#this is not a discourse post please do not discourse at me

[fakecrfan]

I know most people on here don't like to go to the gym because you're all gay nerds. I like to go to the gym. For the purpose of understanding this post please try to imagine that you, too, enjoy going to the gym so that you can empathize with my point here.

Anyway, so imagine you are going to the gym. You're pumped about the concept of getting some muscle on you. Plus, the gym has this "lift weights every day!" challenge with a feasible plan to slowly and safely increase the amount of weight you can lift by the end of the month. Cool!

So anyway you go there, and you're having a good time. But then you notice something. Some people are coming in with these guys in shirts that say LIFT FOR HIRE. You're curious, and you notice over time that some people are actually paying these guys to come in and do the lifting challenge for them.

"Huh," you say to your mega hot, muscled gym buddy. "That's so weird. What's in it for the people paying these guys?"

"Dunno," says your friend, mid bicep curl.

"Um, actually!" says the gym owner. "Some people are disabled, so the only way they can lift weights it to pay LIFT FOR HIRE, inc."

"But wait," you say. "They still aren't lifting the weights though? Paying someone else to lift for you doesn't mean you've lifted the weights."

The gym owner gasps. "How could you SAY that?"

"Because... it's true?" you say. "Uh, if you pay guys to lift your weights, that's probably really good for the guys you are paying. But it's not going to develop your ability to lift at all. Your muscles aren't going to grow, you're just going to lose money and get no results."

"That's ABLEIST," they say. "How DARE you! Some people are LITERALLY paralyzed, did you think of that?"

"Well, yeah, some people are, and that means definitionally they can't lift weights," you explain. "And paying someone else doesn't change that. Maybe if they wanted to like, move something in their house it would make total sense to hire these guys! But if you hire them to do your workout you get nothing, because the purpose of a workout is personal development. I'm not morally condemning people who do it, but it seems like a waste of money when this event is, again, about improving one's personal abilities."

"This is absolutely DISGUSTING, CLASSIST rhetoric!" the gym owner roars, and then turns to one of the LIFT FOR HIRE guys, "Pay no attention this disgusting person, dear sponsor, we support your business and we totally want you to keep funding our gym!"

"Sponsor?" says your hot muscled friend who was way too busy actually doing their workout and getting gains to engage in dumb discourse. "Oh, now it makes sense."

"Shut up, you don't understand our love!" says the gym owner, before sloppily making out with a LIFT FOR HIRE guy in front of you.

Anyway, that's what learning about the whole AI nanowrimo controversy was like for me.

[lxcalmenace]

Some silly scenarios with bluelock boys

Based on this headcanon post

Characters included < Isagi, Bachira, Nagi, Rin, Sae and Kaiser > X gn!reader (separate)

tw: none?

⟡Isagi Yoichi - Gets into twitter discourse.

After what felt like months, it seemed that yours and Isagi's schedules had finally aligned. You entered his apartment and made your way to the living room to greet Isagi; just then you saw him sitting on the couch, a furrowed expression crossing his face and his phone in his hand. He was aggresively typing and scrolling on his phone that he failed to notice you taking a seat next to him.

"Oh shoot I didn't see you, sorry", he mutters as he shifts, allowing you to sit comfortably.

"Are you seriously arguing on twitter?," was all you said that made Isagi look away in embarrassment. Ofcourse he didn't want to admit it straight away but he was indeed losing the said argument.

"You know you don't have to prove anything to anyone right? And who even takes twitter seriously nowadays?"

You watched as Isagi let of a small huff before turning off his phone. Without a word, he pulled you in a gentle embrace as the rest of your evening blurred out into soft giggles and tender moments.

⟡Bachira Meguru - Very willing to eat inedible things.

You have been waiting to buy those food inspired scented candles for God knows too many days now; until finally, you managed to get your hands on one of them recently. It was a pancake inspired candle. It was so realistic that you could barely tell it was fake—if it weren’t for the wick sticking out of the top, you might have thought it was an actual pancake

As you opened the box, the mouthwatering, sugary smell of pancakes hit you, spreading throughout the room. This candle was too realistic and just like that, Bachira was willing to sink his teeth into the wax block.

"If it smells so good, it has to taste good too! Let me have just a bite please [name]," he whined. Bro dropped to his knees begging and pleading in exaggerated desperation- as if he would've perished due to hunger right then and there. You couldn't help but chuckle at this sight.

"Ok fine...A little bite won't hurt, but don't come complaining to me later," you sighed as you surrendered the candle to Bachira.

Disgust. Pure disgust washed over his face after he took the bite. He looked at you with teary eyes as he desperately tried to get rid of the nasty taste of the wax; which in response, you just shrugged in a 'I told you so' manner. After helping him wash his mouth and feeding him chocolates to counter the unpleasant flavor, you both finally settled down. Bachira swore that he wouldn't eat anything weird after this incident.

He tried eating cotton the next week.

⟡Nagi Seishiro - Uses two-in-one shampoo and conditioner.

Nagi was out shopping for some groceries while you were tagging alone for some snacks. It was a sunny day, you both entered the supermarket; Nagi took the basket as you made your way inside. He thinks shopping for basic necessities is a hassle and thus the reason for you tagging along to keep him company. You were free to get anything you wanted so you looked around the store, but nothing caught your eye. So you decided to go back, you spotted your tall boyfriend and made your way towards him. He was in the hygiene isle, eyeing down some shampoo bottles.

"Do you seriously use 2-in-1 shampoo? -" you ask, raising your eyebrow. Nagi looked at you with an unbothered expression as he shrugged, "Uh, yeah. Been using that since forever"

"Why are you asking me this, something wrong with it?" the tall male added while casually putting another bottle in the cart.

"Your hair is always so silky and soft; Its hard to believe that a simple 2-in-1 could give you those results. I mean, people spend a ton of money on haircare products, to achieve what you have, you know?" you replied.

"Then, thanks to my genes, I guess," he smirked as he turned around to look at you. You couldn't help but sigh and let out a chuckle. There was absolutely no point in arguing with Nagi- He always managed to win, even when he wasn't trying. You raised your hands as if you were surrendering, and then you both made your way further into the store.

Nagi is a simple guy, and slowly over time, you are starting to find comfort in his simplicity.

⟡Rin Itoshi - Plays roblox.

"Rin, dinner's ready, come down!" You yelled from the kitchen whilst serving the food on the table. A few unresponsive minutes passed, so you decided to fetch Rin yourself; thinking he might be in the shower or taking a nap. Making your way to the shared bedroom, you knocked on the door before poking your head through.

There he was, sitting on his gaming chair, with the lights out, playing..roblox..? You observed him for a couple of minutes, his face was illuminated by the screen, ever so unfazed; Rin was too immersed playing The Mimic that he failed to notice you slowly creeping up on him. The only time Rin was caught off guard was when you tapped his shoulder to get his attention. You swore you saw Rin's face go pale for a second as his eyes widen in surprise. "You play roblox?," you asked as you raised your brows in amusement.

He took off his headset and he nodded, "Is dinner ready?"

"It is"

"Alright"

You both stared at each other.

"Can we play Dress to impress later? Rin please-"

"NO."

Few moments later, the dark haired striker was seen playing Dress to impress, all the bright colors and outfits flashed on his screen display.

"You're doing incredibly well, who would've thought you had those designer skills in you Rinnie," you teased him

"Oh shut up...I just don't like losing, ok?" he scoffed but there was a small smile creeping on his lips.

You rolled your eyes playfully, knowing very well that he only agreed to play this if only you were ready to join him in his horror games. It was a win-win situation for both of you.

⟡Sae Itoshi - Had an emo phase

Your phone was buzzing for quite some time now so you finally decided to check who was texting you at this time of the night. Sae was on his way home from practice; Deciding to stay up and wait for him to get home, you layed down on the couch while keeping a random movie playing in the background. As you opened the chat, you couldn't help but burst into laughter- There were old pictures of Sae; eyes lined with eyeliner, hair was dyed dark and swooped to a side and he was wearing dark clothes. You saved all the pictures one by one as you swiped for more, that's when you heard the door open- signaling that Sae had returned home. Quickly turning off your phone, you were trying so hard to contain your laughter, but a giggle escaped your lips.

Sae muttered a small, "What are you up to [name]?" before raising an eyebrow at you. He knew that you had something cooking up due to the way you were smiling at him.

"Sae," you purred, "if hypothetically someone were to leak your embarrassing pictures, what would you do?" you grinned.

You watched as Sae's expressions went from neutral to that of pure horror.

"[Name] don't you dare-" he warned.

"I'm not saying that I have any embarrassing pictures of you tho," you replied, "It was a hypothetical question, unless," a smirk formed on your lips as you looked at Sae. "You never know what could happen next."

His eyes widen in disbelief, he knew that you had something against him. "Fine, I don't have the energy to do this. Tell me what do you want," he sighed, giving up. "But atleast show me these hypothetical pictures you have acquired, and where did you even get them from?"

You giggle as you showed him all of the pictures; to which he openly cringed hard. He was definitely not expecting this. It brought back so many of his memories before going to Spain. He sighed as he accepted his faith and made his way to the bedroom to freshen up. You typed a quick 'Thank you' and sent the chat.

"Rin reacted '👍' to your chat."

⟡Michael Kaiser - Sleeps in till noon

'12:27'

It was past noon. You had finished making breakfast, eating it, doing some chores around the house, watering the plants, having a small snack and watching a few episodes of your favorite show, and yet your boyfriend was still in your bed, sleeping peacefully. You would've chalked it up to him being tired, but he had gone to bed exceptionally early too. It was starting to concern you now. What if he was not feeling well? You made your way to the bedroom and entered it silently. There he was, soft breathing and sleeping peacefully. You sat down beside him and gently touched his forehead to check if he was sick. Everything was fine. You decided to run your fingers through his messy bed hair, untangling any small knots. Michael slowly started to stir and the first thing he did was kiss your hand, which made your lips morph into a small smile.

"Good morning, mein Schatz," He mumbled groggily, "What time is it?" he asked while rubbing his eyes. He let out a yawn as he sat up your bed

"Its good afternoon now, wake up Micha," you continue to run your fingers through his blonde locks as he embraced you, still feeling sleepy.

You pat his head, "C'mon have your lunch, you must be hungry."

"Are you on the menu?" he muttered against your shoulder.

". . ."

"Then no, I dont want to eat"

"Michael no-"

Not proofread so ignore any mistakes and ty for reading !!

[sherbertilluminated]

Last night I was talking with my friends @teefigotem and @calypsopond about the pacing of the musical Les Miserables. I think Les Mis' libretto is one of the best foundations for a musical out there, but the first act has so much more plot and more iconic songs than the second, and I worry that top-heavy structure diminishes the ultimate impact of the uprising in the second act.

Caly and Maddy agreed that the 2012 film adaption had the right idea when it swapped the positions of "Do you Hear the People Sing" and "One day More." Transplanting the former to the beginning of Act 2 maintains the balance of revolutionary fervor (and iconic songs) between the two acts, and a serves as a payoff to the tension at the end of Act 1. While "Upon these Stones/Building the Barricade" begins Act 2 in the current libretto, it's high on exposition and low on enthusiasm. Since "Do You Hear the People Sing" has become an international revolutionary anthem, making it the opening of the uprising, rather than the prelude to it, builds on *ahem* that connection.

Just picture it: the audience returns to their seats, the orchestra hums with tension, and the lights go up on a somber street with a single voice—Enjolras, probably—singing. Students emerge from the set, workers join in, the turntable starts turning and it becomes clear that soon a barricade will be built in the street. The subsequent Marius/Eponine conversation that transitions into "On my Own" would still probably work here. In the span of fifteen minutes, the thesis statement of the revolting students turns into the reveal of the final barricade. It'd be pretty damn rousing, right?

The potential problem with this change is the lacuna it would leave behind. In the current structure of Les Miserables, "Do you Hear the People Sing" is an elaboration on Enjolras' claim that "they will come when we call!" and going directly from that rallying cry to a quiet romantic interlude flattens the rhetorical tension between romantic love and revolution "Red and Black" and makes Mairus seem a little silly (which, to be fair, he is. But Enjolras is not.) Although "Do You Hear the People Sing" is a little too bombastic for Act 1, before the uprising actually begins, there's still got to be some kind of transition. Something needs to foreshadow the violence to come. But what?

I proposed that the best transition would be a reprise of Stars. And that Eponine should get to sing it.

Since the Broadway premiere of the musical Les Miserables in 1987 and especially following the 2012 film adaptation, Eponine's character has been a locus for fandom attention and discourse. Because she's really compelling: despite being the daughter of the selfish, abusive Thenardier, she devotes her life to protecting Marius and ultimately sacrifices it for him. But the closest she ever gets to being understood is by the audience; even Marius, one of two people in the show to be kind to her (the other being Valjean), doesn't really understand the full extent of her devotion to him. And that devotion is powerful, whether as a proxy for audience members' own experiences with unrequited love or a representation of the bourgeousie's reliance on unacknowleged suffering. There's a lot going on with her in the musical. But there's even more to her in the Brick.

Unlike my esteemed Les Mis mutuals I'm definitely not informed enough to do original analysis, but I'm a big fan of the Javert/Eponine wolfdog theory. My introduction to it was with this post by @pilferingapples, although I don't know whether it originated somewhere else. The theory posits that Javert and Eponine, who are both compared to wolfish dogs for their ferocity and devotion to their idiosyncratic systems of morality, are character foils who represent the limited choices offered to people excluded from. I definitely don't know the op who suggested they trade methods of death (if anyone does, please let me know!) but that's also in the Brick. And while the musical adaptation doesn't preserve Hugo's canine/lupine symbolism, it keeps Eponine's one-sided committment to guarding Marius. And it keeps Javert's devotion to the institution of Law.

"Stars" is the hymn of that devotion. It's more sinister than Eponine's love for Marius, but in the grand scheme of things it's just as pathetic. Giving a short reprise of that song to Eponine not only explicates that parallel and gives new life to relatively-unused musical motif, it has the potential to tie together the action of the first act and add a new dimension to subsequent scenes.

Imagine if, instead of beginning "Do You Hear the People Sing" immediately after "Red and Black" or transitioning directly to the Rue Plumet, the scene changes to the outside of the ABC cafe. On the other side of the turntable/wall, Eponine is waiting. And worrying. She knows her father's going to rob a house tonight and that the girl Marius asked her to find lives there*. She can't let her father hurt him. She's smarter than him. She'll do whatever it takes to keep him safe, she swears—not to God or the stars, as Javert does, but to herself. The promise is shocking, because the audience heard that melody two songs ago and are just now discovering there is another way to be. There is another vow that can be made.

While she's singing, the ABC society files out the door. Maybe some hand out pamphlets or chat with people on the street. If the production wants to emphasize Eponine and Gavroche secret sibling bond, maybe they interact a little. But no one pays her too much mind. No one ever does.

The last person to emerge is Marius, looking a bit shaken. The timeline of the students' plans has been unexpectedly accelerated, he says. In case it's his last chance—nevermind why, 'Ponine, don't worry about me—he needs to see her once. You've found her, haven't you? Could you show me? Please? For my sake?

Consumed by shame and dread and the sense that he'll probably do something really stupid if she doesn't tag along, she agrees. And the stage begins to turn into the Rue Plumet, where "In my Life" begins. The whole interaction would take maybe two minutes.

There are of course thematic objections to this plan. There's the argument that "Stars" ought to be a unique, distinct song like "Bring Him Home." But those motifs are reused in instrumental form after Javert's and the students' respective deaths, so I don't necessarily think they're scene- or character-specific. There's also the argument that the melody of "Stars" is altogether too rigid for Eponine's character. I think there are a couple moments that would work quite well with the emotion("and if they fall as Lucifer fell," for example) but if you really don't want Javert's and Eponine's motif to cross, the melody of "A Little Fall of Rain" ("and you/I will keep me/you safe") could work for this moment too.

There's also the argument that Eponine already gets "too much" attention in the musical adaptation and doesn't need. But I don't know if that's true either. She interacts with Marius in several short scenes, she's present for "A Heart Full of Love" and "One Day More," she goes on her errand to Valjean, sings "On my Own," goes back to the barricade and dies shortly after. She gets about as much stagetime as Cosette does, and a little less than Marius.

It's true that she stands out as a character, but that's because she's got such interesting writing and is so isolated in the narrative. And while it's important to keep her "on [her] own," for the plot, using shared motifs to emphasize her symbolic similarities with other characters might make her character fit more cohesively into Les Miserables' grander thematic narrative. It could even make "On my Own" that much more powerful if she has a little hope that saving Marius from her father might get him to like her, and subsequently understands that this is not happening. But there's a lot more to her than being Marius' rejected best friend** and this choice has the potential to make that clear onstage.

In conclusion: moving "Do You Hear the People Sing" to the start of Act 2 letting Eponine do a wolfdog reprise of "Stars" between "Red and Black" and "In my Life" would be sick as fuck and maybe resolve some pacing issues in the libretto.

*There is a moment in the show where she realizes that she and Cosette grew up together. I like it in concept but it's a little awkwardly-placed and integrating it into the unnamed Red and Black/In my Life transition song would be great. Overall, her interactions with Marius seem like afterthoughts in between the larger numbers, which isn't fair to either of them.

**And for the record: this not a post pitting her against Cosette! They are both good characters and I wish the best for both of them!

[amiibo-king]

i think the other thing that bothers me about the whole "asra/mc is power imbalanced" take that bothers me, besides the kind of ableist implication that mc having the magical equivalent of a TBI makes them basically a child, as well as the pretty flagrant mischaracterization of asra and general disregard for canon, is that it kind of pushes a specific characterization of MC that feels very presumptuous.

what i mean is, you can certainly argue that the mc and asra's situation *has the potential* for an unhealthy, imbalanced dynamic. certainly, all of the routes have that potential, its part of the point of their reversed ends. but, when it comes to two adults with equal political/social authority, whether or not a dynamic is unhealthy relies heavily on the personalities of the people involved. Just because a situation has the potential for an unhealthy dynamic doesnt mean one is automatically going to be there, and whether or not one forms is going to depend entirely on how both parties' personalities interact. in the same sort of way you can get an upright or a reversed end depending on the kind of mentalities you choose to encourage in your LI.

now, i would thoroughly disagree with anyone who claims that asra exhibits any sort of power over or manipulative behavior towards the MC even in his reversed end! but even putting that aside, the fact that the health of a dynamic is dependent on both parties personalities means that whether or not your MC's dynamic would be unhealthily balanced is going to vary from person to person.

Everyone brings their own personality to the MC, and I dont know about anyone else, but I personally have my own ways that I mentally bend the canon actions and reactions of the MC in my head as I read to better fit how I would react to things (because often i think, i would not react that way, but instead this other way!) and I think everyone does that to some degree. and I think where the people who make this argument are probably coming from is that they look at asra, and they look at their own MC, and they think, well, my MC would not have a healthy dynamic with them. which is fine, and they are allowed to feel that way! I frequently feel that way about Nadia's route because I have some discomfort with the idea of dating someone with that level of political power. but the problem is, instead of realizing that that is a function of their own MC's personality, and saying, "his route is not for me" they project that onto everyone else's MCs as well, and assume that everyone else's MC would have the same dynamic with asra that they personally would have.

And that bothers me, because you're welcome to have your own interpretation of the canon, even if I disagree with it. And you're allowed to have your own idea of your own MC's personality and dynamic with the LIs. But I would prefer if you didnt then try to tell me what the dynamic between *my* MC and their chosen LI looks like, because you can't know that.

there's more i could talk about, like the fact that the entire plot of asra's upright route revolves around mc and asra learning to flourish as individual equals, (to the point that i have to wonder if the people making this argument read his route all the way through) or my confusion about why the fandom latched on to asra/mc as the supposedly inherently unhealthy one when there are other routes with much worse potential for such imbalances, but this post is already so long as it is, so i'll end it here.

[crimeronan]

it's sometimes so silly to look in the notes of a polyamory art/post and see people like "is this cheating art....?" when the characters in canon are all extremely close friends. i know it's not malicious because most people think of monogamy as the default and anything outside that Must be cheating, but truly i'm always like. guys. guys Please.

please think about this for like 2 seconds.

under what circumstances do we think this non-canon couple might hold hands directly in front of their canon partners. and under what circumstances do we think the canon partners might be okay with this. do we Truly think this is a secret relationship. do we Truly think these guys would sneak around behind their canon partners' backs when all of them are extremely close friends with a high level of trust and commitment to each other.

would assuming that these extremely close friends have actually communicated with one another Exactly The Same Way They Do In The Canon Source Material perhaps cause less despair.....

[cloudysfluffs]

REALLY considered not posting this one.......might delete later

ns//fw and/or ki//nk blogs please dni!!!

[theminecraftbee]

alright, so, one more thing i've been thinking about during all of this, and apologies, because i normally try to keep my blog fairly discourse-free in the grand scheme of things. but.

there are hermitcraft fans who act irritatingly morally superior about this fandom. i think it's out of some impulse to try to distance yourselves from any other mcyt fandom. it needs to stop.

the worst behavior during the polls was from the hermitcraft fans.

period.

there were so many instances of hermitcraft fans accusing the other side of cheating, of hermitcraft fans making attacks on the character of their guy's opponents, i have heard what i HOPE are isolated reports of racism in the grian/quackity fight (it was genuinely impossible to keep up with the blog's notes that round without both going into a death spiral thanks to the horrible behavior of scar fans during techno/scar and also without losing track instantly of where we were due to the frankly insurmountable volume of notes, so i did not see it, but unfortunately i fully believe it). i have seen people receiving awful asks - saw people being accused of 'betraying' the hermitcraft side due to voting for quackity or techno, for example.

and for a fandom that likes to act like it's better than the other guys, well. the dsmp fans were generally very well behaved in comparison. (shoutout, for example, to quackblr - i saw maybe one or two possible instances of bad behavior, but for as intense as you all were, you all were normally mostly just retaliatory towards whatever energy was thrown at you.) it wasn't supposed "outsiders coming in" that was doing this bad behavior, either.

folks, you can't blame the dsmp when the problem is inside the house. you can't blame twitter users when you're doing it here. you can't blame the reddit when you're the ones throwing the first death threats.

get off your high horses. we're all mcyt fans. we're all having the same fun. get off your high horses. you can hardly claim we're entirely all "unproblematic" when keralis accepted a sponsorship from the wizard game and xisuma periodically gets another round of getting shouted down over something he said on xisumasays. get off your high horses. you can't claim we're the accepting, good behavior fandom, unlike those other guys, when you're the ones causing the problems.

now, as always, i'm sure this is a law of large numbers thing to some extent. as technoblade, wise as he is, said: sometimes when you get a large enough group, you're going to have a few serial killers. but for the amount that hermitblr likes to act better than Those Other Minecraft Fandoms, and those Other Fandom Websites, it wasn't those guys that made me cry.

to be clear, the majority of you have been well-behaved. but there's a persistent tendency in this fandom to act strangely morally superior to other fandoms. and, y'all? you aren't.

you just aren't.

and the sooner you acknowledge that, the less likely this is to happen again, because once you admit that yeah, we can be toxic too? that's when you can start actually looking at yourself and trying not to be.

anyway, sorry again to make this post. i don't want to be a downer, hence why, outside of the official mod statements of "chill the fuck out", i didn't make this until now. (it also helps that i wanted to wait until i was no longer furious, upset, and death spiraling.) i have seen a lot of the best of this fandom over the past two weeks! i've just also, unfortunately, seen some of the worst, and feel the need to make this statement because it's just... been eating at me.

i don't want this to continue to be a trend. i think we can do better. do so.

[poorly-drawn-mdzs]

Wei Wuxian eats a watermelon. Yep!

[thirdeyeblue]

“Nine would have treated Martha better than Ten did”

I need to talk about this argument that never seems to stop circulating.

Note: Not a venomous/anti post. There’s more than enough of that across fandom spaces as is, and this is supposed to be a place for ✨sweet, blissful escapism✨

When making this argument, people seem to envision a scenario in which Nine never met Rose.

While I can appreciate a good hypothetical, recognizing Rose's significance to the Doctor (Nine and Ten) is essential to understanding why things with Martha played out the way they did in the first place.

In the third series, the Doctor is grieving. This grief is deliberately threaded into nearly every script, whether spoken aloud or not (and these are just a few examples):

He's burning in Rose’s wake the entire time Martha travels with him, which is why it’s so frequently called upon: It’s 100% deliberate in framing his grief. He grieved as Nine too, of course— having been fresh on the heels of the Time War — but then he met Rose, which changed everything.

Back then, he was still a rude, traumatized pain in the ass, but we watch Rose soften more of those jagged edges with every episode as they grow closer; as he lets his guard down and forms a deep connection with her.

He falls in love (against his better judgment) and it's game over.

And yes: provided S1E1 had been titled 'Martha', one can realistically assume things might have unfolded similarly to how they did with Rose. However, it wouldn’t have been that way just because the Doctor was Nine and “Nine was different” — it would be because he wasn’t already in love with someone else. The same can't be said for the start of S3.

Think of it like this: if Rose AND Martha had been in that cellar — if Nine had taken both of them along with him in S1 — we’d eventually be looking at the most melodramatic love triangle ever, what with him living in close quarters with two brilliant, gorgeous, compassionate young women... But Doctor Who is plenty “soap opera” as is with just one woman in the TARDIS.

(I certainly wouldn’t object to reading that fic, though)

Now, regarding the unrequited elephant in the room…

His inability to be romantic with Martha isn’t because he thinks her lesser, nor is it for lack of compatibility. It isn't because Rose is any better than her. It certainly isn’t just because he’s Ten.

It’s really only for one reason, which can't be denied — and now I’m a broken record:

He is still in love with Rose.

(cut from a tenrosedaily gif)

Nine is Ten, and Ten is only such a mess in S3 because he’s just lost the love of his life. Martha merely got caught in the crosshairs of a volatile Time Lord in mourning, and yes — it sucks. Absolutely.

But it also feels dismissive to chalk Ten and Martha’s relationship up to little more than some sort of mindless dance of pining, jealousy, and toxicity.

Ten trusted Martha with his life over and over again — and hers, with him. He constantly praised her brilliance, happily carting her around time and space with no intention of letting her go. In the BBC’s extended universe of novels/comics/cartoons/etc, there’s so much depth to their relationship: love and trust and trauma and sacrifice. They had their own special bond as mates, their own complexities — so it’s a bummer that it's forever overshadowed by the other things.

I’m not denying that there was a lot of stuff that sucked/was for sure toxic about Ten's S3 behavior, but so many of the things I've seen him catching flak for can be directly attributed to being A Clueless Fucking Alien Idiot (not a trait that’s unique to Ten) — as well as his flat-out obliviousness to Martha’s feelings.

So yes, I agree: if Rose never existed, he would have treated Martha differently as Nine. He also would have treated her differently as Ten. Certainly.

But Rose did exist, and when discussing canon, it matters.

“He tells me that he absolutely, 100% loves Rose... He tells me how my daughter; my wonderful, beautiful, clever little girl saved him from himself before… And he says that’s all because of me! I made her into the Rose Tyler that saved him.”

-Jackie Tyler, Flight Into Hull!

Martha got the short end of the stick in S3. She came round at the wrong place and time, but that doesn't mean it was all bad. It doesn't mean the Doctor didn’t adore her. It certainly doesn't mean the time they spent together was wasted or worthless. They were brilliant!

Sure, he could be a twat, but let it be known that he was a twat with Rose as well, both as Nine and Ten. I’m sure Tentoo can be plenty infuriating, too. So while I'll defend Ten (and Tentoo) into the ground forever and ever and ever, I'll concede that he's fucked up.

The Doctor is a certified Pain In The Ass. It’s one of the things I love so much about this character — dynamics.

But never forget that Martha was goddamn tough as nails and overcame every bit of it. She moved on with her life, and the Doctor moved on with his. One can only pray that, when they inevitably drag her back onto the show (which feels inevitable if I'm honest), we see at once that she's been living her best life for all these years.

[sukirichi]

PLEASE STOP COPYING FICS ‼️

I am by no means gatekeeping concepts or tropes. We all know that it’s normal to see the same tropes or AUs be used differently, and that is not plagiarism. However, I recently found a fic that was oddly similar to my old (and discontinued) Gojo x Reader series, Reckless. The CEO! Gojo is nothing new, and neither is an accidental pregnancy trope. The only reason I am concerned is because this Gojo series I found has the exact same themes as Reckless that consists of: a playboy CEO Gojo with a very notorious reputation, a poor reader who is an employee and asset to the company (someone who works closely with Gojo), reader getting knocked up from a one night stand with Gojo, reader with a seemingly dead/absent mother yet still in contact with her father, Gojo with a very traditional family who does not like reader, and Gojo with an ex he struggles to let go of - which are all elements of Reckless.

The first chapter of that Gojo fic is also eerily similar to my first chapter with the same flow of: YN finding out she’s pregnant and her friend being there for her, Gojo saying he’ll take responsibility because ‘they both made the baby’, YN having to move in with Gojo to take care of the baby, and both of them coming to a mutual agreement that their ‘relationship’ will be purely for the baby’s benefit. The flow of events and specific details about the characters’ backgrounds are too similar to mine.

Again, I am not gatekeeping concepts, just as how I’ve had other writers ask me if they could write their own stories or takes based off of the NAOYA’S TROPHY WIFE COLLECTION or the BONTEN HUSBANDS EXCLUSIVE, and I’m fine with that. I’m even happy people are inspired by what I write. But being inspired is completely different from taking someone’s story and posting it as yours. Please trust your own creativity and skills in writing. You can write amazing stories and have people love them without having to steal from others.

It’s sad to say this is not the first time I, and other writers, have been plagiarized. It’s even more upsetting to know that a friend of mine who has also written a Gojo series (that I’m sure you all know and dearly love) experiences the same issues with the same person. The fact that this is happening to many writers out there is disheartening. We work hard and pour a lot of love in the stories we create. None of us are getting paid for this, and we simply want to share our passions with others. So please, let us be kinder with one another and show love and support the right way. If you love a fic, you give feedback and rb/comment + show support to the writer. You don’t steal their ideas and play it off as your own because you liked it.

[pyrosomatic-metamorphosis]

OH. okay so normally i dont touch discourse with a 20 ft pole, but this has been niggling at my brain tonight and i finally realized why

the people who are mad at qbbh for the memory loss and “dodging consequences” dont understand that he doesnt want to dodge consequences. Like they cant know that, they werent focused on him when he was literally feeding himself to the soul vultures and planning his eventual imprisonment and also. The Many Many Many hints he made towards suicide/sacrifice/Just Fucking Dying.

ccbbh is a subtle roleplayer, he’s been building this shit up for two whole months- it was day FIVE of the eggs going missing that he resolved to do whatever it took (hurting his friends) to get the eggs back. It was day three that he followed in dapper’s footsteps and started feeding himself to the soul vultures (and gaining a Massive headwound beneath his hood in the process- you can only see it if you go on namemc and remove the layers). He’s got impaired judgement. Even the memory issues arent a new thing- i cant remember exactly when they started, but one of the first big moments i remmeber was september 30th where he spent an hour falling into a delusional frenzy searching his base for cameras that he forgot he asked aypierre to plant.

The super murder of purgatory and the memory loss afterwards probably all feels very sudden for people who havent been following his story, but as someone who has been- all of this has been true to character. The only cheap swings he’s made have been combat-based in purgatory, and even the motive for those was built up in rp.

People are calling for consequences, but he has alrwady been experiencing self-inflicted consequences for months. The blue on his usual outfit is blood. This recent memory loss isnt a restart to get away with the atrocities - it is yet another consequence of his egg-protecting complexes and the ways he punishes himself for failing them.

he is NOT a moral character. he’s a demon hiding in plain site. he has eaten people. he has killed people. he understands the cruelty of his actions, and the consequences of them for the loved ones of his victims. but it matters when that harm is being done to his loved ones. he’ll still do it, because he will do anything for the eggs, but it matters, and that means that he has already started the process of self-inflicting those much-demanded consequences

[incorrect-jojolands-quotes]

Hot take but I think what we saw in chapter 13 was necessary.

I don't think a lot of people realize how important it is for Araki to portray what he did, even if it extremely difficult to take in. Let me explain.

Araki has discussed about topics like racial and class disparity through both Steel Ball Run and Jojolion, but JOJOLands is different because the discussions are now very direct. We had Chapter 1 open up with police brutality and Chapter 13 open with intense bullying; both acts were committed by people of higher social standing/power and seemingly White (or white passing) and both are harming a dark-skinned queer individual. Not only that, remember that Hawai'i is an island stolen and colonized by the US and many indigenous individuals who were supposed to live and maintain kapu are being forced to endure housing problems, loss of culture, etc. due to gentrification and exploitation of its lands. 2020 was when we saw global protest towards the deaths of George Floyd and Breonna Taylor due to police brutality, which has spread as far as Japan in terms of demonstrations and rallies. Araki has made it clear that he tries to take real world experience into his writing, and this is no different. He is also no stranger to portraying law enforcement throughout his parts without glorifying or downplaying their behavior.

As a mutual of mine (who themselves identify as a black GNC individual based in US) has put it, those who identify or even appear as Black while identifying as trans-femme or women are subjected to some of the worse kinds of oppression possible in America. Queer women of Color are one of the most susceptible to sexual violence-- especially when they are young, and the darkness of their skin really plays into it. This is transmisogynoir; it is a hard pill to swallow and acknowledge, even if it feels excessive, and its a multilayer of oppression that connects a person's racial identity, gender, and sexuality as targets of discrimination. It's the fact that one is POC, a woman, AND queer that makes one a target--- not just one or the other. You can’t turn a blind eye to this because it happen constantly throughout America's history and American society even today, but you can't simply water it down or downplay it. In fact, many victims of transmisogynoir have no choice but to downplay their experiences because of their Black identities or because they appear too dark to be taken seriously; when they, especially if they are Black, try to hold people in power accountable, these individuals are suddenly labeled aggressive, indignant, etc. and they are further discriminated for attempting to speak up. Dragona downplaying the bullying isn't them just trying to avoid further conflict but a reflection of how many who were in similar situations like Dragona are forced to simply forgive and forget the trauma they have to endure. To downplay it ourselves is reinforcing the narrative that individuals like Dragona in real life should remain silent and endure their harassment rather than rightfully protect themselves and others from it.

Another thing to add is that the way Japan portrays and treats the LGBTQ community, particularly the trans community. In Japan, the process to legally change your gender is complicated and requires a lot of steps that include, but not limited to, being diagnosed with gender identity disorder, proving you have no kids/guardianships, and sterilization. This causes a lot of individuals to be forced to quickly transition as a means of getting their gender recognized, which takes away the time to let them explore at their own pace, and this is due to how the process can lead to hindering career and life opportunities that wouldn't be hindered had they already transitioned or stayed closeted. Many Japanese trans individuals unable to go through the process quickly either remain closeted or move away from Japan to transition at their own pace. So, as a result, the trans community and its struggles is not as noticed compared to outside of Japan. Another thing to add is that the trans community in Japanese media is often portrayed as comedic relief or a gag. Oftentimes, the trans character or character who diverts from gender conformity (i.e cross-dressing, acting more flamboyant) is the butt of the jokes. Some thing to note is that, when Dragona was first introduced, a lot of people thought that Araki put Dragona in simply for comedic purposes. I had people joke about how Dragona is just there because they believed Araki is trolling. Not only that, the racial issues that Japan has often results in jokes towards non-Japanese individuals in media, especially if they are of darker skin color.

So, Araki putting Dragona in these difficult situations is also meant to subvert expectations that his Japanese, and possibly Western, audience may be expecting. The expectation was to laugh and toss Dragona aside as a single-dimensional character, but Araki instead forced us to face the trauma through Dragona's experience head-on. We are made aware of Dragona's situation, how real and difficult the struggle is, and we end up emphasizing with it rather than laughing at it. Through this, we get a glimpse into real life experiences of trans POCs without it being downplayed and have it show how Dragona is a fleshed-out character with importance to the series. As some have put it, this chapter proved that Dragona isn't just a side character but arguably a complex individual on the same level of importance as Jodio. I don't think it would have been easy to have the same impact if another approach was taken.

While talking to others who identify as trans and/or GNC about their thoughts on the chapter, I was told by many of them that, while Dragona's experience hits close to home and was hard to digest, they appreciate seeing it being expressed and hope it will help other people understand their struggles. One noted how the introduction of Smooth Operators with the backstory as empowering, seeing the Stand as a symbol of surviving the trauma that comes with trans discrimination. I do find this a bit telling with how many people online who are against Araki's portrayal barely mention what trans/GNC people have said about it.

My main concern, as well as what I see people have rightfully critiqued, is the excessive trauma reinforcing the fetishization and violent voyeurism towards trans individuals; it also reinforces the problematic narrative that dysmorphia can only happen as a result of trauma and the trans experience can only be full of pain. There's also the issue that Dragona's experience also happened while they were under age and their harassment is similar to that of Lucy. It's a common trope in Western media to put marginalized people into these situations while upping the ante simply for clicks and pleasure, and even worse when the character portrayed is a minor. As I reiterate, it is a very uncomfortable chapter to read and I don't find it enjoyable at the slightest. Just because I understand why it is necessary doesn't mean I condone the approach done. I also understand Araki as a Japanese man can only relate and portray a queer American's experience to an extent. But, at the same time, the exposure was necessary because it gives us the awareness and a voice to trans people that is lacking within media even today. We need to be aware and acknowledge what our BIPOC trans community goes through as a means of being better humans--- and especially our younger community members. We need to make our society safer for them so they can thrive and have the respect they deserve. Oftentimes, that starts with how they are portrayed and how their experiences are portrayed. While it is still a journey and not every representation will be perfect, we can't simply toss it aside and bash those who try to show something realistic just because it is uncomfortable.

I only hope that Araki wrote Dragona and these scenes as a result of doing extensive research and reaching out to actual POC queer individuals, particularly transfemmes/women, to understand their experiences and have their blessings to use their words to shape Dragona. I feel like that would show that Araki was serious about discussing these issues through his characters rather than simply using Dragona's traumatic experience it for entertainment. I have higher expectations for Araki now, knowing that it may not be the last time he shows a character experience harassment and possibly have Dragona be harassed again, so I will keep my eyes open for this.

[purecommemasolitude]

There’ve been criticisms about Darry being too mean or too cruel in the musical, and I get where those people are coming from, but — and speaking as someone who hasn’t seen or listened to it but has listened to the soundtrack and follows the information account like the paper — I think this phenomenon stems from two things

First, on the side of the discussers, a lack of exposure to the musical as an actual piece of material instead of (occasionally very out of context) lines or screenshots. Obviously seeing the musical, even if one lived in New York, would be expensive as all get out, and even audios and boots are pretty hard to find for this show, but there are many details and contexts that change how lines on the page should be interpreted that simply cannot be gleaned through, well, lines on the page. As someone who has dabbled in acting & directing, and has spent time analyzing play texts in depth, delivery and direction can change everything. The entire sentiment of a line can be the opposite of what you’d expect if you took the line at face value, and unless that’s explicit in the stage directions, it can go unrealized if one is merely reading the script (which, as an aside, is exactly why I find analyzing play excerpts tricky — because without a performance or direction, scripts are often so ambiguous and versatile that they could go any way). And honestly, despite also being someone who unfortunately does not benefit from first hand knowledge of the musical, I feel like this is very evident in discussion of Darry in the show. For example, none of his lines in, say, Runs in the Family (Reprise) should be taken at face value, because if you’ve even listened to the song you can tell he’s completely spiralling and hitting a breaking point. This is a state that, historically, causes people to say things they’d never believe in real life. We’re not meant to believe Darry would ever walk out on his brothers, we’re meant to hear him talk about it and understand how deep of a breakdown he is having. As a less obvious example, from what people online have said, Darry spends the last twenty or so minutes of the musical in tears. Again, the things he says here aren’t necessarily the things he believes, or things that he’s expressing coolly or off-handedly because they line up 1:1 with his worldview, they’re things he says when he’s desperate and struggling and has no idea what the correct path is when his brother & responsibility has effectively been comatose since the deaths

Which brings me to my next point!

One of the most known things about the musical, even to people who aren’t very familiar with it, is that it goes more in-depth on Darry’s trials and tribulations, so to speak. He gets one solo at status quo, another (mostly) solo when he gets his breakdown, and a (mostly) duet in his own self-described darkest hour during Pony’s absence. All three of these songs go into detail about what his life is like and how much he’s been struggling, and even songs that aren’t about him emphasize this feature of his more than in the book: his description by Ponyboy in Tulsa ’67 & Great Expectations reminding the audience of his life’s path, his verse in GGAH making it clear that his life is a very different one with arguably more severe burdens compared to the other boys. Other than the three most important characters of the original narrative, he is now undoubtedly the most important and developed character — which makes sense in a musical format, because with the story of The Outsiders it would’ve been pretty much impossible to do a true ensemble cast other than the main three while doing any of them justice, especially if they’d kept Steve as a principle (rip king). But I digress. In my opinion, being clearer on Darry’s hardships actually gives the musical space to show him as saying crueller things, to have him make more mistakes and mess up worse. In the book, we’re clearly meant to sympathize with him by the end, but we only get Ponyboy’s infamously flawed and unreliable narration as the lense through which to view him. As such, if we went too hard into Darry messing up, while 3/4 of the book have Ponyboy going “yeah Darry’s a rock and doesn’t love me or anyone”, he ultimately would’ve come across a lot worse and a lot harder to “redeem” in the eyes of the reader (personally I never disliked him, but I’ve seen enough accounts of people who hated him on their first go at the story to know it is not an uncommon sentiment). He already slaps his brother and argues with him all the time; it would’ve been even more legwork to make him liked if he’d also been saying harsher things and making more mistakes. In the musical, however, we get that objective perspective that’s missing in the book. Ponyboy’s not narrating to us the lyrics of Throwing in the Towel, he’s not even present for the events of Throwing in the Towel! It’s a lot easier to understand and forgive mistakes if one is familiar with the psyche behind those mistakes, and the musical delivers that psyche to us at every turn. Because the audience understands Darry Curtis and how hard it is for him to hold on, the audience also has more understanding and forgiveness for when he’s spiralling. It’s also just a more specific proof of his plight — three songs with first-hand, emotionally explicit lyrics penetrate the uninvested understanding a lot easier than a second-party description of circumstances. Due to its nature and promotion of Darry’s importance, the musical simply gets more freedom to show an arguably more realistic version of him.

Also, I do believe that Darry in the musical is just that much closer to the edge than he is in the book, which is a valid character choice in an inherently emotional and transformative medium such as the musical adaptation 🤷🏻‍♀️

[crimeronan]

bi people tagging the joke fagdyke kinsey scale post about how they wish there were more slurs for bi people because they can't be a dyke or a faggot..... baby Please.....

straight people have NEVER cared about whether you experience exclusively homosexual attraction when they hurl slurs out of passing cars. those words ARE your slurs if you want 'em.

[theminecraftbee]

okay, so. let me be a bit clearer about why a lot of the stuff people have been suggesting i should do with lizzie in the joel persona au bothers me:

so like, it's not a great feeling to have a bunch of people are going "you should put lizzie in your au to be joel's dedicated love interest."

it's a problem with lizzie characterization in this fandom in general: SO OFTEN she is reduced to just being joel's wife or joel's dedicated love interest. and man, i like jizzie as much as the next guy, and maybe it's not my space to talk as someone who is much more of a joel main than a lizzie main, but it feels Bad. it feels Bad that very frequently the ONLY reason lizzie is in an au or a fic or something is because joel is there. because people see her as automatically coming with joel as a pair instead of like... as her own person to be involved in something by her own merits or not.

she has other traits! she does her own things! she doesn't just need to be here as joel's Cool Friend or joel's dedicated love interest! and she doesn't need to be here automatically because joel is, as though that's a requirement, either, because that starts to boil down to the same sort of "you see her as an extension of him" feeling. and i'm sure many people are just suggesting her to me because they really like her, and NOT because of this, but the number of un-posted "she should be a childhood friend of joel's" "what if she was the lovers" "what if she were this mysterious person joel has a crush on" "she should be his velvet room attendant"... you see how all of those are putting her in a role that is Inherently More About Joel? and i GET why you want her as a cameo and would be sad if she weren't, but like...

man. it just feels bad how often her ONLY character trait seems to be "joel has a crush on her", and i didn't want to contribute to that.

anyway i have come up with her cameo role that i think is funny but i am putting my foot down on "and her other important trait is of course that joel has a crush on her" because i just. this bothers me A LOT. and i know i'm one to talk given that i don't write her that often and given that, as i said, i like jizzie, but like, man. she's her own guy, guys. she's not solely part of a pair.

that's all i guess.

[guinevereslancelot]

babe would you still love me if we were superheroes and you were in danger and i went absolutely bonkers and crossed every moral boundary imaginable to protect you at literally any cost?