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#a REALLY good tragedy is locked in quantum uncertainty between these two states

here's the thing. if i were at a play and it was getting uncomfortably close to my plots and schemes i would simply not notice. my goth nephew would be staring daggers at me but it's not like that's any different from normal.

“i can fix him” “i can make him worse” well i can split him into the fixed and worse versions of himself resulting in existential horror, identity crises, and maybe a little violence

maybe sex is nice but have you ever found a free access source to your academic paper that had the exact specific thing you searched for after gritting your teeth in stress that you'll have nothing

there are so many things on gods green earth that are not platonic but are also not romantic. the erotic, the familial, the unconditional, weird codependency, weird codependency (hatred edition), etc. let us all broaden our horizons

stares at you unblinkingly with my big haunted eyes the entire time you're trying to have sex with me

whenever someone calls USAmerican English the 'movie accent' I remember how somewhere last year I was on a train when suddenly the silence was broken by an american voice behind me somewhere and I immediately thought "Oh no, someones playing their tiktoks out loud again" and automatically turned around to put a face to my annoyance like you do when someones driving bad, and turns out a few rows down were just some actual in the flesh USAmericans having a nice conversation amongst themselves. I am sorry Americans I'm glad they let you out of the phone

I know I’m being an insufferable worldbuilding nerd here, but my basic metric for evaluating media with very inhuman protagonists is “how easily can one offer a complete and coherent account of this media’s plot without ever mentioning the fact that the protagonist is, for example, a talking car?”. The harder it is, the higher it scores.