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#my 2 cents is
metabolizemotions · 18 days
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The creative choices on the show are as subjective as each of the viewer's interpretations.
I think a lot of why I personally feel deeply uncomfortable n resistant is the asymmetry.
I get the need for variety. The same thing may be expressed differently for different characters. A healing journey will differ from person to person. Each step is also taken on a personalized timeline.
But I can't help but think of the asymmetry of how the show dealt with Mason vs Beckett n even Dixon. They condemned Mason immediately at his worst but dug deep to show the sides of Beckett n Dixon that were still human despite it all.
The trigger shot scene with Beckett felt like 0 to 100 in his reconciliation with Maya. It felt like a 12-step program of which he skipped many steps when it came to Maya. From the get-go, we saw a sexist, incompetent captain who was demeaning to his team n constantly put them under stress n in danger, on top of endangering civilians n even equipment. For months, we saw this middle-aged man in a position of power, take perverse joy in bullying a younger female subordinate to appease his ego. That was workplace harassment. He also took out his unresolved trauma on the people around him, in this case, people he had authority over. Alcoholism was not the sole reason for all his bad behavior. Even if it was, it should not be used to excuse it.
The team, esp Maya, was trapped in this hostile work environment sanctioned by the female chief. This was a more common n insidious manifestation of toxic masculinity, one that was amplified by his position of power, n sometimes even supported by women, when their goals aligned in the power struggle.
Yet the show gave so much more grace n compassion to the bullies than the bullied. The team treated Beckett n Ross with more kindness n respect than they earned, n less kindness n more apathy towards Maya than she deserved.
Then he was given a long, carefully constructed redemption arc, while Mason, a rushed condemnation arc.
It felt like 100 to 0 with Mason. We saw Mason briefly in earlier seasons, mainly thru the eyes of Maya. We missed a lot of the in b/w. We caught him again at his worst. We only saw the side that was full of hate ideology, but not his side that was also human. We knew about his addiction n homelessness. But we didn’t see how as a young abused person w/o positive role models n a support system, he was vulnerable to these hate groups, which he clung to, when offered him just a semblance of belonging or respect. He had not learned to let go of his resentment of their parents n Maya but taught to transfer this unresolved hate to fill a meaning void.
The scene itself b/w Maya n Mason was great. It was an urgent n imperative story to tell. Maya's actions were right n necessary. But in the bigger scheme of things, it felt like a quick tie-up of loose ends, of a once-beloved brother, who came n went abruptly. Despite it being a logical narrative choice to wrap up the nature/nurture discussions of Marina n discovery that Maya's deepest fears about herself manifested in her bro instead. It's heartbreaking n yet disheartening that it was again about queer hate when it came to another main queer character on the show.
It is just jarring to juxtapose Mason with Beckett in 703 then 707. Also juxtaposing his empathy towards Maya with the lack thereof from the others, despite everyone having just been thru 706 n having witnessed Maya's breakdown. So, in a way, I see the actions of these characters as being designed with the goal to emphasize Beckett's empathetic side, in support of his arc.
When looking at a scene with 2 scene partners, what it is really about? Who it is really for? Would the scene be the same if one is replaced?
There are many different takes on this. For me, it was really about Maya, but choosing Beckett as the scene partner made the scene more for him. If it were for Maya, other scene partners would be more meaningful n realistic. Esp those who earned their right for her to be vulnerable with. Maya, who bottled her feelings, let alone spill her deeper emotions, to someone whom she never had a proper conversation with, not to mention a fraught shared history. To add, alone in a small enclosed space, while administering a shot that made her even more vulnerable.
For the realism argument, this was not more realistic to me than having Carina, for a show which took a lot of liberties. It was a choice to design the circumstances to make Carina n the others unavailable n combine 2 scenes together. Carina's also Maya's life partner n best friend. A more realistic choice for Maya to share this devastating heartbreak n grieving process with. It was a big aspect of their marriage. We saw many discussions b/w them yet when it finally came to the conclusion, it was with the least likely person, an almost stranger.
I see the trigger shot as part of Marina's baby journey I wish we get to see them undergoing together. It reminded me of 5b in that Marina's story about their own baby journey - again with someone of a fraught shared history, of a different nature - was more about him n to lead to his own bio family story. Marina's story was messy n got nowhere. And here we r, seasons later, rushing thru it.
It's not that Maya/ Carina or Marina should not have scenes with others. It's that it's usually more about the others even if it's their storyline. Or they r the backdrop for others' drama. They either isolate Marina or suddenly include them or one of them in an in-depth discussion of their private matters with others, usually something we hear about for the first time. I just don't remember something like that happening with other characters. Is it too much to ask to see a married w|w couple, with little screentime, share a meaningful conversation or moment first, also or exclusively? We so rarely see such a rep on TV. The show is not about Marina, but shouldn't their own story reasonably prioritize them?
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mwagneto · 1 year
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sorry idk but the way the world is so fast and the people in it still want it to be faster is sooo annoying to me. people groaning while standing in line for 3 minutes people being mad the train ride is gonna take 2 hours people complaining that the bus is a few minutes late people being angry that construction work is taking months even though it used to take decades. don't you see the world is already so so so fast in every single aspect can't you understand that being mad will do nothing and just make your mood worse. enjoy the moments of stillness you're given. just stand in line and look at the people around you. sit on the train and watch the scenery. you'll get there.
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lemon-bomb · 14 days
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I saw someone say the rat grinders were disappointing as villains because of how easy they’ve been to take down, but as a criticism for d20. But I think the rat grinders being anticlimactic is kind of the point? They didn’t but the work in, they took shortcuts and so they’re not doing well. I personally find them getting their asses beat to be so satisfying. They picked a fight they can’t win so yeah half of them are already dead.
That’s the point.
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ballpitwitch · 8 months
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𝐊𝐞𝐚𝐧𝐮 𝐑𝐞𝐞𝐯𝐞𝐬 𝐩𝐞𝐫𝐟𝐨𝐫𝐦𝐢𝐧𝐠 𝐚𝐭 𝐭𝐡𝐞 𝐇𝐚𝐫𝐝 𝐑𝐨𝐜𝐤 𝐇𝐨𝐭𝐞𝐥 𝐢𝐧 𝐀𝐭𝐥𝐚𝐧𝐭𝐢𝐜 𝐂𝐢𝐭𝐲, 𝐍𝐉 - 𝟏𝟎/𝟎𝟖/𝟐𝟑
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sasasartblog · 9 months
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[edit: on my defense I personally thought it'd be funny not sad]
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unclewaynemunson · 9 months
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Alt version of this post bc too many people asked for both <3
It's Saturday night and, like almost every Saturday night, Eddie wishes he didn't have to be at some jock party. The flashing lights, the scent of cheap mixed drinks, the incredibly mediocre loud music... And worst of all, the fucking jocks. Everywhere.
'Eddie!'
He looks up to find Steve, with a dopey smile on his face, basically skipping towards him and throwing his arms around his neck. Oh. He didn't know Steve still went to parties like those. Hadn't seen him at any of them in a while. But as soon as he gets wrapped up in an enthusiastic full-body hug, he decides there's one jock, and one jock only, that he doesn't mind running into at those parties.
'Eddie, what're you doin' here?' There's an unfocused look in his eyes and he wobbles on his legs a little bit, grabbing tighter onto Eddie for support. The touch burns through Eddie's t-shirt and he tries to ignore the shiver running down his spine.
'I didn't know you liked parties!' Steve drops his voice, slurring: 'I thought you hated the jocks.'
Eddie can't help but smile. 'I hate all jocks but one, big boy,' he tells Steve. 'Not here to party, only to get some cash.' He rattles with the metal lunchbox in his hands to illustrate his point. 'Can you let me go now so I can get on with my business, pretty please?'
'Noooo,' Steve says with an exaggerated pout. 'I'm too happy you're here! Dance with me!'
Eddie chuckles. 'I don't think you're in any state to dance right now. Jesus, Stevie, I don't think I've ever seen you this wasted before. Thought you were planning to pick up a girl tonight?'
'I was,' Steve says, suddenly sounding oddly serious. 'But it doesn't matter. Just needed to forget. The rum helped, too.' He frowns. 'Til you showed up.'
'Forget what?' Eddie asks, trying to make sense of this drunken string of words.
Something happens; something that's been happening quite often lately. Steve's eyes flash downwards, just for a second, right to where Eddie's lips are.
Eddie's heartbeat involuntarily picks up speed.
'What did you need to forget, Steve?' Eddie asks again.
'Can't tell you,' Steve mumbles so softly that Eddie can barely make it out over the loud music. 'I don't wanna make you feel guilty. I'm not judging you, y'know. 'S fine.'
He abruptly lets go of Eddie and takes a step away from him, stumbling right into some girl who pushes him back with an annoyed scoff; if Eddie weren't still standing right behind him, he would've fallen on his ass for sure.
'Alright, you're not making any sense tonight, big boy, but I can't in good conscience let you stay here by yourself. How 'bout I'll drive you home?'
Eddie glances at his watch. If he hurries, he can probably still be back to do what he came here for before the good part of the party is over. He does kinda need the cash.
'Can't,' says Steve. 'Can't go home with you.' Something in his voice is breaking and suddenly there are tears in his eyes, and Eddie still doesn't understand what's wrong; he feels like he's overlooking something huge, something that should be obvious.
'Let's just go outside to talk, then?' he suggests.
'Can't. Dance with me, Eddie.'
But when Eddie starts gently tugging Steve towards the open door leading to the garden, Steve easily lets himself be led outside. He closes his eyes and takes a deep breath when the cool night air reaches his lungs, as if one gulp of fresh air will instantly make him sober up. But he's still swaying on his feet, making Eddie grab onto him tighter.
Eddie likes to think of himself as moderately strong, but unfortunately, hauling 180 pounds of muscled jock around is starting to take its toll on him. He spots a bench in a secluded corner of the garden and guides Steve towards it.
'This better?' he asks.
'Yeah,' Steve breathes out. Even now that they're both sitting down, Steve keeps clinging onto him. 'Look at the stars, Eddie.'
Eddie looks up at the scattering of lights twinkling far above them - but he can feel Steve's eyes still burning into his face.
When he directs his gaze back to the guy sitting next to him, Steve's face is even closer than before. The starlight is reflected in his hazy eyes, tiny specks of silver hidden in various shades of brown and black.
'I wish I could kiss you,' Steve whispers, looking at Eddie with nothing but admiration behind that glassy drunk gaze.
Eddie almost forgets to breathe. He knows that it seemed like he and Steve were headed exactly toward something like this for a while now, but he still can hardly believe that it is real. That Steve Harrington is really looking at him like he's just as precious as the stars in the sky above them.
He brings up a hand, gently caresses Steve's soft cheek.
'Maybe you don't have to wish,' he whispers back, unable to stop his eyes from flashing towards Steve's beautiful lips for a moment. 'Tomorrow. When you're not drunk anymore. If you still remember this.'
'No.' Steve shakes his head, so fiercely it makes his hair flap in all directions and his complexion at least two shades paler. 'Can't.'
'Why do you keep saying that, Steve?' Eddie asks softly.
'Cause.' For a moment Eddie thinks Steve is gonna grab his ass, but then... he randomly frees Eddie's handkerchief – the one with the skulls – from his back pocket.
'Cause of the Russians.'
Eddie can only stare at him in confusion.
'They tied me up,' Steve all but whispers. Eddie hates how small and broken his voice suddenly sounds.
He has always known – broadly speaking – about what happened to Steve and Robin miles beneath Starcourt last year. He's never actually heard Steve talk about the details, though. All he knows is that he and Robin were captured by Russian spies and somehow made it out alive. He could always see how difficult it was for Steve to talk about it whenever it came up, but he never wanted to pry. And now here they are, at some goddamn high school jock party of all places, and all of a sudden Steve willingly brings it up.
'I was with Robin,' Steve continues, still in that scared and broken voice. 'And they tied us to a chair. We couldn't move. And they – they hurt me. They hit me. 'Til I was bleeding all over. I thought I was gonna die. Robin thought I was dead.'
'Jesus Christ, Steve,' Eddie breathes out, tightening his grip around Steve's torso.
'So I can't,' Steve mumbles, holding up Eddie's handkerchief as if it's some kind of logical explanation for whatever it is he's trying to tell Eddie.
'Wh- What?'
'I know what it means, Eddie,' he says, as if he's even remotely making sense right now. 'You know John?'
'Who the hell is John?' Eddie only keeps finding himself more and more lost in this conversation.
'My cousin,' Steve says, like it's obvious, like he's ever talked about some cousin named John to Eddie before. 'The one in New York. He knows all about that shit, right? He sends me the good magazines sometimes when my parents aren't home. That's how I know.'
'Know what?'
Steve only waves around with that stupid handkerchief again.
'You're flagging, aren't ya? You like pain. Like BS... BM...'
Eddie feels his jaw drop.
'What the fuck are you talking about?' he asks. 'It's – this is a metal thing. It looks metal. I literally have no idea what you're – flagging?'
Now Steve's face finally mirrors the confusion Eddie has been feeling for the past ten minutes.
'Are you serious?' he asks, for one second showing more clarity in his eyes than Eddie has seen all evening.
Eddie nods.
'So it's not...' Steve stops himself, swallows, frowns. 'You're not into, like, hurting people and shit?'
And finally, it all clicks together in Eddie's mind: the repeated chorus of I can't, the story about the Russians, the goddamn handkerchief... Flagging. BDSM.
'Why the hell would I get off on hurting you, Steve?' is all he can get out of his mouth.
And Steve honest-to-Satan starts giggling; it sounds so relieved that Eddie kinda feels like giggling too, scary metal image be damned.
'I dunno, it's more common than you think,' Steve mumbles. 'I wouldn't judge you, alright? But I knew I could never give you that. No matter how much I like you. And then you'd get bored of me.'
'Oh, Steve,' Eddie whispers out. 'You don't need to worry 'bout that, I swear. For all I care, we can have the most vanilla sex in the world forever. Or never have sex at all. As long as it's with you... I'm good.' Eddie cringes as soon as the words leave his mouth: it sounds too cheesy, too sincere. He kinda hopes Steve will have forgotten this particular part of their conversation tomorrow morning.
But Steve doesn't look at him like he thinks it's stupid at all: his eyes are wide and he's smiling a soft smile.
'You sure? You won't get bored?'
Eddie chuckles. Now that he's being too goddamn cheesy anyway, he might as well double down on it. 'I can't imagine getting bored of getting to hold this body in a million fucking years. In any way you'll have me.'
Steve heaves out a relieved sigh before he buries his head against Eddie's chest.
'Can I bring you home, now?' Eddie asks.
There's a twinkle in Steve's eyes when he lifts his head again.
'Ooohhh... You wanna have the most vanilla sex in the world with me now?'
A chortle escapes Eddie's lungs.
'Um, maybe tomorrow, when you're not drunk off your ass,' he answers with a wink. 'For tonight, just lemme get you to bed, 'kay?'
'Okay, big boy,' Steve answers, and Eddie can't help but laugh before he presses a kiss against Steve's forehead.
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raven-runes · 2 months
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Witchcraft and poetry are inseparable for me. What is a poem but a spell, every word woven with care and intention? A poem has the potential to craft new worlds, to open a portal into unseen realities, to rewild our hearts and souls. Poetry is spellcraft.
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i feel like people who are like 'bruce is wild cuz surely other kids in gotham saw their parents get murdered, he's not special' are missing the point cuz, like. Yeah. gotham is a place where crime and violence are rampant. almost certainly other children saw their parents murder, perhaps even more viscerally than bruce did. but. thats the Point.
arguably one of the longest-running themes in batman is an interplay between power and just... the desire to help other people. bruce might not be 'special' because he saw his parents die, but he's 'special' because he saw his parents die, felt (and often feels) powerless, and yet had the ability to do something about it. and yeah, he often fails but he also... doesnt, a lot. gotham may never be rid of violence (for canon and meta reasons) but, arguably, batman isn't about Results, it's about wanting to help, finding the power to try, and giving it your all even when it seems bleak and impossible. 'batman' may (often) be a male power fantasy, but i think its also... a victim's power fantasy. the fantasy of being able to say 'i was hurt, im still hurting, but im going to stop other people from getting hurt'
like thats the Point. thats Why he does what he does, in as many ways as he does it. idk why people think that that makes bruce or gotham less interesting
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ikeasharksss · 1 year
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hey im curious
feel free to rb & explain your answer in the tags!
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once-upon-the-earth · 10 days
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Look I think I said it before somewhere but I need to talk about it again.
Aziraphale (in the show - his characterization differs in the book and I’m talking about show Aziraphale here) is a soft character. He started out as a soldier and he made the conscious decision to give the sword away to someone who would use it for protection, instead of keeping it to fight (leaving out the whole thing about War owning it later on cause that’s a different topic and definitely wasn’t what Aziraphale had in mind when giving away the sword). He also makes a conscious decision to look and act as non-threatening as possible, instead deciding to look soft and huggable and gay as hell a tree full of monkeys on nitrogen oxide. We don’t see him fighting anybody even when he gets the sword back - he just holds it and swings it around a little, he doesn’t even lift it when they face Satan (I think. I’d have to go back and watch again but I’m fairly sure he just stands in the background behind Adam with the tip of the sword facing the ground).
We know, or at least suspect from the scene where he fixes the hole in the wall that he’s physically strong and we know he’s still technically a soldier in Heavens eyes (Gabriel going „you’re a lean mean fighting machine“ and him having and possibly leading a platoon in Heaven) but he fully rejects that position in episode five to go back to Earth. He doesn’t want to be a soldier at all. He’s still a protector, we see this in season two with Jimbriel (he literally says „I said I would protect you and I will), but even THEN he doesn’t physically fight the demons entering the bookshop (he lights the circle but it’s Maggie and Nina throwing fire extinguishers and encyclopedias).
I know we as the fandom love badass Aziraphale. I love badass Aziraphale as well. I take a little bit of an issue with how him actually being badass is portrayed in fanfic sometimes because a lot of trying to make him physically fight demons comes across as trying to make him more masculine, more fit, less the campy, soft, kind character that he is and it annoys me. (A part of that is also how people try to make him more like Crowley, which I don’t like the undertones of either but that’s a whole different topic.) Both because I don’t like the implication that to make him badass you have to change that part of his character and because we’ve seen him being badass in the show already and it was either a) trying to protect humans/Crowley/Jimbriel, which involved a lot more threatening that him actually throwing hands or on one occasion b) him being bitchy (Furfur pronouncing his name wrong). It was him being kind and caring about people and their lives! And possibly their reading skills.
And I know there’s a lot of hope for more badass Aziraphale in season three, because hell yeah, Heaven getting obliterated from the inside? Absolutely. But when we get to see BAMF Aziraphale in season three (because I don’t doubt we will, in some form or other) I’d much rather see him be badass by outsmarting Heaven (magic tricks anybody?) and getting away with it or threatening the Metatron or whatever than by punching somebody in the face. And IF he does have to use physical violence, then I want there to be a reason for it and I want it to be portrayed as a bad thing. Like I want I to be the absolutely lowest point of the character because we know how much he detests doing it and he hates having to do it anyways.
In that case also want it to end with the Metatron dead in a ditch.
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bigfuckingfrog · 9 days
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since we r probably getting a senior year after that ending of junior year, i just wanna say i really hope fig is still in the season cause it would feel so weird without her. like a piece missing from the bad kids puzzle. i will support whatever emily axford chooses to do but i personally can’t imagine the bad kids without fig.
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apencilandpen · 4 months
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i think of you more often than i'd like to admit...
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firein-thesky · 2 months
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Why is it that dc such as r@pe, sa, and incest is totally okay to write about and romanticize but y’all draw the line at racism, fat phobia, and homophobia *talking about the writings creators make, not personal beliefs*? Whats the difference between these things? All of them are hurtful and affect people in real life, so why is everybody on here choosing and picking one and not the other? Do writers on here think that they are not comparable or that one is okay to romanticize and the other is going way too far?
Im just genuinely curious as I have seen this topic be brought up again and again, which has made me realize this and Id like to see it from someone else's pov.
hi! there is a lot to answer and unpack here and i have every intention of doing so underneath the cut. forgive me if this gets long, but you’ve asked me 4 very massive questions that i think warrant detail, nuance, and thought. there is a lot i’d like to say here.
that being said, mind the content warnings and protect yourself.
cw: mentions of rape, incest, racism, homophobia, fat phobia, discourse in general
firstly, i am going to choose to give you the benefit of the doubt in assuming you are actually curious in hearing another side and you are not simply looking to stir a pot or pick a fight with beliefs you have no intention of changing or having an open discussion on. your accusatory tone in the first half indicates otherwise and kindly, i am not an idiot. but i want to earnestly talk to you about this and again, will think better of you than you perhaps have indicated you think of me.
secondly, you do not have to censor words like rape in my inbox. that sort of censorship has become wildly popular because of tik tok and other money-hungry social media that also desperately want to silence people. do you know why you have to censor words like that on tik tok? or words like genocide? suicide? racism? 1. so that they can make money and market and push their squeaky clean algorithms but 2. and perhaps worse, so they can silence victims. if social media platforms and capitalism and the systems of powers had it their way, you would never utter these words again—whether to call someone out for justice or to have an open discussion like this one. i encourage you greatly to think critically about this and how you choose to use censorship and why.
now, to your questions.
to preface, i am interpreting this ask as being anti-dark content in fiction as you state that ALL these subjects harm people in real life. or at least, you are being critical of all dark content in fiction and the way writers engage with them, effectively ‘picking and choosing’ which are deemed acceptable and which aren’t, when they are all hurtful. i apologize if that wasn’t your intention/what you believe, but regardless, i’ll endeavor to answer you.
i personally have drawn no lines about dark content nor spoken about any of these topics specifically really, which indicates to me you have a different narrative and/or are coming from more inflammatory arguments that are always circling fandom lately. in the post i most recently reblogged, i spoke mostly of violence. which, of course, all of those things can be. but i didn’t name one of those topics in particular.
regardless, i don’t believe in the censorship of any dark content in art, but rather advocate strongly for critical analysis on a case-by-case basis. in general, i encourage thinking critically about every aspect of the world around you.
i do not believe that rape, incest, and sa are okay to write about or create art about but racism, homophobia, and fat phobia are not. i believe all of those topics are ones that can, should, and will be explored in the safety of art. all to varying degrees of success, earnestness, impact, and intent. you’re right that these are real things, that can hurt people, and the fictional work about them can have impact on our society that is tangible but the actual art or fiction created is not real. and again, this is all to varying degrees on a case-by-case basis.
art and fiction also historically and massively do discuss these dark content topics and have actively swayed the public’s opinion on matters, whether for better or for worse. throwing away all dark content in art and fiction because it is ‘harmful’ is deeply, deeply dangerous and reductive. a lot of art that engages with dark content actually makes very succinct points about it—i think of vladimir nabokov’s lolita or octavia butler’s bloodchild or speak by laurie halse anderson.
this is where we must exorcise critical thinking. some pieces of work will handle dark content poorly—white saviors making art on racism. men making art about a woman’s experiences that (as you are so interested in) romanticize her pain. etc. etc. and some art will handle it’s dark content incredibly and be transformative, perhaps even revolutionary in how we talk, perceive, or acknowledge systems of oppression, violence, and dark content in this world. some dark content in fiction will have damaging beliefs and effects on society, some will not—we must also look at scope for this, at the writer perhaps, the historical moment, their audience etc.
(for example, there is a significant difference in a main stream male writer, writing of a woman’s experience with rape in a published book in a way that makes it sound romanticized, sold to thousands and thousands of general public vs. a woman using fanfic to explore rape, take control of it, or whatever in a fanfic for a small online community where there are warnings on it. indicating she is aware of its potential damage in a way her male counterpart is not…)
but i still believe in dark contents’ existence in art. of course there is differences between all of these topics you brought up, but i don’t think their differences matter in this answer. i believe in their right to be explored in art. i am talking broadly of media/art here, which i think is the more relevant conversation, but i think you are actually more interested in a much smaller scale of people. ie. fandom. ie. mostly marginalized people in small communities online writing and creating dark content.
people will choose and pick which ones they’d like to create art over and which ones they don’t, which ones they read and which ones they don’t. there’s no ‘hard line’ drawn anywhere. and i can’t control it and neither can you. perhaps you think violence is okay to be explored in fanfic, but racism isn’t. someone else will have different preferences. i do not believe in its censorship.
now, let’s move onto your interest in romanticization and what i think you are more pointing to, which is fandom. you are specifically referring to people in fandom who write about rape, incest, etc. and ‘romanticize’ it—ie. they write about it in a way that is a fantasy. it is perhaps supposed to be horny or sexy. so let’s talk about it.
i must remind you that these topics you’ve brought up (rape, incest, sa) being written are fiction and it is (most often) done by someone marginalized who has either experienced this or is in threat of experiencing this under a patriarchy. i assure you, they are aware of its harm. hence the copious warnings in fandom spaces.
if i can be candid, sometimes i think that people forget how systems of oppression work when discussing fandom and whether dark content being created should be allowed or not.
for example, i sometimes think people who are anti-dark content in fandom believe that a woman or afab person writing a fictional fanfic about rape or sexual violence then influences people to go out and rape people or that women actually like it. when the reality, in fandom spaces, is that rape and sexual violence happen frequently under the patriarchy and then these women in fandom write fictional fanfic in response to cope, explore, take control of, etc. etc.
to insinuate that women or afab people (which fandom mostly is) exploring dark content safely in fiction then causes their own oppression and harm or trauma is rather victim-blame-y to me. fandom exploring dark content does not cause these things to happen in our society….these actions (rape, incest, sa) happen in our society or systems of power and fandom reacts to them in their art by exploring it in dark content. do you understand what i’m trying to say?
it’s not a matter of what is ‘okay’ to romanticize and what isn’t. i do not think the romanticization that fandom does with dark content (ie. my kidnapper actually loves me! or this sexual act that i did not consent to…maybe feels good) is not actually romanticizing but coping because of the systems of power that i described above. and this can be coping with anything—shame of sexuality, shame of fantasies, trauma, fear, etc. etc.
as i said in my tags in that post i reblogged and as plato said, dark content in art is a safe place to explore what would otherwise be harmful and dangerous in real life. it is cathartic. potentially even, a purging.
and even if it isn’t all that—maybe it just is trashy fantasy. it is still playing pretend. it is still fiction and in fandom spaces, it is still most likely being created by a marginalized person. and again, even if it isn’t, we don’t get to censor it. we can be critical of it or wary or whatever, but to censor it, is a slippery, slippery slope. do deem some topics as “acceptable” and others as “unacceptable” is dangerous.
just like kids play pretend where they ‘fight’ or ‘kill’ or ‘kidnap’ or ‘shoot’ each other in games of cops and robbers or heroes and villains, they are safely exploring adventure, dark content, fantasy, tragedy, and higher emotions. adults can do the same in fiction and with adult topics like sex.
and at the end of the day, we don’t get to demand the credentials to do so either. we don’t get to censor them or control them and nor should we be allowed to. i cannot stress enough that i encourage you to be critical of censorship or the absolute disgust in dark content and at those (again—often marginalized people) who engage with it in fandom. i believe it is deeply puritanical, conservative, and dangerous.
you don’t have to like dark content or consume it at all and fandom makes it easy not to with all the warnings and tags, but you cannot control others or police them. nor should you want to.
and at the end of the day, i have some questions for you. you don’t have to respond to this, perhaps they’re just things to think about. what is the end goal here? what is the point in harassing, shaming, attacking, criticizing, or interrogating people in fandom spaces who create or support dark content? do you believe that if it is purged from fandom, it will be purged from our society? if you want it purged from society—shouldn’t you start there rather than in the inbox of marginalized writers in fandom? people in fandom did not create rape, incest, and sa nor do they in their exploration of fiction…they are merely reacting to a world that did create it.
i hope at no point i came off as rude to you, as was not my intention. i intended to stand up for myself and respectfully state my opinions and thoughts on this matter. i’m sorry it got long, but also i don’t believe in being brief on such complex matters. i am a writer who engages critically with the world around me and sometimes, things cannot be made into short, snappy answers. sometimes, we must unpack.
genuinely wishing you well.
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blonndiec · 1 month
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I've been reading similar things and it's been bothering me. I get everyone is entitled of their own opinion/feelings and I respect that, but seems pretty extreme and detrimental for the future of Yuri!!! on Ice and for the fandom. So, I'm going to get it off my chest: - Victor Nikiforov is not dead. - Katsuki Yuuri is not dead. - They are not divorced. In fact, most probably are now married and with 10 poodles happily far away from Russia. Probably living in Japan based on Fukuoka or Hasetsu. So yeah, still together. - Victor probably skated one or two more seasons. Give it 3 seasons, because it was fun experiencing it with Yuuri. Mostly won silver but maybe his last season he did scored all Gold. Then retired and has been his husbands full-time coach. Probably even Yurio's choreographer. - Yuuri may be in his last competitive season or next one would be the last one given his stamina and how late he started competitive skating. He's won gold almost every year, perhaps even 2 Gold Olympic Medals. - At the moment maybe they're planning some off-season vacations. - ''See You Next Level'' is an open ending, so the story is ever growing and evolving. They're living. - Victor's past is that: The past, and it's gone. He learned from that, maybe Ice:Ado is him reminiscing about it before deciding letting it go in that frozen lake before Yuuri and Makkachin joined him there. He would rather live in the present with his two L's. - For really frustrating reasons, the movie is not seeing the light of day. But the anime exists, the fandom still exists and 14.5 million views on the announcement prove that. Also there is still content being created by fans, honoring the ''See You Next Level'' phrase. There, now here is a really concerned faced Victor after reading such funeral like good-byes and all the 'he's dead and his husband's dead' and everything in the world imploded.
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The way that Crowley put his sunglasses back on as his emotional barrier, and then used his last ounce of bravery in a desperate attempt to get Aziraphale to stay?? I need someone better at writing than me to do a whole analysis
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unclewaynemunson · 9 months
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Yall voted for the sober version of this premise so here ya go:
Steve doesn't know exactly what he had expected kissing Eddie would be like, but it sure as hell wasn't this. He would've expected something rough and raw, bared teeth and maybe fingers pulling at his hair. But what he gets instead is something infinitely soft, something resembling tenderness... It makes it all the more difficult for him to pull back.
“What's wrong, Stevie?” Eddie asks after one look at Steve's face.
“I need to tell you something,” Steve manages to choke out.
And Eddie wraps his arms all around him, pulling him closer until his head is lying right against Eddie's beating heart. That heartbeat, steady and reassuring, is all he focuses on while he talks.
“Remember last summer? The mall fire that wasn't really a mall fire?”
“You finally gonna tell me what happened there?” Eddie says. It doesn't sound accusatory, just curious and a little confused as to where this is headed.
“I don't really like to talk about it,” Steve confesses. He closes his eyes, flashes of what happened back then floating to the surface of his mind again.
“We – Robin and I – we were captured by Russian soldiers. They tied us up and interrogated us for hours. They thought we were spies, so they tried to get us to give up information. They hit me.” He pauses to take a breath. “They hurt me real bad, Eddie. Until I was bleeding all over. Until I lost consciousness and Robin thought I was dead. The only reason we survived is because they thought we would have useful information for them.”
“Jesus Christ, Steve...”
Eddie's grip around him tightens, but Steve lifts his head up and makes a half-hearted attempt to crawl away from him. The hardest part has yet to come.
“I really, really like you, Eddie,” he says. “But I can't do this with you.”
Confusion flashes over Eddie's features: his eyes widen and the lines around his lips become deeper. But he still doesn't loosen his grip.
“What do you mean?”
“It's the –“ Steve clears his throat. “I know what it means, the – your hanky. I got a cousin in New York who knows all about that shit, they send me magazines sometimes when my parents aren't home. I'm sorry, Eddie, but I can't do that, like, ever. It's only gonna make me relive that shit from last year. There's no way I can ever give you what you need, so it wouldn't be fair to...” He trails off, not quite knowing how to finish that sentence.
“What the hell are you talking about?” Eddie still looks as confused as ever.
“Your hanky,” Steve uselessly repeats. “You're flagging, aren't you? You're into, like, hurting people, right?”
Steve watches how Eddie's jaw drops, almost in slow motion.
“This?” he asks, grabbing behind him and taking the black piece of fabric, covered in skulls, out of his back pocket.
Steve nods.
Eddie laughs, but it sounds fake and on edge, quickly dying out again. “Steve. This is a metal thing. It looks badass, y'know. I literally have no idea what you're – flagging?”
A gasp escapes Steve's lips and he feels his heartbeat speed up with something that must be hope.
“Are you serious?”
Eddie nods, his brows still furrowed and that endearingly confused look of I-have-no-clue-what-the-hell-is-going-on not leaving his eyes.
It feels like Steve's heart is starting to run laps in his chest, now. He can barely suppress the laughter that's bubbling up inside of him.
“What the hell are you trying to tell me, Steve?”
He grabs the hanky that's still in Eddie's hand.
“I thought you were flagging,” he weakly explains. “It's like a code. To signal what you like to do, y'know, in the bedroom. The black, it means – I thought you were into, like, BDSM shit. Things I can't do: being tied down, getting hurt...”
“Why the hell would I get off on hurting you, Stevie?”
It sounds so ridiculously innocent and horrified: Eddie the freak, Eddie the scary metalhead – Eddie who is genuinely shocked at the suggestion that he had in any way created an image for himself in which it made sense that he'd be into pain.
“I mean, if you would, I wouldn't wanna judge you or whatever,” Steve is quick to say. “You'd be surprised how many people are into that shit, I'm not here to shame anyone. But if you aren't... I'm really fucking relieved, man.”
He still vividly remembers what happened when he was dating Daphne, who had once taken his wrists in her hands and pinned them down on the mattress above his head while she was on top of him. Or when he was with Melissa, who had half-jokingly slapped his ass one time when things were getting heated between them. Anything restricting his movements, anything unexpected, could make him lose his shit now, as he had had to find out the hard way. It had made him believe that he could never actually have Eddie, that that would be asking too big of a sacrifice of either one of them, an impossible kind of compromise, no matter how much they liked one another. But instead, here he is, with Eddie looking at him with the softest look in his eyes, actually having talked about his shit before they even got up to anything more than kissing.
So he tells him, stumbling his way through the words, about his experiences with Daphne and with Melissa. And Eddie listens to him patiently, his big eyes never once leaving Steve's, nodding as if he's mentally taking notes of what to do and what not to do.
“We can take it as slow as you need to,” Eddie tells him when he's finished, his voice sincere and reassuring.
“It's not about taking it slow,” Steve assures him. “It isn't about not being ready. It's more about...” He pauses to think. “It's about trust. I trust you.”
Eddie's hands, that are still wrapped around Steve's torso, tighten for a moment and he blinks rapidly a few times. He looks overwhelmed by Steve's words.
“Okay,” he finally says, a little bit more hoarse than before. “So if it's about trust, can I trust you to tell me whenever something I do is bringing back unwanted memories?”
Steve nods. “Yeah, I can do that.”
It's always been difficult for him to talk about what happened that day underneath the mall. But he realizes he has already done the difficult part: Eddie already knows about the memories he is carrying with him. That must make it easier to talk about it in case it will ever be necessary.
Soft lips press against his temple and he drops his head back on Eddie's chest.
“Good,” says Eddie. The sound of his voice vibrates through Steve's whole body; he doesn't think there's anything more comforting than being completely wrapped up in Eddie like this.
A hand lands in his hair and starts stroking through it softly.
“Thank you for telling me this,” Eddie mumbles. “That couldn't have been easy.”
In return, Steve wants to thank Eddie for being as sweet and understanding as he has been, but the exhaustion of having this talk is washing over him in big, heavy waves. So he merely hums and lets his eyes fall shut.
“You wanna stay the night?” Eddie asks. “We don't have to do anything right now – we can go straight to sleep, how does that sound?”
Steve nuzzles his head further into Eddie's chest. “Sounds good,” he murmurs. He can't imagine ever wanting to sleep on his own again.
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