eqt_95 @eqt-95 - Tumblr Blog

quinn’s supercorp master list

[updated may 2024]

multi-chapter

to want and to have and to hold | the one where Lena and Supergirl are stuck together on a planet and no one is happy about it [M]

follow the buttons | the one where supergirl goes through a lot of buttons and lena is on the case [T]

let’s go flying | the f1 au [T]

a crisis of indulgence | the bartender au [T]

normal for a time | the established relationship meets metallo au [T]

one-shots

new kind of romance | the one where Lena is Sisyphus and Kara is the rock [T]

like we’re made of glass | the one where everyone is sad until they aren't [M]

a nemesis and her hero | the one where supergirl needs a nemesis [T]

we can’t rewind time [T]

the glasses that broke lena luthor’s back | the one where lena jumps off a balcony to prove a point [T]

luthor green | the one where the superfriends get community service [G]

tumblr exclusive

there were too many beds | the one with too many beds

the jacket | the one where kara leaves her jacket

superwhumpcorptober | incomplete master list

#my attempt to compile all the bits and bobs floating about #i can't promise stylistic continuity - there's some fluff. angst. crack. pine trees. yearns. yawns...#supercorp #supercorp fic #masterlist

exeggcute

one of my favorite this american life segments of late is about the people who played orchestra pit for phantom of the opera on broadway and how, like, a sizeable majority of them had literally been playing the show since it opened in 1988 (on broadway. I know it opened in 86 on the west end, you random pedants, but I am specifically talking about broadway musicians) because their contracts stipulated that they'd have jobs throughout the show's entire run... but nobody anticipated that phantom would become the longest-running broadway show of all time.

and none of these people wanted to walk away from a guaranteed job, so very few of them ever quit. they just kept doing the same show eight nights a week... for twenty or thirty years... and by the time it finally closed last year most of these musicians (who had been working together for DECADES) hated each other and really really fucking loathed phantom. I can't stop thinking about it. it's indescribably hellish to imagine but also the funniest thing I've ever heard in my life.

exeggcute

can you imagine.

bisexualshakespeare

[ID: excerpt from an article reading: One of my favorite stories, which should drive anyone who has every played in a band crazy-- there’s this bassoon player who has sat next to the same clarinet player since 1988. She’s convinced he plays half a note4 flat on every note he’s every played. He denies this. /]

cleverlittlefox

#it's like if a bottle episode and purgatory had a baby

ismenes

When my son was about to turn two, strangers would offer condolences. There’s a collective cultural dread of toddlers, who get described more like animals than people. Kids in their "terrible twos," I was warned, are illogical, unregulated, and feral. "Good luck," people would say. "He'll grow out of it."

I'm lucky: My son is a very easygoing kid. But I remember the first tantrum he threw for me. He was standing by our front door and asked to go outside. So I opened the door and grabbed his shoes. But as soon as he stepped onto the porch, he pointed back into the house.

"Inside," he said.

"Okay," I said. I picked him up and brought him inside.

But as soon as I shut the front door, he pointed outside.

"Outside!" he said.

You know where this is going. We went back and forth, inside and outside, again and again. He got more frustrated. And I got more frustrated. Eventually he wound up straddling the threshold of our house, sobbing. When I tried to comfort him, he screamed at me. "You go wherever you want!" I said. He just got madder. I felt trapped, convinced he’d concocted the whole episode as a pretext to unleash his rage at me. It was ridiculous. I consoled myself with the thought that he was just being a toddler.

But later I kept thinking about him wailing at our front door, one foot inside, one foot outside. His misery wasn't unreasonable, or trivial, or silly. My son was experiencing the agony of wanting two things that were impossible to have at the same time. What a fundamentally human sorrow! My son wasn't being a toddler; he was being a person. Adults may not walk around howling, but that same pain rages within us. In that moment, as a father, I was powerless to solve my son's problem. I told him he could go wherever he wanted, but of course I was wrong. To be where he wanted was impossible.

Make Believe: On Telling Stories to Children by Mac Barnett

#this #apt #today and every day

jamiesfootball

Huge shout out to all the people who read fics. Who actually take the time out of their busy days to open a fic and read it

Before I started writing in earnest, I did not understand how much writing was going to eat into my fic reading time. We joke about having too many tabs open, but I have a different problem: the amount of tabs I have open on new fics is way smaller than it used to be. My ao3 wrapped would be a sad affair. Unless I’ve subscribed to an author or come across something on my dash, I basically don’t see it

Which has really driven home for me how much fandom cannot just be creators. You have to have people who want to read fic and meta discussions and joke posts. You have to have people who want to look at art and gifs. It has to be mutual.

Community thrives on flow. You have to have that movement of people sharing things with each other for a community to exist

Thank you fic readers. You keep things flowing

#to all the folks reading and kudosing and commenting years later

moonybamboony-deactivated202508

you guys gotta stop deactivating your blogs cause you're making it harder for me to go back in a reblog chain to remove the annoying additions

arlo-maintenanceman

I reblogged this specifically for the prev tag because it made me feel like I was having a stroke

ceeejus

ramiel

wip wednesday sunday

thanks @lifemodeldecoy for the tag. i've been pretty sidelined lately, but here's an unedited excerpt from a sequel no one asked for. to help orient, the numbers are representative of the day in a year.

also a no pressure non-tags to anyone and everyone. i'd love to get a glimpse into anything and everything y'all are up to.

•• 248 ••

“What can you tell me about Paul Rush?”

“Paul who?” Jacob repeated from behind a computer monitor. He poked his head around the side, face scrunched in thought. “You mean Paulie?”

“Sure,” Kate replied with feigned indifference.

Jacob let out a raspberry as he pushed back from the desk. “Decent kid, killer mixed artist, has gotten the short end of the stick a few too many times.”

“How so?”

“Want some pizza?”

“What?”

#batwoman #wip wednesday #68k words of a self-indulgent wip waiting for time and love and a boatload of elbow grease

whoreiaki-kakyoin

I love you, writers who start chaptered fics and run out of steam or hit writer’s block before you finish. I love you, writers who get asked for part 2 of a fic and flat out say no. I love you, writers who set aside projects if they become a chore or if you’re feeling more pressure than enjoyment. I love you, writers who let themselves be human and have limits and get tired. I love you, writers who set clear boundaries and expectations and don’t allow themselves to be pressured or guilted. I love you, writers who struggle with burnout, writers who haven’t written in a long time, writers who wonder if they’re even “allowed” to still call themselves writers (you are ❤️).

I love you, writers who have health issues or are struggling with person issues and don’t have it in you to write right now. I love you, writers who gained a following for one type of fic and have since moved onto something else. I love you, writers who have more unfinished drafts than they can count on one hand and who know that they don’t have plans to ever revisit some of them. I love you, writers who share the things that you create, even when you get rude comments for switching fandoms or writing less frequently or posting about things that aren’t writing (especially then).

I love you, writers who put themselves out there and post their work publicly, who keep creating despite doubts, and I love you, writers who have stepped back from writing and don’t know when they’ll be back. You’re doing great. You’re appreciated. You deserve to take pride in your writing and to create the things you like.

zombeesknees

Some close-ups of the dinos! The three layers broken out -- sky, land, and sea -- and some spotlights on my fave lil dudes, including the chonky and spiralsaw-jaw sharks, the toothy T.rexies, the not-so-Littlefoot, and an orange Nessie! (Pattern by UnaBuenaPieza.)

current-comix

#batwoman #so excited for this one

uisceb

One of the weirder tendencies I’ve noticed about people who demonize Glinda and sanctify Fiyero is that they don’t seem to want to engage with the fact that Wicked is about characters from The Wizard of Oz and that there’s genuine and intentional significance to that. It’s not just a schtick, it’s not just a marketing tactic, there’s a real actual purpose to the fact that it centers on already well-established characters from a story that has existed in some iteration for over 100 years.

Elphaba isn’t just Generic Misunderstood Outcast Rebel Girl fighting fascism, she is very specifically the Wicked Witch of the West, far and away one of the most iconic characters in film. And she’s iconic, because she’s a caricature. Pure evil. No nuance. Green skin, crazy cackle, setting people on fire, terrorizing a whole nation over a pair of shoes, tried to kill a kid and her little dog too. Completely irredeemable.

Glinda the Good Witch? Same deal, but flipped. A caricatureof pure goodness.

And after watching Part 1, so many people decided Wicked was a SURPRISE TWIST THE GOOD GUYS ARE THE BAD GUYS AND THE BAD GUYS ARE THE GOOD GUYS story.

Which is so completely insane to me given that right from jump, Wicked is screaming at the top of its lungs “The concept of Absolute Good and Absolute Evil is NOT REAL, it is a tool used by a fascist regime to subjugate and control the masses.”

If Wicked were a Good versus Evil story, or a Hunger Games-esque Fight Fascism story, Elphaba and Fiyero would be the central relationship, Elphaba as our Outcast Rebel Protagonist, Fiyero as our secondary lead who would presumably show some textual evidence of a grander moral backbone and awareness and aspirations beyond just running away from it all and becoming Mr. Elphaba Thropp.

But Elphaba and Fiyero aren’t the main characters, Elphaba and Glinda are the main characters; because Wicked is not a Good versus Evil story, nor is it even a Fight Fascism story. Fighting fascism is Elphaba’s personal goal, and it’s the reason why her image has been twisted and exploited - but it’s not the overarching theme of the narrative itself.

The narrative itself is about Good and Evil as propaganda, not literal moral states of being. It’s asking you to look at the Wicked Witch, and Glinda the Good, two of the most recognizable icons in film who represent Absolute Evil and Absolute Good, and dismantle both of them.

Not SWITCH both of them; DISMANTLE both of them.

Because both the “Wicked Witch” and “Glinda the Good” are creations of the Wizard’s regime; they’re pawns, they’re puppets, they’re caricatures manufactured by the authoritarian government to keep control over people, to keep people from questioning or rebelling, specifically by weaponizing moral panic. As such, both the “Wicked Witch” and “Glinda the Good” are just as much the antagonists of the story as the Wizard and Morrible. Because they ARE the propaganda machine.

And the only way to take down the fascist regime is to take apart the propaganda machine, which means taking apart the two most pivotal pieces keeping it together.

Basically you’re supposed to be unearthing the humanity beneath the icon, on both ends of the spectrum.

When we first meet Elphaba and Galinda in Act 1, back when they had no idea they were going to become political props, they were both very human - BUT, very notably, they were both extremely armored in these protective facades they’ve been carrying around since childhood. For Elphaba, that armor manifests as brutal honesty, self righteousness, and disdain for social hierarchy. For Galinda, that armor manifests in hollow, self-serving proclamations of goodness, and an obsession with outward appearances of perfection, both physical and moral.

What’s interesting about their “loathing” era is that they loathe each other specifically because they see the human in each other. Galinda doesn’t hate Elphaba for being green, she hates her because she publicly took a sledgehammer to the Galinda Is Perfect statue she built of herself and said nah, you’re not perfect, you’re just a person, and kind of a lousy one at that.

In a very weird way, Elphaba just created the first genuine human connection for BOTH of them - Elphaba has always been treated like an inhuman monster, Galinda has always been treated like the superficial embodiment of perfection beyond reproach - so for the first time, these two girls have someone looking them dead-on and saying, no, idiot, you’re human. And because of that, they’re obsessed with scratching and picking away at the armor of each other. It’s loathing, but there’s a give and take to it, even a sense of satisfaction and enjoyment - they want to find the human in each other, even if they claim it’s for purposes of mutually assured destruction.

So by the time we get to the Ozdust, they’ve both worked away at each other and gotten to see the human in each other so well, Galinda recognizes the vulnerability in Elphaba when she’s dancing alone, when no one else does - when even Fiyero just thinks Golly it’s so super duper cool Elphaba doesn’t care what anyone else thinks about her.

Both Elphaba and Galinda are at their most vulnerable during the Ozdust duet, because they’ve earned it. They know each other better than anyone, they both see each other as human when no one else does. But this time it’s changed tone - Galinda dances with her because of this recognition of holy shit, this person whose armor I’ve been obsessively chipping away at is vulnerable in the way that all humans are vulnerable, and I did that, I’m responsible for that, and I don’t want to be that person, and I actually admire this person, and care about this person, and I want to fix the damage I’ve done, I need to do something to show her I’m with her.

Of even more significance is Elphaba’s acceptance of Galinda dancing with her. Elphaba is very shrewd and very guarded and very good at seeing through people’s bullshit, so by accepting this olive branch, she’s also recognizing that this person whose armor she’s been chipping away at does actually have a genuine desire to make amends, to admit she was wrong, to be better than who she was - to be human, not just a one-dimensional icon superficially beloved by the masses.

It’s not elegant, but from both Elphaba and Galinda, that scene is a slow unfolding of “I was obsessed with hating the fact that you called out the human in me,” to “Oh, there’s a vulnerability to the human in you.”

So now we’ve got Defying Gravity, and Elphaba and Glinda hit the irreconcilable differences mark, and they part ways - and the dictator swoops in and uses them to embody an ideal of Absolute Evil and Absolute Good, effectively stripping away the humanity that Elphaba and Glinda found in each other. Thus begins the propaganda machine.

These are not roles Elphaba or Glinda ever meant to find themselves in. And they still love each other, but over time, we see them begin to relapse into their old pre-Ozdust facades in order to protect themselves - Elphaba withdrawing into self righteous solitude, Glinda fixating on surface level adoration from the world, both of them beginning to deny and reject the vulnerabilities in themselves that the other brought out.

The Wizard and Morrible very much succeed in driving this narrative of the “Wicked Witch” and “Glinda the Good,” to the point that both Elphaba and Glinda start to find comfort and strength in these roles as their personal lives and relationships begin to fall apart. Toward the end of Act 2, they have largely embraced and committed to these caricatures of themselves, which means that just like the rest of Oz, they’ve been suckered in by the propaganda machine, while at the same time, literally being the propaganda machine.

The story hinges on their ability to recognize that they’ve become part of that machine, and their ability to dismantle it.

I don’t know where the article is anymore but I remember Jon Chu said something along the lines of them being each other’s salvation, which in addition to being the most insane way he possibly could have phrased that, is actually the crux of their relationship. They saw each other as human before anyone else did, then they had that humanity torn away from them, then they took comfort in the stripping-away of their humanity…so how do they get it back?

Essentially they have to come back to themselves at the Ozdust. Glinda has to confront the fact that she’s let herself be ruled by her own denial and fear and need to be adored, and Elphaba has to confront the fact that she’s let herself be ruled by self righteousness and hubris and the need to be respected, and that neither of them has had any real effect on the state of Oz as a whole, except to serve the narrative created by the Wizard and Morrible. That’s the point: they have both been reduced to pawns who exist to propagate the unchecked authority of the Wizard’s regime.

Wicked has heavy Fight Injustice, Resist Fascism, and Stand Up for What’s Right Even If You’re Standing Alone messages, and it does raise parallels to the real world stripping away of human rights and using “otherness” as a scapegoat to manipulate a disenfranchised populace (I’m gonna say they were clumsy about it and really lost that whole plot in Act 2, but…y’know…that’s…it’s Wicked Act 2 - Dana Fox, you did the best you could with what they gave you, angel, truly Act 2 is a whole mess to try to work with, you’re a hero honestly <3)

But as the audience, you really are supposed to be looking at Good and Evil as propaganda, not a true moral binary to simply be flipped on its head. You’re supposed to be taking two of the most recognizable fictional images of Good and Evil in media, and questioning the whole concept of Good and Evil, and how this authoritarian government was able to use these young women to embody that concept to further their own agenda, and to what degree both Glinda and Elphaba submitted to it.

And you’re supposed to be looking for the human in both Elphaba and Glinda when they’re at their worst, when they’re petty or vengeful or self-serving. You’re supposed to be rooting for them to get free of the roles they’ve been corralled into and come back to themselves, which in turn will allow them to, y’know, overthrow the government. That is actually the point of this very oddly-paced and inconsistently-toned weirdo story, that’s the reason Elphaba and Glinda are the main characters, because the evolution of their relationship from beginning to end actually addresses the main themes Wicked has laid out.

…Or! Alternatively! You can just say Elphaba is a precious pure cinnamon roll who’s a misunderstood but morally pristine freedom fighter and is also meeeee :D and Glinda is a self-obsessed fascist >:( and Fiyero’s a noble hero and martyr and should actually be the main character <3 and thank goodness Elphaba’s arc ends in being provided for by a man who loves her so she can live out the simple life she REALLY wants as wife and mother in the story of Anthony Bridgerton’s Adventures in Oz ;) Like genuinely some of you are so determined for Wicked to be about quite literally anything except what it’s about, and I’m just over here smacking my head against the wall slowly going insane.

^I am aware that this is me right now btw. like it’s fine. i know what i’m about. showin up to tumblr with my clown shoes writin my clown essays. the wicked era is over and i’m still here muttering and shaking my fist at the sky, full clown. this will still be me in the nursing home i fear. do they make nursing homes for clowns. god i hope so.

#no notes #wicked #the way my head was nodding faster and faster in unhinged agreement

thesweetiepienovels

Someone said “The slow burn of becoming yourself” and I think that might be one of the most beautiful things I have ever heard. It’s such a good reminder of how much it takes, how much character development, how much change, and beauty and courage it takes to reach your soul and I hope no one ever gives up on becoming themselves because it’s a never ending journey that only gets better.

#the slow burn of becoming yourself #on life

lustcannibalism

hey sexy. I can tell by the frequency of your blog updates that you are once again avoiding it all

docholligay

I think fandom analysis on the whole would be a lot more fun and interesting if it took the sort of attitude a great many of my lit professors did, and the idea was to look at the text, see what you think it's saying, or even COULD be saying, and let's fuck around with that idea. I got four years of hearing insane takes on stuff and I was extremely fortunate to go a school with small enough class sizes and a dedicated enough faculty that in many respects, wild theorizing was encouraged.

One of my professors was straight up like "I don't want you reading papers about this book until we finish it!" and we had writing things for the first 20 minutes of every class because he wanted to know what WE thought, not what we had become convinced was THE thing to think.

When I was in my second year of college, I spiraled out into this whole "Jane Eyre is a lesbian!" thing, and my professor (not the same guy as above but delightfully insane in her own right) was like, "Wow, I've never heard this from anyone," and instead of being like, "um this is not what has been agreed upon by everyone else" went "Tell me more." Now, as a forty year old woman who has never stopped engaging with stories on both an enjoyment and academic level, the paper I would write with age and distance would be more "Homosociality, desire, and the domesticated male in Jane Eyre" or something like that, nineteen year old me was a little reductive and simple, but same vibes.

But my professor did not think I was right, she thought I was being INTERESTING, and so she encouraged me and championed me to write that paper and I actually presented it at the student division of a conference! The cool thing about that was, that when I was defending it, I was having to think about it, but it was in the spirit of collaboration, it felt like. No one was trying to 'win' the conversation.

Doc, what the fuck are you--I saw a really interesting thing this morning, someone talking about Shrek, of all things, and how they thought it was about how you cannot turn an ogre into a man, but he can make you become an ogre. And I immediately went, "Wow! Okay, interesting, not how I read that at all, TELL ME MORE." It was really jarring for me, then, to see pretty much every comment be like, 'uh you are wrong and also stupid." Sure, maybe that's not the intention of the work, but I don't for one goddamn motherfucking second think Charlie Bronte was sitting down going "I am going to write a woman so gay..." nor do I think the read of her as same sex-attracted is the end all be all of interpretations. It's mine, for sure! But like...talking about stories is supposed to be fun and it's supposed to be about possibility.

That one post got me thinking about how we are, in fandom often all looking at this same text, and there's immense pressure to have a 'right' interpretation--I was at the nexus of so many Sailor Moon fandom wars, and while I got into a few tussles, I was also stupid to do that. This characters are not real, and I was shutting down POSSIBILITY. And even after I was like, 'Wow, I don't think this is actually a very fun way to do stuff" it turns out you can't magically give everyone the same revelation you have simultaneously. Which is upsetting. And I see these same patterns repeat over and over and over again.

In my old age, I'm less interested in he "He would not say that" and more interested in "Cool, tell me why he would say that?"

Don't misunderstand me, there are points of view and ideas on different texts where I'm like, "Hm. I don't care to engage with that." Remember that the window we're looking out of is as important as what we're looking at, and will DOUBTLESS change the appearance. But the whole reason we have each other is to try and find other windows! It's not actually to find someone who is the next pane of glass in your same window. I miss that environment, where you could trust that everyone coming to the table was engaging with the same ground rules and that there was an expectation of, detachment doesn't quite get to the heart of what I'm talking about, but we were expected not to take the text or the analysis of it personally, even when it was hard. And sometimes it was. But I think it led to me having--for example it's crazy to me to have one 'right read' on any given text. I had a SUPER FUCKING ANIMATED conversation with a fellow lit nerd about whether or not GdT's Frankenstein was emotionally faithful to the text (which is not the same as being literally faithful nor the same as being good)and it was so fun, EVEN THOUGH we were coming at it completely opposed. But it was so fucking fun.

I wish I could do that with anime and cartoons, but you can't. People take Shrek personally. So I'll never have that same fun.

ANYWAY SORRY I AM DRINKING COFFEE AND MY DAUGHTER ISN'T HERE I HAVE TOO MUCH FREE TIME.

#it's fun to noodle

firebuggg

spotted in nyc

the-bar-sinister

Actually, the reason to write that rarepair longfic that no one else is going to read is so you can go back and re-read it yourself when you're sad.

#the way i open my wip and grow furious at the author's neglect

annabelle--cane

the first law of tragedies: the end is already written and inevitable. the second law of tragedies: your actions are all your own and you can choose to get off this ride whenever you want. the third law of tragedies: we both know that you are never going to do that.

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