues in s1 and all of them played a factor in his rivalry with Sky. Sky being a prince was the icing on top. It really cemented everything that Riven thought of Sky before, but it was never the First Reason, the Big Reason, or the Only Reason. Riven didn't like the specialists because they were constantly undermining him, constantly insulting him (sometimes in a direct insulting way and sometimes in a "playful/joking" way), always assuming the worst of him, and never taking his side in literally anything. He also has extreme trust issues, felt like he would be better off alone, and used everything they said and did as a confirmation of why. Like s1 Riven had a really bad case of confirmation bias and was constantly looking for reasons to hate them (Sky being a prince was One of those reasons).

Like I said in that post, the Riven vs Sky rivalry had a lot of depth and both parties played into it. In canon, it was never just Poor Boy Hate Rich Boy. Sky being a prince and therefore having a lot of privilege was absolutely a factor in Riven's dislike of him, but it was never the only thing or the biggest reason. If Sky hadn't been the prince, Riven still would've hated him. Like,, that's important! Riven didn't hate Sky Just because he's a prince. He didn't trust Sky, hated that Sky looked down on him (regardless of their class standing), and hated that Sky "saw better in him". He hated that they were both extremely stubborn, irrational pricks who took it out on each other. He hated that Sky clearly didn't like, trust, or respect him.

And again, I really do think his relationships with the other royal and/or rich characters back this up. If Riven hated Sky simply for being a prince, that energy would've been directed toward Brandon first and it would also be directed toward Bloom, Stella, and Aisha. But it isn't. In fact, Riven often shows that he respects and likes Aisha! Even when he does call the other royal/rich characters out, it's never with animosity. It's usually in this, "yeah you're rich and dumb and privileged here I'll show you how it's done 🙄" kind of way. With Sky, it's more "i hate you i hate you i hate you i hate myself fuck off i hate you AND you're a prince god could you get any worse???". Yknow?

[mx-paint]

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[evilminji]

Ooooh~ Drink mix up? >.>

Because! Wes DID, in fact, get that dream job. HAS learned... after many, many hours of "beat about the head and shoulders with an ethics pamphlet by his great aunt", to keep his mouth shut! Family curse of Sight? WHAT family curse?

He doesn't see shit! Mind your business.

What're you? A cop?

Look, he sent Fenton a gift basket. He was a shitty, shitty "I have to be RIGHT and nothing else matters!" Stubborn lil asshole of a kid. He got better. Grew up. No one is there best Self during puberty. He DOES, in fact, regret it.

Which is WHY, he is deliberately ignoring Kent's terrible, awful, paper-thin, "who meee~?" Aw shucks BULLSHIT excuse of a disguise, like it isn't blatantly obvious he's Superman. Yep. Nothing to see here! Nothing but us chickens! Mmmmm, morning coffee! Delicious.

But see, here's the THING.

The Itty, bitty, teeny lil PROBLEM...

Wes grew up in Amity "Totally Not Supernatural Hotspot For Centuries" Park. He is... to put it mildly, genetically? A freak. His biology is ALL fucked up. Everyone's is. And it WAS NOT made better by the Fenton's playing fast and loose with their hell basement. The Ectoplasmic NUKE that was that portal.

There is a REASON his morning coffee? Is COVERED. Contained. Fenton brand, LEAD LINED, specialty cups. The sort that can't be EATEN from the inside out. Eroded after a few uses. They're ugly as sin, but they work. He even ordered a few covers from Star's etsy shop. (Apparently he wasn't the only one who hated how ugly they looked. Good for her though, he heard it was doing well.)

He SAYS this? 'Cause his morning brew is less... straight COFFEE... and more... how to put this? A blend? Brew? Potion, really. Like an energy drink. From hell. Or, partially at least, the Zone. It's the combination of roots, seeds, and a few dried berries. Kinda like a tea, actually!

Tasty. Adds this nice fruity, warmth. A zing. Goes GREAT with the coffee. And it really perks you up... if you are Limnal. If you AREN'T? It'll desolve your esophagus like swallowing straight acid. And that's not TOUCHING the... witch-y, more Seer specific bit of the blend.

That stuff is medicinal. You know, "calm the mind" and "mental clarity". That sorta thing. With a good ol helping of "don't blurt out everyone's secrets, you spacey bitch! For the love of God, those are our INSIDE THOUGHTS!". Which? Really helpful! Infinitely less likely to get decked. It's a family staple.

Poisonous, though.

They're fine cause they've basically developed an immunity to that part, but like? Wouldn't recommend. It's why he NEVER shares his drinks. Food? On occasion. If he PLANS it and knows not to add and interesting spices. But DRINKS? Never. Weston family brews are basically NEVER safe.

Which? Begs the Very Important Question ™!

Who's Coffee Is This?

Cause it SURE AS FUCK AINT HIS!

You never realize quite how fast you can go from "completely calm and kinda sleepy" to "bomb strapped to my chest, primal panic AWAKE" until it happens to you. His coffee was ON HIS DESK. People have passed by. He talked to them. Cups put down and picked up. Lazy early morning. He doesn't even register, really, as his chair crashes to the ground.

He's shouting.

People confused. They don't realize yet. His head whips around, looking for that distinct cover. Before it's too late. Before someone takes that fatal sip. He spots it. Bolting from his desk. Crashing through coworkers, over desks. Chaos and outrage. "It's 'just' coffee!" They cry.

Kent turns, confused. Pretending. Raises his (HIS! Oh god!) cup to his lips, unknowing. Wes SCREAMS a warning. But he doesn't listen. "It's 'just' coffee" They never listen. Curse of Cassandra. God's damn it. This is why his family fucking CONVERTED!

He TACKLES the man of steel.

RIPS his cup away from him, knows his eyes are frantic. How much have you had?! Spit it out! Wes voice ECHOES in the sudden silence. I'm a META, Kent! It could KILL YOU!

And oh, Oh NOW they get it. Or perhaps it is the burn in his mouth that finally registers. He rolls, spits oil slick nebulae that eat away the floor. There is blood mixed within it. It took mere moments. Superman stares, transfixed and horrified, as Wes shakes. He... he should probably get off of him.

He'll move in a moment.

When his legs no longer feel weak from terror.

The news room is in chaos. Lane kneeling by her husband, Perry trying to do damage control. He... he's probably gonna lose his job, isn't he? Wes wants to cry. Protection laws only go so far, after all. And warning his boss about his dietary needs means jack shit, after an incident like this. Beloved as Kent is. Not that anyone likely believed him.

They never do.

And now he's nearly killed Superman.

@hypewinter @hdgnj @legitimatesatanspawn @nerdpoe @lolottes @babbling-babull @mutable-manifestation @dcxdpdabbles