#words assemble

[flowercrowngods]

Steve startles awake, disoriented and filled with a slight bout of panic — as always when he takes a nap that turns into five hours of deep sleep and catapults him right into the next dimension for a while there.

Heart racing, he blinks his dark bedroom into existence, and it takes him a while to realise where he is and what woke him up.

And then the landline phone on his nightstand rings again, and he exhales deeply before reaching for it with clumsy, sluggish movements.

“‘Ello?”

“Steve,” comes Eddie’s sing-song voice from the other end, washing over Steve in a soothing way that leaves him falling back into the pillows. He clutches the phone to his ear as he closes his eyes, the smile already forming at how happy Eddie sounds. He rarely sings Steve’s name like that. He should do it more often.

“Hi there.” His voice sounds like shit. Like he just took a — Jesus Christ, has it really been four hours? Well. He sounds exactly like someone who took a four-hour nap after a shit day at work would sound like.

There’s fumbling on the other end, but it stops suddenly. “Did I wake you? Shit man, I thought it was past nap time.”

“I don’t have nap time,” Steve grumbles, actually pouting at Eddie’s words and realising only a second too late how ridiculous he sounds.

“Sure, man, whatever you say. We all know you’re actually just a life-sized toddler.”

Steve sputters, sitting up against his headboard as he gradually wakes up. “Hey! Also, I don’t think you actually understand what life-sized means.”

“Yes, I do.”

Steve shakes his head at this ridiculous, ridiculous man. “What exactly do you think a non-life-sized toddler looks like, Eduardissimo?”

“Like Dustin.”

The answer is so quick and deadpan, Steve cannot contain the laugh that bursts out of him, waking him up quicker and gentler than anything else in the world could have, and he revels in the sound of Eddie joining him. He must look so smug right now, and so damn proud of himself. Steve wants to see him. Wants to kiss that smile right from his lips and replace it with something a lot more genuine.

“You’re an asshole,” he says instead, pulling his blanket further around him as he lifts his knees to sit more comfortably.

Eddie hums, still teasing somehow with just that noise, and Steve just can’t stop smiling. “You like me so much, Harrington.”

“Hmm,” he mirrors Eddie’s hum, but even he can hear the smile on his face. “Jury’s still out on that one, actually.”

“Any tendencies yet on the verdict?”

“Nope, they can’t decide.”

Eddie snorts at that, and Steve has no idea how that can sound so sweet. But it does. He buries his smile in his knees for a bit, the blanket hot around his burning cheeks. He’s hopeless.

“Well, let me know as soon as they do, yeah?”

“Will do,” he laughs, ruining all his attempts to sound solemn. “So what’s up? Why’d you call?”

“Oh!” And suddenly it’s like a switch has been flipped and Eddie doesn’t sound teasing and smug anymore, but instead just fucking giddy! “I have a bed now!”

Steve smiles at it. At that voice, that tone, that infectious emotion. “Oh yeah?”

“Yeah!” More fumbling on the other end, and Steve can only imagine that Eddie is rolling around in his newly acquired bed.

Who’s the life-sized toddler now, hm?

“No more sleeping on the floor for this Munson boy, nuh-uh, my good sir! We are in possession of a bed now. A wooden bed, no fancy headboard or anything, just…”

“Just a bed,” Steve says, feeling like he’s about to burst into a million little particles of fondness and affection and the never-ending need to kiss Eddie. To hold him. To touch him in any way he can. “That’s great, Edsie.”

“It is, Stevesie.”

“Man, I hate you so much,” Steve squints at the ceiling and laughs, actually kicking his feet, the minute breeze providing a little relief for the heat in his face.

And Eddie has no business to sound so smug when he says, “Yeah, you do.”

A pause then, and it feels loaded even through the phone. Steve clutches it closer to his face, hoping stupidly that Eddie can feel it.

“You should come hate me in my new bed.”

Steve’s breath hitches, and his brain shuts off for a hot second there. Before he can overthink this, he decides to just… play along. And listen to what his heart has been telling him for months now.

“Oh yeah?” he asks, breathless still, but his whole body tingles with just these two words. With the possibility they bring. The offer that they are. The question. The everything that’s stored in them.

“Yeah,” Eddie says, and he sounds just as breathless. “I mean, if— If you want to?”

“I do.” Steve swallows. “Right, uh— Right now?”

“Whenever.” And it sounds more like an As soon as possible.

“Okay,” Steve breathes, scrambling out of bed as quickly as possible, pulling off his shirt with the phone still pressed to his ear, letting out an embarrassing noise as it gets tangled in a mess of cord and fabric. He scrambles to free it, almost dropping it in the process. “I’ll be there in thirty.”

“To come look at my new bed?”

“Sure.”

On the other end, Eddie laughs again, but he still sounds just as breathless as Steve does. Just as excited. As fragile. Just as many fucking things.

“Alright,” Eddie murmurs, though Steve can still hear the smile. “I’ll see you then.”

And then he hangs up before either of them can get lost in their own heads about this sudden certainty of change. Steve is grateful for the steady noise of the dial tone reminding him that this is happening. But that nothing has to happen.

It’s a nice bed, he finds hours later, fingers combing through Eddie’s hair who’s cuddling him half asleep. It’s the best fucking bed he’s ever seen, if only because it led to this.

🤍 permanent tag list gang: @skiddit @inklessletter @aringofsalt @hellion-child @stobin-cryptid @hotluncheddie @gutterflower77 @auroraplume @steddieonbigboy @n0-1-important @stevesjockstrap @brainvines @puppy-steve @izzy2210 @itsall-taken @mangoinacan13 @madigoround @pukner @i-amthepizzaman @swimmingbirdrunningrock @hammity-hammer @stevesbipanic @bitchysunflower @estrellami-1 (lmk if you want on or off)

[ladyluscinia]

What Exactly Did David Jenkins Say?

Look, I'm still staunchly of the opinion that Word of God statements and creator interviews are overvalued in fandom, especially when they get pulled out mostly as gotchas without then continuing to analyze whether or not the show canon is successful at getting across that same message. Death of the Author is good, actually, and we should remember that. But they are worth looking at in the context of evaluating intent vs execution, and for future speculation - just, like, please with less of the whole mile high pedestal idolizing and backlash cycles.

But if overvalued "Word of God" is annoying, then overvalued "supposed creator statements that have gone through three rounds of telephone and any given blogger has only heard about a quarter of them, which they'll use confidently anyway" is worse. So, since I'd already looked up interviews for various reasons...

Here is a fairly comprehensive list of interviews David Jenkins has given and statements he's made during them, presented without commentary (save curating which statements get highlighted). All provided with links. I definitely missed some, so if you have any that you want to add, please do - though if you could trim off any commentary and save it for tags / your own post with a link that would be cool.

Also, again, just because he said it doesn't make it incontrovertible canon that only a blind person wouldn't understand. Some of these even arguably contradict each other. The creator's intent doesn't always translate to what the show is doing, nor do you even have to think it was a good idea.

(Listed in chronological order from oldest to newest - post contains spoilers below the cut)

Pre-S1

Gizmodo - Feb 22, 2022 - with Cheryl Eddy (io9) - Link

Why this story - Really, it was the enigma of Stede that drew him in. "I think actual pirate stuff is fine, but it's not necessarily my cup of tea. And I think Taika [Waititi] felt similarly. But hearing about this guy and reading about him and seeing that, you know, he left his family, then he met Blackbeard, they hit it off, and we don't know any of the details in between. So filling those blanks in, and having a very human story, and then being able to do it with the pirate genre, that was like, 'Oh, this would be cool.'"

Post 1x01 - 1x03

Polygon - March 5, 2022 - with Tasha Robinson - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

About Stede running off to sea - "Stede thought he could outrun his baggage, and you can't outrun your baggage."

About S1 - "I don't think there was enough improv on set! We had an insane schedule, with a huge amount of plot. We were budgeted and designed as a one-hour show, but with a half-hour production schedule, which means we really had to chase these episodes to get them shot. And then there are certain emotional beats that we really needed. So trying to find places to find the fun was hard."

Mashable - Mar 5, 2022 - with Belen Edwards - Link

About the show concept - "It was Jenkins' wife who first told him about Stede's adventures; she thought it would make a good TV show."

On casting Rhys Darby - "Stede did a terrible thing to his family. If you cast it wrong, he's a very hard character to get behind," Jenkins said. "Very quickly, the only person I thought of for this was Rhys [Darby]. He has this childlike quality that's endearing."

About the story - "Seeing them discover a need for each other that neither anticipated and charting how that relationship goes is the meat of the story." + "If you're on this ship, you're running from something, and you're running to something that you can't be on land"

Mentions of matelotage - "In fact, one of Jenkins's favorite pirate facts that he learned while working on Our Flag Means Death was the term matelotage, which was a civil union between same-sex pirates. "The more you look at it," he explained, "the more you write to the fact that this is a queer-positive world.""

Discussing piracy careers - "Something else that astounded Jenkins about pirates was "just how fast it all moved — their lives were quite short," he said. "Your career [in piracy] wasn't very long.""

Post 1x09 - 1x10

Decider - Mar 24, 2022 - with Kayla Cobb - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

Pitch for the show - "That was in the pitch," series creator David Jenkins told Decider. "That was the reason, to make them fall in love with each other."

About the romance - "The main thing to me was to side-step coming out," Jenkins continued. "I just want a romance. I want a Titanic romance between these two people. We don't have to do the coming out story and then the non-binary story for Jim [Vico Ortiz]."

About S2 and the show - "The show is the relationship," Jenkins said. "So, we end in a place where there is this breakup. What happens after a breakup between these two people who, one’s realized he's in love and the other one is hurt in a way that he's never been hurt before? What does that do to each of them in an action, pirate world with them trying to find each other again? So again, I really love those rom-com beats."

Collider - Mar 24, 2022 - with Carly Lane - Link

On making it a romcom - "It's the only reason to make the show. If you didn't do that, it would just be weird. I mean, you're using the rom-com beats. You're using these like they're together. And it's funny because so we're so habituated to be like bromance, bromance, bromance, and it's such a simple move to put them together."

Discusses focusing on romance - "I guess I really... I get kind of bored. How much pirate can you do? They're going to rob stuff. They're going to steal ships. There's only so many pirate stories you can do. So if you're going to do a workplace story, I mean, you're essentially having this... You'd have this same amount of relationships in Grey's Anatomy in the ER. So it's standard. It's the most standard. We're making a soap opera on a pirate ship, and to use those soap opera beats... I like it, and I like the flavor in a comedy when you have something that's played genuinely up against very ridiculous things."

Discusses history and kissing scene

Discusses importance of going home to Mary - "Yeah, that was the problem for me in the story. I knew that I wanted to have the end where he goes home, because you need to give Mary her day in court. I just wanted to know from Mary's perspective what happened and then to see that, yeah, they're friends."

Is Lucius dead? - "You got to wait."

EW.com - Mar 25, 2022 - with Devan Coggan - Link

David Jenkins, Taika Waititi, and Rhys Darby interview

Pitch for the show - "To me, [Stede and Blackbeard's relationship] is the reason to make the show," Jenkins explains. "When Taika and I were first talking about it, he was like, 'Oh yeah, that's the show.' I first started reading about Stede and how he befriended Blackbeard and we don't know why. Very quickly, it was like, 'Oh, it's a romance.'"

Polygon - Mar 25, 2022 - with Tasha Robinson - Link

Discusses 3-season intent - "I think three seasons is good. I think we could do it in three."

Discusses acts within S1 - "To me, when you see him get stabbed, and the blood runs through his fingers, it’s like 'Oh, no, the clown got stabbed! And not comedy-stabbed, he got stabbed stabbed!' That to me is cool. And then having Blackbeard find him as the end of what would be the first act of our story felt good to me."

Discusses kiss scene filming and the national moment around gay rights

What to focus on a rewatch - "I think Con O'Neill does such a great job. He's such a complex character, and it's such a tortured relationship. And that's a love story too, between him and Blackbeard. It's a very dysfunctional story, but it's fun to watch. Watch that maybe, on a rewatch, looking where their relationship ultimately goes."

TV Insider - Mar 25, 2022 - with Meaghan Darwish - Link

Discusses show pitch - "When I was pitching [the show] to people, I'd be like, 'Okay, so it's about Stede and Blackbeard, and then they hit it off and then they fall in love.' And then people are like, 'Okay, cool,' Jenkins shares. "And then they really fall in love, and become intimately involved."

Discusses historical inspiration

Discusses S2 direction - "But when [Stede] goes to find [Blackbeard], he's gone and his crew's been abandoned. And so watching them try to negotiate that, that's a good rom-com beat," he adds.

The Verge - Apr 15, 2022 - with Charles Pulliam-Moore - Link

Discusses being surprised by queerbaiting legacy - "...part of me knew that, yes, Stede and Ed's romance was going to be real. But one part of me felt like, 'We're going to do this story, and they're going to kiss, and maybe that's not even going to be that big a deal. Maybe it'll just be a blip.'"

Discusses writing romance - "I'd never written a romance before this one, but I think with Ed and Stede, the question's always 'what's the need for each other?'"

Discusses falling in love and Stede's accidental seduction - "It made sense to have that love be almost like a teenage version of falling in love — one with all these intense and conflicting feelings. They're middle-aged, but Stede's young. Ed's young. Emotionally, they're like 16, and they've both got a lot to learn."

Discusses Con O'Neill as Izzy - "He plays an exhausted quality that's really lovely because this character could just be generically evil, and the way Con plays, it is like, he's credible. I believe that he can do some damage if he wanted to. My favorite thing I've seen about the show is somebody saying that Con's playing the only human with a bunch of Muppets. It does feel like that a bit where he's like Charles Grodin in The Great Muppet Caper."

On Izzy being in love with Blackbeard - "I think Izzy's deeply in love with Blackbeard, and it's a very dysfunctional kind of love, and he's like the jilted spouse who's losing his man to fucking Stede Bonnet, and he can't believe this is happening."

Discusses masculinity and piracy as an escape from that

Discusses diversity and trauma based stories - "And the consensus in that very diverse room was that we wanted to show that isn't just wallowing in trauma. We don't have to do a coming out scene or focusing on the trauma of it — not to say that those stories aren’t valid."

Gizmodo - Jun 20, 2022 - with Linda Codega (io9) - Link

Musing on fandom response to the show - "I'm wondering if the fact that because the queerness of this show isn't gaslighting the audience, and isn't a function of wanting to do something, but not being able to produce the results because of network standards. I think we just happened to be in this lucky spot where the show is actually queer… and I do think that people are responding to that."

Comparing fanfiction to writing - "And Con O'Neill's audition was one of those things I would go back to. I would watch that and be like… Oh, right, that's the show. And in a way, you're writing fanfiction for a certain actor and character because you want them to do something, and you're like–" at this point, it must be said, Jenkins let out a maniacal little giggle. He’s just as thrilled to show off Con O'Neill's ability to seem both deeply exhausted and menacing as the rest of the fandom. "And you [as the writer] you're like… And then Izzy does this now."

EW.com - Dec 13, 2022 - with Devan Coggan - Link

Discusses The Chain sequence - "I had initially wanted that end sequence to be like the FBI raid in a mob movie, where the feds come in, and they've got boxes of stuff, and everyone's running, and someone makes a dash for it," Jenkins explains. "So, it's like a mob movie or FBI raid story, and then it's also a story of Stede's lover coming back."

Pre-S2

Collider - Oct 2, 2023 - with Carly Lane - Link

Discusses fan reaction to S1 - "I thought that they'd kiss, and people would be like, 'Oh, cool, cool!' I kind of thought people would know a little bit more [about] where we were going, but then in hindsight, no, people have been hurt and burned on so many other shows and then made to feel silly."

Discusses starting S2 dark - "One of these characters is very, very damaged and has never made himself vulnerable in this way before, and I don't think [he] would react very well to having his heart broken in this way. I don't think it would be cute, and I don't think it would be funny. I think it would be scary as hell to watch a very damaged guy that we've established in Ed, who killed his dad and thinks he's not capable of being loved, deal with rejection and see that Stede really hurt him."

Discusses adding more female characters

Discusses S2 needle drops including "This Woman's Work"

Discusses 3-season arc

Post 2x01 - 2x03

Mashable - Oct 5, 2023 - with Belen Edwards - Link

Discusses fandom response to S1

About the canon gay relationship - "To watch the explosion of enthusiasm around [the kiss] was disorienting, almost," Jenkins said. "I thought people would react to it, but I didn't think the reaction would be that big. And then it was moving, because I didn't realize that this audience felt so unserved in general, as far as storylines go."

Insider - Oct 5, 2023 - with Ayomikun Adekaiyero - Link

Tease on leaning into the Stede / Ed / Izzy love triangle - "I think Izzy, in a certain way, got the worst deal in the first season," the showrunner tells Insider. "He gets jilted and then he still is in spurned spouse territory at the beginning of the second season."

Discusses Izzy's arc - "What is that relationship about? And I think by the end of the season it kind of becomes a little unexpected of who they are to each other and what they mean to each other," he teases

Discusses addition of Zheng - "He likens Zheng's way of pirating to a successful tech startup, compared with the garage sale vibe Stede had going on the Revenge."

Discusses introducing Hornigold - "I thought Hornigold was the most obvious because he was the person who made Blackbeard what he is. And Blackbeard has a father complex, so it's natural that he's going to bring his former captain back," the show creator said. "It's a struggle with him because he and dad figures don't historically do well."

Discusses importance of the mermaid scene

Inverse - Oct 5, 2023 - with Hoai-Tran Bui - Link

Reveals he didn't commit to the romance until shooting 1x06 - "Jenkins always intended his pirate comedy to end with a romance, but he'd envisioned it as an unrequited love. "It was going to be about Stede learning what love is, and Ed making himself vulnerable and getting burned," Jenkins says of his original pitch. But Darby and Waititi's choices in the scene, which they played without diffusing the tenderness with a joke, made him wonder if they could take the show in a new direction."

Discusses mermaid Stede idea from S1 - "We talked about Stede as a mermaid very early on in the writers' room," Jenkins says. "At some point, yeah, I want to see Rhys Darby as a merman." + "They wanted us to come up with a Season 2 pitch during Season 1. And that was one of the ideas we hit on, and I can't quite remember how we got there, but it was us asking, what is a pirate world? Are there mermaids? Is there magic in this show? With pirate stuff, I don’t know that I want there to be magic, but there was a way where it was something really beautiful about a mer-person, and I like the idea that their coming together would have a mythic size to it."

Discusses historical divergence

Discusses matelotage and pirates as weird outsiders

TV Guide - Oct 5, 2023 - with Allison Piccuro - Link

About the shipping culture - "It's the meat of the show, so it's great to have people bought into the central romance. If it were a bromance that we were trying to make look like a romance, that would suck."

Discusses playlists he makes

Discusses opening dream sequence - "I just like that it started with something badass. Stede, Blackbeard, and Izzy are on an arc together. Whether they're in stories together or not, their ultimate arc is together. I think, by the end of this season, the last episode, that first scene will be gratifying. I won't say why, but their fates are tied together."

Discusses Kraken arc - "But I think the thing that's good about this show is that it can go to really sweet comedy land, but I want there to be, like, if someone loses a body part, for instance, they lose a body part. To do justice to the fact that this guy is a killer and a monster, and dealing with heartache that he doesn't know how to deal with, I think you really need to go there."

Discusses Izzy in S2 - "I mean, he's jilted. He had a partnership with Blackbeard, and he knows he can't live up to this person that Blackbeard fell in love with... Who is that guy? What are his hobbies? What does it look like when he's not totally subsumed with his boss's love affair with somebody, and heartbroken?"

On S2 reunion - "The second season is them being a little bit more mature... It's the thing where you're in your 20s or 30s and you're like, "Well, should we move in together?" They have to make up some time because neither of them have been in a functional relationship before."

About genre of pirate stories - "...is a show about multiple relationships. That's what I want to see when I see this show. I don't want to see a bunch of pirate things that I've seen in other things, I'll just go watch another thing if I want to see that. That's not really my thing. I like the genre, but it's a very hard genre to budge. I want to see relationships in a pirate world."

Discusses the A Star is Born aspect of seeking fame / retiring

Mashable - Oct 7, 2023 - with Belen Edwards - Link

About the mermaid scene - "You need something expressive for when they come back together," Jenkins said. "Their reunion moment has to feel big and mythical. This is not a world where mermaids actually exist, but their love for each other has that size that you can get [a mermaid] in there somewhere."

About Kate Bush - "I love Kate Bush, and I love that song, and I know Taika loves that song," Jenkins explained of the choice. "So I wanted to find a place for that song somewhere in the second season."

Polygon - Oct 9, 2023 - with Tasha Robinson & more - Link

Compares S2 and "Golden Age of Piracy" stuff to Westerns, lists 5 he was thinking of - "Every Western that’s good is that story," Jenkins says. "'This way of life we made is coming to an end. It can't last. It's a blip in time. We created this thing because we need it to exist. We're outlaws, and we need a culture that suits us, but it's running out of time.'"

Gizmodo - Oct 9, 2023 - with Linda Codega (io9) - Link

Short tease on leaning into the love triangle

About Stede, Edward, and Izzy - "I think the three of them are on an arc together that's pretty inseparable," Jenkins said in an interview with io9. "And to watch Izzy try to process what's happened [in season one]… to watch him kind of grow and figure out what's his own story, if he can separate himself from this kind of toxic relationship, is interesting to me and I think gives him a lot of room for growth."

Post 2x04 - 2x05

IndieWire - Oct 12, 2023 - with Sarah Shachat - Link

Discusses directing and show creation

"The limitations of the show also naturally push it back towards moments with the ensemble and plot problems that it would frankly be irresponsible to tackle if you had a giant budget and a fully working ship-of-the-line to sail and then blow to bits. "That's the fun of the show to us, I think. If you open this up and you're like, unlimited budget, that would be terrible because I think you can get seduced," Jenkins said. "[It could be like,] 'Oh man, it's all leading up to a climatic battle on the sea.' And those things are great. But that’s not this show.""

"The nice thing about that, though, is you get to be the lo-fi show that’s like, 'Hey, we’re making The Muppets.'"

PopSugar - Oct 12, 2023 - with Victoria Edel - Link

About S2 Stede - "I like the idea that he learns and grows and he doesn't just stay a bumbling captain. He might be ridiculous, but he is getting better at it."

Discusses genre challenges - "How do you have a show that's a romance show but it's also a workplace show and they're criminals?"

Discusses Edward's redemption - "But Blackbeard still has to come back and apologize and be part of the community again, and give his little press conference. It was fun for us to look at that in the context of piracy, where they all do terrible things to each other. But even by their standards, what Blackbeard did was a bit much."

Discusses Izzy in S2 - "When Izzy shoots Blackbeard and they all mutiny on him, that's Izzy breaking up with Blackbeard. And they're both having their own journey in the wake of it, and Izzy's having his own redemption arc. He's trying to figure out, "Who am I if I'm not Blackbeard's first mate? Who am I outside of this relationship?"" + "If Stede's Spongebob, he's Squidward. I don't know what that makes Blackbeard. But there's a real pathos to Squidward."

Discusses trauma-based narratives - "As a diverse room in terms of sexuality, socio-economic background, and race, we thought, "Wouldn't it be nice to have a non-trauma-based story for these characters who don't get that historically?""

Variety - Oct 13, 2023 - with Hunter Ingram - Link

Discusses three act structure and making Stede work for a relationship - "The way I like to look at a season is in threes. The end of the first act is when they find each other, and this is the beginning of the second act. They've found each other, but they are pissed. Stede thought it was going to be [Kate Bush's] “This Woman's Work,” but, in reality, it is this headbutt –– literally."

Discusses the central romance - "It was always part of the pitch... that is the reason to make the show. The pirate genre is fun, but I wasn’t dying to make a pirate show. Taika wasn’t dying to make a pirate show. But the thing that was interesting to me was that Stede finds love, and he finds it with Blackbeard."

Discusses 2x04 plot - "This episode is based on a very, very thumbnail sketch of "Who's Afraid of Virginia Woolf?." Anne and Mary are Martha and George, and they are Elizabeth Taylor and Richard Burton."

Discusses adding historical pirates

Discusses Buttons exit - "I just love the idea of him turning into a bird: I love the idea of Buttons somehow being the one character that is able to figure that out."

Discusses Izzy and the crew's trauma plot - "We liked the idea that there is something about trauma and getting past that trauma, even on a pirate ship. They have been through two very different ways of living and they have to get used to each other again. But it's also a family that was separated, and becoming one family again is painful."

Discusses bringing characters back - "We could bring Calico Jack back, who, if you remember, was hit by a cannonball last season. Anyone who is that fun to play with and wants to keep playing, you always find a way to bring them back."

Polygon - Oct 14, 2023 - with Tasha Robinson - Link

Discusses 3-season arc and how keeping them apart with some plot device was never in the cards - "at the end of the first season, they're 14-year-olds, emotionally. In this season, it's more like they’re in their late 20s."

Discussing New Zealand production and ensemble cast writing - "It's pretty organic, because as we're going through and tracking everybody's journey for the season, we're watching the thing that holds us together — what stage of Stede and Blackbeard's relationship are we in? Because the overarching arc is, are these guys going to learn how to settle into a relationship?"

"The second season is more overtly about romance, and more a relationship story."

Energizing aspect of fan reaction

S3 is about "love is work"

Gizmodo - Oct 16, 2023 - with Linda Codega (io9) - Link

About the story - "I want to see them become a functional couple or fail to become a functional couple," Jenkins said. "Those are the most interesting parts of the show."

Discusses fandom engagement - "...ultimately the writers are also "the fans in the room." He goes on to say that, "We're fans of the world. We're writing fanfic about our own characters, our own worlds… It's paid fanfic, but it's fanfic." He gives another example: "If you're writing a season of Succession, you're writing fanfic Succession. You're just getting paid to do it. We, as writers–" it's clear that he's not just talking about the writers in the writers room, "become fans of the world and we all have things we want to see these characters do. What we do is not that different."

Discusses the A Star is Born aspect of seeking fame / retiring

Discusses Zheng Yi Sao

Villains of the series - There are a lot of new villains this season, but, Jenkins says, ultimately, "the antagonist on this show is normalcy… These pirates have a way of life that they're not finding in normal life. They've found a way to live and support each other and be there for each other. And that's always threatened by these larger, tyrannical forces that want to shut them down."

Post 2x06 - 2x07

Mashable - Oct 19, 2023 - with Belen Edwards - Link

Discussing drag performance in 2x06

"It is nice to see with Izzy's arc, where he finally breaks through whatever he's been doing to himself. He lets himself have that moment, which I just love. It resonates for Izzy, and I think it resonates for Con. Just personally, it made me feel good to see how it turned out."

Consequence - Oct 19, 2023 - with Liz Shannon Miller - Link

Discusses intent for romance - "...telling a love story in a serialized medium like television has its perils, largely because it's tough to know how much you can draw out any unresolved tension. "I think we take it episode by episode and we try to not piss people off in taking too long and doing double beats and triple beats," Jenkins says. "You can only do Will They or Won’t They for so long. Then you have to deepen it.""

Discusses pirate setting - "The emphasis on relationships also fits into the show's high-seas setting, which Jenkins finds similar to post-apocalyptic narratives. "It is a little bit like you're doing Mad Max, except there's relationships," he says. "Stuff's shitty, so you gotta try to find some joy. Of course, people are going to have a need for each other in these extreme circumstances, and I like the idea of these characters finding some level of a healthy relationship in these extreme circumstances.""

Discusses Jim x Archie

Discusses 3-season arc

Polygon - Oct 21, 2023 - with Tasha Robinson - Link

Discussing gender and power dynamics in Jackie x Swede / Zheng x Oluwande / Blackbeard x Stede + A Star is Born aspect

Jim not being jealous of Oluwande - "I think that relationship was always seen in the room as a friend relationship that got romantic."

About adding a villain - "I think a lot of the internal forces in Our Flag are the villains." + "I think this is a story about the age of piracy coming to an end. This way of life is coming to an end. And every Western that's good is that story: This way of life we made is coming to an end, and it can't last. […] I think every story about outlaws is about trying to preserve a way of life against normative forces that are kind of fascistic."

Historical accuracy - "The balance of the show is 90% ignoring history, and then 10%, bring it in, whenever we're like, Ah, gotta move the story forward! Remember, the English are out there, and they're really bad!"

Post 2x08

AV Club - Oct 26, 2023 - with Saloni Gajjar - Link

Killing Izzy was always the plan - "We wanted to show the depth of that character. Izzy is one of my favorites. He's like middle management who is in a sort of love triangle [in season one]."

Discusses how they really wanted the happy ending for S2 - "I think with season one's end, it was a gamble to leave it the way it was. Everybody stomached through it. Now if it turned out they didn't want us to make more, I just didn't want to have another story where the same-sex love story ends in tragedy, unrequited love, or if one or both of them are being punished."

Discusses S2 progressing the 3-season romance - "They’re a couple who is like in their late twenties right now as opposed to being teens at the end of season one." + "It was an interesting tension of, which one gives up their dream? A lot of times in relationships questions can come up, like who is going to give up on their dream to take care of the kids? Obviously, no one wants to, but someone ends up giving up more than they want to at some point. What's wonderful about a mature romance, and what I'd want to see more of in season three, is Ed and Stede making these tough decisions." + progressing past the getting together point

Discusses parallels, Republic of Pirates, and Zheng Yi Sao

Short bit about fan response

Collider - Oct 26, 2023 - with Carly Lane - Link

Discusses Ed leaving fishing - "I like that he had a little prima donna moment where he thought he could go and be a simple man, and then it's revealed that he really isn't a simple man; he's a complicated, fussy, moody guy. No, he's not gonna be able to catch fish for a living. For him to be told that, "At your heart, you're a pirate. You have to go back and do it," he doesn't want that to be true, but it was true."

Discusses Izzy's speech to Ricky - "I wanted to give Izzy a proper eulogy for himself. He gives a eulogy for himself, but it felt true writing it."

Discusses Izzy's death scene - "In a way, it's very much for Ed, that speech. The "we were Blackbeard" is claiming that he is also Blackbeard, that Blackbeard is not just Ed’s creation, and I like that for him, too, because he's worked so hard for that — and then just to say, "You can give it up." There can never be a Blackbeard again as far as Izzy's concerned because he's dying, and they did that together."

Discusses Republic of Pirates / music parallels from premier to finale

Discusses finale wedding - "We knew we wanted a matelotage in the season, which is the real term they had for marrying crew members. And yeah, they've always been in relief to Stede and Ed, and they're a little bit ahead of Stede and Ed in how much they can talk about things. So to have a bunch of family things in the season, like a funeral and a wedding, and have the parents kind of watch the kids sail away, felt right, and all of those things seem to work well together and build on each other."

Discusses retirement ending - "That will-they-or-won't-they is interesting to a point, but the real meat of it is always like, "Can they make the relationship, and can they do better than Anne and Mary?""

"Frenchie's in charge of the Revenge" + teases Stede struggling to give it up

EW.com - Oct 26, 2023 - with Devan Coggan - Link

Discusses Izzy's death and telling Con - "It feels like the logical end of Izzy's arc. It's heartbreaking to me because he's my favorite." + "I told him in the middle of shooting because I didn't want him to find out at the table read, obviously. I also didn't want it to leak. He was lovely about it."

Discusses Izzy's final arc - "You know, I didn't expect him to become kind of a father figure to Ed. I think we hit on that while we were breaking the [final] episode. He's in such a weird position: He's like a jilted lover, and then he's a middle manager who has to work for a terrible boss. He gets thrown away, and then he comes back. He really develops, and he becomes a part of this family. I think the biggest surprise was the extent that he was a mentor to Ed. They were both Blackbeard. They both made Blackbeard happen."

Discusses the happy ending intent - "With this season starting so dark, I kind of wanted to reward them for the work that they've done and the character growth that they've had. I wanted to leave them in a place where they're really going to try and make this work. I don't think it's going to be easy for them, necessarily. They're both still immature."

Discusses the wedding - "We knew we wanted a matelotage in the second season, and pretty quickly we landed on Lucius and Black Pete. It seems like they were ready for that. We made up a ceremony and everything, where they call each other mateys, and it was just fun to make our own version of a pirate wedding ceremony."

Discusses potential S3 and Frenchie's Revenge - "But it felt like a good place to end the second season. It felt like a contrast to the first season. If it turns out we don't make any more, I'm comfortable with that being a resting place."

Variety - Oct 26, 2023 - with Hunter Ingram - Link

S3 endpoint - "I love things in threes," he says. "That first act, second act, third act structure is so satisfying when it is done well, and you don't overstay your welcome. I think this world of the show is a big world, and if the third season is successful, we could go on in a different way. But I think for the story of Stede and Ed, that is a three-season story."

Discusses the draw of a "Golden Age" and it's ending

Talks about father figure Izzy and wanting a real sense of loss - "There is a nice parallel to have Ed treat him so badly at the beginning of the season and then come all the way around to where Izzy is this sort of father figure he doesn’t want to lose — because Ed usually kills his father figures."

Gizmodo - Oct 26, 2023 - with Linda Codega (io9) - Link

Teasing future Izzy - "Jenkins looked slightly sad himself, saying that "Ghosts exist in this world." I told him not to make promises he couldn't keep."

"Jenkins said that he doesn't see Izzy as a pure antagonist in season one because on some level… Izzy was right in his hesitations about Stede."

Discussing Con O'Neill & Rhys Darby acting

Jenkins confirms the season was always 8 episodes due to budget cuts

About S2 finale vs S3 - "The first season ends on such a downer, so it made sense to end the second season in a kinder spot." + "I think there's plenty of story left for season three, but I think that it was important to end this as if it was the end of the show, and on upbeat note and avoid the kind of "kill your gays" trope. I don't want to see Stede and Ed punished for giving it a go. I want to see them really say, 'yeah, we’re going to we're going to try to have a relationship'."

Teases S3 revenge against Ricky and going to the Americas

Vanity Fair - Oct 26, 2023 - with Sarah Catherall - Link

About the ending - "It's bittersweet. There's death and there's the rebirth of Stede and Blackbeard's relationship; there's a funeral, there's a wedding, and the idea that this family is going to keep fighting even as they lose members. And then it's about belonging to something." + "A lot of times, with this narrative of characters, same-sex relationships end on a dour, downbeat note, where one of them dies and it's unrequited or it's unrealized; something horrible happens and they're punished in a way. So it was important to leave it open and a lot more show to go, but also leave it in a place where it's happy."

Discusses Izzy as a mentor / father figure - "We felt like Izzy's story had reached its conclusion, where we put him through enough. And then there was the realization that he is kind of a mentor to Blackbeard and that he is kind of a father figure to Blackbeard." + "And it's also a pirate show, so he's got to die."

Discusses filming challenges - "It's a big show; it's basically a one-hour show that we're doing on a half-hour budget."

Discusses adding Zheng Yi Sao

Is the show a queer romance? - "For this show, it's important to me just to write a really bold-bodied romantic show that happens to be between two characters of the same sex. I think that the story beats don't matter, because if you've been in love and you've been hurt and you met someone you love—hopefully we all know what those feelings are."

Blackbeard's arc in S2 - "...the second season is about Blackbeard's midlife crisis. And then when they both have their midlife crises, they can open a B&B together." + "I don't think Stede and Blackbeard are ready to be married. They're emotionally saying: 'Let's give this a go.'"

Discusses historical piracy as "counterculture" that's been straightwashed and whitewashed

Did he feel responsibility to the fan community? - "As opposed to responsibility, it feels more like relief—that people feel seen and they feel good about it and they liked what we did. And so it feels like, Okay, somebody's out there and wants the show. The makeup of the writers room looks a lot like the makeup of the fan base. So as long as we're true to our stories in the writers room, I think we just feel excited that there's somebody waiting on the other end to enjoy it."

Paste Magazine - Oct 26, 2023 - with Tara Bennett - Link

Discusses whether fandom expectations felt weighty - "I think particularly for this season, that "bury your gays" thing… I didn't want to end on a downbeat for Ed and Stede. We did that in the first season. I like that there's a lot of different flavors. It's even a little melancholy because the Republic of Pirates got blown up. But there's still more good things."

Discusses production and plotting - "I wanted to start at the Republic of Pirates this season and end at the Republic of Pirates. And I knew I wanted the Republic of Pirates to be destroyed, ultimately. Within that, we are making a one-hour show on a half hour budget, on a half hour schedule."

Discusses planning the ending - "In terms of ending this season, it all felt right just in talking through it when we were in the room. It felt pretty intuitive. When you get to the third act of the story, things kind of settle in. There's gonna be a funeral. We always knew we wanted a wedding at the end of the second season. And I knew that I wanted Stede and Ed to start an inn together. So once you have those beats, it's kind of locked in."

Discusses Izzy's arc - "It's kind of a strange arc in that I knew we were going to put him through all these things, and I knew he would ultimately die. But I think him becoming a father figure to Ed in the last episode didn't really dawn on us until we were breaking the last episode. Asking what would this man say to Ed at the end because they've been together through everything? He went from a troubled and downtrodden employee to a jilted lover to a discarded employee, to someone that is just trying to find his footing again—no pun intended—to actually becoming this guy's parental figure on some level. And he's one person who kind of raised Ed right, because Blackbeard usually kills his parental figures. So, it felt right and it felt like that's how the mentor dies. The mentor in a story usually dies in the second act and then our hero has to go on and try to do it without them. It felt like the right journey for Izzy and a gratifying one for Con."

On leaving open for S3 - "I don't think it was a very hard thing to do. I think it was more that I felt a responsibility to leave Ed and Stede in a good place, at least for now. It's not gonna go well. They're not going to run a business well. Ed's too much of a talker. Stede can't focus. It's gonna be challenging."

Vulture - Oct 28, 2023 - with Sophie Brookover - Link

Discussing Izzy as a "father figure" and his S2 send-off being a priority

Meaning of piracy - "...what our pirates stand for is a life of belonging to something larger than they are in the face of a crushing, slightly fascist normalcy."

Re: Con O'Neill & Izzy's death - "I had to tell him about halfway through the season"

Third season about the work of a relationship between still damaged main characters

Discusses middles as about change and transitions, and wanting characters to change instead of reset, have them experience permanent consequences

About the final scene - "...Ed and Stede as the parents kind of watching the kids take the ship. Frenchie's the captain now..."

Objective of the crew - "...have had terrible things happen to them at the hands of colonial forces, so they want some payback. Party, plunder, and payback — the three P's."

Metro Weekly - Nov 1, 2023 - with Randy Shulman - Link

Discusses historical premise of S1 and easing into the romance

Discusses S2 genre - "In the second season, it was great because we know it's a romance and we can lead with that. It's a workplace show essentially. I wanted it to be more in the vein of early episodes of Grey's Anatomy or something where there are all these relationships on those shows. That's what you’re following — relationships and friendships that are taking place in a hospital, procedural. That's Grey's Anatomy. This is less procedural for the pirate stuff — and you need the pirate stuff."

Discusses not being into pirates - "But I'm like you. I'm not a big pirate person. In general, it's a big creaky genre that's hard to budge" + "Pirates of the Caribbean, those movies are great. That's not necessarily what I hunger to see, but in that genre, it's great. You're not going to beat that, especially on something that's lower budget. We've seen a lot of this stuff, so it's fun to take it then and don't do any of that stuff."

Discusses adapting historical piracy - "You don't want to see them punch down. You don't want to see them do terrible things to people who don't deserve it, which is not what they really did. So, in the show's world, I think piracy is like a stand-in for something. I think it's a stand-in for being an iconoclast and an outsider and queer in some ways and just different." + "Yeah, I mean, the British are there to be Stormtroopers, or Nazis in an Indiana Jones movie. I mean, they're in there to die essentially."

Discusses diversity staffing

Discusses performative masculinity

Discusses Izzy's death, happy endings, and openness to S3

[bookwyrminspiration]

STOP. think about dragons

[noturbutchboy]

The world needs more evil dykes who would do anything for their wife hehe

[off-brand-adorabbit]

Tress scratched the best itch for me, I’ve been craving a good fairy tale and it was just perfect. I kept slipping so hard into the fairy tale aspects that I kept getting caught by surprise whenever a cosmere thing stopped beating around the bush and revealed itself, actually. While I’m sure that wasn’t fully the intention, it was a really fun way to read some brandermansanderman coming fresh off of sunlit man and how intensely locked in I was with the Connections. Genuinely Tress is such a fun little romp. I love girls who sail in fucked up seas and this is a genre I want more of please thank you.

[cellarspider]

13/?? Science interlude!

(Previous) | (Index) | (Next)

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We return to Prometheus, where I am taking a break to ramble about my job. A thing that I love. It will be a nice change. Also: weird blood!

I have been informed that some methods of accessing tumblr do not play well with long alt text rambles. To keep the flow between the main text and alt text separate, I’ll be copying the longest ones below the main text and citations. Captions that I think are going to be long enough to need this treatment will be marked with “Overflow Ramble [number]”, so they’ll be slightly easier to find. It’s not a perfect system, but Tumblr is not a perfect website.

And I am going to need the overflow space this time, because we’re getting into genetics!

After electrocuting a decapitated alien head until it exploded into a shower of green gore, the creatures that claim to be scientists stuck a bit of the goop in some sort of very science-y DNA machine, leading to this:

“Let's have a look at its DNA. Isolate the strand. Okay. Compare it to the gene sample?”

“[Overlay… Processing… Processing… DNA MATCH.]”

“Oh, my God. It's us.”

I want this preserved for posterity, because this made me absolutely hoot. They avoided fake science technobabble by going so far in the other direction that it becomes equally meaningless.

What the scene is trying to say is “this alien shares the vast majority of its genetic material with humans, indicating that they are in fact related.” 

I will get to how one would actually determine that, but first: The head turned into green goop. Green goop. Humans are notably not prone to turning into green goop. Otherwise Nickelodeon would’ve probably been shut down within a week.

(Image credit: Rich Fury/KCA2021/Getty Images for Nickelodeon)

This annoyed me so much that years later, I dug up a possible explanation that backfills this with cool biology.

Humans, and almost all vertebrates have hemoglobin-filled blood. And on a tangent that I must follow: The only vertebrate that doesn’t is the icefish Channichthyidae family, commonly known as the white-blooded fish. 

You’ll never guess what’s special about them. 

Yes, somehow these fish manage to live without hemoglobin, their blood only having 10% of the oxygen carrying capacity of their red-blooded cousins. Hell, most of them also lack myoglobin, which stores oxygen in muscle. The loss of myoglobin isn’t just a one-off event either, genetic studies have shown that these icefish have seen four distinct branches of their family tree lose myoglobin independently of each other. They have a wild series of adaptations to permit this, but basically they were already in such cold-oxygen rich water and moving so slow that they didn’t need all that extra oxygen-having stuff. They lost it, kept going, got bigger hearts, weirder muscles, and just kept going. They’ve actually expanded their range in the past 30 million years or so!

I love them! Evolution is wild. You know what’s also wild? There’s green-blooded vertebrates. Yes. You read that right. Yes, they still have hemoglobin. What they also have are staggering levels of biliverdin, which human bodies only produce when breaking down hemoglobin–when a bruise takes on a greenish hue, it’s because the dismantling of the blood under your skin has created biliverdin. While it’s generally been thought of as just a breakdown product, some research suggests that it also has protective effects against a number of diseases. In moderation, though. If you have enough of it to actually turn a bit green, you’ve got jaundice, which is not a thing you want to have. 

But for a number of fish species, bush frogs, and skinks, they have way more biliverdin. 

(Austin, C. C., & Jessing, K. W. (1994). Green-blood pigmentation in lizards. Comparative Biochemistry and Physiology Part A: Physiology, 109(3), 619-626.)

Humans usually don’t have much circulating biliverdin at all, so the table above compares someone with untreated jaundice to a number of other species–fish with two to fourteen times that amount, and the green-blooded skinks have twenty-two times as much! These creatures have green blood and turquoise-colored bones, and we still don’t know why. Maybe it’s protection against diseases, maybe it’s protection against parasites like malaria, maybe it’s to make them really blend in with foliage. Could be all of those at once, could be none of them, we don’t know! What we do know is that, as with the icefish, the green-blooded skinks in particular have independently evolved this feature four different times. (Rodriguez, Z. B., Perkins, S. L., & Austin, C. C. (2018). Multiple origins of green blood in New Guinea lizards. Science Advances, 4(5), eaao5017.)

(https://australian.museum/blog-archive/amri-news/amri-three-tiny-green-blooded-frogs-sing-like-birds/) 

(https://web.archive.org/web/20180619143048/https://blog.nationalgeographic.org/2013/09/30/why-do-mysterious-lizards-have-green-blood/) 

We have no mammals identified with biliverdin-filled green blood, you would need a lot of tweaks to how our bodies function to make this work. But it’s not literally impossible, like I thought in the theater! I’m quite sure the prop department didn’t do this level of research on the subject, but think about it! 

I love biology! It’s! So! Weird!

And because I love biology, you’re not getting rid of me yet. My chosen field is genetics. This movie has presented me with a laughable sci-fi depiction of what we do. 

So! What do we actually do, when we want to find out how related we are to another species?

I’m going to get into excruciating detail, so here’s the top-line summary: We extract the DNA, mash it up into readable little chunks, use some wicked cool machines to do the actual reading, and then we compare the target DNA with our DNA, and do some cooler stuff the movie isn’t aware of. A competent analysis would not only be able to tell you how much overlap two genomes have, but also be able to estimate how long the two species have been genetically distinct. 

Is this way more than the movie needed for this plot point? Yes. But they didn’t actually have to do this at all, they could’ve just said the truth that science fiction usually ignores for budgetary reasons: “there’s no way these beings independently evolved to look so much like us, we have to be related.” 

(Although even Star Trek, despite being the classic example of “putting a rubber thing on an actor’s forehead to make them an alien”, actually does acknowledge this. Precisely once. TNG s6e20, “The Chase”. It has never been mentioned again in the main line series, possibly because Rick Berman didn’t like it.)

Now. Time for me to take you all on a grand tour of DNA sequencing and phylogenetic analysis. You are all getting into the Willy Wonka boat with me. You have no choice.

So! You have a sample you’ve taken from a non-human mammal, one that’s never been genetically analyzed before. You are very lucky. You get to do fun stuff.

But before you get to sequencing, you have to purify any DNA in the sample. Your sample is full of all sorts of other biochemical gunk, and when cells are happy, DNA is packed away in the nucleus–you need to crack those open to get at the DNA. 

Next, you need to break the DNA into chunks, that’s #1 on the diagram above. For most of the past twenty years, this has meant chunking DNA down into pieces 25-50 letters long–just enough to probably get something unique over most of the genome, though you will have some areas that look identical at that tiny scale. In recent times, we’ve been getting better and better at what’s called “long read sequencing”, which at this point means fragments of several thousand DNA letters in length–though that’s still pretty short, compared to human chromosomes though: the average length of a human chromosome is 134 million letters long.

Depending on the sequencing technology and its needs, the sample may also need “amplification”: getting copied over and over using a protein originally harvested from hotspring-loving bacteria (#2). I always love that bit just as a concept: it’s one of many places where the modern study of genetics uses the microscopic, biological machinery of proteins for our own use! 

After everything’s prepared, Then the sequencing itself can occur. That too is wild–the most common versions these days use tiny little fluorescent proteins to tag each letter of the DNA and read the sequence of lights (#3!). Some use infinitesimally tiny electrical modulations as DNA passes by a microscopic reader. There’s loads of different ways, anything works, so long as it can be read by a computer.

All this takes place in machines that are either small enough to fit on a countertop, or big enough to look like a fridge, and come in Apple White or Cheap Plastic Appliance.

Because you have a new species, you’re building what we call a reference genome. This tries to capture as much of the entire genome sequence as possible. Here’s an interesting wrinkle, though–A lot of samples won’t be just DNA from your target species! You might be picking up microbial DNA along the way as well. That can be really interesting and worth knowing about, though! Some people spend their whole careers studying the genomes of microbes found on people’s skin, or in their bodies. You’ll be computationally sorting out which sequences are in contiguous, mammalian chromosomes, which are from mitochondrial DNA (those cute little powerhouses have their own genomes!), and which come from microbes.

At the end of it, you have sequenced an entire genome. Because you want to find out how related it is to humans, you compare it to our reference genome–The human reference genomes we use is an assembly made from multiple individuals.* We use the reference genome as a common point of comparison that we refer to when studying genetic variation.

*Though if you’re working with data form the Genome Reference Consortium as is usually standard, one anonymous African-European donor, RP11, is still the backbone of the reference, accounting for 70% of the latest assembly.

(https://mk.bcgsc.ca/telomere-to-telomere-human-genome-assembly/posters.mhtml)

So, we’d compare this new mammalian genome to our own–how much overlap would we find? A lot. How you define our similarities and differences from other species can change the answer, but you’ll expect a lot of overlap. Some areas of the genome diverge faster than others, others are highly conserved–generally the more stable it is, the more important it is for our function. 

Through many, many, many studies and corroboration with the archaeological record, we’ve worked out how to estimate how long ago two species diverged from each other. Actually, you’d rarely be comparing between just two species at this stage–get out all the other relevant reference genomes you’ve got! Compare them all! Build a phylogenetic tree–the modern version of that “tree of life” idea that Darwin popularized. Then you’ll have a more accurate sense of how your mystery species relates to everything.

(https://www.embl.org/news/science/a-new-tree-of-life-allows-a-closer-look-at-the-origin-of-species/) 

I’m going to go off on a tangent to end this post, because that’s just the start, taking the entire genome of a single individual. This is what most people think is what we always do. But no! That’s expensive overkill for most experiments. Once you’re familiar with a species, and you’ve sequenced DNA from many individuals, you can identify areas where lots of them have sequence variants. These can be completely benign, differences that make us all unique, or make an individual more susceptible to disease. This allows us to target what we want out of DNA sequencing: Are we trying to diagnose an illness? Identify a person from a tissue sample? Or are we doing something more exploratory?

Depending on what you want, you select anywhere from a handful of locations, up to tens of thousands. The closest many people have gotten to this stuff is through ancestry services like 23andMe, which uses this kind of sequencing.

But that’s not all! There’s so many different targets to choose from, depending on what you want to do! So many techniques to get DNA in different ways! And we still haven’t gotten to the part that I actually work on.

I’m a computational geneticist. I get all the gigabytes of data that comes out of these experiments and I get to dig into the details, the patterns that emerge between genetic code and the details of the organisms we study, the connections between genome sequence and other, wilder things we can collect data on, the dizzying complexities of what goes on every microsecond of every day in every cell in your body.

I love my job. 

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Citations for alt-text rambles:

1. https://www.youtube.com/watch?v=O_YuTMDkWfI 2. https://doi.org/10.1242/jeb.116129 note: this source lists the image as credit to “J.M.B.”, which is not how I’m used to seeing images credited. Those are the initials of one of the authors, but I thought it meant “Journal of Molecular Biology”, so I went on a half hour wander around the internet trying to find where the hell this fish blood came from. 3. https://www.thebhs.org/publications/the-herpetological-journal/volume-13-number-4-october-2003/1729-01-hyperbiliverdinemia-in-the-shingleback-lizard-tiliqua-rugosa 4. https://doi.org/10.1111/j.1439-0264.2009.00952.x 5. https://en.wikipedia.org/wiki/Mandrill#Characteristics 6. https://www.vogue.com/article/dune-part-two-costumes-jacqueline-west-interview 7. http://dx.doi.org/10.13140/RG.2.2.29564.08327 8. https://www.researchgate.net/publication/357946568_New_approaches_and_concepts_to_study_complex_microbial_communities 9. https://karobben.github.io/2023/10/30/Bioinfor/PacBio/ 

Overflow Ramble 1

 the fuckin “DNA MATCH” machine. I already wrote a 380-word alt-text about this thing last time. I’m not doing it again. I’m going to talk about things I like instead. Such as Dune: Part Two! Yes! I mentioned it last week and then didn’t ramble about it after seeing it. Well, NOW I WILL. tl;dr it’s good, go see it. I only vaguely remember the book, but I liked the changes they made to center the fact that no, Paul becoming Lisan al-Gaib is not actually a good thing.

Man, it’s nice to see a movie where the costumers and set designers got good time to work on their craft. (cite 6) Even the generic Harkonnen soldiers looked great–reminded me a lot of my beloved Warframe, probably because the costume designer was using H.R. Giger for inspiration there. Everything felt real. Even the stuff that definitely wasn’t–the gigantic spice harvesters and ships felt like living, physically present beings. The sand worms looked great. The movie did a fantastic job visually communicating the massive size of so many things. Especially because the camera remains restrained: no weightless zipping around, the camera itself follows paths and finds locations that make sense. 

Chakobsa continues to be a fantastic conlang, now the work of both David and Jesse Peterson. It’s heard a lot more in this movie, and there are some great flourishes with it. While there isn’t as much Arabic vocabulary in it as in the original books, I remember from DJP’s work streams that he definitely was using the grammar of Arabic as one of his touchstones. Most key words remain Arabic though–jihad was removed, but it made me double-take in the theater when Stilgar referred to Paul as the Mahdi.

I’m of two minds about lowering the Arab influences on the Fremen–on the one hand, missing representation, which included some explicit ties to real world anti-imperial struggles in North Africa and the Middle East. On the other, these first two movies are about how the Fremen are manipulated by a colonial power, using their adherence to a faith that was manipulated by a different colonial power. They become both hapless victims and also perpetrators of colonial violence, with only Chani seeing through it.

I think the general decisionmaking process on cultural changes was motivated by a desire to remove some of Frank Herbert’s bad ideas–particularly around the Harkonnens, thank fuck. That seems to have been the thinking around altering the Fremen a bit as well. Did it succeed? Not my place to say. On all other notes, I have no reservations recommending the movie. It’s a very earnest attempt to bring that world to life, and I think it succeeds.

Overflow Ramble 2

A figure showing the basic steps of the standard Illumina sequencing method (cite 7). It is broken into four sub-figures:

Library Preparation. The genome is snipped into small fragments, then adapters are attached (“ligated”) to stabilize the molecule and make it behave. This creates a “library” of DNA that will be read from.

DNA library bridge amplification. The adapters on DNA fragments stick to a prepared plate, which is covered in little clusters of molecules that specially attach to those adapters. Biochemical processes are then carried out in repeated cycles to duplicate (or “amplify”) those fragments in such a way that the clusters on the plate are all filled with copies of just one DNA fragment.

DNA library sequencing. The DNA is modified so that the four letters it’s made out of all glow a specific color, with each DNA letter shining in sequence. This is pure awesome and I love it.

Alignment and data analysis. Because of some details on how step 1 is done, you have lots of fragments that create an overlapping patchwork of sequences. This allows (most of) the genome to be pasted back together by looking for overlaps (“contiguous sequences”, or “contigs” for short).

Congratulations! You have just attended an abridged graduate-level introductory lecture on Illumina sequencing.

Overflow Ramble 3

A diagram of PacBio Systems’ sequencing technology, Single Molecule, Real-Time Sequencing, or SMRT Sequencing, because scientists love acronyms. Pretty much every step is different from how Illumina does it. I cannot find a diagram that’s both brief and also good at explaining what it’s showing, so this is the best I could find. It’s split into four parts with attendant text, which I’ll try and explain as well.

“SMRTbell template. Two hairpin adapters allow continuous circular sequencing.”

Library preparation basically involves taking a longer chunk of DNA and splitting it in half lengthwise, in such a way that the two strands of DNA will form a single-stranded loop. This is called a SMRTbell library. Why? I have no idea! 

“ZMW wells. Sites where sequencing takes place.”

Then, these are fed into SMRT Cells, which contain zero-mode waveguides (ZMWs). I was once told what this means, and I have completely forgotten, but it sounds like something from Gundam.

“Modified polymerase. As a nucleotide is incorporated by the polymerase, a camera records the emitted light.”

What I do understand is that at the bottom of each of these little holes, they stick a molecule which the DNA sticks to. This molecule, a polymerase, has precisely one job: make more DNA, an exact copy of what it’s latched onto. So you give it this loop of DNA, feed it a soup of free DNA letters, and it starts cranking out a new strand. 

“PacBio output. A camera records the changing colours from all ZMWs; each colour change corresponds to one base.”

Each one of the DNA letters given to the polymerase has a special modifier, on it which flashes a color when the polymerase slots it into the new strand it’s making. A camera picks up this flash. And, because the DNA is a circle, the polymerase doesn’t know where to stop–it just keeps going and going until something breaks or it runs out of letters to work with. This means that even if the camera misses a flash the first time, it will have more chances to see it, and confirm what it already saw.

Wait what in the fuck this figure was from somebody’s thesis (cite 8), but that wasn’t what actually got this into search results. What got it there was a github page with a vtuber avatar sitting in the corner?? What??? (cite 9)

⛬ 

(Previous) | (Index) | (Next)

⛬ 

[sure-i-exist]

Can we just appreciate how every time Richie says “don’t look at my sister” or something to that effect. Every single time Edward just stares right up at the sky

[theexodvs]

“Cult” (n.) and “cultic” (adj.)

There is great confusion when describing certain groups and movements as "cultic." Since the most famous examples of cultic groups and movements in living memory include the Manson Family, People’s Temple, the Branch Davidians and Heaven’s Gate, the popular conception of a cult has become a centralized group with one leader with a type-A personality. This is not how most cultic groups take shape.

"Cultic" and "centralized" are not synonyms. They are entirely different concepts, and whether one group or movement is one has no bearing whatsoever on whether it is the other.

The United Pentecostal Church International and Pentecostal Assemblies of the World are both cults. They are part of the Oneness Pentecostal movement*. Note, the UPCI and PAW are not in fellowship with each other and have no official relations. This is because this movement is decentralized, encompassing various different groups that are united in few if any ways besides (some) similar teachings. Whatever leadership and governance model they have, shared or contrasting, is secondary, because Oneness Pentecostalism as a set of doctrines is itself cultic, meaning any group that espouses it is a cult by definition.

Christian Identity is a more pronounced example of a cultic movement that is decentralized. It is a white supremacist group that teaches that white people are the descendants of the ancient Israelites, and that "gentiles" (people who aren't white) can never be saved. Its footprint is almost entirely made of websites, prison gangs, and local congregations, which are not in fellowship with each other or with any larger group. I would hope any decent person would be opposed to this movement and its teachings, but an attempt to treat "cultic" and "centralized" as synonyms might keep one from recognizing CI as something that should be avoided.

Other decentralized movements that are cultic include the Word of Faith movement, the Men's Right Movement, dispensationalism, neurodiversity, the Sovereign Citizens movement, BDSM, the New IFB, kinism, and the Black Hebrew Israelites. Every group that is part of these is a cult, thought they may not be in fellowship with other groups within the same movement.

*The Oneness Pentecostal movement is not representative of Pentecostalism as a whole. Most of the world's Pentecostals belong to the Assemblies of God which has taught the Trinity for its entire existence. Pentecostalism is not necessarily cultic. Oneness Pentecostalism is.

[neversetyoufree]

in the last ep of the anime, i noticed that it cut out to the ending directly before vanitas could actually take noes hand, and i wondered if that was referencing what noe said about vanitas at the beginning.

Oh that's such a good catch! You're absolutely right anon, and I think we can take your idea even further than that.

I've talked about this in a previous post, but VnC's running refrain of Noé reaching for Vanitas's hand is really symbolic. Noé has saved Vanitas from literally falling multiple times, but their entire relationship is also one big metaphorical outstretched hand. Vanitas is "falling" down toward his inevitable doom as he self destructs via his revenge, and Noé is grasping out desperately as he tries to catch him and save him from that fate.

"That day when I didn't grab your hand" (which I assume, along with killing him, is what you mean by "what Noé said about Vanitas") might refer to a future event in which Noé will literally fail to catch Vanitas. But more importantly, it's a reference to the larger truth. By Noé's definition of salvation—in terms of preventing his death, Noé is going to fail to save Vanitas. No amount of reaching out can prevent his ultimate fall.

Within this metaphor, then, the scene on the rooftop after the amusement park can be summed up simply. It's the scene where Vanitas finally lets himself reach for Noé's offered hand.

I mean this in three ways.

The first way is the literal way. The scene ends with Vanitas reaching up to take Noé's hand and be helped to his feet. And despite the sheer frequency of Noé reaching out for or trying to catch Vanitas, this is only the second time we see Vanitas actually reach up and take Noé's hand to be helped of his own accord. The only other time is in the catacombs, right before he decides to tell Noé about Doctor Moreau for the first time.

In the catacombs, Vanitas taking Noé's hand works as a symbolic gesture of trust and an acceptance of Noé's help with the Moreau case. Noé has been forcing his help on Vanitas up until this point, staying up late by the door just to follow him out, but taking his hand is the moment that Vani starts to willingly bring him into the fold. The literal is never just literal with these guys.

The second way comes when Vanitas tells Noé that he's "given up on making him do what he wants." As I said, Noé has spent the entire manga reaching out and trying to save Vanitas from his "fall." One major facet of that is his recurring refusal to let Vanitas isolate himself. He makes a willful declaration of staying by his side when Vanitas tries to dismiss him in the bell tower, and when Vanitas tries to cut Noé out of his life by the blade of a knife, Noé comes back with "I will never set you free." Vanitas wants, or at least claims he wants, Noé to leave him the hell alone, but Noé says no every time.

"Giving up on making Noé do what he wants," then, means that Vanitas has finally let himself accept that he wants Noé by his side. There's no more pretending he doesn't want his help or his presence. No more trying to shove Noé away every time he's upset. At least in this moment (though we'll have to see if he holds himself to it), Vanitas has admitted that he wants Noé and Noé's supportiveness in his life.

Mochijun even uses a flashback panel to be sure we know exactly what Vanitas means here. It's that important.

Giving up on trying to push Noé away is one very significant way in which Vanitas has accepted the metaphorical outstretched hand. He's admitting he wants Noé, and Noé's presence means the presence of love and help. It means the end of self-isolation as a maladaptive coping technique. Of course he's going to reach up and accept Noé's literal offer to help him to his feet in the same scene that he finally tells Noé he'll stop trying to get rid of him.

The third way is, of course, when Vanitas says that he wants Noé to be the one to kill him.

Now, this is not how Noé wanted Vanitas to interpret his outstretched hand. Unlike his loved ones, Noé does not see killing and being killed as a way to show love or to save someone. His offer of salvation is meant to be an offer to save Vanitas from his self-destruction. But Vanitas does not want to be saved that way. And given that the manga begins with the statement that Noé will kill him someday, we know that Vanitas cannot be saved by Noé's definition.

However, Vanitas does not share Noé's definition of salvation. I don't know if Vanitas himself could even put words to his personal idea of salvation. But we know from multiple examples that it can sometimes include the gift of a kind death to prevent a worse life. That's the kind of salvation he offers when he returns a curse bearer's True Name despite knowing that it will kill them.

I have a lot of thoughts about the kind of salvation Vanitas could find in Noé, but for the purposes of this scene, this idea of a preferable death is a big one. Vanitas would rather die than lose his humanity, and this is an extremely vulnerable thing for him. Saying that he wants Noé to kill him is, in his own way, accepting Noé's unspoken offer of salvation. He's saying "I want you to be the one to save me in the one way that I can accept."

Vanitas cannot envision a life for himself, and thanks to the way Luna's Mark is rewriting him, it's likely that a long life as his human self would be impossible even if he weren't suicidal. But though it's still not healthy behavior, his request for death is, in his own terms, taking up the hand that Noé has extended. It's a grasp for salvation by a man that cannot admit that he wants to be saved.

And that brings me back to your original point, anon. Because Vanitas reaches up for Noé's hand, and that is incredibly important, but in both the anime and the manga, we do not get to see him take it. The meaning of this depends on what definition of salvation you analyze the scene through.

By Noé's definition, we know that Vanitas cannot and will not be saved. As he says in the beginning, Noé is going to kill him someday. There will be a day when he will fail to grab his hand, and Vanitas will finally fall to the gravity of his doom. So in that way, it makes sense that even in the most optimistic of scenes, we have to cut away before Vanitas can actually take Noé's hand. He might be letting himself reach for it now, and that's a good thing, but Noé is never actually going to be able to pull him up. To show us otherwise in a scene so full of symbolism and foreshadowing would be a lie.

However, as I keep saying, Noé's definition of salvation isn't the only one at play. As much as Vanitas's death will not be prevented, the fact remains that he is still finally letting himself reach for salvation in some form. So perhaps we can cut away as soon as he starts to reach not because he'll never be saved, but because the thing that matters in this scene is the reaching itself. Noé has become a supportive constant in Vanitas's life. He's just reaffirmed that he won't change, that he'll continue to support Vanitas from beside him.

We don't need to see Noé take Vanitas's hand once he starts reaching because that is a foregone conclusion. It's Vanitas's decision to reach that needs the emphasis of being the final shot, because that's the heart of the moment.

In the manga, Vanitas reaches up, and we cut to the sunlit sky. This whole scene, in addition to the running thread of reaching hands and salvation, has an overarching symbol in the end of the rain. Vanitas and Noé's horrible fight was in the storm, the rain patters to its end as they make up, and the sun breaks through the clouds as they reaffirm their pledges to one another and Noé re-offers Vanitas his hand. It's simple but effective pathetic fallacy.

So to that end, Vanitas reaches up to take Noé's offer to help him stand (reaches up to take some version of his promise of salvation), and we cut to the sunlit sky. Noé has brought the sunlight back as he offers his hand to Vanitas. Joy and light and hope return as Noé's love for and desire to save Vanitas are reestablished. Then Vanitas reaches toward that light, and we cut to the sunbeams to make sure you know just what he's reaching toward.

This works well for the end of a story arc! The weather symbol has been a constant throughout the whole amusement park arc, so of course the chapter that marks its end has to be capped off with an image of the clouds breaking. It's a closing note that pulls together Vanitas's reaching for salvation, the weather symbolism, and 55.5's general tone of relief.

Meanwhile, the anime switches things so that we see the sunbeams first, and then Vanitas reaching for Noé's hand is the final shot of the whole entire show. And for once, I actually really like this little change! The manga's order of images works well as a resolution for its chapter and its story arc, but the anime's version works really well as a possible end for the story overall.

The VnC anime may or may not ever get another season, so for the foreseeable future, Vanitas reaching for Noé's hand is the end of the show. This gives that shot a lot of emphasis. In fact, it kind of makes it the meaning of the whole thing.

Noé spends the whole anime reaching out and trying to offer a hand of salvation to Vanitas, and the final shot of the whole thing is Vanitas letting himself reach up to take it. We don't end on the shot of their clasping hands, but the shot of the reaching, because Vanitas's decision to accept some form of salvation is the thing the whole show has been building towards. It's the decision to reach up that makes the whole story.

So though they go about it in very slightly different ways, the manga and the anime are still both making meaning out of the simple act of Vanitas reaching. That's the core of the whole thing.

And overall, though I've framed "we cut away because Noé won't actually be able to stop his fall/grab his hand" and "we cut away because the decision to reach is the important part" as two opposing interpretations, I actually think their co-existence is key. Vnc's whole story is a conflict between Noé and Vanitas's definitions of salvation. The tension of their relationship isn't "will Noé find a way to save Vanitas from death?" (He won't). The tension is "will Noé find some other way to save Vanitas before his death?" and "will he be able to recognize that alternate salvation as salvation if/once Vanitas claims it?"

VnC is a story about a doomed man who might in some way be saved. Chapter 55.5 cuts away before we see Vanitas actually take Noé's hand because he is doomed to fall someday and not reach that hand when it matters most, but also because the thing that matters in this scene is that he decides to reach up at all. Vanitas is going to die, so any hope and optimism in his story must make peace with the doom of him. His healing from his trauma and accepting love and help happens while he is hurtling rapidly toward his ending. That's the beauty and the tension of Vanoé's relationship (and the beauty and tension of VnC as a whole).

So to answer your question anon, yes. We cut away before Vanitas reaches Noé's hand because, as we're told in the beginning, he will not ultimately reach Noé's salvation. But at the same time, the whole point of the rooftop scene is that Vanitas does want to accept some kind of salvation, and he just might manage do it. It all depends on how he can be saved.

[engagemythrusters]

omg please talk more about Naboo when you have time!! I love reading people’s headcanons and I never thought about how so many of them cover their hair it’s so cool!!

OH okay !! Thank you for asking!! But also hold your horses bc this is about to get LONG. And rambly.

So it is my full belief that Naboo queens cover their hair. Like this initially came about because... I believe it was @star-burned who once made a post about hijabi queens. And then I was like yeah that's a whole vibe I like that. But then when I started making my own queen OC (Roona!) I started looking into it and I was like. 100% sold on the hair-covering idea. It's not a hijab, as ears aren't necessarily covered, so I have diverged from the original idea. BUT. Still along the same lines.

Sooo here's all the costumes worn by Queen Amidala (both on Padme and Sabe).

Now, here's the meta analysis:

What has ALWAYS been notable to me (even as someone young) is that like. They're wigs. Clearly they are wigs. She does not have enough hair for some of those. Yes, Padme had some decently long hair! But it was damn well not that thick. Not to mention, if you zoom in on some of the hairstyles (maybe not using these photos, bc they're taken a bit far away), they just... don't look like hair.

If you look at the hair of the retaking-Theed outfit (middle right), you can see that the hair on that is absolutely fake. The sheen of the hair is inconsistent between what wraps the headpiece and what sticks out the back. Not to mention... Where the goddamn hell is that hair even coming from. Literally not attached to her head. And if you look at what's coming out of the back is just... it's so... hard. It's all blocked together. Like maybe it's a shitton of hairproduct. That's possible for the actual actress. But it honest to god just looks like an acryllic wig. The shine and how none of it breaks like normal hair... Yeah no. My bet is Not Real. And if it is, sorry dear Ms Knightley. The hairproduct makes it look fake.

As for the top two left outfits and the center outfit... Well, for the first left and the middle, it has that same issue with those. It has no breakage or frizz. Yes, could be a lot of product! But if you look at any style Padme has in later films, she still has baby hairs and frizz and flyaways... because that's how normal hair acts. That's just how hair is. So yeah I'm not sold on the first one being real hair.

Now the mid-top does have some breakage and frizz near the base AND it is a proven possible hairstyle (that is a Mongolian traditional hairstyle! Like... near exact ripoff of it.) BUT what's in the headpiece is not the only hair. There's also a back part that has... a lot of hair. And that just... doesn't seem consistent with what Natalie Portman has for hair. YES it is likely that it has some sort of hair rat in it. But I'm looking at the pattern of the hair that's up top on the headpiece. I don't think that's real? Maybe I'm wrong but it doesn't make sense the way it comes out. Who knows tho. Maybe that's the real hair and the other is fake.

The bottom two are real hair. At least what's attached to the head is real. I can tell you that much.

But that's the META. ANd also conjecture on the meta.

What's in-canon is:

The Queen's hairstyles, which were said to take several hours to perfect, were headpieces with wigs that matched Padmé's natural hair color. Her real hair was tightly-braided, pinned down, and gelled; the gel held the headpieces in place and prevented them from itching. While the Queen's hairstyles were being created, her handmaiden Rabé would provide counsel. (source)

So. Yeah. They're all wigs.

THIS does line up with Padme's Tatooine hairstyle!

While it's not the style that would be under her wigs, it still holds all the braids.

AND So we know it's not just QUEEN AMIDALA that does this:

Jamillia's in a wig (meta and canon) and Apailana's hair is fully covered.

AND TO TOP IT ALL OFF

THE HANDMAIDENS ARE LIKE 90% OF THE TIME COVERED TOO. That spans across films. There's like one time we see hair--during the takeover of Naboo. That's literally it. The rest of the time, their hair is covered.

And honourable mentions: A lot of Padme's senator hairstyles... Wigs. Literally she popped her fuckin hair off in TCW. That shit was a wig half the time.

TL;DR? The queens are wearing wigs the times "their hair" is shown. Thus. Queens required to hide their hair--either out of social obligation or out of wish to portray themselves with ornate hairstyles to show their social standing. Either way, no "real hair" shown. All hidden.

[seapiglet]

it's ironic how many people I've seen absolutely up in arms over michael sheen being asked about his age gap relationship, claiming that it "infantilises" his partner, anna.

there is nothing infantalising about being curious about the relationship dynamics between two people at different stages of their life. there's nothing inherently judgmental or disapproving in asking about it.

however, it is infantilising to treat a middle-aged man as if he's so fragile he needs to be protected from any potentially uncomfortable questions (which is something he knowingly signed up for in this case).

I think people's brains are so addled from needing-to-fuck-that-old-man-disease they're creating problems where there are none.

[mgmk-daily]

so LETS break/freak the cops, just/that casually/casualty

(vote in the poll for what the lyric is!)

CURRENT SONG: FTWWW

Word: 16/315

Day: 16/??

Location: notes recording the hit points of a bunch of orcs from a dnd campaign i ran

[colderdrafts]

1: Pilot

They say the matter of the collision between worlds, known as 'The Great Assembly', was the start of a new beginning.

New beginnings are a language familiar to you, though you've found yourself somewhat at a stale period of your life. So when you're offered an opportunity to break out of the routine for a bit you happily accept. After all, new beginnings are also new opportunities.

For you this means some new friends, an unreasonably hostile naga that seemingly despises you and the uncertainties of loss.

Gender neutral reader x monster (male naga). sfw. Next

The beginning of a new world order twenty years past, known as 'The great assembly', has caused not only a lot of issues, but also a lot of opportunities. The human condition and what it means to be a sentient person had changed forever, since two worlds collided and were combined into one. There had never prior to the great assembly been consequent proof of parallel universes, however when yours and the monster one collided on a twist of universal fate, all prior scientific hypothesis on the matter were even proven right, wrong, or rewritten.

For the assembly had happened, and the two worlds that collided proved to be similar enough that it allowed for minimal changes in physical place and geography - however the spaces used by people inhabiting those places were changed for good. Creatures of all shapes and sizes, of myth, of old folk tales, of regular fantasy suddenly became a reality. The media was at an outrage, telling of homes being suddenly 'invaded by monsters'.

That counted for both sides.

Humans have always had numerous perspectives, stories, legends, myths going on monsterfolk in all shapes and sizes - and the world, or well, your world, soon learned that the same was true for monsterfolk on humans. It seemed no matter the content, category, popularity of a human-written story, there was a monster-written counterpart, down to every last bit of literature. The great assembly was cause for an enormous influx in art of all kinds, and a gigantic population boom. The calamity that followed of rearranging the entire infrastructure of society was no less than an impossible challenge, and multiple fights, protests and political scandals ensued, while every single sentient being adjusted to their new reality.

The world, as a result, got a whole lot bigger.

In present time, things are more or less back to a regular state. There's still crime, fights and war, there's still love, education and work. Inter-species relationships can be as strained as they can be friendly, and there's still a shared general consensus of what constitutes a 'good' vs a 'bad' person. Some prefer to live in the urban, some prefer to live in the rural. Some work desk jobs, some are retailers, some are in school, and some are on the streets. The assembly didn’t care what race you are or where you live - everyone gets the same standing point in existence.

But most of all, the people of the world, monster or human, strive for a regular, fulfilling life.

So here you are, a desk jockey in a financial company with a non-fulfilling life, but not knowing how earn a wage to survive if you quit, and not knowing how to apply for something different. You job is secure, and you're not worried financially. Your office mates consists of a large mix of both humans and monsterfolk, and for all intends and purposes, it's a normal work environment. Sure, your minotaur manager sometimes bumps his horn on the door frames, the gnoll assistant always leaves papers they hand you with small accidental scratchmarks from their claws, and the interior design is shifting to accommodate people much larger and smaller than the regular human. But the working day, hours and hierarchy structure remains the same.

You're at your desk typing away when Irwin, a human coworker and, forced upon you, your closest friend, peeks up over your computer screen.

"Psst," he whispers in mock subtlety. "Pssst, hey. I got you an offering."

Irwin is a lean guy of average height, sporting an undercut and a nose ring. He's only a year older than you, though he often uses this fact to utilize a 'small vulnerable young coworker'-approach when addressing you. All in good fun, of course.

His desk is the one in a cubicle right in front of yours, and this isn’t the first time he’s used your close proximity to his advantage.

You cog an eyebrow at him. "That usually means you have some paperwork you want me to look at."

He dramatically puts a hand over his chest and gasps. "Why I'd never - can a guy not offer his precious office buddy a gift?" he feigns hurt, looking dejectedly at the floor.

"You can't. There's always a catch with you," you roll your eyes at him, but don't hide the smile on your face.

Irwin's always been one to get behind on work, but he's genuinely a nice person, albeit goofy and unstructured. How he's thriving in a desk job is beyond you.

"I want - to give you this!" he proudly presents a USB key. "The whole season of the mon version of that weird show you like so much. IF," he makes a show of holding the key just out of your reach, despite you not even reaching for it, "you look over the numbers on this sheet to make sure I got it right."

You groan. "Again? Really Irwin, have some faith in your abilities, I know you can do math!"

"Last time you saved me from returning 5000 bucks to the wrong customer! I'm paranoid, okay?" he leans over your desk. "And you're so good at it! You catch everything!"

You notice the calamity has earned a few stray looks from your office mates, who all seem to glance your way in amusement. This isn't the first time Irwin has been at your feet like this, effectively branding himself as the office clown. You wouldn't mind, if it didn't mean he consistently insisted on pulling you into his shenanigans. Out the corner of your eye you spot your manager Barney coming down the hallway. You'll need to get rid of Irwin fast to avoid an earful.

"Irwin -" you warn.

He catches the direction of your look and smiles dastardly.

"Pretty please? It's HD~" he tries to sell it, nonchalantly waving the key in front of you, staring with puppy eyes.

You sigh. It's not that you're actually particularly interested in the show he's downloaded for you. You've only told him a few weeks ago you were watching the hum version, and in passing mentioned you wondered what the mon version would look like. You do however find it quite endearing he noticed and remembered.

Even if it's for his own nefarious gain of getting out of paperwork.

"Hand me the USB," you relent finally.

Irwin beams at you. "You're the absolute best-test in the world!"

"I know. And you're a terrible co-worker."

"Oh, the WORST, absolutely horrendous, rude and disrespectful. I don't know why you put up with me, but I am eternally grateful."

"You're taking advantage of them being too nice, Irwin," comes a rumbling voice.

You look back to see Barney, in all his imposing glory, standing at the cubicle next to yours, and you try not to jump in surprise.

How did he get here so fast and silently on those hooves?

Barney stands about two meters, with horns and face of a jersey bull, and crosses his arms over his massive chest. You thank the stars he's currently not scowling at you, but Irwin shrinks a bit back into his own cubicle.

"Taking advantage – Sir, I would never! It's an equal trade, and effective usage of resources. I do my part, they look it over, and the company thrives on our shared effort!" Irwin argues.

Barney huffs. "And does you precious coworker here ever ask you to look things over?"

"Well, no, but-"

"Because they actually do their job properly and on time. If you'd planned this better you would have more time to look it over, and you wouldn't have to waste their time with YOUR workload. Do better next time."

Barney’s reprimanding is as always deadly and precise.

Irwin's shoulders slump as he looks to the floor. "Yes, Sir."

"Honestly, it's not an issue, it doesn't take long to-" you start, but Barney cuts you off.

"That's not the point. Irwin still needs to learn how to plan his things. Don't let him off that easy," he stands up straight. "But that's not the thing I wanted to discuss with you two, actually. If you'd come with me for a moment."

Barney turns on his hooves and walks away without waiting for acknowledgment.

You share a look with Irwin, who shrugs, whispers 'uh-oh!', and cheerily steps after your manager. You follow suit.

Barney’s office is fairly simple, consisting only of a desk, his working computer, and a pair of chairs stacked in the corner. He motions for you and Irwin to pick one out and sit.

He sits opposite to you behind his desk.

"In light of current events, the head of our department has called for what they adequately call a “consensus strive”,” Barney does quotation marks in the air as he says it with a sour expression. “Something about developing the company team to function better as a group. Apparently, there's been something stuck in the gears between each department in the company. Blame thrown around, deliveries on projects not met, deadlines not kept, the general bad blood.

"So the heads have gotten together, and they propose a solution: Each department sends some representatives to speak of the going-ons at a shared company wide conference-trip," Barney eyes both of you. "And I want you two to go as representatives for us."

Silence hangs in the air for a bit, before Irwin lights up. "For real? That sounds – well, awesome! Fun, even."

Irwin looks to you for your reaction, but you can tell by the excited grip on the arm of his chair that he's already dead-set on going.

"What exactly does a conference-trip mean?" you ask.

"It means you will be going on a trip with other representatives of different departments of the company for 5 days," Barney explains. "There will be team-working activities, cross-department meetings, friendly competition and the works. It takes place in the mountain range just outside of town.”

Irwin deflates just a little bit. "5 days? Isn't that – I mean, a lot of work can be done in 5 days," he notes, gesturing toward the rest of the department. “You sure it’s fine without us for that long?”

Barney eyes him. "Appreciate the concern Irwin, but it would be a good look for the department," he smirks. "Don't worry about your workload – it'll be here when you return."

"I bet," Irwin sighs, and Barney chuckles.

You offer Irwin a sympathetic pat on the shoulder before turning to Barney. "Well thank you for the opportunity Sir, but I have to ask – why us?"

"Irwin’s current level of focus suggests he would better thrive elsewhere for a bit, and you seem the only one capable of keeping him somewhat in line," Barney replies with a nonchalant shrug. “’sides, it’ll be good for you to get out and get some fresh air.”

Considering you and Irwin are nowhere near the top of the food chain here, you get the feeling he deliberately avoids the word 'expendable'.

“So, you in?” Barney asks.

Irwin looks at you with a pleading expression. Well, you’re not one to turn down an offer like that.

“You got it, boss.”

[veethesnake]

For the @stevetonygames Team Past square Poker Face challenge Resolutions (word count).

Words: 511

Universe: AA

Warnings: vampires, k*dnapp*ng, mentions of t*rture

We’ve got your man

Steve’s hands were cuffed rightly and bound to the table in front of him. He was alone in a dark room, but he had already found out that escaping won’t be easy. The table appeared to be regular metal, but the ropes securing his hands didn’t budge a millimeter. It had to be Vibranium. How had the Red Skull gotten his hands on Vibranium?

He contemplated throwing his head against the table to try and break it as much as he needed to flee with the handcuffs still on, when the door opened. Red Skull came in, and with him - Dracula. Oh, how wonderful.

“See, see”, the vampire whistled. Steve blinked, and suddenly Dracula was right by his side, sniffing his neck. He kept still, not moving his head an inch. So easily wouldn’t they get a reaction out of him. “It really is him”, Dracula declared.

“Of course it is him”, MODOK snarled, and with his arrival the small room felt incredibly cramped. There was definitely no way out now.

“So, Captain”, Red Skull started, “what is it gonna take for you to give us the information we need?”

Steve kept his face emotionless. “I won’t give you anything. You don’t need to try.”

“Oh really?”, Red Skull sounded amused. Not a good sign. “I am sure we can find something, don’t worry, Captain.”

MODOK… snickered. A strange sound from a being like him. “Oh yes, like having Iron Man in a cell right on this ship.” F*ck. Tony. Steve felt his emotionless mask slip for a second.

“You stupid robot!”, Red Skull shouted, “that kind of information is something you keep for much later, when it really stings!”

Dracula was coming closer again, staring right into Steve’s eyes. “Don’t worry, Red Skull. It has hit him more than he might make you believe.”

Red Skull turned towards Steve. “It is true. We have your man, so you better drop that uncaring facade and start speaking, if you’d like to see him again with all of his limbs still in place.”

“You’re bluffing”, Steve claimed, even though he really had no idea whether they were telling the truth or manipulating him.

“Am I? I guess you’ll find out eventually.” Red Skull turned towards Dracula. “I’m sure even a man with multiple health issues doesn’t need all his blood that desperately. Maybe you can visit our prisoner for a little afternoon snack.”

Steve’s heart was racing. This was the perfect moment for Tony to break through the wall, repulsors ready to blast, and say something like “miss me?” or “am I interrupting your playdate?”. But there was nothing. What if they did have him?

“Now now, that might not have been a bad strategy after all.” Red Skull leaned down so they were face to face. “Look at you, all emotionally distraught, the strong Captain America suddenly gone.” He turned around. “Bring in the tools. It’s worth a try, now that he is vulnerable.”

[aoitakumi8148]

𝓜𝓲𝓻𝓪𝓬𝓵𝓮𝓼 𝓐𝓵𝔀𝓪𝔂𝓼 𝓗𝓪𝓿𝓮 𝓐 𝓟𝓻𝓲𝓬𝓮, 𝓝𝓸 𝓜𝓪𝓽𝓽𝓮𝓻 𝓗𝓸𝔀 𝓒𝓪𝓹𝓽𝓲𝓿𝓪𝓽𝓲𝓷𝓰 𝓣𝓱𝓮𝔂 𝓜𝓪𝔂 𝓑𝓮.

Come close, and I will touch you. Talk to me, and I will relax. Bound me to your rules, and I will remain a volunteer. Punish me, and I will accept it. Take the organ along with the flower I give you, and your precious life will be saved. Vanish, and the eternity will make us more hollow than ever. We can't continue together, we can't die together, but perhaps the very power of this unhealable wound will help me to keep my bits of humanity...

[vanosslirious]

SMii7y: I'm not judging, I'm just saying.

Blarg: I'm joining.