#two things are allowed to intersect and co exist

[ride-thedragon]

Nettles Discourse.

I'm a big Nettles fan. I accept that the bias I have towards her can affect my judgement when it comes to negative discussions, no one likes their favourite characters to be undersold or talked about in a negative regard. That being said we've lost the plot yet again when it comes to her.

I know I can be out there with my claims about her (George literally wrote asoiaf to support her narrative), but I do think she's often disregarded about the way she impacts the narrative. Because she does, she leaves some of the biggest questions that carry over into the main series in fire and blood.

. Was she a witch that seduced a prince

. Did her and Daemon spend the rest of their days in the Vale.

. Did she create the burned men

. Is she actually Valyrian

. Can non Valyrians ride and claim dragons.

. What happened to her and Sheepstealer (the dragonskull found in the main series...)

For who she is as a character, she's so misrepresented in the fandom, while I know I'm annoying about her, it's within good reason.

That's without the paedophilia discourse surrounding her character, the race and racism discourse surrounding her character at all times. Someone conflating her popularity and race isn't entirely incorrect.

The way people undermine her written story because they don't like her. The way they will make race and class the forefront of that undermining is quite insane when you see it.

There is also this air of mystery intended by her character that allows for theories and tie-ins to the main plot.

I've said that she mirrors Dany in some regards, which is true. They have a lot of parallels, like Rhaena and Sansa or Baela and Arya.

All this is to say that even though she isn't a main character in Fire and Blood, she's still important, and race does affect the perception of her a lot, which is an issue. We see the same thing with the popularity of Baela and Rhaena in the show, especially. She isn't a pov character or a main focus by any means, but her mystery alone would've had her 10 times more popular if she was a white alternative to that familial ship.

AND WHILE WE ARE HERE, DETTLES DISCOURSE.

Let's be serious.

Nettles is a child, Nettles is a victim, Nettles was groomed has no basis in the actual story.

If it's a reservation, you hold in the discourse fine, that's great but it's not an in universe thing.

She's legally an adult. She's an impoverished black girl in the narrative who's saved by a prince and a house protecting her against their world's Monarch and escapes on a dragon she claimed and she again escapes and her escape is framed as Daemon's redemption in the narrative.

When people say she was abused by Daemon, they never contextualise it in her character. She's just a poor, 16 year old at the mercy of a prince. That's unfair.

I'll be the first person to scream from the rooftops that Daemon should be held accountable for his every breath in the narrative as well as not being redeemed for all his crimes because he let my favourite character go.

But let's be clear, if someone views their story as romantic, it doesn't mean that they want paedophilia in the narrative. Nettles is closer to Book Brienne's age and perception than she is to Sansa's, two character with prominent ships with men older than them. Nettles is an adult by Westeros standards. (Daemon will burn in hell for messing with teens), but she is an adult.

It's not a question of a person's morality if they ship Daemon and Nettles. They are within the bounds of the world to do so. That's just how they choose to engage with the material instead of being critical and applying our standards to a ship.

[i-only-ever-asked-questions]

Map of Soho Good Omens Season 2 - Part 3 (the intersecting street)

Part 1 | Part 2 | Part 4 Update: Map and pictures further down now have Lucky Snake, and the description of both the Lucky Snake and The Chinese Buffet Restaurant have been updated too.

We don't know the name of the street that crosses Whickber Street. It starts between the market and the furniture store, and after a crooked crossing of Whickber St., it continues between the bookshop and the Dirty Donkey Pub until it ends on Wardour Street. On that upper block we have: -A. Z. Fell & Co. The bookshop has a backdoor that leads to this street. -Bilton Scaggs Hats and Caps This shop has been here for centuries. Originally Bilton and Scaggs was a publishing firm that printed among other things "The Nice and Accurate Prophecies of Agnes Nutter, witch." Neil believes they went out of business in the late 19th century and the hat makers took over. Their shop was called Bilton and Scaggs Milliner & Haberdasher for a while and eventually they changed to Bilton Scaggs Hats and Caps. But honestly, only Aziraphale knows the whole story.

On the other side of the street we have: -The Dirty Donkey We don't know how long this pub has been in business, but we know that it was already there in the 40's when the zombies used it to hide and spy on the heroes. And then in 1967 Crowley used a private room to set up the caper to steal holy water from a church. The set was also used to set up two of the pubs where Gabriel and Beelzebub met. Both scenes were filmed on the same day! After the tour, the first episode of Season 2 was screened inside the pub for those lucky enough to win spots. The Dirty Donkey Pub has also appeared in Neil's "We Can Get Them for You Wholesale" and "Sandman: Overture." In the show, one of the elevators to Heaven and Hell opens inside the Dirty Donkey, maybe this supernatural ability allows it to show up in many different Neilverses ;) -"Model" This is Mrs. Sandwich mysterious establishment. Nobody really knows what happens there. We know the upper floor has lovely pink curtains, presumably for her girls who also love coffee. -Will Goldstone's Magic Shop Named after Will Goldston (not sure why an extra "e"), a stage magician who wrote many books on magic. The store existed in 1941 when it was run by Pat (who met a gruesome end at the hands of zombie nazis). Will Goldston himself died in 1948. So, was he the owner of the store and Pat just an employee? Did someone use his name? Or is that the reason behind the additional "e", to claim it wasn't him? We don't know. In current times it is operated by Mutt.

This street ends on Waldour Street and because we don't see much of it, I included those shops in this post: -Chinese Buffet Restaurant (updated) The English sign just says "Chinese Restaurant", Google translate gave me "Chinese Buffet Restaurant" for the sign on either side (if you look closely both sides say the same thing). There is no other writing that I could see so I would say that we don't know if it has another name or where is it written (inside maybe?). @embracing-the-ineffable raised the question of how do we know Mr. and Ms. Cheng own the restaurant. The truth is that we don't know for sure. We have assumed it probably because Aziraphale and Ms. Cheng are in front of the restaurant when he invites her to the meeting, but for all we know she was just walking on the street when they met. The Chengs could easily own the Herbal Pharmacy or the Grocery Store. We just don't know for sure -Lucky Snake (updated) To the right of the restaurant (our left) there is another store with yellow walls and red lanterns. It was brought to my attention (thank you!) that this is the infamous Lucky Snake we see in Aziraphale's typed list of shops. In Season 1 it was called "Oriental Delights" but this season it is a grocery store. -Herbal Medicine and Pharmacy - Traditional Chinese medicine appointments To the left of the restaurant (our right) we have the herbalist/pharmacy. This is written in English while "traditional medicine appointments" is written in Chinese. There is no other name outside either.

Turning around and looking towards Whickber Street, we can get a peek all the way to Great Windmill Street, between the news agency and the market. -Windmill Theatre Today it is called Windmill Soho but the name Windmill Theatre is equally recognizable. In 1941 it was owned by Mrs. Laura Henderson. The theatre was famous for 1)not closing at all, even during the heaviest of bombings and 2)its motionless nude girls (tableaux vivants) called the "Windmill Girls". Because of this, it used the motto "We Never Closed" (although people modified to "We Never Clothed"). In the set, the doors are not props, they are the real doors to the internal docks of the studio, which honestly it is very clever.

Part 1 | Part 2 | Part 4

[wiiildflowerrr]

From behind the Rolling Stone paywall:

'HERE WITH MY EMOTIONS

5 Seconds of Summer’s Michael Clifford Blasts to the Past With Solo Debut ‘Cool’

(2 April 2025)

The singer and guitarist is the third member of the band to release solo material, opting for a pop-punk approach that reflects his earliest influences and revisits pivotal moments.

Back in 2015, 5 Seconds of Summer inadvertently immortalized one of the most unnerving events in their lore-packed history when they titled a deep cut on their sophomore album “Catch Fire.” Months before the record arrived on the pop rock-infused Sounds Good, Feels Good, their guitarist Michael Clifford was burned by pyrotechnics onstage during a concert in London. He physically recovered, but after nearly a decade, the incident and the whirlwind experience of enduring the early years of 5SOS are still stirring up new contemplations. Only this time, Clifford is dissecting them more intentionally through music as he launches his solo debut album, Sidequest, with the reflective single “Cool.”

“I guess I don’t see whatever she sees in me/confidence doesn’t come so easily/When you’re the guy who caught fire with the colored hair/From the band with the song about underwear,” Clifford sings on the bridge of the pop-punk record, which he co-produced with Andrew Goldstein and JT Daly. For what it’s worth, 5SOS have released four full-length studio albums since sharing “She Looks So Perfect” on their self-titled debut. Their most recent, the pristine pop record 5SOS5, saw Clifford step up as a primary producer for the first time. He also leads the bonus cut “Emotions,” which aligns musically and thematically with the direction of his solo efforts.

Last year, Clifford told Rolling Stone: “I’m a serial over-thinker when it comes to anything in terms of my own production. Sometimes it’s crippling, and I’ll just be completely frozen to the point where I’m like, well, I don’t know if this is good, and I don’t know if changing it is good … I’m realizing that there are other incredibly talented people who, if they think something is great, then I’m just sort of being crazy and overthinking the tiny little things. It got to the place that it got to for a reason and maybe you don’t need to dissect things into oblivion in order for it to be any better.”

“Cool” marks Clifford’s first release under his recording deal with Hopeless Records. The label is home to Neck Deep, Pvris, Stand Atlantic, and more with an alumni roster that includes All Time Low, Yellowcard, Waterparks, and Sum 41. 5SOS’ earliest influences existed at similar intersections, but took on less distinct fingerprints as the band sharpened their approach to pop music. But being on his own allows Clifford to lean back into the sound and structure of pop punk as a storytelling device. “It’s kinda hard trying to fit into a new scene/When your clothes only fit in 2015,” he sings over hurried guitars. “You’re the only one I really wanna impress/Try hard and I wish that I could care less.”

Clifford is the third member of 5SOS to launch a solo project. Frontman Luke Hemmings released his debut solo album When Facing the Things We Turn Away From in 2021 before returning with the similarly nostalgia-drenched project Boy in 2024. Drummer Ashton Irwin also has two solo projects under his belt, 2020’s Superbloom and 2024’s Blood on the Drums. The band’s bassist, Calum Hood, is credited as a co-writer on “Cool,” but otherwise has been spending a lot of time on TikTok recently.

“We’ve been a band for 12 years, which is so crazy. I was 15 when we started; now I’m 27,” Hemmings told Rolling Stone last year. “I know solo projects can be scary for fans of bands, but for me it’s the way that the band can live on forever. In my eyes, that’s the way I see it. And I encourage everyone else in the band to follow whatever they want to do — if they’re having time off, having a kid, mowing their lawn. Whatever makes you happy.”'

[gffa]

#I CANNOT STOP THINKING ABOUT VADER’S BITCHY REVENGE FANTASY FROM THE 2015 COMIC SET POST-A NEW HOPE #AND HOW IT INTERSECTS WITH EPISODE THREE OF OBI-WAN KENOBI #HOW ���YOU SHOULD HAVE KILLED ME WHEN YOU HAD THE CHANCE’ #AND ‘IF YOU LOVED ME OBI-WAN YOU WOULD HAVE KILLED ME’ #CO-EXIST WITHIN VADER HOW BOTH OF THESE ARE TRUE OF HIM #HOW HE FURIOUS HATEFULLY WANTS OBI-WAN TO SUFFER #HOW HIS HATE AND HIS RAGE REFUSE TO LET HIM DIE #BUT THAT ALSO SOME PART OF HIM WISHES THAT HE HAD DIED #THAT HE CAN NEVER ALLOW HIMSELF TO DIE BUT HE STILL WISHES OBI-WAN HAD #THAT HE DOESN’T SEE THAT OBI-WAN DID LOVE HIM AND THAT’S WHY HE COULDN’T KILL HIM #OBI-WAN COULD NOT BRING HIMSELF TO DO IT BECAUSE HE LOVED ANAKIN TOO MUCH #BUT VADER CAN’T SEE IT THAT WAY IT HAS TO BE OBI-WAN’S FAULT #AND BECAUSE IT’S OBI-WAN’S FAULT HE HAS TO MAKE OBI-WAN SUFFER #EVEN IN HIS OWN FANTASY VADER STILL CAN’T LET GO OF  BOTH THESE THINGS #HE CAN’T LET GO OF HIS WISH FOR DEATH (AND HIS OWN LOVE FOR OBI-WAN BURNT TO ASH) #AND HE CAN’T LET GO OF HIS NEED TO HURT OBI-WAN BECAUSE HE WAS HURT #HE’S TRAPPED BETWEEN THESE TWO THINGS IN A PRISON HE REFUSES TO STEP OUT OF

[itsclydebitches]

Has it ever been mentioned if Tai and Summer we actually romantically involved? Maybe it's just me but the scene where they talk didnt feel like a married couples and more like really good friends. It would be interesting if Tai isnt actually ruby's father and him and summer decided to just co-parent ruby and yang to give them a normal family life. I just feel icky that tai ran to summer as soon as raven left.

Obviously it's entirely personal what does or does not feel "icky" to you, though it if helps, I frequently remind myself that RWBY has nonexistent timelines. Like, by the writers own admission none of this has been thought out. So if you get into the nitty-gritty and start asking questions like, "How long was Raven gone before Tai became romantically involved with Summer?" yeah, you might run into some timing snags that impact our overall view of the relationships. However, that's not because the writers wanted to engage with that kind of complicated dynamic, but simply because they throw out plot-points and ages without ever thinking through with how those two things intersect. I feel similarly regarding the "Yang raised Ruby" fanon (which is fanon and I find it frustrating that much of Volume 9's sisterly interactions, like Yang standing in front of Blake, have been squeezed through this largely unsupported lens of, "Well, Yang is basically Ruby's second mom so that's why this moment is wholesome and not a super weird animation choice) which doesn't hold up upon scrutiny, at least not without a lot of assumptions. If you start thinking about when Raven left, when Summer left, Ruby and Yang's ages, when they were both born, the adventure into the woods, them starting their training young enough to get into Signal, who was supposedly around when, what's a literal fact and what's just someone's emotional interpretation of events... any simple timeline falls apart. There are simply too many contradictions and vague claims to map out a coherent, canonical timeline. We can assume and headcanon many options, but they remain just that: assumptions and headcanons.

BUT that means there's plenty of space for your interpretation, anon. For me personally, I don't think RWBY is ever going to reveal that Tai isn't Ruby's dad and I read the not-very-romantic-y interaction between him and Summer as simply indicative of RWBY's overall approach to romance. After all, Blake and Yang have been in love for several Volumes now, but up until the big kiss all they did was hold hands. However, what RWBY puts on screen is what they've put on screen, which means it's perfectly valid to watch something that looks fairly platonic and extrapolate from there. One of the things the RWBY fandom needs to get better about is allowing the prevalence of fanon to produce outright anger over other ideas. Fans harass others for arguing that it's unlikely Yang actually raised Ruby, or theorizing that Qrow might be Ruby's dad, or writing fics where Blake and Yang are in different relationships. There's such a focus on maintaining the One True Fanon that it obliterates the very purpose of fanworks. We're meant to be transforming the canon in ways that please us and, if we're up to sharing it, pleasing an audience of like-minded folks too. Why would you want to adhere to just one standard telling? That's boring. That's just canon 2.0. You might as well watch RWBY, watch one other version of it (like Ice Queendom) and call it a day if you're not willing to allow a wide variety of creative content to exist. You don't have to engage with it, no one says it has to be your personal cup of tea, but leave fans who want to play with the fictional dolls their way alone. The internet is a big place and the block button doesn't have a limit.

[buttterknifeee]

Deep Six- Teen Titans x Aquagirl!Reader

Request: May I request an insert in the episode Deep Six where the titans meet Aqualad?

Masterlist

Summary: Robin makes you accompany this guy name Aqualad and Beast Boy. Will you be able to handle them or will their bickering tear you apart. Also you're a katara kinnie (i know ATLA didn't exist then but still) This episode is Season 1 Episode 8!

Pairings: Platonic!Aqualad x reader, Robin x reader if you squint

Word Count: 4314

A/N: this time i decided not to split up the episode and post it as one! I made them meet for the first time here, so the Aqua kids don't bond much yet, but if you want to see more, feel free to request! (click here for guidelines) Also yes I also ended this one with "anyone up for pizza" thats all i know how to do to end a fan ficbskghs

“Ahhhh, don’t you just love the ocean?” you admired the shallow sea, the blue water flowing by you. The others prepared for launch, reading off the status of the T-Sub.

“Main power online.”

“Oxygen tanks at maximum”

“Defensive system active”

Beast boy hums confidently. “And your new secret weapon is ready to rock.”

Cyborg rolls his eyes through the headset. “Only time you qualify as a secret weapon is after eating a tofu bean burrito.” You stifled a giggle as Beast Boy yells in protest.

“Uh, 'scuse me, bud. Can you breathe underwater? Uh-uh. Can you be any fish in the sea?”

You shrugged your shoulders and smirked. “Cyborg can’t but I can. And I can breathe underwater without being a fish so I guess I’m just as much of a secret weapon as you, BB.”

You found out that you could breathe underwater a few days after you and the others formed the Teen Titans. You were surfing for the first time since that day when you fell off your board. You had accidentally inhaled underwater, and to your relief, you found that you were able to breathe in the ocean water with no problem. You offered to swim outside the sub on your own, but the team didn’t want you to get hurt, so you were stuck in the small confines of your own pod of the T-sub.

Robin ignores you three’s bickering. “We have to find out what this Trident guy is planning,” he says. “If it takes forty barrels of toxic waste, I doubt it's environmentally friendly.”

The engines warm up, the vessel humming to life. “Titan Launch!” Robin exclaims and the T-sub shoots through a tunnel and into the Jump CIty Bay. You watch in awe at the ocean life around you. Now that you had a connection to the ocean, your perspective on ocean life had changed. You clutch your seashell necklace as you continue to take in the view of the ocean, ignoring Beast Boy showing off his teeth and Cyborg turning off his mic as a result. Robin’s voice snaps you back into reality.

“Sonar contact. Beast Boy! Aquagirl! Ready to go?”

You gave a quick smile. “On it.” You unbuckle your harness and the dome unlatched, allowing you to swim out. Beast Boy gave a mischievous smirk.

“Dude, I was born ready. Try not to be jealous.” He aimed the second comment at Raven, who looked at him indifferently. Beast Boy quickly swam out of his pod and transformed into a whale.

“He just put on three hundred thousand pounds. I am so jealous.” she notes sarcastically.

You and Beast Boy made silent eye contact before swimming towards the cargo ship, examining its destroyed remains. He turns into a shark to keep investigating, and you follow his lead. You couldn’t help but feel that you were being watched, as you swam around the ship. Suddenly, out of the corner of your eye, you see a green figure; not a bright green like Beast Boy’s but a sicker, murkier green. You point at the green man as he swam away, and you and Beast Boy immediately bolt after it, the T-sub following behind.

Your black scuba shoes propelled you forward, and you aimed blasts of water towards the figure, but it kept dodging your shots. The monster, whom you now assumed was Trident, fired his weapon at you and Beast Boy, and when you dodged, it hit the T-sub. You forced yourself to continue to chase after Trident, hoping that the vessel was also capable of dodging his shots.

You and Beast Boy were nearing close to catching Trident when a voice rang in your head. It wasn’t yours, nor Beast Boy’s; it was clear, belonging to someone no older than you were.

“Your friends are in danger.” you heard. You and Beast Boy both stopped in your tracks, looking at each other in shock. You realized that the T-sub was no longer following you.

“Our friends are in what? Whoa! How did you say that? Dude! How did I say that? Hey!” Beast Boy also says in your mind. You turn to see the T-sub being attacked, and shot off without waiting for Beast Boy.

“Dude, questions are for later! Let’s go!” You order, not even entirely sure how you were able to talk either. You approach the vessel, which was being destroyed by Trident, who you swore you were just chasing.

Suddenly, a figure knocked Trident down. Trident and the mystery person fought each other, moving so quickly that all you could see of the person was a blur of black and blue

You turn your attention to the T-sub, which was slowly sinking into a fissure on the seafloor. Water was filling up fast and a look of panic settled on your teammates faces (except Raven, who seemed to have accepted death). Your eyes glowed blue as you outstretched your arms towards the damaged vessel. Focusing on the water around the titans, you forced the leaks to cease and the descent into the fissure to stop. Your muscles burned as you kept your stance; holding the vessel in place underwater was similar to holding it up on your arms above ground. Beast Boy raced to help as you struggled to keep grip when suddenly, two whales came and carried the sub on their backs.

You let go of the ship and breathe a sigh of relief. Beast Boy sees you almost passing out and comes to your side, now in the form of a squid. Instead of comforting you, he complains about the whales' help.

"They got it? How come they got it?"

A familiar voice rang in your head again. "Because I asked for their help." The voice belonged to the guy who was fighting Trident before. He comes to your other side and supports your other arm, putting it around his neck.

"You talk to fish? Yeah right. And let go of her!"

"You guys need help, and I'm talking to you right?" He glared at Beast Boy, keeping his grip on you.

Beast Boy was about to reply when you held your hand up in front of his squid face. "Beast Boy, I'm a solid five seconds from collapsing. I'm fine with the help."

The guy in blue gave a small smile. "And it's called telepathy. Let's go."

The three of you swam into a cavern. As you entered, the T-sub was floating on the water's surface and although it was extremely damaged, it managed to keep your teammates safe. You nodded to Beast Boy and the other teen and they let you go as you approach the other titans.

Raven asked, "where are we?"

"My place," the mysterious teen answered. "I told the whales to bring you here."

Raven and Starfire both blushed and gave bashful thank yous. You stared at them. Are they… in love with the new guy???, you thought, confused.

Beats Boy seemed angrier than ever. "He saved you?" He yelled, turning back into his human form. "Hel-lo? I was there too, you know."

Cyborg raised an eyebrow. "Were you? Because if anything I remember Aquagirl keeping us from drowning. What, you stopped Trident from kebabbing us with that souped up shrimp fork?"

"Way to go!" Robin said sarcastically. Beast Boy stuttered a response, but the blue teen interrupted.

"Aquagirl, huh? Well, I'm Aqualad. Sorry I didn't introduce myself earlier, we Atlanteans like to keep a low profile."

You shake his hand, now taking in what Aqualad looked like. He was half a foot taller than you, with slicked back hair and black pupils. He wore a bodysuit with blue scales and black accents. He had nice features, but you couldn't figure out why the other girls were drooling over him, so you kept that thought to yourself.

"You're from Atlantis? That's so cool!" You say.

He nodded. "So is Trident." He opens up a hologram from a table in the cavern. "He's the worst criminal in Atlantis, with an ego to match."

He continues a sideshow filled with pictures of the sickly green monster. "Trident claims he's perfect in every way so he thinks he can do whatever he wants."

"Any ideas what he wants to do with all that toxic waste?" Robin asked.

"Whatever it is, it'll be bad for both our worlds. He's already gained some kind of new power. It's like he can be everywhere at once." Aqualad says.

"Noticed that," Raven says sarcastically.

"As long as we're after the same guy, maybe we can help each other." He looks at the six of you.

Your eyes sparkle. "Of co-" you begin, but Beast Boy pushed you out of the way.

"Whoa, hey, no, we're good. Got the whole Trident thing under control. 'Sides, I'm sure there's a school of minnows somewhere that need your--" He rejects Aqualad's offer, much to you and the other's dismay. Robin pulls him back, and the six of you group huddled.

"We're at the bottom of the ocean," Raven notes.

"Our sub is Swiss cheese." Cyborg adds.

"I almost died back there," You say.

"And we cannot breathe water," Starfire mentions.

Robin is the first to break away from the huddle. "We'll take any help you can give us." He says to Aqualad.

Aqualad nods and has some amphibian guy named Tramm fix the T-sub. He turns back to us. "While he's helping you, I'll track down Trident. " He turns to go into the ocean again, but Beast Boy intersects.

"You mean I'll track down Trident," He says, pushing him a little

Aqualad pushes him back a little harder. "That's ok, I can handle it."

"Thanks, but I think I should do this."

"Seriously, I can take care of it!"

The five of you watched as their quarrel turned into an all out brawl, and suddenly you couldn't take it anymore.

"GUYS," You yell, causing a wall of water to shoot up next to them to grab their attention. They both stared at you wide eyed. "Stop. The. Fighting." You say with a stern expression.

"Why don't you two both go track him down together?" Robin offers, but the two teens cross their arms and scoff.

"I usually work alone." Aqualad says.

"Yeah. Me too."

"You do not! You're part of a team!"

"And you hang out with Tramm the fish boy! What's your point?"

"Hey! Arguing isn't going anywhere. Listen, Aquagirl can go with you. That'll make sure you stay on task." Robin commands, and you perk up at the sound of your name. You quickly pulled him aside.

"What the hell man?? They obviously don't like each other, you should have seen how much they fought on the way here!." You argue, and Robin looks at you through his masked eyes.

"You're the only other person who can survive underwater, they're gonna need you. Besides, you're great at handling conflicts; you'll be fine." He says with a smile. You blush a little at his comment, and sighed.

"Alright Rob, you can count on me” You return to the rest of the group and the three of you jump into the ocean.

As you headed towards the bottom of the ocean, you decided to ask Aqualad a question that's been bothering you.

“Hey Aqualad,” you say telepathically. “Before you said that you were able to communicate with sea animals. How come you’re able to communicate with me?”

“I don’t know actually,” Aqualad admits, still swimming next to you. He points to your necklace. “I’m guessing it's because of your necklace.” He stops to examine it. Beast Boy groans and stops as well. It glowed a little in his hand as he read the ancient text off of it.

“The Shell of Poseidon,” He read out loud. “I recognize this from the library in Atlantis. Only Atlanteans can use its powers, so you must be Atlantean then, right?”

“Woah! I’m not Atlantean, I’ve never even been there,” you sputter, absolutely shocked at what the teen said.

“Well, you must have some blood in you,” he shrugged. “Hey, maybe we’re cousins or something.”

You grin. “Aquacousin? I like the sound of that!”

Beast Boy interrupts your moment. “Ok, haha, family is fun and all, but while you were floating around finding out parts of your identity or whatever, I’ve actually found something on my sonar so, try to keep up.” He swims off, leaving you two to follow him. You expected to see the sea monster, but instead came upon a group of dolphins.

“No offense B.B. but these don't look like Trident to me.” you smirk.

Aqualad swims up to the dolphins, focusing on his telepathy. The dolphins swim up together and Aqualad turns to you and Beast Boy.

“They told me where to find Trident. Try to keep up.” He mocks Beast Boy, then swims with the dolphins. You look at Beast Boy, who seemed pretty grumpy, and turn to follow Aqualad.

You tailed behind as the two boys raced each other, Beast Boy turning into various aquatic creatures to catch up with the equally competitive teen. Then you see it. In front of them, Trident swam into view. You and Aqualad stop on instinct, but Beast Boy keeps going.

"Beast Boy! Stop!" You both yell, as he barrels straight towards Trident.

"What's the matter?" He taunts. "Am I too fast for y-"

You winced as you watched him crash into the sea monster and fall to the floor.

"Heh… how's it going," Beast Boy says telepathy to the monster towering over him. Trident growled.

"Keep your thoughts to yourself, you inferior fool!" He pointed his well, trident at beast boy and fires; Beast Boy barely dodges it.

Aqualad tackles Trident and they fall off an underwater ridge.

"Oh no you! This time he's mine!" Beast Boy yells, following Aqualad to the ridge.

"Beast Boy wai-" you yell, but was cut off by something grazing the side of your head. You turn, and see Trident swing his weapon at you. You dodged his next swing, wondering how he was able to get to you right after being attacked by Aqualad. You send him flying across the ocean with your water powers, when you hear Beast Boy yelling. You turn to see Beast Boy in squid form latched onto Aqualad's face. You could see Trident swim away from the corner of your eye as you swam to pull Beast Boy off of Aqualad. Aqualad glares at Beast Boy, his face peppered with red dots from Beast Boy's accidental attack.

“I said, ‘incoming’” he defends himself. Aqualad ignores him and points to another figure swimming into a grotto.

“He’s getting away!” Aqualad swims away, Beast Boy following.

“Wait-” you say, confused. Didn't you just send Trident flying in the other direction? How did he move so quickly? You reluctantly followed your friends into the cavern. You joined them as they observed the two tunnels that split off into two different directions.

“What are we gonna do now?” you think out loud.

“Maybe the question is where were you guys?” Aqualad snaps, turning to the two of you. You furrowed your eyebrows in confusion while Beast Boy swims forward to be face to face with Aqualad.

“Where was I? Fighting Trident by myself!” He jabbed a squid tentacle into Aqualads shoulder.

“You barely laid a tentacle on him! At least I managed to break his weapon!”

“Dude, that's just wrong. I so broke that fork thing!”

“BOYS!” you yell. “I also fought Trident and I sent him in the opposite direction, and now he's here. There's something going on…” The two began to think, but then perked their heads up. They then point at opposite tunnels.

“There he goes!” they yell at the same time. You stare at the two of them in even deeper confusion. Beast boy swims up to you, making eye contact.

“I saw him! He's that way! I'm right, he's wrong! End of story!” He crosses his tentacles. Aqualad pushes Beast Boy aside so that you were now staring at his dark pupils.

"I'm telling you, he's this way!"

"GUYS, we can just split up," You say flatly, pinching the bridge of your nose in frustration. "Aqualad I'm sure you can handle yourself, so I'll go with Beast Boy."

"Aw sweet!- Heyyy…" Beast Boy says to your backhanded comment. Aqualad nods and swims off into the tunnel.

You and Beast Boy were alone in the tunnel when you sighed.

"B.B., why do you keep picking fights with Aqualad?" You asked, still looking ahead. Beast Boy turns to you, acting shocked.

"ME??? It's not my fault Mr. Pretty-Boy-Know-It-All keeps showing off!" He whines.

"Dude, he's just trying to help us. Maybe you should-" you were cut off by a loud booming voice.

"Worthless scum! You cannot beat perfection!" Trident bellowed from behind you. You and Beast Boy turned, already in a fighting position.

"How many of you fork things do you have?" He mumbled as you charged forward.

You dodged his energy bolts, Trident in return dodging your attempts to push him farther back. Beast Boy turns into a turtle, pulling his arms and legs inside. Trident threw his weapon and it bounced off of him, flying into you and sending the two of you hurtling through the water.

"I always win!" You hear him say as you regain your stance. Beast Boy turns into a giant crab, grabbing onto Trident's weapon.

"And I thought Aqualad had a big ego!" He yelled telepathically.

"BEAST BOY GET BACK!" You yell. He swiftly let go, and you shot a jet of water towards Trident, sending him flying into a cavern wall. The cavern shakes, and a mass of boulders come crashing down. All you could see was a crushed trident sticking out from under the rocks. You breathed a sigh of relief until you felt a searing pain in your leg. You look and see a burn mark; Trident probably hit you before you buried him in a pile of rocks. Beast Boy looks at you, a worried expression in his eyes (despite being in the form of an ocean animal).

“I’ll be fine,” you grimace. “Let's find a way out first.” You painstakingly swim until you find a cave similar to Aqualads. You drag yourself towards the land as Beast Boy turns back into his human form. Right after you pull yourself up, you see Aqualad jump out of the water. He sees the two of you, and runs to meet up with you. He and Beast Boy begin to talk at the same time.

“ I just saw Trident!... No, you didn't!... Yes, I did! Cut it out!”

“I don’t care what you say! I fought Trident!” Beast Boy yelled, a vein nearly jumping out of his forehead.

"That's impossible!" Aqualad counters, his fists clenched so tight you thought you saw blood.

They both seemed to be prepared to fight each other. You jumped in between them, holding both their heads back as they flail their arms, trying to get a hit at each other.

"You know," You begin, silencing the two boys. "When Robin asked me to join you guys, I didn't want to. You two are heroes that just met each other and you were already fighting! But he told me that I could handle it and he's right! I can handle the both of you; but it seems to me that you guys can't handle each other. So here's what's gonna happen: I'm gonna heal myself because oh right! I got BURNT and you two are gonna talk it out." You let go of the boys, and they watched as you limped over to the edge of the water, plopped yourself down, and started pulling the ocean water to your leg. You listened in a little as you concentrated the water on your leg. It only took a few seconds to heal your burn, it was only surface level and you had gotten better at using your healing powers. They were still talking as you noticed what was in front of you: hundreds of Trident clones and yellow Trident capsules-eggs attached to the ceiling.

"Uh guys…" you say, rejoining them, but they had seen it too.

"One Trident is bad…" Aqualad says.

"... but this is…" Beast Boy adds.

"... an entire …" You say.

"...ARMY!" One of the tridents finishes your thought.

They all charge, and the three of you brace or impact. You raise your arms and a wave of water takes out a small group of the monster clones. You dodge their attacks, shooting jets of water at their heads. You see Beast Boy get flung into a machine, and an egg hatching sequence begins on the screen. You regroup with the other boys in front of the machine.

"Oops," Beast Boy said sheepishly.

"Great," Aqualad groaned as the clones began to close in.

"We need a plan," You mumble.

A group of the clones began to speak.

"My brilliant plan is already a success"

"If one of me was perfect…"

"Why not make more?"

"You can never have too much of a good thing"

"Once my army conquers Atlantis…"

"I will declare war on the surface world! Everyone on the planet will bow down before me"

"And praise my perfection!"

Aqualad whispers to the both of you as the clones cheer. "Any bright ideas?"

Beast Boy whispered back. "Just one. Try to keep up." He turned to the clones. "So if you're all perfect, which one of you is the best?" He asked.

One of the tridents answered. "I am!... Huh?"

As soon as you understood what Beast Boy was doing, you grinned. Aqualad stepped up.

"Come on. You can't all be the best." He says.

"One of you must be better than the others," You add.

One of the tridents step forward. "I am the original!I am the best!"

"You are not the original"

"I am!" Multiple tridents yell at once.

"Nonsense you inferior fools! I am perfect! I am Trident! "

You watch in amusement as the clones turn on each other and the fight turns into a full on brawl. The fight eventually ends, and all the tridents laid on the ground, defeated. Aqualad turns to Beast Boy.

"Great idea," He says. You noticed that there were no hints of sarcasm in his voice. Whatever they said to each other earlier must have made them work better together, you figured.

"Kinda got it from you," Beast Boy says."Now we just have to stop those from hatching." He points to the yellow pod filled ceiling. Right as he said that, the screen on the machine behind you hit 0 on the timer and the word "begin" flashed on the screen.

"Too late!" The three of you yelled at the same time. New Trident clones were breaking through their membrane "eggs". Beast Boy instinctively turns into a hippopotamus and tramples the crowd, creating a path to the ocean. You and Aqualad sprint behind Beast Boy, dodging the clones' outstretched arms. You all dive into the water, the Tridents close behind.

"We can't let them escape! We need to find some way of sealing the exit!" Aqualad yells telepathically.

"Right now, I'm just worried about getting to the exit." Beast Boy replies. You didn't look back, but you could feel the clones closing in. As you got closer to the exit you saw a familiar looking silhouette.

"The T-sub!" You exclaimed as you swam out of the cave. The clones stop in their tracks in confusion.

"Huh?" You hear one of them say.

You moved out of the way as the sub sent beams towards the entrance of the cave. The Blast caused a pile of rubble to fall, blocking the exit. You smile at your team who's cheering (along with Aqualad’s friend Tramm) inside their pods. The three of you turn bad to observe the T-sub’s work.

“Good thing Trident likes himself so much, 'cause I'm thinking he won't see anybody else for a looong time.” Beast Boy says.

You find yourself on the surface again, on the shore of the Titan’s Tower. Raven and Starfire both continue to look at Aqualad with heart eyes as Robin steps forward.

“Consider yourself an honorary titan” he says with a smile, holding out a familiar black and yellow communicator for him to take. “We couldn't have done it without you. Thanks.”

“Right back at you. It's good to know there's people up here I can trust.” Aqualad looks at you and Beast boy. He says goodbye to Raven and Starfire, who blushingly say it back. He then turns to Beast Boy.

“What can I say, dude? You're the best.” Beast Boy says.

“Nah. You're the best.”

“Yeah, you're right. And if you ever want me to prove it, I'm always up for a race.”

“Just try and keep up.” Aqualad laughs, patting his head. He finally turned to you.

“Aquagirl, it's been really nice to meet you. Next time you’re near Atlantis, give me a call and I’ll show you around. There's so much to show you,” he stretched out his hand for a handshake, but you pulled him in for a hug. He was surprised at your gesture, but soon returned it. Raven and Starfire looked at you with pure envy as you pulled back with a smile.

“I’ll take your word for it, Aquacousin” you say, making a reference to your nickname for him earlier. He laughs, then waves goodbye. The six of you wave back as he swims back into the ocean. Robin gently put his hand on your shoulder.

“You did a great job today Aquagirl. I knew I could count on you.”

“You know you can always count on me, dude.” you say with a smile. “Now I’m kinda hungry. Anyone up for pizza?”

[runthepockets]

A little boy gets beaten by his father for being "too soft"; he's not allowed to enjoy "feminine" hobbies, styles of dress, colors, toys, etc. He's also taught that intimacy between boys is taboo after a certain age. The little boy is also surrounded by other men in the same environment, who only speak of their wives and girlfriends and women on the street in crass or dehumanizing or condescending contexts. He internalizes all of this until he is eventually a teenager, and that teenager does the same thing to his peers as his father and the other men in the community did to him and the women they married. If straight, he also becomes more distant from his friends in an attempt to preserve his ego and (heterosexual) manhood, losing all support networks in turn. This teenager eventually becomes a man, and that man marries a woman who he expects to act more like a mindless slave to answer his every beck and call, and eventually that couple has a child, who he passes the same beliefs onto because his father did it to him, and his father to his father, and his father's father to his father, and so on and so forth. This isn't even touching on how things like capitalism and white supremacy factor molding men into miserable, spineless bullies with no emotional regulation and how women are forced to live under their thumbs due to making 30 cents to every dollar their husband makes, and how children have to live under the thumbs of both parties due to having even less autonomy, if possible.

I don't understand what's so bad or wrong about admitting that all of these things are unique experiences that intersect into the same outcome. Like, what's the big deal in admitting the way we treat boys in society is inherently traumatic, and how do people take away me implying that women and girls have it easier by saying this? Is it because most people are still projecting binaries and assume that men and women's experiences are opposites of one another? Is it because of MRAs of years past? I also think it's absurd to talk about women experiencing all this violence at the hands of men and never wondering what the root of these problems are that causes men to act like this. When I say "start with the boys", it's not because I don't think women need advocacy or resources or representation themselves, but because men are the ones doing the most damage and I think-- as helpful and essential as it is to tell girls and women to keep mace and on their person and to take a martial arts class or two, we should also just be teaching boys not to put their hands on people or bulldoze other people's boundaries. If we're not doing both of these things at the same time, it just seems kind of defeatist. Men and boys will just keep doing shitty things and women are just going to keep hating and avoiding us. I don't want this to happen. I love my manhood, and I love women, and I'm tired of these two aspects being at war with each other rather than being able to happily co-exist.

I want men and boys to support and uplift each other so women and girls don't have to cross the street when walking at night and little kids don't have to hide in their rooms whenever they hear the sound of their father's car in the driveway. I want to stop hearing about mass shootings committed by men against women and nonwhite and queer people because they got too stressed out about not fitting a very strict mold of masculinity that wasn't designed for more than, like, .0000000008% of the population anyway. I want men and boys to support and uplift each other cus heteronormative sexism is so integral to society that people tended to project "womanizer" narratives on their newborn and toddler aged sons because they got hugs from their girl peers and adult women and that really creeps me out, I want men and boys to support and uplift each other cus I'm tired of hearing guys pretend that what happened to them wasn't rape or child molestation or abuse because "that stuff doesn't happen to men", I want men and boys to support each other because I think it's fucking ridiculous that gay and black men have to worry about getting sexually harassed by police officers for simply existing after sundown, I want men and boys to support and uplift each other because, there was a point in time where I was a very lonely and sad trans boy and I really needed male friends and I simply had no idea how to get these things because patriarchy doesn't really account for men being anything but breadwinners and chess pieces during war. I want men and boys to support each other because I think it's fucking shitty how many boys are learning everything from porn and making it the problems of the girls in their lives, I want men and boys to support each other because a lot of them are very confused and anxious at this particular point in time, and when the right people don't reach out, incels and white supremacists and PUA and MRAs do.

I simply want a world where men understand themselves and feel comfortable enough in their own skin that they stop feeling the need to act out and punch down at the easiest target. I want men to have a purpose instead of wandering aimlessly and following the lemmings off the cliff. It's all really quite simple and logical, no ulterior motives or anti feminism here, and I don't think I've ever posted anything to make anyone think otherwise so I'm confused as to why people take it so personally when I allude to men's issues being more than something we should passively acknowledge exist rather than further speculate. Seems like a them problem.

Me: as a trans man I'm interested in improving the lives and conditions of men under the patriarchy, because I think we deserve it, and an end to men's struggles will also lead to less problems for women and children, seeing as men have the majority of finances and political autonomy that dictate the lives of these demographics. I'm extremely sympathetic to and wholeheartedly abide by feminist beliefs, as I believe all of these problems are connected, and if our struggles are connected our solutions to ending them must be, too.

Weirdos who can't tell the difference between misogynist whataboutism dickheads and a guy who just wants to get other men to join the gender equality struggle: So You Hate Women? You Hate Women And Think Men Have It Worse? You Want To Start A Boys Club? Is That It?

[avadescent]

Norman and Emma are perpendicular; Emma and Ray are parallel.

The way they’ve composed this image is heavily symbolic.

Norman is usually shown to be “opposite” of Emma visually (in the image mentioned above, in their sitting arrangement in the dining room at GF, the way they’re usually never illustrated to be side-by-side during important scenes like the shipment, the reunion, their argument and so on, though there’s probably a lot more imagery than that); while Ray has always been by Emma’s side (GP arc, Seven Walls arc, choosing to support Emma in the end despite agreeing with Norman).

These differences in their dynamics have always been subtly hinted at throughout the manga—though not so subtly later on, in Norman and Emma’s case—and continues to be highlighted in official art like this.

Part I: “In the end...” (Ch. 32)

Ray is Emma’s “counterpart”. They seem different at first: Ray is more logical and meticulous while Emma looks at the big picture and does things based on her feelings, but they’re both really two sides of the same coin. They’re both logical (Emma showed her pragmatic side when she debated with Norman and presented a counter-proposal to his plan) and they both operate on their feelings (Ray cared deeply for Norman and Emma so he wanted them to live, and Emma cared for everyone so she wanted everyone to live).

They both also care for their family in the same way. When Ray was faced with the notion that he can live (or that he should live), he did his best to become the sibling he had never allowed himself to be. There’s a caring, almost motherly nature to him in the way he handles the kids, in the way he frets over Norman and Emma, and in the way he supports everyone silently.

Emma is the same: she’s a lot more loud and open about it, but they’re both very caring towards their siblings. Unlike Ray, however, she’s certainly a great deal more idealistic and ambitious.

Ray and Emma are similar because they are warm and tender, and they’re both very family-oriented. They do things for the sake of their family, putting their loved ones first and themselves last.

Their familial love manifests itself similarly, and while they do have their individual, defining traits, they are the same at their core.

Hence, they are parallel: heading in the same direction in terms of how they think and feel, but going about it in different ways.

An example would be from the final chapters of the Jailbreak Arc, where Ray explicitly points out that: “In the end, [they] were thinking the same thing.” (Ch. 32)

they might be thinking the same way but ray’s the lil shit who goes off and says he’ll burn himself to achieve their goal

Part II: “Fate—has split our paths” (Ch.128)

Norman is essentially Emma’s “foil”. He has contrasting traits that serve to highlight Emma’s own. Take the famous “sun and moon” depiction for example: it is the night that lets you know the day exists, and vice versa. A more nuanced interpretation of this is that Norman, as the “moon”, operates on borrowed light.

Firstly, he is neither idealistic nor ambitious—in contrast with Emma, who most definitely is. He does not wish for extravagant or impossible things; despite, or perhaps because of, his intelligence, he only wants the simple things: to see the world, and to stay with Emma and Ray.

He does not actively set idyllic goals for himself, he only seeks to apply his mind in the present rather than consider abstract/seemingly unreachable concepts (I want to ride a giraffe!). He never even considered having their entire family escape until Emma brought it up. It is here that we see him operating on ‘borrowed light’; his actions in the Jailbreak Arc are made to directly achieve what Emma wants.

He and Emma get along and complement each other very well (more on this later), though they are fundamentally not the same.

Thus, Norman and Emma might share the same ideals (a world where they’re all free), but they aim towards different goals. Emma essentially wanted co-existence (at the same time, not necessarily at the same place), while Norman determined that the best route was to eliminate the demons altogether.

This in contrast with Emma and Ray’s dynamic, where they share similar goals, but different methods.

To further define this difference, it is Emma and Ray who can come to the same conclusion independently, with them working separately and finding out they thought the same way in the end (of course, with the absence of a conflicting variable—‘will we bring everyone or not’, that entire spiel).

Meanwhile, Emma and Norman only reach the same conclusion when they’re working dependently (this more so in Norman’s case, wherein he’s usually striving to achieve what Emma wants).

This illustrates itself clearly when Norman and Emma are working independently throughout the next few arcs of the manga, and eventually find that they both reached different conclusions about the same matter.

Case in point, this difference makes itself one of the center conflicts in 3 arcs (King of Paradise through the Imperial Capital Battle Arc). They even get an inside cover.

Hence, they are perpendicular: heading in different directions, and intersecting once (clashing).

It is through this consolidation of views that TPN manages to bring forth a (hypothetical) moral conflict to the forefront of its story through its characters—quite like a physical, mental, and emotional debate, wherein the protagonists each present one aspect of the moral conflict and work to achieve a balanced and unanimous outcome.

In other words, they complement each other magnificently in their opposition. Emma hopes for the impossible, while Norman works within the realm of possibility. Emma reaches for the sky, while Norman is rooted to the ground.

Norman sees the world for what it is while Emma sees it for what it can be.

[appleciders]

ok listen you’re SO right about beforeigners, I love the concept and my linguistics-loving heart skips a beat when they break out the old Norse and 19th century norwegian and I just WISH the show did not do so many of the other things it did because it could be so much better. forgive me for barging in I just saw your post and yeah

oh dude NO need to apologize it's so good to find someone who's watched it other than my parents lmaooo. no i so agree with you, there's so much POTENTIAL there and while it's enough to keep me watching i do have so many "imagine if they could do right by this super cool concept" daydreams. this got super long so im gonna stick it under the cut lol

like first off i wish they didn't feel the need to limit it to a cop show? like i get that it's easy and has automatic intrigue and a tried and true success record, but it's kind of lazy. aside from being Very Over the glorification of cops, i really am so invested in the idea of a show that explores the intersections of all the different spheres that were impacted by the repercussions of their worldbuilding? like you have this setup! now show me the teachers and childcarers. the social workers. clothing production and the food service world. the economic differences—the old norse who are trying to rely on the gift economy only to be hit by the closed fist of capitalism. show the tensions and social movements. actually explore the neo-luddite plot instead of throwing it away after a few episodes because yeah, actually, the industrial revolution has fucked a lot of shit up!! dig into it!!

like alfhildr is great and i did watch all of season 1 in a day so maybe i missed it but i still don't even remember if i know why she wanted to be a cop, of all things? it feels like her moral compass—and history as a shieldmaiden of the old ways at a time when christianity was crusading and trying to impose their authority on her people and her way of life—would chafe against that kind of imposed bureaucratic authority on her community. if they desperately wanted to keep the murder mystery component, i would've been more interested in an "alfhildr works a minimum wage job to pay off her student debt, unable to find better paying work because of temporal discrimination. one of her friends/coworkers/neighbors is killed and the authorities don't pay any attention and want to sweep it under the rug. she works to try to solve the murder—often at odds with local law enforcement—while also protecting her other friend/coworker/neighbor because she's wrapped up in the human trafficking of time displaced people. there still can be the intrigue of her origins, too!

in this situation, her co-protagonist is her coworker/neighbor who isn't time displaced, but is a migrant of color. maybe like lars, they have a family they love deeply and complexly, which parallels and foils alfhildr's strong non-biological kinship ties. paired together, the two allow a fuller, more nuanced exploration and interplay between the dynamics of this fictional time-ism or whatever they call it and the already established xenophobia and racism that pervades norwegian society, the differences there, and the shared experiences of poverty. discrimination, loss of home, and adapting to a new language. they of course also have a fun interpersonal repartee like the duo in the existing show!

and like okay sure fine if we're not Overhauling the whole series...if they had to make it a cop drama (which again. formulaic in a way that undersells how cool this setup is!)...they could've still had lars be the above. and in either iteration they should have people of color/immigrants/jewish people in the writers' room! they'd be able to craft the narrative far more fully and address the Bigger Issues i was speaking to in that post (which almost certainly come from a writers room that's almost entirely white).

and as far as season 2 goes....like the first three episodes and the last three episodes were Completely and Entirely different. why did i have to care about the people who were pretending to be the scotland yard people at all again? i don't feel like they had any bearing on the overarching plotlines? why did they have to accuse their only jewish character of being jack the ripper for most of his featured time??? what was the point of starting the season with his family's shabbat prayers if it wasn't going to be relevant?? and if alex was going to play the role he did, it would have been great if he'd been developed. i don't really have any feelings about him,because they never really let us know him. i feel like his twist could've paid off so much more if we'd had an attachment, you know? also, season 2 could've stood to mention alfhildr's best friend like, at least once!

i do wonder - and this will of course be revealed in time - if they learned they weren't going to be able to have a season 3. because the reason i can see for why you would shove so much together like that in such a rushed way (like the reveal at the end!! which i saw your post about and if you want to talk about my dms are open!! bonkers!!) is that you're worried you won't be able to unfold it in later episodes and you want to leave your fans on a kind of satisfied note? like in fairness to them, that's a pretty wild ending stroke!! and i guess if it can't be renewed, i don't feel like i have 16000 unanswered questions, which we would have, if we'd ended without finding out any hint of alfhildr's origins.

but then maybe they were just working within the parameters of 6 episode seasons and tried to bite off more than they could chew lmao! anyway, i totally hear you on the linguistics thing—it's cool. just like the intros—showing all the confluence and syncretism of people from different time periods is cool! and is why i cared enough to write out this whole essay!! anyway you're absolutely not barging in, thank you for dropping by <33

[bestofblackwidow]

The "Let me go - it's okay," she told him the last time we saw the Black Widow, it was - to say the least - emotional. "Let me go - it's okay," she said to Hawkeye, plunging to her death on the arid planet Sleeping in Avengers: Endgame for the ultimate sacrifice to save the world. While the deaths in the Marvel Cinematic Universe go on - sorry, Iron Man - there was probably no more heart-stopping moment, since the former SHIELD spy who became Avenger gave her life to recover the Soul Stone.

Still, it left the MCU in a bind. For years, a Black Widow film had been mooted, right back to 2004 at Lions Gate Entertainment before the rights reverted to Marvel. When Scarlett Johansson first appeared as Natasha Romanoff - the former KGB assassin with a very particular set of skills - in 2010's Iron Man 2, it didn't take long before questions were asked about a solo outing. Marvel Studios conductor Kevin Feige even held discussions with Johansson, who was then only 25. But there was a caveat, he said. "The Avengers comes first."

While others - Thor, Captain America, Black Panther and even Ant-Man - had their moments in the spotlight, the Black Widow was forced to wait. And wait. And wait. Not that Johansson thought that her character demanded the same treatment; if she was going to be in front of a Marvel movie, there had to be a reason. "Is there anything exciting to do creatively, as an actor?" she says. “Will we be able to do something extraordinary and strong? And something that stands on its own? "It's what makes the independent Black Widow an intriguing prospect: an inauguration of Phase 4 of the MCU promises to step back in time before her dramatic death to answer the provocative questions that still hover over her Crucially, the script transports audiences back to the events right after Captain America: Civil War, after that huge internal confrontation of the Avengers.

Without relatives or an organization that employs her, the Black Widow is alone, says Johansson. "It gave us the opportunity to really show her when she's kind of out of her game, you know? Because of that, anything was possible." The actress was there "from the start" at the script meetings, as they began to figure out how to delve into Romanoff's origins. "You are trying to map all of this ... which is extremely stressful," she laughs, "because there are no guidelines."

Fortunately, Johansson was not alone. In another inspired choice for the MCU canon, Feige recruited Australian director Cate Shortland, best known for discreet dramas like Somersault and Lore. While she was surprised, Shortland was encouraged by the creative freedom that Marvel was offering. “They allowed me to be myself and encouraged me to make a movie that I was passionate about,” she says. "We were allowed to have a lot of nuances and make a character-oriented film."

After several Skype sessions with Johansson, who also receives producer credit, Shortland worked with a Russian researcher to embody Romanoff's dark story: "the red in my ledger", as she told Loki in 2012 in Os Avengers. As she sings in the trailer, "We have to go back to where it all started" - the promising teaser clips of Romanoff as a young man (played by Ever Anderson, daughter of Paul WS Anderson and Milla Jovovich) in a childhood that seems far from idyllic. That's what makes Black Widow a family reunion of the kind that only Marvel would have the courage to conjure. Joining Romanoff is Yelena Belova, a sister-sister and fellow murderer who trained alongside her in the so-called Red Room, the punitive Soviet facility that produced 'Black Widow' spies.

"Their stories intersect," promises Shortland. "They clash." Played by Lady Macbeth's British star Florence Pugh, Belova is more than a physical match for Romanoff. Still, emotionally is where it really matters. "What Yelena does is kind of point to Natasha's pain," says Pugh. “She is part of Natasha's story. And I think that's why we have an opportunity to look at Natasha's story, because Yelena has been knocking on the door and says, 'Hey, let's deal with this pain. ”As Johansson comments, Belova is not just a carbon copy of his own character.

"She is completely alone. She is strong and different. She is so different (from) Natasha." Beside them are Melina Vostokoff (Rachel Weisz) and Alexei Shostakov (David Harbor), two father figures whose own stories intertwine with Natasha and Yelena. "This is the coolest thing with this whole group of people. They all had parts of their past that they regretted," says Pugh. “They’re older. They’ve had more life experience. They know more about the system, about this world they’re all living in.” Harbor, the Emmy Stranger Things nominated star, managed to put an indelible mark on the muscular Shostakov, better known as the Red Guardian super soldier, the Russian equivalent of Captain America. "There is a gangster quality to him," the actor smiles. "And he's covered in tattoos. He's got a beard and those gold teeth. He's crazy." But after years of making bad decisions, he's also full of remorse.

"He's in a bad situation," adds Harbor. "And he needs redemption." Weisz's character, Melina, is another who experienced the rigors of the Red Room, a place that put her in contact with Natasha and Yelena. Marking his first dive at the MCU, Weisz acknowledges that the film addresses the idea of ​​discovering his favorite family. "It's definitely about finding out where you belong and where you came from, and what your background story was, and who you really are, and what matters to you - your ideology, I think." Along the way, Feige made reference to The Kids Are All Right - the 2010 Lisa Cholodenko film about a same-sex couple raising two teenagers. "Which is so weird," laughs Johansson. "You would never expect that from a Marvel movie." no it was the only strange nod to the film. Harbor speaks of Shostakov in terms of Philip Seymour Hoffman's drama teacher in the dramatic black comedy The Savages.

Or even expressing "the pathos of a small town, independent, family-run, weird movie... like Little Miss Sunshine". More understandable cinema references include "things like Logan and Aliens and The Fugitive," says Shortland. "We saw movies like that." Certainly, it's easy to see comparisons between Sigourney Weaver's determined Ripley, from James Cameron's masterpiece Aliens, and Johansson's Romanoff, an Avenger who has no superpowers. "We saw it as a force," says Shortland, "because she always has to dig really deep to get out of shit situations." According to the director, everyone in the production invested in deepening Romanoff - even Scottish composer Lorne Balfe (Pennyworth, His Dark Materials), who replaced Alexandre Desplat's original choice. Balfe looked at the character's origins, says Shortland. “He said, 'I want to put it on the ground, because it has been dug up in the movies in the past. I want to give her that flesh and blood. 'And he created this soundtrack that is really Russian."

However, perhaps the real blow here is to recruit Shortland, the first female director to face the Black Widow (and only the second, following Captain Marvel co-director Anna Boden, to enter the MCU). "This film would not be what it is without Cate Shortland," says Pugh. "I think having her eye, and having her mind with this script, has taken her to a whole different realm." Johansson agrees. "" You can feel it was made from a female perspective ... cooked there. "Although Ray Winstone's casting as Supervisor of the Red Room Dreykov (whose daughter contributed to the abundance of red in Romanoff's book, according to Loki) add more to the psychological battleground that the Black Widow will explore, it also deals with victimization, a very pertinent topic in the current climate. The Red Room itself is where trainees are brutally sterilized. "You will see that these women are hard working and strong, and they are murderers - and yet they still need to discuss how they were abused," says Pugh. "It is an incredibly powerful piece."

Judging by the 2020 Oscars, where Pugh and Johansson had their own private relationship session on the red carpet, the two actors got along very well. "She has a really beautiful career ahead of her ... she's a very special person," says Johansson, excited when Pugh's name is mentioned. More specifically, Pugh may well have more Marvel to chew on, if it is rumored that her character will take on the 'Black Widow' mantle for new adventures. By learning Parkour, kickboxing and knife fighting for role, Pugh can safely cut things physically, though she's reluctant to claim that the Black Widow is just a setup for future outings. "Even though it is obviously where everyone wants to go and want to think - think about what comes next - this film never really seemed to be what he was trying to underline." According to Johansson, however, test the audience who saw the film thinks otherwise. "Her character and her performance are so dear." Now, after more than a year of pandemic-related delays to July 2021), it will not be just a few lucky spectators who will be able to see. Black Widow will even be the first Marvel movie to debut simultaneously on the Disney+ streaming site (with a 'main hit' fee), an understandable move considering the uncertainty that still exists around the world. And in fact, after the success of the Marvel TV shows WandaVision and The Falcon And The Winter Soldier, it doesn't seem like such a strange home. Johansson believes that fans will respond to Black Widow, with this flashback of an earlier part of her life, bringing more poignancy to the Endgame's outcome. "Our goal was for them to be satisfied with this story; that maybe they could have some solution, I think, with the death of this character, in a way. It seemed like people wanted this." Shortland agrees. "We felt that we should honor his death," she says. And the Black Widow will surely honor him.

[myhahnestopinion]

THE AARONS 2020 - Best TV Show

It was prime time for TV in 2020, with many more free hours to fill. I managed to get through a lot of my backlog in fact, finally getting around to watching shows like The Strain. It’s a show about a deadly disease that tears society apart because a lot of arrogant people think they are exempt from quarantining. The disease turns people into vampires, so it’s technically escapism. Here are the Aarons for Best TV Show: 

#10. The Plot Against America (Miniseries) - HBO

It’s not TV, it’s not HBO, it’s real life. The Wire-creator David Simon’s penchant for illustrating the human fallout of institutional failures made him a perfect collaborator for HBO’s Plot Against America, an adaptation of Phillip Roth’s alternate-history novel. Following a Jewish family in New Jersey navigating the increasingly-fascist America of a hypothetical Charles Lindbergh administration, the show is a terrifying warning of what happens when hatred and conspiracy theories are allowed to accumulate political force. Notably, while the book ends with history back on the right track, the closing moments here are left ambiguous. The show was a limited series, but in many ways, The Plot Against America is ongoing.

#9. Mrs. America (Miniseries) - FX

Its interests are married to The Plot Against America, but Mrs. America traces the country’s rising extremism from a more historically accurate perspective. The miniseries centers on political activists in the 1970s on opposing sides of the proposed Equal Rights Amendment, but its dialogue isn’t a strict dichotomy. The episodic format is expertly utilized to build out intersectional ideas from the likes of Rose Byrne’s Gloria Steinem, Uzo Aduba’s Shirley Crisholm, and Margo Martindale’s Bella Abzug, detailing the difficulties in building a diverse coalition, and the dangers of a single-minded one. Drawing parallels to current debates, its compelling centerpiece is how conservative Phylis Shafley (Cate Blanchett) successfully defeats the Amendment; voting against your own self-interests, Mrs. America says, is as American as apple pie.

#8. The Outsider (Miniseries) - HBO

Societal collapse comes from within in the two shows mentioned above, but the threat in HBO’s adaptation of Stephen King’s 2018 novel is decidedly an “other.” King clearly had his mind on modern manipulations of truth when crafting the ingenious premise: a man is arrested for the murder of two young boys due to irrefutable DNA evidence, only to provide an air-tight alibi for the crime. To match King’s procedural prose, HBO brought on The Night Of’s David Price, who layers the original work with meticulous mysteries. The Outsider has all the pulpy jolts expected of the author, but the show’s true horror lies in its overbearing grief, best brought to life by Ben Mendelsohn’s Detective Anderson. To say more would be to spoil its secrets; you’ll want to be on the inside.

#7. Perry Mason (Season 1) - HBO

Just like the famous fictional attorney, HBO can’t seem to lose, with Perry Mason marking its third entry on this list. The reimagining of the long running court drama actually takes place before the character’s illustrious law career; here he’s a down-on-his-luck private eye caught up in a scandalous child kidnapping case. The result’s a gangbusters production of old-fashioned moody noir: political corruption, femme fatales, and a more morally-complicated Mason, as played by The Americans’ Matthew Rhys. The lavish period details and character-actor cast, including Shea Whigham, John Lithgow, and Tatiana Maslany, will help draw viewers in, but, I’ll confess, I was already hooked by the season’s chilling opening moments.

#6. Zoey’s Extraordinary Playlist (Season 1) - NBC

Dour seasons have dominated this list thus far, but Zoey’s Extraordinary Playlist sings a different tune. It’s a lovably oddball premise: an accident during an MRI causes a young woman, played by Jane Levy, to hear other people’s thoughts in the form of popular music. It’s all karaoke, but, emphasized by the presence of Skylar Astin, a worthy inheritor to Crazy Ex-Girlfriend’s musical-comedy crown. The tracklist, workplace antics, and love-triangle drama all exist in a comfortingly familiar network TV realm, but the show takes additional steps for inclusion with stories highlighting Zoey’s genderfluid neighbor (Alex Newell) and an American Sign Language performance of Rachel Platten’s “Fight Song.” During a year in need of shuffling off stress, there was no better time to queue up Zoey’s Extraordinary Playlist.

#5. What We Do in The Shadows (Season 2) - FX

FX’s expansion of the mockumentary feature film of the same name lit up some of the darker corners of its universe in the show’s second season, transforming mundane-seeming material into something completely, uniquely batty. Each creature of Shadows took their turn in the spotlight this season, from a middle-management promotion gifting energy-vampire Colin Robinson unlimited supernatural power, to undead Nadja befriending a doll possessed by her own ghost, to Matt Berry’s Lazlo forging a small-town persona as a bartender/volleyball coach to escape a vengeful Mark Hamill. As always, it was the sympathetic Guillermo (Harvey Guillén), a Van Helsing descendent desperate to become a vampire, who gave the show its emotional stakes, and the vampires within a different kind altogether.

#4. Stargirl (Season 1) - DC Universe

Shadows was lit, but few things burned brighter this year than Stargirl (perhaps too brightly for the flamed-out DC Universe). The superhero drama is one of several that will outlive its original streaming service - fitting, given its obsession with legacy. Based on a character created by DC Comics stalwart Geoff Johns after the tragic loss of his sister, the show finds a young girl taking on the mantle of a fallen hero after moving to a town run in secret by supervillains. With sprightly fight choreography and an unabashed embrace of its comic book lore, Stargirl outshines the overabundance of small-screen superheroes out there. Its highlight is the bright performance of lead Brec Bassinger; put simply, she’s a star, girl.

#3. BoJack Horseman (Season 6b) - Netflix

Throughout its run, BoJack Horseman garnered acclaim for routinely delivering unexpected pathos, and the final season kept it on that track until the end. ...Get it, because horses run on tracks? The unexpected porter of television’s legacy of antiheroes ended in much the same vein as its sister shows - with consequences finally catching up with its protagonist. No amount of fanciful animal puns could soften that painful catharsis, as the show finally trampled its tricky web of abuse through bittersweet means. The series closed out with an especially thoughtful scene, the kind viewers who looked past the wonky pilot years ago were regularly blessed with; to the very end, BoJack, you were a gift, horse.

#2. Better Call Saul (Season 5) - AMC

As good as Bad ever was and better than ever before, the fifth season of AMC’s spin-off completely upended the world of its eponymous lawyer while bringing Vince Gilligan’s universe one step away from full-circle. Saul Goodman found himself in way over his head, and viewers found themselves way on the edge of their seats, as his first foray into “criminal” lawyering swiftly dovetailed with an escalating drug war. Despite the emotional distress of watching fan-favorite character Kim Wexler placed in perilous situations, there are no objections to be had with the drama’s continued masterful storytelling. Ramping up the slow-burn storytelling, season five saw Kim and Saul’s relationship develop in rich and unexpected ways, while still keeping their final fates unresolved. Fans are thus waiting with bated breath for the show’s final call next year. 

#1. The Great (Season 1) - Hulu

Who could be the best but The Great? There was a minor television controversy this year over Netflix marketing The Crown as a historical drama despite its fictional interpretation of events; The Great has no such pretentions. An asterix adorns every title card of the show, letting viewers know that its take on Catherine the Great’s coup against Emperor Peter III of Russia is only “an occasionally true story.” The show indeed is not great for education, but it’s the most entertaining television of the year, locking stars Elle Fanning and Nicholas Hoult in a battle of wits and a fight for the country’s soul under the watch of The Favourite co-writer Tony McNamara. The uproarious comedy slyly collates leadership based in cruelty with leadership based in goodwill in the background of its quite bawdy escapades, a subtle bit of relevant political maneuvering that lets it successfully claim the crown this year.

NEXT UP: THE 2020 AARONS FOR BEST TV EPISODE!

[feralgoing]

biomechanics and katy bowman

I haven’t posted in a while because “times [but mostly things in my life] they are a-changing”. What I mean by that is that I have a bunch of exciting things I’m trying to get involved with that are still centered around my various beloved themes, including:

community

women’s health… and now, a throwback,

biomechanics!

Let me catch you up. Once upon a time I was a confused undergraduate trying to narrow down the vast world of supposed choices to figure out my next step post-college. I knew I had splashes of talent in various areas, but that I was also relatively unskilled overall in a whole larger host of things, making me not a great candidate for any job (at least that was the opinion I had of myself). I remember I came to a point where I narrowed the choice down to two respective options:

go to graduate school for biomechanics. Specifically comparative (non-human) biomechanics, but with the desire to see if I could follow in the footsteps of those inspiring people who learn from nature and then connect that learning to something in the human world (e.g. the tensile strength of sharks’ skin as a model for bulletproof vests, or the boxfish’s shape as a model for the most aerodynamically stable (and ugly) car), or

go to physical therapy school. Essentially PTs are the biomechanists of the medical world (so in this analogy an orthopedic surgeon would be more like a biomechanical engineer). This therapy path would allow me a more direct way to give back to the people and help others.

As you may know, I ultimately chose physical therapy, and then ended up leaving it about halfway through the program because the physical contact (manual therapy, measurements, etc) with patients was not conducive with my skin condition. This  ultimately made physical therapy less than an ideal career for me.

So then, the deluge. How am I full circling back to the idea of biomechanics (though not necessarily comparative this time)? Well, first I started working in the field of women’s health a little over two years ago, which has since led me to undertaking the process for a prenatal and postnatal coaching certification (I actually just finished this past week and am officially a certified prenatal and postnatal coach!). I am also tying that field of knowledge to a few other movement-related initiatives, including the current co-creation of a course for single mothers of color (but I’ll go into more on that when it’s further along). I also am in the process of figuring out if I have the time to set up and lead stroller/carrier friendly walks in a local nature reservation.

While in the midst of these various endeavors, I also ended up finding Katy Bowman, a biomechanist and movement educator known for her Nutritious Movement company, which builds on her nature-based movement ideologies/passions. I have been reading her blog posts and books (one of which I own now):

She believes in modifying our every day human environments (along with many movements we do) to better promote health and wellness, because movement-optimized environments require us to move better by their very nature. An example she gives is not having a couch in your home. This then requires you to do more squats (if you end up sitting on the floor, or chairs of lower heights), and forces you to move your hip, knee, and ankle joints in greater ranges of motion. The no-couch life also facilitates less sitting time by virtue of there not being any comfy furniture to sit upon, thus increasing your NEAT which helps your body even at the cellular level.

As I delved more into her material, I realized I had found someone that encompassed that overlap in my interests that I didn’t know existed; she is not a practitioner of health or medicine therefore not subject to the insurance whims, nor is she just an academic  stuck talking only to other academics/writing scholarly papers while being removed from the direct societal implementation. Bowman also intersects nature with the manmade world, bridging the choice I was stuck between (loving the idea of physical rehabilitation and the like while having a passion for being involved in natural environments, but unsure of how to make either a thing). Even more excitingly, after some light searching I discovered she too has a masters (in health studies, while I’m health sciences, but close enough) so I know it’s possible to straddle the academic world even in a health-esque field while not being a PhD or MD.

This is endlessly inspiring to me because now I’m starting to think it isn’t impossible to focus on prenatal and postpartum women and work with them and their babies/ young children to create lifestyle changes and increase our movement, while doing it all in nature. Though I’m not fully sure of the direction I’m going to end up going to get it started, all in all, things are looking to be very promising in the near future.

I have also used Bowman as an entry into foot health (using her book Whole Body Barefoot), subsequently contemplating the health of my own feet on a more regular basis. Since I left the category of a nulliparous woman (a woman who has never given birth), I’ve been thinking about how my body alignment changed during pregnancy and how now I still often feel joint laxity and generally less in-tune with my body. This has resulted in me walking more duck-footed than I had previously. I am testing out her suggestions to improve my foot (and global postural) health presently, but honestly ,uch of her program is just good practice for regaining balance and better alignment generally (like doing calf stretches and one leg standing balance exercises). I’m already noticing that I am more able to abduct my pinky toes further since starting. My personal goal is to retrain my feet to be able to wear minimalist shoes (or shoes that alter the natural foot mechanics the least). This includes working my way to comfortably wearing shoes with no heel lift (which normal even sneakers and many types of sandals have).

Before that book, I also read Bowman’s book called Diastasis Recti: The Whole Body Solution to Abdominal Weakness and Separation. Though the content is obviously useful for postpartum moms, the condition of diastasis recti (DR) can impact men and nulliparous women too.

In this book Bowman talks about how our modern lifestyles put a lot more pressure (force) on our cavities (diaphragmatic, stomach, and pelvic) and so to combat that we need to make environmental changes in our lifestyle. This includes actions like sitting less in the day and returning to using our bodies to move more (rather than always having appliances and tools to help us).

The point isn’t to remove all modern conveniences entirely if it’s not possible in our lives, but to balance out those convenient factors so our bodies have a chance to regain better mobility and functional strength while we continue to go about our daily lives.

The most crucial exercise Bowman suggests as a takeaway from her book is better rib engagement. This is done by drawing our ribs down and back without just sucking in our stomachs. We need to get our ribcage muscles and joint attachments to be less stiff because it impacts our ability to use our arms in their full range, and can cause issues if we move our pelvises with our ribcages all the time. Anyway, the book is definitely worth checking out to hear Bowman explain all of this (she does a much much better job).

The last thing I read by Bowman was a paper she put out about Movement Ecology. She addresses movement in multiple avenues, highlighting how we as a species gravitate towards decreased movement, which means more than just decreased exercise. She investigates movement as a broader topic, looking at how our daily activities and the environment around us help move and change our bodies in multiple ways, including at the cellular level (e.g. literally deforming our cells as when we lay on an object and our cells flatten). It’s cool stuff!

The fun thing about Bowman’s work (and I’m just talking about the books/papers I referenced in this post, so foot health techniques, diastasis recti prevention, and movement ecology practices), you can already come up with a fairly comprehensive program for prenatal and postpartum mothers to help them stave off lifestyle-related aches and pains, and regain more function respectively, while building foundational blocks of strength and mobility. And that’s what I’ll be playing around with next with my own routines.

On a tangent, I wonder how much of the severity of my topical steroid withdrawal would be alleviated  if I moved more?

[thejakeformerlyknownasprince]

I have seen many, MANY discussions/debates about ca:cw and I have never seen anyone mentioning that Rhodey's injury was a metaphor. How did you get that idea?

Short answer: I’ve actually read a lot on the subject.  I’m teaching a media studies class right now called “What Can Superheroes Tell Us About Psychology?” (because that’s the kind of shit you can get away with at giant universities) and hoo boy are superhero narratives More Ableist Than Average.  Anywhoo, a few of those readings:

I’m quoting hard from the chapter “Hyper-Normative Heroes, Othered Villains: Differential Treatment of Disability in Marvel” in a book on disability studies because it’s free.  A relevant passage:

“These metaphorical portrayals all fail to engage with disability as a social category and as an individual identity, thereby ignoring its context… Nick Fury’s missing eye does not change his aim with distance weapons (e.g. Captain Marvel) or piloting software. Instead, it recurs in the films largely in metaphorical lines such as Fury’s commenting on the death of a friend with ‘I just lost my one good eye’… One character in Avengers even questions the lack of accessibility in Fury’s multi-monitor computer console, and Fury’s assistant simply answers that he must turn his head more often to compensate. The franchise thereby emphasizes that Fury’s missing eye is only a metaphor for his discernment and ability to see details that others have missed, rather than a truly integrated part of his character or even an accurate portrayal of that disability.

“8. This treatment of disability as metaphor persists throughout the MCU. In Captain America: Civil War, superhero War Machine incurs a permanent spinal injury while fighting on behalf of his best friend Iron Man. Later on, rival superhero Hawkeye… ‘You gotta watch your back with this guy. There’s a chance he’s gonna break it.’ The film then equips War Machine with a fantastical prosthesis that essentially nullifies his disabled experience through giving him the same range of motion as his non-disabled [abled] teammates, entirely without side effects or need for maintenance. The MCU films thus present disability as a metaphor for inner morality and characterization. War Machine has few experiences of being a disabled man through his spinal injury, but is instead emotionally ‘disabled’ by the damage to his social standing he has incurred through his friendship with Iron Man… The MCU thereby offers no critique of ableism or inaccessibility, instead continuing to localize disability as a problem with the body and the individual.”

Death, Disability, and the Superhero: The Silver Age and Beyond by José Alaniz is also a fantastic resource, and you can buy it for money here or hopefully find it at a library if you have no money.  A few of the relevant points from his book:

Superhero stories often treat disability as a “problem” that must be “solved” through in essence nullifying the disabled experience of the character(s) through superpowers that run directly counter to the disabilities and/or fantasy “cures,” e.g.

Daredevil is blind BUT navigates the world in a way similar to sighted people due to his “radar sense,” meaning that he doesn’t get to have a lot of the lived experiences of blind individuals

Don Blake is mobility impaired and uses a cane BUT his cane transforms into mjolnir and imbues him with the power of Thor, meaning that he spends most of the story moving like a nondisabled person

Hawkeye is hard of hearing sometimes in some of the comics, BUT he often gets magical cochlear implants from Tony Stark that cause him to stop being hard of hearing

Characters that are disabled and remain disabled tend to be villains whose villainy is either implied or stated to come directly from their bitterness over being disabled, e.g.

Doctor Doom hates that he’s scarred by an explosion so much that he wants to take over the world to get revenge on the Fantastic Four

The Lizard only transforms himself because he ignores all scientific and ethical boundaries in his desperation to stop being disabled

Doctor Poison is described by herself and other characters as a “monster” for failing to (unlike Wonder Woman) conform to White Western conceptualizations of female beauty 

Characters like The Thing, She-Hulk, and Bizarro have the potential for some really interesting disability narratives.  However, the same publication pressures that prevent permanent injury or death to the characters also prevent the inclusion of “serious” “real-world” issues like discrimination unless it’s metaphorical (e.g. anti-mutant fearmongering as a metaphor for anti-AIDS prejudice).

The Big Damn Foundational Text on the intersection of disability studies and media studies is Narrative Prosthesis: Disability and the Dependencies of Discourse by David T. Mitchell and Sharon L. Snyder, and you can pay money for it here but it’s also available at a lot of libraries.  Anyway, a couple of relevant points from that book include: 

Disability portrayals abound in literature going back to pretty much the dawn of history, but most of those portrayals suck ass because:

Most disabilities are treated as metaphors rather than demographic characteristics, which means that the disabled character doesn’t get connected to other people with disabilities (including those in the real world) and offers no commentary on ableism — if Richard III’s spinal misalignment is just a metaphor for him being “twisted” inside, it doesn’t allow readers with spinal misalignment to identify with him

Disabled characters tend to exist to teach lessons to nondisabled characters rather than having their own journeys — Tiny Tim isn’t a person in A Christmas Carol, he’s an object lesson for Scrooge

Many disabled characters either get “fixed” so that they look outwardly “normal,” or their “ugliness” is used to make concrete the abstract “ugliness” of their personalities

Disability is treated as a “problem” that demands an explanation – Captain Ahab’s prosthetic leg and Joker’s facial scarring are treated as automatically demanding the question “why are you like this?,” even though no one would ever ask the same thing of their nondisabled co-characters

Authors’ implicit ableism tends to come out in their horror of disability, such as when they portray disabled characters preferring death to disability, going to extreme lengths to avoid or nullify disability, and/or declaring themselves “worthless” or “burdensome” in light of disability

Discomfort with disability — another form of implicit ableism – also comes out when disabled characters are overwhelmingly “killed or cured,” meaning that they don’t get to end their stories as living individuals who are still, in practice, disabled

ANYWAY, that’s a long-winded way of saying that I also haven’t seen any critics specifically talk about Rhodey’s disability as a metaphor first and a part of the character second, but that that doesn’t mean the shoe don’t fit.  When someone asks about the Accords in Infinity War, Rhodey also says he supported them but then “I’m pretty sure I paid for that,” and gestures at his own paralyzed legs.  He also also says in Endgame “I wasn’t always like this… but we work with what we’ve got” when talking to Nebula, BOTH about the fact that he’s disabled and about the fact that half the universe is dead and they’re all struggling to cope with that fact.  It keeps getting used as a metaphor and keeps NOT getting used as a part of his identity.  LET THE MAN TALK TO SOME OTHER DISABLED VETERANS FOR TWO SECONDS, FOR FUCK’S SAKE.

A couple of other (free!) readings that talk about that general problem of “we love superheroes and we hate ableism, now what?” even if they don’t mention Rhodey specifically: 

“Reevaluating the Supercrip” by Sami Schalk connects media portrayals of the paralympics to media portrayals of Captain America and the Doom Patrol.  (I swear to god it makes sense in context.)

“Seven Roads to Justice for Superheroes and Humans” by Mikhail Lyubansky gets into the glaring (for me, anyway) question of “why the fuck are sci fi psychologists all so evil and useless?” by explaining why Harley Quinn must be evil for Batman to be a vigilante.

“Superhero Comics as Moral Pornography” by David A. Pizarro and Roy Baumeister (again, I swear it makes sense if you read it) discusses the evolutionary tendency to judge people based on disabilities and why it’s so popular in superhero stories specifically.

Anyway, you probably weren’t looking for an entire annotated bibliography in response to that question, but I’ve never been one to use five words when 500 would suffice.

[skypalacearchitect]

Sandy Saeteurn grew up in Richmond, California, where Chevron’s massive 3,000-acre oil refinery reigns supreme. She’s no stranger to the refinery’s chemical flares, and she spent many of her childhood days home sick. She’s not the only one who has learned to link the refinery and the presence of illness in her community: A 2008 study (co-authored by Grist board member Rachel Morello-Frosch) found that almost half of all homes in the area had indoor levels of refinery-related particulate matter pollution that exceeded the state’s air quality standards.

Every day for nearly 120 years — longer than the city has existed — the refinery has processed thousands of barrels of oil. Its flares regularly paint the sky burnt orange before thick grey clouds of smoke cover the city. Chevron’s influence stretches beyond its pollution and the 3,500 refinery jobs it provides as the city’s largest employer — it also showers money on local elections and even runs a local newspaper, the Richmond Standard, which has been known to cast a positive light on the company.

Ever since Black residents first arrived in large numbers in the 1940s, people of color have been relegated into low-quality housing surrounding the city’s large industrial zones. Today the city, which is 82 percent non-white and home to large groups of migrants from Latin America and Southeast Asia, has worse air pollution than 94 percent of the country, according to data from the Environmental Protection Agency, which has cited the refinery for environmental violations roughly 150 times since 2016. The city’s childhood asthma rate is more than double the national average and, in the immediate aftermath of an explosion at the refinery in 2012, more than 15,000 people were forced to seek medical treatment for respiratory distress.

Chevron funds around one-third of Richmond’s annual budget through taxes and municipal services the company provides, which includes education and workforce development programs. When the company wanted to modernize its facility in 2008, it offered the city $11 million for the Richmond Police Department to “increase the number of police officers on the street,” according to a document outlining Chevron’s community benefits agreements with the city. The modernization project was eventually blocked after community groups sued the city for failing to do a proper environmental impact analysis, but a 2015 agreement between Richmond and Chevron ultimately set aside $2 million for Richmond police. Over the past decade, Richmond police have arrested hundreds for protesting the plant’s emissions.

As a child, Saeteurn and her family didn’t think to connect the Chevron plant and their disposition to illness. “Growing up there was a lot of explosion drills, and we never understood what they meant,” Saeteurn told Grist. “In elementary school, Chevron would come and have certain programs for kids, giving us money for books and school supplies. I left elementary school thinking ‘oh wow, Chevron’s a great company,’ when in reality they were slowly killing us.”

Saeteurn’s lighthearted view of Chevron didn’t last long. By age 14, she was a dedicated organizer and member of the Asian Pacific Environmental Network, or APEN, which is based in both Richmond and nearby Oakland. She’s used her struggles against environmental injustices to fuel her work, helping to organize influential campaigns such as the first-ever county-wide multilingual warning system, which now warns Richmond residents of looming chemical flares in Spanish, Chinese, Vietnamese, and Lao.

In response to questions from Grist, Chevron provided a statement saying that its Richmond workforce “takes its role as good neighbors seriously and continually works to reduce our environmental footprint and to improve reliability.” The statement listed modernization projects, such as a new hydrogen processing unit, which have contributed to reducing the site’s “air emissions by 86 percent over the last 40 years,” according to the company.

Because of the way issues like a growing housing crisis, immigration, and police violence intersect in the San Francisco Bay area — where more than 350 refineries and fossil fuel companies are based — Saeteurn and other organizers at APEN have been at the forefront of reframing the environmental justice movement to incorporate all aspects of residents’ encounters with their lived environments, whether that’s unwanted interactions with the police or gentrification and the displacement of poorer people from their home communities. This is a reimagining of the traditional focuses of environmental organizations that have long prioritized organizing around issues like toxic waste or access to public parks, while leaving issues like housing and criminal justice to different organizations.

“We think of environmental justice as being about how our communities get to be in relationship with our environment,” Alvina Wong, APEN’s campaign and organizing director, told Grist. “That means trees, air, and water — but also our neighborhoods, our homes, and how we get to be in relationship with each other.”

Saeteurn, a local political director with the group, said that this message resonates with the residents APEN serves.

“When the community talks about the environment, they’re not talking about clean air or water — what they’re really talking about is their struggles,” she explained. “So when we talk with the community about how the environment is impacting them, they’re not saying ‘oh yeah, Chevron’s in my backyard.’ They’re saying, ‘I can’t afford my rent. Oh yeah, the energy bill is going up and now I can’t afford food.’”

Besides continuing a long struggle with Chevron in Richmond, APEN has also been a crucial part of recent campaigns to move millions of dollars away from Richmond and Oakland police to do things like building new supportive housing for people experiencing homelessness and mental illness, as well as increasing residents’ access to healthy food through affordable markets. The organization has worked on recent campaigns for rent control and tenant rights in both cities, including mutual aid projects to crowdsource funds for rent and food for community members. It has fought to pass the Tenant Opportunity to Purchase Act, which would grant tenants two months notice and the first opportunity to purchase their home if their landlord plans to put their building on the market.

“Our work is trying to make the connection to a bigger kind of struggle related to racism,” said Saeteurn. “We’re here next to a refinery because of racism, which is the same reason why our members get stopped by the police or harassed on the streets. Environmental justice is about who we can call community, and what access we have to the environment around us.”

APEN came to fruition after a proposal at the First National People of Color Environmental Justice Leadership Summit in 1991, when summit participants noticed that Asian Americans and Pacific Islanders were largely underrepresented. The summit was attended by activists from everywhere from Puerto Rico to Vietnam and Laos, as well as other territories struggling with American chemical waste. During and following the American bombing of Vietnam and Laos in the 1960s and 1970s, thousands of Southeast Asian migrants fled to the Bay area and Richmond in particular. Connecting the dots between environmental injustices in America and the environmental fallout from American firebombing and the use of Agent Orange in their home countries, Bay area delegates decided to form an organization centered on the leadership of Asian immigrant and refugee communities.

“APEN is so successful because our organizing incorporates our cultural heritage and our own legacy fighting aggression and chemical warfare in our homelands,” Wong said. “For us, this memory of how our homelands were affected both physically and culturally by environmental violence and war allows us to really address the root causes of injustice.”

Since 1991, APEN has been an unstoppable organizing force, working to pass bills mitigating pollution, like SB32, which in 2016 laid the foundation for many greenhouse gas emission goals we see today. In 2018, they were part of a coalition that helped push Chevron to pay out a $5 million settlement for its 2012 explosion. Most recently, APEN helped spearhead the Reimagining Public Safety Task Force in Richmond, which just passed a reallocation of $10 million away from Richmond police to fund various community services. (In a short phone interview with Grist, Richmond Mayor Tom Butt acknowledged Chevron’s mighty role in city life and said that the city council is doing everything in its power to act as a counterweight to the fossil fuel giant.)

APEN is hardly alone in its expansive approach to environmental justice. It’s a member of the California Environmental Justice Alliance, which includes Bay area groups like Communities for a Better Environment, or CBE, and People Organizing to Demand Environmental and Economic Rights, or PODER. Two weeks ago, APEN, CBE, and PODER led Richmond’s participation in the 8th annual Global Anti-Chevron day of protest, drawing more than 100 people who participated in chants and painted murals in front of the refinery to protest the refinery’s emissions and hold it accountable for its alleged commitment to racial justice.

Denny Khamphanthong, an APEN community organizer who worked on the campaign to reallocate funds from Richmond’s police budget, says APEN’s approach to justice is not only about saving the environment around him, but also about building a safer future for his family’s next generations.

“What we’re all trying to do is build a better world so that our community can thrive,” Khamphanthong told Grist, “which requires our community to be funded and resourced in a way that feels most important to us, whether it be less police on our streets or less pollution in our air.”

[floatingbook]

On names and naming

- Reading: Tales of the Lavender Menace by Karla Jay

Discussed during a consciousness-raising meeting:

“For instance, many of us grappled together and by ourselves with the implications of naming. The most obvious manifestation of this power is the fact that in most countries women bear the surname of their fathers and then of their husbands. A woman “loses” her name when she marries, but in fact she has never had her own name. only her father’s. Worse still is the possibility of not having a father because to be “illegitimate” is to lack the imprimatur of patriarchal approval.” p. 55

As a woman, you have your father’s or your husband’s name, you’re dispossessed of all your matriarchal origins. It also is very likely that your patriarchal origins are a lie—and I do not mean this as a critic of the women in our ancestry who had children who did not get the name of their biological father, but as a critic of this despicable tradition. Men do a fraction of the work and yet get to brand a newborn as their own, as if the woman giving birth was no more than a possession.

We all know what weights names carry. There’s no denying it. Some names get you despised, some get you laughed at, some drown you in their commonness. They used to reveal who you were: names were carved out of professions (take “Smith”, “Steward”, “Butler”, “Cook”, or “Lefevre/Lefebvre” in French, “Mercier” as well) or out of places of dwelling (e.g. “Hall”, “Brooks” in English; “Dupont”, “Dubois” in French). But that meaning is fast lost with physical and social mobility, with traumas and rebellions, with the pace of society.

“Many of the women in Redstockings changed their names in rebellion against the patriarchy, often choosing to use their mother’s names. In addition to being a symbolic gesture, adopting a nom de guerre made it just a tad more difficult for the government to figure out who we were and where our paltry bank accounts were stowed when it came time to incarcerate us. As much as I wanted to drop my patronymic, however, I wasn’t eager to claim my mother’s name. Instead I decided to substitute “Jay”, my middle initial, for my last name. // When I tried out my new name, Karla Jay, it felt immediately like a more accurate representation of who I was. I realized changing my name was not only about challenging the patriarchy—it was also about untangling my own identity from my family history.”

Changing your name, starting with a brand new one, is a way to give yourself a clean slate. It’s a statement: I don’t want to belong to this family, I am not one of your possession. It’s a form of rebellion against the tradition that hands out last names. The point is to get rid of the branding connotation of the last name (either inherited from the father or taken in marriage) that turns a woman into just another piece of furniture that makes up the wealth of the men in her life.

“I understood for the first time that I had, in fact, always detested my birth name, Karla Jayne Berlin. Well, not all of it. Karla seemed to me an original first name, and I felt comfortable with it. […] His [Karla Jay’s father] first fought was to name me Gale because I had  been born in a blizzard. My mother objected, so he chose my name from a list of freighters he spotted in the shipping news that he read every day in conjunction with his work. I’m lucky, I suppose, that a ship with a name like the Brunhilde didn’t dock then. Fortunately, the Karla Dane steamed into or out of port the week I was born, and my father was determined that would be my name. My mother persuaded him to change my middle name to Jayne instead of Dane, with the addition of an elegant Y.

But if I liked my first name, I hated the surname Berlin. For one thing, I’m not German. My ancestors came from the finest shtetls in England, Austria, and Ukraine. My paternal grandfather was from England, and for a long time I supposed that he had been assigned the name of a city when he entered the United States; immigration agents had a way back then of altering what they considered unpronounceable names. Years later, I discovered that my grandfather had changed his name himself. […]

I wasn’t particularly fond of my middle name either; people often assumed it was hyphenated to my first name. My mother and even Jessica, my best friend, called me Karla Jayne to get my attention when they were angry. As far back as I could remember, I had used my middle initial in place of Jayne. But I did like the “Jay” part. Some of my fond association with the word was based on pleasant times in summer camp. During my first summer there I was only five. I was placed in J-Bunk—probably an abbreviation for Junior Bunk—a place for children considered too young to be away from home for two months. J-Bunk was my first taste of freedom, a fun-filled life in the Catskills. Furthermore, Jay rhymes with ���gay”.” p. 55-56

First names are given to us by our parents, who can be short-sighted, equipped with a taste that does not intersect with ours, or just unconscious of what a certain name entails. First names both mean a lot and nothing at all, and by that I mean that a first name is attached to you yourself first and foremost. Its main vocation is to designate you personally, to make you as individual, separated, specific in your existence, as opposed to the surname, which marks the bearer as part of a whole, the family, the bloodline, and as a woman a part of the possessions of a man. So it’s easier to grow into your first name, to make room into it for all the facets of your existence, than it is to get rid of the yoke of the surname. Hence the question, what to do with these patriarchal, misogynistic surnames?

Should we shun the surnames we were born or married into? What do we replace them with, then? Something that sounds nice to us? Something that holds a personal meaning? Something that describe an occupation we hold, a place we settled in? Do we choose a system that allows for the tracing of the matrilineal line? But then how do we agree collectively on a system, so that it is lisible and understandable? Where do we find the coherence? Do we even need the coherence?

“Changing my name was also a way of to “divorce” my parents, to let them know that I had never accepted them in that role. As children my brother and I both fantasized that we had been adopted.” p. 56

Again, a rupture with patriarchy and with abusive parents. We have surnames because there are too many humans on this planet to be able to identify them easily with just one name. Do we need those surnames to keep us sequestrated with our parents? Or could they just be changed to something like “of” followed by the name of the city we live in? Rejecting the surnames we get from birth is also a rejection of the obligatory love and respect we are supposed to feel for our parents, who can sometimes be undeserving of them.

“I didn’t change my name legally until 1978. I felt that it would be a paradox for me to petition a male court to change a name that patriarchal law had imposed on me in the first place. But after I had co-edited three anthologies as Karla Jay, only old friends, relatives, and old people at work new that I had any other name. I felt fragmented and decided to hire a lawyer to execute a legal name change.” p. 57

We live in a society, not in a vacuum. Sometimes we have to go through processes we find tasteless or distasteful, because we still need them to be understood, to be perceived by others around us. Here is information on the process in France (Site officiel de l’administration française).

“I have now spent a full three-fifths of my life as Karla Jay. In the rare instances when I run into someone from my childhood or high school who still calls me Karla Berlin, I have the distinct feeling that they have mistaken me for someone else.” p. 57

So who gets to do the naming? Are our names things that should be gifted from us by our parents? By our mothers only? Should every daughter get to name herself, when she feels or knows she has found a name for herself? When she has made name for herself?

[curanonemu]

ateez soulmates au | jung wooyoung

✧ Blooming Flowers AU ✧

tags: wooyoung's pov, mentions of other members, a very poor attempt at mastering floriography, i TRIED, overuse of colours, cuteness cute mess :D

word count: 2,044

I hope you guys like this~ ♡

For as long as he can remember, flowers have bloomed around him. He'll be fine, it'll be the most ordinary moment in the world, and suddenly something will click and there he'll be, petals floating around him as flowers bloom from his skin.

It's funny how he can't handle too much of pollen, and when the flowers are more than he can take, he sneezes and sneezes and his skin itches like anything. Yet, while the flowers bloom outwardly, they make something within him bloom.

Solidarity.

A connection like no other, because he's not the only one for whom the flowers thrive.

Wooyoung found out early on in life how his soulmate identifier works.

After losing a dance competition that he'd poured his all into, and coming back home feeling like the biggest idiot on the planet, he'd held it in long enough to make it to his room before slamming the door shut and slumping down to the floor as he let out everything. Tears wet his cheeks, face hot and eyes burning, and all he felt was the anguish from not being good enough.

He was just not good enough, that was all; all he had to do was be better, practice till he was perfect. But how could he fool himself at that moment? The crippling dejection made it hard to even swallow around the lump in his throat while he cried silently, nails digging into his palms as he tried to stop himself from letting out any sound.

Then the piercing pain from his nails had softened into a foreign feeling, nails free from digging into his skin and his fists felt too full to remain clenched. He'd unclenched them, let his hands fall open as he stared at his palms in wonder. There, instead of blood, lay a single flower on each palm.

On his left, a purple flower that he didn't recognise, petals curling in quite a lovely manner, a contrast from what he was feeling.

On his right was a sprig of heather, a light purple, almost-lavender which stood out against his skin, countless delicate buds brushing across his palm as he held it tenderly. Heather was one of the few flowers he recognised from hearing his mother talk about them.

But why was it, and the nameless flower, doing with him? He'd pondered over it for a moment, before getting up. He couldn't ask his mother when his face was absolutely terrible. All he could do was use some trusty search engine to answer his questions.

'Heather, Lavender: Solitude or loneliness.'

Loneliness? Was he lonely? He wasn't. All he felt was the solitude that came after dashing everyone's hopes to the ground and stomping on them, and coming back home with a loss. So, yes, solitude it was.

The moment he figured that out, he also noticed that his emotions... seemed to be overlapping with something else. Like two parallel lines finally swerving and intersecting, by some miracle or disaster.

It was as if he had dual trains of thought, dual feelings, emotions, dual everything. But instead of it being chaotic and giving him a headache, he just felt like waves across channels had bled over into each other, finally. A dull hum which in no way disrupted his line, merely providing comfort in its constancy like it was always meant to do so.

But the longer he stared at the flowers, the calmer he felt. He was Jung Wooyoung, and Jung Wooyoung didn't get sad for long.

The thrum of another in his veins sang a bit, and as he watched, he sprouted more flowers, blue blooms in his palms as leaves rustled over his wrists. He took a deep breath, before tilting his head and wiping his eyes against his shoulder, before he stood up and walked out of his room, leaving the door open.

"Mom?" he'd asked and she'd turned around, mouth opening in surprise before she shut it as she took in his appearance. Her lips had twitched, before she sighed. "Wooyoung, what do you feel right now?"

"That's what I want to know."

"Do you feel particularly hopeful?" She asked, and he wracked his brain before nodding. Yeah, it was a huge turn from his emotions just minutes ago. "Those are irises, Wooyoung."

He looked at her for further explanation, but when she turned back to her work, he asked again, "Why am I growing flowers?"

"I don't know, maybe you're a farmer?"

He'd whined at her, trying to get it out of her to no avail, and had finally resigned himself to believing that he had a blooming syndrome before she'd told him about soulmates.

Right.

Those existed.

Did that mean his soulmate was also sprouting flowers?

He suddenly remembered the emotions and thoughts that weren't entirely his own, snaking around and intertwining with his, and that's when he'd realised.

When Jung Wooyoung and his soulmate felt the same things, flowers bloomed.

The mystery had been solved. All that remained was knowing which flower meant what.

Fast forward to a few years later, when Wooyoung gets a job in a flower shop only because he wants to know what his soulmate is thinking.

It's a stupid reason, his co-worker and new friend San laughs at him, though he does call it cute because San's as much of a sap for his unknown soulmate as Wooyoung is for his mystery flower person.

Yeosang rolls his eyes at him, and Wooyoung would like to think it's out of the other boy's affection for him, and not because he knows exactly how much Wooyoung has pined over this soulmate that he's never met, and wanted to know what they think.

It's such a hit-or-miss phenomenon, honestly. But it always ends the same way.

Wooyoung will be going about his day, completely alright, and then something happens which sets him on edge, and all of a sudden begonias will bloom from his fingers, leaving him to catch them all, and probably sneeze too.

He'll be feeling like he's on the top of the world, and chrysanthemums will grace him with their presence.

But they always transition into something stupidly romantic, which leaves his face burning and heart beating way too fast. It's not his fault his soulmate likes him as much as he likes them!

Moments after Wooyoung's reeling from a sneezing fit, with his heart blooming like the daffodils that are adorning the counter of the shop, San ends up finding his soulmate. Right before Wooyoung's eyes, though he understands only when they hug and shed tears and link their pinkies and San smiles at him gleefully.

San, the one who secretly wanted to meet his soulmate more than anything. Wooyoung's happy for him, he really is, but when someone's identifier is a string tied around their finger, it's only a matter of time before they find their soulmate.

In contrast, Wooyoung has to play roulette with his emotions to find out what his soulmate's feeling, forget actually ever meeting them. It makes his mood sour for a moment, before he shakes his head. He promised himself he'd try to be as positive as he can, if only to make sure his soulmate is too. He never wants them to sprout flowers of sadness, just so they can both revel in it. He wants his soulmate to only get flowers of happiness. He succeeds around half of the time. His soulmate must be a very happy person.

Maybe they're happy being without Wooyoung…

No. He's not going to spend time thinking of such things. There's absolutely no way someone could not love him, especially when they're his soulmate.

Wooyoung spends the next few days listening to San gush about his soulmate, and the devious part of his heart is amused as all hell when Yeosang effectively calls him a twelve year old. He's called Wooyoung that a million times, but then again, they've not been friends for four years for nothing.

It's another day at the flower shop when Yeosang is hanging around, and Wooyoung's surreptitiously trying to glance at the numbers his friend always hides. The phone rings, and Wooyoung sighs, giving up and choosing to look at the numbers on the device instead as Yeosang raises an eyebrow at him.

It ends up being a request for a delivery, and Wooyoung has exactly a moment of trying to convince San to do it before his soulmate walks into the shop, smiling and waving at all of them. Dammit.

The next moment, Wooyoung's being pushed out of the shop with a bouquet in his hand, and their thanks ringing in his ears. Heck, even Yeosang stays inside.

As he gets on his bicycle and goes out on the road, he huffs. Why couldn't San and his soulmate go out to deliver the flowers? They could've had a nice date. But of course, they'd rather hide between the shelves at the shop and kiss, while Yeosang uncomfortably gags in the background.

Oh well, at least Wooyoung's not the one left to gag while he secretly wishes that he could kiss his soulmate behind shelves too. All in due time. He'll make sure to kiss his soulmate when he meets them, regardless of where they are.

The thought makes him giggle, and he allows the wind to cool him down as he cycles. He reaches his destination soon enough, some big hall with an important ceremony. He's about to leave the bouquet at the reception when someone hurries out of the doors and asks him to take them inside instead.

Your tone is clipped, but you look out of breath and frazzled, and Wooyoung can sympathise. Evidently, this event is taking a lot out of you, so he just nods and follows you when you lead him into the hall. You're almost at the main table, Wooyoung at your heels, when the sound of music floats through the air. It's a piano piece, your favourite.

And who'd have thought it's also the song Wooyoung's mother played to him when he was young, telling him it was the song she'd danced to at her wedding. The melody he grew up listening to.

It happens almost instantly. Camellias, pretty pink buds blooming across his hands. There's so many of them, he's surprised. He didn't expect the longing to be that intense. trying to gather them sheepishly and apologise to you for dragging you down under them.

And then he notices it. Half of the flowers aren't even blooming from him. They're blooming on your skin, your face pale as you stare at him. Pale, and then flooding with colour, like a flower blooming in spring.

His eyes widen, jaw dropping and he almost screams. Almost, because people are gathering around them and you look even more stressed than you did before, despite the flowers going crazy around you.

That just won't do.

The flowers are joined by white carnations, adoration, and then more camellias following them, red this time. The song's still playing, the pianist probably having a field day (in more ways than one) as he gets to witness two soulmates meeting.

Wooyoung sets down the bouquet he's still managed to carry till now, on someone's lap and grins at them when they thank him. Then he's stepping forward and taking your hand gently.

"Do you like this song?" he asks softly, not wanting to scare you. You nod, and he notices how you've calmed down a bit, the line in his mind calming down too, soft instead of the frantic buzzing from moments ago.

"Do you like dancing?" he asks again, and he can't help the creasing of his eyes nor the mirth that shines in them as you duck your head, purple flowers blooming around you both once again as your emotions coincide.

Viscarias.

Plucking off a flower from his hand and tucking it behind your ear, he smiles at you. Placing an arm around your waist, he lets go of your hand, bringing his up to caress your cheek.

"Will you dance with me?" he asks, right before he smashes your lips together, uncaring of the crowd around you. Hidden among the flowers blooming uncontrollably, he feels your smile against his lips.

-

jasjdksf this took too long! still, i hope you guys liked it!! <333 you can find other posts in this series under my #ateez soulmates tag!

Hongjoong | Seonghwa | Yunho | Yeosang | San | Mingi | Jongho