PROMPTS FROM THE SOPRANOS *  assorted dialogue from the television show, adjust as necessary

i find i have to be the sad clown: laughing on the outside, crying on the inside.

i went ahead and ordered some for the table.

when you're married, you'll understand the importance of fresh produce.

we've got guns here.

he just told you to shut the fuck up.

the things i take pleasure in, i can't do.

don't you ever say you hate life.

oh, poor you!

so what, no fucking ziti now?

you want compromise? how's this?

i'll keep this short and sweet.

you're weak. you're outta control. and you've become an embarrassment to yourself and everybody else.

sometimes it's important to give people the illusion of being in control.

are you in the mafia?

tomorrow i can be on time, but you'll be stupid forever.

let me tell you a couple of three things.

you're not gonna believe this.

a wrong decision is better than indecision.

i'm like king midas in reverse here. everything i touch turns to shit.

if you can quote the rules, then you can obey them.

we're soldiers. soldiers don't go to hell. it's war. soldiers kill other soldiers.

we're in a situation where everyone involved knows the stakes and if you are going to accept those stakes, you've got to do certain things.

there's an old italian saying: you fuck up once, you lose two teeth.

someday soon, you're gonna have families of your own and if you're lucky, you'll remember the little moments like this that were good.

hey, i don't even let anyone wag their finger in my face.

it's good to be in something from the ground floor.

those who want respect give respect.

is this a woman thing? you ask me how i'm feeling, i tell you how i'm feeling, and now you're going to torture me with it.

lately, i'm getting the feeling that i came in at the end. the best is over.

my father was in it. my uncle was in it.

maybe i was too lazy to think for myself.

buy land, 'cause god ain't making any more of it.

i don't care how close you are. in the end, your friends are gonna let you down.

family... they're the only ones you can depend on.

take your hat off.

teddy roosevelt once gave an entire speech with a bullet lodged in his chest. some things are just a matter of duty.

some people are so far behind in a race that they actually believe they're leading.

sometimes we're all hypocrites.

other people's definitions of you, sometimes they're more about making themselves feel better. you gotta define yourself.

people only see what you allow them to see.

death just shows the ultimate absurdity of life.

you know when i was depressed i said i didn't want to live? well, i'll tell you something. i didn't want to die.

that's why dinosaurs don't exist no more.

don't touch that! my program's coming on.

i wish the lord would take me now.

our existence on this earth is a puzzle.

i'm getting my wine in position to throw in your damn face.

To summarize today's day in university:

- got diagnosed with social phobia by a class mate (bitch?!)

- heard a Very cool lecture/presentation by a guest lecturer

- our lecturer said she kinda liked our idea for our presentation

- had lunch with friends in the uni canteen which was nice but evoked some existential despair

you guys would not believe the convo I just had with some of the sys (sunny, circe, moon, phoebe, francis, martin and jon)

we were in the living room of headspace discussing what stuff we should do while on holiday and a fucking. disembodied brain??? floats into the middle of the room??? and just hovers there and we're all freaked the fuck out and it just. becomes a full nervous system and them it has muscles and skin and clothes and boom. it was phoebe. WHAT THE FUCK. WHY WOULD SHE. WHAT. WHY.

turns out she was just having fun fucking with the dream-physics of headspace. later in the convo she was suddenly an autism creature after a brief confetti explosion and then she turned her hair into hatsune miku's hair. wtf is wrong with this girl. also british people (jon and martin) joined the convo and started being GAY IN FRONT OF ALL OF US. GROSS (it was cute actually)

there are a lot of posts out there that are positive and healthy coping mechanisms for handling the holidays. this is not one of them :)

i think there's like. going to be times in your life you will be stuck in a social situation that you cannot escape from gracefully. i do not know why the internet doesn't believe these times exist. it's not always just that your physical safety is at risk - sometimes it's legit like "i just don't currently have the energy or time to put in the effort of responding to this." sometimes it's a coworker you hate so much. sometimes it's just like, fine, you know? like you know you can handle your aunt when she's cheerily horrible, but if you actually set a boundary around her, it's going to be weeks of fallout with your father.

i don't know why people think the answer is always just "cut them out!" or "don't let them get away with that!" because ... the real world is tricky and complicated. i think kind of a lot of us have an internal "radiation poisoning" meter for certain people. like - i'm talking about the ones who are absolutely giving you gradual ick damage. like, you can handle them, but you'll be exhausted.

and yes. you absolutely should listen to your therapist and the good posts about handling others and set good boundaries and take care of yourself. prioritize peace.

HOWEVER :) ...... since im often in a situation with a Gradual Sense of Ick person i cannot just "cut out" of my life (without losing someone else precious to me) - i have sort of developed the most. maladaptive form of mischief possible. because like, if i'm going to have to listen to this shit again, i like to have a little bit of private fun with it.

now! again, i am physically safe, just mentally drained by this man. you should only do this with people you are not in danger with. which leads me to my suggestions for when your Unfortunate Acquaintance shows up and says oh everyone pay attention to me.

my favorite word is "maybe!" said as brightly and happily as possible. whenever the Horrible Person starts in on a topic you do not want to go further with, particularly if they make a claim that you know to be inaccurate, do not respond to it. you and i have both tried to actually argue with this person, and it hasn't gone well, because this person just wants the drama of an argument. however, "maybe!" gives them literally nothing to go on. it is incredibly disarming. they are used to people having some response. they know they can't prove what they're saying, and maybe! treats them like the child they are. it dismisses them in the politest way possible.

i like to say maybe! and then, in their stunned silence, immediately change the subject. this is because i have adhd and i will have something unrelated to talk about, but if you can't think of topics fast enough, i recommend just pointing to something and saying, "isn't that lovely?" because fuck you let's bring in some positivity.

by the way. that second trick - of pointing to something and stating an opinion about it? - that just works on its own, like, 70% of the time. i picked it up from teaching preschoolers. it's an intentional "redirect". it stops children crying and it also stops grown adults from finishing their explanation on why women belong in kitchens. dual wielding!

keep it silly for yourself. i absolutely do not care if people think i'm fucking stupid (it's more fun if they do) and as a result i will purposefully misunderstand things just to see how long it takes them to realize i've completely removed them from the subject at hand. when they say "women aren't funny" i get to be like. "which women." "all women." "all women in america?" "no in the world." "like the mole people? the people in the world?" "what? no. like, alive." "oh are we not counting the mole people?" "what the fuck are you talking about." "you don't believe in the mole people?"

similarly, i play a personal game called "one up me." my Evil Acquaintance literally knows this game exists (my family & friends caught onto it and now also play it) and it always fucking gets him. i don't know why. you have to be willing to be a little free-spirited on this one, though. the trick is that when they make one of those horrible little bigoted or annoying comments they are always making, you need to go one unit weirder. not more intense, mind you - just more weird. "you don't look good in that dress." "yeah, actually, my other dress was covered in squid ink due to a mishap at the soup store." "you shouldn't wear such revealing clothes." "wait, what? oh shit. sorry, your son tears off strips when no one is looking and eats them. i swear it was longer before we left the building."

the point of "one up me" is to completely upend this person's narrative. we both know this person likes setting up situations where you cannot "win" and then they really like telling other people how badly you handled it. in a usual situation, if you respond "please don't say something that rude", you're a bitch. but if you let it happen, you're letting yourself be debased. they are not usually expecting door number three: unflappably odd. because what are they going to say when they're telling everyone how badly you behaved? "she said my son eats her dresses" ".... okay?"

if you can, form an allyship with someone whomst you can tagteam with. where they can pick up on your weird "soup store" story and run with it.

the following phrase is amazing and can be deployed for any situation: "oh, be nice :) it's the holidays!" i do not know why this works as often as it does. i'll say it for the most random shit. i think this is bc most of the time these people know they're being impolite, they just like to fight.

godbless. when in doubt, remember that you could always start stealing their pens.

the whole point of this is - if you can't escape. maybe see how long you can just be. like. a horrible little menace.

I’m posting the ever-so-rare photo of myself alongside one of my characters based on my childhood because today is World Autism Acceptance Day, and I wanted to show my little corner of the internet who this particular autistic person is:  

I was officially diagnosed in February, at age 38 (I’m now 39). A lot of people thought I couldn’t be autistic.  Some people who know me in real life still don’t.  And until around 10 years ago, I didn’t think I could be either, because I was nothing like the stereotype media portrays. I was told that autistics lacked empathy (untrue), and never played make-believe (also often untrue) and only enjoyed STEM.  I was — and am — an empathetic artist -- and make believe?  I can spend days sketching finely bedecked bears brewing tea or carefully choosing the right words to weave tapestries of fiction — though perhaps my hyper focus was a bit of a red flag.  Even so, how could autism describe me?  I was a good student.  I got straight A's. I didn’t act out in class.  I can make eye contact…if I must.  And lots of girls hate having their hair brushed with an unholy passion, right?  Clearly I swim in sarcasm like a fish, so autism couldn't be why I was so anxious all the time, could it?

If someone had told me when I was younger what autism ACTUALLY is — instead of the nonsense I’d seen on screens — I would have seen myself in it.  I didn’t hear that autistics have sensory issues until I was in my mid-twenties, which is when I first began to really research autism symptoms, and I had almost all of them:  sensitivity to light, smells, fabrics, temperatures, textures, and certain touches, all of which make me feel anxious, I fidget (stim), I never know what the hell to do with my hands or where to look, I talk too little or too much, I have special interests, I have entire animated movies memorized shot-by-shot and can remember the first time and place I saw every movie I've ever seen but I often forget what I'm trying to say mid-sentence, I echo movies and tv shows (my husband and I have a whole repertoire of shared echolalias, making up about 20% of our conversations), I was in speech therapy as a kid, I have issues with dysnomia and verbal fluency, I toe-walk, I can't multitask to save my life, I like things just-so, I’m deeply introverted but not shy, I need to recover from all social interaction — even social interaction I enjoy — and I find stupid, every day things like grocery shopping, driving and making appointments overwhelming and intensely stressful, sometimes to the point where I struggle to speak.  It turns out, I am definitely autistic. My results weren't borderline. Not even close. And while these aren’t all of my challenges, and not everyone with these symptoms is autistic, it’s definitely something to look into if you present with all of these things at once. 

So why did it take me so long to get diagnosed? The same bias that exists in media threads through the medical community as well, and because I'm a woman who can discuss the weather while smiling on cue, few people thought I was worth looking into. Even after I was fairly certain I was autistic, receiving an official diagnosis in the US is unnecessarily difficult and expensive, and in my case, completely uncovered by my insurance.  It cost me over $4000, and I could only afford it because my husband makes more money than I do as a freelance illustrator — a job I fell into largely because it didn’t require in-person work; like many autists, I have been chronically underemployed and underpaid, in part due to physical illness in my twenties, which is a topic for another day.  But it shouldn’t be like this.  It shouldn’t be so hard for adults to receive diagnoses and it shouldn’t be so hard for people to see themselves in this condition to begin with due to misinformation and stereotypes. Like many issues in America, these barriers are even higher for marginalized groups with multiple intersectionalities. 

It’s commonly said that if you’ve met one autistic person, you’ve met one autistic person.  This is why it’s called a spectrum, not because there’s a linear progression of severity (someone who appears to have low support needs like myself might need more than it seems, and vice versa), but because every autistic person has their own strengths and weaknesses, challenges and experiences, opinions and needs.  No two people on the spectrum present in the same way.  And that’s a good thing!  No way of being autistic is inherently any better than any other, and even if someone on the spectrum struggles with things I don’t — or can do things I can’t — doesn’t make them more or less deserving of respect and human dignity.

But speaking solely for myself, the more I learn about autism, the happier I am to be autistic.  I struggle to find words and exert fine motor control, but my deep passion and fixation has made me good at art and storytelling anyway.  I find more joy watching dogs and studying leaf shapes on my walks than most people do in an entire day.  More often than not, the barriers I’ve faced weren’t due to my autism directly, but due to society being overly rigid about what it considers a valid way of existing.  My hope in writing this today is that maybe one person will realize that autism isn’t what they thought — and that being different is not the same as being less than. My hope with my fiction is to give autistic children mirrors with which to see themselves, and everyone else windows through which to see us as we actually are.

If you’re interested in learning more about autism or think you might be autistic, too, I recommend the Autism Self Advocacy Network  autisticadvocacy.org and the following books:

What I Mean When I Say I’m Autistic by Annie Kotowicz

We're Not Broken by Eric Garcia

Knowing Why edited by Elizabeth Bartmess

Unmasking Autism by Devon Price, PhD

Loud Hands edited by Julia Bascom

Neurotribes by Steve Silberman

(trigger warning: the last two contain quite a lot of upsetting material involving institutionalized child abuse, but I think it’s important for people to know how often autistic children were — and are — abused simply for being neurodivergent).

Thanks for reading 💛

Look if there's one thing, just one thing, that I wish everyone understood about archiving, it's this:

We can always decide later that we don't need something we archived.

Like, if we archive a website that's full of THE WORST STUFF, like it turns out it's borderline illegal bot-made spam art, we can delete it. Gone.

We can also chose not to curate. You can make a list of the 100 Best Fanfic and just quietly not link to or mention the 20,000 RPFs of bigoted youtubers eating each other. No problem!

We can also make things not publicly available. This happens surprisingly often: like, sometimes there'll be a YouTube channel of alt-right bigotry that gets taken down by YouTube, but someone gives a copy to the internet archive, and they don't make it publicly available. Because it might be useful for researchers, and eventually historians, it's kept. But putting it online for everyone to see? That's just be propaganda for their bigotry. So it's hidden, for now. You can ask to see it, but you need a reason.

And we can say all these things, we can chose to delete it later, we can not curate it, we can hide it from public view... But we only have these options BECAUSE we archived it.

If we didn't archive it, we have no options. It is gone. I'm focusing on the negative here, but think about the positive side:

What if it turns out something we thought was junk turns out to be amazing new art?

What if something we thought of as pointless and not worth curating turns out to be influential?

What if something turns out to be of vital historical importance, the key that is used to solve a great mystery, the Rosetta stone for an era?

All of those things are great... If we archived it when we could.

Because this is an asymmetric problem:

If we archived it and it turns out it's not useful, we can delete.

If we didn't archive it and it turns out it is useful, OOPS!

You can't unlose something that's been lost. It's gone. This is a one way trip, it's already fallen off the cliff. Your only hope is that you're wrong about it being lost, and there is actually still a copy somewhere. If it's truly lost, your only option is to build a time machine.

And this has happened! There are things lost, so many of them that we know of, and many more we don't know of. There are BOOKS OF THE BIBLE referenced in the canon that simply do not exist anymore. Like, Paul says to go read his letter to the Laodiceans, and what did that letter say? We don't know. It's gone.

The most celebrated playwright in the English tradition has plays that are just gone. You want to perform or watch Love's Labours Won? TOO FUCKING BAD.

Want to watch Lon Cheyney's London After Midnight, a mystery-horror silent film from 1927? TOO BAD. The MGM vault burnt down in 1965 and the last known copy went up in smoke.

If something still exists, if it still is kept somewhere, there is always an opportunity to decide if it's worthy of being remembered. It can still be recognized for its merits, for its impact, for its importance, or just what it says about the time and culture and people who made it, and what they believed and thought and did. It can still be a useful part of history, even if we decide it's a horrible thing, a bigoted mess, a terrible piece of art. We have the opportunity to do all that.

If it's lost... We are out of options. All we can do is research it from how it affected other things. There's a lot of great books and plays and films and shows that we only know of because other contemporary sources talked about them so much. We're trying to figure out what it was and what it did, from tracing the shadow it cast on the rest of culture.

This is why archivists get anxious whenever people say "this thing is bad and should not be preserved". Because, yeah, maybe they're right. Maybe we'll look back and decide "yeah, that is worthless and we shouldn't waste the hard drive or warehouse space on it".

But if they're wrong, and we listen to them, and don't archive... We don't get a second chance at this. And archivists have been bitten too many times by talk of "we don't need copies, the original studio has the masters!" (it burnt down), or "this isn't worth preserving, it's just some damn silly fad" (the fad turned out to be the first steps of a cultural revolution), or "this media is degenerate/illegal/immoral" (it turns out those saying that were bigots and history doesn't agree with their assessment).

So we archive what we can. We can always decide later if it doesn't need preserving. And being a responsible archivist often means preserving things but not making them publicly available, or being selective in what you archive (I back up a lot of old computer hard drives. Often they have personal photos and emails and banking information! That doesn't get saved).

But it's not really a good idea to be making quality or moral judgements of what you archive. Because maybe you're right, maybe a decade or two later you'll decide this didn't need to be saved. And you'll have the freedom to make that choice. But if you didn't archive it, and decide a decade later you were wrong... It's just gone now. You failed.

Because at the end of the day I'd rather look at an archive and see it includes 10,000 things I think are worthless trash, than look at an archive of on the "best things" and know that there are some things that simply cannot be included. Maybe they were better, but can't be considered as one of the best... Because they're just gone. No one has read them, no one has been able to read them.

We have a long history of losing things. The least we can do going forward is to try and avoid losing more. And leave it up to history to decide if what we saved was worth it.

My dream is for a future where critics can look at stuff made in the present and go "all of this was shit. Useless, badly made, bigoted, horrible. Don't waste your time on it!"

Because that's infinitely better than the future where all they can do is go "we don't know of this was any good... It was probably important? We just don't know. It's gone. And it's never coming back"

Hamas propaganda is so much more effective than Israeli propaganda despite not having the support of seemingly every western news organisation. It's simple, clear, cohesive, easy to understand, and therefore believable.

For example, Hamas will film themselves handing over healthy looking hostages to the Red Cross and then interact with them right before they leave to show how friendly the captors and captives have gotten. You watch the videos and you understand everything that is being conveyed immediately.

And it worked. Even the people in my life, who aren't watching the conflict as closely as we have, have seen these images and have spoken in varying levels of surprise at how 'nice' and 'hospitable' Hamas was to the hostages. Keep in mind that these videos came out after weeks of billions of people witnessing the brutal and systemic murder of Palestinian people. The contrasting gentleness of the hostage exchange stood out greatly.

Israeli propaganda is chaotic, it conflicts itself, it's complicated. Look at this for example

In order to explain why the hostages were so friendly with their captors, first, it was because the hostages had Stockholm Syndrom. Naturally, social media, their second greatest enemy, was awash with people refuting the existence of such a syndrome. So, it became that the hostages were actually being held at gun point. While, there were guns present during the hostage handovers, no one was pointing them at hostages in the videos that we all have available. No one was being hostile either. Now, we have the sedative explanation which again can be easily refuted by the videos we all have access to because the hostages didnt seem particularly drowsy. So, we have hostages with Stockholm Syndrome, who had guns pointed at them, and who were sedated. That's just too much. How can Stockholm Syndrome coexist with being held at gun point in front of the Red Cross? Why would they need to threaten the hostages if they're sedated? Which explanation can the average zionist go with? Which one can a neutral party accept?

The same goes for the war propaganda. On one hand you have American officials insisting that Israel would never harm Palestinian civilians on purpose but on the other hand, you have soldiers filming themselves shooting recklessly and with wild abandon into thin air with the implication being that they're battling off screen Hamas. You also have Israel insisting that hospitals, schools and refugee camps are secret Hamas bases but all we are seeing is civilians getting murdered in protected areas. When it comes to war reports, they can't decide if they've killed 1,000 or 5,000 Hamas fighters. No wonder even Israeli commentators have given up on the promise of the complete eradication of Hamas.

The Palestinian resistance have also released war propaganda. Simple, well edited videos showing their fighters actually battling Israeli soldiers and tanks, sometimes very up close. The videos are similar despite featuring different confrontations in the battlefield over a period of time. It's easy for anyone to spot an Al Qassam or Al Quds video. It's even easier to accept their daily war reports because we've seen them back up their claims. The numbers they give are consistent with their capabilities as well as various indicators such as Israel being forced to decommission their older tanks for the war in Gaza. Would they be doing that if they weren't losing their top line tanks fast?

Many zionists have spent the past 2 months confused as to why the whole world has seemingly turned against Israel. I'd point the finger at Israel if I were them, both due to its actions in Gaza and its inability to continue fooling the world.

Bruh. As much as we talk about how funny and wacko the early era of tumblr was with its mishapocalypses and so on and so forth, I like tumblr a LOT more now. Like, if you were ace, you did NOT wanna look in the asexuality tag back then like holy fuck. It was a hostile battleground in there every day. The idea of being "aphobic" was in and of itself a joke. It was a perfectly valid stance on here. People would straight up make fake ace blogs just to say super cringy shit so ppl could screenshot and use it for an example of our attitudes and behavior. It was so fucking exhausting to be on here sometimes. Every day I had to block blogs I had followed for ages and legitimately liked and I remember being so upset All The Time like bitch I'm just existing here what the fuck man. Eventually I just kinda backed my ass right back into the closet and blacklisted any and all ace content. Just said fuck it I can't look at this shit anymore I'm done i dont even care what I am.

I glanced in the ace tag today bc it's ace day and was so relieved. Like I know it probably hasn't been bad like it was for awhile now but I'm still just like always expecting the worst from the internet. I still subconsciously stay removed from my own identity most of the time and take pains not to bring it up unless I'm with my close friends, and even then not very often. I still cautiously hesitate to say I'm part of the queer community even tho most people it seems are on board with the A in LGBTQIA being for Aspec. It could just be that with the tiddy ban most of the remaining perpetrators left or something but either way I'm really glad this place has become legitimately ace-positive. I wouldn't have believed it possible back then there was SO much vitriol aimed at us. Even if this site is actually just an echo chamber of aces shouting positivity at each other today, I'll still enjoy it. They didn't really let us do that back then. They invaded every tag we tried to make for ourselves. So happy Ace Day. Don't forget to appreciate every positive post that shows up on your dash.

how about some ciel headcanons with a demon s/o? not with angst, like s/o is a young chaos demon that just squeezed themselves on the contract so s/o helps ciel with his work and so.

🐈‍⬛ anon

(I remember a very similar thing of demon! Ciel with a albino! demon! S/O, it's quite cute, but I'm not adding it here! Hope you enjoy reading this!)

Ciel with a Demon! S/O

✣ You met Ciel, when Sebastian introduced you both to each other. Sebastian was an elder demon who used to follow you since he met you because he had this instinct to follow you, no matter what you do and he was right as you being a chaos demon happens to be quite harming to his contracts...

✣ Whenever you would get even a hundred mile near the person he has a contract with, they would get in some type of wierd situation, but he enjoys your company even though he hates all demons, except you as you're quite helpful and you knew how to protect his masters and wouldn't be salavting over his master's soul, like he though you would.

✣ So, upon his introducing you, Ciel took you in as one of his maids and upon taking you in, he noticed the immediate change it had on the manor, the trio would cause less problems for him, Sebastian's cats aren't shoing up as often, the place is often clean and Elizabeth ins't decorating it in embarrasing yet cute decor he hates so much.

✣ As he slowly developed feelings and you both started dating, he got to learn about you being a chaos demon, he learnt how Sebastian would protect him from you accidentally bringing chaos everywhere you go, but he doesn't care as you bringing chaos isn't going to change his loves for you.

✣ He is actually quite happy you're a demon, it's because he knows you won't die and it definitely won't be easy to kill, with Sebastian polishing your skills and helping you and though you're younger and around Ciel's age in demon years, you're a fast learner, except sometimes in battles you zone out, but are still fighting and dodging your enemy amazingly except you're staring into nothing...It concerns both Ciel and Sebastian as is this even normal?

✣ Ciel now has another protector, also since you eat the souls of certain people who try to attack Ciel and have a tasty soul, you're rather full and have no need of eating Ciel's soul. If it's Sebastian who kills the perpetrator, he will bring those souls to you, but only if they are high quality souls, he refuses to have his child/sibling/problem child figure have low quality and disgusting souls..

✣ Ciel allows you wayyyy more freedom than he allows Sebastian, like you have brought in three, white tigers in the manor, and Ciel didn't even care, he was also wearing a mask, did those even exist back then? But anyways, Seb is jealous at the amount of freedom you have, except it goes away when you invite him to cuddle with those three, adult, white tigers.

✣ Also, you're just as talented in things as Sebastian despite being at such a young age like you already know 21 languages, can manipulate anyone you want, great st using multiple weapons at the same time, fighting and dodging while drinking a smoothie or eating a cake at the same time. And even though Sebastian says it's because of him, Ciel doesn't believe him because he believes you're just amazing like that!

✣ If you're happy with showing him your horns and wings on occasions, he would love to groom them, clean them, wash them and polish them nicely for you and he does it so often, he knows everything about demon self-care, you'd look all shiny and whenever you and Sebastian show each-other your wings and horns, he's surprised at how clean they are, despite knowing how you don't clean regularly...

✣ Oh, speaking of wings, he loves to cuddle you and sleep with you while you have your wings out, he gets all whiny and upset if you refuse to show them to him when you go to sleep because they're dirty or smell or whatever because you know he will drag you to clean them no matter how late at night it is, cause he now can't sleep without stroking, touching or cuddling your wings..Have fun!

✣ Overall, he doesn't really care, but he's less possessive because he knows demons don't fall for just anyone they meet, only special chosen one, so you won't fall for anybody else and because he knows you won't die during a stupid assassin!

I've seen sometimes people arguing that Shen Yuan as Shen Qingqiu is constantly performing, faking his personality, and therefore Luo Binghe fell for someone who doesn't actually exist.

And fortunately that is wrong.

Shen Qingqiu has to act like an aloof immortal to keep his image, but he hasn't acted anything remotely like og!Shen Qingqiu since the skinner incident. And even with the OOC locks on, he kept losing points for acting OOC.

So, he's not acting as Shen Jiu, he behaves in a way he thinks an immortal cultivator should, which is basically himself but more calm, with Shen Jiu's muscle memory helping him to keep a blank face.

The thing is, that's how most people act. If you're as thin faced as he is, as easily embarrassed you tend to avoid embarrassing situations, refrain yourself from saying embarrassing things, constantly trying to pretend you aren't embarrassed at all.

His internal monologue is different to what he shows, but that's how it works for most people. Put yourself in a situation in which a friend asks you about something you absolutely don't care about, you think inside your head something along the lines of: " I don't caaaare" "I don't give a shit" "THIS AGAIN. WHY. I DON'T CARE I DON'T CARE." etc, and depending on your personality you might answer differently. If you're blunt you'd say something like "Couldn't care less", if you're cruel you'd say "Nobody gives a shit" if you're kind you'd consider what they asked and answer even though you don't care, if you're assertive you'd answer and also say something like "please don't ask about it again" and that's without taking into consideration how much you care about said friend, how you behave with this person in particular.

Shen Qingqiu, would say to Shang Qinghua. "I don't give a shit," he feels comfortable enough to be crass and doesn't care much about his opinion of him, to Liu Qingge he'd say something like "Liu-shidi really focuses on the strangest things" doesn't want to hurt his feelings, but feels comfortable enough to hint that he doesn't care about it. To Ning YingYing he'd answer and then change subjects, cares enough to not hurt her but doesn't feel comfortable enough to show he doesn't care about whatever she said. To Luo Binghe, he'd take the time to answer and then add something like "This master really doesn't care about such things" because he doesn't want to hurt Binghe, but he is comfortable enough to confess how he really feels about it, he answers and then kindly informs him about his feelings on the subject.

That's not faking, that's something everybody does.

Shen Qingqiu doesn't lie more than the average person (who has a nightmare AI clinging to their soul) to others, but does constantly lie to himself (even though when you read you can tell he's aware of the truth, but actively convinces himself that it can't be, that that's what a less informed person would think, but not him who knows PIDW like the palm of his hand and therefore knows better etc, etc.) If he obfuscates his real thoughts or feelings, it's not in an attempt to deceive others, but a result of his constant inner gaslighting and paper thin face.

"But he didn't act like that as Peerless Cucumber!" If you behave the same way irl as you do online you need to spend less time online.

Logically, it's impossible to keep a facade 24/7, so it can be argued that Luo Binghe saw him in a more relaxed state, consolidated his love for him when he got to know him while sharing a home for two years. I don't believe that Shen Qingqiu kept his Qingqiusona on at all times, but I do believe he would've been more reserved in front of his disciple. And, as I said before, you behave differently depending on who you're with, and of course never say out loud all the things running inside your head.

I believe that if Shen Yuan transmigrated into some random NPC and not Shen Qingqiu, he would have behaved pretty much the same, but would've been far more easier to read and less formal, although formal enough as according to whatever station he belonged in such a case.

It can also be argued that, after acting for almost a decade as how he believed an immortal should act, it became an actual part of his personality, being aloof and reserved, keeping quiet when in doubt instead of spouting a cutting remark (as I picture he would pre-transmigration).

People do change, they can become louder or quieter, kinder or crueler, less or more confident. Such changes happen according to your choices, choices that become easier and easier to make as time passes, until the choice to be loud or quiet, kind or cruel, becomes your instinctive response.

So no, Shen Qingqiu hasn't put on an act beyond what's normal (trying to appear calm when you aren't, trying to seem unbothered when ashamed) since the skinner arc.

So, does he keep acting like a cold master after he and Luo Binghe got together? No. He doesn't. He's never been cold to Luo Binghe, unless forced by the System or when he was scared out of his mind with fear in Jinlan City. In fact, after they got together Bingqiu acts very much like any other couple would (... When the couple is bingqiu.)

For example, we can see them being playful in the extras, like in the Honeymoon Chronicle:

Shen Qingqiu feels comfortable enough to fool around with Luo Binghe, as long as It's the two of them alone.

Shen Qingqiu is not putting on an act, and hasn't done so since the first year after he transmigrated. This is his real personality. Would he have behaved differently had he not transmigrated? Yes, of course. And had he transmigrated as someone else? Yes, obviously. Our experiences shape us. He would've been different but not unrecognizable. To become drastically different, he'd have to also live through some drastic experiences. But, in the same way you can recognize yourself in the person you were 10, 20, 30 years ago, despite all the glaring differences, despite all the ways you've changed, Shen Qingqiu would've remained the same at his core.

I MET MICHAEL SHEEN. 16/03/24, National Theatre

So, if you've read my post about booking tickets to see Michael, you know all about my what-ifs. But the day was finally here.

I arrived at the National Theatre, followed all the Nye signs and here's the Olivier Theatre. I made my sister buy me the show's programme, hoping I would be able to get it signed.

I find my seat, I'm not in the centre but the stage still feels very close and you can see everything (amphitheatres are always the best).

Lights out. The audience is in religious silence. Can't believe I'm actually here, this is happening.

[skip this part in smaller font, if you want to avoid spoilers] In the words of Staged, he really loses himself in his roles. First of all, it's great to hear him speak in a Welsh accent.

But then we also see him turning back into a child, and you can totally believe he's young and innocent again. His stutter feels so real, his struggle and sadness too. The entire ensamble is great during the classroom scene, where they all help Nye against their bullying teacher (using those big canes to make him look scary really works). Hearing young Nye confessing that at times he thinks he 'shouldn't exist' because of who he is was a gut punch; Michael's delivery of that whole part is incredible, in that moment he really becomes a little boy that allows himself to feel vulnerable and says something dark to a friend. The way he jumps while saying "I can visualise and enunciate!" made me wanna jump too, he was ready to give up and then he found the solution through books, it's the joy and relief you feel when you realise that there is another way and your life is not over.

Now, I've watched musicals all my life and let me tell you that man is meant to be in one. He opened his mouth and all I could see was someone that had been waiting a long time for the occasion to show his talent, truly showstopping. He was so free and happy and confident, singing and dancing spectacularly. I couldn't stop smiling and giggling, we all clapped.

It's clear he means every word he says, and when he points and shouts his political arguments at the audience, those who feel called out must be shaking; I thought 'This is how people in Ancient Greece must have felt everytime they went to the theatre'. His Nye is inspiring, passionate, someone you'd want to follow, he stands up for what he believes in and lets nothing get in his way.

We get to watch him flirt, on all fours, waggling his 'tail'; everytime we think we've seen all he's capable of, he does something like this and surprises us.

But most of all, we see him being scared, first of having to do something, and then of not being able to do enough for all of us. At one point everyone has requests for Nye and I was expecting him to shout "Heal yourselves!" like Jesus in JCS, it totally conveyed what it must have been like to be in his role at the time, overwhelmed with daunting responsibilities.

In general, I appreciated the fact that it wasn't a linear biography, they chose life moments that have universal situations everyone can relate too, like they do in bio-musicals. I loved the staging. The colour palette is so recognisable; the curtains and the beds are used in many different ways so everything is explored at its full potential.

He is on stage basically all the time for more than two hours (sometimes twice a day, can you imagine?). Also barefoot and in his pajamas from start to finish, he looks like a teddy bear you just want to hug and protect.

He bows, looks at Nye's achievements, then leaves the stage.

Standing ovation, applause. I go back to the theatre lobby, I was supposed to wait for my sister, but she's late. Meanwhile, a fan asks me how to get to the Stage Door. I start too fear that I'm going to miss my chance if I keep waiting inside, so I decide to go on my own. After no more than 5 minutes, he's outside with us. Forget Nye, I am living my fever dream. He has just finished his second show of the day and yet he's smiling and listening to each and every one, signing and taking pictures. I know many have said this, but he really is an angel.

My sister arrives, and as soon as I'm sure she has the camera ready, I make my way to him. The two girls next to me who were speaking to him needed a pen and I lent them my sharpie, so I got my chance to look generous in front of him.

And suddently it was my turn. This is as much as my scrambled mind allows me to remember: I tell him I'm Francesca and I'm from Italy, he asks me how long I am going to stay, I confess that I had arrived that morning and just to see him, that I would be leaving already the following morning. I can't even focus while he's signing my programme, I just want to find the right words. I manage to say how I enjoyed seeing his passion, all these different sides of him and how watching him sing and dance has been the highlight of my evening. We take a picture together, I feel his hand on my shoulder and I realise my arm is around the waist of this person I love. I had to thank him again, telling him that he only deserves good things and that we are so lucky to have him. He wishes me a safe trip home, and I melt. I leave and I can't stop trembling. On my way back to the hotel I hold on tight to my signed programme and the sharpie that was in his hands just moments earlier. Only later I will realise that he's also written 'Ciao!', 'love' and 'X', without me asking for it or anything! Seeing him act live was a big gift already, but what followed outside was beyond my dreams. I can't look at the photos without blushing, the way he looks at me in the video and then also strokes my arm for a moment, I mean pinch me now.

The more I think about it, the more I can't believe it happened.

I want to thank everyone that under my first post pushed me and encouraged me to see the pros of doing this, I share this beautiful moment of my life with all of you. <3

Adam Is A Pure Straw Character

I've talked about before how Charlie's mentality is never challenged and when it is the person opposing it is portrayed as in the wrong but I think the biggest example of this is Adam. Adam is a boring, one-dimensional antagonist with little personality or depth beyond "asshole who swears a lot".

Adam directly opposes Charlie's ideals and is clearly intended to be the exact opposite of her; an asshole who believes sinners can't be redeemed and deserve depth (Which is the only actually interesting thing about Adam as a character tbh). But the show never gives Adam much depth or nuance as a character beyond that BECAUSE he's meant to strawman who solely exists to be torn down by the story.

Charlie is completely 100% right that everyone can be redeemed and since Adam doesn't think so, he's automatically a one-dimensional asshole who has to proven wrong. Sure, Adam's mentality that sinners can't be redeemed is black and white, not to mention false, but Charlie's everyone can be redeemed mentality is equally as lacking in nuance. They are both extremes leaning into opposite directions, yet the extreme that our protagonist leans into is the one presented as correct.

Really, both extremes are incorrect, not everyone can be redeemed but saying that bad people will always be bad people is also wrong. Redemption is more complex than that and it would have been cool to see the show explore that, but as I've talked about before, Hazbin never explores its themes beyond very surface-level stuff.

Adam can't have a point about how sometimes, some sinners can't be redeemed because then Charlie's ideals would have actual flaws to them and the show can't have that, now would it? He needs to be a one-dimensional asshole with little depth so the show could tear him down and portray Charlie as the one in the right. Adam is fully in the wrong and Charlie is fully in the right, no more nuance than that.

(There's a really good post that talks more about this here, but you probably get my point by now)

Wait pika do you really mean don't ask you about predictions? Some of my favourite Tumblr posts of all time are your thoughts, theories and predictions! :((

Please sleep also, but when you can let us know what's going on in that head of yours. I'm desperate for someone with a brain cell to discuss this chapter! (Twitter is a cesspit)

I mean, you can ask lol. I just sometimes get these vague "any predictions?" asks and it's like, YES. YES I HAVE SOME. BUT IT'S FAR TOO MANY TO JUST LIST LIKE THAT, CAN YOU PLEASE BE MORE SPECIFIC?

Okay, I'll tell you about my thoughts.

This is a new frame of the scene in chapter 1. This perspective doesn't exist as a drawing in chapter 1, but we know pretty easily what this scene was about. Why is Horikoshi putting the scene here though? Why does this scene have the line "Let go of One For All"? Why not draw Kudou saying it, or Izuku's reaction to it? Is it because this is a memory of the scene where Izuku receives OFA, so giving OFA up is coming around full circle to this moment again?

I don't think so.

This is not the moment where All Might proclaims "you are worthy of inheriting my power" and Izuku looks up in shock. This is the moment where All Might says the words Izuku has longed to hear his whole life: "You can become a hero."

We're coming back to this moment now because the emphasis is on Izuku's upcoming choice. This is about the MEANING Izuku places in OFA. All Might told Izuku "you can't become a hero without a quirk," then shows up to tell Izuku he can become a hero...by giving him his quirk.

To Izuku, letting go of One For All is sacrificing his greatest dream. He believes by giving up One For All, he can no longer be a hero. Even though there have been moments where All Might let on that the reason Izuku deserves to have OFA is because he's already a hero, Izuku never seems to internalize that answer. He thinks his heroism is tied to being the bearer of One For All.

No one has ever told Izuku he can be a hero without a quirk.

I said before I had a big guess about why Katsuki's memory was wiped at the end of Heroes Rising. Notably, he is allowed to remember most of what happens. His memory cuts off from the moment Izuku passed One For All onto him. Do you remember what Katsuki said after he got OFA?

"This is the end of your dream then, too, huh?"

That's the last thing he ever says on the matter. Sure, it's the moment where Izuku answers with "It's okay if it's you" and all that, but Katsuki never responds to that. We don't know what he's thinking about this moment.

The only clue we have is the fact that he accepted the quirk from Izuku, and how he reacted to that. He seems quite upset by the prospect, but in the end he relents and accepts OFA willingly.

Perhaps the issue he is grappling with in his heart in these moments is not the fact that he has to inherit OFA but that Izuku has to lose it. Which means...the reason he loses his memory is because his reaction is important. It's a moment we will have in the manga, which makes it a spoiler.

We've never heard Katsuki tell Izuku what he thinks of quirklessness now. All he's ever told Izuku is that way back when, he thought it meant Izuku was supposed to be beneath him. He doesn't even tell Izuku why he felt like somehow Izuku was actually above him.

He's also only ever told Izuku his actions were correct ever since he received One For All, nothing about before.

I think Katsuki's reaction to Izuku losing OFA--which could come before the final battle or after--will have to be about his feelings regarding Izuku's quirklessness. I think Izuku is going to be incredibly hurt by losing One For All because he'll think he has lost his dream, and Katsuki is going to have to set him right, because only Katsuki knew who Izuku was before he had One For All. All Might is the only other person who had at best a glimpse of Izuku.

I think Katsuki has been coming to terms with just how special Izuku is, how heroic he always has been, and that he's the only one capable of acknowledging it in a way Izuku will be able to hear because he knew Izuku before he got One For All. I think he's been grappling with this possibility ever since DvK2.

And I think he grapples with it again in Katsuki Bakugou: Rising.

In the same way Izuku saw something great in Katsuki that he wanted to cling to so he could see what Katsuki would one day become, Katsuki has always seen something great in Izuku, which awed and scared him. Their greatest divide was in not knowing what greatness the other saw in them. Katsuki has to tell Izuku what Izuku is to him.

Katsuki has to tell Izuku the words he's always wanted to hear, that he can be a hero, quirk or no, that Izuku always has been a hero, more than anybody else. Katsuki knows the truth of it firsthand.

Hey Mike! Absolutely love your work, especially Haunting of Hill House and Fall of the House of Usher. I was wondering a couple things:

Any chance we will ever get to see that deleted scene where Carla plays a homeless woman singing to Madeleine? Loved the Easter egg and also can’t get enough of Verna so it would be so cool to see that deleted scene!

Also wanted to know what it was like working with Mary? It was such a joy to see her in House of Usher!! Hoping to see her in future Flanaverse projects!!

Hi there! That material was removed very early in the editing process, long before the scene was completed, so there isn't a finished "scene" to show. Carla and Mary did fine work acting in those moments, but the series as a whole is stronger without it, so a completed version of the scene with that footage simply never existed. It's an odd alchemy when you tell a story this way, and sometimes scenes that seem to work on the page can be acted beautifully, shot exquisitely, and still not be necessary or additive. In this case, it actually worked against the mysteries of the show, it wasn't believable that Madeline wouldn't recognize Verna, and it was clear that this was a mistake. It was my mistake for writing the scene the way I did, and it happens all the time. We could tell immediately that it didn't fit, so we didn't waste much time proving it out. Releasing deleted scenes is a tricky thing. I love bonus features - it's one of the great benefits of physical media - but even if we had a huge special edition box set of Usher, I don't know that we would have included this scene. Sometimes these things just aren't meant for the audience, even as an interesting relic, and this is one of those times. Incidentally, I had the same feeling about some of the material that didn't make it into the Bly Manor edit. We knew the scenes weren't working very early in the process, so they were never refined into any shape that would warrant their release. Fans will hear an actor talk about scenes they worked on, and the fans get all excited, but if they were to see those scenes it wouldn't enhance their love of the characters or the story... in fact, it can work against it. For years, I've had Bly fans reach out lamenting that they can't see some of the Bly material they've read about in cast interviews, but I'm certain that seeing it in its raw, unfinished state wouldn't enhance or deepen their love of the characters or the show. There's really nothing to release. It's just excess material that lands on the floor while you're sculpting, and sticking it back onto the sculpture only makes a noticeable wart. Other times, though, deleted scenes can be incredibly additive. For example, I think the 30 minutes we took out of the theatrical release of Doctor Sleep only enhanced the movie, and made the experience that much more rich - which was why I was so happy to release the Director's Cut with those scenes restored. Those scenes, though, were fully finished, and only removed in the first place because of the movie's run-time. Restoring those elements made the sculpture complete - they were always supposed to be there. But most times, deleted material is just unnecessary material. It can be like having an amazing meal prepared for you, and then being handed a plate of surplus or unused ingredients. Like, the chef needed to peel a lemon before squeezing it over the meal as a wonderful finishing touch. That dash of citrus really made the meal sing. But that doesn't mean you want to eat the peel. And I LOVE working with Mary. I'm sure we'll do it again!

My spicy ineffable husbands take

You've heard consent isn't just for sex. Now get ready for the corollary you didn't know you needed, consensual non - consent isn't just for sex. It's going to take some foundation to get to the point, but trust me, it's worth it.

Disclaimer: this is all my personal interpretation, you are always welcome to see things differently.

I think Crowley and Aziraphale have both known that they are on a path to become each other's world since Job, but in a way that to them feels more profound than can ever be human analogued.

I think Aziraphale has known for some time that he wants their relationship to progress in a human, (physical, courtship, ect...) way, but is approach avoidant. The approach avoidance takes the form of trying to bait Crowley into making a move, like the faces he makes to get Crowley to make Hamlet a success, or the pouting he does to get Crowley to remove the paintball paint, but then bailing when Crowley makes an offer that gets serious. "You go to fast for me", not letting Crowley come over for the lockdown. But the "you go too fast for me" isn't a no, it's a 'convince me.'

Crowley's goal with pulling Aziraphale into shades of grey depends on letting Aziraphale make his own choices at every incremental step. All he is ever able to do is make an offer, and then Aziraphale decides if he is ready for it. It worked for the food, it probably eventually worked for the wine sometime off screen. It eventually turns into their agreement, which continues to exist in the form of: Crowley makes a proposition, Aziraphale makes a decision. We see Crowley be VERY hands off about the offers and answers. He almost never initiates physical contact with Aziraphale, and barely responds when Aziraphale does touch him, despite the actions clearly grabbing his attention. This lets Aziraphale have full control over how far he is willing to stray from heaven at any particular moment. In the church scene, Crowley notices the holy water, but doesn't push about it. Aziraphale was a no on that, and Crowley respects the no, and comes to his rescue and goes on the full date night magic show adventure accepting that no without complaint. And Crowley LOVES complaining.

If this dynamic is adhered to, Aziraphale won't make an actual first move physically, because he wants Crowley to do it, in the same way he might insist that Crowley do 'the dirty work.' He wants Crowley to be the proximate cause, because that is how Aziraphale assigns responsibilities to actions. S1E1 modern Aziraphale is still doing the whole "I've never actually killed anything before... I don't think I could... : (" bit after sending the French executioner to his death without qualms, and S1E6 Aziraphale is still fussing over trying to make sure it's Crowley that gets them into the airbase, because 'I'm the nice one, you can't expect me to do the dirty work.' He really does put far too much weight on who is doing the immediate action in that moment in isolation, and not nearly enough ethical weight on who contrived the scenario that caused the chain of events.

Crowley equally will not make a first move physically by their old rules, because of the priority he places on letting Aziraphale have full control of every millimeter of his indulgences. The proposition / decision framework that Crowley is adhering to is a system of platonic structured consent, and I don't think there is any reason to believe he would treat non platonic consent differently. I imagine that in an alternate universe where Azriaphale owns his desires and makes a physical first move, but there is a similar lack of communication, Crowley would starfish in the absence of an explicit instruction to do otherwise for fear of going somewhere Aziraphale doesn't want to go. In my view, Crowley's default really is to be that absolutist when it comes to Aziraphale's consent.

The irony of it is that he really doesn't need to be. Aziraphale's skittishness is an act. Aside from the kiss, the one other instance of Crowley initiating a substantial physical thing is the wall slam. As others have observed, Aziraphale is not even slightly fazed by it. If anything, he is fazed by Crowley letting him go. Right after he objects to Crowley hypnotizing the nun, "you didn't have to do that, you could have just asked her." But slamming him into a wall? No objection. (Do that again, right now.)

Personally I think Aziraphale's continuous bailing and 'you go too fast for me' had left Crowley with the impression that Aziraphale was not physically interested, at least not seriously, not yet. I think the Nina revelation was a 'oh shit, he actually wants that now.' That gave him the motivation to first attempt an offer, and then when that got derailed, for the first time, he didn't let Aziraphale have full control. From how I read Crowley's behaviour up to that point, the confession kiss was a very dramatic reversal that speaks to an almost unhinged emotional state.

That said, outside of the part where they were in the middle of a fight, being swept off his feet like that really is what Aziraphale wanted Crowley to do, and crucially, he didn't want to have to tell Crowley to do it. I think by season 2 Aziraphale is owning his desire for the trappings of a human romance, but when it comes to the more physical things, I could imagine Aziraphale most of the way through season 2's modern era still 100% endorsing the idea that he isn't being lustful if he's just letting Crowley have his way.

Problem is, Crowley's version of 'having his way' is transparently doing whatever Aziraphale wants him to do, specifically because Aziraphale wants him to do it and for no other reason.

And now for the spicy bit.

The impasse Aziraphale and Crowley have here is very similar to an impasse that's known to show up in CNC kink space. (That stands for Consensual Non - Consent.) This comparison is useful for understanding what's happening with them even if you headcannon them as sexless ace, or vanilla (or, you know... vanilla for now...) because so much of their interactions revolve around platonic consent games. So the argument I am presenting here is not that they would strike up sexual CNC roleplays, but rather to say that the way they have been interacting this whole time functionally is a platonic version of a poorly negotiated CNC dynamic already.

The source of the dynamic goes back to Aziraphale's fixation on proximate cause. He can set up whole elaborate escapades and have no shame response for the consequences as long as the very last action in the chain of events wasn't performed by him, and he has the thinnest veil of plausible deniability about what he was trying to accomplish. He wants the romantic gestures, but he doesn't want to be responsible for either wanting it, or it happening. This is a real life thing that often happens with people who have repressed desires. CNC world has a fair number of people who grew into it from letting themselves have fantasies that initially purported to be fears that someone will force themselves on them. It's a buffer that lets them believe they aren't having sex fantasies. Separately, a lot of trans women, while eggs, get really into forced feminization, because it creates a fantasy reality where they can explore gender with a pretense that it is being forced on them, which takes some of the shame out. (Which is not to suggest that they ought to feel shame, just that there is an unfortunate reality that many do.)

In the same way, Aziraphale wants the human romantic things, but wants to construct a fantasy where they are being forced on him by the wiley demon adversary. Aziraphale wants Crowley to tempt him. In Rome he almost instructs Crowley tempt him. He will construct elaborate damsel in distress rescues to avoid having to ask Crowley out to dinner. He will nonsensically complain about how he'll always know the stain had been there if he miracles away the paintball paint [himself], rather than ask Crowley to do it. Over and over again, Aziraphale wants Crowley to do romantic things, but his moral outlook forbids him from communicating textually that he wants them. If Crowley spontaneously does the things because Crowley intrinsically wants to do them, Aziraphale won't hold himself morally accountable for them happening, no matter how much he is hinting and insinuating. There are still hints of this in S2E5, with how Aziraphale describes Crowley, “rescuing me makes him so happy.” It’s true, but not in a vacuum the way Aziraphale implies. Crowley likes rescuing Aziraphale because Aziraphale likes to be rescued, and Aziraphale likes to pretend his desires aren’t part of that equation. Aziraphale wants to be romanced 'against his will.' Even in a fully non-sexual asexual interpretation of their relationship, this is still a CNC kink dynamic.

So, back to the real world CNC impasse, that usually is about sex, but can also be an analogy. In CNC community, there is a phenomenon where a certain kind of CNC bottom, often from a very repressed and / or religious background, is only willing to express their interest in the form of wanting a CNC top to 'do whatever they like,' with instructions along the lines of 'use me however you want.' But for a CNC top, this is a very unclear instruction. Taking pleasure from someone's body however feels good doesn't automatically entail a lot of the surrounding kink genre activities people often imagine as part of a CNC fantasy, so literally following those instructions leads to a disappointed and bored bottom.

The fantasy from the bottoms perspective is often that the top is so overcome with lust that they do all the kinky things to force their way to the conventional things. But those things aren't actually necessary though? Chucking people around, roughing them up, various implements, ect... it's a lot of work, and it's fun for how people react to it, but people usually aren't literally getting off on the labour intensive extras. It's fun, but it's honestly a more ordinary fun than people outside of that world might expect.

I had a conversation with a friend of mine one once where she said, and I quote, "I'm not a sadist, I just find it fun to hurt people." (And she found it more fun when they were attractive people.) The mental gymnastics of me trying to explain to her "that's literally what sadism is" were wild, and I have refused to let her live it down. It's also worth pointing out that amongst the top tier of serious professional kink riggers, it's pretty common for them to operate on implements / tools / toys only, and a few of the most accomplished have been widely speculated to be ace. House of Gord is the most obvious example, but I honestly get a similar vibe from The Pope. (Obviously not the one at the Vatican) (Google them at your own risk)

But back to the point, CNC bottom fantasies tend to be a universe where they get to imagine the CNC top's kinky behaviours are more driven by the direct pursuit of pleasure than they actually are, and that the top's actions are the organic result of the top's lust, that exist independently of the bottoms proclivities (which don't exist). CNC tops meanwhile (at least the ethical ones) have a particularly strong need for the rules and boundaries and wants to be really clearly and explicitly laid out, and while they might have some specific things they find intrinsically fun, they are most driven by doing what's going to work for the bottom they are working with at the time. The scenes run on the pretense that the top is a raging lust monster, masking the reality that they are delivering a tailor made performance scripted to the bottoms needs and are enjoying it more for the reactions the actions produce than the actions themselves.

To put the pressures and pretenses of the situation concisely, it is pretty common for CNC scenes to be a hypersexual bottom maintaining a performance of not having physical desires and a comparatively if not entirely ace top maintaining a pretense of being overcome by physical desires.

There are a lot of CNC bottoms who do an excellent job navigating communicating what they want, and can drop the role to present a fully thought out list of things that are ok, things that are not ok, this is how you know if somethings going wrong, here are the things that are ok specifically in this context but not in this other context, ect…, there are whole spreadsheets you can set up. It gets talked through and worked out ahead of time, and then later the act goes up.

On the other hand, there are many CNC bottoms who don't handle this well at all, because going through that process breaks the immersion of the fantasy. And if they are coming at things from the repressive background / religious trauma angle, it breaks their ability to deflect their shame about having sinful thoughts if they have to explicitly state what they want. For them, the selling point of CNC is that they get to actually believe they don't want what they want and they aren't responsible for it happening. It's not just about temporarily being that overpowered character for that time, the veil is, at least in part, permanent.

This creates kink negotiations that can end up looking like:

"What do you want me to do to you?"

"I want you to do whatever you want to me."

"Ok, but what do you want me to want to do to you?"

It can be like pulling teeth.

Even if we imagine a Good Omens universe where they don't get up to any actual kinky things, or even sexual things, Aziraphale's behaviour looks a lot like a shy CNC bottom to me. They want the top to "do whatever they want" but even if they don't admit it to themselves, they have some strong ideas about what that would entail, it's going to include some amount of a performance / custom ordered service, and they are going to need to communicate what they want that to be. And Crowley is all about delivering a performance and custom ordered acts of service, but he needs ironclad permission and clear instructions.

Crowley looks to me like a shy CNC top, who wants to be absolutely certain they aren't colouring outside the lines, (as you should be) but is presented with a prospective partner who won't drop the game long enough to communicate what he wants. Crowley will do the favors he knows for sure Aziraphale wants, and live for Aziraphale's reactions. He enjoys coming to the rescue and performing acts of service because it is a service Aziraphale wants, not because there is an intrinsic pleasure to showing up in the Bastille or walking over consecrated ground. A universe where Aziraphale doesn't want Crowley to miracle the paint off his coat is a universe in which Crowley doesn't want to do that either, he isn't going to proactively perform miracles on Aziraphale's clothes on a whim.

I similarly expect that Crowley is 100% enthusiastically down to perform any romantic or sexual act of service Aziraphale desires, specifically because Aziraphale desires it, and probably has little to no intrinsic motivation towards the physical sides of things. I think he's down to put on the character of an intrinsically motivated person, but he needs clear instructions. Consider Crowley in the audience of the 40's magic show, Aziraphale asks if anyone in the audience has experience with firearms, and everyone BUT Crowley raises their hand. He didn't have experience with firearms, so he didn't raise his hand.

Crowley can break out of literalism in a familiar situation, and we do see him take a lot of Aziraphale's hints. A big part of why I keep going back to the paintball scene is because we can observe Crowley shift from 'instructions unclear, hands off' to 'oh, he wants me to do a thing' to [dramatic romantic gesture] to [absolutely loving Aziraphale's reaction]. Just as there is no practical reason for Crowley to do the miracle rather than Aziraphale, there is no practical reason for Crowley to have to blow the paint away with a breath, he could have just finger snapped it like he usually does. But once it's clear to him that Aziraphale wants it to be a thing, Crowley goes full ham into it.

For some things they have enough established short hand to communicate through what they infer they are implying to each other. For physically romantic things though, Crowley hadn't been reading the subtext, and he had been defaulting to hands off mode. So they were stuck at an impasse, until Nina makes the subtext textual and Crowley YOLOs into the kiss. And now they are probably back to the impasse again until they can have an actual explicit, face value conversation, because even though I don't think Aziraphale meant it that way, or experienced the kiss that way, his last "I forgive you" can read to Crowley as an indication that there was a consent violation.

There is a lot of potential compatibility that is squandered by their lack of communication. They really need to sit down for a proper kink negotiation, even if it doesn't involve actual kink yet I think the format would do wonders for them.

arataki itto x begging !! ♡ "ugh . . . baby, please, i can't . ."

this prompt comes from this post !! so all credit to the idea goes to them ♡

contains : begging, animalistic sex teehee, overstimulation, size kink if you squint, creampies, afab!reader, service top!itto ♡

sometimes, having a boyfriend like itto has more than one perk. many actually. this man is an absolute saint. he loves hard and proves it through his copious amounts of love for the people in his life through different acts of service. being his partner was absolutely no exclusion from this. itto loved and cherished you deeply, everyone around you two knew it.

whether it was the large amount of lovebites on you at all times or even the way itto always had a protective arm around you in public, everyone was aware of the oni's love and passion for you. his smile when you'd walk into the room was brighter than a thousand suns and the way he talked about you was enough to make a married man feel single and lonely. you truly are the pride of itto's existence.

this being said, the man is rather addicted to you. itto will almost immediately do anything you ask him to without complaint . . so when you have him tied to a chair in your residence, sitting right on his lap where he cant touch or hold you. why it drives him crazy. it makes him almost feral . . but that's exactly what you want. he's grunting trying so hard to fight against the restraints you have on him but its all in vain.

"come on sunshine . . . this is so cruel !!"

he whines it like a child, a pout showing up on his perfect face in protest but you're not listening. you only roll your hips as to tease him even more, giggling to yourself at how pitiful all of this is. an oni, someone double your size, being tied down and pathetically begging to be released. all of this went to your head as you continued your motions. poor ittos cock was hard and threatening to burst out of its confinements.

"at least use your hand !! c'mon . . pleaseplease -"

you immediately cut him off with a kiss, making the oni whine into your mouth. all his sounds being beautifully swallowed up by you. he melts into this, trying to lean up to chase the softness of your skin as its the only part of you he's allowed to touch in this moment. you can feel a shift in him, something rather territorial as his breathing starts to get heavier and heavier. itto is reaching breaking point.

he lunges froward, the rope around his biceps snapping in a fury as now you're being pinned against the wooden floor. his breathing . . god is glorious. he's borderline panting in your ear, grunting and groaning as he fists a hand into his pants to free himself. there's no running from this. however, you believe that to be the case . . when all of a sudden his face softens once more. gentle kisses being placed against your exposed skin.

"that was torture . . please - let me take care of you. i'll do anything you ask just please let me touch you."

with the puppy dog eyes he's currently giving you, how could you refuse? with a small smile you nod and slowly sit up. you command him to remove your clothing as well as his own, the oni taking little to no time to do such actions. that's when the reality of the situation hit you. even though he was untied, you were still in control. he gave you the submission you wanted out of him without needing to be confined. itto was truly whipped for you.

your next command to him is something he'd more than happy to comply with. taking his length into his hands again itto now finds himself slowly pushing into the tight warmth of your walls, a loud satisfied noise leaving his mouth in pure bliss of such a feeling. truthfully, it has you biting your lip too. itto's extremely large and the bulging skin on your tummy proved this as he made his way fully inside of you.

he pounds into you with great force, a wave of moans and loud animalistic sounds following in his path. your vision blurs and you almost cant see straight. you want to cry out for a moment, to beg him to slow his pace but you knew that you truly didn't want him to. you wanted to be treated like this. this marks your first orgasm of the night. it has you shaking, spasming, and tugging at itto's hair. itto watches you like you're a movie. he stares, studying every single little reaction you make to the pleasure he gives you.

this is what makes him finish. he makes sure to pull your hips right down to his thighs, wanting to be fully inside of you while he cums. during his entire orgasm he's a mess of words,

"ohh fuck - you look so pretty - shit - archons i need to -"

is all he's able to get out before he's pounding into you again, both of you borderline screaming from such overstimulation so quickly after orgasm. this time its his turn to ignore you as you cry and beg for mercy, for him to let you take a moment to rest. he can't be bothered to comply this time, especially when you feel as good as you do. however he doesn't get far before he's whimpering again. itto pushes you into a mating press knowing just how good it feels for you. he howls in delight at such a nice feeling.

"ugh . . . baby, please, i can't . ."

the rest of his words fail him as he wails from the overstimulation. he finishes again, muttering copious amounts of things while he does - ranging from praises to degrading thoughts. it doesn't matter to him, nothing does but this - but you.

"you . . are like the biggest onikabuto you can find . . WAIT !! not like that - i mean like !! you . . are really rare . . and so so soooo pretty . . please, just a few more?"

those begging eyes never fail to work . . do they?