i feel like i am losing my mind a little bit bc i spent over half of my counselling appt talking about my fear of spiders and this lady kept telling me i should just kill them, and that the only way to get over my fear is to kill them, and i shouldnt catch and release them anymore ??
and now i am thinking about it and wondering do they actually remember how to get into the house,,,,,, if i put them way on the other side of the house in the garden under a plant where its safe, will they just... come back inside? because I don't remember ever seeing any duplicates of spiders that I caught and released, it seems to always be a different looking one each time so :|
but she just seemed so confused and kind of amused by me trying to explain how i think that like... every life has value and I don't think I should be killing spiders if I can avoid doing that. and she straight up laughed at me saying that they are fascinating very interesting little critters.
i don't know, i just feel kind of sick i think. that was just really not what i was expecting and I'm confused like... is this ... the only way I can get over my fear of them? to just start killing them whenever i find one in the house?? that doesn't seem right at all to me but maybe I'm being too soft or something
they talk about values in DBT and how you must make sure your actions don't go against your values, and this seems very backwards to that, especially since this woman started the DBT program at the hospital. so i feel like maybe it's wrong of her to be telling me this, but also maybe she's right about this. idk !!!
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I've reached season 5 on my CSI rewatch and I'm a few episodes past "Swap Meet", where a woman is murdered after attending a swing party with other couples from the neighbourhood. Near the end of the episode there's a moment that made me jump from my seat:
(Grissom walks up to Sara and takes the seat next to her. He's holding two cups. He hands her a cup of tea.)
[INT. POLICE DEPARTMENT - BRASS' OFFICE]
Erin Brady: Everybody fantasizes about other people. (She glances at Grissom.)
Even you, Mr. Grissom. A neighbor, a friend ... girl at the office.
[INT. POLICE DEPARTMENT - HALLWAY]
(The door opens. Paul Brady walks out of the hallway. Erin Brady walks out into the hallway. Sara is sitting in the hallway chair watching them. She watches as they meet and kiss.)
(Grissom walks up to Sara and takes the seat next to her. He's holding two culps. He hands her a cup of tea.)
LIKE!!!!!!!
Right after Erin ends her sentence with 'girl at the office', the first time Sara and Grissom meet again, he brings her tea. This might be an innocent interaction but to me it seemed like a nod to this relationship they have where both are into each other, know about the other's feelings, but can't/won't do anything about it (although Sara has kind of given Grissom an ultimatum). I don't know if it was intentional - I'm guessing it is, because I picked it up immediately. I might or might not have squealed in delight.
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I would like to say that. unpopular opinion but I hate the "Danny's obsession is protecting people" thing (more & more every day tbh) because it feels very. Weird to me. Selfish almost?
Like, there's never really an explanation given (in fics) as to why, & it always comes off as. Danny isnt protecting people because he wants to, he's doing it because he's forced to, against his will. If he doesn't, he'll die.
whether your intentions are selfish or not doesn't matter to the person you saved but. it also proves the Fentons right. Phantom isn't helping because he's good. He's not helping because he cares. He's helping because he'll die or go insane if he doesn't. & what if there's no one to save? What if there's peace for a bit too long? Does he cause chaos in order to have something to stop? Or does his ghost half just fade away now that his obsession is fulfilled?
I know where it all comes from & I've seen fics based off this that actually go into detail & all that but lately it seems like a headcanon everyone falls back on for seemingly no reason.
why is his obsession "protection?" like what is the point it just seems so random to be reading a fic & then suddenly BAM it's revealed that Danny will go insane & die if he doesn't run around saving everyone for. some reason? and then they move on like it was never mentioned, & it never becomes plot relevant.
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i genuinely don't mean this in a rude way, but i think you'd have an easier time socially if you didn't judge everyone through aesthetics or something. like you could meet a girl who's so lame like huge olivia rodrigo fan favourite show is vampire diaries but she could be great. my bsf walks around in a normal people scare me hoodie and i still love her to death, yk ?
It’s not that I would never hangout with someone who had a ‘trash’ or ‘normal’ aesthetic or something, I just can’t connect well with ANYONE if I’m being honest. I’ve hung out with ‘aesthetic’ people in the past but still found myself feeling….. bored….. disconnected. I’m more drawn to this type of person just because it feels like we might have more in common, like it might increase the odds of relatability and friendship but I just can’t most times-with anyone… Ya know?
I don’t know, I just have trouble relating to people. It seems like we don’t understand each other very well. When I engage with people it feels like they don’t quite see me, like I’m just a faceless blob to them. When I make eye contact with people it feels like I’m talking to someone with the lights on but nobodies home….. it’s strange, I don’t know. I’m assuming one bad experience too many probably fizzled out whatever high I should get in my brain that comes with socializing with new people BUT I JUST FEEL SO BORED ALL THE TIME IDK…… I treat people with respect, I’m very empathetic towards them, polite…. But they don’t see me and I just can’t connect with them.
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please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!
gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.
SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:
diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.
non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.
the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.
now, on to how I apply this to bdsm in fiction.
if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.
if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.
this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.
it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.
but yeah, spontaneous writer plug aside, that's what I mean.
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