mae !

20’s. She/They. Most recent obsession: Nurse Perlah

[sinisterfruitsandevilgays]

New update for In The Way Of You on AO3 will not be posted for a few more weeks. I will keep you updated on here. Sorry, new jobs (yes plural), moving beginning of July and need new everything basically and so much more and queen is just a bit stressed (really stressed) and so updates are slow. Will be updating hopefully by beginning of July, but will keep you updated on here! Will make sure to pin my updates with it!! Thank you for reading🫶

[midnights-dragon]

[sinisterfruitsandevilgays]

Chapter 7 is live!!

An Archive of Our Own, a project of the Organization for Transformative Works

[sinisterfruitsandevilgays]

For chapter 7 of my fic “In the Way of You” on Celeryaddict ao3

[sinisterfruitsandevilgays]

Guyssss I’m sooo sorry I’m gonna have to push back the release for chapter 7 (again). I have been so busy and have yet to make the chapter perfect. I AM almost done with it, but I don’t want to release it until I’m happy with it.

Chapter 7 will be released by Tues, May 26th.

[deqncas]

see you guys in september i guess

[apricustar]

been turning the decision to have this season take place on the 4th of july of all days around in my head. the pitt is not a show that does anything incidentally; it is exacting in its precision. if they wanted summer-specific storylines they could have chosen any other day, but they picked the 4th in particular—and it becomes the lens through which everything else is filtered.

because what is it, exactly, that 4th of july represents as a holiday—what’s really being celebrated?

it’s a celebration of america at its most idealized: freedom, opportunity, the belief that this is a place where you can make something of yourself—where you are given the chance to build and to belong. and that belief matters; it’s one people have taken seriously enough to stake their lives—and their families’ futures—on.

america the brave. america the beautiful. america the free. america the great.

the pitt takes that promise—this myth of america—and holds it up to the light, and refuses to let you look away from all the truths it reveals.

the 4th celebrates the unalienable right to liberty; orlando diaz represents what it costs. brought in following an injury at his construction job, he is ultimately diagnosed with diabetic ketoacidosis. diaz is a working man who provides for his family, who has done everything ‘right.’ it’s revealed that he lost his job during the pandemic, and with it, his insurance; without coverage, he began rationing his insulin—which is what ultimately landed him in the ER this day. 

he and his wife both work—together, they earn just enough to be disqualified from medicaid, and not nearly enough to afford treatment. he is urged to stay until his labs normalize; the hospital works to reduce costs, offers what it can, but it isn't enough. he is already drowning in medical debt, and he has another job to get to, so he leaves against medical advice.

diaz returns later in the season—unconscious, with a severe skull fracture, and brain swelling from an unwitnessed fall at his security job; it is heavily implied he tried to take his own life. diaz does not exist outside the american promise—he exists inside it, at the point where it breaks down. and that is what makes his story so pointed: on a day meant to celebrate liberty, he is forced into decisions shaped entirely by cost, revealing how that liberty is structured in practice.

america has also defined itself as a nation of immigrants—a place of sanctuary, a refuge for those who arrive with nary but a hope for a better life. it is a claim the pitt does not let go unexamined. 

pranita is brought into the hospital by two ICE agents, her shoulder injured and her movement controlled. from the moment she enters the ED, she is not simply a patient but a body under supervision: monitored during examination, denied privacy, and repeatedly refused contact with her family despite her requests. even care comes with conditions—medical attention and surveillance occupying the same space. 

in a similar vein, the augustin siblings show what remains after ICE has already passed through. their parents were deported after a routine immigration hearing, leaving an older sister to care for her younger brother while trying to balance school and work. what is left is a family broken into pieces—life reorganized around absence: a household where a child is forced into adult responsibilities without the space to grieve, and survival has become constant improvisation. the damage doesn't end at the point of enforcement; it extends into every day that follows. what does it mean for a country to celebrate its purported immigrant origins while actively criminalizing its immigrants in the same breath?

the pursuit of happiness is another promise woven into the declaration; in america, it has come to mean something very specific: the protestant work ethic, the american dream, the idea that hard work leads somewhere. that sacrifice, endurance, and consistency will eventually translate into stability, reward—a life that becomes livable. in its modern form, this becomes hustle culture: productivity as virtue, rest as laziness, work as something that should extend beyond the limits of the body itself. the grind never stops.

debbie cohen is what that promise looks like operationalized. an overworked waitress, seen and discharged—sent back to a job that has no room for her absence. rest itself becomes a kind of risk. she returns only when the damage has become irreversible: necrotizing fasciitis spreading from her foot to her leg. even then, the calculus that governs her life does not pause. before she has even been told the full truth of what is happening to her body, her boss calls; the implication is clear: come back or lose your job.

there is something almost too deliberate about the symmetry—the body consumed internally by infection while externally still being claimed by labor. the system cannot afford her humanity, only her output. debbie cohen is not an aberration within this logic. she is its endpoint—and still, the pitt has more to say. 

in one of the final scenes, some of the hospital staff gather on the roof as fireworks begin over the city. chairs are pulled out and beers are opened—for many, it’s likely one of the first times they’ve been able to breathe fresh air, a moment of stillness after a day structured entirely by urgency. 

earlier grief remains present without resolution—patients like louie, whose presence is folded into memory through something as simple as his love of fireworks. the roof does not function as escape from the system; it is simply another vantage point within it.

when perlah begins to cry and dana holds her, the gesture doesn’t resolve anything. it is recognition—of what was lost today, and of what will be waiting again tomorrow. for them, this day is not exceptional. it is just another shift. 

but here is the celebration anyway! the fireworks, the music, america staging itself—watched by people who know, criminally well, exactly how much its systems fail the ones who need them most. all that noise, all that color, the spectacle of 'greatness' america is known for—and still, none of it loud enough to drown out the hollowness underneath.

a holiday about freedom placed directly above systems where freedom is conditional—on insurance, on documentation, on whether you can afford to be sick, on whether your body can afford to stop.

the pitt doesn't need to explicitly reject the holiday; it simply places the conditions of care alongside the language of celebration and leaves them there, unreconciled. what the season makes visible is not simply that america's promise is broken—but that it continues to be performed in full view of its own failures.

our nation's contradictions, laid bare.

[sooperlative]

Absolutely fascinated by Ryan Guzman’s (correct) belief that Eddie is entirely unaware of the romantic undertones that are peppered through his relationship with Buck. Or he’s not exactly unaware, but all those pieces of pepper are individual details and he can’t see the bigger picture, like putting a puzzle together while only looking at the pieces but not at what he’s got so far. He’s too naive to put things together. He’s never once considered it. If Buck were to confess to him, he’d be genuinely shocked. And Buck won’t, of course, confess, because if Buck is in love with Eddie, that’d break all the rules he’s set for this relationship. So Buck is ignoring the elephant in the room and Eddie is so zoomed in on specific parts of the elephant that he doesn’t even know it’s an elephant. He thinks that microscopic view of maybe-skin-or-an-iris is normal best friendship. Buck is “I’m not in love with Eddie obviously but if i was i wouldn’t be able to care about that rn bc I have a job and it would ruin the friendship rules I mentally gave us if he knew”. Eddie is “I want Buck to be with me all the time and I often think of him as my husband in my head and I want him to touch me and stay with me and I’ll do anything he asks of me and I worry about him a lot and whenever I think of growing old Buck is right next to me every step of the way also growing old. We’re such platonic best friends :)”. And that creates their wonderful dynamic where Buck dances around it all and Eddie is taking his hand and dancing with him because yay, they’re dancing. He loves dancing with Buck. Buck’s such a bad dancer. Ha ha.

[sinisterfruitsandevilgays]

“So did Buddie finally go canon?”

Based on the amount of cigarettes that were put out with my own tears….what do you think?

[stevenrogered]

Hey. So, what do you think?

[sunsetbuddie]

me @ me every thursday evening

[punksalmons]

happy eddiegettingshot day for those who celebrate

[sinisterfruitsandevilgays]

To those who read my fic In The Way Of You (celeryaddict on ao3):

chapter 7 will not be up until Monday, 5/18. If I can get it edited earlier, I will post it earlier. I apologize for any inconvenience! See y’all next week! 🫶🏻

[sinisterfruitsandevilgays]

Bring back meeping frllll🙄

[schrodingersregret]

Any of you remember this post? Guess who's now added season two?

THE PITT LINES AND SCENES DISTRIBUTION SPREADSHEET

If you're only here for the spreadsheet, there is is. Go for it. I'm going to go over the basic numbers of this season like I did with the last, and then we're going to compare the two seasons.

I'm not taking a stance in this post in particular, this is purely for numbers. If you want me to find more numbers for other distributions or things to compare, let me know.

I did twenty-four characters in total. Here is the first pie chart related to actual line distribution. In this I included the "other" category to account for the total amount of lines in the show.

The season had a total of 10.58k lines. This chart rounds to the point ones place, but the spreadsheet goes to the point tens, if you're interested in a more detailed distribution.

Our top five contributors (excluding other):

Robby - 14.8% of the total lines with 1.56k

Dana - 6.2% of the total lines with 659

Langdon - 5.4% of the total lines with 575

Santos - 5.4% of the total lines with 571

Whitaker - 5.3% of the total lines with 557

How does that compare to our scene total?

These were determined by the scenes in which a named character has at least one line. The character appearing in the scene does not count. This is specifically for speaking roles in scenes.

There are 523 scenes total within the show (if you want to know, 2x11 has the most at 44 and 2x15 has the least with 26). Again, full breakdown across episodes in the spreadsheet.

Who's our top five? It changes a little, but honestly, not much.

Robby - 41% of all scenes, 214 total

Dana - 24.9% of all scenes, 130 total

Al-Hashimi - 22.9% of all scenes, 120 total

Langdon - 22.2% of all scenes, 116 total

Whitaker- 22.3% of all scenes, 106 total

The fact that it stays almost exactly the same whereas as it did last season

I think this is all really interesting to me, so now let's get into how these compare to last season. All under the cut.

Here's where the cool cats are.

Alright, first we're going to look at the two charts side by side, and then into statistical changes between sesasons.

I love staring at these. It's a really interesting change between seasons, really.

Alright, on to the differences between seasons.

SEASON ONE IS HIGHLIGHTED IN RED. SEASON TWO IS IN PINK. IF THEY HAVE LESS LINES/SCENES IN SEASON TWO, THEY ARE IN PURPLE. IF THEY HAVE MORE, THEY ARE IN BLUE.

MICHAEL ROBINAVITCH

S1: LINES - 1744/17% || SCENES - 260/49.2% S2: LINES - 1561/14.8% || SCENES - 214/41% DIFFERENCE: LINES - -183/2.2% || SCENES - -46/8.2%

DANA EVANS

S1: LINES - 525/5.1% || SCNES - 122/23% S2: LINES - 659/6.2% || SCENES - 130/24.9% DIFFERENCE: LINES - +134/1.1% || SCENES - +8/1.9%

FRANK LANGDON

S1: LINES - 621/6% || SCENES - 117/22% S2: LINES - 575/5.4% || SCENES - 116/22.2% DIFFERENCE: LINES - -46/0.6% || SCENES - -1/+0.2% While technically he is up in his scene percentage, he is in one less scene so I still highlighted in purple. The change is just due to a smaller amount of scenes this season.

SAMIRA MOHAN

S1: LINES - 455/4.3% || SCENES - 107/20.2% S2: LINES - 402/3.8% || SCENES - 95/18.2% DIFFERENCE: LINES - -53/0.5% || SCENES - -12/2%

CASSIE MCKAY

S1: LINES - 560/5.5% || SCENES -89/16.8% S2: LINES - 502/4.8% || SCENES - 98/18.7% DIFFERENCE: LINES - -58/0.7% || SCENES - +9/1.9%

MEL KING

S1: LINES - 502/4.9% || SCENES - 119/22.5% S2: LINES - 413/3.9% || SCENES - 84/16.1% DIFFERENCE: LINES - -89/1% || SCENES - -35/6.4%

TRNITY SANTOS

S1: LINES - 534/5.2% || SCENES - 112/21.2% S2: LINES - 571/5.4% || SCENES - 104/19.9% DIFFERENCE: LINES - +37/0.2% || SCENES - -8/0.3%

DENNIS WHITAKER

S1: LINES - 473/4.6% || SCENES - 100/18.9% S2: LINES - 557/5.3% || SCENES - 106/20.8% DIFFERENCE: LINES - +84/0.7% || SCENES - +6/1.9%

VICTORIA JAVADI

S1: LINES - 300/2.9% || SCENES - 80/15.1% S2: LINES - 360/3.4% || SCENES - 85/16.3% DIFFERENCE: LINES - +60/0.6% || SCENES - +5/1.2%

Also because I know this is a character people will want to know..

JACK ABBOT

S1: LINES - 209/2% || SCENES - 42/4.2% S2: LINES - 219/2% || SCENES - 37/3.6% DIFFERENCE: LINES - +19/0% || SCENES - -5/0.8%

Alright, do with this information what you will. Also here's the complete list of characters in the chart.

Michael "Robby" Robinavitch

Frank Langdon

Dana Evans

Samira Mohan

Cassie McKay

Melissa "Mel" King

Trinity Santos

Dennis Whitaker

Victoria Javadi

Baran Al-Hashimi

Perlah Alawi

Donald "Donnie" Donahue

Princess Dela Cruz

Jesse Van Horn

Emma Nolan

Yolanda Garcia

Joy Kwon

James Ogilvie

Duke Ekins

Nazely Toomarian

Jack Abbot

Parker Ellis

John Shen

Crus Henderson

And some sheets include "Other" as a category

[sinisterfruitsandevilgays]

you’re not going crazy. he’s born and raised catholic and I think he has a really complicated relationship with his religion. I dont know where that anon is getting that he’s not catholic from considering the man has literally been to confession multiple times on screen. I wouldn’t say he’s actively practicing and my personal opinion is that he has one foot out of the door at all times because of the way it’s haunted him and generated a lot of shame around his sexuality (and almost everything else in his life). but I’d say catholicism is a big part of eddie’s identity, regardless of whether he wants it to be.

Yes exactly

[wigglysprophet]

the characters on the pitt are so real because yeah I've turned evil too when I'm suicidal ❤️