I wrote a fanfic! It would mean a lot if you’d read it ❤️
An Archive of Our Own, a project of the Organization for Transformative Works
Noah Kahan

oozey mess

#extradirty
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Jar Jar Binks Fan Club
Color Me Curious
The Bowery Presents
YOU ARE THE REASON
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almost home
🩵 avery cochrane 🩵
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cherry valley forever
The Stonewall Inn

Kiana Khansmith

Discoholic 🪩

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Phantogram Three
Cosmic Funnies
seen from Egypt
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seen from Singapore

seen from United States
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@riotgrrlantigone
I wrote a fanfic! It would mean a lot if you’d read it ❤️
An Archive of Our Own, a project of the Organization for Transformative Works
since both are silent protagonists in the game, EOW zelink just both stare at each other like this to communicate:
Which I think is peak romance btw
with the way ilya went fucking DEMON MODE after the news about shane and rose hit the internet and the way ilya was suddenly playing WAY rougher and angrier with shane than he ever had before, i KNOW most of that team thought ilya had a thing for rose.
and depending on how many movies for the franchise rose had filmed in montreal in the past??? not impossible that SHE was the montreal girl cap was always running off to see when they were in town. yes! it all makes sense!! rose landry is montreal girl, and hollander has STOLEN HER!!
which leads to the very funny idea of the boston team trying to be loyal to ilya and parent trap situations on nights out on the town to get ilya and rose to spend time together because SURELY cap can win her back! he's ilya rozanov!! of course he can do it!! manage to get them "accidentally" locked in a room together and NO chance cap doesn't win her back and steal her away from hollander!
this is, incidentally, ilya's Fucking Nightmare.
in a reasonable canon, shane would simply have THEE most dependent and intimate relationship with the montreal team nutritionist. like, he has her on speed dial. they text multiple times per day. she spends 60% of her work hours adjusting meal plans for his texture issues and aversions. nobody else really sees how intense their connection is.
when he was crashing out about trading to ottawa, he said, "You know, it's just gonna be really hard to leave melissa," and hayden was sitting right there like. "melissa?? it's gonna be hard to leave MELISSA??"
but i think we can probably convince melissa to move to ottawa with him, don't worry.
One of my favorite things about the Oresteia is how the different versions all have their own merits and how well they work together. Today, I’ve been thinking about Iphigenia and the sacred deer of Artemis.
We all know the beginning, with Agamemnon killing the sacred deer and being forced to sacrifice Iphigenia for favorable winds. And in some versions of the story, Iphigenia doesn’t die but is instead taken by Artemis and replaced with another deer at the last minute.
I’ve been thinking about Clytemnestra and Elektra and their endless battles during the Trojan War before Orestes return. Surely Elektra was there with her family because of the falsely joyous nature of a wedding. She would’ve been young and can’t quite remember all of it. But she remembers the sacred deer being important, and maybe she thinks that Iphigenia was saved at the very last moment because she’s a kid and of course she can’t process that kind of tragedy that young, so she conflates that version with the truth.
Both mom and daughter think the other is wrong and that they just can’t cope with the loss in the right way. Clytemnestra can’t understand why Elektra can’t just accept the truth, why a version of the story where her daughter is alive but will never return is more comforting. Elektra is the same; why is her mother mourning a daughter she has given up on? What comfort is there in pretending she’s dead rather than escaped from the tragedy?
Idk, that’s just one of my favorite parts about the mother/daughter relationship between them. They are both in mourning for Iphigenia and it’s the dividing line between them, but also the only thing that unites them.
how it feels to miss the wilds in 2025
stage production of the antigone which consists of just the agon between kreon and antigone performed thrice, with woke and alt right language switched between the characters from one to the other, and the third rendered as alienatingly greekish as possible
Within the Wires is like. What if World Wars I and II happened as a thirty year stretch. What if only a fraction of humanity survived. What if we lost an unfathomable amount of art and culture. What if the systems we put in place to prevent nationalism and bigotry were just as oppressive. What if family abolitionism and the eradication of religion would devastate our concept of community. What if the few who survived were haunted forever, not just by the dead but by the world that was lost. What if the price of safety is freedom. What if we used mind control and targeted assassination to enforce this. What if it still didn't stop people. And, crucially, what if the person on this cassette tape from this alternate universe you are listening to right now were gay.
Within the Wires is like. What if World Wars I and II happened as a thirty year stretch. What if only a fraction of humanity survived. What if we lost an unfathomable amount of art and culture. What if the systems we put in place to prevent nationalism and bigotry were just as oppressive. What if family abolitionism and the eradication of religion would devastate our concept of community. What if the few who survived were haunted forever, not just by the dead but by the world that was lost. What if the price of safety is freedom. What if we used mind control and targeted assassination to enforce this. What if it still didn't stop people. And, crucially, what if the person on this cassette tape from this alternate universe you are listening to right now were gay.
Tai isn’t talked about nearly enough as is, but one crucial element of her character that is so often overlooked is how religion seems to have affected her life. So much of her internal conflict is about pragmatism vs spirituality, disbelief vs belief, and despite her outward strength, she’s the one out of all the girls who has the most complex relationship with death.
The main flashback we get of her pre-crash childhood (outside of the Taivan class scene) is the scene where her grandmother is dying and tiny Tai is sitting with her. Her grandma tells Tai not to worry; that the Lord will call her back to heaven. When she asks “Who are you?” Taissa asks if the angel is here to take her away. She sees the Man with No Eyes and screams that he’s trying to take her eyes, begging Tai to not let him take them, and Taissa sees the man too. Then at her grandma’s funeral, she sees the covers over her grandma’s lifeless eyes. Traumatizing enough for a child, right?
But thinking more about her character throughout the series I think there’s a lot more there than people give her credit for. She’s the most hardwired for perfection and victory. She appoints herself as the leader in multiple situations and thinks she’s best suited for it. She’s the skeptic through and through. She will not allow herself to believe in the supernatural because that would mean that the things she fears and hopes for most are real. She only ever submits to spirituality either when begging for another girl’s life or as Other Tai.
Then there’s the Man with No Eyes constantly at her heels. Following her. Watching her. He’s always just out of arm’s reach. He’ll catch up to her someday just like he caught up to her Nana. The motif of eyes in Tai’s story means so much more than just a fear of death, too—it’s a fascination. It’s the knowledge that she’s always being watched. Someone is always looking. Someone is always judging. In the Wilderness, she’s given a chance to stop feeling so much pressure to be perfect, and she’s one of the few who wants to stay at the end. When her safe pocket is threatened, Other Tai takes the reins.
Other Tai is shown with The Man with No Eyes often, and she’s not afraid of him. Other Tai works with Taissa’s fear of death and losing loved ones to death in order to drive her. She takes away Tai’s shame. Other Tai resents Taissa by the adult timeline because Tai let Van go for fear of judgement in a world that never stops looking. Other Tai takes over to bring Van back and try to “cure” her no matter the cost. When Taissa’s fear of death, judgement, and retribution make her hesitate, Other Tai takes control and steers her through it.
Because if you’re Taissa, wouldn’t you be afraid? Death has been waiting for you since you were a child and it taunts you by taking the people you love most first. It watches you and waits for you. You won’t make it to heaven because of the things you’ve—she’s—done to stay alive. There will be no angel waiting for you. There will only be the Man with No Eyes. There will only be darkness.
Taissa is just such a good representation of subconscious religious trauma and guilt + the fear and repression that comes with it. Other Tai tries to help Taissa by freeing her of those ideas. Think of Taissa’s strive for perfectionism as Freud’s idea of the superego and Other Tai’s disregard for those principles as the id—they both have to exist to balance the other out.
still thinking about the two realities conversation between mari and ben and how it works into the ongoing "debate" on whether or not the supernatural stuff is real, or if it's all just happening in their heads. to me the show is at its best when it's saying two things at once, ie "we brought it back with us". "it" being It, but also "it" being trauma. like, "two versions of reality" is an inherently supernatural statement. but it's also a very real one.
it comes after ben detailing his life as a "completely normal guy" before the crash, and how in a world where the crash never happened or he never got on the plane, he would still be that guy. we've already seen glimpses of what that life could have looked like when ben dissociates, and we see it for the girls when lottie hallucinates the shopping mall. we also see versions of "different realities" in jackie's death dream, as well as the dream shauna has after giving birth. and all of these visions and dreams become more warped/horrifying the longer they continue -- cabin guy in jackie's dream, ben's final vision being in the cabin with paul leaving, the snow coming down on lottie in the middle of the food court, and finally the rest of the team eating shauna's baby. the other reality, the "bad" one, the one infected by the wilderness and everything that's come about because of it, just "hiding, or waiting".
mari also talks about watching a cartoon in the hospital room when her cousin dies, and going out into the waiting room afterwards where the same cartoon is playing. to me, those are two different realities as well. but the world where her cousin just died next to her and the world where she's just in a hospital waiting room, as if it never happened, are tethered. sometimes only your world ends, and for everyone else it's just another day. we also see THIS echoed in the adult lives of all the survivors. they're paranoid, misunderstood, violent, strange. they're utterly disconnected from everyone but each other. the world ended for them, but it didn't for anyone else. they came back, but they can't ever really leave.
there's a reality where shauna really did go outside and get jackie. there's a reality where the team really is eating chinese food in a shopping mall food court. there's a reality where none of them survived the plane crash to begin with. there's a reality where jackie drinks hot chocolate. there's a reality where MARI drinks hot chocolate. there's allie's reality, where she was SUPPOSED to be on the plane that day. maybe theres a reality where they take a bus instead. but all of them, in one way or another, are real.
i don't know, i just really love it. i love how it plays into the ideas of fate and regret and doom and self fulfilling prophecies and how it reinforces the one true "villain" in the show being the plane crash itself, because all the tragedy that comes about because of it would never have happened. it's a conversation about "what if's" just as much as it's a conversation about the dream realm and the visions and all the other freaky shit going on out there. 10/10.
it makes me so sad whenever i think about misty saying “she’s my best friend, she wouldn’t leave without saying goodbye,” and then crying in nat’s empty motel room when she thinks that she did.
especially since, if lottie hadn’t taken nat hostage, natalie would have left without saying goodbye. and it would’ve been under far worse circumstances.
misty saying “i knew it,” when she realizes the door was broken down, and later scoffing when lottie tells misty nat tried to kill herself…
misty telling lottie “i don’t believe that,” because she’s thinking natalie wouldn’t do that to her; she wouldn’t leave her like that.
nat wouldn’t leave without saying goodbye.
i don’t think natalie ever realized that her suicide would’ve had the same exact impact on misty as travis’s did on her. i don’t think nat ever realized how deeply misty’s love for her really ran.
Perhaps the wilderness in Yellowjackets is not just a symbol of death. Perhaps it is also—in its own way—freedom.
In the wilderness, Lottie didn’t have to hide her visions for fear of being called crazy. She was exalted as a leader and a prophet. But when she returned, they called her crazy and locked her up.
In the wilderness, Misty didn’t have to be ashamed of her intensity and eccentricity. She was helpful, she was needed, she was important. But when she returned, they called her a freak and exiled her once again.
In the wilderness, Tai didn’t have to pretend to be something she’s not. Her other self was not a weakness but a strength, it gave her power, and kept her alive. But when she returned she had to suppress her urges and hide her other self, or lose everything.
In the wilderness, Shauna didn’t have to be small, and hide the fire inside her. She was angry, and violent, and powerful. But when she returned, she was forced back into a supporting role, forced to contain her darkness and her drive in order to fit a role she never wanted to play.
In the wilderness, Travis didn’t have to put on an act to fit the societal expectations of masculinity. He was feminine, and emotional, and soft—not the man of the group, but just another Yellowjacket in the hive. But when he returned, he was forced back into the cage—back into the closet—isolated, hardened, closed off and separated from the girls once more.
In the wilderness, Natalie didn’t have to feel guilty for surviving. She was the hunter, the provider, and the gun in her hands made her a savior, and a leader, not a killer. But when she returned, she was a killer once again, haunted by guilt, and outcast by society for the things she did to stay alive.
The wilderness gave them the freedom to be their truest and most authentic selves, but the cost was the blood spilled. The cost was their old selves. The cost was a place in the world upon their return.
Maybe the wilderness did not destroy them; it simply changed them into something new, something irrevocably different, something that would never—could never—fit back inside the narrow box of their old lives, and because they could no longer fit, society called them broken.
The wilderness freed them, but it never let them go. Because once you’ve tasted flesh and blood, once you’ve stared death in the face and overcame, once you’ve been to the very brink and seen the true depth of your own capacity for violence, once all the former markers of morality and success have become meaningless, in a world where survival at all costs is the only law, how can you ever go back to a world ruled by pointless, hollow, conventions? Once you’ve shed every remnant of your humanity, once you’ve run with the wolves, and howled at the moon, and become one with the ancient wild gods, how can you ever be a human again? Once you’ve had a taste of complete freedom, how can you ever be satisfied with a fake, insignificant, half-life, made up entirely of half-truths and haunting?
Jackie Taylor did the thing that every teenager wants to do at least once — die after a petty argument so that everyone will feel fucking guilty for the rest of their lives
when a child goes to Build-A-Bear and constructs a teddy from the parts available no one bats an eye, but when I, Victor Frankenstein,
Pangaea was wasted on the dinosaurs. Imagine the railway network.
since snap benefits are being threatened i wanna share the single resource i can atm which is the woman behind Dollar Tree Dinners. for years now she has consistently provided filling, healthy recipes that really push the envelope on good meals from dollar tree ingredients. especially since next month will involve lots of family meals regardless if you celebrate the holiday, people should be pleased to know she puts together videos showing how to make a holiday meal on a budget.
dollar tree dinners on tiktok
youtube
Also, this:
12 Universal Rules to Save Money on Food, No Matter What You Buy or Where You Shop