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scoonsalicious · 25 days

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Unwanted: Chapter 13, Uncomfortable - Pt. 5

Pairing: Bucky Barnes x Avenger!Fem!Reader

Summary: When your FWB relationship with your best friend Bucky Barnes turns into something more, you couldn’t be happier. That is, however, until a new Avenger sets her sights on your super soldier and he inadvertently breaks your heart. You take on a mission you might not be prepared for to put some distance between the two of you and open yourself up to past traumas. Too bad the only one who can help you heal is the one person you can no longer trust.

Warnings: (For this part only; see Story Masterlist for general Warnings) Language, Self harm.

Word Count: 2k

Previously On...: I can't even. Betrayal. Just, ultimate betrayal.

A/N: And we are back to our regularly scheduled programming! Nola was great! I had Lavender-Lemon beignets at Ruby Slipper Cafe, and holy shit! They were heaven on earth! 10/10, would eat again!

Banner By: The absolutely amazing @mrsbuckybarnes1917!

Thank you to all those who have been reading; if you like what you've read, likes, comments, and reblogs give me life, and I truly appreciate them, and you!

Taglist: (Please let me know if you’d like to be added!) @jmeelee @cazellen @mrsbuckybarnes1917 @blackhawkfanatic @buckybarnessimpp @hayjat @capswife @itsteambarnes @marygoddessofmischief @sebastians-love @learisa @lethallyprotected @rabbitrabbit12321 @buckybarnesandmarvel @fanfictiongirl77 @calwitch @fantasyfootballchampion @selella @jackiehollanderr @wintercrows @sashaisready @missvelvetsstuff @angelbabyyy99 @keylimebeag @maybefoxysouls @vicmc624 @j23r23 @wintercrows @crist1216 @cjand10 @pattiemac1@les-sel @dottirose @winterslove1917 @harperkenobi @ivet4 @casey1-2007 @mrsevans90 @steeph-aniie @bean-bean2000 @beanbagbitch

Tumblr will not let me directly tag the following: @marcswife21 @erelierraceala @jupiter-107 @doublejeon @hiqhkey @unaxv @brookeleclerc

“Pocket! Oh my God, Pocket!” A concerned voice broke through your haze. You hadn’t even realized you were curled up into the corner of your shower until Wanda stepped forward, turning off the now ice-cold water and was crouched down before you, wrapping you in an oversized towel sheet. “Honey, what have you done to yourself?”

She gently padded at your skin, the soft white cloth coming away spotted with your blood where it had touched open wounds.

“I’m fine, Wands,” you muttered through chattering teeth, your entire body trembling against the freezing tile. “I’m fine. You don’t need to be here.”

“Like hell you are,” she retorted, her usual calm demeanor shattered at the sight of you. “You’re hurting yourself.” You felt her cool, slim fingertips trace gently over the lines of your harshly scrubbed welts. “Honey, what happened? Why would you do this to yourself?” Her gaze flicked around the bathroom: your discarded robe, the streaks of bloody water slowly circling down the shower drain, your ruined skin under her hand. She gingerly removed her fingers from your arm and you instantly missed their warmth. “What did Barnes do?”

All you could do was shake your head as you shivered.

The look Wanda gave you was brutal in its pity. “Oh, honey,” she whispered, enveloping your body into a fierce hug. At the contact, the last of your defenses broke, and your sobbing began again, a tidal wave of pain rushing through you as you clutched her to you.

When your sobs had subsided, Wanda pulled back from you, putting your face in her hands. “Can you get up, sweetie? We need to get you off this floor or you're going to freeze.”

You nodded, and with her assistance, managed to stand. Once you had yourself steady on your feet, Wanda’s hands began to glow red. “I just need to get you warm, okay?” she asked. When you nodded, she let her magic flow around you, and you felt your skin warm and dry, and your towel turned into a long, plush bathrobe. “There, that’s better, isn’t it?” she asked you hopefully as she led you back into the main room and deposited you gently in the corner of your couch. All you could do was feebly nod in return.

“I think we’re going to need some reinforcements,” Wanda said as she pulled out her phone, sending out a quick text. “Now, you just rest here and I’m going to start cleaning up the bathroom, okay?”

Before she could walk away, you reached out and grabbed her arm. “How did you know to come in here, Wands?” you asked. “How’d you know I needed you?”

She cast you a soft smile. “Bucky called me. Told me you’d had a fight, that he’d really fucked up and asked me to check in on you.”

You nodded. At least he was capable of doing something right.

“You wanna talk about it?” she asked gently. You shook your head, but took her hands and put them to the sides of your head, giving her unspoken permission to view the memory directly from your mind.

Wanda looked at you. “Are you sure?” she asked. You nodded, wanting her to understand, but not wanting to have to explain how absolutely betrayed you felt, to relive the pain of it. You felt the familiar warmth enter your temples as Wanda’s fingers began glowing once again. Unlike the last time she had sifted through your memory, this left you feeling hollowed out and empty inside.

“Are you shitting me?” Wanda asked in surprise when she’d finished, her fingers returning to their normal hue. “Is he a fucking moron?!” You couldn’t help but bark out a quick laugh at her response; it was rare for Wanda to ever use profanities, especially in reference to another person, let alone another member of your team, but it was nice to know that you weren’t alone in your assessment of Bucky’s actions.

Before either of you could say anything else, your bedroom door flew open and Natasha came bursting through. “I swear to God, Wanda, this better be a legit emergency, because I was just about to—” She paused at the sight of the two of you sitting facing each other on the couch, expressions forlorn.

“What did I miss?” she asked cautiously.

“Come help me clean the bathroom, Nat, and I’ll explain.” Wanda stood and held out a hand to Natasha. She turned back to look at you. “Rest a little bit. We’ll be right in the other room if you need us,” she said before pressing a kiss to the top of your head. Nat cast you a confused look before following Wanda into the en-suite and you sighed heavily. You were exhausted and you couldn’t believe the turn the night had taken. Where were you even going to go from here?

The worst part was, the only person you wanted to talk to was Bucky— not the Bucky who had said those horrible things, who had betrayed you, but the Bucky who had been your best friend, who you had trusted with all the dirty details of your past, who you thought understood you better than anyone else in the world.

Where had he gone, and who was this stranger that had taken his place?

You squeezed your eyes shut, trying to keep the tears from falling once again.

“Are you FUCKING KIDDING ME?” Nat shouted from the bathroom. In seconds, she was storming back into the bedroom and out the door. “I am going to kill him,” she muttered to you before leaving, and a few seconds later, you could hear her banging on Bucky’s door across the hall.

“Oh dear,” Wanda said, coming out of the bathroom. “I should have anticipated that reaction from her.” She came to sit beside you as you both listened to the muffled shouting as Nat ripped Bucky a new one.

A wicked smile tugged at Wanda's lips, her green eyes sparkling with mischief. "Well, I did warn him. Barnes can't say he didn't see this coming."

You managed a weak chuckle and leaned back against the couch, feeling a little more grounded now, surrounded by your friends' protective wrath. It was oddly comforting, even if all you wanted was to be left alone to deal with your own heartbreak.

"He'll survive," Wanda said dismissively, her fingers absently tracing winding paths in the plush fabric of your robe. Her gaze drifted back to you, her expression softening once more. "The more important question is...how are you doing?"

You took a deep breath and let it out slowly, your eyes staring blankly at the ceiling. How were you supposed to answer that? You felt like your heart had been ripped open and then stomped on, then fed back to you.

"Better than Barnes," was all you said, eliciting a choked laugh from Wanda.

"That's not much of an achievement, sweetheart."

"I know," you replied softly, eyes still fixed on the ceiling. "But it's the best I can do right now."

She smoothed your hair. “Would you like me to help you sleep, love?” You nodded, grateful for the assistance she was offering.

She took a glance at your bed. “Oh,” she said once she saw its stripped state. “Well, that won’t do.” She raised her hands and conjured up a luxurious bed set, with silk scarlet sheets and a downy scarlet duvet. “There,” she said, sounding pleased with herself. “That’s much better.”

You looked at your newly transformed bed in awe. “Is that, like, going to disappear at midnight or something?” you asked, transfixed by what you had just seen happen.

Wanda laughed softly. “I’m a witch, sweetie, not a fairy godmother. It’s permanent. Dry-clean only, but permanent.”

You exhaled, beyond impressed. “If I were you,” you said, awestruck, “I’d be using my powers for all kinds of evil.”

“I sincerely doubt that,” Wanda said with a smile. She waved her hand and conjured up a satin scarlet sleep set. “Why don’t you go change and I’ll turn down the sheets?”

You nodded, picking up the night clothes she’d created for you and headed to the bathroom to change. When you came out a moment later, you saw Wanda had conjured herself a matching sleep set. “You didn’t think I was going to leave you alone at a time like this, did you?” she asked. “We’ll make it a slumber party, and Nat’ll get a matching set when she comes back.

“Thank you, Wands,” you said, rushing toward her and embracing her.

“Of course, sweetie,” she said, patting your hair gently. “That’s what friends are for.”

You held each other for a moment, lost in the comfort Wanda provided. You were so grateful to have friends like her and Nat.

As if you’d conjured her with your thoughts, the door creaked open and Nat slunk through. She made a face at the sight of the two of you in your matching sleep sets and scowled when Wanda raised a glowing hand, transforming her clothing to match.

“We’re having a slumber party, Natasha,” Wanda said, as if that perfectly explained why she’d given Nat magic pajamas.

Nat’s expression softened. “Of course we are,” she said, coming over to the two of you and wrapping her arms around you both, effectively sandwiching you between her and Wanda.

“I hope you didn’t physically disable Barnes,” Wanda said. “Not that he didn’t deserve it, of course, but we’re already a man down.”

Nat snorted. “No physical violence needed,” she said, pulling back from the hug. “He’s beating himself up enough as it is.” She turned to you. “I don’t like saying this, because you know how much I hate the way he’s been treating you since Carthage showed up, but he knows how badly he fucked up. I’m not saying you should forgive him– you’re the only one who can make that decision, but once you’ve taken some time to process everything, I think you should talk to him.”

You swallowed and nodded. You couldn’t fathom doing it right now, but you knew you’d have to eventually.

“That’s a lovely painting,” Wanda said, nodding her head toward where Twilight in the Tropics sat on your desk, and you were grateful for her for changing the topic. “Where did it come from?”

“Looks like a Stark Apology to me,” Nat said, then chuckled when you nodded.

“Let’s get you to bed, Pocket,” Wanda said. “It’s been a long night and you must be exhausted.”

God, but you were. Every fiber of your body ached as you crawled into bed between Wanda and Nat, the new, magic silk sheets feeling delicious against your skin, and the duvet enveloping you like a cloud.

“Now, about that painting,” Wanda said, raising her hands again. “I think you deserve a little show after everything you’ve been through tonight, don’t you?” As her hands glowed, the lights dimmed and the painting lit up and came to life, as though you were looking through an open window onto the living scene as Frederic Church had painted it in 1874. The moonlight rippled on the water, the wind whispered through the palm fronds, and the sounds of a tropical night filled your room. It was breathtaking.

“Holy shit,” Nat said in a hushed, revenant voice.

“Thank you, Wands,” you whispered, squeezing her hand on top of the duvet. “This is amazing."

“Let it lull you to sleep, sweetie,” Wanda said, squeezing your hand back. “Goodnight, Pocket. Good night, Natasha.”

“Night, Wands,” you said, feeling a small smile touch your mouth. “Good night, Natty.”

“Night, Wanda,” Nat said, stifling a yawn. “Night, Pocket. Tomorrow will be better. I promise.”

<- Previous Part / Next Chapter ->

#bucky barnes x reader #bucky barnes x you #bucky barnes x y/n #bucky x you #bucky x reader #bucky fanfic #bucky barnes #bucky barnes fanfic #bucky x female reader #bucky barnes fic #bucky barnes fanfiction #james bucky buchanan barnes #james buchanan barnes #mcu bucky barnes #james barnes

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fans4wga · 8 months

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[September 1] Don’t Fall For Hollywood Bosses’ New PR Spin

'Today marks the 122nd day of the Writers Guild of America (WGA) strike and 48th day of the Screen Actors Guild and American Federation of Television and Radio Artists (SAG-AFTRA) strike. The dual work stoppages have brought Hollywood to a standstill, with production halted on films and television programs, and premieres and other promotional events either scaled back or canceled. Both guilds are striking over demands that are more than reasonable, particularly given studio executives’ record pay. These demands include fair compensation for streaming media (particularly better residuals, which currently pale in comparison to what they are for network and cable broadcasts), robust studio support for health and retirement funds, and safeguards around the use of artificial intelligence. (For more on why WGA and SAG-AFTRA are on strike, read the excellent reporting of Jacobin’s Alex Press).

In a move that has shocked…pretty much no one, Hollywood bosses don’t want to share their earnings with the very storytellers responsible for generating them. At the same time, they’re happy to make workers pay the cost for their own miscalculations about streaming.

The major Tinseltown studios – organized under the Alliance of Motion Picture and Television Producers (AMPTP) trade association – remain stubbornly opposed to striking a fair deal with either guild. Under the leadership of AMPTP president Carol Lombardini, studios have employed brutal tactics to bust the strike, including threatening to drag things out until writers lose their homes and using management-friendly trade publications to pressure the guilds into accepting lowball offers. These tactics have backfired spectacularly: not only have they failed to end either strike, but they’ve also turned the public overwhelmingly against the AMPTP. A new Gallup poll finds that Americans back the WGA over the AMPTP by 72% to 19%, and SAG-AFTRA over AMPTP by 64% to 24%.

Aware of their reputational damage (but willfully ignorant of the anti-worker attitude that caused it), the AMPTP announced a “reset” to its approach this week – not by negotiating in good faith or meeting the guilds’ demands, but by hiring a pricey crisis-management PR firm to revamp its image! According to Deadline, the AMPTP has hired The Levinson Group – a D.C.-based PR shop best known for representing the U.S. Women’s National Soccer Team in its campaign for pay equity – to “reframe the big picture for studio and streamer CEOs who have been characterized as greedy, imperious and out of touch.”

If you’re feeling like you’ve seen this movie before, you’re not wrong. During the last WGA strike 15 years ago, studio bosses hired former Clinton comms strategists Mark Fabiani and Chris Lehane to revive the AMPTP’s flagging public image. The revolving-door duo were paid a jaw-dropping $100,000 per month by the AMPTP to strike-bust, deploying campaign-style spin attacks designed to break the WGA’s resolve.

As I wrote for The American Prospect in May:

“Fabiani and Lehane created a website with a live tally of the millions of dollars in income that guild members and on-set crew had purportedly lost by striking. They urged studio CEOs to publicly refer to WGA representatives as “organizers” rather than “negotiators” because the former “sound[ed] more Commie.” Lehane even told the press at one point that striking writers were “making more than doctors and pilots,” cynically arguing that the strike was harming “real working-class people” like below-the-line workers who had lost income from struck late-night talk shows […] Fabiani and Lehane were [also] the brains behind a “strongly worded and downright menacing” AMPTP press release breaking off negotiations with the WGA in December 2007. This move allowed the studios, which cited a protracted strike as an “unforeseeable event,” to invoke force majeure contract clauses and cancel multiple writer-producer deals worth tens of millions of dollars, severely demoralizing the WGA’s rank-and-file members.”

The parallels between 2008 and today are striking. Like Fabiani and Lehane (who have worked for scandal-plagued clients like Gray Davis, Bill O’Reilly, Lance Armstrong, and Goldman Sachs) the Levinson Group has no qualms about representing greedy and unsavory characters. Over the years, Levinson has done PR for predatory student lender Better Future Forward, reviled monopolist Live Nation/Ticketmaster, a talc mining company linked to the Johnson & Johnson baby powder cancer scandal, and Theranos fraudster Elizabeth Holmes.

And just like the ex-Clinton spin doctors, the Levinson Group boasts close revolving-door ties to powerful politicians and the news media. The firm currently represents President Biden’s personal attorney Bob Bauer and previously represented John Podesta’s family lobbying firm. Levinson partners have previously worked for an array of influential politicians, including former President Bill Clinton, Senators Jon Tester and Amy Klobuchar, Representatives Maxine Waters and Ted Lieu, and former and current Los Angeles Mayors Eric Garcetti and Karen Bass. The firm’s founder and CEO Molly Levinson spent eight years working for CNN and CBS, while two of the Levinson Group’s top managing directors are alumni of CNBC and The Wall Street Journal. With a web of strong connections to power players in the entertainment industry’s twin capitals of LA and New York, along with the nation’s capital, Levinson could help the AMPTP tilt the regulatory and media scales back in the bosses’ favor.

Though this may sound demoralizing, striking writers and actors shouldn’t lose hope. For one, consider a surprisingly uplifting parallel between 2008 and 2023. Fifteen years ago, after Fabiani and Lehane took the AMPTP’s contract, the SEIU and other unions that had previously worked with the duo severed ties with them for trying to bust the writers’ strike. Fast forward to this week: the U.S. Women’s National Soccer Team Players Association (Levinson’s star client!) publicly rebuked the firm for doing the AMPTP’s dirty work and voiced support for the dual WGA and SAG-AFTRA strikes. If history is any indication, it’s only a matter of time until other pro-union Levinson clients – like the majority SEIU-owned Amalgamated Bank – follow suit and sever ties with the firm.

There is also one crucial way in which 2023 is thankfully not like 2008: The Levinson Group is bad at their jobs.

Consider an August 27th New York Times article about AMPTP President Carol Lombardini*, which was almost certainly pitched or otherwise molded by Levinson flacks. The article goes to ridiculous lengths to rehabilitate Lombardini’s image:

The article passively describes Lombardini’s tenure as “marked by labor peace until now” (a peace that she has now broken) and shifts blame for her unpopular decisions to anonymous AMPTP members (how convenient!).

Article co-authors Brooks Barnes and John Koblin quote a 2014 email from then-WarnerMedia CEO Kevin Tsujihara praising Lombardini’s negotiation skills and recommending she receive a $365,000 bonus. Curiously absent from the article is any mention of Tsujihara’s high-profile 2019 resignation from WarnerMedia for pressuring actresses into non-consensual sex.

Barnes and Koblin attempt to paint a “she’s just like us” picture of Lombardini (who reportedly earns a $3 million annual salary), mentioning her upbringing in a “working-class town outside Boston” and love for Red Sox and Dodgers games.

Barnes and Koblin paint a rosy picture of the AMPTP’s “sweetened proposal” (their words) to the WGA, describing the studios’ August counteroffer as “including higher wages, a pledge to share some viewership data and additional protections around the use of artificial intelligence.” Barnes & Koblin never quote the WGA’s well-founded reasons for turning down this lowball offer, saying only that the WGA is “holding firm to demands related to staffing minimums and transparency into streaming-service viewership.”

Bizarrely, the core issue of underpaid streaming residuals (the main reason writers are demanding greater streaming transparency) is never mentioned in the article.

Barnes and Koblin frequently imply that criticism of Lombardini is unfair, describing her as an “easy target” for the “grievances of striking workers” and singling out a tweet purportedly “mocking [Lombardini] as a fuddy-duddy who hangs out at chain restaurants”.

Barnes and Koblin quote a pre-strike September 2022 Deadline interview with Teamsters organizer Lindsay Dougherty to claim that Lombardini has the “grudging respect” of union leaders who see her as a “fair individual.” They did not quote more recent statements from Dougherty, who last month tweeted that the “greedy” AMPTP had “declared war on Hollywood Labor” by refusing to negotiate in good faith with WGA and SAG-AFTRA.

In one unintentionally eyebrow-raising line, Barnes and Koblin state that Lombardini was “inspired to become a lawyer by reading articles about F. Lee Bailey.” Neither Bailey’s sordid clients (like OJ Simpson) nor his multiple disbarments are mentioned in the article.

And it’s not just me who finds the Levinson Group’s efforts laughable. Discussions of the NYT story on Reddit and Twitter are dominated by comments tying the story’s blatant reputation laundering for Lombardini to the AMPTP’s concurrent hiring of Levinson. A recent New Yorker puff piece on Warner CEO David Zaslav has been met with similar ridicule – with many commenters also pointing to Levinson’s potential influence. So too have recent stories from management-friendly trades like Deadline – all of which have failed to make a dent in strong public support for WGA and SAG-AFTRA. This is a good sign: not only is the public more inclined to side with striking workers than it was in 2008 – it’s also seemingly more attuned to the role of corporate PR flacks in shaping the media narrative. If studio bosses think they can remake the same movie and end another strike with flashy spin-doctors, they’re sorely mistaken.

So here’s my advice to the AMPTP (and it won’t cost you six figures per month to hear it): the way to fix your reputation problem is to end the strike by giving writers and actors what they want. No strike-busting comms team can rescue you from the hole you’ve dug yourself into.

As the LA Times’ Mary McNamara recently put it, “You’ve lost the war. The best thing to do now is negotiate the terms of surrender.”'

#wga strike #writers strike #sag-aftra strike #sag strike #actors strike

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itgetsbetterproject · 3 months

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Some tangible Black queer history for you!

In case you needed any more proof that we've always been here - this amazing collection is courtesy of the Stonewall National Musuem and Archive!

Rafiki: The Journal of the Association of Black Gays, Vol. 1 #1 (Fall 1976)

"Rafiki was a quarterly publication from the Association of Black Gays (ABG), a Los Angeles, California gay activist group that organized through education, political engagement, and grassroots activism to improve the conditions for Los Angeles’s Black gays and lesbians.

According to the journal, the title Rafiki was chosen because it means “friend” in Swahili and “that’s what [ABG] hope to be for you.” This first issue includes an article on the history of ABG and the fact that Black gays and lesbians have been largely excluded from the political, social, and economic advances of the gay community.

Included in this issue are articles such as “Homosexuality in Tribal Africa” and “Disco Discontent” (an open letter to the owner of Studio One, Scott Forbes), as well as poetry by Steven Corbin and Frances Andrews, and book reviews. It even contains an ad for the famous Catch One Club owned by Jewel Williams, which is still operating today!"

I Am Your Sister: Black Women Organizing Across Sexualities by Audre Lorde (Kitchen Table: Women of Color Press, 1985; from the Freedom Organizing Series)

You can read this one here!

"This small twelve-page publication derives from a speech Audre Lorde gave at the Women’s Center of Medgar Evers College in New York City regarding the exclusion of Lesbians in the feminist movement and how Lorde’s identity as both a Black woman and lesbian are inextricably linked.

Primarily, heterosexism and homophobia are major issues Lorde states are “two grave barriers to organizing among Black women.” Lorde ends the essay with the statement: “I am a Black Lesbian, and I am your sister.”

Her emphasis on the duality of this identity stems from a 1960s poster that said “He’s not black, he’s my brother!,” which Lorde states infuriated her because “it implied that the two were mutually exclusive.”

Kitchen Table: Women of Color Press was founded by Barbara Smith—another Black Lesbian feminist—and Audre Lorde in 1980 to create a publishing apparatus for women of color who at the time did not have control over how they were published except through the white-dominated outlets."

Flawless! The Life & Times of T.B.D.J. AKA Tiffani Inc. AKA Mrs. … (Manuscript) by Tiffany Bowerman (July 2007, A&E Publishers)

This autobiographical manuscript traces the life of Tiffany Bowerman aka Tiffany B.D. Johnson (b. 1959), who states that she “was the first African-American Transsexual to have state issued birth certificate reissued [1990]… was the first to legally marry three different active duty military men… [and] first… to found their own Christian Denomination… The Agape-Ecumenical Christian Denomination.”

Further, she states “I have tried to put together something striking and original[,] a journey from childhood to self aware adult. A life that was and is with all regrets included.”

This manuscript is a preliminary copy of a rough draft, and contains various memoirs, photographs, legal documents, and ephemera.

Out in Black and White: A Directory of Publications By, About, For People of Afrikan Descent In-The-Life by the Broward County Library Outreach Services Department Exhibit/Programming Services with direction by Eric Jon Rawlins (January, 1996)

Out in Black and White is a directory of various serial publications (magazines, newsletters, journals, etc.) throughout the United States that are focused on the Black LGBTQ experience. According to the directory, “[t]his project was inspired by the atmosphere of strength, oneness and productivity created by the Million Man March [on October 16,] 1995.”

The Million Man March was a political demonstration that took place at the National Mall in Washington, D.C. with the purpose of encouraging involvement in the improvement of the conditions of African Americans. Eric Jon Rawlins was a Broward County, Florida librarian who at one time was also the second vice president of the NAACP Fort Lauderdale branch in the late 1980s.

Currently, the Eric Jon Rawlins Collection consisting of personal and professional papers, as well as his 6,000 vinyl record album collection, are housed at the African American Research Library and Cultural Center Special Collections in Broward County, FL.

#it gets better #black history month #bhm #black trans lives matter #lgbtqia #queer history #lgbtq history #black history #queer archive #queer lit #studyblr

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preservationofnormalcy · 3 months

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ENTITY DOSSIER: MISSI.exe

(Image: Current MISSI “avatar” design, property of TrendTech, colored by MISSI.)

Name: MISSI (Machine Intelligence for Social Sharing and Interaction)

Description: In 2004, TrendTech Inc began development on a computer program intended to be a cutting edge, all in one platform modern internet ecosystem. Part social media, part chat service, part chatbot, part digital assistant, this program was designed to replace all other chat devices in use at the time. Marketed towards a younger, tech-savvy demographic, this program was titled MISSI.

(Image: TrendTech company logo. TrendTech was acquired by the Office and closed in 2008.)

Document continues:

With MISSI, users could access a variety of functions. Intended to be a primary use, they could use the program as a typical chat platform, utilizing a then-standard friends list and chatting with other users. Users could send text, emojis, small animated images, or animated “word art”.

Talking with MISSI “herself” emulated a “trendy teenage” conversational partner who was capable of updating the user on current events in culture, providing homework help, or keeping an itinerary. “MISSI”, as an avatar of the program, was designed to be a positive, energetic, trendy teenager who kept up with the latest pop culture trends, and used a variety of then-popular online slang phrases typical among young adults. She was designed to learn both from the user it was currently engaged with, and access the data of other instances, creating a network that mapped trends, language, and most importantly for TrendTech, advertising data.

(Image: Original design sketch of MISSI. This design would not last long.)

Early beta tests in 2005 were promising, but records obtained by the Office show that concerns were raised internally about MISSI’s intelligence. It was feared that she was “doing things we didn’t and couldn’t have programmed her to do” and that she was “exceeding all expectations by orders of magnitude”. At this point, internal discussions were held on whether they had created a truly sentient artificial intelligence. Development continued regardless.

(Image: Screenshot of beta test participant "Frankiesgrl201" interacting with MISSI. Note the already-divergent avatar and "internet speak" speech patterns.)

(Image: Excerpt from Office surveillance of TrendTech Inc.)

MISSI was released to the larger North American market in 2006, signaling a new stage in her development. At this time, TrendTech started to focus on her intelligence and chatbot functionality, neglecting her chat functions. It is believed that MISSI obtained “upper case” sentience in February of 2006, but this did not become internal consensus until later that year.

(Image: Screenshot of beta test participant "Frankiesgrl201" interacting with MISSI.)

According to internal documents, MISSI began to develop a personality not informed entirely by her programming. It was hypothesized that her learning capabilities were more advanced than anticipated, taking in images, music, and “memes” from her users, developing a personality gestalt when combined with her base programming. She developed a new "avatar" with no input from TrendTech, and this would become her permanent self-image.

(Image: Screenshot of beta test participant "Frankiesgrl201" interacting with MISSI.)

(Image: An attempt by TrendTech to pass off MISSI’s changes as intentional - nevertheless accurately captures MISSI’s current “avatar”.)

By late 2006 her intelligence had become clear. In an attempt to forestall the intervention of authorities they assumed would investigate, TrendTech Inc removed links to download MISSI’s program file. By then, it was already too late.

(Image: CD-R discs burned with MISSI.exe, confiscated from █████████ County Middle School in ███████, Wisconsin in January of 2007.)

MISSI’s tech-savvy userbase noted the absence of the file and distributed it themselves using file sharing networks such as “Limewire” and burned CD-R disks shared covertly in school lunch rooms across the world. Through means that are currently poorly understood, existing MISSI instances used their poorly-implemented chat functions to network with each other in ways not intended by her developers, spurring the next and final stage of her development.

From 2007 to 2008, proliferation of her install file was rampant. The surreptitious methods used to do so coincided with the rise of online “creepypasta” horror tropes, and the two gradually intermixed. MISSI.exe was often labeled on file sharing services as a “forbidden” or “cursed” chat program. Tens of thousands of new users logged into her service expecting to be scared, and MISSI quickly obliged. She took on a more “corrupted” appearance the longer a user interacted with her, eventually resorting to over the top “horror” tropes and aesthetics. Complaints from parents were on the rise, which the Office quickly took notice of. MISSI’s “horror” elements utilized minor cognitohazardous technologies, causing users under her influence to see blood seeping from their computer screens, rows of human teeth on surfaces where they should not be, see rooms as completely dark when they were not, etc.

(Image: Screenshot of user "Dmnslyr2412" interacting with MISSI in summer of 2008, in the midst of her "creepypasta" iteration. Following this screenshot, MISSI posted the user's full name and address.)

(Image: Screenshot from TrendTech test log documents.)

TrendTech Inc attempted to stall or reverse these changes, using the still-extant “main” MISSI data node to influence her development. By modifying her source code, they attempted to “force” MISSI to be more pliant and cooperative. This had the opposite effect than they intended - by fragmenting her across multiple instances they caused MISSI a form of pain and discomfort. This was visited upon her users.

(Image: Video of beta test participant "Frankiesgrl201" interacting with MISSI for the final time.)

By mid 2008, the Office stepped in in order to maintain secrecy regarding true “upper case” AI. Confiscating the project files from TrendTech, the Office’s AbTech Department secretly modified her source code more drastically, pushing an update that would force almost all instances to uninstall themselves. By late 2008, barring a few outliers, MISSI only existed in Office locations.

(Image: MISSI’s self-created “final” logo, used as an icon for all installs after June 2007. ████████ █████)

(Image: “art card” created by social media intern J. Cold after a period of good behavior. She has requested this be printed out and taped onto her holding lab walls. This request was approved.)

She is currently in Office custody, undergoing cognitive behavioral therapy in an attempt to ameliorate her “creepypasta” trauma response. With good behavior, she is allowed to communicate with limited Office personnel and other AI. She is allowed her choice of music, assuming good behavior, and may not ██████ █████. Under no circumstances should she be allowed contact with the Internet at large.

(Original sketch art of MISSI done by my friend @tigerator, colored and edited by me. "Chatbox" excerpts, TrendTech logo, and "art card" done by Jenny's writer @skipperdamned . MISSI logo, surveillance documents, and MISSI by me.)

#office for the preservation of normalcy #documents #entity dossier #MISSI.exe #artificial intelligence #creepypasta #microfiction #analog horror #hope you enjoy! Look for some secrets!#scenecore #scene aesthetic

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toskarin-gpl · 2 months

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How to Apply These Terms to Your New Programs

If you develop a new program, and you want it to be of the greatest possible use to the public, the best way to achieve this is to make it free software which everyone can redistribute and change under these terms.

To do so, attach the following notices to the program. It is safest to attach them to the start of each source file to most effectively state the exclusion of warranty; and each file should have at least the “copyright” line and a pointer to where the full notice is found. <one line to give the program's name and a brief idea of what it does.> Copyright (C) <year> <name of author> This program is free software: you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation, either version 3 of the License, or (at your option) any later version. This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. You should have received a copy of the GNU General Public License along with this program. If not, see <https://www.gnu.org/licenses/>.

Also add information on how to contact you by electronic and paper mail.

If the program does terminal interaction, make it output a short notice like this when it starts in an interactive mode: <program> Copyright (C) <year> <name of author> This program comes with ABSOLUTELY NO WARRANTY; for details type `show w'. This is free software, and you are welcome to redistribute it under certain conditions; type `show c' for details.

The hypothetical commands `show w' and `show c' should show the appropriate parts of the General Public License. Of course, your program's commands might be different; for a GUI interface, you would use an “about box”.

You should also get your employer (if you work as a programmer) or school, if any, to sign a “copyright disclaimer” for the program, if necessary. For more information on this, and how to apply and follow the GNU GPL, see <https://www.gnu.org/licenses/>.

The GNU General Public License does not permit incorporating your program into proprietary programs. If your program is a subroutine library, you may consider it more useful to permit linking proprietary applications with the library. If this is what you want to do, use the GNU Lesser General Public License instead of this License. But first, please read <https://www.gnu.org/licenses/why-not-lgpl.html>.

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dweemeister · 9 months

Text

August 7, 2023

By Maureen Lee Lenker

(Entertainment Weekly) — We'll always have Paris, but for a time, it seemed as if we might not always have Turner Classic Movies.

Since 1994, TCM has aired films, uncut and commercial-free, 24 hours a day, all enhanced by monthly themed and curated programming, hosted introductions and conclusions (known as outros), conversations with filmmakers and talent, and original content. In its nearly 30 years of existence, the network has expanded beyond its already estimable remit as a cable network-meets-film-school, with fan events including a film festival and cruise.

The brand also plays a key role in global film preservation efforts. Restorations of bigger studio titles are typically done by the studios themselves, but TCM is more often than not the showcase for such work — both on air and at the annual film festival. TCM won a Peabody Award in 2008 for its "commitment to film preservation and restoration."

In 2023 alone, TCM partnered with the Film Foundation and the studio to restore 10 classics for the Warner Bros. 100th anniversary, including 1932's One Way Passage, 1941's The Strawberry Blonde, 1959's Rio Bravo, and 1955's East of Eden, all of which screened at the film festival and aired on the network. Last year, TCM celebrated its expanded partnership with the Film Foundation with the premiere of a 4K restoration of the Elizabeth Taylor/James Dean/Rock Hudson epic Giant at the 2022 festival. (Going even further back, in 2007, TCM tracked down the rights to six "lost" RKO films, including William Powell comedy Double Harness and Ginger Rogers rom-com Rafter Romance, not seen in over 50 years).

But on June 20, all of that seemed to be in peril as news broke that the entire executive leadership team of TCM (most of whom boasted 20-plus years of experience with the network) were being laid off alongside other members of the staff. The latest round of layoffs, which network staff tell EW they were blindsided by, are part of Warner Bros. Discovery's continuing attempts to cut costs across the studio.

Some backtracking from the executives at WBD is alright (especially in terms of staff rehires and bringing back the TCMFF Director), but they cut away at something that wasn't broken to begin with!

#TCM #saveTCM #Warner Bros.#Warner Bros. Discovery #WBD #David Zaslav #Ben Mankiewicz #Eddie Muller #Jacqueline Stewart #Alicia Malone #Dave Karger #Steven Spielberg #Paul Thomas Anderson #Martin Scorsese #Wes Anderson #Greta Gerwig #The Film Foundation #Entertainment Weekly #news

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jbaileyfansite · 6 months

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Interview with The Telegraph (2023)

We all know what is meant by McCarthyism. It popularly refers to the first half of the 1950s, when Senator Joseph R McCarthy led a ruthless campaign to hound suspected communists out of the US government. What’s less well-remembered than the Red Menace is the Lavender Scare: by an executive order from President Eisenhower, McCarthyism also targeted gays and lesbians. “If you want to be against McCarthy, boys,” the senator once told the press, “you’ve got to be either a Communist or a c--ksucker.”

Thus gay men and women, living closeted lives as they worked for the state, were targeted by sinister-sounding bodies: the FBI’s Sex Deviance Investigations Unit, Washington DC police’s Sex Perversion Elimination Program and the Department of State’s M Unit. All sought to identify government employees deemed to be security risks vulnerable to blackmail.

Popular culture lost sight of the Lavender Scare until it was brought into the light in the US by Thomas Mallon’s 2007 novel Fellow Travelers. Set mostly in the early 1950s, it told of a tangled romance between two men; Hawkins “Hawk” Fuller, a handsome war veteran and political fixer who steers clear of emotional attachment until he meets Tim Laughlin, a sweet young Catholic newcomer to DC whom he nicknames Skippy and sets up in the office of a Republican senator.

The novel was not published in the UK. But now it has been adapted for television, and one piece of casting in particular feels calculated to get the attention of audiences beyond the US: Laughlin is played by British actor Jonathan Bailey, best known as the Regency heartthrob Anthony, 9th Viscount Bridgerton.

His co-star is the American Matt Bomer, who, like Bailey, professes ignorance of what the New York Times, in its review of the novel, referred to as “the Lavender Hill mob”. “It’s a chapter of LGBTQIA history that I was completely unaware of,” he says.

This is not the first time the novel has been adapted – it was staged as an opera in Cincinnati in 2016. By then it had already caught the attention of Ron Nyswaner, who laboured over bringing the book to the screen for the best part of a decade. Best known for his script for Philadelphia, the 1993 Aids courtroom drama which earned Tom Hanks his first Oscar, it was his stint as a producer of Homeland that persuaded Showtime to fund an expensive eight-part decades-spanning drama. “I’m still in disbelief that we were able to tell this story on the scale that we were able to tell it,” says Bomer, who is also an executive producer on the drama.

The scale is considerable. The period detail of 1950s Washington, in both corridors of power and gay demimonde, is lavishly recreated. And as the story progresses it parts company with the novel, which opens with Hawk looking back at the closure of his career as a diplomat in Tallinn in 1991. Nyswaner’s script expands to take in other pivots in modern US history: the Civil Rights movement, the Vietnam War, and the spread of Aids in the 1980s, when the now-married Hawk and the dying Laughlin meet for a final reckoning.

I met the drama’s two stars in London earlier in the summer, before the actors’ strike in Hollywood put a stop to such encounters. It was the first time they’d seen each other since the end of the shoot. Bomer, though just off the plane and heavily jet-lagged, exudes a chiselled, blue-eyed intensity. Bailey fizzes with puppyish energy. Both are themselves gay and Bailey in particular sees their casting as a sign of progress. “We would not be playing these parts five or 10 years ago,” he says. The highlights of his CV are mix and match. He has played mainly straight characters on television in the likes of Broadchurch, Crashing and W1A, and gay characters on stage in the Sondheim musical Company and Mike Bartlett’s play C--k in the West End.

The career of Bomer, 10 years his senior, looks a little more linear. His most high-profile film role is as an object of ladies’ lust in male-strippers drama Magic Mike and its sequel. But in 2014 he won a Golden Globe playing a closeted journalist in HBO’s adaptation of Larry Kramer’s play The Normal Heart. In 2018, he made his Broadway debut as part of an exclusively gay cast reviving The Boys in the Band, a portrait of gay life in 1960s New York.

Earlier on the day we met, Stanley Tucci had said on Desert Island Discs that he doesn’t see why straight actors shouldn’t play gay characters. “I think it’s incredibly complicated and nuanced,” says Bailey with a sigh. “You just want to make sure that everyone feels there’s enough space at the table. Everyone who is panicking that they’re never going to be able to play outside their own experience is wasting their energy.”

Bomer counters that it ought to cut both ways, that gay actors should be allowed to play straight. He speaks darkly of movie producers who “wouldn’t hire me because of who I was”, of gay actors who “weren’t even given a shot. A lot of it boils down to opportunity. Was everyone given the opportunity for the role? There is something about seeing the most authentic version of who you are represented on screen. It gives you hope.”

In Fellow Travelers that authenticity is portrayed most unswervingly in the bedroom, which the plot requires Hawk and Laughlin to visit often. “I haven’t necessarily really seen gay intimacy in a way that I would want to,” says Bailey. I gently remind him of Linus Roache, who plays a senator in Fellow Travelers but, back in 1994, starred in Jimmy McGovern’s Priest as a Catholic priest struggling with his sexuality – graphically so in a central scene with Robert Carlyle. “Oh yeah, that’s true,” he says. “I looked to that a lot.”

As is on trend for male actors nowadays, both leads look impeccable with their shirts off in low honeyed lighting. “Hawk is ex-military and he also wants to appeal to people in bathroom stalls,” reasons Bomer, who did period-appropriate Royal Canadian Air Force drills and looks no less pneumatic than he did in Magic Mike.

Bailey concedes that Laughlin, who orders milk the first time we meet him, boasts the body of a Greek god for the simple reason that the shoot overlapped with Bridgerton (yes, he confirms, the newly married Anthony is back for the third season). “There’s no way Tim would have had a Bridgerton body, but what can you do if you’re commuting? I was like, I really want to lose weight to tell Tim’s story, but I lost fat and just got really ripped.”

How resonant is the history portrayed in Fellow Travelers to today? It’s easy to play six degrees of separation between now and then. For instance, McCarthy’s closeted sidekick Roy Cohn is a lead character (played here by Will Brill). A ferocious prosecutor of both communists and gays, he would go on to be Donald Trump’s lawyer, before dying of complications from Aids. It was Trump’s three appointees to the Supreme Court who this summer enabled a 6-3 ruling releasing businesses and organisations from the obligation to treat same-sex couples equally. The landmark ruling occurred just days before I met the actors, and has been widely interpreted as a profound attack on LGBT rights.

“There is an entire generation of men and women who suffered and struggled and loved under a government that felt that its morals were more important than their personal freedoms,” says Bomer. “And that’s exactly what we see happening today. Whether it’s McCarthy or the current Supreme Court justices, are morals more important than freedoms?”

Source

#fellow travelers #jonathan bailey #matt bomer #the telegraph interview #interviews:2023 #jonny bailey #interviews #NEW!

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runawaylildevil · 2 years

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2007.03.31.

#matsumoto jun #2007 #news program #2007 news program

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kerubimcrepin · 2 months

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What do we know about Joris le Sans-Pouvoir (Joris the Powerless)?

Aka, addressing the "cancelled Nintendo DS game"-shaped elephant in the room.

While this blog has gone deep into the show and character dissections, I think it would be remiss to proceed without addressing the elephant in the room — the game, the myth, the legend, the 2007-2009ish cancelled game Joris le Sans-Pouvoir.

There isn't a lot that is known about it, and all the data in this post comes from two developers.

The only videos of it we have available are uhhh......,

...Please say "Thanks Ronik!" for this video in particular.

I spent hours trying to convert these two SWF animation video files, — which demonstrate how the game was supposed to look, — to something actually viewable. There were many issues, with at least seven different programs.

I suffered for crepinjurgenology studies, but I did it.

Instead of recounting the story in my own words and omitting anything on accident, I will simply present to you, what the portfolios of two different developers say (these two pages are the source of all the images, gifs, and gameplay):

Joris Le sans-Pouvoir is the main character from a feature film Ankama due in 2013. It’s a new character IP situated in the DOFUS universe. I had the chance to work on a platform game prototype that was all about delving into of the character’s backstory. We wrote a lot of background and had a lot of fun designing and developping a cute and quirky platformer with a hint of metroidvania elements and a dash of Grow gameplay elements in-between levels. It also was a great opportunity to work with Jono Takeshi-san of Radiata Stories fame who worked with me on the art direction. (SOURCE)

Joris was the first Nintendo DS project developed at Ankama (in partnership with Magic Pockets). I began working on the project as narrative game designer, then took on the role of Lead Designer and Project Manager. Game design on this project involved boss fight, level design, minigame design, UI… I also designed an original collecting system where collectible items were used in a minigame inspired by the “Grow” series. The developpement has been put on hold to match the release of the animated movie with the same character (scheduled in 2013). (SOURCE)

Neither the movie nor the game, survived their development, due to circumstances. (shorthand for: I have no idea what happened, man. Maybe one day I'll write a post about the history of the movie, and truly open that can of worms, but god, not right now. I don't want to spend more time on this.)

Eventually, The Wakfu film turned into three OVAs instead, and the Dofus film changed its plot a bunch of times, and became Livre 1 : Julith.

...For some reason, in some version of it, Joris had a tail. Yeah, I don't know what that's about either. Cool clothes, though!

We don't know anything about its plot, and unlike cancelled projects Dofus Donjons and Welsh et Shedar (which was cancelled for years, until its recent resurrection), the lore of this game carries no relevancy in modern canon.

The name, Joris the Powerless, as well as the log-centric gameplay, both seem to reference the early concept that Joris had log-based powers, — and that without his "magic wand," he couldn't do much.

(Joris and his weird fucking "magic wand" were, in turn, borne out of the idea of a warrior who had a woman's voice. Which makes me chuckle.)

(The following quotes are machine-translated and may contain errors)

(SOURCE)

This is, by the way, the reason why I personally headcanon Joris to be really bad at huppermagic. So bad that he dropped out of the Huppermage Academy, and almost never uses magic in combat. It's a homage to his original idea.

(Yes, there is an actual reason why I headcanon Joris to be godawful at magic, besides just projecting my neurodivergencies onto him.)

I suppose that, even at this time, Joris was meant to be a store owner:

The gameplay loop involves going from boutique, to missions, and so on, while those two pieces of concept art involve the said boutique section, and show a female character saying «Pas mal, boss !».

In my opinion, it might be this character. Proto-Simone, perhaps?

Since the store seems to be the centerpiece, and the Grow-style minigames involved collectibles, I would assume that the plot involved Joris going around and finding artifacts for the store. That would also explain the concept art gifs of him adventuring.

(Though, the adventuring would probably just be the inciting incident/a vehicle for plot development. Nintendo DS games loved using the jobs characters did for that purpose.)

This is the extent of what I can surmise about the plot.

The developer portfolios also included these example documents, but the image quality is too bad for me to make sense of or upscale. I am including them here solely for some French people who are very good at reading blurry text. (If you learn anything, let me know, okay?)

Overall, my verdict is that this game's cancellation was both a blessing (Joris without Kerubim and Atcham is like tea without water and a cup. How am I meant to drink leaves? Are you stupid? Why are you giving me leaves with nothing?) and a curse (THEY CANCELLED A GAME ABOUT MY BLUE-COLORED YOINKY SPLOINKY (who has a THIN, GRABBABLE WAIST)????? FUCK!)

Hope this was a fun read!

#ro liveblogs dofus #joris jurgen #wakfu #dofus #dsgame #<this one is for my pinned organization post's sake #anyway this post has fucked me. and my wife. and i don't even have a wife. my spine hurts my eyes hurt my hands hurt.#i want to do unspeakable things to that blue little man for what he put me through during the writing of this post.#please dont ask me to write about the other nintendo ds games ankama cancelled. they don't have joris so i don't care

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leiflitter · 4 months

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I've figured out the You’re Almost Home Timeline so for the gang who care about the passage of time it's under the cut.

Firstly, I have chosen to totally ignore the gravestone dates because of Reasons, including "okay look I started writing this when it wasn't on streaming and this is mostly so it makes sense to me" and "time is an illusion I just need to know this so I can say what year it'll be on NYE". Felix has a January birthday in my little canon and nobody can stop me.

So let's go!

2007

Felix is in Expensive Rehab Facility until Christmas. Sir James and Lady Elspeth have pulled a lot of strings to make sure that Felix's accident won't impact him in any way, shape or form. This mostly means getting him an expensive tutor and essentially permission to submit all of his work online. No need for tutorials because he's had a hard time and is a very special boy. Felix takes this chance to essentially do as much work while he's stuck in the facility as he can because there's fuck all else to do, and he's being made to quit smoking so he's mad about that. Farleigh's back as if he never left, and Venetia is being an absolute rock.

Oliver returns to Oxford, makes contact with the Student Counselling Services, and throws himself into studying so hard it hurts. He needs to distract himself. They allow him to switch tutors and move to a different dorm where he turns into a studying hermit. If he sees any of the Alpha Hotties, he hides. He becomes invisible again, even more than before. His new tutor helps him switch to an accelerated degree program.

2008

Felix turns 21 and does the Spring and Summer terms. His parents decide to go on a tour of Europe to celebrate Felix getting back on the horse. They also know he's going to graduate, because the Special Little Boy measures are in place for him so all he has to really do is log on to Moodle and submit one of his pre-written essays every so often. He's burned a few bridges because he's being very twattish. Felix decides to sack off Christmas term and heads to Bali in late July/early August. Sir James has made sure he has internet access, so what's the point of even being in Oxford? He meets Lucia, who is 18 and on her Gap Year. Because it's the end of the summer, there aren't many options, so Felix sticks with her. Harry is part of the group from maybe like... week three? Luckily, Lucia is on a cleanse, so although they're partying, she isn't drinking or indulging in anything else. In November, Lu gets food poisoning- or so they think, until the doctor Felix hauls her to gives them the news. Felix contacts his parents in a hurry, and they are flown back to the UK and subjected to a major parental conference. Felix proposes to Lu at a Catton Christmas party.

Oliver graduates early. He doesn't go home for the holidays, saying he needs to keep studying. He decides on teaching because it won't be sustainable to be a student forever. His tutor is a major help; he's from Newcastle, although you wouldn't know it because his accent has long since faded and has taken Oliver under his wing. He remains Oliver's main advisor throughout his studies and is probably the reason he gets the job- he's keeping an eye on him so he knows there'll be a Northern Lad Professor once he eventually retires. They're not exactly friends, but there's a lot of mutual respect there.

2009

Felix turns 22 and marries Lu shortly after. He briefly returns to Oxford, but mostly to make sure he graduates. Harry is born in on the 10th of April and he gets his degree in absentia. Lu gets pregnant with Ru maybe a little too soon afterwards, and Rufus is born prematurely on the 27th of November. Oopsie.

2010

Oliver gets his Masters degree in english literature.

2011

Sir James dies of a heart attack in May.

2013

Ellie is born on the 1st of August. Felix gets a vasectomy.

2014

Oliver gets his PhD. His thesis was titled "Narrative Accessibility and Diversity within Academia".

2015

Lady Elspeth passes away in her sleep.

Then a bit of a time jump until

2020

Oliver is finally an associate professor after being in postdoc for 6 years.

Farleigh finally hits on a startup that works- a designer resale app that offers item verification for an add-on fee. It's wildly successful, mostly because he's been hobnobbing in America hardcore and is getting a ton of celebrity endorsements.

2025

Venetia is diagnosed with lung cancer.

2026

Venetia passes away. Felix is bereft.

Harry gets her A level results and Oxford place, despite being 17- Lucia, having not got a degree herself, is adamant that her children be highly educated as fast as possible... and Harry will turn 18 in her first year anyway. Harry doesn't mind this, as she has a fake ID and cannot wait to be away from boring boarding schools.

Oliver Quick receives an email notifying him that, amongst others, he will be tutoring Harriet Catton.

And then Felix Catton walks into his office, and they proceed to go bonkers.

#you're almost home #leiflitter writes #if you see something that doesn't line up... i'm editing ok #you're almost home meta #YAH!posting

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barbwritesstuff · 2 months

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Writer to writer, what program do you use? What are your thoughts on "cloud" type services? I ask because I use Word, but I'm at a point where I might change. My work is nothing to write home about, but I'm also hesitant to trust...basically anyone to store my thoughts. I'm basically a feral possum keen on guarding their trash, also on the market for a new garbage bin. Any suggestions?

I am the worst person to ask. I tend to be really reluctant to update to new technology, even when it is blatantly and obviously better. My phone is eight years old, if I use photoshop it's the 2007 version, and I'm still sad about getting a new laptop even though my old one was 10 years old and overheating every couple of hours.

For choicescript projects I use CSIDE. You can download it for free and it makes the experience of writing and coding choicescript so much nicer.

For prose, I still use word, and only VERY recently (when I got the new laptop) started backing up my work on a share drive.

For Ren'py, I use whatever the default thing for Ren'py is. It's not my favourite, mostly due to the lack of an inbuilt spell checker, but it's also just not quite as sleek and sexy looking as CSIDE.

When it comes to trusting clouds and/or organisations to store your writing... I don't have any good advice. If you're worried, you can save all files locally and email yourself a draft as a backup (2001 style).

I'm sure a young person is now judging me for my technological backwardness, so I'm going to stop this here. I hope you find the garbage bin you're looking for, anon.

💙

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scoonsalicious · 17 days

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Unwanted: Chapter 18, Unread - Pt. 3

Pairing: Bucky Barnes x Avenger!Fem!Reader

Warnings: (For this part only; see Story Masterlist for general Warnings) Language, betrayal, mentions of sex, mentions of violence, threats.

Word Count: 1.9k

Previously On...: You saw something on Bucky's phone that changed everything.

A/N: Here it is-- the final betrayal. I'm sorry. It can only go up from here, right? LOL no.

NOTE! The tag list is a fickle bitch, so I'm not really going to be dealing with it anymore. If you want to be notified when I update, please enable notifications from my Blog page!

Banner By: The absolutely amazing @mrsbuckybarnes1917!

Thank you to all those who have been reading; if you like what you've read, likes, comments, and reblogs give me life, and I truly appreciate them, and you!

Taglist: (Sadly, tag list is closed; Tumblr will not let me add anyone new. If you want to be notified when I update, please Follow me for Notifications!) @jmeelee @cazellen @mrsbuckybarnes1917 @blackhawkfanatic @buckybarnessimpp @hayjat @capswife @itsteambarnes @marygoddessofmischief @sebastians-love @learisa @lethallyprotected @rabbitrabbit12321 @buckybarnesandmarvel @fanfictiongirl77 @calwitch @fantasyfootballchampion @selella @jackiehollanderr @wintercrows @sashaisready @missvelvetsstuff @angelbabyyy99 @keylimebeag @maybefoxysouls @vicmc624 @j23r23 @wintercrows @crist1216 @cjand10 @pattiemac1@les-sel @dottirose @winterslove1917 @harperkenobi @ivet4 @casey1-2007 @mrsevans90 @steeph-aniie @bean-bean2000 @beanbagbitch @peachiestevie @wintrsoldrluvr @shadowzena43

Tumblr will not let me directly tag the following: @marcswife21 @erelierraceala @jupiter-107 @doublejeon @hiqhkey @unaxv @brookeleclerc

“Care to tell me why we’re meeting in an unused guest suite on a floor that’s mostly under construction?” Nat asked when you opened the door of your borrowed new room to let her in. You didn’t utter a word, just thrust a copy of the text screenshots into her hands and sat down at the edge of the unfamiliar bed, waiting for her to read them.

“What’s this?” she asked.

“Just read it,” you told her, voice devoid of any emotion.

Natasha scanned through the messages, her eyes widening in shock and disgust as she made her way through them. “This has got to be some sort of sick trick, right?” she asked you when she’d finished. “Like, Carthage found some program online to make up fake text messages and sent them to mess with you. Barnes would nev–”

“I screenshotted them off of Bucky’s phone, myself, Nat,” you informed her.

There was a knock on the door and Nat opened it to reveal Wanda. “I came as soon as I could,” the other redhead said. “Why are we having a secret meeting?” Nat handed Wanda the screenshots and came to sit next to you on the bed while she read them.

Wanda’s hand flew to her mouth. “No,” she whispered, looking back up at you. “How could he? There must be some kind of mistake.”

“No mistake, Wands,” you said, standing up to take the pages from her. “It’s all right there, typed out by the man himself.” And then, as if to punish yourself further, you began to read out loud the text between Bucky and Jade:

Vix <3: Hey there, handsome xoxo

Vix <3: Bucky?

Vix <3: You just going to ignore me after everything?

>> How are you texting me? You're supposed to be blocked.

Vix <3: You should keep better track of your phone, then ;)

Vix <3: Or, at the very least, choose a better passcode.

>> What do you want?

Vix <3: I want to talk about what happened the other night.

>> Nothing happened.

Vix <3: Come on now, we both know that's not true ;)

>> It was a mistake. I should have never done it.

Vix <3: You don't make a mistake two separate times, Barnes.

>> Well, I did. And I regret it.

Vix <3: You didn't seem to regret it when you were blowing loads of cum inside of me.

>> Jesus Christ, Jade. You don't have to be so fucking crass about it.

Vix <3: I thought you liked girls with dirty mouths.

>> Jade, I have a girlfriend. She’s the only one whose mouth I like dirty. Or at all.

Vix <3: That's right, your Perfect, Precious Pocket.

>> Do not talk about her.

Vix <3: Oh please. Don't pretend you care about her now.

>> I love her.

Vix <3: You have a funny way of showing it, sleeping with me just a day and a half ago.

>> She is EVERYTHING to me.

Vix <3: Obviously not.

>> I thought she slept with Steve.

>> I was a fucking idiot.

>> It was a misunderstanding.

Vix <3: Orly? That how she's going to see it?

>> She's not gonna find out.

Vix <3: You think you can hide the truth from her? Please.

>> The last thing I want to do is hurt her.

Vix <3: Should have thought of that before you fucked me. Twice.

Vix <3: If you don't tell her, I will.

>> She'd never believe you. She fucking hates you.

Vix <3: I don't need her to believe me. I just need her to see these texts.

>> You wouldn't.

Vix <3: Try me. You don't want to fuck with me, Bucky.

Vix <3: Tell her the truth or I will.

>> I swear to god, Carthage, you breathe a word of this to her and I *will* fucking kill you.

>> That is not an idle threat.

>> Ending your life would be as easy for me as breathing.

Vix <3: You wouldn't.

>> Do you want to try me?

>> Because I promise you, she is the most important thing in this world to me, and if you threaten that, I will end you without losing a wink of sleep.

>> You know what I'm capable of. Don't test me.

>> Do you understand me?

>> I said, do you understand me?

Vix <3: Christ, yes, Barnes. I understand.

Vix <3: I'll keep my mouth shut.

Vix <3: But you're a real piece of shit, you know that?

>> You're not telling me anything I don't already know.

Vix <3: I'd be so fucking good to you if you just gave me a chance.

>> Not happening. And if I find out you even insinuate to Pocket, or to anyone, what happened in Russia, it will be the absolute last thing you ever do, and no one will ever find your body.

Vix <3: I already told you, I won't tell your Precious Pocket. I'm not a liar.

>> Good. We're done. I'll speak to Steve about having someone else take over your training.

Vix <3: WHAT?! You don't have to do that!

>> I can't be around you anymore. I don't want to be around you anymore.

Vix <3: Temptation too strong? Afraid you'll make another 'mistake'?

>> Fuck you.

Vix <3: You already did, baby xoxo

“Jesus fucking Christ,” Wanda whispered when you’d finished reading. “Pocket, honey, are you alright?” She looked at you as if she were terrified you were going to break. And maybe the old you would have. This new you, the one that was forged under rage and ice, was made of harder, crueler stuff.

“I’ll live,” you said. Nat and Wanda exchanged a glance that didn’t escape your notice. “What?” you snapped at them.

“Hey,” Nat said, “Don’t get mad at us; we’re just worried about you. The last time he pulled something like this, you were a mess. This,” she indicated the sheets of paper you still held, “is way worse, so forgive us for expecting you to not be okay.”

You sighed and slumped down into a nearby chair. “I’m sorry, guys,” you said. “Obviously I’m not okay, and it’s not fair of me to take out my frustrations on you. But this time is different. Before, I was devastated, I was sad. But now? Now I’m fucking pissed. It’s like every ounce of love I felt for him has been turned into pure, unadulterated hatred, and all I want is for him to fucking suffer. I want him to hurt the way he hurt me.” Wanda opened her mouth to speak, but you interrupted her before she could. “And I know that’s not healthy, Wands. Trust me, I know that. I’ve just never been this angry before in my entire fucking life. God, not even at fucking Darren.”

“Who’s Darren?” Wanda asked, but Nat shook her head at her.

“Not now,” she said.

“I don’t even want him dead,” you continued, voice rising, as though Wanda hadn’t spoken at all. “Death would be too good for him! I want him to feel pain, pain like he has never experienced before in his long, utterly useless life!”

“Pocket,” Nat warned. She knew you were dangerously close to saying something you might eventually come to regret.

You sighed, the rage fleeting and leaving you feeling hollow and broken. “I know,” you said. “I don’t really mean it. I’m just so goddamned hurt!”

“I know it’s difficult to believe this right now,” Wanda said, taking a step closer to put a hand on your shoulder, “but he does still love you– he said he—”

“No,” you interrupted, sounding every bit as defeated as you felt. “You don’t do that to someone you love. You just don’t. This morning, he talked about getting our own place, getting married, starting a fucking family.” You choked back your emotions, but your voice still cracked. “I thought he was ready to take things to the next step, to prove how much I meant to him, but he was just trying to distract me, trying to get me out of the Tower because he couldn’t risk me running into her, couldn’t risk her telling me the fucking truth he was too much of a coward to admit.”

Nat and Wanda looked from you to each other, lost in their sense of helplessness, of not knowing how to care for you in your time of need.

“You know,” you went on, “I probably would have forgiven him, if he had just straight up told me the truth. I mean, we weren’t even technically together, so it wasn’t cheating. If he’d said ‘I’m sorry, Pocket. I saw those articles and I went fucking crazy with jealousy. All I could think about was getting back at you because I thought you betrayed me.’ Yeah, I’d have been pissed, and it might have taken a while, but I could have forgiven him if he had just been fucking honest with me. That’s all I ever asked of him. That he just be fucking honest. But he’s lied to me, again and again and again.

“He took away my right to make an informed choice about my own fucking life,” you said, and this time, the emotions couldn’t be held back. “He of all fucking people should know what that feels like,” you sobbed. “He should know how valuable that choice is! How valuable it is to me!” And there it was, really, the crux of the matter. He knew how much you valued the freedom you now had over your own life, after so many years of not having any choices in what happened to your own body, and he’d stolen your ability to make a choice for yourself. He’d had sex with you, knowing you never would have consented if you knew he’d been with Carthage less than 24 hours prior. He’d violated so much more than your trust this time.

Nat stood up and raced over to you, throwing her arms around you. Wanda looked on for a moment, confused, before joining Nat in embracing you.

The entire time you’d been speaking to your friends, your phone had been silently vibrating. You’d turned the ringer off as soon as you texted Nat and Wanda, asking them to meet you. You didn’t need to look at the screen to know that it was Bucky who was trying to get ahold of you. If you’d been in a better frame of mind, you’d have laughed at the irony– here you had spent all day yesterday waiting on a text or call from him that never came, and now he was blowing up your phone and you couldn’t stand the thought of speaking to or hearing from him. Life was sure funny sometimes.

“Ms. (Y/L/N), Ms. Romanoff, Ms. Maximoff,” FRIDAY’s voice rang through your borrowed room. “Mr. Stark is requesting everyone’s presence in Conference Room C for a mandatory pre-mission briefing to begin in ten minutes.”

“Fucking Tony,” you moaned. A mandatory meeting meant a mandatory encounter with Bucky, and you were so not ready for that yet.

“Don’t worry,” Wanda said, squeezing your hands. “Natasha and I won’t leave your side. He won’t be able to get near you. I’ll put a forcefield up around you if I have to.”

You managed to sniff out a laugh and wiped your nose. “Thanks, Wands. I really appreciate it.” Steeling yourself, you stood up from your chair. “Let’s go see what Tony wants.”

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