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diagonal-queen · 2 days

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Uuuuuuh, an idea has just arrive on my mind🤭 you know that boys usually tease girls they like right? I’m really curious how Tachihara and tecchou would do it… (I’m really curious for tecchou😭)

Teasing their crush

♡ pairing: Tecchou Suehiro, Tachihara Michizou, Dazai Osamu, Fyodor Dostoyevsky x fem!Reader

♡ synopsis: How do these boys tease the girl that they like (that's you!)?

♡ cw: Swearing, Jouno suffers a lot, Fyodor is toxic as always, mention of suicide, I somehow manage to bring Astarion up here?? (sorry)

note: i know i know. it's been a while, and i apologise. i just have been so so busy. right now i'm in an exhausted trance writing this and i'm certain i'll wake up tomorrow with no recollection of writing it at all. also threw in dazai and fyodor for the sillies i hope you don't miiind~ as always apologies for errors and i hope you enjoy x

Tecchou:

I cannot see him teasing you.

I'm sorry anon but I just can't see him teasing a girl he likes. He would either be generally nice to her, super awkward but still okay, or just come off as cold and aloof. He wouldn't go out of his way to tease a girl or exchange playful banter with her

If he ever tried to tease he would probably just straight up be mean and insult you or something. And then he wouldn't understand why it didn't work

(Jouno is smacking his head against the wall)

Don't worry. If he's gonna cope with his feelings for you he's gonna do it in a way that benefits you i.e. he's just going to be super obvious about it and not even try to hide it

(update: Jouno is still smacking his head against the wall. someone help him)

Like he'll just openly buy you food and presents and tell you he likes you and like hold your hand and shit?? Tecchou is no-nonsense. He wants to date you, he'll let you know.

And it's not like Tecchou's trying any 'techniques' or anything like that. There is not a THOUGHT behind those beautiful eyes; he's just following his heart <3

Tecchou might be a bit dense when it comes to such socially complicated things as courting, but he's a genuine person and wants to make you feel appreciated, and let you know he loves you. He just does it in the only ways he knows how <3

Tachihara:

The opposite of Tecchou

He's such a teaser. He likes to make jokes with and poke fun at his love interests, but sometimes might go a bit too far with it (If he does he genuinely feels super bad and apologises dw T-T)

Like he's one of those kinds of guys who you would get so caught up in the flirty banter with that you just talk for hours

If you're texting you guys are both kicking your legs and squealing in between texts lowkey, like you're secretly such lovesick dorks but you play it so cool

Some kaguya sama love is war type shit you guys have going on

And god forbid you do this in front of other people. They're probably SO uncomfortable. Like oh my god get a room already (this dot point was ghostwritten by Jouno)

As you two get more and more into it, he becomes less tease-flirty and more sweet-flirty. He genuinely compliments you instead of exchanging little jabs and backhanded teases, and it's so CUTE

He also, for some reason, gets more shy instead of less shy. He blushes, he messes with his hair- AUGH he's so cute

In all honesty no matter what way, shape or form Tachihara flirts with you, even if he's awkward and fumbles each time, he's still such a charmer that you can't help but love him anyway. some messy hair and a sweet boyish grin goes a LONG way!

Dazai:

This is what I like to call Egotistical Flirting

He will tease you by telling you how much you love him, how much other women love him, how wonderful of a guy he is and how great of a deal he's constantly offering you. Yes, the 'deal' in question is dinner and a movie double suicide

And of course you roll your eyes and chuckle, and while he pretends that he's all offended that you aren't openly falling for it, he LOVES that. He loves your affectionate sarcasm and he could milk it out of you for days if he had the time

And he doesn't even wait to even learn your name before he immediately goes full on womaniser. He would just approach you like 'Heyyy~' and it's all downhill from there.

Dazai is a man on a MISSION is what I'm saying

He will also tease you by embarrassing you. He just says the most oUT OF POCKET stuff out of nowhere in public?? He absolutely delights in seeing you get all embarrassed and having you swat at him and scold him

(He's a bit of a masochist don't question it)

Naturally, this is generally a facade to hide the fact that he is hopelessly infatuated with you, and kinda scared of commitment. He hopes you'll accept him as he is but just in case... it's easier to put up a nonchalant front.

Don't worry Dazai. you've got nothing to worry about. :)

Fyodor:

Mind games. Mind games. MIND GAMES

And not the good kind!

He will tease you with this neat little trick he uses called psychological warfare. In his experience it's 100% effective

Fyodor is a toxic little shit. He doesn't often really 'tease' so much as 'neg'. He doesn't quite care too much about your esteem as long as he's able to make you like him back.

You guys know this thing called Ascended Astarion? yeah this is basically just that but ✨ Russian ✨

All this being said he actually does feel affection and love towards you, and he DOES care. He just doesn't want you to reject him, so he'll use any trick necessary to prevent that (regardless of general ethics for the most part)

Fyodor is an all rounder. He'll tease, show genuine affection, neg, flirt, stalk, lovebomb...the whole shebang (I'm sure he asked Nikolai for tips, and I'm even more sure Nikolai had MANY)

Fyodor is just so emotionally out of touch when it comes to other people that he genuinely has no idea how to just...flirt, or even really be casual, like a normal person. It would be sad if he wasn't such a motherfucker

Honestly all of you 'I could fix him' girlies would fall hook line and sinker for this (and I'm allowed to say that because I am one of you)

In the end...man, just date Tachihara

taglist~ ♡ @gettinshiggywithit, @fyodorhatr, @flower-of-darkness, @bejeweledgirl, @kokoenjiandco, @pinkiipeachiikeen, @call-me-albie

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crowleysgirl56 · 2 days

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Wildest dreams wishes for Good Omens Season 3 which will probably not come true but I can still hope hey!

Number 29

Another silliness dialled up to 11 idea. I’d love for Crowley to suddenly realise the bookshop has “and Co.” in the title.

He and Aziraphale stand out front of the bookshop right towards the end of season three. Looking at and admiring it for the last time, as they’re about to leave it behind (in the capable hands of Muriel as they perhaps make their way to the South Downs?…)

Crowley then looks thoughtful and point blank asks Aziraphale “Who’s ‘and Co.’ Angel?” Like it has only just occurred to him in that very moment that “and Co.” refers to someone else.

Aziraphale will smile and give a small laugh and look over at Crowley expecting him to join him laughing at the joke. He realises Crowley is asking a legitimate question and is slightly confused.

“Dear, are you being serious?”

“Yeah” Crowley replies completely straight faced. He can tell Aziraphale is slightly incredulous. “What?”

“Crowley!” Aziraphale is giving Crowley a look.

“Really, I want to know, who’s ‘and Co.’?”

Aziraphale shakes his head whilst scoffing and walks out of shot leaving Crowley standing there looking even more confused. He calls after Aziraphale as he runs out of shot to follow him.

“Angel! Tell me, who’s ‘and Co.’?!!!”

I’ve said it before. They are ridiculous.

#good omens #crowley #aziraphale #ineffable husbands #aziracrow #crowley x arizaphale #good omens season 3 #i can dream can’t i?#wildest dreams #ineffable idiots #good omens headcanons #headcanons

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yuri-is-online · 2 days

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I know you're not doing requests, but I love to Ramble Aceyuu thoughts with you (and just imagine me scattering aceyuu birdfeed for the lovelies to nibble on too)

But! For a few weeks now, Yuu's been, well, "harassed" probably isn't the right word, but there's a MobStudent from Pomefiore who just keeps on asking them out. Because the NRC guys are so quick to fight, Yuu's been trying to be gentle with their rejections, but c'mon man, gentle doesn't mean subtle! Take a hint!

Eventually PomMob gets frustrated and asks why Yuu won't date them, do they have a boyfriend already? Instantly Yuu snaps balcony with a "Yes, actually! I'm dating Ace Trappola!"

Yuu doesn't know why they had to say Ace's name (they do know, actually. But they'll die before telling Ace the reason his name was on their mind) and when telling Ace about this, they try and play it off as no big deal. "You swore off dating because it was a hassle, so it's not like I'm cockblocking you or anything!" (The Heartslaybul students watching this go down are all mentally going "Well no, but yes, actually" to eachother). Look, Ace helping you out, especially in warding off some guy who can't take a "no" was never in question. You both know you'd be the first to help the other. What is the question, however, is whatever Ace did that was so awful the Seven felt it was right to answer his wishes of Yuu asking him to be their boyfriend with the cruel twist of if being a fake relationship. He agrees, as much as part of him would love to see you squirm in trying to explain to PomMob about you lie, he's been trying to get the guys to agree to jumping PomMob with him for some time if he kept not getting the hint (and if this as close as he gets ro dating you? Well, Ace always takes an opportunity when he sees it).

Meanwhile, Yuu is just so happy that Ace held their hand to class and PomMob seems to be taking the hint now that they almost forgot they were faking it until Malleus asks if Ace is okay with their nightly walks or should he stop lest your paramour get the wrong idea and as Yuu explains the situation to Malleus do they realise they asked their crush to be their boyfriend, he said yes but only because its pretend. Malleus doesn't get why Yuu's so upset but tries to orchestrate a real love match for his bestie anyways.

Fast forward five years as Deuce walks into Aceyuu's apartment, seeing one on the others' lap cuddling and just goes "you know PomMob is like, engaged now, right? You can stop pretneding" (Honestly, Aceyuu forgot the pretend part like, 2 weeks into the plan and just never told anyone).

:D I already see you that way furu, I am always happy to receive your breadcrumbs. As should be the aceyuu stans! they are always very good everyone say "thank you" to furu ٩(๑`^´๑)۶

Fake dating isn't my favorite trope but... the idea of aceyuu just going out to get someone off yuu's back and then like. Not ever fake breaking up. It is the exact type of classic dumbassery they would participate in, Ace shifts from joking to how he doesn't have time to date because he's "taking care of you" to joking about how you can't break up because "who else will take care of you this good." And you know what? You agree. He's stuck with you now. And he isn't complaining.

Deuce is though you could have at least told him.

#<3 asks #twisted wonderland x reader #twst x reader #ace trapolla x reader #ace trapolla x yuu #aceyuu #talkin w a friend

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put-me-through-the-wall · 1 day

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Girl Next Door- Pt. 2

Simon 'Ghost' Riley x reader

Word count: 3k

Summary: Simon finally accept your offer for dinner. Did you mention you can cook?

A/N: I was a little slow on this but the idea of them getting close was stressing me out, okay? Also my MIL was in town and I couldn't get in the groove. All the support so far is amazing, thank you guys so much! If y'all like it there will be more to come. Warning: still slow burning

Join my Taglist

Part I

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Simon sits across from you at your tiny dining table pressed against the wall of your cramped kitchen. You managed to lure him in with a fairly nice bottle of unopened scotch you found in the back of your cabinet that had potentially fallen into one of your own boxes when moving from your ex's house.

He looks around your quaint little one bedroom apartment. It was a lot different than his own. The literal layout was the same. No extra rooms or walls but you’d done something different in here. The whole space had a cozy feeling to it. Every surface was decorated with useless gadgets and trinkets that he didn't understand the purpose of. Lots of blankets, pillows, soft things. You had music quietly playing through your TV speakers in the living room. A few lamps fill the dim room creating a subtle yellow glow that hits the high points of your face, softening your tired features.

"Do you think there's something wrong with me?" you suddenly blurt out.

"S'cuse me?" Simon asks, caught off guard by the question.

"Lately I've been feeling like there's something inside of me that attracts horrible guys. Like, is there a beacon coming out my head that says 'hey, come over here. I'm vulnerable and easy'."

Simon pauses, unsure how to respond. He watches your face closely. You're sad eyes looking to him for an answer he doesn't have. "I think you're...nice," but he has a feeling that's not what you wanted to hear.

"nice?" You let out a humorless laugh. "Maybe that's the problem. Nice must translate to doormat," You sigh and drop your head into your hands.

Simon takes a sip of his drink. He's growing concerned this is entering too friendly territory. Then you pop your head back up.

"So, how much did you hear?"

"Not much"

"Yeah right," You toss him a coy smile. “Can I tell you what happened?”

“Sure,”

“Alright, so” you take a sip of your own drink and a deep breath before recounting your story. "I met him at work. He was really nice and offered to pick me up a coffee on his way in one day. I haven’t made any friends at work yet so it was nice just to chat over a coffee. Then we started having lunch together. Nothing serious just in the break room but it felt good to hear about something other than notes from my editor. I wasn’t looking for anything serious, I mean I moved here to focus on myself not continue dating more crappy guys. So of course he started texting me and he was really sweet. He complimented my outfits and thought all my jokes were hilarious apparently. I really wasn’t trying to get involved with this guy though. He said something about hearing I can cook and of course I said I do. It’s part of my job, duh. He’s giving my shit about it so I invited him over for dinner. I made this creamy potato gnocchi with Italian sausage that I got from that great butcher on the corner. I even hand rolled the gnocchi. I mean, who wouldn't kill for an authentic Italian meal?"

"He's sounds like some guy"

"Not really, I was testing out a new recipe for the column so, two birds one stone. Anyways, he comes up and we have some wine and listen to some music. It was going really well so far. Then I go to bring out a nice charcuterie board for an appetizer while the pasta finishes baking. While I'm bringing it to him I can see he's on his phone, texting someone and literally giggling. I walk up behind him and he is sexting. On my couch!" you throw you hands up incredulously. "Well, I thought he was. He’s looking at a picture of some girl bent over then I realize it’s me. He took a picture of my ass, while I was making him dinner. I couldn't fucking believe it. What kind of a scumbag does that to a woman preparing a fucking meal for him? Now, this is not something I'm proud of so let the record show this is very out of character for me but these were extraordinary circumstances. So, I dropped the fig chutney on his head. Right in his stupid quaffed hair. He jumps up and he's all mad and starts yelling and I'm yelling back. He calls me a crazy bitch then I call him a perv. After that he left." you conclude with a shrug.

"Wow" Simon responds, truly taken aback by the series of events.

"Yeah, then you know the rest from there. I don't know what came over me. I guess after my last breakup I haven't felt very good about myself and this guy made me feel, I don't know- fun? That feels silly to say. I should’ve known better from a guy that works the celebrity gossip section. I probably looked like a big baby out there, how dramatic. I'm sorry about that, again."

"You don't need to apologize."

"After I moved here I thought things would be different. I thought guys in the city were classier I guess. Turns out all guys are the same. Just take what they want and go. Do you want another drink?" You point to his now empty glass.

"Sure." You snag his cup and stand. He watches you walk over to the counter in your silky slip dress. The sleek fabric clings to your waist. Flaring around your hips and down your thighs. The warm light reflects on the shiny material, shifting with each step you take. It tightens perfectly about your waist and cinched with a neat little bow in the back. He wonders why you would wear a dress like that for this guy.

"So, do you date?" you question in a seemingly casual tone.

"No"

"Yeah right," you laugh and look over your shoulder to see his stoney expression and your smile fades. "Oh, sorry, I just- I find that hard to believe."

"Why is that?" He tilts his head and you focus back on filling his glass.

"It's just, you're a good looking guy. I would think you'd get plenty of female attention," You pivot back around and place the glass before him. You lean on the table with one hand and prop the other on your waist.

"'M not interested," his gaze stays fixed on the brown liquid, grabbing it and taking another sip. He doesn't miss the way you deflated the slightest bit.

"Maybe I should take a page out of your book, as in maybe swearing off men completely" The oven timer dings. "Oh! pasta!" You jump over and grab your oven mitts. You drop the oven door and slide out the sizzling dish. An aroma of cheese and basil fills the air. Your stomach audibly growls.

You pull down two plates from your cabinet. You serve up the steaming pasta, sprinkling parmesan and fresh chopped herbs for garnish. You proudly carry over the two dishes and place them carefully on the table. You place your hands on your hips while gazing down at the platter.

"This looks...great." Simon is truly taken aback by the incredible looking dish.

"Wait, don't eat yet. Let me get a picture." You scamper into your living room, grabbing your phone off the coffee table and scurrying back. You hold your phone high above for a birds eye view. Simon scoots his chair back to avoid the gaze of the lens. The camera clicks with a flash. You examine the photo, seeming satisfied with the quality and finally taking a seat in your own chair. "It was okay if you were in the picture. I don't mind."

"I do," he says simply.

To anyone else, Simon comes off as rude or callous but you, you never seem to let his shortness affect you. You take his words and just keep going. You don't mind his lack of conversation. It seems you are totally satisfied with having someone there to listen. He was starting to think he didn't mind listening so much.

"Oh," You shift uncomfortably in your chair. "Sorry then. Well, let me know what you think. Try to be detailed with your feelings about it if you can. You're my guinea pig and be honest. I don't want to put this out when it's garbage."

He proceeds to take a forkful in his mouth. He cannot control the groan that escapes his throat as the bold flavor hits his tongue. This is far cry from his usual take away food. He can't remember the last time he had a home cooked meal now that he thinks about it.

"This is quite good." He grumbled between bites. Not caring to finish chewing before he's stabbing at the pasta on the plate once again.

"Really? You don't need to be nice to spare my feelings. I don't mind criticism."

He shoves more in his mouth. "I’m serious"

"Thank you" You giggle watching him scarf down the still steaming hot meal.

The two of you finish your respective plates without much more conversation to be had. On your last few bites you meet Simon's eyes as he reclines back in the creaky wooden chair, hands laying across his stomach. His head tips back with a satisfied grumble making a proud smile play across your lips. This may be the first time you've seen him express a true human emotion in your presence.

"There's more if you want?"

"No, I'm stuffed."

If you know one thing as a part time chef, food is the way to a man's heart. You knew if Simon tasted what you could make his ice exterior would melt away. You stand up and walk to the fridge.

"Too stuffed for dessert?" you pull out a glass bowl filled with layers of custard, strawberries, cake, and whipped cream. "I made a traditional English trifle. Y'know for the holidays coming up and who doesn't love custard?" you shrug while carrying the bowl over to the table. You hurry back to the kitchen to grab two saucers and plate up the dessert.

"If I didn't know any better I'd say you're trying to butter me up." he comments, intently watching as you carefully slice through the layers. "What do you know about English food?"

"Not much, which is why this is a special occasion. I can get some insight from a genuine Englishman," you slide the saucer to him. "Everything happens for a reason, I guess you were meant to be here tonight" you don’t realize how weird that comment is until it's already left your mouth. You suppress the feeling and internally cringe. You take a seat with your own plate and try a bite. "Hey, that's not too bad. I think Gordon Ramsey would be proud"

Simon actually chuckles when you compliment yourself making you giggle in return. This whole night is very different than you expected. Not that you were complaining.

Your leg bumps his underneath the narrow table. Your bare foot brushing up the edge of his pant leg for the briefest moment. A deep blush rises to your cheeks the second you realize it's his leg instead of the table's.

"Oh, sorry!" you quickly draw your legs underneath your chair. Simon pauses his eating and meets your gaze.

"S'alright," he slowly slides his long leg across the distance and nudges the shin of your tucked legs with the toe of his boot. "You scared?"

"What?" you allow your legs to relax, your calves sitting on either side of his outstretched leg. It felt natural, almost domestic. "You don't scare me." you're lying paired with an anxious laugh.

"No?" As he says this his foot shifts underneath the supports of your chair and yanks it forward causing your chair to skid a few inches across the tile, pressing you further into the table as you let you a surprised yelp. Hands brace against the edge of the table. Simon maintains his calm composure. "Are you sure?" he takes another bite of the fluffy dessert.

You weren't sure if it was the liquor going to your head or the rush of adrenaline but you felt bold. You rest your cheek on your propped up hand, offering the most innocent eyes you can muster, as you delicately slide your foot along the smooth leather of his boot. Simon swallows and gently places his fork back on the table.

"What do you think of it?" you question in a hushed tone. your foot travels further up his ankle, dipping under his pant leg to feel his hot skin underneath.

"It's sweet," He states simply but his words roll off his tongue smooth as butter.

"Not too sweet?" You tilt your head the slightest bit.

"Hm," he hums in contemplation. Your eyes drift down to watch his hands grasp his drink. He grips the glass in his large palm. The rolled sleeves of his long sleeve reveal the muscles in his arm shifting when he raises the glass to his mouth. For the first time you notice a faint raised scar cutting through the outer corner of his lip and stopping just shy of the edge of his nose. He takes a long swig of the brown liquid, not quite finishing the drink. As he pulls back his lips glisten in the warm light. "Not bad when it's paired with a stiff drink," his tongue is quick to swipe across, collecting the residue.

"I'll be sure to make a note of that." you smile sweetly. "Can I get you another drink?" You look down at the last sip coating the bottom of the glass. You make sure to flutter your lashes when you look back up at him.

"Are you trying to get me drunk?" A smirk raises the corner of his mouth.

"No," you laugh. "Why, do you want me to?"

He releases a deep gravelly laugh that makes your stomach stir. Then he glances at his watch and your stomach drops.

"I need to get going." He mumbles. He pulls his leg away from yours and rises out of his chair.

"Wait," you rush to stand, almost knocking your seat over in the process. "Can I- uh- get you a bit of pasta to go? There’s plenty left" Trying to think of any excuse to keep him here a moment longer.

"S'okay, save it. Maybe I'll come by another time." He turns and steps out of your kitchen and into the hallway leading to your front door in only a few wide strides.

"Are you sure?" You don't intend for your voice to come out as needy as it does. You follow on his heels like a lost puppy.

"I've got an early morning." Before he reaches the door he turns, seemingly surprised by how close you are to him. He looks down at your big round eyes.

"Okay," you smile trying not to look defeated. "Well, you're welcome over anytime. I mean it, just knock and I'll probably be home. I'm gonna try writing at home more. Try to avoid that guy." You let out a halfhearted chuckle. "Maybe, you should get my number. Y'know, in case you want to check if I'm home."

"I'm alright, I'll just knock" His hand finds the doorknob. "Thanks for dinner, it was nice" Then he turns to go. Closing the door politely behind him.

You rush to the peephole, watching his distorted figure step out of sight followed by the sound of his own door shutting. You rest your hot forehead against the cool wood grain of your door.

You step back in the kitchen and begin putting away the leftovers. Piling the pasta into tupperware, rinsing the plates, collecting silverware. His glass remains in place with a sliver of scotch leftover. You hold the glass up in the light and see a faint smudge on its rim. You twist the cup around so your own mouth lines up with the imprint he left. You swallow the last bit slowly, savoring the way the sharp burn eases into a smooth, smoky aftertaste. You never liked scotch, but now you are starting to understand the meaning of an acquired taste.

The low atmospheric music is abruptly interrupted by an ad loudly cutting through the calm space. You rush into the living room to find the remote, hiding among the cushions and various throw pillows. Growing frustrated you end up walking over and manually hitting the power button. The silence that replaces it isn’t much better though. You step back and let your weak legs carry you until you collapse onto the comfort of your couch. The wine followed by the glass of scotch you polished off makes your head feel light but your limbs so heavy. You turn from your back to your side, realizing the used glass is still clutched in your hand.

You reach across the gap and set it down on the coffee table with a thud. Your hand retreats back to rest under your head. You stare at it, taking in all the imperfections left on its reflective surface. Your eyes trace the rim once again looking for the smudge. On the corner you see the shadow of an impression peeking out underneath the red lipstick mark you have smeared over it.

𝜗𝜚

Across the wall Simon falls back on his own couch. He looks around his dull apartment wondering what you have done differently to make your place look so welcoming. He never minded the minimal decorations he had. A photo frame with his team that his buddy gifted him and a couple of books always seemed like enough. After comparison though it just feels empty.

He can hear you stomp across your floor. Footstep rushing from the kitchen until you're straight ahead. The sound of your TV turning off bathes the room in sudden silence. Only thing he can hear now is the rushing of his air conditioning unit. He considered your music annoying but now he couldn’t deny the way it added an unconscious energy to the small unit. Now sitting here, the cool tone of the overhead kitchen light illuminating into the living room he feels as though something is missing. Maybe a nice lamp would help.

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@azkza @neurolept @contractedcriteria @hidden-treasures21 @sprokat @stark-red19

#call of duty #cod x reader #cod #simon riley x you #simon ghost x reader #simon riley fic #simon riley x reader #simon ghost riley #ghost cod #ghost mw2

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imoanurparentsnames · 1 day

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"Affirmation" & Malgendering

"Fine, I'll 'respect' your gender, but I'll make it absolutely miserable for you. What? You don't like the way I'm 'affirming' your gender? Guess you'll have to stop being a (trans) man then."

I want to put something out there about what I call "malgendering". I see trans men talk about the phenomenon and acknowledge it as a part of antitransmasculinity but not the concept of "malgendering" itself and what it's purpose is, and as trans men and transmasculine people are especially caught in the lose-lose situation between misgendering and malgendering I think it is an important concept to establish. The erasure of transmasculinity, particularly as a unique gender and gendered experience, also serves to keep the transmasculine trapped within this double-bind, positioned between the gender binary of cis patriarchal ideas of womanhood and manhood, where for us there is only misgendering (being abused with the Woman gender) or malgendering (being abused with the Man gender).

I define malgendering as the practice of "validating" someone's gender identity only when it can be used against them and to hurt them, and malgendering almost always involves the enforcement of only the most negative sexist stereotypes available onto the victim with none of the "positives". If misgendering is forcefully pushing you back into your 'proper place' such as by calling you a "girl" or a "her" and showing you that you're really a woman through sexual assault -malgendering is scaring and traumatizing you into it by using your own gender against you. Malgendering is the realization that you don't need to misgender someone to hurt them or to punish them for the way they identity and push them towards the gender they're 'supposed' to be - you can do all that through 'validation'. It's psychological warfare on the sense of self.

This violence and abuse under the guise of "respect" and "identity affirmation" creates plausible deniability of intent and places the blame on the victim for "identifying that way", so much so that even other trans people will defend it and believe it's not maligned (especially because "but being seen as and treated as your gender is what trans rights is all about!" and "errm but its transphobic to not treat u this way?/ur misgendering urself by wanting to not be treated this way :/" with the hidden message being "don't like it? stop being trans"), even when faced with evidence of the (very much intended) effects it has on stalling and outright eliminating transmasculinity (ie. repression, detransition, suicide).

Some examples I can pull off the top of my head:

A transphobe is talking about a pregnant trans man. The whole energy of the Facebook video is 'comedic', and while calling birth the most “feminine” thing someone can do and alluding to how the trans man is really a woman, they still use he/him and call him a “guy” (in air-quotes). Not out of any respect but because the idea of a man being pregnant, calling a pregnant person a "he", and the very existence of the trans man in question, is the whole joke. In doing so, the transphobe has turned the act of using the proper pronouns and gendering him into a source of humiliation and made the experience of being properly gendered a demeaning one.

The Ukraine military situation where all males aged between 18 and 60 were banned from leaving the country and obliged to serve in the military. Trans women were denied passage out of the country "because they were men", and trans men were similarly denied passage out of the country "because they were men". With the discrepancy between invalidating the gender of trans women and "validating" the gender of trans men, you'd think the motivation behind this would be obvious - that trans people are expendable meat and it's better they die than cis people. It shouldn't of needed to be said that "I'm only affirming your gender because it allows me to put you in a position where you will likely suffer and die and put the blame for it on you" is not 'respect' or 'affirming' at all but somehow this was taken as evidence for the idea of that trans men are more 'respected' and seen as their genders than others (and are thus 'privileged').

A common one almost every trans guy deals with at some point is cis people threatening to beat trans men up (and often following through), because "If you're a man and not a woman (anymore) that means I can punch you," using the proximity to masculinity that transmasculine people claim as a justification for violence. Every other week there's a new story in online transmasculine spaces about someone having their ribs broken with "Since/if you want to be a man so bad-" preceding the attack.

The above is in a similar vein to when accounts of violence done to transmasculine people by cisgender men are brushed off and they're told something along the lines of "welcome to being a man", "that's just what men do to each other", "that's just the way things are with men", etc. along with the insistence that their attack had nothing to do with antitransmasculinity, making it an immutable problem with (cis)men as a whole - creating a sense hopelessness and that this is all they have to look forward to.

Transmasculine individuals being refused treatment, tests, or insurance for gynecological issues, especially cancer, despite the knowledge that they are transmasculine, because "men don't deal with these problems" and they don't want "men in women's spaces", and if you don't want to be 'treated like a man' and get the care you need (and not die), you're going to have to go ahead and detransition, change that M marker back to an F.

All of this functions to create contention, and eventually a rift, between the individual and their sense of gender identity. Creating an association between being gendered 'correctly' and 'respected' as your gender (and ultimately existing as a transmasculine person) with abuse, violence, helplessness, trauma, fear, isolation... and by making transmasculinity and transmanhood uninhabitable and driving a wedge between the individual and their sense of gender identity you can more easily drag them back to their 'proper' place. Plant seeds of doubt by making being transmasculine an exceedingly unhappy experience. Make them think that everything that's happened is their own fault for choosing to be transmasculine or trying to be a man. That maybe since they're so unhappy this isn't for them. That living as a transmasculine person is just too difficult and they're not cut out for it, that if they "gave up" and were to be women again things would be easier and they would be safer and happier.

This also all serves to maintain cis patriarchal ideas of gender and the gender binary and police the boundaries of manhood, in a way I can't articulate right now.

Through all this, despite being called "men" during malgendering, we are not actually perceived as such. We are always an "other". Acknowledging us as "men" is just another weapon, and why some transmascs flinch at the phrase "trans men are men". Our own genders are used to beat us.

Using a scrap from my .txt journals:

"[...] on the subject of having a core aspect of yourself taken from you and turned into a weapon to beat you with, with the result being that aspect of yourself now becoming a source of trauma and pain so you abandon it and lock it away like an awful secret, that’s exactly what happened with my gender.

Being genderless and a(nti)binary is what I’m most comfortable as, a(nti)gender is my ~real gender~, but I have to admit a lot of this is because I have been traumatized out of any gender with binary associations and have consequently come to know gender itself, and the act of gendering, as violence. Gender is but a designation for what exploitation, abuse, and violence can be enacted upon you and the justification there of. When someone asks whether you are "masc" or "femme", behind their back as they face you is a hammer in one hand, and a knife in the other, and what they are actually asking is if they can pummel you or lacerate you. When it comes to the “direction” I’m transitioning in though, it is obviously “masculine” (as much as a negation of "femininity" is always taken as stepping towards "masculinity") and you wouldn’t be entirely wrong to call me “transmasculine”, though I have been scared to death of being acknowledged as such."

My first encounter with malgendering was when I was 13 and had just started to realize I was "ftm" and looking for community online. My first exposure to any affirmation of transmasculinity was someone I came to respect reblogging a post about how Kill All Men includes trans men. This would set the precedent of the next decade of my life of existing while transmasculine. A decade of only hearing the words "trans men" and "transmasc" used negatively and as the butt of jokes that served to reinforce patriarchal ideas of gender. The consistent and relentless denial of transmasculinity as a unique gender and gendered experience, the denial of transmasculine reality especially in regards to misogyny, and continuous abuse and threats of violence, all under the guise of affirming trans men's genders as men (and affirming the gender binary in the process). A decade of having antitransmasculine sentiment fed to me in every way possible.

For me, the experiences of antitransmasculinity and malgendering from non-transmascs has effectively "chased" me out of my transmasculinity and any acknowledgement of it. For years I have hidden my transmasculinity and presumed "AGAB" out of fear, even in queer and supposedly trans-friendly spaces. I have not been able to associate with any “masculine” language in reference to myself without feeling that I am in imminent danger, have made a grave mistake, and suffocating in anticipation of punishment. I have always been scared of posting any of my art that eludes to my transmasculinity. I have always been terrified of being referred to or perceived as “transmasc”, a “trans man”, of being called a "guy" or “dude” or “bro”, of using "he/him" anywhere. All of it. Deep down on some level I do desire it, but it’s been forbidden and only aggravates existing wounds.

And this, in turn, pushed me out of associating with other transmasculine folks out of fear and internalized antitransmasculinity towards other transmasculine people, isolating me from any community or connection with anyone similar to me, exacerbating my loneliness and alienation as a youth to the point where now as an adult my ‘normal’ human social needs – connection, community, relationships, empathy – are completely broken. I don’t feel loneliness anymore, or the desire to connect to anyone, despite in ways being even more alone now than I was then. In a way I believe antitransmasculinity shaped the path of my schizoidism. Isolating and divorcing me from my transmasculinity and the world at large is what I understand to be yet another point of this type of antitransmasculine rhetoric - because when you've destabilized and isolated someone from their whole sense of self and community, they are much easier to control.

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“It must have been in about 1979, I was in New York on holiday. I was sitting up with a friend, and we were both stoned as owls.” Jane Wymark was retelling her brush with a piece of theatre history. She recalled the sound of a telephone cutting through the sour, rising smoke. Wymark answered. Distant and absurd on the other end of the line, a telegram message from her mother. “It said something like: ‘Wonderful job. Hamlet, please come home.’”

After several minutes of laughter, it occurred to Wymark that the call might not be a joke. “So I rung my mother up, and said ‘I’m really sorry if I’m waking you up in the middle of the night for no reason, but is this real?’ And she said, ‘Yes, come home right now, because they want you to play Ophelia.’”

Wymark was being parachuted into a production of Hamlet that was being talked about as among the best of the century. Derek Jacobi, a Shakespearean actor then in his forties and recently made famous by his star turn as the Roman emperor in the television series I, Claudius, was in the title role. In some quarters, Jacobi’s poetic, volatile performance was being talked about as the Hamlet of his generation.

A film of the production would be broadcast in America and viewed by more people at once than any in history. When The New York Times asked Jacobi how he felt knowing that a generation of viewers would come to consider his interpretation definitive, he replied: “That way lies madness.”

One night, Wymark recalled, the cast were taking their bows in the furnacelike auditorium. “By the time we got to the end of the show we were pouring sweat,” she said. “Well I wasn’t, because I’d been dead for a while, but Derek and the guy playing Laertes were just sopping. We’d done all the usual curtain calls and everything, and then Peter O’Toole comes wavering on to the stage.”

O’Toole, then almost 50 and skeletal-gaunt, was carrying in his hands a little red book. As the audience hushed he explained that the book was given to the actor who was considered the definitive Hamlet of his generation. When O’Toole had played the part in 1963, the actor Michael Redgrave had given him the book. Redgrave had been given it by someone else, a great actor of the previous generation, and now O’Toole was passing it on to Jacobi, who in turn could give it to whomever he pleased.

The notion that each generation has its definitive Hamlet is a critical will-o’-the-wisp that has dogged the play almost since it was written. The Edwardian essayist Max Beerbohm called Shakespeare’s most famous part “a hoop through which every eminent actor must, sooner or later, jump”, but only one actor in thousands gets to “give” his or her Hamlet in a professional production. “Everyone — great, good, bad or indifferent — wants to play Hamlet,” the actor Christopher Plummer once said.

Why? The question feels redundant. If you are someone who needs to perform, you are someone who needs to perform Hamlet. In Withnail and I, the 1987 cult comedy film about actors and their ambitions, the bloated, fey, lecherous character known as Uncle Monty has a short speech on the subject: “It is the most shattering experience of a young man’s life when, one morning, he awakes and quite reasonably says to himself, ‘I will never play the Dane.’ When that moment comes, one’s ambition ceases.”

Earlier this year, I set out to find the red book.

As a trophy, a tradition, a secret succession, it seemed to embody some of the most romantic ideas about the part. I felt that in mapping its passage from player to player, I could trace a shadow history of the thing that has been driving the whole theatrical world for centuries: ambition.

This is what brought me to ask the retired Wymark about her encounter with the book. And this is how I eventually came to be standing outside a rambling, gabled cottage in north London, uncertain about whether to ring the bell until a vast Shakespearean sneeze told me I was at the right place. The door opened and I shook hands with a neat, elderly man who looked just like Derek Jacobi. The living room, decorated with antique furniture and hung with flower paintings, left an impression of a precisely chosen life. I said that I wanted to ask him about a red, leather-bound book, handed down from actor to actor, that had passed through his hands decades ago. I said he might be the oldest living actor to have held it in his hands. He furrowed an alpine brow and fixed his pale blue eyes on a tiny point just past my left eye. “Oh God,” he moaned, in an agony of remembrance. “It was a little copy of Hamlet . . . ”

Of course, there is no definitive Hamlet. This is true, and so obviously true that people have been saying it for hundreds of years. “There is no such thing as Shakespeare’s Hamlet,” wrote Oscar Wilde. “There are as many Hamlets as there are melancholies.” This is true! Hamlet is sour, obedient, suicidal, sarcastic, self-indulgent, flip and outright murderous before the end of his second scene. Modern scholarship has been wincingly keen to stress the heterogeneity of possible responses. As I once heard a professor say in a university seminar, should we be speaking of Hamlets, rather than Hamlet?

Perhaps. But we should also be honest: that sucks and we hate it. We also can’t ignore the genealogy of great Hamlets that exists, stretching all the way back to Richard Burbage, Shakespeare’s star performer and business partner, for whom the role was written. That the character and the play are both radically unstable and look totally different in different hands seems to have made us more eager to pinpoint a single actor’s performance as the one. Producers, theatre managers, actors and journalists have connived to reinforce that idea.

Hamlet does offer an actor a scope and centrality that no other part does. “It’s the great personality role in Shakespeare,” Jacobi explained when we were sitting down, his hands conducting the silence around him as he spoke. He had settled in a winged leopard-print armchair, like a portrait of himself. On the side table was an Olivier Award, a small bronze sculpture of the great Laurence Olivier himself, the man who won both Best Actor and Best Picture for his 1948 film of Hamlet, and then launched the National Theatre in 1963 with a production of the play. “You use much more of your own personality as Hamlet,” Jacobi said, “rather than becoming Hamlet by going out and acquiring things. . . Hamlet will look how the actor looks, sound how he sounds, move how he moves. You play yourself as Hamlet.”

Jacobi first came to prominence as a teenage Hamlet, in an eye-catchingly serious schoolboy production at the Edinburgh festival fringe. In his early twenties he joined the germinal National Theatre and played opposite O’Toole’s Hamlet as Laertes. In his forties, he was given the red book by O’Toole, filmed in the role and toured the world. He was sworn to revenge under sheets of pelting rain outside the real Elsinore castle in Denmark. He soliloquised and played mad by the Egyptian Sphinx as the sun set.

A particular challenge of playing the part, Jacobi told me, is delivering lines so famous they risk breaking the audience’s suspension of disbelief. In his production, the second act began with Hamlet’s most famous soliloquy. Unusually, it was played as a speech delivered to Ophelia, rather than on an empty stage. In Sydney, at the end of the tour, Jacobi was waiting nervously in the wings. “I thought, ‘This is probably the most famous line in all drama. What if I forgot it? What if I went on and my mind went blank?’ And I went on, and I started . . .

“To be, or not to be, that is the question/ Whether ’tis nobler in the mind to suffer/ The slings and arrows of outrageous fortune/ Or–

Or–

Or–”

Blinded to the astonishment of a thousand spectators by the force of the footlights, Jacobi realised he’d dried. Dried completely. It wasn’t like he’d forgotten the words. It was like he’d never known them. An entire minute of silence passed, until he was audibly given his line by Ophelia. Somehow, he got through the performance and the rest of the run. Afterwards, Jacobi didn’t go on stage again for two years. When I mentioned the incident, his eyes turned tight and hooded. He asked to talk about something else. Sensing my cue, I returned to the red book.

“Oh God. Rich!” he called into the next room. “Who did I give the book to?”

“You gave it to Ken Branagh,” called Richard Clifford, Jacobi’s partner, from offstage.

“Ken! I gave it to Ken,” said Jacobi. Then, calling back: “Who did Ken give the book to?”

“Tom Hiddleston!”

“Tom! He gave it to Tom.”

I asked how he had received the book himself and he went back into the trance of remembrance. “Now, I was playing Hamlet at the Old Vic. And at the curtain call one night, Peter O’Toole came on to the stage with this book and gave it to me. And he had originally been given it by . . . Oh . . . ” He trailed off, unable to remember Redgrave.

“Oh!” cried Clifford from the kitchen.

“Oh!” cried Jacobi in the living room.

Johnston Forbes-Robertson. That was the name of the first owner of the red book. Forbes-Robertson was a legendary Victorian actor who played Hamlet into his sixties. The book itself was a Temple Shakespeare, a handsome reader’s edition of the play printed around the turn of the century and bound in red leather. He probably bought it in a West End bookshop, pacing around between rehearsals. Or so I’m told by Russell Jackson, an emeritus professor at the University of Birmingham. “It would have been instantly recognisable,” he told me. “You can hold it more or less in the palm of your hand.”

In 1996, Jackson was working as a script consultant on a film of Hamlet directed by Branagh, who was then in the middle of a hurtling, flame-tipped ascent to near-unprecedented eminence among Shakespearean actors. As a leading man who had run his own theatre company and could direct and star in internationally released film adaptations of the plays, there was no one to compare him to but Olivier. He was now at work on a princely four-hour fantasia, shot amid fake fallen snow at Blenheim Palace with himself in the starring role.

He had cast his old hero, Jacobi, as Hamlet’s murderous uncle Claudius. On his last day of shooting, after the traditional applause that follows a final take, Jacobi asked for silence. Jackson kept a diary at the time: “[Jacobi] holds up a red-bound copy of the play that successive actors have passed on to each other, with the condition that the recipient should give it in turn to the finest Hamlet of the next generation. It has come from Forbes-Robertson, a great Hamlet at the turn of the century, to Derek, via Henry Ainley, Michael Redgrave, Peter O’Toole and others. Now he gives it to Ken.”

Hamlet had been a pivotal document in Branagh’s life. As a teenager in 1977, he had seen Jacobi play the role at the New Theatre in Oxford. In his memoir, he remembers it as one of the moments that inspired him to become an actor. “I didn’t understand it at all, but I was amazed by the power of it because it seemed to be affecting my body. I got the shakes at times.”

Two years later, Branagh went to interview Jacobi, who was then playing Hamlet at the Old Vic. “I got a note from someone called Ken Branagh, saying, could he interview me for Rada’s magazine?” Jacobi told me, referring to the prestigious London acting school Branagh attended. “He was a personable young man. He asked good questions. As he left, he said: ‘I’m going to be playing Hamlet one day, and you’re going to be in it.’”

“Ken,” Jacobi added with a smile, “wasn’t slow in coming forward.”

It was no secret that Branagh had set his sights on matching, even reanimating, Olivier’s career. With his movie of Hamlet, he was threatening to run away with the crown. But while the film won plaudits from some critics, it made back only around a quarter of its budget, and Branagh was nominated only for best adapted screenplay at the Oscars, a curiously backhanded compliment for a Hamlet that advertised itself as the complete text.

Branagh held on to the book for more than 20 years, passing over several acclaimed Hamlets (David Tennant’s agonised spectre foremost among them) in that time. “I took special pains to make sure it was preserved,” said Branagh, who was reached with written questions via an agent and an aide during the shooting of his new film. “I felt the book was something rather treasured and private, and not something that you in any way crowed about. You were a temporary custodian.” In 2017, he finally handed the red book on to the actor sometimes thought of as his protégé, Hiddleston.

So there it was. Redgrave to O’Toole to Jacobi to Branagh to Hiddleston. But still, something wasn’t adding up. I began desperately ringing round old actors asking for snippets of information about the red book, and started reciting the list of names from Jackson’s diary entry: Forbes-Robertson, Ainley, Redgrave, O’Toole, Jacobi, among others. Every time I read the list, everyone said the same thing. Where the hell is Olivier?

Here is a story about Laurence Olivier. Once upon a time, in the early 1800s, there was a great Shakespearean actor called Edmund Kean. He was the Hamlet of the Romantics. Samuel Taylor Coleridge wrote that watching him was “like reading Shakespeare by flashes of lightning”. Kean was also renowned for playing Shakespeare’s other great soliloquist, Richard III. As the hunchbacked villain, Kean would rage and swagger and strut about, swishing a great sword in his hand. That sword was passed to William Chippendale, a member of Kean’s company. Chippendale gave it to an actor called Henry Irving, who gave it to the great Ellen Terry who, we understand, gave it to her great nephew. His name was John Gielgud. Gielgud gave the sword to his contemporary, Olivier, telling him to pass it on to the great actor of the next generation. And Olivier kept it.

He is rumoured to have been buried with it. Certainly, the sword has not been seen since his death. (One of the last people to see it was Jacobi, who confirmed to me that Olivier still had it as a very old man.) Is Olivier really lying in his grave with no tongue between his teeth and Kean’s sword beside him? If he is, it feels like a little parable about the sharp, inward points of ambition. Here was a man who got everything and more from a life in the theatre. But he couldn’t bear to part with a prop sword.

The question of why Olivier never received the book becomes more pressing when you read the letters he received playing Hamlet from the Edwardian actor Henry Ainley, the book’s second owner. On opening night, January 5 1937, Ainley telegrammed Olivier in his dressing room: “THE READINESS IS ALL.” Later that night he wrote: “You, my sweet, are the Mecca . . . Pay no heed to the critics, they do not know. You are playing Hamlet; therefore you are a king [ . . . ] You rank, now among the great.”

Ainley’s hornily free-associating letters seem to imply a physical affair at times. “Larry darling, I have been tossing (now now) about at night thinking of you,” he writes in one of the letters, currently kept by the British Library.

“Well, you know what you did. I can’t walk [ . . . ] And the child has your eyes.” Yet it is Olivier’s fame that Ainley most obviously covets. “Soon you will be like [me],” he writes in another. “Your public, your following all gone, dear old boy! The harlequinade. We do not endure!” There is no mention in their correspondence of the red book. Whether Ainley had already given the book away, or felt compelled to hang on to it, or simply had forgotten it, remains a matter of speculation.

It’s not the only agonising gap in the archive. In 1963, an older Olivier cast Peter O’Toole in the production of Hamlet that would open the National Theatre. O’Toole had already played a wild, revelatory Hamlet at the Bristol Old Vic in 1958, in which he famously climbed the proscenium arch mid-performance. It was an interpretation that harnessed the young actor’s modernity. “He’s a lean, lank, individualist Teddy Boy!” one reviewer enthused.

But in 1963, Olivier had other ideas. “It was very strange,” remembers Siân Phillips, O’Toole’s then wife, now aged 91. “Larry [Olivier] had talked him into this terrible costume. He looked like Little Lord Fauntleroy, with a Peter Pan collar and clean, beautifully cut dyed blond hair.”

Phillips thought Olivier seemed to want to trim the edges off her husband. “Larry had this new kind of concept of a very tidy Hamlet, which was the opposite of what [O’Toole] did best. But he had such regard for Larry, who was flattering him enormously. He just did everything asked of him.” Phillips had put her own starry career on hold to let O’Toole have the spotlight. She did his filing and kept track of gifts he had been given, making sure people were thanked, which was why she found it strange that she’d never heard of the red book.

Together, we wondered if the unhappy production had made it a sore point for her husband. “The thought did cross my mind once or twice that Olivier might be trying to sabotage him,” she said. “But how could he want to do that on the opening night of the National Theatre?” On the other end of the phone, I thought of Kean’s sword.

Perhaps this is harsh. Perhaps we can understand the desire to have and hold on to a physical token of fame, strength, adulation, applause, youth — the things that slip away from even the greatest artists. All performers live in fear of unemployment and redundancy, and even the successful ones are loved, fiercely and temporarily, for being someone they’re not. “Today kings, tomorrow beggars, it is only when they are themselves that they are nothing,” wrote William Hazlitt, the English essayist.

“British theatre has traditionally privileged innovation,” the Shakespearean scholar Michael Dobson told me. In France, he explained, you could see Phèdre performed with the same gestures, the same intonation, for hundreds of years. “The British are always inventing new things, like gas lighting and ways of doing ghosts with mirrors. It’s never the old, boring Hamlet your parents used to like. It’s always got this young, original, absolutely real actor in it, instead of those stylised old geezers.”

In which case, let us sit upon the ground and tell sad stories about great actors who fell from fashion. It was Burbage who first delivered Hamlet’s acting advice to the players: “O’erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as ’twere, the mirror up to nature.”

Until the modern day, actors didn’t play big roles just once or twice in their careers, in a long run of performances. They performed them frequently. Even in Shakespeare’s time, actors became associated with certain parts in the minds of spectators. Burbage died in March 1619, and the funeral baked meats were hardly cold when he was replaced by another actor, Joseph Taylor.

An unreliable but enticing story has it that Burbage taught Taylor, and Taylor taught the next great Hamlet, Thomas Betterton. Betterton was the Hamlet of Restoration theatre, among the first to play opposite women. Confronting his father’s ghost, Betterton’s Hamlet could “turn his colour”, as though his face had drained of blood with fright. Betterton made his face “pale as his neck cloth”.

Betterton died in 1710, immortality assured. Within a few decades his reputation had been all but vaporised by the greatest actor of the century, David Garrick. Garrick was almost a religion among theatregoers. “That young man never had his equal as an actor, and will never have a rival,” was the poet and critic Alexander Pope’s verdict. Garrick was both a shameless showman and pioneering realist. He played Hamlet in a mechanical fright wig that made his hair stand on end when activated.

Garrick was replaced by John Philip Kemble, a severe and statuesque Hamlet. In the early 19th century, Kemble was outmoded by Kean, whose ascendant star was quickly selling out theatres. “Places are secured at Drury Lane for Saturday, but so great is the rage for seeing Kean that only a third and fourth row could be got,” wrote Jane Austen, struggling to get seats. Out with the old. Next came Samuel Phelps, the actor-manager who first made a point of performing the original texts of Shakespeare’s plays. He was toppled by Henry Irving, a drawn and gothic actor. Irving was supposedly the inspiration for Dracula; his theatre manager was Bram Stoker.

Enter the melancholic, effeminate figure of Forbes-Robertson, the first owner of our red book. His Hamlet, first performed in 1897 and still being revived into his sixties, was in some ways the last definitive stage performance in this unofficial, highly debatable but surprisingly enduring tradition. “Nothing half so charming,” George Bernard Shaw wrote of his performance, “has been seen by this generation.” Orson Welles described one recording of Forbes-Robertson as the most beautiful Shakespearean verse-speaking he ever heard. You can still listen to it on YouTube, uploaded from an ancient LP.

“The next reference to the actor’s art,” creaks the old voice above the hiss of imperfectly transcribed sound, “is Hamlet’s advice to the players, written, obviously, by an actor who has complete command of his calling.” In a voice ponderous with time but still capable of lightness and precision, he begins the passage in which Hamlet gives notes to a theatrical troupe. “Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue.”

Forbes-Robertson would have seen more clearly than many of his successors how rapidly the galaxy of theatrical ambition was expanding. He was the first great Hamlet to play the part on film, in a lumpy silent production in 1913. If that film looks stagey and stylised to modern eyes, then looking back at these nested revolutions in realism, it’s also obvious that old actors have always looked that way in the eyes of their successors. Naturalism is just the style each era brings with it.

Hamlet’s advice was itself part of this reach towards the endlessly receding goal of the real. To an Elizabethan audience, the travelling troupe with their heroic verse and stagey couplets would have seemed obviously to belong to a previous generation of players, one playwrights like Shakespeare, and plays such as Hamlet, were making redundant. Hamlet says to the players what the theatre is always saying: be young, be modern, be new.

You can’t ask too much of very famous actors. Basic professionalism demands that they don’t tell you anything too interesting. They live like criminals, travelling under pseudonyms and booking the front seat on aeroplanes. We abhor in their personal lives the basic human latitude we praise in their work. “I am myself indifferent honest yet I could accuse me of such things that it were better my mother had not borne me,” Hamlet says to Ophelia. “What should such fellows as I do, crawling between heaven and earth?”

I had hundreds of questions for Hiddleston, the 43-year-old star of the Marvel Cinematic Universe and current holder of the red book. Unfortunately, Hiddleston is not an easy man to reach. As the man who plays Loki in the Marvel series (global gross about $30bn), he has been watched at his craft by an unimaginable number of human eyes. He does his work in green-screen and widescreen settings that would also have been unimaginable to 90 per cent of the people named in this article. Where Burbage played Hamlet without an interval, Hiddleston’s fame is a postmodern mosaic, put together in franchise films with an average shot length of two seconds. Given that he commands multimillion-dollar fees for these acts of cinematic pointillism, you may imagine his time is precious. I was able to reach him by phone for 15 minutes during press week for Loki season 2’s Emmy campaign. “Good morning,” he said, dialling in from Los Angeles. “I mean, sorry, good evening.”

Hiddleston played Hamlet in a fundraiser production for Rada directed by Branagh in 2017. He told me how he had left drama school and joined Declan Donnellan’s Cheek by Jowl theatre company, standing out as Cassio in a somewhat legendary modern Othello, in which Ewan McGregor played Iago opposite Chiwetel Ejiofor in the lead. Branagh saw the production and persuaded Marvel studios to let him cast this relative unknown in Thor, which then grossed almost half a billion dollars. Afterwards, they sat down for lunch and Branagh suggested Hamlet. “And I said, ‘I would absolutely love to do it with you. What an honour.’”

The production played for three weeks in Rada’s tiny theatre, with tickets that were won by lottery. Among the critics, Michael Billington, Britain’s most decorated theatre writer, was one of the few to have got a seat. “If I had to pick out Hiddleston’s key quality, it would be his ability to combine a sweet sadness with an incandescent fury,” Billington wrote in his review. On Saturdays, Hiddleston remembered, there were gala performances for graduates and theatrical somebodies. “I think at the first one almost everybody with the last name ‘Attenborough’ in the UK was in attendance.”

On one of these evenings, a glass was clinked with a spoon. Jacobi began to speak, explaining something about a book that had passed from actor to actor. “And then Ken was at the microphone, explaining that the responsibility of the keeper of the book is that they pass it on to the next generation. And suddenly Ken said, ‘I’d like to present it to Tom.’”

We were 10 minutes into our 15. I looked at my list of questions — on frontispieces, annotations, signatures, printing quirks — about the red book. Hiddleston was in LA. The book was in London. He was not contractually obliged to talk to me, as he was to the other journalists who were waiting on iPhones all over the world. All that was sustaining this conversation was the actor’s private enthusiasm for the kind of acting he is rarely, if ever, able to do anymore.

Hiddleston began to talk at length. He said the gift of playing the part was to be presented with the most beautiful, profound poetry written in English about the question of being alive, of death, of the possibility of spiritual life after death.

An email arrived saying our time was up. “It has the effect of making me feel more alive,” Hiddleston was saying. “Learning and internalising those great soliloquies, and having to perform them, there is no escaping those big questions of what it means to be alive,” he went on, the minutes ticking by. “And actually I find it very reassuring to ask those questions. I find it repetitively reassuring to say those words. Because it actually makes your life mean something.”

#tom hiddleston #kenneth branagh #Derek Jacobi #hamlet #the red book

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hacked-by-jake · 3 days

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I'm currently in my third run and one thing doesn't give me peace. In the conversation between Ash and Charlie. Charlie asks Ash if she told us he could help us. But damn, what does he mean by that? 😟 I always rack my brain when I read this passage.🤔 what is your theory about what Charlie could mean? how could he help us and with what? 😩🧐 I wish you a nice day and look forward to your thoughts! 💜

YOUR THIRD???? HOWWWW??? ARE YOU A WITCH? A WIZARD?? JAKE??

Okay, joke aside. 🤭

Yes!!!! This is bothering me sooooo much as well. Like, do not do this, Everbyte! Don't throw this in front of our feet and run away! We wanted a piece of cake! Not only the crumbs! 😭

I seriously have no idea what this could mean. We know that we don't have contact with the group anymore. And we also know that out case was everywhere on the news. So the question is, what did they say there? What kind of information did they share which made Charlie belive he can help us?

I'm pretty sure it has nothing to do with Jake. Ash told us they never mentioned Jake. But this could also be a lie since I don’t really trust her yet.

I could maybe imagine that the group... Even if I don't know if it makes much sense... But maybe our lovely friends had to join Phil in prison, lol.

Sounds weird and unlikely, somehow, I know. But if we remember all the crimes they did. Breaking in, keeping informations a secret, lying to the police, driving under the influence of alcohol 👀

Oh, and of course hiding a government-wanted hacker. I guess that could be a huge problem. And maybe it's not even the fault of the Duskwood police. We all consider the FBI not really kind. So maybe they don't like it if you hide their main suspect and that's why they had to join Phils little prison party.

I don’t know, this could be one thing.

The other thing, but I don’t know if that could help the others... 🤔

But I mean, we still suspect that Michael Hanson is alive. He just left and started a new life. And maybe this new life happens in a small city called Redlog Pines.

But as I said, I don’t know why this should affect the others in any way.

And it seems not logical enough to me that Charlie means he could just drive to Duskwood to talk to them. That would mean they know we don't have contact to the group anymore. But I don't think that's something they news would report. xD

Wahh, I don’t know. I mean, what if Charlie is a hacker as well? Not as good as Jake. Just someone who learned about it and is able to hack some websites and systems etc.

But somehow... Another hacker? I don’t know.

WAHHHHH, this question is killing me. xD

OK wow wow wow wow wow, I had just remembered something.

Whaaaaat if... Okay that's weird now and it's complicated since it's only a thing male MC experienced at the end of Duskwood. If I remember correctly, it was even you who told me about it.

But anyway.

At the end of Duskwood, Jessy tells make MC that she had a boyfriend but it wasn't a very good relationship.

And I mean, why was that mentioned? Sure it fitted the story but what if there's more behind it..

What if... What if Jessys ex is one of the new guys? And that's why there's a connection with duskwood? 🤔

Could that be? I mean, it sounds unlikely, even to me. But somehow... 🤔

Uhh, I don’t know, I'm guessing a lot.

Of course I was hoping it has something to do with Jake but I don't really think that's how it is. Not everything can be about him and it would rarely have to do with the Duskwood group.

But maybe Charlie has a connection with one of them. Maybe Dan or Thomas? Oh, maybe Thomas? As I remember correctly, Thomas did not grow up in duskwood.

But then again, Charlie's shock when he realises that we're the MC from Duskwood.. I mean, would you still react this way when you know someone who was also part of it?

And also, Ash seems to know as well that Charlie can help us. Otherwise he wouldn't have asked it this way.

Oof, I don’t know. Right now I sadly can't think of anything else but I'm dying to find out what is meant by that. And I hope we don't have to wait that long to find out. :')

Have you any idea for it? I love to read it soo..

And thank you so much for asking, it was very interesting to think about it and I feel honoured I was the one you asked, hehe. Does that sound weird? 😅 Anyway. I hope my thoughts are entertaining or similar.

And of course, I hope you will have a wonderful day. Take care of yourself and stay healthy and safe 💚🫶🏻🥰

#mimiko-1708 #moonvale #moonvale episode 1 #moonvale spoiler #moonvale x duskwood #duskwood side story #moonvale episode 1 spoiler #moonvale theories #moonvale game #everbyte moonvale #moonvale everbyte #everbyte studio #everbyte game #hbj mv x dw answers

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pilabutsp · 20 hours

Text

UNTITLED STENDYLE COMIC - Part 3

The first part was a bit of a hard watch, but nothing really explicit happened… Yet.

We would make comments over the movie.

Several minutes passed, and I kept paying attention to the movie. I hear mumbling next to me.

Stan and Wends are talking about something in whispers, I can’t catch any of it, What’s up with them?

My attention returns to the screen. The protagonists in the movie are in a car, They are going hiking...

My brain can barely process what was happening, they got rid of their clothes and jumped into a lake. Once they were out and sat down at the lake shore two of them started… Kissing… And then-

They are quietly looking at the screen, Wends clears their throat.

“Well, That’s-”.

I stand up. There's no way I'm talking to them right now. Why the fuck did they show me this?!

“I’ll be right back!” I almost squealed.

Before someone has a chance to say something, I start leaving the room.

“Pause the movie, or whatever, I need to pee-...” I said as an excuse.

What the hell is happening? What even is this movie? THAT KISS??? The way they were looking at me? Is this a kind of joke to them? How they act around me… WITH me, do they have an idea how they are making me feel? This is terrible, this is not right, this is not normal. We should have watched Clueless again, anything, really, anything but this.

“Kyle? Are you ok?” Stan asked from the other side of the door.

I sniffed before replying.

“… I’m good!”.

“Are you crying?!”.

I touched my cheek, catching a tear that I did not notice.

Stan sighs.

“Want me to come in and talk about it?”.

Stan opened the door and got in, walking to where I was sitting and kneeling in front of me. His hands are on my knees.

We are both quiet. What are we supposed to say? How am I supposed to react? What is he expecting from this?

I look at Stan when his hand is over my cheek.

“Is this about the movie?”

“Stan…”.

“Listen, we didn’t know it was going to be like THAT, we are sor-...”.

“Stan. Please, don’t do this.” I grab Stan’s wrist.

“We can finish the movie another time, or never! Let’s go do something else if it helps you feel better, dude-”.

As we heard someone walking to the bathroom, we both turned our heads to the wide open door. Wends’ head popped inside.

Oh god, this can't be happening right now.

“I just don’t get it…”.

“Get what?” Stan asks, concerned.

I stand up with my arms outstretched.

“T-This! Both of you! I don’t understand what it’s up with you! And it’s so confusing I feel like you are messing with me!”.

“Ky- We could never!” Wends exclaimed.

“What do you mean Kyle?” asked Stan as he stood up too.

“Just- This whole… Weird special treatment you have with me… Our hangouts… It’s just not normal! It doesn’t feel normal to be like this with your friends!”

“Do you… Want us to stop?”.

“NO! I love them! I- I mean… That is not… necessarily… I want… I want answers.”.

“You want answers?” He is standing in front of me now.

“Yeah” I breathe out, ready to hear anything else but…

I kiss back.

We break the kiss and I stare numbly at Stan.

“wh… what”.

“THAT definitely did NOT answer any question, Stan!” Wends snaps, but they don't sound upset at all.

“We like you, Kyle. We REALLY like you, more than any of our friends, that’s why we wanted you closer than any of them…” Wends explains, like it's the most casual thing in the world.

“Y-You are joking, right?”.

I can't believe this.

“We aren’t” Stan reassures me.

“What about going somewhere else to talk about it?” said Wends with a sweet smile, slightly pulling my arm to get out of the bathroom.

----------

MASTERLIST

LAST

#pila's shitty art #pila'sart #sp fanart #kyle broflovski #stan marsh #wendy testaburger #stendyle #south park #untitled stendyle comic

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chimerahyperfix · 1 month

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RECIPE OF THE DAY

[OR: This was the most upsetting alternate looper option]

Long post because i have been cooking this in my brain for like, two months, and it's all-consuming. Also I'm not in the Discord yet because Anxiety so my ramblings had to go somewhere, and what better than one big fucking post yknow. I cast spell of fuck you mind blast on the tag/lh /j

TLDR for below: Siffrin words his wish differently, Bonnie gets trapped in a time-loop, and despite saying they're in a timeloop repeatedly nothing works and no one can help them. The normal ISAT absolute horrors ensue.

CONTENT WARNINGS: the normal ISAT tags [death, violence and trauma, suicide, self harm and unreality], Notable Pin on child endangerment and death, poisoning.

most of these get discussed ^ even if shortly

SO. THIS AU.

This is it this is my big one. Ignore me pushing the literal 12 other isat aus I have into a pile pls this is THE big one. I’m looking at the note I’ve stored all this lore in on my notes app,and it’s like. 35 fucking pages?

I've looked at a ton of alternate looper aus [that's part of the hyperfixation babeyyyy I need to consume ALL content forever and ever and ever] and I was like “oohhhh I wanna do that!!” So I literally just listened to music until I caught an idea and yikes. Looking at the AUs playlist now [it’s about 100 songs! Oops!] and I’m like [cartoony image of me laying face first on the floor]

This is a bit scattered because I wrote it over 3 days instead of working on the fic I’m supposed to be writing ooopsieeeee. Ramblings belowvvvvvvvvvv

It begins as simply as the game does. No one knows how to wish properly; so Siffrin wishes, because they know how to. The same folded leaf, repeated three times wish. Close to what is said in canon; different enough for the Universe to read it differently. No longer does Siffrin loop, because the wish isn’t about him, it’s about Bonnie and their sister. Siffrin’s wish is construed as “I wish Bonnie’s wish would come true,” and even if the Universe can’t hold onto Bonnie’s wish as they did it wrong, it CAN hold onto Siffrin’s.

And that’s the base point: EVERY LOOP, Siffrin wishes, because he wishes after he talks to them and that's where they loop back to, and its wish craft goes to Bonnie. A recipe for disaster with how much time they have!

They loop back when Siffrin gets crushed by the rock, because they can’t win while being down a party member. When they touch a tear, or when the sadnesses get the jump on the party and they all go down, or when they use the dagger equivalent [a poisoned snack], or when they get to the King. They Never Beat The King. Think SASASAaP but ISAT.

Bonnie doesn’t fight with craft, but rather craft-infused weapons. The wok and their pan for rock, a pair of kitchen shears for scissors and a cookbook for paper. Snacks for healing and buffs. And they have a cool friend that lives in the favor tree! [they get in fistfights like every five loops. Maybe it would be funny, someone just as willing to spar with them instead of trying to find the right words they can’t find because they’re a kid, if their friend wasn’t ALSO another version of themself, which bonnie clocks pretty late.] They pick up little quirks from their friends, like biting their nails like Belle, and puffing up to look bigger like Isa and stealing Dile's curses and closing an eye to match Frin's in focus. And maybe they start forgetting a little bit, just a little! The same thing over and over will get to you.

So everything essentially boils down to this. Bonnie specifically needs to be strong enough to beat the King, as the rest of the party doesn’t keep experience through loops. For a good chunk of the loops, they take advantage of Siffrin asking them if they need help and drag him into a training lesson that slowly goes from a whole emotional conversation to them quietly listening to Siffrin’s every word. [Siffrin fills this silence with random star facts that pop into their mind. This Is Important It WILL Be On The Test] Eventually the training becomes too tedious, so they start sneaking off to go fight sadnesses— and eventually just punch trees, which busts their knuckles— to get stronger faster! Everything goes downhill from there, with them forgetting to make food to them sneaking out at night to fight more to them getting reckless and uncaring; it snowballs down into “oh this could be considered suicidal confidence”.

Every loop, you say "hey, I'm trapped in a time loop", and EVERY time it is a big emotional thing that exhausts you to the point of going to bed immediately after, and everyone gets antsy and worried, and in the end the anxiety and trouble NEVER ends up mattering because the King still flattens the party every time. [And (shuffling through the sea of my notes for the au), imagine this from their situation for a second; Today, you tell your friends you are trapped in a time loop. They drag you into a long, uncomfortable conversation that makes you cry, and you go to bed with a full stomach and the knowledge they will protect you, and you will protect them. You make sure he doesn't get squashed by a boulder, you make sure they find the key, you make sure they don't die. Tomorrow, you will tell your friends you are trapped in a time loop. They will drag you into a long, uncomfortable conversation that will make you cry, and you will go to bed with a full stomach and the knowledge they've failed to protect you, but they're trying this loop, and you'll still protect them anyway.]

And then the King fight. He grabs them and he kills them and it fucks them up. [it fucks them up, until it too happens again and again, and eventually it simply is just another obstacle you must pass, because the second his stupid hand wraps around you like a ragdoll it’s over, so you just spit in his face to make him press the trigger immediately and not drag it out for forever- imagine the most traumatic event in your entire life, repeated over and over, until it looses all meaning. It’s still traumatic, it’s sewn into your brain forever you will never forget this.]

They tell the party ‘hey, I just got murdered’, and if this au was ISAT, it would go from having a memory that gave everyone a defense buff to a memory that literally stops you from winning, randomly attaching to a party member. You couldn’t get rid of it. They’d take every hit for you, and you’d have to loop back, because you couldn’t win with an unremovable memory like that. and that’s why they stop saying things, because if the people you loved would die to protect you, something you don’t want and have the ability to stop, would you stop them?

And so everything collapses, and from that point [the start of act 4] it collapses fast.

WHICH LEADS US TO ENDLESS MY FAVORITE LITTLE THANG

if this is transparent or not I don’t fucking know and honestly. After 2 hours of fighting ibisPaint X to make it transparent I stopped caring. o7

Slight design notes tangent: the fucking. Wispy things around their limbs just kinda move around them- yknow because black holes pull things in and they are one. Their like,,,, face spike design??? Question mark on what 2 call it? It’s designed to look like their hair lol. The little star-dot things on their knuckles are important smile. Eventually I’ll post a full thing 4 them (I have like 2 pages of random doodles of them it’s craaazy)

Endless (or Ness, later on) is Bonnie’s loop-alike. They’re a little angry hater and I based them on the song Black Hole Sun [therefore they double-dip in the space theming, the little scoundrel! Imagine being both a black hole and a partial eclipse!! Damn why you taking all the space theming for!!] which was the song the whole AU was based on! Woah! Damn you carrying ALL the out of AU lore in you! They’re anger over fear while Bonnie is fear over anger.

They make me SO fucking upset. Like. I’m not being funny anymore. This is THE most upsetting character I’ve ever written. They make me cry. My entire schtik is making horror and this little creature is the most upset I've ever been at a creation of mine.

Endless is a Bonnie who, without exaggerating, literally imploded from having too much wish craft in them— hence the black hole theme. They went through an unreasonable amount of loops [i think I noted down 400??? Probably not that many, but hey, leveling is slow when half the time you rely on a scripted event that has like 3 enemies. Never really pinned anything down, but it’s a CRAZY upsetting amount.] and just couldn’t win,, and they eventually broke, and begged for it to stop— and, well, with so much wish craft in them, even without the proper rituals the Universe just couldn’t ignore ALL this wish craft, overflowing, in one spot. They asked for help and it killed them.

And then they were at the tree! And they’re helping a DIFFERENT Bonnie, who they’re upset at because what. What why is this happening? They asked for it to stop, not for a whole NEW Bonnie to exist and to do it all over again, what is this what, stop stop it. And they have to keep watching Siffrin wish, and doom them to their endless loop, and they have to tell Bonnie no, the party can’t help them like they want the party to do because the party never could help them, and it’s just going to bring them distress and heartache. Bonnie does it anyways, until the very beginning of act 4: it goes downhill from there, until they’re worried This Bonnie will end up like THEM.

They’re not the most self-confident type. They give themself the most un-nicknameable name [Bonnie still finds one that fits— Ness. They reluctantly accept it.] [Endless vc: Ness? Like? From Earthbound???] they can think of because nicknames are a love language and they speak it, and they don't think they deserve it anymore because they've Changed, and trade out the nicknames they have for the party for things they learned from Siffrin in their own many many training loops: The Sun, The Moon, The Star, The Sky, and Bonnie is Supernova, because its cool as hell and Siffrin told them that’s what happens when a star dies, and they died. Open foreshadowing. They take to closing the same eye they made Siffrin the Star loose, because if he doesn’t get to see anymore neither should they— even if that eventually becomes a natural thing, something they do now to focus. They talk about a sister they have— had, because their world is gone and she never got unfrozen, they never learned if she was alive under all that icy craft or not, and they’re not Bonnie anymore. Ness is Bonnie, but Bonnie is not Ness.

And so, when act 5 hits, they’re desperate. They can’t see it happen again, because it erased them as a person and it was terrifying enough why would you want to see it happen again? they prepare to storm the house, bevause theyre strong enough to tear it apart themself, get stopped by the party, and essentially they’ve replaced Bonnie for a loop; which would be okay, if failing didn’t mean there would probably be Two Endlesses and No Bonnie’s. By the end of the au, Bonnie, lvl 99, is like bringing a brick to a stare down. Endless, in comparison, is like bringing a bazooka to a fistfight. They can’t face the King, they can’t, it would probably mess something up [the party has them pinned as being a kid by this point— wether they realise Ness acts a lot like Bonnie or not, who knows] so they panic and wave the party off into the King’s room and fights off the remaining sadnesses to calm down.

And the Party brings Bonnie down, and they fight a fake version of their sister [who they win against, even if barely, because Nille is their sister and damnit, Nille would never hurt them, not after giving up her life for them] and they have a breakdown, and then there's two of them. There's Bonnie and there's Ness. Bonnie confronts them and they get in ANOTHER fistfight, bveause how else would two angry ultra-powerful preteens settle things, and Bonnie convinces them to come along, because their identity has been found out and damnit Nille really won't care, Ness is her sibling too.

[Nille approaches the situation carefully, but Bonnie is right: Nille sees the two of them and immediately decides she has two siblings and she wants to protect them. Both of them went through so, so much, and they saved the country and damnit it would be monstrous to throw Ness out to the wolves because they Changed. Aka I was physically incapable of letting Ness dissapear or have a bad ending they deserve the world too.]

I just I jsutt. Auguhghghghhh. au too big in my brain spill it out on the floor it goes everywhere. When you hyperfix on your own au

#isat #in stars and time #isat au #isat bonnie #<- this is abt them. uh oh.#recipe of the day #anyways the au title is based on a shitty joke I made once #also “”’hey chef what’s for dinner? slop! slime!’#something something the recipe of the day is timeloop soup. yknow. a timeloop au. and soup…….#who let me in the kitchen. someone take me out before I burn the place down #I have. so many thoughts about this au #most of which boil down to me screaming and crying #I know there are multiple other AUs where Bonnie loops but counterpoint #has an alt looper au ever not had the looper wish?#[pushing divine intervention behind me. no that does not exist in this question]#I really like twisting au tropes on their heads :)#‘I don’t want to tread on other ppls ideas’ handshake ‘three month au hyperfix lets fucking go let’s yap’#they can and will coexist heart emoji.#I think about this au a lot. I’m cooking so much art #(yknow. aside from being the worlds slowest artist. oop)#I’ll prob post abt it every now and then (aka when I finish the fucking art)#but for now. laying my au cards down #endless is my favorite little being ever rn they’re such a little hater

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