#political systems model

[gravitascivics]

FROM NATURAL RIGHTS TO CRITICAL THEORY

This blog has presented, explained, and evaluated the natural rights construct – what some might call the classical liberal perspective.  It, the blog, claimed that this perspective is the dominant view among the American public in terms of governance and politics. Also, to a great degree, it assists those citizens in defining, understanding, and passing judgment over their expectations regarding their civic selves, that of other citizens, and of the government.

         As such, this foundational construct goes to provide the manner in which the nation’s civics instruction is developed and shared in American classrooms.  In this presentation, the blog focused on various elements of this view, particularly its moral element.  Also, a good deal of effort was made to describe how the view affects the quality of interaction between students and teachers, including how it influences policy and practice regarding discipline.

         The moral element was presented to highlight the way natural rights argues for individual free choice and behavior – only limited by the rights of others to the same standing – and that any counter condition to this liberality constitutes subjugation.  As for its link to academic input, the view was described as having a theoretical attachment to the political systems approach in the study of politics.  In that, the blog specifically highlighted the models presented by David Easton[1] and Gabriel Almond and G. Bingham Powell, Jr.[2]

         These models were reviewed in relation to Eugene Meehan’s criteria[3] for viable and reliable constructs.  The Meehan-style review led naturally to a critique which emphasized the perspective’s excessive promotion of individualism and the detrimental effects such an emphasis has caused in the teaching of government and civics.

         And as with any view, any construct, any dominant perspective, there will be those among the populace who will not agree.  In true dialectic tradition, the natural rights view is not immune to such challenges. This blog favors one such opposing view, that being federation theory.  But in truth, currently, the most prominent view picking up the challenge is critical theory, and this blog will next turn its attention to this other view.  

It is a view with an interesting history and has spread its appeal among academics in certain socially related fields – sociology, political science, education, etc. Unlike natural rights, with a relatively simple basic set of ideas, critical theory has a varied foundation. Some of its basic concerns are exploitation, injustice (as it defines justice), and an imbalance the way power is distributed in society.  Many advocates disagree with themselves in a variety of claims and positions, but all share, to some level, an adherence to Marxian principles.

A recent development that reflects the strength of this view is how the Democratic Party seems to be divided between a moderate wing – noncritical theory partisans – and the progressive wing – the critical theory contingency.  One way to measure how “critical” a particular politician is, is how apt that policymaker is to favor a governmental interposition – including ownership – to meet some human problem area such as the environment, the economy, health, etc.

As with the constructs already reviewed in this blog – that being the parochial federalist view and the natural rights view – this account of critical theory will set out to provide responses to this blog’s list of research questions.  To remind readers, the overall concern is:  does critical theory as a view of governance and politics provide a legitimate and viable way to study government and politics at the secondary level, i.e., in middle schools and in high schools?  There, the targeted courses would be civics and American government, respectively.

With this overarching concern, the review employs subsidiary questions. They are directed by the dialectic stance projected by the dominant view, natural rights, and by this challenging view, the fairly leftist stance which constitutes the critical theory.  These views are in many ways not only at odds with each other, but place in opposition the role schools should play in American society.  Within this context, further questioning is:

 1.    What role has the history of critical theory played in the development of civics curriculum?

2.    What consequences have resulted from the efforts of critical theorists in the teaching of civics?

3.    Ideally, if critical theorists were to “get their way,” how would American social arrangements be affected?

4.    And how would those desired social arrangements – per the percepts of the construct – be achieved?  

 If critical theory were to attain the nation’s support, how would Americans proceed as the future unfolds, at least as the advocates of this view, view it?

         Utilizing a developmental arrangement of competing notions as to how the opposing perspectives foresee the effects of their claims and policy proposals, hopefully readers will be able to compare how this antithesis compares with the thesis, i.e., how critical theory compares to natural rights.  

This will be at times be overshadowed by this blog’s effort to inform readers about how critical theory came about – through relating some of its history.  But guiding the effort will be the commonplaces of curriculum developed by William Schubert[4] and include the subject matter, teachers, learners, and milieu.  In turn, the commonplaces serve to organize a good deal of what will follow.

[1] David Easton, The Political System (New York, NY:  Alfred A. Knopf, 1953) AND David Easton, A System Analysis of Political Life (New York, NY:  John Wiley and Sons, Inc., 1965).

[2] Gabriel Almond and G. Bingham Powell, Jr., Comparative Politics: A Developmental Approach (Boston: Little, Brown. 1966). 

[3] Eugene J. Meehan, Contemporary Political Thought:  A Critical Study (Homewood, IL:  Dorsey Press, 1967).

[4] William H. Schubert, Curriculum:  Perspective, Paradigm, and Possibility (New York, NY:  MacMillan Publishing Company, 1986).  The commonplaces can be defined as follows:

·       The subject matter refers to the academic content presented in the curriculum.  

·       The teacher is the professional instructor authorized to present and supervise curricular activities within the classroom setting.  

·       Learners are defined as those individuals attending school for the purpose of acquiring the education entailed with a particular curriculum.

·       Milieu refers to the general cultural setting and ambiance within the varied social settings found at the school site.

[pro-prin-prinny]

You can actually figure out if someone is American if they think an economic model and a political system are the same thing.

[dduane]

Sorry, the original EuroNews link seems to have gone away. Here's a CNN one instead.

...The EU AI Act outlaws social scoring systems powered by AI and any biometric-based tools used to guess a person’s race, political leanings or sexual orientation. It bans the use of AI to interpret the emotions of people in schools and workplaces, as well as some types of automated profiling intended to predict a person’s likelihood of committing future crimes. Meanwhile, the law outlines a separate category of “high-risk” uses of AI, particularly for education, hiring and access to government services, and imposes a separate set of transparency and other obligations on them. Companies such as OpenAI that produce powerful, complex and widely used AI models will also be subject to new disclosure requirements under the law. It also requires all AI-generated deepfakes to be clearly labeled, targeting concerns about manipulated media that could lead to disinformation and election meddling.

[somehowmags]

i’ve seen a lot of posts talking about nimona’s queer messages which is great! but ive not seen as many posts talking analyzing how both ballister and ambrosius were changed to be asian, which is a shame because i genuinely think its one of the most important parts of the film! a huge part of it is a deconstruction of the model minority myth and respectability politics, both of which are big issues in the asian american community. both of them represent each side of the spectrum, with ambrosius expected to be superhuman with very little support and ballister being seen as less than human, no matter how hard he tries- a monster.

ambrosius (who is now east asian, like his voice actor eugene lee yang, who is korean with chinese and japanese ancestry), despite being in a seemingly powerful position as head of the knights and a descendant of gloreth, he isn’t really given the kind of support that this position needs- he’s constantly undermined and belittled by todd, the face of the other knights, and when asked about his emotional state by the director, represses his emotions rather than talk to her about his true feelings. this is very similar to how asian american students in schools aren’t given the support they need academically by teachers and administration, as the model minority myth leads to them being perceived as more intelligent and competent than their fellow students and therefore not needing support. he’s also held to a higher standard than any of the other knights, being immediately placed into a position of power despite just being knighted, again a reflection of the model minority myth, since asian americans are held to higher standards unfairly. despite being technically better off than ballister, he has no support, no friends, no way to seek help for his problems, and, just like ballister, is immediately thrown away the moment the director thinks he’s served his use.

ballister is now pakistani, like his voice actor riz ahmed (no, not like pedro pascal. where did this come from lol), and i’d go as far as to say that he is also, if not explicitly muslim, heavily muslim coded as well. he’s framed as a terrorist by the white, christian institution, and from then on, it doesn’t matter how good he tries to be- everyone else sees him as a monster. he’s also from a lower socioeconomic class than ambrosius and the rest of the knights- while this is initially used to frame him as a success story, after he’s framed, it’s used to cast suspicion on him. almost immediately he’s othered, with posters casting him as a foreign invader sent to destabilize the city, much in the same way that muslim immigrants are seen in real life. even when he tries to be peaceful and good, it’s always twisted so that he’s the monster of the story. while ambrosius is held to too high of a standard, ballister will never be enough for the institution to accept.

which is why both of their arcs culminate in them breaking out of the system, learning to accept what they’d been taught was monstrous, and leaving behind respectability. it’s a genuinely great commentary, and i can definitely see why riz ahmed and eugene lee yang were chosen for this, as they’ve both done activist work for their communities.

[marypsue]

Look, the reason why people get pissed off when you say shit like '"mental illness" doesn't exist, it's all a product of the capitalist social structures we're forced to live under' is because we have to live inside our fucking brains, and lemme tell you, no amount of the natural world not being destroyed and me not having to work for a living is going to make me magically be able to choose what I want to do and just do it without any pre-planning or effort, and I'm pretty sure it's not going to magically make anyone no longer experience paranoia or delusions, or make the sucking existential despair that needs no actual justification for itself vanish, or or or or or.

'well but in a better political system those would be considered neutral or even positive traits/you'd be cared for by a community that -' bro I literally do not know how to tell you that you are completely disregarding the experiences of people with mental illnesses and considering them only based on how their mental illness affects the people around them, which is the exact same capitalistic model that you're blaming for 'causing' mental illnesses in the first place.

[Obligatory disclaimer because how dare you say we piss on the poor: of course there are social determinants of what gets categorised as a 'mental illness', it's not neat, it's not simple. Which is part of why it's so fucking frustrating when people go all the way in the other direction and say that it's entirely socially determined and doesn't exist inside your brain at all.]

[najia-cooks]

[ID: A decorative orange ceramic plate with a pyramid of green herbs and sesame seeds, topped with deep red sumac and more sesame seeds. End ID]

زعتر فلسطيني / Za'tar falastinia (Palestinian spice blend)

Za'tar (زَعْتَر; also transliterated "za'atar," "zaatar" and "zatar") is the name of a family of culinary herbs; it is also the name of a group of spice blends made by mixing these herbs with varying amounts of olive oil, sumac, salt, roasted sesame seeds, and other spices. Palestinian versions of za'tar often include caraway, aniseed, and roasted wheat alongside generous portions of sumac and sesame seeds. The resulting blend is bold, zesty, and aromatic, with a hint of floral sourness from the sumac, and notes of licorice and anise.

Za'tar is considered by Palestinians to have particular national, political, and personal importance, and exists as a symbol of both Israeli oppression and Palestinian home-making and resistance. Its major components, olive oil and wild thyme, are targeted by the settler state in large part due to their importance to ecology, identity, and trade in Palestine—settlers burn and raze Palestinian farmers' olive trees by the thousands each year. A 1977 Israeli law forbade the harvesting of wild herbs within its claimed borders, with violators of the law risking fines and confiscation, injury, and even death from shootings or land mines; in 2006, za'tar was further restricted, such that even its possession in the West Bank was met with confiscation and fines.

Despite the blanket ban on harvesting wild herbs (none of which are endangered), Arabs are the only ones to be charged and fined for the crime. Samir Naamnih calls the ban an attempt to "starve us out," given that foraging is a major source of food for many Palestinians, and that picking and selling herbs is often the sole form of income for impoverished families. Meanwhile, Israeli farmers have domesticated and farmed za'tar on expropriated Palestinian land, selling it (both the herb and the spice mixture) back to Palestinians, and later marketing it abroad as an "Israeli" blend; they thus profit from the ban on wild harvesting of the herb. This farming model, as well as the double standard regarding harvesting, refer back to an idea that Arabs are a primitive people unfit to own the land, because they did not cultivate or develop it as the settlers did (i.e., did not attempt to recreate a European landscape or European models of agriculture); colonizing and settling the land are cast as justified, and even righteous.

The importance of the ban on foraging goes beyond the economic. Raya Ziada, founder of an acroecology nonprofit based in Ramallah, noted in 2019 that "taking away access to [wild herbs] doesn't just debilitate our economy and compromise what we eat. It's symbolic." Za'tar serves variously as a symbol of Palestinians' connection to the land and to nature; of Israeli colonial dispossession and theft; of the Palestinian home ("It’s a sign of a Palestinian home that has za’tar in it"); and of resistance to the colonial regime, as many Palestinians have continued to forage herbs such as za'tar and akkoub in the decades since the 1977 ban. Resistance to oppression will continue as long as there is oppression.

Palestine Action has called for bail fund donations to aid in their storming, occupying, shutting down, and dismantling of factories and offices owned by Israeli arms manufacturer Elbit Systems. Also contact your representatives in the USA, UK, and Canada.

Ingredients:

Za'tar (Origanum syriacum), 250g once dried (about 4 cups packed)

250g (1 2/3 cup) sesame seeds

170g (3/4 cup) Levantine sumac berries, or ground sumac (Rhus coriaria)

100g (1/2 cup) wheat berries (optional)

2 Tbsp olive oil

1 Tbsp aniseed (optional)

1/2 Tbsp caraway seeds (optional)

Levantine wild thyme (also known as Bible hyssop, Syrian oregano, and Lebanese oregano) may be purchased dried online. You may also be able to find some dried at a halal grocery store, where it will be labelled "زعتر" (za'tar) and "thym," "thyme," or "oregano." Check to make sure that what you're buying is just the herb and not the prepared mixture, which is also called "زعتر." Also ensure that what you're buying is not a product of Israel.

If you don't have access to Levantine thyme, Greek or Turkish oregano are good substitutes.

Wheat berries are the wheat kernel that is ground to produce flour. They may be available sold as "wheat berries" at a speciality health foods store. They may be omitted, or replaced with pre-ground whole wheat flour.

Instructions:

1. Harvest wild thyme and remove the stems from the leaves. Wash the leaves in a large bowl of water and pat dry; leave in a single layer in the sun for four days or so, until brittle. Skip this step if using pre-dried herbs.

2. Crumble leaves by rubbing them between the palms of your hands until they are very fine. Pass through a sieve or flour sifter into a large bowl, re-crumbling any leaves that are too coarse to get through.

Crumbling between the hands is an older method. You may also use a blender or food processor to grind the leaves.

3. Mix the sifted thyme with a drizzle of olive oil and work it between your hands until incorporated.

4. Briefly toast sumac berries, caraway seeds, and aniseed in a dry skillet over medium heat, then grind them to a fine powder in a mortar and pestle or a spice mill.

5. Toast sesame seeds in a dry skillet over medium heat, stirring constantly, until deeply golden brown.

6. (Optional) In a dry skillet on medium-low, toast wheat berries, stirring constantly, until they are deeply golden brown. Grind to a fine powder in a spice mill. If using ground flour, toast on low, stirring constantly, until browned.

Some people in the Levant bring their wheat to a local mill to be ground after toasting, as it produces a finer and more consistent texture.

7. Mix all ingredients together and work between your hands to incorporate.

Store za'tar in an airtight jar at room temperature. Mix with olive oil and use as a dipping sauce with bread.

[opencommunion]

The Stop Cop City movement has sought to prevent the expropriation of part of the Welaunee Forest for the development of an 85-acre police mega training center: a model town to prepare the state’s repressive arms for the urban warfare that will ensue when the contradictions of their exploitation and extraction become uncontainable, as they did in 2020 after the APD murdered Rayshard Brooks.  That murder, and all those that came before, were the lodestars of the Black-led movement during the George Floyd uprisings; their demands were no less than the dismantlement of the entire carceral system. Unable to effectively manage or quell the popular street movements, the Atlanta Police Foundation set out to consolidate and expand their capabilities for surveillance, repression, imprisonment, armed violence, and forced disappearance. One result is Cop City, which has been racked by militant sabotage, land occupation, arson, and popular mobilizations, in an attempt to end the construction and return Atlanta to its people.  As the Atlanta Police Foundation was unable to contain the 2020 Black rebellion, so too have they been unable to quell the resistance against Cop City. The press reports that the project is hemorrhaging money and is mired in delays and difficulties. For their part, the city, the state, and the federal government, have in turn employed every tool in their power to destroy the movement. Last week, the Georgia State Senate passed a bill to effectively criminalize bail funds in the state; RICO charges have been contorted to target networks of support and care that surround the fighters; and last January, APD assassinated the comrade Tortuguita in cold blood while they rested in their tent in the forest. It is clear that Stop Cop City represents one of the conjunctural spear tips for expanding the existing systems of counterinsurgency that span Africa, Asia, and the Arab world.  Today the system’s belly rests atop Gaza, whose rumblings shake the earth upon which we walk. Through its Georgia International Law Enforcement Exchange (GILEE) program, the APD has sent hundreds of police to train with the Zionist occupation forces. And in October 2023, after Tufan al-Aqsa, the Atlanta Police Department engaged in hostage training inside abandoned hotels, putatively intended to “defeat Hamas,” in an advancement of tactics for the targeting of Black people. With every such expansion, the ability of counterinsurgency doctrines to counteract people’s liberation struggles grows. The purpose of counterinsurgency is to marshal state and para-state power into political, social, economic, psychological, and military warfare to overwhelm both militants and the popular cradle—the people—who support them. Its aim is to render us hopeless; to isolate and dispossess us and to break our will to resist it by any and all means necessary. This will continue apace, unless we fight to end it. Stop Cop City remains undeterred: on Friday, an APD cop car was burnt overnight in response to the police operation on February 8; yesterday, two trucks and trailers loaded with lumber were burnt to the ground. An anonymous statement claiming credit for the former, stated: “We wish to dispel any notion that people will take this latest wave of repression lying down, or that arresting alleged arsonists will deter future arsons.”  As the U.S. government and Zionist entity set their sights on the Palestinian people sheltering in Rafah, as they continue their relentless genocide of our people in Khan Younis, Jabalia, Shuja’iyya, and Gaza City, the Stop Cop City movement has clearly articulated its solidarity with the Palestinian struggle. They have done so with consistency and discipline, and we have heard them. Our vision of freedom in this life and the next requires us to confront and challenge the entangled forces of oppression in Palestine and in Turtle Island, and to identify the sites of tension upon which these systems distill their forces. This week, as with the last three years, the forest defenders have presented us one such crucible.

(11 Feb 24)

National Lawyers Guild, Stop All Cop Cities: Lessons For a National Struggle (video, 1 hr 45 min)

[gravitascivics]

CRITQUE OF THE NATURAL RIGHTS VIEW, VIII

This posting and the next one do a couple of things.  It continues the critique of the natural rights view by trying to describe an irony with that view.  It also flushes out what the last posting brought up, that being the favored natural rights answer for dealing with students who are not performing well or even their behaviors regarding disciplinary concerns.

         To remind readers, the natural rights view has a preferred approach to the study of governance and politics; that is the political systems approach originally offered by David Easton.  This approach strips from political analysis normative concerns as it objectively or scientifically goes about designing studies.

These studies have political scientists identify factors or variables so as to test them – through the measurement of behavioral responses to stimuli – and determine whether significant correlations can be detected.  If so, cause and effect relationships can be theorized as the aim is to discover explanatory causes for what reality has to offer.

Given that, the natural rights view also promotes levels of individualism, and while the above objectification of reality takes place, the view ironically favors that people have the right to do what they wish short of interfering with others to do the same.  The irony lies in that commitment toward individual agency might and does run counter to what scientific studies might discover would be most advantageous for individual actors but which they, tested individuals, might find distasteful to perform, consume, or support.  

For example, how should young individual students behave and conduct their studies in schools?  In line with that concern, do natural rights guided educators stay true to implementing what the social/psychological sciences find to be effective, or should they shop for an approach that caters to the wishes of individual students?

Some years ago, Barbara Lerner wrote,

 Today’s teachers have been taught that self-esteem is the answer, and many believe that it is.  Others, who [usually] don’t often face great pressure to conform to the prevailing view. Some have been effectively silenced, or driven out of the profession altogether.  The result is that the role of self-esteem in learning has a special status.  On a host of other pedagogical questions, teachers have varying viewpoints and express them freely.  On this one, the settled answer goes largely unchallenged.  Teachers seem to accept the modern dogma that self-esteem is the critical variable for intellectual development – the master to learning. According to this view, children with high self-esteem forge ahead academically, easily and natural [sic]; children with low self-esteem fall behind.  They cannot achieve excellence, or even competence, in many cases, until their self-esteem is raised.  That, at any rate, is assumption one in what I call the self-esteem theory of intellectual development.

Assumption two is that many children are in this boat because low self-esteem is common in childhood.[1]

 And more recently from Twinkl Teaching, the following is offered:        

 Studies have shown that teachers' self-esteem is important for their success in teaching. It’s been found that teachers' positive and high self-esteem positively affects their pupils' self-esteem and enhances their learning. Teachers play a very important role in supporting children’s self-esteem. They have a significant, lifelong impact on their pupils, which extends further than just the fostering of academic skills. They’re also responsible for fostering positive self-esteem, which in turn leads to increased motivation and learning.[2]

 Apparently, everyone needs healthy levels of self-esteem in order to teach or learn. And how much do such views coincide with the elevated levels of natural rights thinking which is prevalent in the culture? Self-esteem and personal wishes seem to this blogger to be two sides of the same coin.

         This blogger argues that humanistic learning theory psychology (described in the last posting), to varying degrees, has, if not by name but by substance, been accepted by educational academia and school district administrations around the country.  It congruently matches the whole market orientation and systems perspective described earlier in this blog except for the argument of the essentialists.

In short, with its emphases on temporal perspectives and individualism, this psychological school is highly congruent with the philosophical historical development of the country since World War II – the years in which the natural rights view has had increasing levels of influence.

         But more to the point of this critique, as a prevailing, accepted position, it has become part of the sociological forces operating in the nation.  Its effects have furthered an atmosphere of irresponsibility.  Humanistic learning theory psychology does this because it neglects communal realities.  Culture and its sanctions toward improper behavior are relegated to an illegitimate role (considered as subjugation).  Sanctions are seen as interfering with the development of a “true self.”

         This posting will abruptly end here, and the next posting will finish this critique with this blogger’s concerns about humanistic learning theory psychology – or as it is better known, self-esteem psychology.

[1] Barbara Lerner, “Self-esteem and Excellence:  The Choice and the Paradox,” American Educator, 20, 2 (Summer, 1996), 9-13 & 41-42, 9.

[2] “What Is Self-Esteem?.” Twinkl Teaching (n.d.), accessed February 26, 2023, https://www.twinkl.com/teaching-wiki/self-esteem#:~:text=Studies%20have%20shown%20that%20teachers,esteem%20and%20enhances%20their%20learning. Twinkl Teaching’s editorial stand seems to be in favor of self-esteem psychology.

[munsonhoneybaby]

Too Much in Common | Eddie Munson X F!Henderson!Reader

Summary: After Dustin brings Eddie home for a D&D campaign, you find yourself enjoying his company more frequently than expected.

Word Count: 5.2k

Warnings: 18+ mdni, drug use (marijuana), smut, kinda automatic dubcon since they're both fried?, fingering, a lil praise, eddie’s just a lil obsessed

A/N: it hasn’t been explicitly stated yet but reader is adopted. hopefully i actually post a part two in a timely manner.

part two | finale | tmic masterlist

The rumbling of Eddie’s van ceased in the Hendersons’ driveway as he turned the key back in the ignition. He was surprised, however, when the metal thrum of a guitar continued despite his radio now being off. Opening his door, he recognized “N.I.B.” by Black Sabbath and realized it was coming from inside, making his eyebrows furrow in confusion. 

He made his way to the front door, not bothering to knock beforehand since Dustin was expecting him and the kid’s mom wasn’t home. “Since when did you get a taste in music, Henderson?” He called over the music blaring from the sound system in the living room. A door around the corner slammed open much more forcefully than necessary and the aforementioned freshman barreled out of his bedroom. 

“It’s my sister!” He shouted back. “She said I could have you guys over while Mom is gone if I didn’t bitch while she was in charge, but APPARENTLY THAT MEANS MAKING ME GO DEAF!” 

Eddie could just barely make out your muttered “oh please” as you entered from the kitchen. You turned down the volume until the sound could be considered background noise. “If anyone here is gonna go deaf, it’s me from your constant shrieking.” Distressed jeans hugged the curve of your waist perfectly and the Poison t-shirt you had on looked soft from numerous wears. He tried not to stare, but he was sure he looked like a cartoon character– bugging, heart-shaped eyes and jaw hitting the floor. He almost missed it when you acknowledged him. “Munson. I heard you were still running Hellfire. Didn’t realize you’d be coming today.”

Oh fuck. You knew him. You knew him? How did you know him? Of course, you had gone to the same school, everybody in Hawkins did, but he would remember meeting a girl like you. Would you be upset with him for not knowing who you are? God, already embarrassing himself and he hasn’t even started talk–

“Relax,” You snorted. “I was a grade under you at Hawkins and I was homeschooled my senior year. We never talked, I wouldn’t expect you to remember me. I’m pretty sure everybody knows about you, though.” And this is when you tell him to get out of your house and stay away from your kid brother because he’s a drug-dealing, Satan-worshipping freak. “It’s nice you’re still running the D&D club, sounds like everything else there gets worse every year.” 

Some of the tension in his muscles slipped away and he realized he’d been subtly bracing himself. “Oh–” The doorbell rang and Dustin ran to get it, welcoming in Mike and Lucas who were already amicably bickering louder than necessary. Behind them trailed the two others they had ridden with, Jeff and Gareth if you remembered correctly. They seemed a little uncomfortable holding a session in a new house, but relaxed drastically when they set eyes on Eddie. “Uh– you guys can go ahead down to the basement with the freshmeat. I’ll be down in a sec, alright?” They nodded, waving politely to you before following the boys.

When they were gone, you and Eddie locked eyes again. “Seriously, I’m glad Dusty has someone watching out for him. He takes more shit than he deserves. Just try to be a good role model, alright? If I find out you give that kid Special K or some shit, it’s fucking over for you. Got it?”

“I would never let anything bad happen to those kids when they’re with me,” He spoke earnestly. “I’m gonna look out for them. If I’m ever gonna do anything right, it’s that.”

“I believe you, Munson.” You gave him a small smile and nodded towards the basement door. “You should probably get going. They can’t start the game without their dungeon master, right?”

An embarrassed flush fought its way up his neck to his cheeks as you turned towards the hall where your bedroom was. Before you could get more than a couple of steps though, he gently grasped your wrist. “Hey uh, by the way– I just wanted you to know that I don’t really– I don’t do any hard stuff anymore. Haven’t in a while. I hardly even sell it anymore and I stopped selling to first-timers.”

“I’m sorry, Eddie, I didn’t mean to–”

“No, don’t worry about it. I totally get it, I just wanted to let you know; for your peace of mind, I guess. You deserve to know who your baby brother’s hanging around with, I don’t want you to think I’m too bad an influence.”

“I don’t think you’re too bad, Munson. Just a healthy amount.” You gave his own wrist a small squeeze as you slipped your hand from his and finally went back to your own room. He gazed after you momentarily, even after your door had closed. If the guys were still present, they would definitely be giving him shit.

As if on cue, he heard Dustin’s muffled shout from the basement. “Eddie, hurry the hell up!”

You were sitting on the front porch swing lighting a joint when his beat-up van pulled up two nights later. “Seek & Destroy” poured from his cracked-open windows until his door opened and he set foot on your driveway once again. “He’s not here, y’know,” You called to him.

“That’s alright, I actually just needed to–” Eddie was halfway between you and his van when he caught a whiff of a particularly familiar scent. A shocked, teasing grin slowly spread across his face. “Henderson, are you smoking marijuana right now?” 

In spite of yourself, you let out a laugh, coughing around a lungful of smoke in the process. “Say it a little louder, Munson, I don’t think the deafening Metallica got the neighbors’ attention.” 

Laughing, he dropped into the space next to you on the swing. “I didn’t peg you for the smoking type.”

“Oh, you mean from the three minutes we interacted?” You squinted playfully but held the joint out to him. “Just weed, I don’t fuck with anything else personally.”

He took you up on the offer, calloused fingertips brushing your skin as he took the joint from you. Examining it for a moment, he smirked as he took a hit. “Fuckin’ with it pretty hard, apparently,” He breathed out. “You roll almost as good as I do.”

“Good, then you can roll the next one.” It passes between you as you speak, though Eddie tries to keep his turns short out of courtesy. “Which brings us back to the topic of why you’re here mooching my shit. You said you needed to do something?”

“Right, I uh- I forgot my lucky dice here the other night. I figured I’d pick ‘em up on my way home from The Hideout.” 

“Oh yeah, you’re in a band or something, right?” 

“Since middle school,” He nodded, “Just me and a few guys from school, s’called Corroded Coffin.”

“Sounds metal.”

“We try to,” He chuckled.

“You like Black Sabbath and Metallica, you’d better,” You teased. You didn’t notice the way his eyes followed your every move as you smoked. The way your cheeks hollowed ever so slightly as you sucked in a hit, how your breath hitched and your eyes fell closed as you held it in. The corners of his lips curled up in amusement watching you blow Os while conversation lulled for a moment. Offering him one last hit first, you stub out the roach on the ground and stand from your seat. “C’mon in, you can go get your dice.”

“Thanks,” He hummed, grabbing the door as soon as it was open to hold it for you. 

“Have you eaten?” You ask, heading into the kitchen as he made his way toward the basement door. “I haven’t, I was gonna make a sandwich or something. You want one?”

“That’d be great, actually, thank you.” The dice weren’t hard to find seeing as he’d left them there on purpose. So maybe it was a little weird, definitely a little desperate, but he wanted to make sure he had another opportunity to see you– get his foot in the door, so to speak– and he really hadn’t expected all this. He’d hoped you’d be the one to answer the door and he’d get to make small talk for a few minutes, point out your shared taste in music maybe, but this? Catching you alone, sharing a joint, getting invited in for something to eat? This was going better than he could’ve possibly expected.

“Find ‘em?” You called down.

“Yup!” He jogged back up the stairs, waving the small velvet bag as he joined you in the kitchen. “All good.”

“What a relief. Can’t have the dungeon master thrown off his game, that would be a travesty.” You glanced up at him mischievously as you finished making the first sandwich, scooting the plate across the counter to him.

Eddie suppressed a smile, shaking his head as he picked up the sandwich. “You just love teasin’ me with that, don’t you?” He asked before he took what was probably an unattractively large bite.

“Depends on what kind of teasing we’re talking about, Munson.” You drawled casually in return, turning to continue making your own. Meanwhile, it was an effort just for him to keep his food in his mouth without choking on it. You were flirting with him.

Weren’t you? Maybe you weren’t. Maybe you’d meant it the other way around– that you’d only tease him in a joking way and that you’d never want to–

“Eddie, I can see the smoke coming out of your ears,” You snorted. “Stop thinking so hard, you’re gonna hurt yourself.” You took a big bite before grabbing a bottle of water out of the fridge. “Want one?” His answer was going to be yes, but you were grabbing him one before he had responded anyway. There was a brief and fairly comfortable silence as you cleaned up the rest of your small mess and he took a few long swigs of his water. “Wanna finish these in my room? We could smoke another joint maybe…just chill out, I don’t know…”

“Yeah, totally,” He agreed, maybe a little too eagerly.

“You’re rolling though,” You remind him over your shoulder as he begins to follow you to your bedroom.

The door creaked as you opened it, waiting for him to enter after you so you could close it. As you opened the window wide and lit a stick of incense, he took in his surroundings. Your room wasn’t like the average teenage girl’s– not that Eddie had seen very many of those– not pastel-colored, or frilly, or covered in heartthrob posters, though a few stuffed animals were perched tenderly on your bed. Actually, it was almost more like his, albeit much more organized. There were posters of horror movies and rock bands filling a decent amount of the empty space on your walls, the Dio flag pinned to the ceiling drawing his attention. “Oh, that is so sick!”

“I thought you might like some ‘a this stuff,” You laughed softly. Nodding towards the stereo in the corner, you continued, “You can put something on if you want.” He squatted down to look through your cassettes, hearing your voice move through the room as you got out your bud, tray, and paper. “Try to keep it understated though, alright? Nothing too hard or fast right now.”

“Really tryin’ to mellow out tonight, huh?” He began playfully, but looked back at you as his tone softened a little. “Everything okay?”

“Oh, I’m alright,” You reassure. With the cassette in place, he made sure the volume was low before it began playing softly as you spoke. “I just get a little too pent up sometimes, you know? Everything’s just been kind of a lot lately, ‘s why I was already smoking when you showed up.”

“Hey, I can beat it if you want. I didn’t mean to show up outta the blue at a bad time and I definitely don’t have to stick around if you don’t want me here. I can totally get it if you want the time to yourself–”

“Please stay,” You quietly interrupted, then seemed a little embarrassed. “Sorry, I didn’t– I’d appreciate the company if you wanna stay a little while.”

Eddie gave you a comforting smile before taking a seat at your vanity to roll the joint, trying to lighten the mood. “Careful what you wish for, Henderson. I mean, you’ve got good music, good weed, made me dinner; I might be hangin’ around here more often with this kinda treatment. You’ve got me livin’ the life, babe.”

Laying down on your bed to watch him, your voice was more serious than he expected when you replied. “You’re welcome any time, you know. Mom likes when the house is busy and I don’t know if you’ve noticed, but Dustin practically worships the ground you walk on.” His rings glinted in the lamplight as he carefully sprinkled the bud onto the paper.

“Yeah? And what’s your review, hm?” You didn’t mean to stare at the way his lips wrapped around the joint or how his tongue traced the seam of the paper to seal it.

You hummed vaguely as he finished up, gently plucking it from between his fingers when he was done. Dramatically inspecting it much longer than he had yours, you finally say, “You roll clean joints.”

He shakes his head and laughs. Your lips close around the paper, feeling the seam still damp with his spit, and you jut your chin toward his lighter on the vanity. Grabbing it without a word, he leans forward to give you a light. Your gaze catches on his rings once more before lifting to his face again. A reflection of the flame makes the brown of his eyes warmer as they lock with yours, looking up from where you still lay on the bed on your stomach. You take a long pull as he draws the lighter away again and the spell is broken.

Sitting up to breathe the smoke in deeper, you tuck your knees under you. Eddie joins you on your bed, but not before he kicks off his shoes by the bedroom door. He sits cross-legged just in front of your pillows so you shuffle around to face him. “So, how was your concert?”

He snorted, “Concert might be a bit heavy. Gig is a little more accurate. Show maybe.”

You roll your eyes, but keep your tone light and pass the joint. “You’re a loser, you know that? You knew exactly what I was talking about, answer the question.”

“It was pretty good I guess,” He shrugged and took a long hit. “I think there may have been a whole seven people this time. And one of them was even sober!”

You smiled sympathetically, “You’re just in the wrong town. Don’t worry, I’ll come watch you play. I don’t know if that’d be a good atmosphere for the boys, but I could probably force Steve, Nancy, and Robin to come.

He twisted one of his rings around his finger for a moment. “That’s really nice, sweetheart.”

With each toke you both took, the joint burned slightly shorter until it was almost completely gone. “You want the last hit?” you asked. “I finished the last one. And you rolled this one anyway.”

“No, that’s alright. It’s your weed; I’m literally a drug dealer, I’ve got plenty at home.”

“Here,” You took one last long drag and he raised an eyebrow in confusion, but he understood when you sat up further on your knees and leaned toward him. A sense of giddy excitement overtook him for a second, nerves probably heightened from the weed, but he kept his composure. When your lips slotted over his, he took a deep breath in. His hand slid into your hair to keep your head steady as you sighed the smoke into his mouth. Your lips grazed over his afterward, very obviously lingering long after it was necessary. You giggled as you slumped down into a laying position, letting your head fall back into his lap.

“Seems like someone’s a lot more relaxed now,” He cooed playfully.

“Sorry, I can get off ‘f you–” He notices how your voice is slightly rougher after smoking so much.

“Hey, no–” His hands settle warmly over your shoulders, not holding you down so much as they were encouraging you to stay put. “It’s alright, baby. You can get comfy, you’re not bothering me.”

His hands soothed up and down your arms as you settled back in. “That feels really nice.” You hummed quietly and it drew out into another giggle, “Everything feels really nice.”

He laughs a little airily himself, “It does, doesn’t it?” Your skin felt so soft and warm beneath his fingertips, tracing imaginary shapes along the bare flesh of your arms. “‘M feelin’ pretty good, myself.” Your eyes couldn’t help but wander to his pretty pink lips again. They’d felt so soft against yours and you wanted more– to really feel him this time. His thumb brushes your chin, dragging down in a way that had your mouth opening slightly. “What’re you thinkin’ so hard about, sweet thing?”

Blinking up at him with glassy eyes, you raised an arm to brush your fingers over his flushed cheek. “Eddie, c’n you kiss me? Please?”

“Yeah?” He moved his thumb a bit higher to tug your lower lip down a bit, face dipping down a bit closer to yours. “That what you want?” You were nodding before he even finished his sentence, making him chuckle quietly. 

He allowed his lips to graze teasingly over yours, just barely touching, before finally kissing you. His nose brushed your chin and you could feel the small smile adorning his face before your lower lip was sucked softly between his. Fingers winding into his mess of frizzy curls, you moaned quietly into his mouth and pulled him closer. After another moment though, he slowly drew back, lips separating from yours with a soft smack that made you unreasonably desperate for more.

An ache had sparked in his lower back while loading the amps into the van after their show earlier that evening, deepening as he proceeded to help load the rest of the equipment afterward. Now the deep curve he had molded it to in order to keep his mouth on yours had the pain radiating up his entire back. “As much as I’m enjoying this– and believe me, babe, I’m seriously enjoying it– my back is kinda killin’ me and hunching over you like this…” 95% of his brain was screaming at him to shut the fuck up, to ignore it and just keep kissing you breathless anyway, but the other 5% was crying out to lay down and he had to listen.

“Oh, sorry,” There was a slight pant in your voice as you released your grasp on his hair. He sat up slowly as if a movement too fast would shatter the calm in the air. You sat up yourself, watching as he eased himself back onto your pillows. “S’that better?”

“Way better,” He confirmed. “We can uh- we could keep kissing if you want.”

Openly cringing at how awkward that sounded, he opened his mouth to say something else before you interrupted him with a still-sluggish giggle. “I’d like that, Eddie.”  

“Okay,” He nodded rapidly. 

Leaning forward onto your hands and knees, you crawled into his lap. His hands instantly settled on your thighs, running up and down the material of your pajama pants. His eyes flickered wildly over your body a few times before gazing up at you in awe. You didn’t waste any time in kissing him again, which was much easier now that he wasn’t upside down. As you moaned into his mouth, his hands molded to your hips, squeezing and pulling you as tight to him as he could get you. His tongue slipped between your lips, making them open further as your hands found his hair once again. 

He didn’t mean to start moving, slowly grinding into you in an attempt to relieve the tightness in his jeans that definitely wasn’t a problem before he came over— but then you were rocking down on him yourself, clothed cunt rubbing against him in a desperate search for friction. Hips rutting up into yours, he braced a palm against your lower back. You could feel his hardness pressing into you through the layers of clothing between you. Pulling back for air, you panted into his mouth, still subtly grinding against him. “Fuck,” He grunted quietly. The soft whimper of his name that you gave him in return made his head fall back against the wall with a thud. “Got me so fuckin’ hard, sweet thing. Please, don’t stop.”

“Don’t wanna stop,” You whined back quietly. “Feels so good.” 

“Good,” He cooed. “Don’t worry, ‘m gonna keep makin’ you feel good.” Hot, open-mouthed kisses moved down your neck and you let out a moan. His fingers wormed their way past the hem of your shirt, tracing the cup of your bra. “This okay?” He mumbled against your skin. Nodding, you cupped his hand and guided it higher until he pushed your bra out of the way. The pad of his thumb brushed firmly over your nipple, making your hips jerk against his. “Mmm, so sensitive. Is that jus’ the weed or are you always like this?”

“Both,” You breathed out. “‘N you’re good at all this.”

“Aw you don’t have to butter me up, baby,” He grinned. “I’m gonna make you cum either way.” Free hand dipping past the waistband of your pajama pants, Eddie continued playfully, “But, go on. Keep tellin’ me how much I turn you on.”

“Eddie,” You pleaded, “C’mon.” 

Fingers stroking the damp fabric of your underwear, he asked, “This okay? Really want me to touch you?” Your desperate nods made his lips curl, pressing more firmly against you and drawing out a moan that you tried to stifle. “No, no, no, you gotta tell me how it feels, sweet thing. We’re all alone, you can make those pretty noises, it’s okay.”

Your head slumped into the crook of his neck, mouthing lazily at his skin. Nudging your underwear to the side, he sank his middle finger knuckle-deep into you. Grasping tightly at the worn material of his t-shirt, your breath hitched. “Mmm, fuck– yes, Eddie, thank you.”

“Look at you, usin’ your manners ‘n everything. Of course, you would. Such a good girl.” Your moans only grew louder, making his hips jerk in search of friction. “So warm and wet, bet you’d feel so good around my cock.” Lifting your head to kiss him again, your hand found the shape of his length in his jeans. He rolled his thumb over your clit in circles as his hips rocked against your palm. Mouths open against each other’s, you exchanged panting breaths and muffled moans. Confined by your pants, his hand didn’t have much room for movement, leaving your hips stuttering frustratedly. “Lemme get these off’a you, babe. Can make you feel so much better than this.”

Suddenly, his hand was curled under your thigh and you let out a small squeal as you were flipped onto your back beneath him. Your pants and underwear were yanked down your legs feverishly, Eddie parting them to slip two fingers into you this time. “Shit, Eds!”

“Fuck, I’m sorry, was that too much?” Immediately, he tried to withdraw his hand, but you gripped his wrist to stop him. 

“Don’t stop, Eddie. Please, don’t stop,” You rushed.

“Alright, sweetheart, ‘m right here. Don’t worry.” Your hands laced into his hair for stability as his fingers crooked into a spot that almost made your eyes cross. Already dripping onto your bedspread, you pulled him even closer to you. Smirk spreading across his face, he said, “Oh yeah. That’s the spot, huh, baby?”

“Fuck, Eddie, you’re gonna make me come,” You whined.

“Good, want you to soak my fingers.” His hips rocked forward, clothed cock grinding into the back of your thigh. “Wanna feel you come for me.” The way his thumb rubbed so firmly against your clit had heat shooting all the way to your toes. Desperately tugging him down for another kiss, your thighs trembled as they squeezed closed around his hand. “There it is,” He murmured lowly against your lips. “Mmm, you’d feel so fuckin’ good coming around my cock, sweet thing.” The deep cadence of his voice had you shaking.

Grasping at the back of his shirt, you buried your face in the crook of his neck. He held you in silence for a long moment until your head eventually dropped back against the bed. A smile slowly grew on your face as you looked up at him and you let out a small giggle, making him grin down at you. He laughed softly too as he pressed his forehead against yours. 

Eyes darting shortly to the alarm clock on your nightstand, you did a double-take when you noticed how late it was. “Son of a bitch, my mom’s gonna be home any minute!” You grabbed your discarded underwear and pajama pants from the foot of the bed as soon as Eddie had peeled himself off of you. “Uh– fuck, I’m really sorry. I promise I didn’t mean to invite you in just for this, I just didn’t realize how late it got. I didn’t mean to leave you hanging, but–”

“Are you kidding?” He was already leaning against the wall by your door, slipping on his beat-up air forces. “I had a blast, babe. We should do this again sometime,” He winked teasingly.

You rolled your eyes half-heartedly, feeling your body warm. When the two of you reached the front door, you rubbed your arm and met his eyes only a bit awkwardly. “I’m sorry again about not…returning the favor.”

He chuckled, giving you a small smirk. “Don’t worry about me, sweet thing. After tonight, I’ll have no trouble taking care of it myself.” Taking a step closer to you, he leaned down for a kiss that was much slower and softer than the last few you’d shared. “I’ll see you soon, yeah?”

“Night, Eddie. Thanks for keeping me company tonight.”

“Anytime.”

You waited at the door until he’d gotten in his van and driven away before finally heading back to your room. As soon as you closed your bedroom door and flopped down on your bed, you heard your mom’s car pull into the driveway. Meanwhile, Eddie drove home, foot a little heavy on the gas pedal as he itched to get back to his own room.

He didn’t see you again for two weeks. He knew the Hendersons’ phone number, but there was no way he could ask for you if Dustin or your mom picked up. So he waited, very impatiently mind you, and hoped he hadn’t ruined things by going so far with you so fast. 

When he did finally see you, it was at Hawkins High School. You’d come to pick Dustin up from that week’s Hellfire club meeting. You knocked on the door before entering, knowing that– despite the session being scheduled to end ten minutes ago– they often ran over their allotted time. Sure enough, you heard Eddie’s booming voice as you cracked open the door and slipped inside.

“And as the chimera flew closer–” When he noticed you he immediately straightened from his position looming over the table, clearing his throat and clasping his hands together behind his back. He didn’t want to scare you off with all this yet. “Okay gentlemen, that’s all for today.” The collective groan they let out had you feeling a bit guilty, they’d obviously been enjoying themselves, and now you were being the annoying big sister; you should’ve just waited in the car. But Eddie was quick to speak again. “Oh, cut the moaning. We’re almost fifteen minutes over and you all need more time to prepare for battle anyway. Amateurs.”

As the others all packed up their things, he approached you and you greeted him with a smile. “Sorry for interrupting, seemed pretty intense, I hope it wasn’t too important.”

“No, no, it’s good you came in. We would’ve been all caught up until someone else came in to stop us in a much less forgiving manner.” You both laughed and it went quiet for a moment before he cleared his throat again. “So uh, I’ve been hoping I’d see you around.”

“Yeah, me too… Smoking alone isn’t as fun anymore.”

His lips quirked up into a smirk and he nodded playfully. “Yeah, ‘ve been thinking the same. You should start buying from me, you know. I’ll give you a discount.”

“Oh, so I have to pay you to smoke with you again? You know, we used my shit last time,” You teased.

“You’ll never pay for anything you smoke when you’re with me, sweetheart. I’m a gentleman after all. Here, hang on.” He dashed back to the table, hunching over to write something down before tearing off the small scrap of paper and coming back to you. “Now you can get a hold ‘a me, come smoke all my weed anytime.”

“Oh, I’ll be taking you up on that.”

Your comfortable conversation was interrupted when Dustin shouted your name. “What’re you doing? Let’s go!”

“I’ll see you around, Munson.”

“Sure thing, Henderson.” 

As you drove Dustin home, you couldn’t help but wonder if it was a bad idea to get involved with Eddie. He was one of Dustin’s best friends now, a mentor for him, one of the only male role models he’s had aside from Steve since he lost his father. The last thing you wanted was to make Dustin feel like you were taking that away from him. God forbid something should happen between you and Eddie and he doesn’t feel comfortable coming around anymore. You couldn’t do that to him. 

Still, you found yourself hunkered over the phone in the living room that night. You tried to hold out, you really did, but you only managed to hold yourself back until almost midnight after your family had gone to bed. Coiling the cord around your finger, you waited impatiently as the phone rang three times.

When he finally picked up, you could hear the smirk in his tone. “Hi, sweet thing. Just couldn’t stay away, could you?”

“Well, I figured I was running low on bud anyway,” You drawled quietly. 

“You’re awful quiet,” He teased. “Don’t want Mommy to catch you up on the phone so late?”

“Fuck off,” You scoffed playfully. “If you’re having so much trouble hearing me over the phone, why don’t you come over?”

“Oh, so she minds a phone call, but it’s okay if we have a sleepover?” He snorted. 

“No, but if you’re quiet you can sneak in and back out before she wakes up to get ready for work. I’ve got twenty bucks calling your name,” You cooed enticingly.

“Seriously?”

"Come on, Munson, you've never climbed through a girl's window before? I'm disappointed."

He simply replied, "I'll be there in fifteen, make sure it's unlocked."

part two | finale | tmic masterlist

<3

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[mostlysignssomeportents]

How to shatter the class solidarity of the ruling class

I'm touring my new, nationally bestselling novel The Bezzle! Catch me WEDNESDAY (Apr 11) at UCLA, then Chicago (Apr 17), Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

Audre Lorde counsels us that "The Master's Tools Will Never Dismantle the Master's House," while MLK said "the law cannot make a man love me, but it can restrain him from lynching me." Somewhere between replacing the system and using the system lies a pragmatic – if easily derailed – course.

Lorde is telling us that a rotten system can't be redeemed by using its own chosen reform mechanisms. King's telling us that unless we live, we can't fight – so anything within the system that makes it easier for your comrades to fight on can hasten the end of the system.

Take the problems of journalism. One old model of journalism funding involved wealthy newspaper families profiting handsomely by selling local appliance store owners the right to reach the townspeople who wanted to read sports-scores. These families expressed their patrician love of their town by peeling off some of those profits to pay reporters to sit through municipal council meetings or even travel overseas and get shot at.

In retrospect, this wasn't ever going to be a stable arrangement. It relied on both the inconstant generosity of newspaper barons and the absence of a superior way to show washing-machine ads to people who might want to buy washing machines. Neither of these were good long-term bets. Not only were newspaper barons easily distracted from their sense of patrician duty (especially when their own power was called into question), but there were lots of better ways to connect buyers and sellers lurking in potentia.

All of this was grossly exacerbated by tech monopolies. Tech barons aren't smarter or more evil than newspaper barons, but they have better tools, and so now they take 51 cents out of every ad dollar and 30 cents out of ever subscriber dollar and they refuse to deliver the news to users who explicitly requested it, unless the news company pays them a bribe to "boost" their posts:

https://www.eff.org/deeplinks/2023/04/saving-news-big-tech

The news is important, and people sign up to make, digest, and discuss the news for many non-economic reasons, which means that the news continues to struggle along, despite all the economic impediments and the vulture capitalists and tech monopolists who fight one another for which one will get to take the biggest bite out of the press. We've got outstanding nonprofit news outlets like Propublica, journalist-owned outlets like 404 Media, and crowdfunded reporters like Molly White (and winner-take-all outlets like the New York Times).

But as Hamilton Nolan points out, "that pot of money…is only large enough to produce a small fraction of the journalism that was being produced in past generations":

https://www.hamiltonnolan.com/p/what-will-replace-advertising-revenue

For Nolan, "public funding of journalism is the only way to fix this…If we accept that journalism is not just a business or a form of entertainment but a public good, then funding it with public money makes perfect sense":

https://www.hamiltonnolan.com/p/public-funding-of-journalism-is-the

Having grown up in Canada – under the CBC – and then lived for a quarter of my life in the UK – under the BBC – I am very enthusiastic about Nolan's solution. There are obvious problems with publicly funded journalism, like the politicization of news coverage:

https://www.theguardian.com/media/2023/jan/24/panel-approving-richard-sharp-as-bbc-chair-included-tory-party-donor

And the transformation of the funding into a cheap political football:

https://www.cbc.ca/news/politics/poilievre-defund-cbc-change-law-1.6810434

But the worst version of those problems is still better than the best version of the private-equity-funded model of news production.

But Nolan notes the emergence of a new form of hedge fund news, one that is awfully promising, and also terribly fraught: Hunterbrook Media, an investigative news outlet owned by short-sellers who pay journalists to research and publish damning reports on companies they hold a short position on:

https://hntrbrk.com/

For those of you who are blissfully distant from the machinations of the financial markets, "short selling" is a wager that a company's stock price will go down. A gambler who takes a short position on a company's stock can make a lot of money if the company stumbles or fails altogether (but if the company does well, the short can suffer literally unlimited losses).

Shorts have historically paid analysts to dig into companies and uncover the sins hidden on their balance-sheets, but as Matt Levine points out, journalists work for a fraction of the price of analysts and are at least as good at uncovering dirt as MBAs are:

https://www.bloomberg.com/opinion/articles/2024-04-02/a-hedge-fund-that-s-also-a-newspaper

What's more, shorts who discover dirt on a company still need to convince journalists to publicize their findings and trigger the sell-off that makes their short position pay off. Shorts who own a muckraking journalistic operation can skip this step: they are the journalists.

There's a way in which this is sheer genius. Well-funded shorts who don't care about the news per se can still be motivated into funding freely available, high-quality investigative journalism about corporate malfeasance (notoriously, one of the least attractive forms of journalism for advertisers). They can pay journalists top dollar – even bid against each other for the most talented journalists – and supply them with all the tools they need to ply their trade. A short won't ever try the kind of bullshit the owners of Vice pulled, paying themselves millions while their journalists lose access to Lexisnexis or the PACER database:

https://pluralistic.net/2024/02/24/anti-posse/#when-you-absolutely-positively-dont-give-a-solitary-single-fuck

The shorts whose journalists are best equipped stand to make the most money. What's not to like?

Well, the issue here is whether the ruling class's sense of solidarity is stronger than its greed. The wealthy have historically oscillated between real solidarity (think of the ultrawealthy lobbying to support bipartisan votes for tax cuts and bailouts) and "war of all against all" (as when wealthy colonizers dragged their countries into WWI after the supply of countries to steal ran out).

After all, the reason companies engage in the scams that shorts reveal is that they are profitable. "Behind every great fortune is a great crime," and that's just great. You don't win the game when you get into heaven, you win it when you get into the Forbes Rich List.

Take monopolies: investors like the upside of backing an upstart company that gobbles up some staid industry's margins – Amazon vs publishing, say, or Uber vs taxis. But while there's a lot of upside in that move, there's also a lot of risk: most companies that set out to "disrupt" an industry sink, taking their investors' capital down with them.

Contrast that with monopolies: backing a company that merges with its rivals and buys every small company that might someday grow large is a sure thing. Shriven of "wasteful competition," a company can lower quality, raise prices, capture its regulators, screw its workers and suppliers and laugh all the way to Davos. A big enough company can ignore the complaints of those workers, customers and regulators. They're not just too big to fail. They're not just too big to jail. They're too big to care:

https://pluralistic.net/2024/04/04/teach-me-how-to-shruggie/#kagi

Would-be monopolists are stuck in a high-stakes Prisoner's Dilemma. If they cooperate, they can screw over everyone else and get unimaginably rich. But if one party defects, they can raid the monopolist's margins, short its stock, and snitch to its regulators.

It's true that there's a clear incentive for hedge-fund managers to fund investigative journalism into other hedge-fund managers' portfolio companies. But it would be even more profitable for both of those hedgies to join forces and collude to screw the rest of us over. So long as they mistrust each other, we might see some benefit from that adversarial relationship. But the point of the 0.1% is that there aren't very many of them. The Aspen Institute can rent a hall that will hold an appreciable fraction of that crowd. They buy their private jets and bespoke suits and powdered rhino horn from the same exclusive sellers. Their kids go to the same elite schools. They know each other, and they have every opportunity to get drunk together at a charity ball or a society wedding and cook up a plan to join forces.

This is the problem at the core of "mechanism design" grounded in "rational self-interest." If you try to create a system where people do the right thing because they're selfish assholes, you normalize being a selfish asshole. Eventually, the selfish assholes form a cozy little League of Selfish Assholes and turn on the rest of us.

Appeals to morality don't work on unethical people, but appeals to immorality crowds out ethics. Take the ancient split between "free software" (software that is designed to maximize the freedom of the people who use it) and "open source software" (identical to free software, but promoted as a better way to make robust code through transparency and peer review).

Over the years, open source – an appeal to your own selfish need for better code – triumphed over free software, and its appeal to the ethics of a world of "software freedom." But it turns out that while the difference between "open" and "free" was once mere semantics, it's fully possible to decouple the two. Today, we have lots of "open source": you can see the code that Google, Microsoft, Apple and Facebook uses, and even contribute your labor to it for free. But you can't actually decide how the software you write works, because it all takes a loop through Google, Microsoft, Apple or Facebook's servers, and only those trillion-dollar tech monopolists have the software freedom to determine how those servers work:

https://pluralistic.net/2020/05/04/which-side-are-you-on/#tivoization-and-beyond

That's ruling class solidarity. The Big Tech firms have hidden a myriad of sins beneath their bafflegab and balance-sheets. These (as yet) undiscovered scams constitute a "bezzle," which JK Galbraith defined as "the magic interval when a confidence trickster knows he has the money he has appropriated but the victim does not yet understand that he has lost it."

The purpose of Hunterbrook is to discover and destroy bezzles, hastening the moment of realization that the wealth we all feel in a world of seemingly orderly technology is really an illusion. Hunterbrook certainly has its pick of bezzles to choose from, because we are living in a Golden Age of the Bezzle.

Which is why I titled my new novel The Bezzle. It's a tale of high-tech finance scams, starring my two-fisted forensic accountant Marty Hench, and in this volume, Hench is called upon to unwind a predatory prison-tech scam that victimizes the most vulnerable people in America – our army of prisoners – and their families:

https://us.macmillan.com/books/9781250865878/thebezzle

The scheme I fictionalize in The Bezzle is very real. Prison-tech monopolists like Securus and Viapath bribe prison officials to abolish calls, in-person visits, mail and parcels, then they supply prisoners with "free" tablets where they pay hugely inflated rates to receive mail, speak to their families, and access ebooks, distance education and other electronic media:

https://pluralistic.net/2024/04/02/captive-customers/#guillotine-watch

But a group of activists have cornered these high-tech predators, run them to ground and driven them to the brink of extinction, and they've done it using "the master's tools" – with appeals to regulators and the finance sector itself.

Writing for The Appeal, Dana Floberg and Morgan Duckett describe the campaign they waged with Worth Rises to bankrupt the prison-tech sector:

https://theappeal.org/securus-bankruptcy-prison-telecom-industry/

Here's the headline figure: Securus is $1.8 billion in debt, and it has eight months to find a financier or it will go bust. What's more, all the creditors it might reasonably approach have rejected its overtures, and its bonds have been downrated to junk status. It's a dead duck.

Even better is how this happened. Securus's debt problems started with its acquisition, a leveraged buyout by Platinum Equity, who borrowed heavily against the firm and then looted it with bogus "management fees" that meant that the debt continued to grow, despite Securus's $700m in annual revenue from America's prisoners. Platinum was just the last in a long line of PE companies that loaded up Securus with debt and merged it with its competitors, who were also mortgaged to make profits for other private equity funds.

For years, Securus and Platinum were able to service their debt and roll it over when it came due. But after Worth Rises got NYC to pass a law making jail calls free, creditors started to back away from Securus. It's one thing for Securus to charge $18 for a local call from a prison when it's splitting the money with the city jail system. But when that $18 needs to be paid by the city, they're going to demand much lower prices. To make things worse for Securus, prison reformers got similar laws passed in San Francisco and in Connecticut.

Securus tried to outrun its problems by gobbling up one of its major rivals, Icsolutions, but Worth Rises and its coalition convinced regulators at the FCC to block the merger. Securus abandoned the deal:

https://worthrises.org/blogpost/securusmerger

Then, Worth Rises targeted Platinum Equity, going after the pension funds and other investors whose capital Platinum used to keep Securus going. The massive negative press campaign led to eight-figure disinvestments:

https://www.latimes.com/business/story/2019-09-05/la-fi-tom-gores-securus-prison-phone-mass-incarceration

Now, Securus's debt became "distressed," trading at $0.47 on the dollar. A brief, covid-fueled reprieve gave Securus a temporary lifeline, as prisoners' families were barred from in-person visits and had to pay Securus's rates to talk to their incarcerated loved ones. But after lockdown, Securus's troubles picked up right where they left off.

They targeted Platinum's founder, Tom Gores, who papered over his bloody fortune by styling himself as a philanthropist and sports-team owner. After a campaign by Worth Rises and Color of Change, Gores was kicked off the Los Angeles County Museum of Art board. When Gores tried to flip Securus to a SPAC – the same scam Trump pulled with Truth Social – the negative publicity about Securus's unsound morals and financials killed the deal:

https://twitter.com/WorthRises/status/1578034977828384769

Meanwhile, more states and cities are making prisoners' communications free, further worsening Securus's finances:

https://pluralistic.net/2024/02/14/minnesota-nice/#shitty-technology-adoption-curve

Congress passed the Martha Wright-Reed Just and Reasonable Communications Act, giving the FCC the power to regulate the price of federal prisoners' communications. Securus's debt prices tumbled further:

https://www.govtrack.us/congress/bills/117/s1541

Securus's debts were coming due: it owes $1.3b in 2024, and hundreds of millions more in 2025. Platinum has promised a $400m cash infusion, but that didn't sway S&P Global, a bond-rating agency that re-rated Securus's bonds as "CCC" (compare with "AAA"). Moody's concurred. Now, Securus is stuck selling junk-bonds:

https://www.govtrack.us/congress/bills/117/s1541

The company's creditors have given Securus an eight-month runway to find a new lender before they force it into bankruptcy. The company's debt is trading at $0.08 on the dollar.

Securus's major competitor is Viapath (prison tech is a duopoly). Viapath is also debt-burdened and desperate, thanks to a parallel campaign by Worth Rises, and has tried all of Securus's tricks, and failed:

https://pestakeholder.org/news/american-securities-fails-to-sell-prison-telecom-company-viapath/

Viapath's debts are due next year, and if Securus tanks, no one in their right mind will give Viapath a dime. They're the walking dead.

Worth Rise's brilliant guerrilla warfare against prison-tech and its private equity backers are a master class in using the master's tools to dismantle the master's house. The finance sector isn't a friend of justice or working people, but sometimes it can be used tactically against financialization itself. To paraphrase MLK, "finance can't make a corporation love you, but it can stop a corporation from destroying you."

Yes, the ruling class finds solidarity at the most unexpected moments, and yes, it's easy for appeals to greed to institutionalize greediness. But whether it's funding unbezzling journalism through short selling, or freeing prisons by brandishing their cooked balance-sheets in the faces of bond-rating agencies, there's a lot of good we can do on the way to dismantling the system.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/04/08/money-talks/#bullshit-walks

Image: KMJ (modified) https://commons.wikimedia.org/wiki/File:Boerse_01_KMJ.jpg

CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/deed.en

[m1male2]

#Curiosities

The Sacred City of Caral-Supe, one of the most important and little-known cultures of the American continent, is located in the province of Barranca, Lima Region, Peru.

“It constitutes the oldest manifestation of civilization in Peru and on the American continent due to its 5,000 years of age. It is made up of 32 monumental buildings, included in a complex system of settlements that show a strong religious ideology, among which are distinguished ceremonial buildings, residential sectors for people of different social rank, a set of minor temples and production workshops. Caral led a settlement system that brought together 17 similar, although smaller, sites located in the Supe Valley.

“It expresses the complexity and development of an early socio-political and economic organization model during the Late Archaic Period (5000-3800 BP) originated independently by the Andean societies that inhabited this small fertile valley on the central Peruvian coast.”

Information:

World Heritage Sites of Peru. Culture Ministry.

[reasonsforhope]

"Is social media designed to reward people for acting badly?

The answer is clearly yes, given that the reward structure on social media platforms relies on popularity, as indicated by the number of responses – likes and comments – a post receives from other users. Black-box algorithms then further amplify the spread of posts that have attracted attention.

Sharing widely read content, by itself, isn’t a problem. But it becomes a problem when attention-getting, controversial content is prioritized by design. Given the design of social media sites, users form habits to automatically share the most engaging information regardless of its accuracy and potential harm. Offensive statements, attacks on out groups and false news are amplified, and misinformation often spreads further and faster than the truth.

We are two social psychologists and a marketing scholar. Our research, presented at the 2023 Nobel Prize Summit, shows that social media actually has the ability to create user habits to share high-quality content. After a few tweaks to the reward structure of social media platforms, users begin to share information that is accurate and fact-based...

Re-targeting rewards

To investigate the effect of a new reward structure, we gave financial rewards to some users for sharing accurate content and not sharing misinformation. These financial rewards simulated the positive social feedback, such as likes, that users typically receive when they share content on platforms. In essence, we created a new reward structure based on accuracy instead of attention.

As on popular social media platforms, participants in our research learned what got rewarded by sharing information and observing the outcome, without being explicitly informed of the rewards beforehand. This means that the intervention did not change the users’ goals, just their online experiences. After the change in reward structure, participants shared significantly more content that was accurate. More remarkably, users continued to share accurate content even after we removed rewards for accuracy in a subsequent round of testing. These results show that users can be given incentives to share accurate information as a matter of habit.

A different group of users received rewards for sharing misinformation and for not sharing accurate content. Surprisingly, their sharing most resembled that of users who shared news as they normally would, without any financial reward. The striking similarity between these groups reveals that social media platforms encourage users to share attention-getting content that engages others at the expense of accuracy and safety...

Doing right and doing well

Our approach, using the existing rewards on social media to create incentives for accuracy, tackles misinformation spread without significantly disrupting the sites’ business model. This has the additional advantage of altering rewards instead of introducing content restrictions, which are often controversial and costly in financial and human terms.

Implementing our proposed reward system for news sharing carries minimal costs and can be easily integrated into existing platforms. The key idea is to provide users with rewards in the form of social recognition when they share accurate news content. This can be achieved by introducing response buttons to indicate trust and accuracy. By incorporating social recognition for accurate content, algorithms that amplify popular content can leverage crowdsourcing to identify and amplify truthful information.

Both sides of the political aisle now agree that social media has challenges, and our data pinpoints the root of the problem: the design of social media platforms."

And here's the video of one of the scientsts presenting this research at the Nobel Prize Summit!

-Article via The Conversation, August 1, 2023. Video via the Nobel Prize's official Youtube channel, Nobel Prize, posted May 31, 2023.

[yoongiseesawmp3]

too sweet - san

summary: model!san x designer!reader. it's love at first sight when you see san. he's perfect...for your runway show! he's the top model right now, and everyone wants him. you want him a little more, but we'll unpack that later. can you get the it boy into your collection?

word count: 8.6k

warnings: afab reader

masterlist

"how many more?" you whine, collapsing onto the table in front of you. your dramatics shuffle all of the model cards out of order after you spent the last hour organizing them. your system is ruined, so your mood goes too. the only thing to pull you back to reality is jen, your right hand man. she pulls you up, encouraging words on her lips, and gets to reordering the cards you just messed up.

"we only have a few more," she reminds you. "and the last few have been good! i think we'll have plenty of options for your show."

"yeah, the girls have been great," you agree. "but the guys are all meh. i thought i was being all forward thinking doing a coed collection but now i wish i hadn't."

"oh come on," jen nudges you. "these guys were hot!"

"they're pretty, but this guy tripped, this one didn't bring a portfolio, and this one has conflicts from now until the show," you list off. "i need at least two more, or i'll have to cut the men's pieces."

"we'll find one," jen ruffles your hair. "you want me to go bring in the next model?"

"nah, we've got a few more minutes on our break," you tell her. "i'm gonna go get a coffee, do you need anything?"

"a water is fine," she replies as you slip out the door. you try to avoid the waiting area so you won't run into any potential models. you make it to the coffee machine down the hall, and of course it's just your luck that there's a tall skinny man already there.

"y/n?" he smiles. "i didn't know this was your show!"

"seonghwa?" you smile back. "i swear, you get taller every time i see you."

"what can i say? i eat my wheaties," he jokes, pulling you in for a polite hug. "how long have you had this gig?"

"few months," you reply. "i've been shitting bricks the whole time."

"i'm sure," he nods. "but you're doing a great job. i've never seen this many top models in the same place for years. everyone wants to walk for you."

"well that's very flattering," you mumble. "but you'd think 'top models' would come more prepared. half of these bozos have not impressed me."

"she's talented and determined," seonghwa notes. "guess i gotta bring my a game."

"i guess you do," you tease him. "hey, you don't know anyone who could come audition before the end of the day, do you? i need more guys."

"i could make a few calls," he thinks. "what do you have in mind?"

"is it too vain to say someone sexy?" you laugh. "we're looking for someone intimidating, good walk, strong features. it's a dramatic piece so i want someone unique."

"i might know a guy," seonghwa nods.

"anyone i'd know?"

"i guess you'll know when you see him," he replies. "i gotta go, i think i'm next, so-"

"right, right, go make yourself pretty," you tell him. "it was so good to see you!"

"you too," he smiles at you genuinely. "proud of you."

"hey, no shmoozing before your audition."

-

seonghwa got a place in your show, obviously. now you only need one more guy. jen convinced you the tripper could work with some help, and there was another model from earlier in the day that you think deserves a call. you still need someone for your final piece, though, and you're running out of hope.

"so how do you know seonghwa again?" jen asks as you wait for the last model to show. "and how well do you know him? and how well would he like to know me?"

"we worked together a few years ago," you laugh. "he was one of the models in my first show."

"so you gave him his big break? he's indebted to you?" jen asks. "he has to make it up to you by, i don't know, going on a date with your best friend and best stylist?"

"we'll see," you frown. "you know i don't like messing with models."

"i hate that rule," jen mumbles as she sits back in her seat. "where's this last model? i wanna go home."

"seonghwa said he pulled a favor getting him here," you explain as you check your phone. "so he might be running behind. i can wait for him if you wanna go."

"no, if he's anything like seonghwa i want to be here to ogle him."

at that, there's a knock at the door, and you call out for them to come in. who steps through the door is maybe the most beautiful man you've ever seen. he's striking, strong, and smiling shyly like he's not used to having eyes on him despite his profession.

"hi, i hope i'm not too late?" he asks, standing by the door.

"no," you quickly reply. "not at all, come in. you're seonghwa's friend?"

"yep," he confirms, walking up to hand you the most professional looking portfolio you've seen all day. and this guy wasn't even expecting to walk! no way you're hiring those other losers now. "i'm san."

"san, hi," you smile at him, and jen stifles a laugh next to you. somebody's smitten, she thinks, but she won't say anything just yet. "i'm y/n, i'm the designer, and this is jen, my stylist."

"nice to meet you," jen presents her hand, and san tentatively shakes it. "firm handshake, i like it. you have soft hands."

"thanks?" he laughs nervously. "um, so do i just-"

"yes, yes," you motion for him to head to the back of the room. "whenever you're ready."

as if you weren't already convinced this was the guy for you (i mean, for your show) then his walk sold it. his presence is so commanding, his movements so precise, and you've never seen someone with such perfect posture. it makes you sit up straighter as he walks toward you, and you almost swoon when he winks at you before turning around. you squeeze jen's hand under the table, and when san finishes his walk you fight the urge to applaud.

"that was great!" jen comments once san is finished. "y/n, what did you think?"

"you're perfect," you breathe out, and jen nudging you brings you back to earth. "uh, for the collection."

"thanks," san smiles proudly. "hopefully i'll hear from you soon."

"hopefully you will," you smile back. "thanks for coming on such short notice."

"it was my pleasure," san says, waving as he ducks out into the hall. as soon as the door is shut, you turn to jen and say, "i love him."

"i know you do," she laughs. "so is he in the show?"

"in the show?" you scoff. "he is the show. he's exactly what i was imagining. i want ten more of him."

"i'm sure you'd like that," she says with a waggle of her eyebrows.

"stop," you roll your eyes. "i just said i don't mess with models."

"mhm," jen nods. "so who else are we casting? we have one spot for sure..."

-

san and seonghwa were cast immediately. well, maybe not immediately. you both looked through their portfolios, ooh'ing and aah'ing over their looks before deciding they had to be in the show. when you and jen decided on the next two male models quickly, you figured this would be an easy discussion. wrong! you have four female models you're willing to fight tooth and nail for, and jen has her own four that she's just as committed to. you've been deliberating for a while now, so you decide to take a break. you head to that same break room you met seonghwa in earlier, and you thought briefly about taking san's portfolio with you. for research purposes, obviously, but you decided against it.

as soon as you step into the hallway, you hear faint sounds of music. not unusual for this studio space, but still, you proceed with caution. you don't want to interrupt anybody, so you walk quietly until you find the the source of the sound. it's san! and he's...dancing?

"oh god, sorry," he bumbles as soon as he sees you. he rushes to his phone, propped against the window in front of him. "god. that's embarrassing."

"what were you doing?" you smile at him.

"embarrassing myself," he mumbles, rubbing the back of his neck. he wiggles his phone in the air and explains, "my agent wants me to post more, says it'll help me get booked, and he sent me a couple tiktok trends he wants me to do. so i was.."

"dancin' your heart out?" you tease, and he blushes.

"you could say that," he smiles shyly, again making it seem like he's not used to having attention on him. does he know he's a model?

"wait, how long have you been out here?" you ask, worried he might have heard you and jen (mostly you) gawking over his portfolio.

"just a few minutes," he shrugs. "part of why i was able to come walk for you is because of another audition i had on the other side of this building. so i was over there for a while, and came back here to humiliate myself in front of my favorite designer, it seems."

"your favorite, huh?" you ask. "good thing we've cast my show already, otherwise i'd think you're sucking up."

"damn, so i'm too late?" san laughs.

"who else is auditioning models here?" you change the subject.

"kim hongjoong?" san says it like a question, and you nod in recognition.

"he's good," you hum. "i hope you don't get it though."

"what?" san balks. "why?"

"because i want you in my show," you shrug. "and i don't wanna fight hongjoong for you, even though i know i'd win."

"you sure about that?" san asks. "he's been working out, i hear."

"oh i could so take him," you assure san. "i'm a biter." you notice a flicker in san's eyes, a hint of something, but you feel yourself blushing and cough so you have an excuse to cover your face. "excuse me. i should probably go, we've got a few more models to cast.."

"wait, so you just drop the bomb that i'm in your show and then you're gone?" san asks, following you down the hall. "how do i know you're serious?"

"because you have my word," you furrow your eyebrows. "but if you really need the confirmation, i'm sure my people will call your people soon." as if on cue, san's phone starts buzzing, still perched on the window. san looks to it, then you. you feel vindicated as you turn and walk on to the break room with a flick of your hair over your shoulder, leaving a stunned model and the smell of peaches in your wake.

-

all the models have been cast, and it's the morning of your first fitting. you slept in your studio last night because you had so much work to do. it was mostly tiny alterations to ensure the pieces fit their new models, but you also spent half the night cleaning. you don't let people into your studio usually, or if you do, it's people that know you well enough to know you and your work are a mess. but today, you're the boss. you need to look put together, and so does your studio.

you're standing by the door, taking everything in, and decide that this is as clean as you'll get it. there's still fabric, zippers, stray threads strewn all over your work tables, but you're a designer. that's normal. if the models have complaints they can deal. being next to the door, you hear something in the hall, but write it off as one of your artistic neighbors at work. you start to walk away, toward your coffee station in the back, when the doorknob to your studio jiggles. you hear a quiet "shit" and then a polite knock, so you walk over cautiously. one look through the peephole reveals who it is.

"san?" you ask, opening the door. "what are you doing here?"

"realizing i am," he checks his ridiculously expensive watch, "an hour early for my fitting. sorry." he adds a sheepish smile at the end and you fight the urge to coo. he looks like he just woke up, and that he definitely rushed here. his clothes are mussed, hair in a beanie to hide it not being done, eyes puffy with sleep. still, he looks perfect.

"was the email confusing?" you ask. "i was worried that-"

"no," he shakes his head. "no, i was just, um, i'm really excited," he explains shyly. "i almost couldn't sleep last night, so when i woke up this morning i thought i had overslept. i should've checked."

"no worries," you say as you blush. he was excited? for a fitting? man must love his job. "here, come in. i just finished cleaning, so you get first dibs on space. there's a couch in the back if you want to nap before we get started."

"how long have you been here?" san asks, looking around at the studio. he sees a lot of chaos, but it's beautiful chaos. colors that compliment each other perfectly, strange techniques that have made something stunning. he can't believe he'll be part of this show.

"uh, since last night," you admit, finally reaching your coffee machine. "i had a lot to do."

"you slept here?" san frowns, tossing his stuff onto a table before joining you. he leans against the wall as he watches you.

"yeah," you shrug. "i hate waking up early, so it saved me from getting here grumpy if anything."

"but did you rest?" he asks, looking out at the studio. "this is a big space for one person to clean."

"jen helped," you tell him. "she was here last night to bring over the shoes for each outfit."

"which one is mine?" san asks with an eager smile.

"wouldn't you like to know?" you stick your tongue out at him for good measure. "yours isn't out here. it's so big i had to keep it in my office, i couldn't move it out here by myself."

"it's big?" he looks a little scared.

"that may not be the right word," you think. "it's heavy, so that's why i needed someone strong to wear it."

"you think i'm strong?" san smirks, and you blush. "how'd you know?"

your mind thinks to his portfolio still sitting on your desk, full to the brim of him in scantily clad photoshoots. you've seen pictures of his chest, his abs, his arms. muscles that had to take hours in the gym to sculpt. you wonder shyly if his portfolio is still on your desk, open to a picture of him in a pink outfit with a hint of his chest on display. you'll have to cover it quickly if it is.

"i asked seonghwa how you two met, and he said you go to the same snooty model gym," you explain, which is the truth. seonghwa had been in a couple shows with san before they became friends, but it took the two of them working out together to actually become buddies. they've been looking out for each other ever since, seonghwa told you. san seems to think your explanation was enough, so he hums and nods before turning his attention back to your collection.

"so how did you and seonghwa meet?" he asks casually. you tell him about your first show, as an independent designer no less, and how seonghwa found you stress crying backstage. as you always do when describing seonghwa, you stress how your relationship was friendly, but nothing more. you never want anyone to think you're fooling around with one of your models. but san finds himself thinking, hm, that means seonghwa isn't his competition.

"do you want anything to drink?" your voice pulling san from his thoughts. he looks at you, cupping a warm mug of coffee, and smiles.

"no, thank you," he says. "i try not to have anything before a fitting, i never want to mess up the sizing and put more work on the designer."

"san that doesn't sound healthy," you frown. "and what kind of designer is sticking you in clothes so skin tight you can't have a glass of water? i need names."

"it's a lot of them, i'm afraid," he laughs. "most people cast me expecting to show off my abs, or something else, so i don't have much space to mess up during show season."

"yeah, you are always showing some kind of skin," you think about it.

"you been studying me?" san teases, and you blush.

"i'm a designer, it's my job," you mumble. "i reviewed everyone's portfolio thoroughly."

"what was seonghwa's last shoot then?" san quizzes you. you make a guess, but you get it wrong. "and what was mine?"

"vogue, right?" you answer immediately, and san responds with a shit eating grin.

"i'm so telling hwa i'm your favorite model now," he says, resting against the wall again as he folds his arms over his chest. his very muscled arms, and his broad-

"knock knock!" jen shouts from the door. she steps inside and asks, "you know you didn't lock this- oh hey san."

"good morning," he nods to her. "nice to see you again."

"nice to see you too, so bright and early," jen says as she looks at you. "how long have we been here?"

"me since last night, san since a few minutes ago. he didn't read the email."

"i read the email!" he whines. "i was just excited!"

"that's sweet," jen coos as she dumps bags onto one of your worktables. "i hope i'm not interrupting anything?"

"jen, do you have a favorite model?" san asks, and she thinks for a moment.

"no, i don't," she shakes her head. "there's too many good ones, so it depends on the day. why do you ask?"

"i just found out i'm y/n's favorite," san explains with a smile.

"you just found out?" jen laughs, and you groan. san looks like he's gonna say something else but you speak before he can.

"hey, since y'all are both here, come help me move this table," you command. "we need space for the models to walk." they do as you say, but share a knowing look while you're distracted. it's a bad thing to have your best friend and your crush in cahoots, but you'll figure that out later.

-

since san was here early, you got to work on his fitting first. jen finished setting up the workroom while you and san went to your office. jen made a show of putting headphones in to listen to music, and you wanted to pinch her so hard. she's making it obvious that you have a thing for san, and you're hoping beyond hope he doesn't notice.

"oh my god," he whispers when you open the door to your office, revealing the piece you've dedicated the past few months to. "that's incredible."

"you like it?" you turn to him, unsure. "it's a lot, i know."

"i love it," he smiles from ear to ear. "i've never worn something like this before."

"i hope no one has," you laugh nervously. "i tried a technique to emulate fur, so i'm hoping this is a super cool fashion innovation that'll take the industry by storm."

"how'd you do it?" san asks, looking at the piece in awe. "and how long did it take?"

"so, i shredded pounds and pounds of natural fabric until it looked so fine it could be a better alternative to faux fur," you explain. "and it took me about...four months?" san whistles lowly, his hands twitching at his sides. "you can touch it if you want."

"i want to put it on," he turns to you excitedly. "how do you want me to wear it?"

"don't hate me," you beg. "since this is such a big piece, and i want it to draw attention, i don't have a shirt for you."

"that's ok," san nods. "adds to the natural element."

"exactly," you smile, blushing anyway. "and there's just white pants underneath, for contrast. they should be super comfy, to make up for the workout you'll get walking around in the jacket."

"i can't wait," san says happily. he turns to you fully, looking between the outfit and you. "do you want me to strip, or...?"

"oh god, let me turn around," you say. "the pants are on the desk. let me know when you have them on."

"you're very polite," san chuckles. "most designers try to manage every single thing, including how models get dressed."

"it's pants," you scoff. "if you can't put pants on how did you get out the house?"

"i'm ready," he says, and you turn back to find him in the pants, yes, but still with his shirt on.

"um, do you mind?" you ask, tugging at the neckline of your own shirt hoping he gets the hint. it distracts him just enough that you have to call his name, and he looks at you with a hum. "can you, uh, take your shirt off?" he responds with actions, pulling his shirt off in one swift motion. you squeak out, "great!" and then shuffle toward the mannequin. "i might need help lifting this."

"no worries," he hurries to your aid, his hands brushing yours as you push the jacket off the form. "wow, this is no joke."

"if it's too heavy i can-"

"i can handle it," san says firmly. "help me into it?"

you hold up one side while san slips his arm in, and then help him into the rest. you take a step closer, trying to fasten the clasp on the front, but it won't meet. you struggle for a minute, hands ghosting so softly over san's chest. he doesn't realize he's holding his breath until your voice pulls him from his focus.

"what?" he looks down at you. "why are you frowning? it looks great."

"it doesn't fit over your chest," you pout. "i thought i had your measurements right-"

"oh, sorry, i've been working out," san admits. "and i think i gave you an old portfolio since i was in a rush, so my information may not be up to date..."

"shit," you mumble, and san tries to fix the situation. he starts tugging at the jacket, but you gasp and grab his hands, stilling them instantly. you look at him sternly as you instruct, "i'll make it fit, you just have to wear it. please don't do my job for me."

"sorry," san whispers. you're so close he could just lean down and kiss that pout from your lips, but that wouldn't be professional of him. but boy does he want to.

"before you take it off, let me find your shoes," you look around. "i want to see the whole look together...maybe jen knows where they are."

you open your office door and peek your head out, gasping at what you find. jen is pushed up against one of your work tables, and seonghwa is standing before her holding her waist like she could slip away at any moment. they're making out like they've done this before, and you clear your throat to get their attention.

"hi," seonghwa mewls. "this isn't what it looks like."

"looks like two of my employees are goofing off when they should be doing their jobs," you mumble, wandering around the studio. "jen, where are san's shoes?"

"um, by the door?" she guesses. "i didn't see his outfit in here, so i didn't know where to put them."

"it's in my office," you respond. "that's why i took him in there."

"i didn't know," she shrugs. you find the shoes and then glare at them, but neither one takes you seriously.

"seonghwa, your outfit is labeled with your name. it's an easy piece, simple closures, so you shouldn't need any help getting it on," you explain. "jen, come here. we have a problem."

"holy shit, you look awesome," jen says as soon as she sees san. she looks at you and asks, "what's wrong with it?"

"his chest is too broad," you frown again, staring at san's chest. "i can't get the jacket to close."

"he can't hold it when he walks?" jen suggests, and san tries it out. you start shaking your head before he finishes, and he actually whines when he sees your reaction.

"no, it's gonna fall off your shoulders if you do that," you say. "i want it to stay in place, and i need the clasp to work for that to happen."

"so what are you gonna do?" jen asks.

"not sleep until i fix it?" you reply. you look at her in defeat and add, "i don't know what else i can do."

"can i help?" san offers, but you shake your head again as jen says, "yes, you can." you try to protest, but she cuts you off.

"he can cut the initial shreds!" she offers. "then you do your magic putting them into the jacket. it takes out a step for you so hopefully it'll be quicker."

"what she said," san butts in. "let me help, please."

"i can't pay you for your extra time," you say softly. "i don't want to impose-"

"don't care," san shakes his head. "i've got nothing else going on."

"perfect!" jen claps her hands together. "you two figure that out, i'm gonna check on hwa..."

-

the rest of the fitting goes well. it's perfect, actually. you have the best models you've ever worked with, every piece fits, and the collection looks beautiful all together. you tear up watching them all walk before you, and the piece san is wearing literally makes a hush fall over the room. he still walks toward you with a wink, but this time it doesn't affect you as much. you're too focused on how much time it'll take to add a couple more inches to the coat. when san finishes, everyone looks to you expectantly, and it takes jen calling your name for your mind to catch up with your mouth.

"i don't know what to say," you admit. "you all did an amazing job, and this was just a fitting! imagine what this show will look like on a real stage. um, a couple things to note..."

once you finish your boss spiel, the models all start changing and leave one by one. you make sure to thank them all before they leave, and in a few minutes it's just you, jen, and san left.

"seonghwa didn't wanna stick around?" you ask jen.

"you scared him," she replies. "he left so fast i'm surprised he didn't leave a trail of smoke."

"i'll talk to him," you brush it off. "keep your paws off him in my studio though."

"no promises," jen sighs, gathering her things. "i need to go get another pair of heels for our tall girl, so do you need anything else from me before i go?"

"a hug?" you think. "i couldn't have done this without you."

"she loves me!" jen says to san, and he smiles encouragingly.

"you two are amazing," san says. "i don't know how just two people put together such a stunning show."

"lots of work," you say.

"i cried a few times," jen adds.

"we both did," you conclude. "but it was fun, so it was worth it. right?"

"fun, sure!" jen agrees.

"get out of here," you push her playfully. "please rest. no boys."

"you too," jen wags her finger at you. then to san, "don't let her work too hard!"

"i'll try my best," he salutes her, and jen leaves with a laugh. he turns to you and asks, "what can i help with?"

"i need to buy more fabric," you think. "so if you want to grab food while i-"

"no, we'll both grab food, and then fabric," san decides. "or fabric then food. either way, i'm buying your lunch."

"but-"

"nope," he pulls you into his side and walks toward the door. "can't work hard on an empty stomach!"

-

you find yourself enjoying san's company more than you were expecting. he's easy to talk to, easy to laugh with, and he's so kind. he insisted on buying your lunch, even though that was going to be your payment to him for helping. he even tried to buy the extra fabric, claiming it's his fault you had to buy more anyway. you get back to your studio, smiles on both your faces, and get to work.

"so we need these in strips about an inch wide," you explain as you lay a few yards of fabric out on a work table. "tear them into strips, then we'll cut them in half, and then i can start shredding and adding them to the coat. sound good?"

"got it, captain," san nods. "how many do you need?"

"i don't know yet," you make a face. "you're a big guy."

"i'm just so strong," san rolls his eyes, flexing a little bit as he does.

"stop that," you laugh. "get to work. you want music on?"

"yeah, whatever you wanna listen to," san says as he straightens the fabric. you watch as he measures carefully, taking the fabric cutter over the material slowly. he holds up his first strip, looking to you for approval. "is this good?"

"perfect," you tell him. "now make like a thousand more."

"what are you gonna do while i work, hm?" san asks. "i've got a lot to do and you're just gonna watch me?"

"gotta make sure you're doing it right," you reply. "but i need to pack up some of these other pieces, they're getting shipped to the venue in the morning. my least favorite part of the job."

"how many shows have you done now?" san asks, and you fall into comfortable conversation with him while you work. you get most of the collection packed up before you know it, so you walk over to his table to check on his progress.

"not bad for a model," you say as you inspect the pieces. "you could make a mean designer's assistant."

"you in the market for one?" san asks, and you notice how close you are. he's a little taller than you, so all you'd have to do is stand on your toes and- "what are you thinking about?"

"what?" you whisper, taking a step back. san's hand catches your waist, holding you in place.

"what were you thinking about, just now?" he asks again. "you were staring."

"you're a model, i'd expect you'd be used to everyone staring at you," you whisper back.

"you're not everyone," he says softly. his eyes flit down to your lips, and before you can think you lean in and kiss him. it's quick, barely a touch, but you kissed him, and his hand on your waist tightens. when you look up at him, he's blushing. "what was that for?"

"um, for helping me with your outfit?" you reply.

"anything else you need my help with?" san smirks.

"san, i'm sorry, i shouldn't have done that," you whisper.

"yeah, you pulled back too quickly," he pouts.

"no," you laugh shyly. "no, um, i have a rule that i don't mess around with my models."

"got it," san sighs. "bummer, but i understand."

"i should start shredding these," you say, grabbing a pile of fabric. san's still holding onto you though, so you look at him expectantly. "you gonna let me go?"

"you don't mess with models, ever?" san asks. "or is it just models that are working for you?"

"um, the second one," you think. "but san-"

"then we'll talk about this again when the show is over," san says with finality. "i don't mind waiting."

"as long as you can keep things professional," you tell him.

"says the one who kissed me," san teases.

"whatever," you roll your eyes. "i'm gonna go work on the jacket."

"um, do you think these are enough strips for now?" san asks sheepishly. "i actually have to leave for an audition..."

"my god," you look at the time. "please, go. i'm sorry i kept you for so long."

"i'll come back when i'm done," san says like it's nothing. "i don't really want this show anyway, but my agent booked it, so i have to go."

"that's good to hear," you mumble. "because i don't like sharing."

"make sure you take a break while i'm gone," san points at you accusingly.

"go to your audition," you say as you walk to your office. "i'll be here when you get back."

-

san thinks about you the whole time he's gone. he breezes through the audition and gets an offer before he leaves, but after being in your show this designer seems scattered, unprofessional, and just not as good as you. his collection is fine, but it's nothing impressive. san can't wait to get back to your studio and see the progress on your coat, but when he knocks at the door there's no response. he waits, tries again, and still nothing. he tries the door and it opens easily, so san wanders in calling out your name. he doesn't see you in the work room, but there's a light on in your office.

"y/n?" he calls, stopping at the door when he sees you slumped over your desk, snoring softly. he looks at the mannequin next to you and lets out a gasp. it's more dramatic now with more fabric, and san thinks briefly it'll be even heavier to wear. he doesn't care though. right now, he's more concerned about getting you to someplace you can rest.

"you're back," you mumble, sitting up as you rub your eyes. "i fell asleep."

"i see that," san chuckles. he walks over to you and holds his arms out. "come on, we gotta get you home."

"what are you doing?" you ask, letting out a shriek when san picks you up. you hit his back weakly, but he carries you out of your office, through your studio, turning lights off as he goes.

"where's your bag?" san asks. you point and he carries you still, handing your things to you before doing a sweep of the studio. "ready to go?"

"where are we going?" you mumble into his shoulder. "i was sleeping just fine-"

"i'm taking you home," san says. "you need to sleep in a bed. not hunched over your desk."

"why are you being so nice to me?" you whisper as you nuzzle into him further. he doesn't reply, but you wouldn't hear it anyway. you drift off in his arms, only waking up when san slides you into the passenger seat of his car.

"you know how to get home from here, sleepyhead?" san asks as he ruffles your hair. you type your address into your phone, handing it to him before he closes the door carefully to rush to the driver's side. he laughs nervously when he sits down and finds you staring, so he asks, "what? too much?"

"i really want to kiss you again," you admit.

"but you can't," san coos. "remember your silly rules?"

"hmph, i was gonna say screw my rules, but then you made fun of me, so-"

"no, no i take it back!" san cries, but you turn and lay your head against the window. you smile to yourself as san begs you to turn back around, giggling as he tugs on your arm. you pretend to snore and san gives up, but his hand has moved from tugging your arm to just holding your hand. you stay like that the whole way home.

-

the runway show is tomorrow. you still aren't done with san's jacket. and you still aren't sure what to do since you kissed him. jen has ideas, though.

"climb him like a tree," she tells you for the nth time as she helps you unpack outfits at the venue. "he sooo wants you. and you sooo want him."

"doesn't matter who wants who," you mumble as you try to hold at least three pins by your teeth. you're securing a new zipper to your favorite dress. it wouldn't be a runway show without things falling apart last minute, and you could have punched a wall when you unpacked this dress to find the zipper literally holding on by a thread.

"the show is tomorrow, y/n," jen says sternly. "you can't hide behind your silly 'no models' rule for much longer."

"i won't," you assure her. she looks at you surprised, but she can't ask any follow ups because there are voices coming from the entrance.

"hello?" seonghwa calls out. you yell back that you're backstage, and when he appears he immediately finds jen to pull her into a hug.

"what are you doing here?" you ask him. "you don't have a fitting today."

"i brought him for moral support," san says from behind you. he's so close, and you didn't hear him come up, so it makes you jump. his hands fly to your waist, trying to soothe you, but the touch makes you jump too. "why are you so skittish?"

"i'm stressed," you respond, stepping away so you can find his coat. you look over your shoulder as you tell him, "the jacket still isn't done."

"what?" he whines. "do i need to tear more fabric?"

"no," you laugh. "just come here." he joins you further among the mess that is your collection, following closely behind you through the maze of clothing racks. you stop by his mannequin, turning to find him still incredibly close to you. "it just needs a clasp. as long as you didn't get broader over night."

"no promises," he smirks before pulling his shirt off. "can you help me get it on?"

"you've never needed my help before," you frown as you try avoid staring at his chest.

"yeah well, it's like ten pounds heavier now," san says. "and i'm just so weak..."

"bullshit," you laugh, helping him lift the coat anyway. you hold one side for him while he slips his arm in, then help him hold onto the other. "ok, stay here." you scurry off to get your sewing kit, and san finds jen's gaze through the clothes. she gives him a thumbs up and an exaggerated wink, and he stifles a laugh as you come back. you're holding more pins between your teeth, and san cries out. "what?"

"that can't be safe," he says as he reaches for one, but ends up pricking himself. "ouch."

"no touching," you mumble. "and hold the jacket like this." you guide his hands to hold the coat in place, and san watches intently as you work. you have to hand sew extra buttons on to support the new weight, so it takes a while. san tries to talk to you, but he's so worried about the pins in your mouth he can't focus.

"let me hold these," he grumbles, carefully pulling a pin from your lips. he takes the rest and cups them in his hand, accidentally pricking himself again. "ouch."

"that's what you get," you laugh. "you didn't have to hold them for me, i'm an expert at this by now."

"yeah, but if you had pins in your mouth, i couldn't do this," san says as he uses his free hand to cup your chin. he looks down at you with a smile before he kisses you. he kisses you and holds you against him, his lips so soft on yours. you sigh into the kiss, lost in the feeling of having him so close to you. you can feel his heart beating in his chest, and your hand that had been gripping the coat falls to his warm skin. you push him away, a little gasp on your lips when it hits you what's happened.

"what happened to being ok with waiting?" you ask him, and his head falls to your neck, leaving one kiss against your skin before he pulls back.

"i forgot," he whispers.

"well remember at least until i finish these buttons," you tell him.

"and then what?"

"then you gotta show me your walk," you say. the way you look up at him makes san want to kiss you again, but he does his best to refrain. you hold your hand out for the pins, and you put them back in your sewing kit as you say, "in a few minutes, your coat will finally be done."

"can't wait," san hums, his hands back to holding the jacket in place. "but i admit i'll miss having a reason for you to be so close to me."

"i'm sure you'll find more," you mumble, focusing on the last button. when it's sturdy enough to hold weight, you try securing the jacket together just enough for it to stay on san's shoulders. "hands off," you instruct, and san moves his hands from the coat to your shoulders. "hands to yourself."

"aw," he pouts. you start to walk away and he follows, but you tell him to stay put.

"stay there, then walk toward me," you direct him. "i wanna see how it moves now."

"you want me to go full model mode?" san asks. "can you handle it?"

"just show me," you groan, and the cocky grin on san's face should've warned you. it's like he changes into another person, his demeanor completely different. you realize now that the san you know is not model san, because the man before you is...intimidating? you almost back up as he walks toward you, his gait powerful and his stare petrifying. everything is so dramatic and the movement matches the coat perfectly. he still winks at you as he comes closer and turns, moving the coat so each layer of fabric, each shred explodes into an arc before you. san finishes his walk, turning over his shoulder with a shy smile on his face. he's back to the san you know as he asks, "how was that?"

"you're perfect," you stammer out, mimicking your words from the first time san walked for you. "for the collection. for this piece. everything. this is exactly what i imagined."

"good," his smile widens. "and the weight isn't too bad. it's distributed better now."

"good," you cough, trying to calm yourself down. watching that made everything real to you. this show is happening tomorrow. your nerves are hitting you now, and san can tell.

"are you ok?" he asks, rushing to your aide. he looks like he's going to pull you into a hug when you hear jen calling for you somewhere, and you disappear before san gets a chance.

-

the hours leading up to the show are a blur. in the hours leading up to the show, you are a blur. you don't stay still for more than a few minutes at a time. there's just so much for you to do, so many people to talk to, and so many people that need your help. a stylist asking your opinion. a model with loose threads down her back. a man with pleading eyes that you know is watching you from afar, ready to jump in if you collapse from nerves, or exhaustion, or both. you find jen at the accessories table, helping a model find bangles that won't fall off her arm as she walks. you grab onto jen, leaning in closely to rest your head against hers.

"i'm so tired," you whine. "and scared. and sweaty."

"ew, then get off me," jen pushes you away playfully. she finishes up with the model and sends her away before asking, "are you ok though? really?"

"why did i think dressing san without a shirt would be a good idea?" you whisper to her, watching him as he laughs with seonghwa about something. it's like he can feel your eyes on him, because he looks toward you and winks.

"because it is a good idea," jen says. "and he's not gonna be shirtless for long. you need to go help him into the coat, the show's about to start."

"shit," you curse, checking the time. "i have so much to do-"

"wait!" jen shouts, holding you in place. "something's missing."

"my will to go on?"

"no, you need lipstick," jen decides. she digs into the bag at her hip and finds the perfect pink shade for you. it matches your dress (that you designed) and it matches the warm pinks that you sprinkled into the collection. "there. you're ready."

"no i'm not," you mumble. "i didn't get to practice my welcome speech."

"go practice it with san!" jen pushes you in his direction. "five minutes!"

your palms get sweaty the closer you get to san. you're not sure if it's him, or the running countdown in your head reminding you that your show is about to happen. when you finally make it to san, he's alone, and he's smiling at you nervously.

"time for the coat?" he asks. you nod, and he follows you to the mannequin in the back. "how do you feel?"

"like i'm gonna pass out."

"i'll catch you," san jokes.

"arms up please," you squeak out. he helps you lift the coat silently, sliding into it like it's the most comfortable thing in the world. "and just let me secure it..."

"y/n," san whispers. "look at me." you don't listen, fussing over the buttons instead. you're smoothing out the warm pink fabric as san's hands cover yours, stilling them over his chest. "breathe for a second."

"i'm freaking out," you admit, looking up at him. "i have to go out there, and do a speech, and then watch my clothes, my life for the past year, all be judged by these strangers, and-"

"and you've done it before, and you survived," san smiles softly. "you're pretty great at this, in case you didn't know."

"but-"

"nope," he shakes his head. "it'll be great."

"it will," you say unsurely.

"say it like you mean it."

"the show will be great," you declare, and san squeezes your hands before he lets them go.

"and then after the show..." san trails off, and you feel your heart start to race. "i don't know, maybe i could take you out to celebrate?"

"san, i can't think about that right now," you shake your head. "i can't-"

the stage manager starts calling out models for the line up, and san looks away sadly. he nods like he's got his answer and starts to walk away, but you pull him back. you don't say anything, just cup his chin and leave a delicate kiss on his cheek.

"we'll talk after the show," you whisper. the stage manager calls for him again, and he looks at you one more time before he leaves. you let out a nervous breath, checking your reflection in the vanity next to you. it's now or never. you walk up to the side of the stage, and your heart drops to your ass. something is wrong.

"what's going on?" you hiss, walking up to find make up artists swarming san. "this can't be happening."

"you did this," one of the artists whisper shouts back, pointing to san's cheek. fuck. the lipstick. your lipstick left a bright pink mark on his skin. "we don't have time to fix it!"

"then don't," san shrugs. "i like it."

"y/n?" the stage manager looks at you. "we have one minute. are we fixing this?"

"uh, n-no," you stammer, and the crowd disperses, leaving you and san again. "here, i can wipe it-"

"don't," san swats your hands away. "now i'll have a piece of you with me while i walk."

"you're wearing my clothes, you already had a piece of me with you," you tell him.

"yeah, but this one's just for me," he smiles. "plus the lipstick matches my jacket."

"y/n, you're on!" jen grabs you, a gleeful look on her face. "oh, your lipstick is smudged."

"i don't know how you planned that, but i hate you for it," you say as you try to hide your smile.

"i just thought it would be a cute touch for photos later," she smiles as she fixes the smudge and reapplies more. "i didn't know you'd go around kissing him, marking your territory."

"that's not what i did," you blush.

"we don't have time to argue about this," she pushes you toward the stage entrance. "go be great!"

-

you're able to introduce the collection without tripping or fumbling over your words, so you'll call that a win. even bigger win: the collection is a hit. each piece got the reaction you wanted, but the show stopper was definitely san. the crowd hushed when he walked out, and they went wild when he got to the end of the runway with his flourish move he showed you the other night. as you watch the show backstage, you blush when you see the lipstick mark shining under the bright lights.

it ends up being a hit, almost as much as the coat itself. fashion bloggers lauded it as a perfect touch, basically sealing the collection with a kiss. they also speculated about your relationship with san, which certainly wasn't helped by the fact that he held your hand tightly in his as the collection walked the runway all together. san lifted your hand in triumph as you made it to the end of the stage, and he lets go, stepping back so you can have your moment. you soak it in as long as you can take, then scurry back to his side and grab his hand as you run backstage. he lifts you into a hug as soon as the curtain closes behind you, surrounded by cheers and models talking about how great the show was.

"put me down!" you squeal, swatting at san's chest so he'll let you go. "i need to talk to everybody."

"you can do it from up there," san says. you don't think you'll win this one, and he's right. it might be easier to address your models and your team from a few inches higher up.

"first of all, thank you," you say sincerely. "i wouldn't have a show without you all, and i had the best show because of you all. so thank you. if i could make you all vow to only ever work with me forever until the end of time, i would, but that's not ethical. so instead i'll say: you all have a spot in any show i do for the rest of my career. thank you. thankyouthankyouthankyou."

the crowd thins out as models get undressed, artists pack up their things, and the stage crew follows everyone around to remind them to clean up after themselves. miraculously, you and san are alone again.

"so," he hums. "i walked good?"

"you didn't trip," you nod.

"everyone loved it," san smiles.

"they loved you," you say, busying yourself with straightening the coat again.

"all i care about is what you thought."

"i've told you already," you start. "you're perfect."

"you say that, but earlier i think you were about to turn me down," san laughs nervously.

"what?" you're confused. "oh, i didn't finish. i was gonna say i can't go out with you tonight, but i'm free tomorrow."

"tomorrow? you'd make me wait so long?" san smirks.

"i have a business dinner to go to tonight," you explain. "so unless you wanna be my arm candy for the people who sponsored the show, then yes, you have to wait so long."

"i'm good at being arm candy," san says. "it's basically my job."

"fine," you shrug. "then put a shirt on and come with me?"

[hawkatana]

So, given everything that's happened in recent hours, I thought I might give people who don't know about Gundam some stuff to learn about. Hopefully I can give a balanced and not-racist take like some people.

What is Gundam?

Created by Yoshiyuki Tomino with help by Yoshikazu Yasuhiko and animated by the studio Sunrise (currently Bandai Namco Animation, though I refuse to call them that), the original Mobile Suit Gundam released in 1979 to initially-limited success, though would gain popularity through a combination of fujoshis shipping the characters, the sale of plastic model kits referred to as "Gunpla" and a recut of the series into three compilation movies throughout the early 80's. And as of 2024 is the 66th highest-grossing media franchise of all time, beating out Scooby Doo, Minecraft and the Simpsons.

Also, I'm pretty sure it's what sparked Japanese sci-fi's obsession with O'Neill Cylinders.

The original anime takes place in the year 0079 of the Universal Century, where the Principality of Zeon: a nation composed of orbital space colonies declares a war of independence against the Earth Federation. This "One Year War" has already claimed half the human population by series start and is waged through the use of "Mobile Suits": bipedal mecha powered by a fusion reactor capable of effectively fighting out in the reaches of space.

Main character Amuro Ray is the son of a Federation engineer who lives in an out-of-the-way space colony, though soon finds his home under attack by a Zeon infiltration. After finding the secret Mobile Suit project his father was working on: the RX-78-2 Gundam, he fights off the Zeon invaders, though finds himself and a bunch of other kids conscripted by the Federation to fight the forces of Zeon aboard the ship the White Base. Throughout his journey, Amuro and the Gundam fight many battles against Zeon, including against their mysterious masked ace pilot Char Aznable.

The series was responsible for the codification (but not creation, people get this wrong all the time) of the "Real Robot" subgenre of mecha, where the robots were relatively more realistic and used as weapons of war as opposed to the more fantastical "Super Robot" subgenre pioneered by Mazinger Z and Getter Robo.

A major theme of the show, and the franchise as a whole is "War is bad", as demonstrated through this meme:

Yes, this is the original version of this meme format.

Anyway, Tomino, a renowned pacifist who grew up in the shadow of Japan's involvement in WW2 tried to use his platform as an anime director to try and tell a story that would get people to realise war's futility and brutality.

So I hear you asking, "That's nice and all, but what about the space lesbians who beat Destiel on their home turf?" Well, let's get into that.

What is the Witch From Mercury?

Mobile Suit Gundam: The Witch from Mercury, or "G-Witch" for short is one of the more recent entries in the Gundam Franchise and a (very) loose adaptation of William Shakespeare's The Tempest. Set in the year 122 Ad Stella, the solar system is under the de facto control of the Benerit Group: a megacorporation with borderline-medieval internal politics that maintains a system of capitalism that benefits Spacians at the expense of those who live on Earth.

Main heroine Suletta Mercury enrolls at Asticassia School of Technology owned by the Benrit Group at the behest of her mother: CEO Prospera Mercury of the Mercury-based Shin Sei Development Corporation, and wins a Mobile Suit duel against a bully in her own MS: the Gundam Aerial. This however means she has now won the hand in marriage of daughter of the Benerit Group CEO: Miorine Rembran, beginning a series of consequences that shape the very political landscape of the solar system.

G-Witch was a massive hit, both critically and commercially. The first episode: the Witch and the Bride attracting record numbers for the studio and the Gunpla kit for the Aerial is currently the best-selling Gunpla kit ever.

Contrary to popular belief, G-Witch is not the first piece of Gundam media to feature a female protagonist. That honour would go to the 2002 Japan-only manga École du Ciel, nor would it have the first queer main character, which goes to 1999's Turn-A Gundam (and if you were to ask any fan of the series, they'd so it goes back to the very beginning). But it became notable for its lesbian representation in anime (in spite of Sunrise's attempts to downplay it, to the anger of the director, writer, producer, artists, animators, cast, fans and even their own parent company Bandai Namco who forced them to back off).

One thing I need to clarify: You don't need to have watched the original series to enjoy G-Witch. They're not even in the same continuity.

So if you're interested in the series and you've only watched G-Witch, I'll give out three recommendations for you all to enjoy:

Mobile Suit Gundam 00

Gundam 00 takes place in the year 2307 (the only series to use our own calendar), where the world is divided between three global superpowers: The Union of Free & Solar Nations (The Americas, Australia, New Zealand and Japan), the Human Reform League (China, South, East, Southeast and Central Asia) and the Advanced European Union (all of Europe, including all of Russia west of the Urals) who each control a space elevator near the equator and wage proxy-wars in Africa and the Middle-East over Earth's dwindling resources. This eventually culminates in the emergence of Celestial Being: a terrorist group consisting of Setsuna F. Seiei, Lockon Stratos, Allelujah Haptism and Tierria Erde, all of whom use powerful "Gundam" Mobile Suits and try to forcefully impose global peace on the Earth.

00 is pretty slow-paced and is more about the world than the individual characters, but said characters are really well-written, especially the characters from the three power blocs who are the de facto protagonists as they try to stop what are in their eyes a bunch of crazed terrorists preaching a hypocritical and incoherent ideology of "peace through force".

And to address the elephant in the room, this series is VERY post-9/11. Constant talks about terrorism, proxy-conflicts in the global south (especially the Middle-East), religious extremism, dwindling resources and the wars fought over them. While the franchise has always been political and of-its-time, you can just tell 00 was made in the mid-2000's. Again, it's good. But just something to keep in mind.

Turn-A Gundam

Turn-A Gundam is one of the weirder elements of the franchise for a myriad of reasons. Not the least of which being its unique setting taking inspiration from the famous sci-fi novel War of the Worlds.

In the Year 2345 of the Correct Century, human civilisation is at a level of technology reminiscent of the late-19th/early 20th centuries, save for the Moonrace on... well, the moon. As part of their queen Diana Soreil's plan to reintegrate both Lunar and Terran societies, several scouts are sent to the planet to set up their return to the planet. One such scout: Loran Cehack integrates into Terran society as a driver for the wealthy Heim family, though at a coming of age ceremony for the family's second daughter, a member of the Moonrace attacks the technologically-inferior Terrans. However, a mysterious mustached statue breaks apart to reveal a "White Doll": the Turn-A Gundam, allowing Loran to fend off the invaders. rest of the series becomes more of a mystery to how the supposedly-peace loving Moonrace could allow of such brutality.

The setting of the Correct Century timeline alone is one of the draws of Turn-A, though its excellent characters and compelling mystery also help a lot.

I do however have two warnings for people interested in watching it. The first is that this series was never dubbed. While it did receive an official sub in 2015, there still isn't a dub for the series. So if that bothers you, there's your warning.

The other is that there's a pretty big twist in the latter part of the series that while I will not spoil it here, it's such a big deal that I can't not mention it. It doesn't make any sense, and it actively detracts from not just the series, but the whole franchise. You'll know it when you see it. It doesn't ruin my enjoyment, but a lot of people don't like Turn-A for that alone.

Mobile Fighter G Gundam

Favourite entry. Don't care. It's peak.

In the Year 60 of the Future Century, war has been abandoned by the nations of humanity in favour of the Gundam fight: a quad-annual fighting tournament between Gundams representative of the countries of the world where the winner rules space until the next Gundam fight, all while leaving the Earth ecologically devastated in the fighting. Neo-Japan's Gundam Fighter: Domon Kasshu arrives on Earth seeking information on his older brother Kyoji, who killed their mother and led to their father's arrest before stealing the experimental Devil Gundam to Earth, beating up every Gundam Fighter in his way. However, he eventually learns of far more dangerous revelations about the incident.

G Gundam is to put it bluntly: bat-shit insane. And I love it. It basically took a look at the then-stagnating franchise in the wake of the wet fart that was Victory Gundam and said "I know what can save this franchise, Bruce Lee movies!" And it somehow worked.

Word of advice: watch it dubbed. Mark Gatha absolutely kills it as Domon every time, and puts just the right amount of ham into every line.

So yeah, that's some stuff on Gundam. This was a long post to write out. I'm gonna take a break now.

[yusiyomogi]

this is the last time i'm gonna interact with this discourse, i promise. i just wanna tell a few things that i've been meaning to tell anyway.

yes, the larger connection you can make between elves and real world imperialism is interesting, canaries are obviously modeled after military forces of imperialistic countries. even if their goals aren't nefarious, they withhold information from local governments, ignore borders and ensure the global power of their own country. the way they deal with the threat also often disregards actual safety of local people, despite their original goals.

but when we're talking about this theme, which is important and interesting, we have to discuss other significant implications of this allegory. like, for example, people from that military force are systematically treated as completely disposable. story itself doesn't shy away from this, even their nickname "canaries" represents how ridiculously deadly their job is - they're expected to die, basically. practice of recruiting convicted criminals to the army because they are desperate and disposable is something that is actually happening in the world right now. recruiting noble kids to the army as an "honorable tradition" to ensure their loyalty and investment in country's politics is another practice that was common in real world. wealthy people are the most dangerous to their government, after all.

if we actually wanna analyze this, we need to take it seriously, not to use it to prove that some characters are "bad" because of it. kui for sure didn't do this, she specifically humanized canaries in her story and showed how participant of the system can be abused by that system (that doesn't absolve them of their wrongdoings though). just how she decided to show racism as something everyone participates in, instead of making some one-note villain characters who are racists. you can have your own feelings about it, but that's how she did it.

the other thing is, if we actually try to analyze it, we can only take it as interesting thought experiment. we can call it "reading through certain lenses". because we're still dealing with fantasy world here. functionally canaries can be seen more as international disaster response, since they don't participate in actual wars. their primary goal is to control and destroy dungeons, which can be seen as analogy to natural or technological disasters. they don't influence local politics, they don't mass murder people, they don't aim to establish their own bases on the territory of the country (at least not at the point we are in the story). so, they are an amalgamation of these two ideas rather than only one of them. we can't have a real analogy to our world, since we don't have the demon that can destroy us all just because some people have tasty desires. that's why working with allegories to real life is a limiting way of looking at the work. it's fine to do it, but it's only one way to interpret it and it's not "the only correct" way. in fact, most authors prefer when their worldbuilding is judged on its own merits.

mithrun does participate in military force voluntarily and it's an important part of his story. it's also important to analyze why he's doing it: he thinks that he's doing a good thing by enlisting to the unit, because he believes that he's the one who can change things. according to adventurer's bible, his main motivation for recovery was what happened in utaya: mithrun could see how incompetent canaries were when they were dealing with the dungeon and the demon, so his thought was literally "if only i was there...", one of the most common army movie tropes.

and he does change things, surprisingly, because we can see that he focuses on efficiency much more than any other elf. he correctly assumes that the faster they deal with the threat, the less casualties there will be. he speedruns the dungeon in 15 minutes, while utaya's investigation took 1 year before it all collapsed horribly, killing a bunch of civilians and soldiers. mithrun does it so efficiently in fact, that even kabru for a second doubts his decision to stop the canaries. mithrun believes that no secrecy is important when the world is at stake, that's why he tells kabru literally everything he knows. mithrun believes that he can change things. he is wrong though.

mithrun is wrong, because he still serves for elven government and they have not at any point demonstrated that they're interested in actually solving the problem for good (for many reasons probably, they're likely still considering that they'll need the demon's power). mithrun realized it in the end, when he decided to let laios do what he wants instead, basically giving up on his loyalty to the elves. much more obvious agent of elven imperialism in the story is flamela, because she stays loyal to the government and her queen, even when situation got desperate. mithrun also eventually left his country to live under short-lived races' rule.

so, it's kinda weird and suspicious why some people in the fandom decided to focus on mithrun as "the main agent of imperialism" when they talk about those things. yes, it's interesting to look at him from this point of view, especially if you wanna discuss how he changes through the story, but... do you really care about him as a character or are you looking for a bad guy? because i've seen both.

it's not fans' fault that they care too much about his personal character arc instead of looking at his background and role of antagonist. blame kui for it, because that's what she also decided to focus on in her story. some people just don’t wanna discuss such things, because it seems disrespectful to real life, the other believe that looking at everything in the story through allegory is limiting. i’ve seen people who mentions problematic elements, while respecting the other facets of the story that we all enjoy, and it’s amazing and i wish i could do it as gracefully.

but a lot of people noticed the tendency in this fandom to turn some characters into villains and people have right to be tired of it. the story doesn't do it, so if you don't like it... i'd advise you to look for another story, but you really can do what you want.

[vixensdungeon]

You know what's cool? Making D&D campaign settings and never ever running games in them. You might ask "But Vivian, you sexy beast, isn't that just worldbuilding?" And yeah, basically, but I'm a D&D girl at heart, so I like to build worlds on top of the game.

But the worlds usually aren't that well suited for D&D! In fact I think elaborate worldbuilding is sort of antithetical for actually running the game, which works best when you just throw in whatever vaguely fantasy nonsense you think is neat. In contrast when I worldbuild, I like to think about things like society, legal systems, religion, trade relations. None of which is all that relevant to venturing into eldritch holes to get treasure and building castles in the wilderness.

Anyway, to get to the actual point of this post, society. We've all seen the standard roughly feudal, roughly polytheistic stuff so many times, it's fun to think of other possibilities. What if there was a fantasy Pope, like one that has significant power over the affairs of kings and queens? Or what if the elven realm was modeled after the United States, with three branches of government and an air force? What if the success adventurers have in becoming lords of the land was attributed to the mandate of heaven?

What are some societal structures from the real world, current or historical, that you think would be interesting in a fantasy setting? Political, religious, mercantile, whatever. As long as it's related to how societies function, it's fair game.