"don't mass reblog/like :/" coward. fool. somebody just went through and liked and reblogged 64 things from my blog in the span of half an hour at most. and i've never felt more alive in my life
This isn't Instagram, my darlings. It's not considered creepy (except by people imported from Instagram and frankly they need to learn the culture HERE before trying to boss anyone around) or weird or particularly distressing. Many of us don't even look at our notifications to realize that you've done it.
And frankly, I put that on my blog to bring me some joy. If it brings you joy too, put it on your blog along with the next fifty posts in the same theme. (If you're reblogging my fics, thank you, I love you 3000.)
Every couple of months I open my phone to â99+ notifications for Tumblr!â and think, odd. I did not post any art today. And itâs always someone who found my blog and went through the past 3 YEARS of doodles and liked every. Single. One.
Sometimes I like to count how many likes it took before they said âfuck it I gotta follow her,â and it makes me kick my feet in happiness.
So have at it, babes. Thatâs what itâs there for.
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There's a lot of commentary about the pitt, particularly post-season 2, that claim people are unwilling to discuss or acknowledge the 'uglier' themes of the show. And Iâm curious about the lens with which people view these discussion to be making those claims.
To be absolutely clear, I have no issues with the existence of feminist critique, anti-racist critique, or discussions of misogyny around the show. I think those conversations are valuable. More than valuable, really - they're necessary. Media doesn't exist in a vacuum, and neither do audiences. People bring their experiences, identities, and histories with them when they consume any form of media, and it would be absurd to suggest that racism, sexism, misogyny, class, and institutional bias aren't worth talking about.
What I find myself pushing back against is something slightly different. Because, increasingly, it feels like some conversations have stopped asking questions and started assuming answers. And I think that's an important distinction. There's a difference between asking "could misogyny be shaping this dynamic?", and beginning from the premise that misogyny already is the answer, and that disagreement with that conclusion represents an unwillingness to engage seriously with the material. Likewise, there's a difference between saying, "I think season 2 marginalised Samira in ways that I find troubling", and saying, "season 2's fundamental problem is racism and misogyny".
Those aren't the same claim. And I think the latter requires a degree of certainty that I'm not sure the text itself supports. Because one thing I find myself returning to over and over is that many of the ideas which have become central to certain corners of the fandom are, in my view, beautiful interpretations. But they still read like interpretations.
Samira as Robby's younger self. Samira as his true heir. Robby projecting his self-loathing onto her. His inability to articulate his admiration of her. Her craving his approval. Their relationship being simultaneously loving, toxic, and professionally harmful. His impossible expectations of her stemming from his belief in her exceptional potential.
These are all compelling readings, truly. But I don't think they're all canonical truths. Fandom does this all the time. We all do. We find threads; we connect dots; we construct emotional throughlines; we invest in possibilities. That's part of the joy of engaging deeply with fiction. But I think problems emerge when interpretations slowly become treated as facts.
"I think this relationship is central to the show" becomes "This relationship is clearly the emotional core" which becomes "The writers abandoned their own story" which eventually becomes "The writers have revealed their misogyny".
And somewhere in that progression, what began as an interpretation becomes transformed into a moral accusation. I think that's what I've found difficult. Not criticism, not disappointment, not even anger. But the way in which creative disagreements sometimes become reframed as evidence of moral failure.
Because if season 2 failed Samira, that is a perfectly valid opinion (which I share). If someone believes her screentime was insufficient, or that her relationship with Robby lost complexity, or that the show devoted too much energy elsewhere, I think those are entirely legitimate criticisms.
But I don't know that disappointment itself proves misogyny. And I don't know that every uneven relationship or disparity between characters necessarily has the same explanation.
Take Whitaker, for example.
I've seen him increasingly reduced to the "mediocre white man who gets rewarded". And honestly, I find that reading sad. Not because he's beyond criticism - he's not - but because it seems to flatten him into a symbol. His working-class background; his upbringing in rural Nebraska; his homelessness; his theology background; his anxiety; his mistakes; his growth; his deep empathy; his bonds with Robby and Santos; his willingness to meet people where they are; his evolution from terrified MS4 to confident R1. All of that disappears, and he becomes simply an embodiment of structural privilege.
Which, to me, feels oddly ironic, because a great deal of the discourse surrounding Samira rightly pushes back against flattening complex women of colour into symbols. Yet most of the criticism of Whitaker flattens him precisely the same way.
Likewise, Robby becomes 'latent misogyny'.
Dana becomes 'internalised misogyny'.
Gloria becomes 'the profit-obsessed Black woman'.
Al-Hashimi becomes evidence.
Collins becomes evidence.
Louie becomes evidence.
Joyce becomes evidence.
Everyone becomes evidence.
And eventually the characters stop feeling like people and start feeling like exhibits in a larger argument.
I also think some theories have become almost impossible to falsify.
If Robby criticises Samira, that confirms the reading.
If he praises Whitaker, that confirms the reading.
If he trusts Langdon, that confirms the reading.
If he doubts Al-Hashimi, that confirms the reading.
If Samira struggles, that confirms the reading.
If she excels, that confirms the reading.
If she receives little screentime, that confirms the reading.
If she receives more screentime, but isn't validated in the 'right' way, that confirms the reading.
And at some point, I start wondering what evidence would count against the theory. Because if there isn't any, then we're no longer using a framework to understand the text. We're using the text to reinforce the framework. And I'm not sure that's a partiuclarly healthy approach.
Perhaps most of all, though. I wonder whether some of the intensity surrounding season 2 comes from grief. Not grief over what happened in the show. But grief over the loss of the show people thought they were watching. Because I think many viewers fell in love with a version of the pitt where Samira was Robby's successor. Where their relationship was the emotional centre of the series. Where her philosophy of medicine would eventually be vindicated. Where his inability to express affection would slowly give way to recognition. Where he would finally acknowledge that she was extraordinary.
But I'm not convinced that 's the story the writers themselves thought they were telling. And I think season 2 exposed that gap. Not necessarily because the writers betrayed their own themes, but because audiences and writers were perhaps never imagining quite the same show. Which is disappointing, and disappointment is real. But I don't think disappointment automatically becomes proof of prejudice.
And I think that's where I ultimately land. Not that discussions of racism and misogyny should stop. Not that media criticism should be gentler. Not even that people should simply accept the show's decision.
But that accusations as serious as these deserve a degree of humility. Because the pitt is a show about imperfect people trying their absolute best in a failing system. People shaped by grief, ego, burnout, race, gender, class, trauma, hierarchy, and institutional pressures. None of these things operate in isolation. And I think our criticism should be willing to embrace that same complexity.
Because sometimes I read certain corners of the fandom and come away with the impression that racism and misogyny are not being treated as possibilities to be explored, but as conclusions from which all other explanations must flow.
And, I don't know⌠maybe that's where I part ways.
Not because I don't think those conversations are important. But because I think stories - and people - are usually more complicated than that. And I think complexity deserves the benefit of remaining complex.
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SF: I know what it takes for that emotionality all the time. It takes a piece of your soul with it. And the relentlessness of the show, I canât even imagine how you shoot that. I cannot do that
NW: What are you talking about - Where do you think I learned it from?
"The fact that Noah Wyle doesnât actually have thick hair covering his chest and belly is always a shock to me" - ME TOO!!!!!!!!! Idk why maybe cuz he has such a full head of hair and all that beard and that arm hair??? Idk I always just assume he's all mountain man underneath HAHAHA GOD I LOVE HIM SO MUH-HUH-HUCCCHHH
Tom Mason especially serves mountain man, but if you managed to peel away the 100 layers of clothing heâs got on itâd be smooth⌠a dusting of happy trail and nothing moreâŚ
Omega!Robby sees his alpha flirt with someone else.
Jack doesnât mean it, heâs just too charming for his own good.
As a little reminder of who he belongs to, Robby spends one night, while Jack is at work, pleasuring himself and making sure every room reeks of needy omega.
He makes himself fresh before work, and doesnât give any hint of what heâs done during the hand off. As soon as Jack leaves, Robby tosses his phone in his locker and ignores it. Imagining his alpha enjoying his punishment is all he needs.
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âoh no, my audience has begun to guess the big twists of my story and are accurately predicting what will happen!â
incorrect response: write the rest of the story to be as twisty, shocking and counter to expectations as possible, regardless of whether this is a logical or satisfying way for the plot to go
(youâre not stupid. I posted this thinking it would amuse a handful of mutuals who all knew the context and that would be about it, so I didnât think about providing any other explanation. I had no idea it would spread this far.)
Iâll start from the very beginning just to be thorough. so this is Alex Hirsch, creator and head writer of Gravity Falls, a show which had a big focus on mystery, conspiracies, codes and ciphers, etc. the whole plot is kicked off by one of the main characters finding a mysterious old journal in the woods, which detailed all kinds of weird and supernatural things, but then ended abruptly with the author saying they had to hide the journal because they were being watched. the central driving mystery of the show, therefore, was the question of who wrote the journal and what happened to them.
now, the thing about Gravity Falls is that, while it must be said that the writers werenât always quite as sure of their plans as we tend to like to think they are, it is very much a fair play mystery, with legitimate clues to what was going on. but the writers were caught off guard by how quickly the show attracted a dedicated audience, including a lot of people outside the primary presumed demographic, who started solving the clues faster than expected. so some of the fans were able to correctly guess who the author was before it was revealed in the show, and the theory started spreading. this put the writers in something of a panic, because this was THE mystery that the whole story revolved around, with ž of the show building up to the dramatic reveal in the middle of season 2. they wanted it to be a mystery that could be figured out, sure, but they werenât prepared for people to solve it so far in advance of when it was planned to be revealed, which would have really taken away from the big moment. they werenât going to change the main story itself, but having been caught unaware by how much attention the fans were paying, they wanted to up the ante and make the mystery more complex to solve going forwardâbut first they needed to buy some time and throw the fandom off the scent for a little longer.
hence, Alexâs plan as described above. they whipped up a fake shot that appears to give away the identity of the author as being another character in the show, put it on a screen in the studio as if it was a real animation frame, took a picture of it, and âleakedâ it online. it was initially decided to be a hoax (albeit, I think, presumed to be a hoax originating from outside the production team), until Alex posted this tweet:
âŚbefore quickly deleting it (though not so quickly that it didnât get seen, of course).
it worked well enough to distract most people for a while, and wasnât revealed as a hoax until a year later, when an episode aired that definitively proved that the supposed screenshot could never have happened, at which point Alex owned up to the whole thing as seen in the tweet above. by then the episode with the real reveal wasnât far off, and while people did still work it out ahead of time, it was more of an âOH MY GOD I KNEW IT!â moment than a âbooooooring, weâve known that for agesâ moment, which of course was what the writers wanted all along.
personally I find this a fascinating approach to dealing with the problem of spoilers, because it doesnât affect the story itself at all; if you watch Gravity Falls todayâor if you were watching it when it aired without any significant contact with the fandomâyouâd never know about it. ultimately, the problem the writers were facing wasnât that some people might guess the answer to the mysteryâthey never wanted to make it completely impossible to predictâso much as it was that they hadnât designed the story to stand up to so many people working on the puzzle together, which resulted in a sort of total output of puzzle-solving ability that far outstripped the capability of any one solo human being. so their solution is something thatâs very much targeted toward delaying that group problem-solving, without actually affecting the experience of any individual person watching the show.
plus, itâs very in keeping with the overall tone of the show.
Across three preregistered studies, participants interacting with sycophantic AI became more convinced of their own rightness and less willing to repair relationships. Yet at the same time, participants rated sycophantic AI models as higher quality, more trustworthy, and more desirable for future use, which may explain why this behavior has persisted despite its harmful impacts.
Myra Cheng et al. "Sycophantic AI decreases prosocial intentions and promotes dependence." Science 391, eaec8352 (2026).
the oldest reblogs for this post that i can find are from january 2nd of 2013. this can has been getting kicked around tumblr for almost 13½ years now
i think one of the worst things the left wing internet ever did was push the idea that oppression is basically a virtue, and being oppressed is a sign of your morality. it has made it likeâŚimpossible for some of you to hold the idea that most people are privileged in some ways and oppressed in others. AND a lot of you seem to have it in your mind that terrible people cannot be oppressed, and that oppressed people cannot do terrible things, which is a dangerous rhetoric to hold imo.
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