.

There’s a line from American Gods I keep coming back to in relation to Yellowjackets, an observation made early on by Shadow in prison: “The kind of behavior that works in a specialized environment, such as prison, can fail to work and in fact become harmful when used outside such an environment.” I keep rotating it in my head in thinking about the six survivors, the roles they occupy in the wilderness, and the way the show depicts them as adults in society.

Because in the wilderness, as in prison, they’re trapped—they’re suffering, they’re traumatized, they’re terrified—but they’re also able to construct very specific boxes to live in. And, in a way, that might make it easier. Cut away the fat, narrow the story down to its base arc. You are no longer the complex young woman who weighs a moral compass before acting. You no longer have the luxury of asking questions. You are a survivor. You have only to get to the next day.

Shauna: the scribe. Lottie: the prophet. Van: the acolyte. Taissa: the skeptic. Misty: the knight. Natalie: the queen. Neat, orderly, the bricks of a new kind of society. And it works in the woods; we know this because these six survive. (Add Travis: the hunter, while you’re at it, because he does make it to adulthood).

But then they’re rescued. And it’s not just lost purpose and PTSD they’re dealing with now, but a loss of that intrinsic identity each built in the woods. How do you go home again? How do you rejoin a so-called civilized world, where all the violence is restricted to a soccer field, to an argument, to your own nightmares?

How does the scribe, the one who wrote it all out in black and white to make sense of the horrors, cope with a world that would actively reject her story? She locks that story away. But she can’t stop turning it over in her head. She can’t forget the details. They’re waiting around every corner. In the husband beside her in bed. In the child she can’t connect with across the table. In the best friend whose parents draw her in, make her the object of their grief, the friend who lives on in every corner of their hometown. She can’t forget, so she tries so hard to write a different kind of story instead, to fool everyone into seeing the soft maternal mask and not the butcher beneath, and she winds up with blood on her hands just the same.

How does the prophet come back from the religion a desperate group made of her, a group that took her tortured visions, her slipping mental health, and built a hungry need around the very things whittling her down? She builds over the bones. She creates a place out of all that well-intended damage, and she tells herself she’s helping, she’s saving them, she has to save them, because the world is greedy and needs a leader, needs a martyr, needs someone to stand up tall and reassure everyone at the end of the day that they know what’s best. The world, any world, needs someone who will take those blows so the innocent don’t have to. She’s haunted by everyone she didn’t save, by the godhood assigned to her out of misplaced damage, and when the darkness comes knocking again, there is nothing else to do but repeat old rhymes until there is blood on her hands just the same.

How does the acolyte return to a world that cares nothing for the faith of the desperate, the faith that did nothing to save most of her friends, that indeed pushed her to destroy? She runs from it. She dives into things that are safe to believe in, things that rescue lonely girls from rough home lives, things that show a young queer kid there’s still sunshine out there somewhere. She delves into fiction, makes a home inside old stories to which she already knows the endings, coaxes herself away from the belief that damned her and into a cinemascope safety net where the real stuff never has to get in. She teaches herself surface-level interests, she avoids anything she might believe in too deeply, and still she’s dragged back to the place where blood winds up on her hands just the same.

How does the skeptic make peace with the things she knows happened, the things that she did even without meaning to, without realizing? She buries them. She leans hard into a refusal to believe those skeletons could ever crawl back out of the graves she stuffed them into, because belief is in some ways the opposite of control. She doesn’t talk to her wife. She doesn’t talk to anyone. It’s not about what’s underneath the surface, because that’s just a mess, so instead she actively discounts the girl she became in the woods. She makes something new, something rational and orderly, someone who can’t fail. She polishes the picture to a shine, and she stands up straight, the model achievement. She goes about her original plan like it was always going to be that way, and she winds up with blood on her hands just the same.

How does the knight exist in a world with no one to serve, no one to protect, no reason propelling the devastating choices she had grown comfortable making? She rechannels it. She convinces herself she’s the smartest person in the room, the most capable, the most observant. She convinces herself other people’s mysteries are hers to solve, that she is helping in every single action she takes. She makes a career out of assisting the most fragile, the most helpless souls she can find, and she makes a hobby out of patrolling for crimes to solve, and when a chance comes to strap her armor back on and ride into battle, she rejoices in the return to normalcy. She craves that station as someone needed, someone to rely upon in the darkest of hours, and she winds up with blood on her hands because, in a way, she never left the wilderness at all.

How does the queen keep going without a queendom, without a pack, without people to lead past the horrors of tomorrow? She doesn’t. She simply does not know how. She scrounges for something, anything, that will make her feel connected to the world the way that team did. She moves in and out of a world that rejects trauma, punishes the traumatized, heckles the grieving as a spectacle. She finds comfort in the cohesive ritual of rehabilitation, this place where she gets so close to finding herself again, only to stumble when she opens her eyes and sees she’s alone. All those months feeding and guiding and gripping fast to the fight of making it to another day, and she no longer knows how to rest. How to let go without falling. She no longer wears a crown, and she never wanted it in the first place, so how on earth does she survive a world that doesn’t understand the guilt and shame of being made the centerpiece of a specialized environment you can never explain to anyone else? How, how, how do you survive without winding up with blood on your hands just the same?

All six of these girls found, for better or worse, a place in the woods. All six of them found, for better or worse, a reason to get up the next day. For each other. And then they go home, and even if they all stayed close, stayed friends, it’d still be like stepping out of chains for the first time in years. Where do you go? How do you make small choices when every decision for months was life or death? How do you keep the part of yourself stitched so innately into your survival in a world that would scream to see it? How do you do away with the survivor and still keep going?

They brought it back with them. Of course they did. It was the only way.

I think we should just bring back Wungo Wednesday and start a fandom collective anime rewatch

honestly feel like you can't fully understand why the nhl functions the way it does unless you have an in-depth understanding of american conservatism specifically. like. the nhl is run by a collection of people who function on conservative nostalgia, purposeful obtuseness, and a direct opposition to progressivism. they're the type of american traditionalists who think that we should go back to the good old days when people respected their elders and didn't think too hard about things like civil rights or what equity actually means. they believe in a homogenous culture of assimilation and obedience, and they rely on the people within that culture to perpetuate it via mutual surveillance. it's what the wealthy white american right has always been, especially since wwii and the cold war after it. and it's what the nhl has always been. it's a culture that is determined to keep itself locked away in the 1980s while the world around it evolves, and as it grows farther removed from the world it exists in, the more reactionary it gets. it's fucking. every 70 year old republican senator who refuses to step down until they keel over dead in congress. that's it. that's all.

i was trying to find some positivity in the Simms transcript and instead i just found something else to get mad abt:

“[the Nandor and Guillermo relationship is about] the experience of having a boss that [you] worship and adore and love. That’s what we’re exploring.”

…so this whole time they were writing Guillermo and Nandor’s relationship as a way to explore their own experiences of hero worshiping their bosses…

and that, somehow, is the greatest, most profound love story in all of modern television…

how do you think in poems? i really enjoy the tags under your posts i've always wanted to write down my own thoughts that way bc in my head they feel so thorough and magical but whenever i put it in words i feel it just gets so much flatter and i no longer see a point and give up

oh oh oh, but lovely, can't you see that you've already started? it's a perspective that you hone, over time, something that is specific to you and you alone – that's the piece of it that makes it so special! you've already begun, and it only goes forward, up, sideways from here, wherever you wish to go!

think of it like a skill, for a moment, or a kind of muscle, if you'd prefer. you have to work at it, with it, over time and differing experiences, in order to progress.

(a quick important note: not progression as in the kind of quality-check of a grading scale, but progression as in evolution. shifting change. think of the leaves and their colors across the months of autumn, or temperatures rising with the sun and cooling with the evening dark. change isn't intrinsically a qualifying thing, it can just be, sometimes. this is difficult to remember, especially in the midst of frustration, but it is worth it. you are always doing better than you think you are – harshest critic, and all that.)

which is not to say that it's a simple thing to do! compare this to the vibe of me picking up crochet recently, with my shaking hands and too-quickly dwindling adhd focus – my first attempts at making a lil headphone sprout have not been going as well as i once hoped. my stitches are either too big and sloppy bc i'm not holding the yarn tightly enough to get clean ones, or i feel frustrated due to it not looking like how i'd like it to look in my mind when i started it, or even as i begin my umpteenth attempt.

but!! i know that it won't ever look the way i want it do if i set it down and never keep trying. it'll take awhile, like everything does, even the seasons take their time, the moon and its phases; but what i do know, is that, eventually, it'll resemble something i want it to. vaguely, maybe, but it is something. it doesn't have to look exactly like the guide i'm following, or the examples i'm inspired by, because it's mine – something made by my own hands, my own time and experience with every mistake and thrilling joy along the way to learn by.

take it from me: i want to be good at things i want to be good at so badly. and that excitement makes me want to be at the skill level i need to be at in order to do so right then and there, no learning curves or building blocks allowed. which is never how it happens, unfortunately, but –

i think, gently, that we tend to overlook what a pleasure it is to learn. to see the slow progression of things, to begin and change and continue and get better. and even if it's different as we go along, in a way it's our own little kind of magic, maybe, to create and never be done if we don't want to be.

which is all to say: it's already yours. why does it have to be anything else, anything more? why can't it just be good as it is now, where it might never be again? what is there to lose by enjoying the moment of where you are?

like everything, it will grow and shift and evolve with time, maybe into something you'd hoped for, or maybe into something you don't even have the words to describe right now at all. but that's the fun of it: how even now, even then, there, across time and distance and skill, there is a common thread of things; it will always come from your heart, your experience, where you are right then and there and now.

and if you think of that like magic, well, it becomes a little like magic, doesn't it?

also, something to consider: sometimes things you feel or think can't be put into words at that moment, or even at all! something else you could try (that i certainly do) is making something else with whatever it makes you feel - whether that's another form of art, or any other kind of media. if it makes you want to go outside and take a walk or get cozy and read or play a video game? that counts too! that's still an experience, you're still feeling.

i think that counts a little more than anything else, you know?

and as a little ending fun side-note, can i share something cool? i've never thought of it that way before, as thinking in poems. in my mind it's always been a kind of perspective of personal wonder, but you're right – it's poetry, in it's own way. you gave me that – so thank you, from the heart of me. i hope your journey finds you with every bright joy.

hate going for christian weddings sometimes because i always see the prettiest women with the ugliest men, the sermon is always some shit about wives being slaves (but not like bad slavery, mutual slavery except the husband is a benevolent master which makes it okay) and making babies for their husband, the music is always lame, the mc is always weird and obnoxious, and older women keep fucking asking me when it's gonna be my turn and never take no for an answer.

I don't think grief ever lessens or gets easier to bear any more than a 50lb weight gets lighter or easier to carry.

What changes is our capacity to carry the weight.

When people say, about tried, "It will get easier with time" it doesn't mean you'll miss the person/thing any less deeply. It means that by carrying the grief day by day your capacity to carry it will grow and it will feel easier because you've become stronger.

The grief never changes,

We do.

pallas in book one is definitely at it-cannot-possibly-get-worse-than-this ABSOLUTE rock bottom but god. there is such a specific flavour to their despair in book two that only happens because of the realization they have at the end of lay me down. like. how do you move on after admitting that everything you believed in was a lie. how do you live with what you’ve done (with what has been done to you). is it possible to pull yourself up out of the pit you’ve dug. what do you do if it isn’t. what do you do if it IS. and once you look at the damage how do you stop looking. past the first layer of hurt there’s just more and more hurt and you were used by the one person who was supposed to keep you safe to cause even MORE pain and no matter how deep you go none of it means anything! it never meant anything at all!! motherfucker your worst sin is that you have destroyed and betrayed yourself for NOTHING!!!!!!!!!!!!!!!!

People will often say, 'If you could be with Lincoln for dinner, what would you want to ask him? What would be the unanswered question?' And I know I should be asking him, 'OK, suppose you had not been killed, how would you have dealt with the South? How would you have dealt with Reconstruction and all the controversies that arose?' But I know that if I really had him for dinner one night, I would simply ask him, 'Tell me a story, Mr. Lincoln.' Because then I would see him coming alive. He laughed so hard when he told one of his funny stories, his eyes would twinkle. And then I'd know that the Lincoln I knew -- who was somehow able in the worst days of the war to dispel the anxiety of his Cabinet members by his humor and his life-affirming sense of storytelling -- then I’d know I would have seen him alive.

-Doris Kearns Goodwin, Presidential Episode 16

This was where I had to stop the Lincoln episode at the end of my commute, and as I pulled into the parking lot I said to myself, "Wow, that's lovely." A little schmaltzy, perhaps, but I think it gets to the core of why people study history. Sure, there's the intellectual impulse to analyze and understand events with the benefit of hindsight, but deep down, the heart of historical study is a desire to connect with people. To bridge the gulf of time and space and get to know people despite the fact that they lived in a completely different century.

History's not just dry lists of dates and names and theories. It's people. It's personalities. It's quirks and memories and stories. It's knowing that a historical figure isn't just a face on a monument, or a source of information, but a guy who can tell really funny stories. And I wanted to share this quote because it really understands the humanity of history in a way I rarely see expressed.

i don't know if fishman island era sanji is genuine flanderization or im somehow giving him too much and too little credit at the same time. and maybe i was just frustrated that he regressed so bad after two years on Gender Island when i erroneously assumed (after watching iva + co at impel down express that queerness is as close to the ultimate ideal of freedom that one piece is about as you can get) that he would be better for the experience. and i know im going to turn around on him by the time i get to whole cake island but literally brother can we cut this shit out lmao

Hi Rachel, I'm so sorry that happened to you... It's crazy because with the fics we've been living in a world of characters, not bothering the real people with them. Hope you feel better! Also, Marcia deleting the tweet kinda means she cared enough to not spreading the negativity towards you.

Thank you 💕 I’ve been very careful about keeping the two separate so this was. Very uncomfortable and demoralizing. But everyone has been so sweet and supportive (on here I am not looking at twitter you can’t pay me enough) and I have a lovely support system and I have decided I am not letting a shitty hating ass bitch who literally READ my novel length story keep me from writing this story I’ve dedicated so much time and blood and sweat and tears into. I’m really grateful Marcia deleted the tweet. I don’t know her intentions posting it and I don’t know her intentions deleting it but I’m glad she did it quickly and I hope that if she had a genuine issue with fic being written about her she would actually say something serious about it and I would of course listen and respect that! But for now. The post is down (from her), people here are helping keep me afloat, and this is all just a blip that will blow over soon (I’m praying)

i seriously need to get a new job and start making money again asap bc i cannot keep living at home much longer it’s driving me insane

(wrote an entire essay in the tags without meaning to oops)

Am I hoping on here after like weeks to yell about how Jojo wants to do a Pride and Prejudice adaptation in the vein of Fire Island, yes, yes I am…

Please Jojo I will follow you to any and all Jane Austen adaptations you want to create with whomever you want to create them with!

I may need to make a proper dream cast post, when I’m not frantically posting from work.

Also a translation according to Papago

“Actually, as an old major, the work that I really wanted to adapt to was Jane Austin's work, the way that Pride & Prejudice became the Bridget Jones and Fire Island plot. From a smelly person to like each other, a matching plot, but if it finds a new setting, it's Fresh. I also love the Kira version.”

Anywhere and everywhere I will follow you, Jojo, anywhere and everywhere…

These drawings look really cool, and I'm sure it was an epic moment in the comics, but when I look at these images, I can't help but think 'This feels so empty without Super Shadow there with them.'

It's like there's a piece of a puzzle that's missing and without it, all that's left is just an incomplete picture.