Fan Fic: The Ongoing Struggle

Caring this much about fictional people may have been a mistake, but goddamn if I’m not going to keep making it. Main blog: a-scatterbrained-fangirl Ao3 username: Violet_Witch

[hailed-marys]

how to get out of your own way

[nebulations]

[ID: A Project Hail Mary comic. (Edit: OP kindly added this ID to the og post, so please go reblog from there instead!!) Grace is frowning as he works on a report, and Carl asks from offscreen, "Have you ever thought about getting out of your own way?" Grace, confused: "Huh?" Carl, unimpressed: "You're smart, man, but you cut yourself off halfway through all your sentences. Why?"

Grace hunches in and says, "Guess I was bullied a lot growing up, haha-" Carl cuts in. "So was I." Grace: "What? Really?" Carl pops Skittles in his mouth as he replies, "I grew up fat and black, I got my fair share of shit. Sure, it got to me, but I came around to the idea that those teenage dipshits were wrong about me. What's your excuse, man?"

Grace says uncomfortably, "I never- Uh. I, well-" Carl looks very unimpressed and says, "See? You're doing it again. Say what you mean to say." Grace slumps. "I guess I never thought about it that way." Carl: "Yeah. I know. That's why I said it. Get out of your own damn way."

We see the first panel in color: Grace floating outside the Hail Mary, surrounded by the red glow of Astrophage, as Carl says, "And once you do that? Hoo, man. You'll be unstoppable."

Back to black and white, Grace smiles emotionally and says, "Thanks, Carl." Carl stands up to leave and points at his paper. "Remember, Stratt wants that report by end of day." Grace hunches again and scowls, "Thank you, Carl." End ID]

[audible-smiles]

My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.

[silverhand]

I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.

This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.

Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.

Being gay and out was career suicide in the 90s.

Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).

Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).

I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.

It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.

[malinaa]

what if we all explode

[derring-do]

This very production of Orpheus & Eurydice is now available to stream, free, for the month of June.

[todoga]

Lil illustration for a wonderful fic Change your win conditions

[dyke-parade]

another phm book thing it would've been so funny to see in the film is stratt trying to brute-force her way into a new zealand max-security prison and getting pissed that she has to have a pat-down first bc that's slowing down her world-saving mission, making grace have a very teachery moment of "uh uh! you can't always use 'i'm saving the world' as an excuse to be a jerk!" to which functional world dictator stratt actually admits "yeah ok you might have a point" (and then recruits an embezzler convicted of manslaughter to pave the sahara desert into an astrophage breeder farm bc this book is fucking wild) i can't stress enough that NOBODY is doing it like these two. dynamic of all time

[jstor]

100 open access books on JSTOR

African American Studies

An Appeal in Favor of That Class of Americans Called Africans, Revised and Updated Edition

Disrupting Colonial Pedagogies: Theories and Transgressions

J. A. Rogers: Selected Writings

The Race for America: Black Internationalism in the Age of Manifest Destiny

African Studies

Ethnicity, Identity, and Conceptualizing Community in Indian Ocean East Africa

Lagos Never Spoils: Nollywood and Nigerian City Life

American Indian Studies

Book Anatomy: Body Politics and the Materiality of Indigenous Book History

The Urgency of Indigenous Values

Anthropology

Graceful Resistance: How Capoeiristas Use Their Art for Activism and Community Engagement

Lacandón Maya in the Twenty-First Century: Indigenous Knowledge and Conservation in Mexico's Tropical Rainforest

Maya-British Conflict at the Edge of the Yucatecan Caste War

Neobugarrón: Heteroflexibility, Neoliberalism, and Latin/o American Sexual Practice

Our Hidden Landscapes: Indigenous Stone Ceremonial Sites in Eastern North America

Power and Place: Preservation, Progress, and the Culture War over Land

Voices of Indigenuity

Archaeology

Living Ceramics, Storied Ground: A History of African American Archaeology

New Deal Archaeology in the West

The Cretan Collection in the University of Pennsylvania Museum, volume III: Metal Objects from Gournia

Violence and Inequality: An Archaeological History

Architecture

Waterhouses: Landscapes, Housing, and the Making of Modern Lagos

Asian Studies

Hong Kong Public and Squatter Housing: Geopolitics and Informality, 1963–1985

Communication Studies

Covid and…: How to Do Rhetoric in a Pandemic

Hillary Clinton's Career in Speeches: The Promises and Perils of Women's Rhetorical Adaptivity

Influential Machines: The Rhetoric of Computational Performance

Migrant World Making

Nuclear Decolonization: Indigenous Resistance to High-Level Nuclear Waste Siting

Serial Mexico: Storytelling across Media, from Nationhood to Now

Stories of Our Living Ephemera: Storytelling Methodologies in the Archives of the Cherokee National Seminaries, 1846-1907

Unsettling Archival Research: Engaging Critical, Communal, and Digital Archives

Cultural Studies

Cultural History of British Alternative Cabaret (1979-1991)

Middlebrow 2.0 and the Digital Affect: Online Reading Communities of the New Nigerian Novel

Reconstructive Memory Work: Trauma, Witnessing and the Imagination in Writing by Female Descendants of Harkis

Toward a Gameic World

Development Studies

Hottest of the Hotspots: The Rise of Eco-precarious Conservation Labor in Madagascar

Urban Indigeneities: Being Indigenous in the Twenty-First Century

Education

Limiting Privilege: Upward Mobility Within Higher Education in Socialist Poland

The Vulnerability of Public Higher Education

Environmental Studies

Ecologies of Imperialism

Unsettling Agribusiness: Indigenous Protests and Land Conflict in Brazil

Feminist & Women's Studies

Reclaiming Time: The Transformative Politics of Feminist Temporalities

Recovering Women’s Past: New Epistemologies, New Ventures

Film Studies

Han Heroes and Yamato Warriors: Competing Masculinities in Chinese and Japanese War Cinema

Monsters on Maple Street: The Twilight Zone and the Postwar American Dream

The Rise of Central American Film in the Twenty-First Century

Mapping the Stars: Celebrity, Metonymy, and the Networked Politics of Identity

Food Studies

The Visible Hands That Feed: Responsibility and Growth in the Food Sector

Gender Studies

Masculine Pregnancies: Modernist Conceptions of Creativity and Legitimacy, 1918-1939

Surgery and Salvation: The Roots of Reproductive Injustice in Mexico, 1770–1940

Women, Nationalism, and Social Networks in the Habsburg Monarchy, 1848-1918

History

Captivity's Collections: Natural History and the British Transatlantic Slave Trade

Our People Are Warlike: Civil War Pittsburgh and Home-Front Mobilization

Reimagining the Educated Citizen: Creole Pedagogies in the Transatlantic World: 1685-1896

Southern Enclosure: Settler Colonialism and the Postwar Transformation of Mississippi

Language & Literature

Abraham Lincoln and the Bible: A Complete Compendium

Blood and Ink: The Barbary Archive in Early American Literary History

Ethical Crossroads in Literary Modernism

Faking It: Victorian Documentary Novels

Genre Networks and Empire: Rhetoric in Early Imperial China

The Lost Texts of Confucius’ Grandson: Guodian, Zisi, and Beyond

Understanding Agatha Christie

Latin American Studies

Awakening the Ashes: An Intellectual History of the Haitian Revolution

Law

Creating a More Perfect Slaveholders’ Union: Slavery, the Constitution, and Secession in Antebellum America

Linguistics

Cantonese Since the Nineteenth Century

Publishing Contemporary Foreign Poetry: Transnational Exchange in the Italian Publishing Field

Middle East Studies

Outcasting Armenians: Tanzimat of the Provinces

Music

Fantasies of Music in Nostalgic Medievalism

Imagining Musical Pasts: The Queer Literary Musicology of Vernon Lee, Rosa Newmarch, and Edward Prime-Stevenson

Lieder in America: On Stages and In Parlors

On Music Theory and Making Music More Welcoming for Everyone

Peace & Conflict Studies

Remaking the World: Decolonization and the Cold War

The Coup and the Palm Trees: Agrarian Conflict and Political Power in Honduras

The End of the Future: Trauma, Memory, and Reconciliation in Peruvian Amazonia

Uniting Against the Reich: The American Air War in Europe

Unwilling to Quit: The Long Unwinding of American Involvement in Vietnam

Performing Arts

Sonic Strategies: Performing Mexico's War on Drugs, Mourning, and Feminicide

Staging Existence: Chekhov's Tetralogy

Philosophy

Phenomenology in an African Context: Contributions and Challenges

Violence and the Mimetic Unconscious: Vol. 2 The Affective Hypothesis

Violence and the Oedipal Unconscious: vol. 1, The Catharsis Hypothesis

Political Science

Beyond Othering: A Gandhian Approach to Conflict Resolution in India and Pakistan

Local government and democracy in the United Kingdom

Paradoxes of Emancipation: Radical Imagination and Space in Neoliberal Greece

The Cost of Voting in the American States

The New Star Chamber and Other Essays: Annotated Edition

Population Studies

Central American Migrations in the Twenty-First Century

Psychology

Ferenczi Dialogues: On Trauma and Catastrophe

Public Health

Irish Fever: An Archaeology of Illness, Injury, and Healing in New York City, 1845–1870

Tuberculosis Control and Institutional Change in Shanghai, 1911–2011

Religion

Christan Colleges and Universities: An Empirical Guide

From Jesus to J-Setting: Religious and Sexual Fluidity among Young Black People

The Hispanic Faculty Experience: Opportunities for Growth and Retention in Christian Colleges and Universities

Science & Technology Studies

Composting Utopia: Experimental Infrastructures for Organics Recycling in New York City

Sociology

Apartheid’s Leviathan: Electricity and the Power of Technological Ambivalence

As Legend Has It: History, Heritage, and the Construction of Swedish American Identity

Continuous Pasts: Frictions of Memory in Postcolonial Africa

Prison Capital: Mass Incarceration and Struggles for Abolition Democracy in Louisiana

Research as More Than Extraction: Knowledge Production and Gender-Based Violence in African Societies

The Souls of Jewish Folk: W. E. B. Du Bois, Anti-Semitism, and the Color Line

Technology

Transnational Families in Africa: Migrants and the role of Information Communication Technologies

Urban Studies

Living Politics in the City: Architecture as Catalyst for Public Space

[jstor]

FYI, all of these books were made open access as part of our Path to Open program, where included books are set to become open access three years after their publication date.

Many of the above books can be downloaded as PDFs in full!

[nickyandmikey]

when two musicians sing into the same microphone and lean in very close to each other… like omg are you guys gonna kiss now to relieve the homoerotic tension?😳

[nickyandmikey]

THIS IS NOT ABOUT ONE DIRECTION I DON’T KNOW WHO THIS “HARRY” PERSON IS GO WATCH BRUCE SPRINGSTEEN AND CLARENCE CLEMONS KISS ON STAGE RIGHT NOW

[irrelevantlyvalid]

op is the only valid person i’ve ever met. everyone else needs to come to the light

[chokolattejedi]

Okay, but this is really important: Bruce Springsteen occupied this really weird place in music history. His songs were all from this pessimistic, nihilistic view of an America that had let him down:

Just like the anti-Vietnam War protest songs that we associate with the 1960s, or the early nihilism that spawned punk music in the 1970s. But he didn’t *sound* like a punk anarchist; he sounded like a country rock singer. When he released Born in the U.S.A. people completely misinterpreted (or possibly ignored) the lyrics in favor of the tone of the music.

Politicians used his music to promote their ‘Murica Yes! brand, and he had to literally explain that that was not what he was about. He’s over here asking when we’re going to have jobs and heathcare, not stanning the politicians who weren’t helping the people.

It was also kind of a big deal that he had an integrated band, because even as late as the 1980s music was still kind of segregated and MTV was straight up racist. They refused to play and promote black artists and then claimed that were no black artists in the first place. Michael Jackson’s record company had to threaten a boycott of their white artists to get MTV to play his Thriller video.

Plus, the first black/white interracial kiss on TV was in 1968 (OG Star Trek). Also it took us until the 70s to get sympathetic gay characters on screen, and the 90s to get gay characters to kiss onscreen. And all of those firsts were met with outrage.

So keep that in mind when you see Bruce Springsteen not just playing with an interracial band, but engaging in an interracial, gay kiss on stage repeatedly.

Passages from American Popular Music by Larry Starr and Christopher Waterman

[executeness]

I used to think that Bruce and Clarence kissing onstage was exuberance, showmanship, and telling racist homophobes to fuck off. Like, they picked up a certain kind of audience and went “Racist homophobes? Not in our house!” And started the kissing then but then I actually looked it up and

https://www.gq.com/story/this-fucked-me-up-bruce-springsteen-singing-about-clarence-clemons

It was a story where… we remade the city. We remade the city, shaping it into the kind of place where our friendship and our love for one another wouldn’t have been such an exceptional thing. - Bruce Springsteen

It wasn’t about showmanship or rejecting bigots or anything it was just. Damn right that was one of the loves of his life and damn right he was going to kiss him onstage

It gets me a little that Bruce has had a divorce, that he’s been married twice, but he loved Clarence for the rest of Clarence’s life and will presumably love him the rest of his own

Clemons said in one interview. “Bruce and I looked at each other and didn’t say anything, we just knew. We knew we were the missing links in each other’s lives. He was what I’d been searching for.” In another version of the story, Clemons says “He looked at me, and I looked at him, and we fell in love.”

I’m having some emotions about it!

“He was elemental in my life,“ Springsteen adds, “and losing him was like losing the rain.”

Not just! I love you pure and deep and true but! I am going to love you like that in front of the whole damn world!

We have fewer narratives about taking risks and making statements for platonic love rather than romantic and supposedly it would be easier to downplay this onstage than romance and! They refused! They fucking refused! In front of hundreds of thousands of people, over the course of years! In the spotlight, in word and deed, I love you!

God I’m not okay about it

[ramshacklefey]

Now I’m mad that this is not among any of the things I was ever told about this artist.

[jbbartram-illu]

I knew about this in general (& via all those fabulous photos), but this just adds even more beautiful context <3

[eregyrn-falls]

Just to add to the pile: this was the cover of Springsteen’s break-through album Born to Run, in 1975:

I mean, will you LOOK at this:

This was the pic chosen for the album cover from an extensive photoshoot, too. A few others:

There’s a lot more online if you search. They’re all pretty amazing. But the photographer is right, the one chosen for the album cover just pops.

[questcequecestqueca]

She played bass on 10,000 songs, including the most-played track of the twentieth century. She was paid $55 per session. Her name never appeared on the albums.

Gold Star Studios, Los Angeles, 1964. A woman in a cardigan walks past the receptionist, a Fender Precision bass in her hand like a briefcase. She doesn’t sign autographs. She signs a timesheet.

Her name is Carol Kaye. In three hours, she will record what will become the most-played track of the twentieth century. She’ll pocket fifty-five dollars and head to another studio, on the other side of town, for the next session.

The record label will never put her name on the album.

Between 1957 and 1973, Carol Kaye took part in roughly 10,000 recording sessions. Not as the featured artist, not as a guest, but as a hired hand. She was part of an anonymous collective nicknamed The Wrecking Crew—elite studio musicians who actually played the instruments on your favorite records while the famous bands posed for promotional photos.

The work was relentless. Three albums before the day was over. Stale coffee in paper cups. No rehearsal. The charts arrived minutes before the tape rolled. If you couldn’t read a chart and nail the take in two tries, you didn’t get called for the next session.

Carol could do it on the first try.

She started playing guitar in grimy bars at fourteen because her family couldn’t pay the electric bill. Music wasn’t a romantic dream for her. It was survival. It was a job—factory work with better acoustics and lower pay.

But she was faster and sharper than almost everyone else. She corrected charts in pencil while the producer was still explaining what he wanted. In one session in 1968, she told a famous producer his arrangement sounded like a dying dog. She chose her own line. They kept her version.

That descending bass line that drives the Beach Boys’ “Wouldn’t It Be Nice”? Carol Kaye. The propulsive groove of “These Boots Are Made for Walkin’”? Carol Kaye. The acoustic-guitar intro to “La Bamba”? Carol Kaye. The iconic theme from Mission: Impossible? Carol Kaye.

She invented techniques on the spot, out of sheer necessity. When the bass sound was too muddy for AM radio, she stuck felt under the strings and used a hard pick instead of her fingers. The tone cut through the static like a blade. It became the sonic signature that defined 1960s pop.

Bassists spent years—decades—trying to crack the secret of the Beach Boys’ gear to get that sound. They were studying the wrong people. They should have been studying Carol.

She received no royalties. No residuals. No gold-record ceremony. No credit on the album sleeves. When “You’ve Lost That Lovin’ Feelin’” hit number one, Carol was already back in a studio cutting a soap jingle.

The biggest bands mimed her bass lines on TV variety shows. New York marketing departments decided a mom in classic clothes didn’t fit the rebellious-youth image they were selling. So they simply left her name off the album credits.

For thirty years, almost no one cared. The truth only began to surface in the late 1990s, when music researchers found the same union contract numbers on thousands of hit records. The very documents meant to preserve studio musicians’ anonymity betrayed them.

Think about it. Every time you heard “Good Vibrations,” “River Deep – Mountain High,” the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generation’s youth.

And yet the records still say nothing. She’s now over eighty. She wrote instructional books. She trained countless bassists. She is finally starting to be recognized by music historians who uncovered the truth about The Wrecking Crew.

But she never got what she deserved: her name on those albums. Credit for the music that defined an era. Recognition that those bass lines everyone associates with the “Beach Boys” were, in fact, Carol Kaye’s.

Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.

And the world didn’t know her name.

[clevermanka]

She was admitted to the Rock & Roll Hall of Fame in 2025 but refused, fuck yeah, Carol. Her official website is incredible.

[eajin-inor]

a lot of ATLA college AUs put Katara in a medical course, specifically Nursing, which is cool. But I'd like to put her in Anthropology or Sociology.

Anthropology, specifically Cultural Anthropology, because of her deep appreciation and understanding for other nations' cultures, especially her own.

Sociology because of how well she connects with other people and understands the situations they're in.

maybe im a little biased cuz im majoring in Social Studies but i hope u get the point XD

[muffinlance]

She's triple majoring

Her first advisor, Pakku, STRONGLY advised her against it (specifically he advised her that she could certainly double major in the "soft" sciences but medicine required more dedication than he'd yet seen from --gendered pause as he looks at the cheery HR reminder poster hung just opposite of his desk-- students like her.)

Aunt "Is working on her eighth doctorate as they speak" Wu, on the other hand, has predicted GREAT things for her, and they've been having a blast maximally overloading her credits each semester

[badassdemonsword]

Heated rivalry shouldve been about 2 ugly old guys that play mahjong then maybe id consider watching it

[krownest]

i don't remember them playing mahjong but they do other old man things like going to the wet market together and drinking soup and taking walks. anyway go watch suk suk / twilight's kiss

[krownest]

"ok but where's the old chinese lesbians" go watch all shall be well. it's by the same director and the old chinese lesbians are also at the market

[alastair-1205]

The Eridian science teams try soooo hard to be soooo normal about Grace. "He helped save our entire planet, we cant experiment on him!" "Hes a whole ass intelligent being, the biodome isnt like a zoo enclosure at all we swear." "Rocky might actually kill us if we try and add enrichment things to the biodome just to see what happens. It'll seem like an insult to Grace's intelligence."

Meanwhile Grace is just waiting in anticipation for someone to ask for a chunk of his hair or something. Hes lowkey curious as to what theyd find. Hes fine with being a creature to them its chill he gets it as a fellow intellectual and all around curious guy who insisted on watching Rocky eat.

[dreamycastaway]

New York Times readers share a moment when they have felt truly swept off their feet — or have been the ones doing the sweeping. (Bonus: more stories from the comments)

[comradekatara]

yue suffers under the traditionalism of her culture the same way katara does but since she doesn't actively fight against it up to and including her death no one talks about it. the instant iroh (a firebender she does not know besides his moment of fighting zhao) suggests that the solution is to sacrifice herself she is ready to do it without hesitation. even her dad doesnt seem sad about it upon hearing the news, he just accepts it

yes 💔💔 #myrosebride

before i elaborate more on yue, i would also like to point out something crucial about katara that i think a lot of people neglect: from the ages of 11-14, her village was almost entirely female. with the exception of sokka, everyone she interacted with on a daily basis during these extremely formative years in any child’s development were with women and girls of various ages. while women of course can still maintain the system in the absence of men under patriarchy (and we do see this to be the case in their village to an extent), katara does not have to worry about being abused by the men around her, because there are no men around her. of course, her life is under potent threat, but that threat is external, not from her own people. sokka may be a pain in the ass, but he doesn’t actual wield any material power over her. she takes out her frustration with being forced to do domestic labor out on him, but he’s not even the one ordering her to do that: their grandmother is. sokka only has any authority whatsoever because he tacitly agrees with everything kanna believes, and she is truly the one in charge. katara feels stifled, miserable, and angry in her village not because of the traditions of her people, but because of the genocide they are facing. perhaps, in a world where the fire nation did not devastate the southern water tribe, katara’s greatest gripe would be the patriarchal traditions of her culture, but we really have no way of knowing that. she takes her anger out on sokka primarily because she has nowhere else to put her rage, and as her older sibling, he is the easiest target. that is the social dynamic that characterized her early teenage years.

while katara did technically still grow up in a patriarchal society, it was a highly unusually organized one, since it was still being led by women, with no men save for a single teenage boy. katara has the ability to fight back against the sexism she faces because she was actually raised to value herself. she is confident in her own agency and strength and feels it is distinctly cruel and foolish to deny a woman their rights on the basis of their gender because the only misogyny she ever truly faced growing up was her brother saying “boys rule girls drool” and inane shit like that. she was certainly never raised to think she couldn’t be a great waterbender, and we see from hama’s pov that for at least a century women waterbenders in the south have been at the vanguard of the resistance and actively fought against the genocide of their people. the fact that pakku denies her is thus totally absurd to her, because from her point of view, it’s quite literally the first she’s ever heard of the notion that women cannot use waterbending combat forms. of course she is familiar with the idea that men and women each have distinct social roles (and she has definitely internalized some of these notions subconsciously, even if she also resents its most obvious manifestations), but she has never once truly entertained the idea that her life’s only value is to serve men, so she balks at the idea that she “belongs in the healer huts,” that she is already engaged despite only being fourteen, that she must be the one to apologize to someone being unreasonable and cruel to her simply because he is an old man and she is a young girl. she has the frame of reference to notice how fucked up these manifestations of patriarchy are, because she grew up in a village surrounded by women telling her how amazing and special she is, and so she knows her own worth and will never compromise that for anyone.

yue’s situation is entirely different. after all, katara is not her mirror; sokka is. if anything, katara is her foil, her opposite. katara has the agency yue is denied. yue was raised with privileges katara was not: wealth, safety, resources, comfort, security. but katara had the privilege of being allowed to value herself. keep in mind that even though kanna may torment katara by making her do laundry, she’s still the type of person who crossed the entire globe to get away from cultural values she disagreed with, and those are the kinds of beliefs she is imparting upon her granddaughter. katara would never stand for being forced into an arranged marriage against her will; to her, the very notion is unthinkable. but to yue, it is her duty. she is a woman (read: just turned sixteen, therefore of marrying age) and a princess, and so she has equal duties to her father and her people (note that katara is also the daughter of the chief, but she displays absolutely no feelings regarding this fact whatsoever one way or another; hakoda is just her dad to her, nothing more). although yue is clearly a person brimming with desires, emotions, passions, interests, hopes, dreams, joys, fears, thoughts, humor, excitement, wisdom, and curiosity, her personhood is not recognized by anyone in her tribe (that we see). her father sees her as a symbol, her fiancé sees her as an object, and they both view her as property to be traded in an exchange she is not privy to and has no real say in. yue does not want hahn in the slightest, and yet she will be expected to bear his children, his heirs. in a beautifully tragic way, becoming the moon spirit was actually the best option available to her. in her final moments between human and spirit realms, she can finally exercise her own autonomy, and chooses to kiss sokka without guilt or shame. she can only reclaim her agency once she renounces her humanity.

there is a lot to be said about the ways in which yue and sokka parallel each other. it is, after all, yue’s primary relationship in the narrative. she was constructed specifically with this dynamic in mind. I could and often do enumerate the many ways in which they function as mirrors to each other, the most obvious being the ways in which their duties to their respective father-chiefs and cultures/people leads them to fully internalize the notion that their martyrdom is not only logical and necessary, but indeed, the ultimate exercise of their utility, which means that self-sacrifice is actually aspirational, because all they are good for is performing their duty. yue’s duty as a Woman and sokka’s duty as a Man involve functional differences when practiced, but ultimately arrive at the same conclusion: their ultimate purpose is to die for their people. their bodies are mere vessels, they must endure their pain silently for the sake of their people, their lives are not their own. yes, sokka complains a lot, but never where it counts. yes, yue cries a lot, but she never renounces her duty. and sokka would never force her to renounce her duty, because even if she claims he doesn’t (which is funny in its own way, lol he literally doesn’t tell anyone anything!), he understands what that’s like. sokka and yue’s story could only ever end in tragedy, because as much as they love and value each other, they do not value themselves enough to fight for their happiness. had the siege not happened, yue would have married hahn, and been miserable. the only person who could possibly intervene on their behalf and advocate for yue’s agency is katara, not sokka. and that is not because katara loves yue; after all, she barely knows yue. but unlike sokka, and unlike yue, katara loves herself.

as katara says in “the painted lady,” you can’t wait around for someone else to save you, you have to help yourself. that is the ethos that guides her. even when she acts in service of helping others, it is with the philosophy that she is doing right by herself before all else. she is her own hero, and by exercising that heroism, she is proving her own strength and power and reaffirming her own heroic narrative. of course she has a great deal of compassion for others, but that stems, first and foremost, in compassion for herself. she is guided by a very strong self-belief that what she is doing is right, that she is always fighting on the side of justice, that her anger and passion is always righteous, that she has the capacity to be a hero. and again, that is because she was raised by kind, competent women who told her time and time again that she is special, that she is the embodiment of hope for their culture, that she is valuable and worthy and strong. sokka grew up believing that his ultimate duty was to lay down his life for katara, and katara was raised with the belief that her duty was to live. to live, and to be a hero, and to bring hope back to her people. and so, if given the opportunity, she would fight for the right for yue to choose whom to marry, to dictate the terms of her own fate, to act upon her own desires. because katara knows this to be a fundamental right that she deserves, and so she recognizes that everyone else deserves it too.

[hollandar]

Heated Rivalry — 1x02 ⤷ VEGAS BATHROOM

(sources below)

“What was fun about the scene...”

“There's a full spectrum of emotions...”

“I like the animal thing when...”

“Shane can't look at Ilya...”

“That scene is intimacy...”

“For Parrell...”

“Was there any moment...”

“Your micro-expressions...”

“As for scenes that I think they improved...”

behind the scenes photo

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[ultravhasart]

Cassandra Cain’s Speaking Patterns

I was trying to write some fic and started saving a bunch of comic panels to analyze Cass’s speech patterns, so here’s my notes for myself and others! Most of the panels are taken from more recent stuff, like Birds of Prey (2023), Batgirls (2022) and Batgirl (2024).

I have nine points:

Only speaking when necessary

Typically monotone

Sentence Structure

On the job vs off the job

Slang

Facial Expressions and Body Language

Miscellaneous

My personal headcanons (still with some evidence)

I've also been forced to split this post up, since I can't add more than ten images per post :(

1: Only speaking when necessary

Unsurprisingly, Cass doesn’t talk much. This is especially true in group situations, since she doesn’t need to drive any conversation.

[Birds of Prey, Issue #2: Zannah and Black Canary are discussing plans, going back and forth about how to get onto Themyscira. Cass adds “or they’ll be on high alert.”]

The panel above is from a scene showing the Birds strategizing, and this is the only time Cass talks. She’s silent the rest of the time.

For one-on-one situations, she still doesn’t expand much, preferring single-word sentences.

[Batgirl (2024), Issue #2: Lady Shiva dropping some exposition, and Cass asking a question with one word.]

In tense situations, she can forget to speak ‘properly’, dropping words like ‘I’ll’ in the panel below:

[Batgirl (2024), Issue #2: Cass fights Kalden the Unseen after he hurts her friend.]

Also, she’ll talk more casually with people she’s comfortable with, like Steph!

[Batgirls, Issue #4: Cass and Steph banter a bit before being interrupted by Barbara.]

2: Typically monotone

Cass sounds very monotone, a lot of the time. She barely ends her sentences with exclamation marks or asks rhetorical questions. It’s fun to see her contrast her with characters who are more excitable/long-winded!

[Birds of Prey, Issue #7: Cass and Bertha go back and forth after being beaten in a fight.]

Cass also keeps up her usual tone in most fights. Here she is, battling a giant squid creature, focused as ever.

[Spirit World, Issue #3: Cass chides her teammates for bickering at each other rather than focusing on the fight.]

When in more alarming situations, she’ll raise her voice like everyone else. It’s uncommon, but only because it’s uncommon for her to be overwhelmed.

[Spirit World, Issue #4: A mysterious force takes control of Cass and Constantine, Cass looks scared, shouting “Can’t control… my body!”]

Once again, she’s more expressive with Steph. She’s more comfortable with her, and matches Steph’s energy when they’re both excited.

[Batgirls (2022), Issue #2: Steph and Cass exclaim “Bondo?!” at the same time, christening the car.]

[ultravhasart]

3: Sentence Structure

Short Sentences with No Commas

As said before, Cass doesn’t talk more than she has to. Where most would use a comma, she ends each phrase with a period. She also drops a lot of ‘unnecessary’ speech.

Birds of Prey #1

[Birds of Prey, issue #1: Batgirl talks to Black Canary, where she greets her by just saying ‘Black Canary.’ without a hello.]

If she can be understood with just a word, she’ll only say that word.

[Batgirls, issue #1: Cass replies with ‘Soap. Towel. Favourite robe.’ when asked if she needs anything.]

[Batgirls, issue #1: Cass says ‘Movement. Grumpy neighbor.’ when Steph asks what’s going on.]

Ellipses

Cass uses a lot of ellipses, especially in the early days. She trails off often, and speaks slowly.

[Batgirl (2000), Issue #7: Batgirl tries to convince Batman she’s ready, stuttering.]

4: On the job vs off the job.

Cass is much more at ease and confident with her sentences as Batgirl. She trails off a lot more as a civilian.

[Batgirl (2008), Issue #2: Cass talking to a guy in her class, having an awkward conversation (likely also awkward since it’s implied to be romantic, but still).]

In the exact same issue, Cass as Batgirl speaks a lot more confidently.

[Batgirl (2008), Issue #2: Cass and Marque discuss their plans and trade information.]

5: Slang

Cass canonically picked up dialogue from watching TV, and uses some slang. Although she picked up English almost like a second language, she doesn’t speak like she was taught in a formal, classroom setting.

[Spirit world, issue #4: Cass says ‘gotcha’.] [Birds of Prey, Issue #9, Cass  says ‘sorta’ in her sentence.]

[Batgirls, issue #1: Cass says ‘...I dunno’.]

[ultravhasart]

6: Facial expressions & Body Language

If Cass can get her point across just using her face or other non-verbal gestures, that’s her go to. No point using words when your face does the trick!

The page below is one of my favourites, since it really shows Cass communicating a lot without words.

[Birds of prey, issue #7: Cass makes her opinion on potential outfits known with her facial expressions.]

She’d also rather nod or shake her head, as opposed to saying ‘yes’ or ‘no’.

[Batgirls #3: Cass nods her head.][Spirit World #4: Cass shakes her head.]

7: Miscellaneous

Cass can’t storytell well at all:

[Birds of Prey, Issue #1: The team tells Cass she’s really bad at telling stories.]

Cass uses a lot of emojis:

[Nightwing issue #79: Babs remarking that Cass can’t help herself when it comes to emojis.]

8: Veering into Headcanon Territory:

Cass has a very basic grasp on describing what she’s feeling. In my mind, this translates to a very basic grasp of her feelings as a whole.

In the panel below, Cass is very confused about why she’s putting in effort towards her father, and describes him as terrible. She pauses a lot, indicating she’s having a hard time putting together how she feels:

[Batgirl (2000) #65: Cass tells David Cain he ‘sucks’, very simple vocabulary for everything that’s gone down between them.]

I also think Cass has echolalia, which is the ‘meaningless repetition of words spoken by another person’. This only happens a few times but I’ll peddle it.

[Batgirls #2: Cass repeats Stephs words ‘still sucking’, without much reason.]

Conclusion:

Obviously, different writers write her differently, and I’ve tried to grab from a lot of different series to get the main points down. It’s also important to think about what point of Cass’s life you’re writing. In the current stories, Cass can express basically anything she needs to (except anything too complicated like feelings, lol), but in the early 2000s she was struggling with simple sentences. And of course, she didn’t speak at all for the majority of her life! Anyways, I hope you find this guide useful.

[kiragecko]

This is amazing! This is what I WISHED I could do when I made this analysis of how Cass uses names - you were able to get into a lot of the ambiguous information that exists in the spaces where data isn’t. It’s also really nice to see some threads follow through her whole history - I restricted things to before Flashpoint, and have only read Birds of Prey Cass since then.

Good thoughts, really appreciate them.

[materialist-scumbag-og]

Lego's Q3 2025 earnings announcement, October 2025

So Lego just posted another monster quarter and everyone's doing the usual "timeless appeal of analog play in the digital age" garbage and like, no, the actual story is that Lego is a privately-held Danish family company that spent the 2000s nearly going bankrupt and came out of it having figured something out that almost nobody in consumer products has figured out, which is that your core IP is the manufacturing tolerance.

Here's what I mean. A Lego brick made in 1958 still clicks perfectly onto a Lego brick made last week. That is not a marketing claim, it's a manufacturing fact, and it's enforced by tolerances measured in like two thousandths of a millimeter — the stud diameter variance on a standard 2x4 brick is famously smaller than most medical device manufacturers hit on parts going inside human bodies. Which sounds like trivia until you realize it's the entire business model: every brick ever made is compatible with every brick that will ever be made, which means the installed base isn't a depreciating asset, it's an appreciating one, because every new set expands what you can do with the bricks already in your kid's bin (and your bin, and your dad's bin in the attic).

Now compare this to basically every other toy category. Hot Wheels from 1972 don't interface with Hot Wheels from 2024 in any meaningful way — they're both little cars, sure, but the track systems have changed, the scales have drifted, the accessories are incompatible. Barbie has gone through probably a dozen body molds. American Girl dolls from the 90s have different proportions than the current ones. The entire video game industry is structured around planned incompatibility — your Switch games don't work on Switch 2, your Xbox 360 discs mostly don't work on Series X. Incompatibility is the business model, it's how you get people to rebuy.

Lego said no. Lego said the brick from 1958 will fit the brick from 2058. And this is insane, if you think about it, because it means they have voluntarily foreclosed on the single most powerful lever in consumer products, which is forcing obsolescence. Every company that sells a durable good spends enormous amounts of R&D figuring out how to make this year's product not work with last year's product without pissing the customer off too much. Apple is a master at this, Microsoft is slightly worse at it, car companies have built entire industries on it (proprietary charging connectors, OBD-II access, right-to-repair fights). Lego just... doesn't do it.

What they get in return — and this is the thing the "timeless analog charm" people miss — is that the brick becomes infrastructure. A Lego brick is not really a toy. It's a piece of durable manufacturing infrastructure that gets distributed into hundreds of millions of homes worldwide, and every new set is basically an expansion pack for an operating system that already has universal install. Which means the network effects are doing most of the work. When a grandparent buys a Lego set for a kid, they're not buying "a toy" in the sense that a Mattel product is a toy — they're depositing compatible substrate into an accumulating household stockpile, and every deposit raises the marginal utility of the next deposit.

This is also why the IP licensing deals (Star Wars, Harry Potter, the recent Nintendo stuff) work for them in a way they work for basically nobody else. When Hasbro does a Star Wars license, they're making Star Wars figures that sit on a shelf. When Lego does a Star Wars license, they're making bricks in Star Wars configurations, which means even if the kid loses interest in Star Wars in six months, the bricks get absorbed into the general pool and keep producing value. The license is temporary, the substrate is permanent, and the substrate was already the valuable part.

The near-death experience in the early 2000s is the instructive piece here, because Lego almost lost this. They went on a diversification binge — theme parks, video games, clothing, Galidor (look it up, it's hilarious) — and they started loosening the tolerances on the actual bricks because the bricks were seen as a commodity and the "brand" was seen as the valuable part. Which is exactly backwards. Jørgen Vig Knudstorp comes in in 2004, basically says the bricks are the company, tightens tolerances back up, narrows the product line, and the company starts printing money again. The takeaway the business press drew was "focus on your core competency" which is such a domesticated reading of what actually happened — the actual lesson is "the boring manufacturing discipline IS the moat, and when you think the brand is the moat, you are about to destroy the company."

Which is interesting because right now there's a huge knockoff market — Mega Bloks, Chinese brands like Lepin (which got sued into oblivion), various others — and they make bricks that are almost compatible with Lego. Almost. And it turns out almost-compatible is actually worse than incompatible, because when a kid tries to fit a knockoff into a real Lego build and the stud is 0.03mm off, the whole structure gets wobbly, and the kid learns not to mix them. The tolerance is a credential. You can counterfeit the shape but you can't counterfeit sub-thousandth precision at scale without becoming, essentially, Lego.

Anyway, the Q3 number is like 13% up year-over-year in a consumer products environment where basically nothing is growing, and the analyst takes are all about "emotional connection" and "intergenerational brand equity" which — sure, fine, those are downstream effects. The upstream cause is that a Danish family spent fifty years obsessing over whether their plastic rectangles were within two thousandths of a millimeter of spec, and it turned out that was the whole game.