thinking abt like. there's so much fiction out there that makes me feel bad! sometimes really deeply bad! and like, in many many cases i could present a whole argument abt how it makes me feel bad bc it's pressing on bruises inflicted by some systemic prejudice that has deeply wounded my psyche—and that argument would be true!—and still i don't want that fiction erased from existence, or modified to suit my taste, or anything else that enacts my will on it, rather than the artist's and the artist's alone; i don't even want the artist erasing it because my argument ultimately convinces them it's Bad! produce a revised edition of it, fine; stick an asterisk or other warning on it, fine; but i still want the original to be available somewhere, because i don't want to be responsible for blotting creation out of existence. even when it's a creation i hate, i don't think that should be my place (or indeed anyone's).
mind you, i absolutely do want to feel that i've got somewhere i can analyze/vent about fiction like that, and people who will take my analysis/venting both seriously and sympathetically;
and i want fiction to exist that doesn't make me feel bad;
and i definitely shouldn't have to put up with discussions around fiction in which fellow discussants further express a prejudice towards me, or justify it, or whatever;
but it just seems so obvious to me that a world where framing yr discomfort with a work of fiction in sufficiently sympathetic (victimized) terms leads to its deletion [not that i think this is what all leftists who complain abt offensive fiction are looking to have happen! but i do get the impression that at least some of them might be?] is a frightening world—
a world where, to choose a sufficiently sympathetic (victimized) example, authors who have themselves been harmed by prejudice become unable to explore the workings of that prejudice in their fiction, unless they're doing it in a way that's unambiguously, didactically condemnatory—isabel fall is the obvious example here, but i'm thinking also of all the women and transmasc authors who write fic that, quite frankly, eroticizes misogyny and abuse of power, and how sometimes i think stories like that are hot and sometimes i don't feel particularly strongly about them one way or the other and sometimes they leave me furious or fucked up or both! but like. even when i hate it, even when it offends me not as a matter of abstract principle or allyship but right in my own personal gut—i still do feel that people have to be allowed to write, and to publish, fiction that strikes me personally as being in bad taste!
because the minute you let anyone's taste dictate what's allowable to express, even if it's leftist taste, you're going down a bad road; it's like saying monarchy can be a good system as long as the monarch is a good person. no! because (a) no system that relies on good actors to be good is a good system; and also because (b) no one who's happy to have power over others is actually a good person! [that's an awfully strong statement and i'm open to the idea that it may have some asterisks, but like. as a general rule: cincinnatus or bust.]
and similarly i feel like. if you personally want not just to critique other people's fiction—valid and good and i do it all the time—but to crush it out of existence because it expresses an ideology you may not (i may not!) like? i don't trust you. i think you're trying to substitute pain for principles, and like. i have huge sympathy for pain! i live with a lot of my own! but pain doesn't actually, in itself, necessarily constitute good moral guidance—it can lead you towards valuable sensitivity that helps people we should care about, but it can also lead you towards impatient reactivity that harms people we should care about; and ultimately it's thinking abt our pain, imo, not the pain itself, that steers us towards the former outcome and away from the latter.
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For Sluttonous Sunday: Something something Neon's ass clapping like mad as she dashes through the halls to the kitchen, the long skirt of her dress doing nothing to keep her globes from rising, falling and colliding with each step as the smell of food overwhelms her and she stumbles in to find the many many women she's come to call her lovers and/or her muses sitting at a table that stretches out nearly a hundred meters wide and long with all manner of meal placed on it.
Stacks of pancakes rising a dozen feet into the air, eggs the size of carpets being placed on plates, bacon strips that could tie down an elephant, burgers placed in burgers placed in larger burgers oozing grease, milkshakes that could flood rooms being drained and filled just as fast by a pair of pale-skinned women fighting over a hippogriff leg, cooked pigs, cooked cows, cooked dragons being carved into or gobbled whole by a bespectacled woman, what had to be a kraken god being slurped up by a pair of clowns and a mime, a cube of butter being passed around and slathered onto all kinds of food. Hips, breasts, butts and guts shook, gurgled, and sloshed as they pressed against each other int he mad dash of gluttony that had taken every individual, belches were traded with compliments and requests for more food, the clamor seeming to be nonstop until one of them noticed Neon.
The eating stopping immediately when they all stood to greet the Queen, Neon getting a quick hug and cheek kiss from everyone of them before a bib that said Pizza Slut Supreme was tied around her neck.
[Don't really know what this is but I hope you enjoy it]
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listening to Gravity Falls episode commentaries is great. Alex Hirsch nearly worked himself to death constantly. Grunkle Stan was nearly voiced by Matt Chapman of Homestar Runner. Literally nothing aside from the twist about Stan having a twin was planned more than a few episodes in advance. The zodiac wheel meant nothing and consisted of random symbols from the first 7 episodes because the intro was animated after those were done. Alex came up with the term “search for the blind eye” to be an extra bit for the between-season shorts before deciding to actually have a payoff for that setup and writing Society of the Blind Eye. Bill was meant to be a joke character and when Alex suggested that he be a real villain Michael Rianda responded “You, my friend, have lost the plot.” Bill getting one episode in the spotlight was basically chance and he only became the main villain of season 2 because he was so popular with the fans. The reveal of the portal at the end of season 1 was suggested by Mike without thinking it through and he left before the next season and the other writers were SO ANNOYED after that went through because they somehow had to keep that plot going for the 10 episodes it’d take to actually pay off. I am genuinely astonished that this show came together as well as it did at all.
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The pub scene is even funnier when you consider that poor Mr. Brown of Brown's World of Carpets has likely had this longtime pash on Aziraphale and, like everyone on Whickber Street, he has no idea who exactly The Ginger Goth With The Old Car is. He knows the prevailing theory is mafia but Mr. Brown of Brown's World of Carpets has seen Ginger Goth hanging around Mrs. Sandwich and her "Sandwich Shop" and also around the bookshop a bit and also some naked guy was also at the bookshop recently, so... what's the likeliest conclusion drawn by Mr. Brown of Brown's World of Carpets? That the old bookseller's lonely and paying for it.
He sees them come into the pub and thinks Aziraphale is classy like that and is taking the sex worker for a drink first or maybe that's part of it-- he's gone the whole 'boyfriend experience' route. Mr. Brown of Brown's World of Carpets sees Aziraphale with that chest stroke of that Thin Dark Duke he's paying and while Mr. Brown (of Brown's World of Carpets, just FYI) isn't here to judge and gets it as he's lonely, too... and while he does think the bookseller picks some hot ones... he wants to give Mr. Fell the real thing. The kind of love you can only get between two middle-aged, still-sorta-closeted queers like they are. He'll be someone the bookseller can talk to and find some genuine chemistry with, Mr. Brown of Brown's World of Carpets will be, so he decides to shoot his shot and knows the bookseller is skittish from their past interactions, so he goes for the meeting option. He'll have to come over to drop off the chairs, of course. Give them an excuse to talk more, alone, when Mr. Fell is not, erm, entertaining.
And poor Mr. Brown--President of the Whickber Street Shopkeepers and Traders Association, Mr. Brown of Brown's World of Carpets is-- fine, upstanding, boring as all holy fuck fella... He's met by Crowley coming over with drinks and a greeting that says this is neither the first time, nor, he doubts, will it be the last that he's had to Husband the bookseller but again, Mr. Brown of Oh, You Know By Now thinks this is a bit, so he's not intimidated.
"I was just absolutely hitting on him for real, unlike you," is what he basically told Crowley when explaining what they were chatting about.
And Crowley's like lol you got him flustered enough to host this meeting. Good on you, Mr. Whoever the Fuck You Are from Whatever Shop You Run. Look at you *go*. 😍 I've got a new favorite human, Aziraphale.
He's all "you astonish me" to Aziraphale, teasing him like you're leading the poor, balding bastard on, angel. I know it's hard for you to reign in your divine sex appeal but you should maybe try. His heart is only human, after all.
Mr. Brown still thinks Crowley's a sex worker though so he doesn't give up and is all like remember, Mr. Fell, our date is right after work on Thursday in a group setting to set you at ease but I'll see you first to set it all up because I want you and I want to make sure you know I'm not just here for the business meeting.
Crowley: That's it-- I'm adopting you, Ballsy Mr. Carpet. I like your style. But you'll never wear my angel down. We've been married for 6,000 years. I am definitely up for saving you from some demons on Thursday though and making it rain on you and literally any fruity, single shop owner in the greater metro area next season. You're on the deck after my shop lesbians. Now piss off, Mr. Barnes. We haven't been to the pub in ages and you're in my seat.
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GIRL 👏🏻 DAD 👏🏻 AARON 👏🏻 learning how to do his wife’s hair so he can do baby girls hair when she’s grown
uncharted territory
YOU'RE 👏🏻 SO 👏🏻 RIGHT 👏🏻 cw; girl dad!aaron, fem!reader, some small suggestiveness, fluff <3
"can i braid your hair?"
you looked at aaron as your book dropped onto your lap, both a bit bewildered and astonished, "can you what?"
"braid your hair." the expression adorned on his face was almost troubled as he approached you, and rather shyly at that, actually.
"that's what i thought you said." your eyebrow quirked, displaying a caring and soft confusion. "why?"
"jus' something penelope said today, it made me realize that i don't know how to do hair. never had the need to learn with jack." the grumpiness on his face didn't falter, a small huff escaping him. "i know she doesn't have much of it now, but i don't want to be one of those dads who attempt to do their daughter's hair, it's a phenomenal disaster, and it looked better off before i even touched it. i refuse to send her off somewhere someday looking like she went through a windstorm."
"aaron, honey, i don't think you're capable of anything too disastrous." you teased gently, but with full reassurance.
he almost smiled, the ends of his lips tugging upwards, but evidently he wasn't fully convinced. "so can i? i need the practice, desperately."
"of course," you nodded, scooting towards the center of the bed and sitting cross-legged, aaron seated behind you.
once situated, he took your hair gingerly into his hands, "how do i..."
"you're going to want to separate it into three sections," you started, pausing to let him do so. "kinda gather it like a ponytail to get started."
"okay, that i've done before."
"yeah, you're good at that." you rolled your eyes, a faint blush tinting your cheeks and you could easily picture the smirk that was definitely plastered on aaron's face. "you good?"
"i think so."
"take the right side, and cross it over the middle section." you instructed, again giving him a small window of time to weave your hair gently. "then do the same on the left, the right section should have switched places with the middle."
"mhm." aaron hummed gently in confirmation, biting down softly onto his lip in concentration, crossing the left section over the now center.
"and just repeat down, alternating as you just did."
"that's it?"
"that's literally it."
aaron repeated the cycle, braiding with ease. "and i'm not hurting you? am i pulling-"
"no no no, you're completely fine." you reached a bit behind, your hand finding his knee and giving it a comforting squeeze. "keep going."
although it was a simple braid, his fingers nearly got tangled a few times, due to the size of said fingers and the limited, slightly tight space that came along with braiding. he also tugged your head back and forth a small amount, but you followed the direction of his gentle pulls. as he worked silently, your heart could only swell at his genuine concern and want to learn - just for your little girl.
once he reached the end of your braid, you tore off the hair tie that was conveniently around your wrist. "secure with this."
aaron was quick learner in nature; he watched you intently as you pulled your braid over your shoulder to inspect it quickly. it was a bit loose, a tad crooked, but the gist of it was there - almost perfect.
you peered behind at him, thoroughly impressed. "not bad."
"really?" aaron asked surprisingly, but with an utterly pleased expression.
"but don't get too cocky," you narrowed your eyebrows playfully, swiveling to face him. "this is the easy one to master. there's french braids, dutch, fishtail. one day she'll want one braid, maybe two the next. trust me, it's bound to get way more complicated than this."
the proud gleam in his eyes faded a bit as his face blanched, pulling into a pained expression, deadpanning. "you're kidding."
"but don't worry, we have plenty of time."
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