okay, I’m actually writing now

the concept of star-eating microbes causing a crisis and the solution being the introduction of space wolves to space yellowstone to control the space elk population. i love a good trophic cascade

dr ryland grace immediately pitching "turn the spaceship into a giant centrifuge to generate gravity" and then not balancing his actual centrifuge later on

the entire "life is reason" scene really

grace forgetting to open the mystery alien container in a fume hood AND immediately sticking his nose in it. if we did this in chemistry lab we were executed on the spot

academia drama being one of the cornerstones of grace's character

grace switching through every spectrum setting on the microscope to try to see into the astrophages and not being able to (relatable)

also: the astrophage dying and grace going "ohhh it died..." (very relatable)

grace having his not-scientist buddy Carl to give him frank solutions when he's overthinking. yes, often the solution is just to put the box in another box

copious duct tape usage

just sticking a filter into the path of the petrova line to collect astrophage goop

eva going "so it's alive" when grace tells them the astrophage are moving, and him being like "WELL ok that could be for a lot of reasons" in the tone of someone who doesn't even know where to start explaining why that's a hasty assumption

grace referring to the first new astrophage as his and carl's baby multiple times (HIGHLY relatable)

Artfight 2026 (Pt. 1)

Olin for @curseforks

Lyra for Sketch_wolf

The Beast for yourearealmonster

but it's also horrifying, absolutely horrifying, for the living characters who are looking on because a.) they're watching their dead family and friends and neighbors, most of whom are covered in blood and visibly injured, get danced around like puppets and b.) it's the first time the characters are really getting a taste of the hivemind bullshit the audience has already been clued in on and c.) sure, they're just dancing for now, but they're realizing just how many hungry vampires are waiting outside to kill them at the first opportunity and take Sammie. so that's a nightmare for them.

so you could read that as a deliberate intimidation tactic on remmick's part, trying to overwhelm the survivors into giving up, but then you're like, okay, maybe in his mind this is a display of how good it is to be a vampire. isn't it good? doesn't it look fun? look how much fun we're having! you could come have fun too if you want! just let me in :3 I don't think that's impossible, that he'd be totally oblivious to how he comes across. the newly-turned vampires seem pretty bad at faking their interpersonal skills; all memory of how to act human beyond the most superficial level seems to really go out the window pretty immediately. remmick seems a little cannier than that, since we see him try to play on people's emotions more than once--appealing to the kkkouple's fear of the Choctaw to gain their shelter when he realizes they're klan, trying to lower Mary's guard by sympathizing with her over her dead mother, pressuring Grace by threatening her daughter. obviously some of those efforts are more successful than others, but he at least seems to have an ability to read the room that other vampires lack.

but it's also not a stretch at all to think he might sincerely be that clueless, because that whole song and dance number is remmick's whole thesis statement, which is that when he says he believes in "equality" he means that he'll kill anyone and turn them into one of his tools regardless of who they are. like sure, whatever, I'm willing to believe that he does sincerely find the klan objectionable, but he's also just packed full of shit. his version of equality is one where everyone's equal under him, acting out his own culture and history for his pleasure. thinks he's not racist because he doesn't care that Sammie's Black but still wants to take away everything that makes Sammie an individual and just keep the musical talent to perform a crude facsimile of being Irish.

part 3

beauty requires openness. it asks you to let things reach you, to soften enough to be moved. it’s not naive to see beauty everywhere—it’s a skill, a form of intelligence, a kind of quiet bravery. because it is so much easier to critique than to create, to detach than to engage, to dismiss than to love.