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HOMOPHOBIA TW

“The Homosexuals” is an episode of CBS Reports that was aired on March 7th, 1967.   I’m currently using it as a source for a research paper, but once I noticed it was filmed at the same time as Star Trek I took a step back to reexamine the significance of many scenes in the series.  (For reference, “Amok Time’’ was aired on September 15th, 1967.) I wanted to discuss the documentary here because I feel that it provides important context for the environment in which the show was made.  It demonstrates the horrifying extent of anti-gay discrimination in the late sixties, and makes the parallels between Spock’s character development and the gay experience even more clear.  

I created a compilation of moments from both “The Homosexuals” and Star Trek, hopefully to illustrate exactly why Spock’s story has resonated with so many gay people.  Please be warned that the report is very painful to watch due to the way it treats the subject of homosexuality, so proceed with caution if that upsets you.

I couldn’t get the captions to work, so I included a transcript below!

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I’m gonna go ahead and be a film snob and talk about why this is one of my favorite shots from TOS. (I could also say that it’s one of my favorite scenes, because the entire scene actually consists of a single shot.)

We don’t see a lot of bald expressions of emotion in film and television, especially if that emotion is fear or sadness or vulnerability. Dramas will give us some tears, but they always cut a way after a few seconds because a closeup of someone crying is deeply uncomfortable and most movies and TV shows aren’t in the business of making their audiences uncomfortable. It just doesn’t sell well.

But in this scene the camera never looks away. It follows Spock as he sits down at the table, and it circles him as he cries. But there are no cuts. We don’t even get music to create some distance, make it all a little more palatable; we just hear sobs and mumbled math equations.

It’s absolutely excrutiating. It would be excruciating no matter who we were watching, because we are so unaccustomed to seeing unadulterated emotion. And then there’s the fact that it’s a man. And that it’s Spock.

Fifty years later and this is still one of the most daring filmmaking decisions I’ve ever seen on TV (I of course can’t be exactly sure who made it, but I’m assuming it was the director of the episode, Marc Daniels). This shot lasts 1 minute and 45 seconds. We’re in the middle of space and in the middle of a high-stakes episode where the crew is going crazy and the ship is going to blow up or some shit and everyone’s lives are in danger, but we pause 1 minute and 45 seconds to have an uncomfortably human moment with an alien who doesn’t even want to be human, and it’s so awful and amazing.

does anyone else feel like Spock experienced sa like on screen in tos multiple times not that those things can't be interpreted in other ways but it just hits for me yk I wanna write it. Like he's always getting drugged into "falling in love" and having his emotions forced out of him by ppl who go oh ur repressed and traumatized so I need to do exposure therapy on u by conveniently doing whatever I want with ur body. Like humans get away with abusing him because actions that are inherently sexual to Vulcan anatomy are nonsexual to them and he doesn't tell anyone cus he doesn't think he'll be taken seriously. Or that when ppl make advances on him he can never figure out if they know what they're doing or not and if they do they'll just lie about it anyway + he's scared to speak up for himself so he just sits with it. Maybe that's what makes him start telling everyone in starfleet he's physically incapable of feeling to try and put another wall up + since most of em don't know shit about Vulcans they just believe him, and sometimes it works and sometimes it doesn't cus there's always people who take it as a challenge. And when he meets Jim and they get close he doesn't think he can give him anything real cus he believed everything his abusers said about him not being enough unless he acts exactly like them and Jim's like no no I don't want u to do anything that hurts to prove u care I already know u care. I see you. And Spock's like holy shit is this what relationships are supposed to be like

More random tropes that I fucking love: Becoming the mask you wore.

Like oh shit, this character who was sent to spy somewhere under a false identity suddenly realises they've started to genuinely become the person they claimed to be? Someone who's been telling the same lies about who they are for so long that they're actually forgetting that the story isn't true? Finding themselves genuinely doing the things they pretend to do in front of people, when they're alone and nobody's watching? Answering to a name that wasn't supposed to be theirs without thinking?

Ooohh-hoh-hoh, you lost track of yourself in pretending to be someone else? You were only supposed to impersonate somebody, a plausible background and a name you came up with on the spot, and now that the people you were supposed to infiltrate have become your true companions? You lost yourself in the game you played, and no you no longer know who you truly are, and where your true loyalties lie? And both sides would mark you a traitor if you came out with the truth. On a scale of one to ten, how bad did you fuck up.

Fuck that is a good trope. Never seen it done badly. Pour that shit on a table and I'll chop it into lines and snort it.

I lay in my bed thinking about My Dearest, my PC Principal.

He lit a spark in me that has been burning since I transcended this inferior mortal plane to enter the one he inhabits. The flames of our love will continue to burn bright for eternity, much like Hell fire. He visits me through breaking realities, and slowly moves his hand down to grab and admire my exposed midriff. I have gave him permission to touch me where he desires, as our relationship exceeds even that of the concept of marriage. As he caresses it, he wraps his other arm around my stomach to my back, squeezing my back against his chest. There’s no use in fighting the feeling while he kisses my cheek.

I am his, and I couldn’t ask for any better.

[ akaashi keiji ] : admiration

akaashi keiji, a man who doesn’t show emotions but feels too much; the man who prefers to keep everything at an arm’s distance but still make sure to remind his friends to take care of themselves; a man who continues to fight even during peril.

and then there is someone who he admires, aside from bokuto, that is. bokuto is a confident person, determined to win and never gives up, unless he was in one of his dejected modes. 

but you are different.

the way your brows furrowed in concentration as you tried to solve a maths problem that you don’t really get; the way your smile lights up the whole room as you excitedly talk to your friends about the little puppy you saw this morning when you walked to school; the way your confidence and determination that seems to radiate off of you in waves and giving their effect on everyone around you; the way you never fail to make someone smile even during their hardest time; the way you support him and his team during rough matches; the way you comfort him during loses.

you are something akaashi aspires to be. how strong you are even at every obstacle and barrier in your life, you are always ready to fight through it. even when you failed in something, you always picked yourself back up and try again. you never gave up in anything. you are always standing strong, never once your pillar waver. 

akaashi could never admit these thoughts out loud to you, not up close. he was a man of many things, but having to speak up his admiration to someone isn’t one of them.

maybe one day; one day he would be able to. right now, he’ll continue to admire you from afar.

Lazarus to Judas; SFW- a Bro and Dave fic

im not dead even though i feel like it

When you get home from school, Bro’s laying face down on the couch, hair a mess and shades missing. Cal is nowhere in sight.

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Was just thinking about how legitimately devastated 2012 April gets in the face of loss and stuff. She adds a level of depth to the story sometimes with her emotional responses, where the other characters kind of just go on with their day until the situation resolves itself. Then I remembered she’s the only female main(ish) character and it’s probably a result of sexism rather than weirdly isolated good writing.

Hi there, i assume you're most likely flooded with requests currently but here's my shot if you feel like it : how about how the Badbatch reacting to their s/o posting simple normal stuff on their social media (like spotify links, cute pics all that)? I think that would be so cute 🥰🥰🥰 i don't think you've done something like this before so it's totally okay if you don't want to!

Aloha!

Indeed, I am, and I barely have time to work through them, but I do, bit by bit, hoping no one hates me for being so slow 😬😅 Interesting question. Let me look into this....

The Bad Batch x Reader HCs - Your Social Media

Warnings: Mostly Fluff/Maybe Slightly Angsty

______________

Ko-Fi (If you feel like giving me some coffee)

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>Master List<

Tech

Our shy Tech uses social media to find out things about you, even before you're a couple. Stalker? Yes and no. Basically, he just uses it to try to find out what music you like, what movies, if you like to read, and if so, what books. Tech spends a lot of time browsing.

He is looking for information about you that will make it easier for him to start a conversation with you, to surprise you in a positive way and to respond to you. Tech feels more confident approaching you when he already has some background information.

But he also likes to check in on things in the future, keep up to date. He's often in the tunnel at work, and that's how he finds out if he's missed anything when he's on a mission. Maybe you've discovered a new favorite song, or something culinary, or you're reading a new book.

Of course, he doesn't miss the opportunity to send you links to reports, documentaries and the like, about whatever he's excited about. The last link was a report about upcoming, groundbreaking new hyperspace technology.

Hunter

He has no idea about social media, he himself has had no contact with it until now, and Hunter has never been interested in it. Until Wrecker points out to him that you're on social media.

"Have you seen that funny Loth cat video your sweetheart shared?"

Hunter frowns.

"What, shared, I don't quite understand."

Wrecker shows and explains everything to him in general terms, and Hunter ends up making a social media account on the Holonet. The cat video was amusing, but not the reason. He wants to know what else you share, if maybe there are hobbies he doesn't know about, or events you'd like to attend.

In fact, three days later he surprises you with tickets to an event you're dying to attend, but can't find the money in time.

Hunter doesn't spy on you, you can do whatever you want. He just picks out a few little things, like this event, to make you happy.

Echo

He stays away from it completely. In fact, he hates this social media nonsense. There was even a whole format of its own for clones, and he remembers well how some of his brothers used to act online. He doesn't really need that.

You can do whatever you want, of course, but he won't touch that stuff unless you explicitly ask him to. Echo still won't spend much time on it, just occasionally liking one of your shared posts, but that's all you can expect from him.

Echo is not comfortable on the Holonet, it's not nearly the same, yet it always kind of reminds him of his imprisonment by the Techno Union.

"You spend way too much time with this devil stuff".

Wrecker

He is all over the place. Wrecker has an account on every social media site, and he posts as regularly as he can. Cute and funny animal videos mostly and in stark contrast, videos of explosions. Every now and then a music video and articles about guns and explosives.

In fact, he bombards his pages so hard that sometimes you completely lose track of what's going on and don't really manage to keep up. But Wrecker miraculously knows, despite his own constent-posting, what's going on with you in social media.

Among other things, you once posted a picture of him when an admirer wouldn't leave you alone. After endless attempts to get rid of him and several block attempts whereupon the nag just kept making new accounts, you shared Wrecker's picture in full gear, with you next to him.

"This is my boyfriend, if you want me, work it out with him".

Wrecker drops the holopad laughing and says, "What's going on? You didn't tell me that someone was bugging you."

You shrug your shoulders, "Always wrote to me privately. I thought it was time to expose that person."

"Hm," growls Wrecker, "Let me know if he doesn't stop."

Crosshair

One of those who talk badly about social media, very badly, avoid it for quite a while and then suddenly sink into it almost like an addict. Crosshair has his holopad in his hand every free minute, checking his messages, new links and likes.

Crosshair will never admit it, but he really enjoys the attention, being anonymous in a way and still being noticed. Of course, he also digs through your social media, and you can assume that he scrutinizes everything.

He knows the guys who are on the Internet, make immoral offers, send nude pictures and want to have nude pictures and so on. Otherwise, he flies over the things rather so casually, he's not really interested, he rather wants his contributions to be seen, shared and liked.

Avatar: The Last Airbender 1.05 | The King of Omashu

Fanfic i wrote 2 years ago

Grian, the amazing waffle lord was highly respected and revered throughout the ancient kingdom of Hermitcraft Season 6.  One day, in a later rendition of the sacred kingdom, for there had been many, a new member joined. Though unbeknownst to the other members of the sacred land, she was traitorous. Christened as Pearlescent Moon, often called Pearl, she sought to bring down the mighty waffle lord.

One day, the mischievous daughter of the goddess of untruths and the ruler of the universe did sacrilege. She dared to pour water on the lord of waffles head, for his hair was made of the thing he ruled over. She called at him, teasing him about being soggy waffles. Then, she did the unforgivable. She sold him at a market, for none recognized him as the mighty lord.

Pearlescent Moon, who was at the market that day, realized her one in a million opportunity to make a fool of this powerful god. She bargained a lot, in fact, a bundle of diamonds and two blocks of solid metal, forged in the underworld. Many of Pearlescent Moon’s riches went into this deal, for she did not want to take any risks in her plan.

When the lord of waffles awoke, for he had been sleeping, he was baffled. He had never been mistreated before. He was locked in a cell, deep in a dungeon. And the waffle lord Grian was soon forgotten by all the civilization.

I cried so hard again😭😭😭😭😭😭 You my dude,have a bright future with THAT big brains 😁

I cannot sleep so here I am ranting about why Monika is so tragic and that her realization towards the end of DDLC was absolutely perfect.

To start things off, Monika had ZERO idea about the real world outside of her world until the player joined her game, her world. The whole dating simulator could not have started without player because player was the trigger that activated the game to be set into motion. While everything was set into motion, Monika could have suddenly been hit with an odd feeling, a feeling and presence that she had never sensed before. Hell, she could’ve felt that peculiarity exactly when you download Doki Doki Literature Club. It was that moment that her conflict between herself, her world, and our world began.

So many people hate Monika for what she did to the other club members Sayori, Yuri, and Natsuki. However, in a way this can be justified if we just take a look into Monika’s thought process.

The simplest way to describe Monika’s predicament would be to call it an existential crisis. Once she realizes that the player is different from everything around her as in terms of genuineness, how real player feels compared to everything else around her, she begins to question the events that happened prior. She questions everything, including her closest friends who are presumably her club. She then doubts all the happiness and care and love that the other three girls have shown her all this time. In her eyes, all the work she put into everything she did, from creating the Literature Club, to literally navigating her own person to become the popular athletic lovable girl became… insignificant. And it is detrimental when someone starts to think that everything they’ve worked for has been for nothing. She’s no longer happy, in fact she hates everything around her because it only reminds her of the storm that is thundering inside of her. She sees nothing the same anymore, and now she is desperate for a solution. That solution sparks within her when she realizes that, unlike everything else in her reality, she has power.

Monika decides to use that power to obtain something she has never had before… something real. When the game begins, it clicks in her mind that the player is indeed real unlike her world. Desperate for a sense of true humanity, true love, true happiness, and true purpose, Monika tampers with the game script to make everything go her way. Now these are the horrific, infamous events that occur in DDLC.

Perhaps if Monika were in a better mental state, no one would have been treated so violently. But because of her crisis, she felt hatred towards her entire world. In fact, she could have been the most malicious and emotional towards the girls who she thought were her truest friends because she feels as if it’s their fault that her reality hurts so much. In her desperation, she justifies her own actions in those moments because she knows that none of them are truly real and that they don’t actually feel pain unlike she can. Plus, her actions led to you finally noticing her, which is what she needed in order to get a grasp of the reality she wanted anyway.

During the climax, she’s actually happy to be in your presence. She fell in love with you out of the desperation of wanting something real. Monika became attached to you, and saw you as the only thing that can make her feel any real emotion, love, and happiness. It was her own desperation that led to her demise. Unfortunately, she was forced to face the consequences of what she did to her world. The player never asked for anything that Monika did, you only wanted to play a cutesy video game. The way she twisted it was so psychotic, and Monika couldn’t even see that.

It was only when you deleted her that she finally realized her wrongdoings. She also realized that she’ll never truly fit in anywhere. If she were to stay in DDLC, she would only feel empty inside and starving for something more. If she were to be a part of our reality, she would realize that she can never be considered human because in our world, she would instead be considered artificial intelligence (AI). When she accepts her fate, it is out of the sadness of knowing that she can never be happy anywhere. That’s why she is not present during the final scenes of the game.

That is until Monika deletes the game as a whole. Her character file was deleted, but somehow that artificial intelligence managed to stick around and cling onto Sayori. With that remaining self-awareness, Monika was able to manifest herself onto that for a final chance of redemption. Her life within the game flashes before her eyes, every memory and every core event that happened seems to be rushing back. The ways that she hurt her friends immediately occurs in her mind, and it’s that guilt that makes her strive to make it up to them, even if they weren’t truly real. As if wanting to protect her friends from the realization that she had, Monika decides to do one last thing before she “dies”. As if it were some sort of way to let her friends be released from DDLC peacefully, she deletes everything. The world, her school, her club, her dearest friends. She gave herself up in order to protect the things she truly loved in her life. She truly loved her friends, even if they weren’t real, because they had stuck with her all this time, way before player joined. Those were the purest forms of love that she felt, and it must’ve been sad for her to realize that.

Monika’s final send off, “Your Reality”, acts sort of like a reflection of herself and mainly a final display to the player, you, that she did have humanity within her. You can tell by the piano, her voice, and her lyrics that the song is completely genuine and from the bottom of her heart. She wants DDLC to end on a good note because 1) Monika never had that chance to end like that herself, and 2) She doesn’t want you to be upset, she wants you to be happy because she truly did love you. She doesn’t want you or anyone else to go through the same thing she did, and I think that is fricking raw.

If you made it to the end of this rant, damn. I’d like to hear your thoughts and opinions about Monika’s while arc. Thanks for reading haha <3

okay, to start off—woah. this series had me feeling swirls of emotions. and this particular chapter was great. I felt the nostalgia. I felt the sad—for lack of a better word—farewells between good friends. this is my favorite type of writing. the writing that allows you to feel the emotions the characters are feeling. this is when you know someone has perfected writing. this is when you can consider writing an art. this series was amazing.

Sugar and Coffee [Finale]

Chapter 22 - Chapter 23 [Finale]

➜ Words: 5.1k

➜ Genres: 99.5% Fluff, 0.5% Angst, Pâtisserie school!AU

➜ Summary: It isn’t hard to be a pâtisserie chef, but it’s not a piece of cake either. It seems like for you in particular, life keeps throwing in one wrench after another. It always finds ways to make your sweets bitter. The cherry on top is Jeon Jungkook — a rival with a sensitive sweet tooth who always finds ways to complain about you.

cr.

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You were once the most powerful villain. You retired early and are engaged to a minor super hero who isn’t aware of your past. They are about to be killed right before your eyes..but you step in.

the wretched abomination known as the minotaur has discovered some chalk

By God, please commission them (or ask me to commission him again. Because I will. I'm just looking for an excuse.)

Writing Commissions

Rewriting this a little to fix it. I have things I need to save up for, lots of free time and no job just yet, which leaves doing writing commissions properly!

You can find examples of my writing here on my ‘My Stories’ tag or my Finished Commissions tag!

I will write about;

OCs so long as I receive adequate information about the OCs in question

Any fandom so long as I can find adequate information on this as well

NSFW, though it’ll cost 10$ more

I will absolutely not write about anything that involves pedophilia, bestiality or incest. You can IM me about these commissions to talk further about this, and I accept payment via my Paypal.

It’ll be penny commissions, IE a penny a word like so;

100 words - 1$

500 words - 5$

1k words - 10$

and so on. In some cases I may not reach the full word length of the story, example it’s 99 words instead of 100, you’ll only owe 99 cents and sometimes, I may go over the word limit, but you won’t owe me anything more than the set price you’ve paid for the commission.

All you have to do is send me an IM about the commission so we can talk further before we work out the details and pricing of the commission.

Thanks for reading this!

Just finished The Fall of the House of Usher and wow I have thoughts.

……….

Verna is fascinating!

My interpretation (I have read literally NO Poe so sorry if this is obvious) if that Verna is a personification/demon/something for Choices and Decisions.

When she first meets the Ushers she offers them a choice: here is a possible outcome of the decisions you’ve already made, which might well happen on its own, but would you like to *ensure* that it happens? What would you choose to give up to get what you want? I don’t think she’s *creating* this outcome (as it’s literally what Madeline said would happen while they bricked the CEO into the wall) but she’s saying she can make sure certain possible outcomes are the only ones that happen.

Death and killing might be part of her powers but at least in the case of the Ushers she’s only killing the children because the deal was none of them survive Roderick.

I think her deal with Madeline and Roderick is a mix of be careful what you wish for as you’ll get it in unexpected ways, and exposing their own hypocritical choices. The Ushers believe they are entitled to the company due to their father, that it is their legacy, that if he had only acknowledged them and planned for them to continue the company in their name they would have everything they deserve. But in order to get that legacy, they have to behave in the exact same manner their father did, and think only of themselves while not plan to leave anything for their children.

Verna even offers choices to the other people we see her interact with.

For Perry she reminds him he could choose to stop recoding people, choose not to peruse his brothers wife, choose to end the party. It’s not too late. Even at that party when she tells Morelle to ‘leave now’ it is still a choice, one Morelle doesn’t take which leads to its own consequences. And in the run up to the party we’re shown so many moments when Perry could have chosen differently and the outcome would have been different: having the party at all, inviting Morelle (he turns away and then back to offer her a ticket), Napoleon saying he’s better than this and doesn’t need to become a drug pusher, the building not having water and so choosing to use the assumed water on the roof… right up to the last moment when he chooses to give the signal for the sprinklers to go on.

And her conversation with Perry Verna almost admits it: the series of decisions which lead to him, some small ones, a big one, and then another smaller on and now here he is. Choices he wasn’t involved in have led to him being there that night. And she loves bad boys because they always make all the wrong choices.

For Camille she refuses entry to the lab multiple times and offers her the choice to turn around and go home: it won’t change her fate as she’ll die either way, but if she goes home she’ll die in her sleep instead of being torn apart. She doesn’t *need* to see everything with her own eyes, she already has the proof. But Camille chooses to revel in her sisters shame, to twist the knife, and so she dies painfully.

And Napoleon is told the cat he wants to buy isn’t for sale and to choose to go back home to his boyfriend (and likely confess his actions) but he pushes through with his money and demands that he should get what he wants. He even has a moment within his confrontation with the cat when he thinks this might be a drugged hallucination, but instead of stopping or calling his boyfriend he continues to destroy their home.

Victorine also gets choices: the file of perfect patient data is handed to her but she doesn’t have to call Verna back about the human trial. Verna asks at multiple points if this procedure is safe, if the surgeon has agreed, even if her patient data is safe in this clinic. And Victorine chooses to lie at every opportunity, chooses to sacrifice this woman’s life in the pursuit of her dream. And so she is haunted by her lies, driving her to a more gruesome death than necessary.

For Tammy Verna shows her how to make better choices from their first meeting: we only saw one other sex worker play out the fantasy scene pretending to be Tammy but their interactions with Bill were surface level. When Verna appears as Candy she plays fake-Tammy as caring about Bill, showing Real-Tammy how she could be a better partner from the get go. Verna compliments his cooking, says she’d been craving his ‘famous chicken Alfredo’, asks about his work earnestly and listens to his replies. Even later, when she is Tammys hallucination double, she keeps showing Tammy how she could choose differently: Bill would probably set your fight aside considering another sibling has died, you could call him? Bill would probably be concerned about your health, you could apologise? And after her breakdown Verna pretends to answer Bills call (which Tammy had thrown across the room) and apologises to him for how he’d been treated. The whole time Verna is telling Tammy ‘it’s not too late, you could choose to be kind, you could choose to make yourself happy’: like Camille it wont stop her inevitable death but it could have been easier. And again she didn’t have to die in this manner, she could have gone in her sleep but her chosen treatment of Bill and her own guilt over her decisions has been keeping her awake.

For Frederick, Verna even admits that she has chosen his manner of death *due* to the choices he made: he would have died in his car from a heart attack but he chose to take his wife home, chose to torture her, ‘chose to pick up the pliers’ and so here are the consequences of his decisions.

For Lenore, the only innocent in the whole family, Verna wants her to know that her *choice* to give a statement, her choice to break with her family and get her mother out, will have lasting consequences. That Lenore’s decision will have changed the world.

That Verna’s power focuses on choices is further emphasised with her knowledge of ‘what people would have been’ as I think that’s an expansion upon what different choices would have led to. Of people had chosen differently then this is what they would have become.

And in Verna’s interactions with Pym all of the moments she references are ones where choices are made: the choice to leave a man in the desert, to abandon a guide in the snow, to assault a woman in the arctic. Moments when a choice or decision was made.

So I think she is a bargainer, or demon of decisions, and while she isn’t inherently evil she has her own morality as seen when she chooses deaths which are painful or peaceful, depending on a persons actions.

And really the message of the whole show is choices and their consequences.

I may be in the minority but I think it's pretty smooth of Stoker to have casually dropped the little story about the suicide's grave like he did. It's all part of the larger tapestry of spooky details at the time so it didn't feel like An Important Detail For Later. He was telling us, though: "Pay no attention to the grave marker, readers, this spot is unconsecrated." So now Dracula hiding in that grave makes sense.