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mindibindi · 11 months

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The Failure of Ted Lasso's Unconventional Politics

SOCIAL CONDITIONING:

According to Brendan Hunt, shippers interested in a second chance, mature-age romance between Ted and Rebecca were being blindly, un-self-reflexively led about by their “social conditioning”. Presumably, however, the writers who wrote Ted returning to his heteronormative family unit – as well as all the viewers who enjoyed this ending and have defended it since – are completely free of social conditioning? No social conditioning is involved in reifying the white heterosexual family unit? No social conditioning is involved in deifying parenthood, fatherhood and patriarchy at the cost of all else? There is no social conditioning involved in a conclusion that values good ole working class Americana while rejecting the big, queer, complicated, multicultural world?

KISS (Keep It Simple Stupid):

If the creators wanted to gesture to “Cheers” as a classic American sitcom, then at least learn from its example. This show worked best when it worked with familiar, beloved characters in a familiar, beloved, but confined setting. "Ted Lasso" had a near-perfect first act, doing a simple thing well. But from s2 onward, the show started straying out of bounds. The cast of characters kept expanding and contracting: people were in, people were out, characters were coming and going and changing (what was the point of that whole Zava plotline?). We had multiple workplaces and workplace dramas (grew to like Barbara tho). Episodes got long and unwieldy. Themes got convoluted as the show took a long trip, imo, up its own arse. The folksy wisdom of s1 became grating self-indulgence and cliched “moment” manufacturing.

SUPERFICIAL UNCONVENTIONALITY:

TL employed a familiar 3-part structure but ultimately its supposedly radical, unconventional politics was not reflected in the show’s structure. Since the first act started with Ted's arrival, you could see his departure coming from a mile off. Some folks are acting like returning Ted home constitutes some super brave move by the writers that we've never seen before. But if you want to talk social conditioning expressed through narrative expectation then you really couldn't get anything more conventional than this ending.

We've seen it all before:

Act I: Fish-out-of-Water character arrives and begins winning over a dubious, dysfunctional community Act II: Bonding, hijinks, missteps, complications and development Act III: Revelations of growth. Community sadly waves goodbye to teacher they love but no longer need. Cue credits with moving song choice.

It's as cliche, conventional and predictable as it gets. And I could condescendingly accuse every viewer who enjoyed this ending as being blindly and un-self-reflexively led around by their social conditioning. But even if I'm not one of the showrunners who also played a beloved character and who is speaking on a public forum, that would be a pretty fucking shitty move. What I am saying is that the disagreement over this ending speaks to some core ideological differences currently playing out across the globe around patriarchy, feminism, queerness and privilege. There is an opportunity here to examine what we socioculturally view as “good’ and “right” and “happy”. These ideas of good, right and happy are not necessarily benign and will be inevitably reflected in and reproduced by our art.

PATRIARCHY:

In the end, “Ted Lasso” literally chose patriarchy (but what kind is the question). Just because this show was working with a familiar 3-part structure, that doesn't mean it didn't need to justify Ted's inevitable departure. For many people, his son is enough. That's it. End of conversation. Henry trumps all. And yes, this was always going to be the justification used by the series. But I think this disagreement highlights changing attitudes to modern parenting. Everyone agrees that parenting requires sacrifice: large and small, everyday and lifelong. But how much sacrifice is too much?

For some people, this was too much sacrifice. Others seem to think it was Ted's duty to sacrifice for his son his own sense of family and community, his continued health and growth, his professional fulfilment. Imo, he could have shared all of this with him but chose old-school parental sacrifice instead. I consider this kind of sacrifice to be something that culturally we’re coming to recognise as unhealthy, for both parent and child. In reality, parents are more than one thing. Parents have jobs, interests, relationships, needs, limitations and struggles. Parents are people.

In the series, Ted was established as a person: a person with a sad past, a tortured inner world, a strong desire to connect with others and, potentially, a brighter future than his past. From the beginning, his relationship with Michelle was established (and often reinforced) as over, dead, absolutely no route back in. But his relationship with his son was loving and important to him. Of course it was. He’d be a bad man and unlikeable character if it wasn’t. Even so, Henry isn’t a major or fully realised character in this show. We care about him, relate to him through Ted. He matters to us because he matters to Ted. But frankly, we are far more attached to Ted’s other adopted “children”, the relationships we have watched him develop over 3 years, than the relationship we only saw glimpses of. That’s just narrative reality. In reality, yes, Henry would and should be Ted’s first priority. This is only right. In fiction, the team at Richmond should have been the first priority of Jason and the rest of the writing team. They are the ones we want to see and want to see happy and settled.

As many frustrated viewers have stated, it's not Ted's departure that is so disheartening but how it was done. If the TL team wanted to make this choice seem like a healthy one for Ted then they needed to establish other things waiting for him in Kansas: friends, community, employment, fulfillment. As it was, literally nothing tipped the scales in favour of Kansas. There were no romantic, community or larger familial relationships to get back to. Far too much was just left to inference or imagination. Yes, we can assume that Ted has community in Kansas, that he will probably get a great job after his success in Richmond. But all the people and opportunities we would like to infer/imagine will never tip the balance towards Kansas when we consider all we KNOW is already established for him in Richmond. The homeworld and beloved characters of a show will always hold more emotional weight than anything undefined and hypothetical. If viewers were to be happy with Ted’s exit then the writers needed to take the time to lovingly define his future away from the club.

Instead, it seems like a deliberate choice to shut Ted down and perform (and I do mean “perform”) this marvelous sacrifice for his son that so many think is admirable. It’s this shutdown that is so inconsistent and confusing. Because at any time in the hour, Ted could have said to Rebecca, the Diamond Dogs and/or his team:

“Look y'all this ain't the end. We’re family now. I'll be back. I'll show y'all round Kansas anytime you wanna visit. My mom will cook a dinner that will clog your arteries. And every so often, what say we do a long-distance movie night, huh? I'll miss you all but I’ll be watching every game and I can't wait to come back and see you win the whole fucking thing!!”

Ted could have been a model of honest, expressive, emotionally forthcoming, relationship-maintaining masculinity. But nope. Not a word. Just brave male sacrifice. It's straight up patriarchal propaganda. And truth is, fathers sacrifice way less than mothers do in heterosexual parenting relationships. Mothers are generally the ones making those small, everyday sacrifices that our society rarely acknowledges or admires. But I bet this ending makes all those lazy husbands and boyfriends feel real good about themselves. I bet it makes many female partners feel all warm and fuzzy to know that even though their kids’ father won't share half the labour that goes into raising a child, when it comes time for him to perform a massive manly sacrifice for his family, he toootttaaally will. I'm sorry, what were you saying about social conditioning Mr. Hunt?

FATHER GOD or WHITE SAVIOUR?:

Patriarchy needs its Father Gods and its Mother Gods to play certain roles (tho, to paraphrase Angela Carter, both are as silly as each other.) These magical figures materialise at pivotal times then dematerialise when the narrative is over, the pivotal lessons learned. They never themselves learn or alter. Think Mary Poppins or Nanny McPhee. These figures are not entirely human, they possess an element of the supernatural. They serve others, serve a higher purpose. Nanny McPhee's appearance changes only as a reflection of her charges’ growth. Mary Poppins – the figure to whom Ted is most likened – learns to care about her kids but she doesn't engage in any self-introspection. Her duty and trajectory remains unchanged. When she arrives at her next job, she will do so exactly the same as she was.

These otherworldly mother deities are not unproblematic feminist figures themselves. But creating a male, fatherhood deity becomes even more problematic when he is white, cis-het and pretty able. Ted arrives to teach all the black and brown lost boys, to unite the disconnected women, liberate the closeted gays and to update the bumbling English gentlemen (there is, I feel, a special relish in these American bros educating their former colonisers on modern manhood). Here, we start to stray into white saviour territory. Frighteningly, this kind of patriarchal demi-god implies that white men are the most progressive figures in a society, they are in the political vanguard, championing the needs of the disconnected and downtrodden. White men are the ultimate source of wisdom, kindness and progress. It represents them as a group as progressive, when in reality the attitudes and politics of this group represent conservative politics and regressive values that impede the progress of every other marginalised group. If we buy this myth about white men, then we are more likely to accept what they say to us from their positions of power and privilege as right, wise, kind and progressive, even when it is the opposite.

So, if you are going to put forward a white man as a model of progressive politics, then you need to embrace unconventionality, not just superficially but down to your bones. “Ted Lasso” tried to structure s2 and s3 differently but just ended up making a mess of allusions and ideologies that did not connect, cohere, develop or conclude. In fact, sometimes they straight-up contradicted. Employing a magical 3-part structure and making a bunch of meaningless allusions to well-known classics does not another classic make. They did not engage with any of these classics (“Cheers”, “Mary Poppins”, “The Wizard of Oz”) in any deep or critical way. Classics may be loved but they are not faultless. If you simply repeat what has already been done, even in celebrated classics, you may just end up repeating mistakes someone already made for you to learn from. TL repeats the central feminist problem of parental deities in “Mary Poppins”, just as it repeats the irreconcilable ending of “The Wizard of Oz”.

LIMINALITY:

Both “The Wizard of Oz” and “Mary Poppins” take us into strange liminal worlds. “Ted Lasso” could be read similarly, except that Ted doesn't take any magic home with him. In fact, he seems to actively forget it, reverting to the Ted he was before leaving. No queerness or feminism follows him home, no traces of the various cultures he's come into contact with. The liminal remain liminal with no indication that these two worlds will communicate or can integrate. The non-white, female, queer and otherwise bizarre are left outside of Ted’s squeaky clean hometown heteronormativity. And I really don’t think I have to explain why that is so deeply irresponsible. Because again, this is a writing choice.

That epilogue at the end was brief but imagine if it included more detail: Ted texting with Rebecca, or facetiming with Roy, Jamie giving Henry advice. They didn't take the time to honour and continue these relationships or integrate these two worlds. They didn't suggest that responsible fatherhood could entail many things, could look different. “Sacrifice,” they said profoundly. “Fatherhood,” they murmured mistily. “Patriarchy” was their final word to which this feminist says, “Bullshit.”

PRIVILEGE:

I only did one film unit at uni but it really doesn't take much to deconstruct the absurdly inconsistent ending of “The Wizard of Oz”. It was 1939, the end of the Great Depression and the start of another devastating world war. People needed to be convinced that their small ramshackle b/w lives surrounded by loved ones were stable, noble even. They already had everything they needed. They didn't need Oz. They didn't need bright futures, big adventures or exciting opportunities. Monochrome Kansas was all a good American should ever hope for. There was danger in difference, safety at home.

Well, here we are in late-stage capitalistic hell, having come through (???) a pandemic and it takes a special sort of privilege to say to an audience: you don't need money or opportunity or community, they won't make your life any better than before. Be happy with the muddy and mundane. Be happy with what you've got. Turn away from larger community, greater knowledge, continued stability, and isolate yourself in a bubble of you and yours. Look, it's not a sweet or familiar narrative conclusion but the truth is, Ted’s, Henry’s and Michelle’s lives would have all been better if they'd relocated to London. Do these dolts have any idea what teachers (in the USA esp) are currently going through? How overworked and underpaid and undervalued these people are? The burnout rates?? Ted didn't have to take the highest salary Rebecca offered but, had the writers been willing to put in the effort, a more unconventional, more modern ending to this series could have been crafted.

Not that I'm surprised they took the easy road to glory. All indications from the beginning of s3 suggested that this would be the rather predictable conclusion. Indications do not, however, constitute development. This team had the opportunity to write a new ending to an old story, one that incorporated queer, feminist and anti-capitalist values. One that defined a different, new version of patriarchy. They didn't even think to. In their white boi hubris, they just assumed that they and tradition knew best. Considering how many viewers would be struggling right now for food, housing, employment and opportunity, an ending in which Ted turns down an opportunity like this hits a false, rather virtue-signally note. Literally, nobody would have come out worse. Everybody would have benefitted from Ted staying in Richmond. Which means this decision was made purely to manufacture a “moment” that celebrates patriarchy.

ANTICAPITALISM: There’s a reason they had Rebecca offer Ted the biggest salary in his industry. They wanted to make it NotAboutTheMoney! Ted doesn’t say so (doesn’t say anything) but, because this narrative idea is so fucking familiar, we can assume the thoughts behind his oh-so-sage expression are: “Well, shucks now, boss, I rightly do appreciate the kindly offer but that there kid o’ mine is more important to me than any cash you could put in my silly lil handy-hands.” Good Lord. The cringe is real. I really, really can’t with this mighty, manly silence and sacrifice. My problem isn’t that Ted values his son over money (not that it has to be a choice because that money could benefit Henry and his mother, who is owed a heck of a lot of child support esp since she’s been raising their son solo for 3 years). Again, that is how it should be. My problem is that the show actively established Richmond as an anticapitalist landscape, then suddenly at the eleventh hour, tried to walk that back and imply it was actually a capitalistic landscape (in contrast to homey ole Kansas).

Capitalism teaches us to sniff at money. We've been told by the monied and privileged that it won't buy happiness. (This is of course, utter bullshit because money can buy you a hell of a lot of wellbeing, security and opportunity). At the beginning of the series, Rebecca Welton stands for this principle. And by the end, she has found a way to use her extreme wealth and privilege in an ethical way. She gives it away. She supports others. She lets Sam out of a promotional contract, she funds Keeley’s business, she sells half the club to fans. The most obvious example of Rebecca’s anticapitalist politics is her confrontation with all the richy riches who want to take soccer away from the people. Here, she becomes an anticapitalist leader, one who has been positively influenced by the anticapitalistic politics of The Lasso Way.

The Lasso Way is anticapitalistic in that it stresses that winning isn’t everything. You try but you try together. You play hard, not in order to beat the other guy, but to be the best (player, teammate, man) you can be. There are no individual stars, only collaborative team players. You give due credit to others, the team, the support staff. The club functions well when it functions as a unit. Over the course of the series, it becomes a commune that protects and nurtures its citizens. A socialist haven that values people over profits, prizes and meaningless acquisition. The Greyhounds don’t want to win the league for the money or the top spot. Winning the whole fucking thing is an expression of their regard for each other, the game and the new, kinder ethos they all now live by.

Because they spent 3 years establishing all of this (during a time when we really needed to hear it), there is something v disingenuous about them then having Rebecca offer to go to extremes to pay Ted more money than any man should have. It is not consistent with the show’s themes, the ethos of the club, Rebecca’s attitude or what she knows of Ted. She knows it’s not about the money for Ted. It never was. It’s an act of desperation on her part, but why did they need to make her ridiculous, desperate, so inept in this moment? Hannah plays it beautifully but I can’t help but feel this is part of them diminishing Richmond, (re)casting it as excessively capitalistic in relation to Kansas so that they can turn Ted’s decision into a simple Money < Son choice. Because if it is a Money < Son choice then he has no dilemma. There is no other choice. He goes home to his son. The problem is, they’ve just spent 3 years proving that it is not a simple Money < Son dilemma. Money was never actually part of this equation. Ted left to give Michelle space, to find himself, to find a new life and community, to extend himself beyond what he knew as normal. As such, there is now far more than just money for Ted in Richmond (which tbf, Rebecca also points out, but I still think this point stands).

The other major problem is that, here in the real world, middle-class America (which btw does not exist) is far from being a haven of peace and prosperity comparable to nowhere in the world. This is a lazy cliché than any amount of travel should quickly disabuse you of. And yet in Kansas, we are supposed to believe, despite everything happening in America (referenced by Henry in ep 3.01), Ted will find community, opportunity and stability. To pull off this ending, they needed to establish a Kansas unlike the one currently in existence. This is what they did with Richmond. The UK is no better than the US currently, but they nevertheless established an ideal society, one with values very contrary to the world we now live in. Is it any wonder that people saw the desertion of this world as a rejection of feminist, queer and anticapitalist values? Right now, more than ever, people want to believe in a society that isn't all about triumph, success, competition, acquisition, individualism and aggression. They want to believe in a society that emphasises community, values people, shares wealth, offers opportunity, encourages difference, improves lives and moves onward, forward, in circumspect but ethical steps. These themes were all there in the series. They just weren't utilised when it came time to shape its conclusion.

#ted lasso #ted lasso finale #ted x rebecca #jason sudeikis #brendan hunt #istg i'm done #i'm a ridiculous person #long post #did anyone read this?#fuck i overthink #dumb show #rebecca welton #rebecca welton deserved better #feminist queer anticapitalist rant #i'm here to tell you that if you like ted lasso you're probly a socialist

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demi-pixellated · 5 months

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But I'm not so strong,

...And they're not gone

#Five Nighs at Freddy's #fnaf #fnaf 4 #fnaf crying child #fredbear #fnaf foxy #fnaf bonnie #fnaf chica #fnaf nightmare #fnaf freddy #plushtrap #MSPaint Draw #fanart #in a turn absolutely NO ONE saw coming: Five Nights at Freddy's #and it's not even bc of the movie #but bc ytube decided to put the Living Tombstone songs from 9yrs ago into my recs with absolutely zero prompting #and they're FIRE of course so now I'm in Deep #just the speed at which me n juls went 0 to 80 on it is entirely ridiculous #personally upsetting

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atmothart · 11 months

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Wouldn't lizard fashion be something like spikes and scales and a frilled lizard collar?

Like so?

(Bonus art under the cut)

#thank you anon I've been wanting to draw proper lizard fashion for a while and this gave me the motivation I needed #dracula daily #re: dracula #dracula #lizard fashion #The colours I chose here make Drac look like Harry Du Bois - which is appropriate given how I tend to depict his personality in my shitpost #bonus under the cut featuring Dracula's Weed Smorking Girlfriends #personally I really like the theory that the three vampire women are actually dracula's wife and two daughters #since the book never actually calls them his wives and the two subordinate girls are specifically described as looking similar to him #the idea that he turned his family but is no longer capable of loving them (or being loved by them) adds a whole extra layer for me #because he still goes through the motions - goes out to get them food (babies) and provide for them/fulfil the role of a patriarch #but its hollow and loveless and done out of strange obligation/habit - like an echo of being alive #BUT for the sake of comedy I will always draw them as his three weed smorking girlfriends because it's just funnier #or rather as I like to think of them - his three weed smoking EX-girlfriends who spend all day making fun of him and and freeloading #I'm going to tag any art with them in it from here on out as #the ex-wives of dracula #he's going to england to escape their ridicule

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angryducktimemachine · 5 months

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I think what I personally really enjoy about AroAce Rudyard is that I know, in my heart, that he would not ONCE spend a single thought thinking he was broken. This man is fully convinced everyone else is just being unnecessarily weird, which really resonates with me, who also spend like 22 years of his life not even considering the possibility that there's something "wrong" with me and that everyone else is simply a little overdramatic over love and sex.

#i know it's a different experience for everyone but besides like one or two little 'oh god this will affect my adult life' realizations that #i only had once i REALIZED i was aro and even then that was less a 'this is problem with me' and more a 'this is a problem because of other #people's expectations #anyway Rudyard Funn i love you sgdhsgshdh #love looses #rudyard funn #wooden overcoats #i think if like Georgie tried to explain being aro or ace to him he'd dismiss it too #he'd be like that's ridiculous georgie #he might think about it some more later tho #who knows #younger me thought he was simply a better person for not being silly about love and sex like #and that's very Rudyard #(and i have since grown and realized that I'm not a better person I'm just aroace)

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nooskadraws · 14 days

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bread! bread! bread! bread! 🍞🥖✨

#dungeon meshi #delicious in dungeon #help i started watching bc i saw tweets and now i'm OBSESSED #i love this ridiculous party sm so SO MUCH it's the ultimate dnd party rep #as an avid paladin enjoyer i'm v biased towards laios but i love them all so so much #here's a bread senshi for ur personal enjoyment

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kenobion · 5 months

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Andrew Garfield on The Late Late Show with James Corden

#I just think that he's the most beautiful person in the universe #andrew garfield #my gifs #I fidget with my rings like that sometimes too #I love his face and his voice and his mannerisms and the way he speaks #and his silliness and his compassion and his emotion and everything #I'm so soft for him I know it's ridiculous but I can't help it #spare hand in marriage sir??

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polaroidcats · 6 months

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Ugly crying & the marauders generation - a pseudo-scientific approach (my marauders crying PhD abstract)

Abstract

In recent days, there have been a variety of claims as to who the prettiest and ugliest crier in the marauders generation could be. This paper aims to address the recent surge in opinions on the matter, and categorize different approaches as well as add a new approach to the scientific examination of ugliness/prettiness when it comes to crying. I hope to provide readers with an overview of the current state of research and encourage all marauders scholars to add their own and I intend to make a contribution to the discourse by committing to the bit and writing a pseudo-academic paper about it instead of actually working on my thesis.

Introduction

In the following paper, the discourse about 5 marauders era characters will be examined in regards to their various levels of perceived ugliness whilst crying. Scholars who may ask why Peter [Pettigrew] is not included in this analysis are advised to refer to acclaimed marauders ugly crying scholar @lynxindisguise's (2023) original poll on the popular blogging website "tumblr.com" which did not include Peter, but rather two non-marauders characters named Lily and Regulus. This paper will follow that approach, since Peter is the nastiest skank bitch I have ever met, I do not trust him and he is a fugly slut. The characters included in this approach are as follows: James Potter, Lily Evans, Sirius Black, Remus Lupin and Regulus Black.

Following the scientific criteria for ugly crying, as stated by lynxindisguise et. al (2023), the question of the ugliest crier can be answered by observing the crying person and assessing their ugly-levels on the following parameters: (1) unbecoming facial expressions, (2) facial swelling/blotching, (3) unsettling noises, (4) snot factor, (5) tear volume, (6) general loss of dignity, (7) glistening eyes/lashes, (8) Victorian heroine factor, (9) elegant tear-wiping, (10) post-cry glow (ibid).

Criteria (1)-(6) can be categorized as the ugly crying parameters whereas (7)-(10) are pretty crying parameters, creating a false binary between ugly and pretty crying, which may be problematised and addressed in another the paper. In contrast to lynxindisguise’s original 10 criteria to measure the aesthetics of crying, this paper proposes to add (11) explosiveness of cry as another ugly crying parameter, in order to get a more clear assessment of where on the ugly-pretty crying scale a character falls.

The ugly crying parameters

(1) Unbecoming facial expressions

James Potter is mentioned in this category by several marauders scholars: @jaylienpotter talks about his red face and ugly sobbing, @artbyace mentions his “scrunched up cry face” and @sectoren claimes “james (…) is that one handsome guy that when the waterworks get going becomes like. Cartoonishly ugly”, raising the question of upkeeping toxic masculinity in order to avoid having to witness more of James Potter’s crying “mug”.

Though James Potter features heavily in this category, another character who is also mentioned just as often is Remus Lupin: @kaaaaaaarf, @appreciatedmoron and @http-starboy all emphasise that Remus Lupin is the one with a red and blotchy face.

(2) facial swelling/blotching

While there is a definitive overlap between the categories of facial swelling/blotching, unbecoming facial expressions and snot factor, Sirius’ and Regulus’ victorian heroine complexions, which give them an advantage in the homonymous category, may be to their disadvantage in the “blotching” category. This will require further research by other scholars.

(3) unsettling noises

James Potter is mentioned in this category by Jaylienpotter (2023), claiming he not only hiccups when crying but also that “his cries are one of the most heartbreaking things you’ll ever hear” and similarly, artbyace states that “James loves and feels so loudly”, whereas “Sirius is silent”, both sentiments are reminiscent of znelda’s (2023) statements that James “was allowed to feel his emotions freely in a loving household” and “Sirius (…) [is] used to hide [his] feelings and [has] become stoic”.

With several other scholars, among them also @jamesunderwater (2023) raising the point that James may be the ugliest crier due to him being “the only one well adjusted enough to have access to his feelings” this raises the question of possibly introducing another category, maybe of emotional awareness/stability to be able to measure this parameter more efficiently, though emotional vulnerability may also just be a part of the unsettling noises parameter, suggesting that there is a correlation between noisiness and the existing environment being welcoming to and accepting of various expressions of emotions.

(4) snot factor

The most popular winner in the snot factor category seems to be Remus Lupin, with several scholars agreeing that his sobs are the dampest and snottiest out of all the candidates. kaaaaaaarf (2023) writes “he turnes all red and blochty and snot drips out of his nose (…) he cant (sic) not cry with his mouth open as well so there is a lot of spit”, and appreciatedmoron (2023) agrees with kaaaaaaarf on this.

It only seems right to me to include spit in the snot category as well, seeing as they’re both crying-related bodily fluids that add to the ugly-cry factor. http-starboy (2023) also mentions snot in regards to Remus Lupin, which compared to both their comments in (1) opens up the question of how unbecoming facial expressions, more particularly redness of the face and snot factor may be related, as several authors seem to write about both specifically in relation to each other. Whether this is just pure coincidence or not would need further research, for which we currently do not have enough funding. This is only one of the many research gaps in the relatively new field of marauder’s ugly crying studies, which cannot fully be addressed in this paper.

James Potter is also mentioned in the snot category, namely by the marauders scholar artbyace (2023).

(5) tear volume

Artbyace (2023) claims James Potter is “full on bawling” which can only be assumed to refer to tear volume, but the most convincing argument for tear volume comes from the acclaimed marauders scholar @fruityindividual (2023), stating that “tsunami warning tones go off in sirius’ brain anytime remus is close 2 (sic) tears” which already indicates high levels of tear volumes. The author then goes on to specify the volume by claiming that “indeed the ocean wishes rj lupin would jump in and help contribute 2 (sic) rising sea levels”, further emphasizing the volume of Remus's tears.

(6) general loss of dignity

@pastaplatypus (2023) writes about James Potter not being able to do a Melodramatic Bollywood Cry, which is perceived as inherently racist by the crier.

I would like to argue that Sirius Black also deserves to be mentioned in this category. While as of today, with less than 1 hour left to vote, 15.5% of voters agree that Sirius is the ugliest crier, the more outspoken voices all argue for different ugly criers. Due to their upbringing, I am tempted to name both Black brothers in the “loss of dignity” category and look forward to reading future contributions to this discussion.

The pretty crying parameters

(7) glistening eyes/lashes

Undoubtedly Sirius Black deserves to be mentioned in this category. I believe his dark lashes and glimmering eyes are part of what makes him the prettiest crier. Whereas Remus’s eyes also sometimes glisten or appear red, and it is usually attributed to be caused by drug consumption, which more often than not is a wrong assumption, but he happily goes along with the pretense of being a weed-smoking bad boy in order to hide his ugly crying damp tendencies.

(8) Victorian heroine factor

It almost seems superfluous to even mention Sirius (and, to a lesser degree, Regulus) Black in this category. This category was made for Sirius, as is apparent when reading lynxindisguises (2023) description of the victorian heroine factor, in response to a question by the scholar @plecotusauritus:

“the Victorian Heroine Factor is a deeply scientific assessment of the Vibes. Is this person giving tragically beautiful, windswept Victorian Heroine, sobbing gently into their hands while sprawled across a boulder or a well or a fountain of some sort? When they look up at you, do their tear-plumped lips part elegantly as a single tear slides down their cheek?”

(9) elegant tear-wiping

There hasn't been a lot of research in this area, but I would like to propose handkerchiefs with embroidered initials and family crests as another potential factor in favor of the Black brothers scoring high marks in this category as well as the Victorian heroine factor.

(10) post-cry glow

Artbyace (2023) claims “lily is always beautiful (…) even when crying”, which is echoed by znelda’s (2023) earlier claim that “Lily (…) [is] a woman and no woman is ugly when crying.”

Sirius is the other popular choice by marauders scholars for this category, with @in-flvx (2023) stating that he “handsomely handsomes while dying after 12 years of torture hell and another year in shackles”, which would mean that “a few tears would[n’t] stop him from being the hottest person in the room at all times” (ibid).

Additional parameters

I am suggesting to introduce an additional metric in order to further specify and better assess the ugly-crying levels:

(11) explosiveness of cry

@felixantares (2023) introduces the idea that Remus “is the type that very few people have been seen cry because he ignores every difficult emotion hes (sic) ever had (…) and it all explodes at once and its horrible to watch when he breaks down”, a sentiment shared by several of the other authors mentioned above in various other categories.

Further opinions & conclusions

The most popular consensus seems to be that Sirius cannot be the ugliest crier, sometimes also in direct comparison to his brother: @spindrifters (2023) answers the question of the ugliest crier with “obviously it’s regulus”, elaborating that “at least [it’s] definitely not sirius bc (sic) reg is canonically less handsome in all ways” which brings up the question if regular beauty plays into ugly crying. This is contrasted by lynxindisguises argument, that Sirius may be an ugly crier because he’s so gorgeous, and his ugly crying subverts the expectations of beauty:

“the most beautiful man alive looks hideous while crying, and his deeply awkward and perpetually damp bf (sic) is literally in his element while crying – dampness becomes him, you might say.”

This statement raises yet another question – does regular crying make the crier more or less ugly? Can an ugly crier become a pretty crier by practice or are we all born either ugly or pretty criers, condemned to this fate for life?

While this paper has given an overview of the current state of research to ugly crying/pretty crying, it has also raised many more questions. Other topics which may be addressed in future papers also include the philosophical question whether ugly crying is in the eye of the beholder and if it is possible to ugly cry without being perceived, and if it is possible to ugly cry if the person perceiving you doesn’t find it ugly. Since the research field of ugly crying is a relatively new one, we can only hope to read many more opinions on these and other topics in the future, and I look forward to reading different scholar’s approaches to these highly relevant topics.

#marauders #idek what to tag this as lol #i don't write fic i only write pseudo scientific papers on fandom analysis (apparently) lol i had so much fun writing this #even if just 1 person reads it i'll be happy i know it's ridiculous #scientific analysis of ugly crying #akso i tried to tag everyone i mentioned to make it feel more like i'm actually quoting them (which i am) but if anyone doesn't want to be #tagged in this lmk and i'll remove it haha #anyways okay i'll post it now #this is what happens when i go on tumblr during work hours and then keep thinking about how much more fun editing papers would be if they #were about the marauders instead of the things i have to read/edit at work #hp #remus lupin #sirius black #james potter #lily evans #regulus black #(this thing has almost 2k words and i wrote it in 2-3hours)#idek what that says about me #that this is how i chose to spend my tuesday evening #but i love it

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kollapsar · 23 days

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Name change: official

Trans dick: out

Yeah boyyy I'm legally not a fantasy heroine anymore 🏳️‍⚧️🏳️‍⚧️

#personal #my deadname was astrid and i have DISCARDED that shit lmfao #I'm sharing it bc i dont particularly care about it and its just so ridiculously distant from me it's not even me anymore lol #i am legally REVEREND GARRISON NOW HAHAHA

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necromeowncy · 8 months

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I've been tanking a lot lately and I like to imagine G'raha's reaction to the role reversal.

#Aedric is usually a healer/caster #no matter how long they've been together he's still a little bit of a fanboy lol #squishing his cheeks i love him so much #just tanked Euphrosyne for the first time and doted him SO many times I'm so sorry to my friends in my party I am a ridiculous person lol #wolgraha #g'raha tia #wol x g'raha tia #elezen #aedric vaillencourt #gpose #my poses #elezen wol #AedRaha #miqo'te

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laundrybiscuits · 8 months

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(soulmates AU: Part 1 | Part 2 | Part 3)

“You never told me your folks were soulmates," he says out of the blue. He'd meant to wait until it came up naturally or something, but they're just standing in awkward silence outside what the kids insist on calling the M&M house, waiting for the stupid dragon game to wrap up on the Munson side. He doesn't even know he's going to say it until it's already out there, sitting between them.

Nancy says "Fuck," very quietly. Steve can't remember if she used to swear so much. He thinks not, but also, she was sixteen the last time he really felt like he knew her.

Steve’s tenth grade geometry teacher once told them: think about railroad tracks. That’s what parallel means, that there are two lines that never get closer together or farther away. No matter how long the railroad tracks get, there’s always exactly the same amount of space between them.

Now Steve thinks maybe that’s bullshit, that you can’t keep going separate from someone else and stay the same distance apart. If you’re not together, if you don’t cling as hard as you can, then the distance between you is going to grow faster and faster until you can’t even see the other person.

He thinks maybe he doesn’t know Nancy at all anymore.

Nancy smooths down her skirt in a nervous gesture he doesn’t recognize. “You’ve met my parents, Steve. Did you really think that’s what I want?”

It’s the kind of question where he knows the right answer from the way she’s saying it, but he doesn’t know why. Yeah, he’s met Ted and Karen. He always thought they seemed happy enough. They’ve got three kids, so they have to be happy, right?

But he’s starting to think that Nancy—the new Nancy, how she is now—might not want to be happy. Or at least that it might not be the most important thing to her, compared to everything else she always talked about. Now that he’s thinking about it for real, he can’t really see her stepping into her mom’s shoes, never really doing anything but chasing after kids and power-walking around the mall.

Shit, is he the Ted Wheeler in this scenario? Not that there’s anything wrong with Ted, but—wow, okay, he’s starting to understand Nancy’s reaction.

He hasn’t said anything for a little while, and Nancy sighs. “Steve, I’m sorry, I can’t…”

“It’s fine, Nance,” he says. He even thinks he means it, this time.

———

“Do you think she’s going to get a cover-up, like Eddie?”

Robin squints at him. “I think she’s the only one who can answer that.”

“Sure, okay, but I can’t ask her because I’ve decided I’m not gonna bring this shit up around her anymore. It’s called tact, Robin.”

“Fuck off, I’m a million times more tactful than you could ever be.” She chucks a roll of NEW RELEASE stickers at him, which he dodges with a little spin, just to show off.

“Are you kidding me? Who was it that got out of a parking ticket last week just by talking to the cop?”

“Uh, who was it that expertly finessed us both jobs at Family Video just by talking to Keith?”

“You gotta stop bringing that up,” Steve groans. “That was like a whole year ago. Get some new material, Buckley.”

“Get us a new job, Harrington! One that pays more than this shit!”

“Nah, I’m gonna be a trophy husband to some rich old lady. That’s my new plan, now that I’m totally unattached.” It comes out pretty steady, he thinks.

She sidles up to him, awkward in the way she gets sometimes, and bumps their shoulders together. “Hey, you know you could totally find someone else, right? It doesn’t have to be…” She trails off, gesturing helplessly.

He tips his head back and stares at the ceiling. The fluorescent lights leave blurry ghosts on his eyelids when he blinks.

Robin Buckley is the best friend he’ll ever have and does sometimes actually know what tact is, so she just tips her head against his shoulder and stares at the ceiling with him in silence until the next customer comes in.

———

“You can never, ever tell Steve this.” Nancy’s voice is just barely audible from the front step, and Steve freezes. He snatches his hand back from where he’d been reaching for the doorbell.

“Cross my heart, et cetera, Wheeler.” Eddie sounds lazy, like he doesn’t even care.

“It’s crazy, but I used to feel really—happy. About the soulmark. I mean, it’s every girl’s dream, right? The cutest guy in school with her name on his wrist.”

“Can’t say I relate.”

Nancy lets out a strangled laugh and Steve silently shuffles as close as he dares, shutting his eyes like that’ll help him hear better or something.

“I know, Eddie, that’s why I’m…I don’t know what changed. I don’t know why that stopped being enough for me. I second-guess myself all the freaking time now, and I hate that! I remember the way it felt when it turned out Steve was actually really sweet, and sometimes I just want to—to crawl back inside that feeling, except it’s not real. I know it’s not real.”

“You sure about that? Doth the lady not protest too much?”

“I’m sure.”

She hadn’t even hesitated. Steve’s nails are cutting into his palms. He feels dizzy with how quick she’d answered; how calm she’d sounded.

It hits him, then, that it’s actually over, like for real. Maybe he really is an idiot, because it’s been years, and he thought he’d already known that. Turns out there’d been a stupid little corner of hope in him after all.

He tunes back in to hear Eddie say, “Okay, okay, you don’t gotta convince me, Wheeler. If you end up deciding to, y’know, take the plunge…yeah, I can hook you up. But no rush, okay?”

Steve turns around and walks down the drive, all the way around the corner to where he’s parked. Dustin’s stretched all the way across the seats, head poking out of the driver’s side window, squinting in the afternoon sun.

“Is Eddie coming to the arcade with us?” Dustin yells.

“He’s busy, leave him alone,” says Steve.

#not!soulmates AU #the unmarketable ridiculousness continues #I know the Doylist reason Eddie offers so much unsolicited advice in canon is his role as clunky plot mouthpiece #but I choose to interpret it as the extremely gay hobby of overflowing with advice on acquaintances’ personal lives #despite the highly dubious state of one's own #anyway. if/when this goes up on AO3 I'm gonna need to re-edit for Nancy's voice bc I do NOT have it rn

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