obstinatecondolement: Deanna Troi from Star Trek: The Next Generation shown from the shoulders up, standing in front of a painting of a planet (Default)

Jump to: Likes
Jump to: Do Not Wants
Jump to: Requests

Dear Yuletide author,

I am [archiveofourown.org profile] SweetPollyOliver on AO3. Thank you for offering one of my fandoms! I'm excited to see what you write.

Except for DNWs, everything I’ve said in this letter is extremely optional and I’ve only included what I have to give people who like a jumping off point some guidance into things I enjoy. Feel free to ignore whatever you don’t vibe with and read as much or as little of this as you like.

Likes

SFW likes
  • Fic that is largely canon compliant. Canon divergent AUs are great, fic that re-interprets or re-examines canon events with a different lens is also great. I am not especially reverent towards canon and non-canon compliant fic is not a problem, but I do really like fic that rattles the bars of its canonical confines while remaining within them (or stays within them for the most part). See also:
    • Post-canon fic and prequel fic—especially ones that are:
      • Character studies.
    • Missing scene fic.
  • Fic with a strong ensemble cast.
  • Dramatic irony, especially when it’s comedic.
  • Witty or otherwise humorous dialogue.
  • As you can probably tell from the last two listed likes, I prefer fics with a comedic tone, or at least a comedic tinge (which can be ironic and/or bitter, in fics that skew more towards the dramatic side of the comedy-drama spectrum). I like pretty dry and understated humour, but I am also just a fan of Funny more generally.
  • Getting together and/or stuff with a first kiss.
  • There Was Only One Bed.
  • 5+1 fic.
  • Bittersweet or melancholy fics. I am always a sucker for regret and missed opportunities/wasted time.
  • References to queer culture and history. This can be in conjunction with one or more queer ships, but can also be in a gen fic featuring one or more queer characters.
  • Pining.
  • Cuddling, especially in conjunction with touch starvation.
  • Overwrought emotion and crying.
  • Polyamory
  • Emotionally intense and tempestuous co-dependent relationships, which can either get healthier over the course of the narrative or remain very much a "don’t try this at home" kind of depiction.
  • Kid fic.
  • Knitting or other kinds of crafts
  • I love STEM-y things being featured in fic, either realistic or I also love wildly unrealistic and campy fake science escapades.
  • Things relating to ageing.
  • Stuff about (wanted) pregnancy. Can be along the fluffy side or the kinky side.

NSFW likes
  • First time having sex. I particularly like if first time sex scenes (and sex scenes generally) aren’t Perfect™ and things are a little awkward in a way that the characters can laugh about.
    • First time bottoming and, more generally, first time doing X sex act or kink and/or characters realising that something they hadn’t given much thought to, or had assumed they wouldn’t be into, is something they’re really into. I’d prefer they go into it with a “Sure, I’ll try anything once” attitude rather than an “I’ll suffer through it for you 😥” attitude.
  • Friends with benefits/platonic sex. This can turn into fuckbuddies-to-lovers, but it doesn’t have to. I am particularly partial to a character who wingmans for their fuckbuddy and gets them together with another love interest (whether or not the two friends continue to have platonic sex afterwards is fine either way).
  • Non-penetrative sex.
    • Intercrural sex specifically. This can transition into penetrative sex or not.
    • Oral sex of all varieties.
  • Virginity kink, even/especially if the fic itself doesn’t buy into the social construction of virginity as a concept.

Return to beginning

DNWs

I don’t mean to imply any judgement with any of my DNWs and some of them are things that I do enjoy from time to time in some contexts, but aren’t things that I’d like as part of a gift work/that I’m in a headspace for right now.

DNWs
  • Mundane/modern AUs (e.g. college or coffee shop AUs, etc.)
  • Harry Potter AUs/fusions/references
  • Grimdark fic. I’m fine with angsty or bittersweet fic or with stories that are framed as tragedies, but I do not want something that is primary intended to be disturbing, or that is unrelentingly miserable with no reprieve and no catharsis at the end.
  • Non-con
  • Degradation kink.
  • Desperation kink.
  • Edging

Return to beginning

Requests

I have included some suggestions for prompts below. I was able to write more for some fandoms than others, largely because I was able to plunder past letters for details for some fandoms and I wrote this letter over a couple of days and my brain was braining great toward the end, so any disparity in length or level of detail isn't a reflection on how much I like any of them and I will be equally delighted to receive a fic for any fandoms I've requested.

Porridge

Requested characters: Norman Stanley "Fletch" Fletcher; Lennie Godber

Something shippy would be lovely, if you were so inclined, but canon-typical gen would also be a delight. I'd love a "case fic" of some kind where they had to do some labyrinthine shenanigans to accomplish a goal of some variety, or a scene that implied a larger plot to that effect. Other thoughts I've had is that Fletch and Godber both had birthdays while in prison, so maybe you could do something about that? Godber feeling glum about turning 24 on the inside possibly? Fletch having his own inscrutible birthday-related feelings when he adds up how many he's spent on the inside versus out? Something more lighthearted and caper-adjacent than I'm suggesting? You could also do something more general with holidays/special occasions where they try to make the days feel different from each other, maybe up to and including inventing nonsense holidays to amuse themselves. If you wanted to write something post-canon that included stuff from Going Straight or Life Beyond the Box: Norman Stanley Fletcher, or that diverged from the spin-off and mockumentary if you wanted to go in other directions, that would be great! In terms of tone, I enjoy the comedic and silly vibe of canon but feel free to have more somber moments about life in prison, etc., if the mood strikes you. If you were interested in writing something shippy, I do also think that Fletch has about a metric tonne of internalised homophobia, so that's also something I'd be intrigued to read about.

The Producers (1968)

Requested characters: Max Bialystock; Leopold "Leo" Bloom

I really love the relationship between these two whether it's framed as shippy or platonic. For all that it starts out as a manipulation to try and get Leo more on board with committing fraud with him, it seems to turn very sincere and affectionate very quickly. I think both of them, in their own way, are very lonely at the start of the movie. Bialystock does, technically, have a sex life, albeit one that is having sex with his investors to fund his rapidly diminishing lifestyle, but I don't think it would be a stretch to say there is no intimacy in his life before their friendship develops. Leo, for his part, was never called by his first name even in kindergarten!

On the shippier side of things, it intrigues me that on Bialy's side of things, sexual relationships with women seem to be a means to get something rather than something he wants in their own right. He has sex with the little old ladies for money, he cat-calls women out the window to peacock and put Leo off-balance when he arrives to do his accounts, he hires Ulla to ogle but then turns her down every single time she propositions him, sometimes quite irritably. Obviously it's Not Great to use women as a status symbol, but is that what's going on? Is he maybe gay or ace?

While we're in headcanon territory, I also think that Leo Bloom pings very autistic (although I wouldn't use that specific terminology in a fic because it would be incongruous with the time period). His composure that rapidly gives way to emotional fragility and meltdowns, his job that involves a lot of tolerance for tedious repetition and attention to detail, his near-total social isolation and then intense devotion to a single friend, it all adds up into the most relatable character I have ever seen on screen. I also have thought on occasion that there is scope for a trans reading of him, with lines like "No one ever called me Leo before" and "I'm Leo Bloom! I'm me! I can do whaever I want! I'm Leo Bloom!" and his discomfort with gender non-comformity (when he meets Roger de Bris and is thrown by him wearing a dress and the "I'm not a madam; I'm a concierge!" scene), which I think have a different vibe when you interpret him as a stealth trans man in his mid-thirties in the late 60s. This would also, potentially, factor into his loneliness and social isolation, if he were stealth and trying to a) distance himself from his pre-transition life and b) avoid intimacy that could be compromising. If this was something you were intrigued by, I'd be interested in reading a fic along those lines, but it is far from the only take I'd be interested in reading about!

For some specific ideas, maybe something post-canon where they are putting Prisoners of Love from prison? Or maybe a canon-divergent fic where they were able to make it to Rio de Janeiro before it all went south. Do they immediately start a new scheme when they're there? Does Leo manage to convince Max to quit while they're ahead? Maybe something set during canon? A missing scene when they're going through scripts? Bialy telling Leo stories about his old shows?

Supacell

Requested characters: Sabrina Clarke, Sharleen Clarke, Rodney Cullen, Spud

This show was such a breath of fresh air in the superhero genre! It had such a strong sense of place and the characters were so distinct and vivid, and the premise genuinely felt like a novel take on a superhero origin story. As I mentioned in my sign up, if you would prefer, you can write a fic that just features Sharleen and Sabrina or one that just features Rodney and Spud rather than something with all four of them. Although, maybe something around the theme of family would lend itself to something that they'd all fit into?

I love that Sharleen and Sabrina are so different from each other, but that doesn't flatten them into a "bad girl vs good girl" stereotypical dynamic. Sabrina does let herself get coaxed out to the club (and, for that matter, tells Krazy that she will kill him herself and be the one going to prison for thirty years when she thinks Shar is in danger), Sharleen is writing her dissertation, and they both love each other so fiercely. If you wanted to go post-canon and show something about Sabrina trying to rescue her sister from where she's been kidnapped, that would be great, or you could go pre-canon and have something about the two of them growing up, or something that wove through pre-, during and post-canon. Maybe Rodney could bond with Sabrina about how horrifying it is for your loved ones to be in peril and for you to have no power to help, even with bloody superpowers.

With Rodney and Spud, I'm intrigued by what their relationship is. Is it romantic? If so, are they non-monogamous, or does Rodney just keep flirting with random women to keep in practice? They do seem to share all their money and I did assume they lived together in that one-bedroom flat until the line where Rodney says that Spud "stays over most nights". See also: Rodney saying they'd be shopping for a house once the money started coming in. I don't think it necessarily needs to be kissy-kissy for them to be life partners, of course, and a fic about them being in a QPP would also be great. It would also be pretty on-brand for Rodney to have sped past the trivial little details of asking someone out or telling him he like him before deciding they were going to spend the rest of their lives together.

The Tick (TV 2017)

Requested characters: Dorothy "Dot" Everest, Overkill, Arthur Everest, the Tick

As mentioned in my sign up, I'm open to something that only feaures Dot and Overkill or something that just features Arthur and the Tick if you don't have an idea for somethign with all four of them. I'm happy for something shippy involving either or both Dot/Overkill and Tick/Arthur, or something gen.

I love how this show combines campy superhero shenanigans with a more grounded approach to emotional storytelling. I'm totally in the market for either silly jokes or something with a more serious slant. Or, indeed, both! If you wanted to do sort of a mid-mission case fic (since 1000 words isn't a lot of scope for a full on plot along those lines) that would be really cool, or something not related to crime-fighting would also be fun. Maybe something where Arthur could flex his paperwork skills to save the day through administrative means? Dot and Overkill having to get bailed out by Arthur and the Tick for some antiheroics gone wrong? In the event you wanted to write something shippy with Tick/Arthur, I tend to prefer when smutty fic for this pairing is a bit off the beaten path and I think there's a lot of scope for some fun xenophilia-adjacent things. The "suit" being a living part of his body rather than something that can conveniently come off or make way for more conventional human anatomy is very compelling to me. With Dot/Overkill, I think that something that engages with Overkill's disabilities in an access intimacy kind of way would be really cool. Him allowing himself to be vulnerable around Dot by taking off/turning off his prostheses to be comfortable maybe?

Beetlejuice (movies)

Requested characters: Beetlejuice, Lydia Deetz, Delia Deetz, Astrid Deetz

I'm open to somethat that just features Beetlejuice and Lydia, or something that just features Lydia and Delia, or something that just features Lydia and Astrid if you would rather write that than something with all four characters.

I saw Beetlejuice Beetlejuice on the big screen recently with no real expectations, but I loved it so much! Maybe even more than the original, because it was so much less cruel, especially in its treatment of Delia. I've always felt that, all things being equal, she as an oddball artist would have been a natural ally to Lydia the weird goth girl with a penchant for photography. I also like that Beetlejuice was significantly defanged in terms of how menacing he seemed and he was borderling sweet at points. Honestly, Lydia's scumbag fiance being a more realistic kind of terrible makes old BJ come off like a prince in comparison. She could, and did, do a lot worse! Which is all to say, I am very happy to receive shippy Beetlejuice/Lydia fic, although feel free to not go that route if you'd rather write something gen with them, or a gen fic about Lydia's relationship with either Astrid or Delia. Or both of them! I'm very intrigued by how Lydia's relationship with Delia improved and how it was that they reached the cheerful equilibrium they did in the sequel that wasn't barb-free but was still friendly. Similarly, when did Astrid's relationship with Lydia start to go downhill? Was she maybe more even-handed before her father died, or did she start being resentful once Lydia and her dad separated/divorced? Was she embarrassed about Lydia's paranormal shtick before then, or was it "selling out" that soured her on it? Or maybe did she believe her mom as a kid and get made fun of for it?

Feel free to drop references to other adaptations – I loved the cartoon as a kid and I have approximate knowledge of the musical from my sister who is a big musical theatre fan. If you do go shippy with Beetlejuice/Lydia, I'd prefer if Lydia had agency and the ability to assert boundaries and was actively choosing the relationship as opposed to being tricked or coerced, although I'm not against a "fake marriage to real relationship" sort of thing, or something that starts more dubious and moves to a more equal playing field.

Kaos

Requested characters: Caeneus, Eurydice "Riddy", Ariadne "Ari", Dionysus

I am open to a fic that just features Caeneus and Riddy, or one that just features Ari and Dionysus or one that is about any of the requested characters invididually.

I loved this show so much! I feel like it's so hard to adapt Greek mythology in a way that feels fresh at this point, given how many centuries worth of interpretation and reinterpretation have been going on at this point, but it had me in the palm of its hand from start to finish. I have been saying for ages now that I want a version of Ariadne who genuinely loved her brother instead of aiding and abetting his murder (justice for the minotaur!). And the idea of a Eurydice who just isn't that into Orpheus is inspired! What does it mean to be the object of someone's undying loyalty when that comes at the expense of being the subject of your own narrative? Caeneus as a former Amazon who had to leave after coming out as trans was a very rich vein to mine too, and I really liked Dionysus as just sort of a nice (by the standards of the gods) guy who likes people, which seemed very appropriate for a god with his particular domain. The nod at the end of the series to his relationship with Ariadne in the myths was also very fun! I'd love if you wanted to write a fic where they met. I also adore Caeneus and Riddy's relationship and I think that's rich with the potential for something deliciously angsty, or maybe something more fluffy as a missing scene when they are in the underworld together? I also would really love to read a character study of any of the characters I have requested. Their backstories are so intriguing and canon has left a lot of room to carve out discrete moments in their past in a fic.

Return to beginning

To anyone else reading letters to look for people to treat, hi there! I have gifts enabled on my AO3 account, so treat away if you so desire, and thank you for the kind thought.

obstinatecondolement: Deanna Troi from Star Trek: The Next Generation shown from the shoulders up, standing in front of a painting of a planet (Default)

Challenge #6

In your own space, share a favourite piece of original canon (a show, a specific TV episode, a storyline, a book or series, a scene from a movie, etc) and explain why you love it so much. Post your answer to today’s challenge in your own space and leave a comment in this post saying you did it. Include a link to your post if you feel comfortable doing so.

There are so many pieces of media that I have an enduring fondness for and that are large parts of the loose patchwork of quotations that make up my understanding of myself, so it was hard to pick just one. But, if I am narrowing it down to one then...

Click to expand

The Producers

Promotional image for The Producers with the title in lights and the stars Zero Mostel and Gene Wilder against a white background

Edit: The thought belatedly occurs that people might not be familiar with the movie, so I have written a quick summary below. Spoilers ahoy, and content warning for references to Nazis.

Brief plot synopsis

Max Bialystock, a once-great Broadway producer, now reduced to sleeping with his remaining investors, little old ladies, and telling them to make the cheque out to the name of the play (Cash), is visited by a mild-mannered accountant, Leo Bloom, to look over his books. Bloom discovers an irregularity, which Bialystock explains as him spending $500 on a Turkish bath and convinces Bloom to move numbers around to hide the fraud. Bloom, reluctantly, agrees, and concedes that the IRS is hardly going to be interested in auditing a show that flopped. He then is entertained by the hypothetical idea that you could, if you were an unscrupulous man, make more money with a flop than a hit by intentionally raising much more than you needed to stage the play, if you new it was a surefire flop.

Bialystock takes the idea and runs, enlisting Bloom, and they look for the worst play ever written, which they find in Springtime for Hitler.

Despite Bloom's initial hesitation to produce a show written by a former SS-soldier who 'wants to clear the Fuhrer's name,' even with the intention that it will be a catastrophic disaster, they go ahead and buy the rights to the play. They take further pains to ensure their failure by hiring the worst director and actors they can and all seems well, until the play is perceived as a brilliant satire and the show is a huge success, leading to their fraud being discovered.

I saw the 2005 remake of the 1967 original back in the mid-00s and I liked it a lot at the time, but once I got my hands on the original I absolutely never looked back. With all apologies to Nathan Lane and Matthew Broderick, accept no substitutes: it's Mostel and Wilder or bust for me.

I am incredibly fond of a lot of Mel Brooks' movies, but this one is especially dear to me. I often joke on Tumblr that I have to be sparing with rewatching it, because once I've flipped that switch I am very liable to just watch it every day for weeks and it'll become my entire personality for at minimum a month.

Gene Wilder as Leo Bloom holding a blue blanket to his cheek

I'm Leo Bloom, I'm an accountant, I'm from Whitehall & Marks, I was sent here to do your books, and I'm terribly sorry I caught you with the old lady.

The main reason that I love this movie so much is Gene Wilder's portrayal of Leo Bloom, which, from the moment I first saw it, seemed like it was ripped from the headlines of my real life. He does such a wonderful job of turning on a dime from being mild-mannered and professional, talking to Max about his accounts, to completely losing it and melting down when he gets overwhelmed and... it's a joke, I know it's a joke, but it's just something that I'd never seen before, and rarely have since, which felt so much like my experience of the world and even though it was supposed to be a joke, and not a flattering one, it has always felt deeply validating to me. Some of us are very good at playing the part of a polite, professional, normal person right up until we get too anxious or overstimulated and then absolutely all the wheels fall off the wagon and we can't do it anymore and it becomes obvious how strange and not the persona we adopt to cope in the world we are, and honestly it means a lot to see that, even in a comedic context, when the character is not just a joke.

And, in this movie, Leo's arc is about letting go of his inhibitions and experiencing joy for what may be the first time in his life.

Bialystock: Having a good time?
Bloom: I don't know. I feel so strange.
Bialystock: Maybe you're happy.
Bloom: That's it, I'm happy. *starts to laugh* Well what do you know about that? I'm happy!

The dream! Is he being manipulated into white collar crime by a scoundrel who, at first, only saw him as a means to make a fortune and exploited his loneliness and the ways he's been alienated by his oddness to do so, by being, perhaps, the first person who's ever been nice to him?

Bialystock, walking through the park arm-in-arm with Bloom: Call me Max. You know I don't let everyone call me Max. Just those people I like.
Bloom: And you can call me Leo.
Bialystock: I already did!
Bloom: Oh! *lifts his hand to touch his forehead in embarrassed delight*
Bialystock: Where would you like to eat?
Bloom: Well, Max. I don’t know, Max. What do you think, Max?

I mean, yeah, sure, but that doesn't mean it's not vicariously liberating to watch him stand on a fountain and shout, "I want everything I've ever seen in the movies! I'm Leo Bloom. I'm me! I can do whatever I want! I'm Leo Bloom!"

And it also doesn't mean that Bialy's fondness for him remains a lie, because very swiftly they are both incredibly fond of each other and not shy about being demonstrative about it.

 

ID: two screencaps where Max Bialystock and Leo Bloom embrace, posted to Tumblr by [tumblr.com profile] cherry-flavored-sigh on February 15, 2015.

There is a scene at the end of the movie where they get caught for embezzling and Leo speaks on Bialy's behalf, which goes like this:

I would like to say something your honor, not on my behalf, but in reference to my partner, Mr. Bialystock. Your honor, ladies and gentlemen of the jury, Max Bialystock is the most selfish man I ever met in my life. Not only is he liar, and a cheat and a scoundrel, and a crook, who has taken money from little old ladies, he has also talked people into doing things, especially me, that they would never in a thousand years had dreamed of doing.

But, your honor, as I understand it the law was created to protect people from being wronged. Your honor, whom has Max Bialystock wronged? I mean, whom has he really hurt? Not me. Not me.

I was... this man... No one ever called me 'Leo' before! I mean, I know it's not a big legal point, but even in kindergarten they used to call me 'Bloom!' I never sang a song before! I mean with someone else, I never sang a song with someone else before. This man, this man, this is a wonderful man. He made me what I am today... he did.

And what of the dear ladies? What would their lives have been without Max Bialystock? Max Bialystock, who made them feel young, and attractive, and wanted again. That's all I have to say.

I cry on at least a monthly basis when the words "I never sang a song before! I mean with someone else, I never sang a song with someone else before" and, again, maybe it's a joke but "Nobody ever called me 'Leo' before (...) even in kindgarten they used to call me 'Bloom!'" will never fail to produce at least a little mistiness, including now as I write this. It is also kind of the basis for my trans headcanon of Leo Bloom, but that is besides the point. Anyway...

Zero Mostel as Max Bialystock

You know who I used to be? Max Bialystock! King of Broadway! Six shows running at once! Lunch at Delmonico's. $200 suits. You see this? This once held a pearl as big as your eye! Look at me now. LOOK AT ME NOW! I'm wearing a cardboard belt!

So, having spoken at great length about Leo Bloom, you might get the impression that I'm not that pushed about Max Bialystock. And, oh, how wrong you would be.

I have, for years, made jokes on Tumblr about The Type, alluding to my penchant for sleazy, dapper (but often slovenly and/or shabby) crooks with poorly concealed hearts of gold and soft spots for certain people. Your Bernard Blacks, your Grunkle Stans, your Quarks, your Norman Stanley Fletchers, and, very, very much in keeping with that, your Max Bialystocks.

He just is... this man. This is a wonderful man.

Also, while a movie with Mr. "Don't touch my blue blanket!" in it was always going to have me identifying more with Leo Bloom, Bialy himself is not exactly... um, unrelatable. I mean:

Bloom, look at me. Look at me, Bloom. Bloom, I'm drowning. Other men sail through life. Bialystock has struck a reef. Bloom, I'm going under. I'm being sunk by a society that demands success when all I can offer is failure.

I just... when will a dishonest man come and manipulate me into commiting white collar crime for him? When will an earnest and profoundly weird little man come and change my life by merely posing a little accounting theory and falling in love with me?

Because, in a move that could not be more on-brand for me, I do very much ship this. How could you not, honestly?

GIF of Leo Bloom leaning over and kissing Max Bialystock on the cheek as they smile and laugh next to each other.
GIF posted by [tumblr.com profile] giantmonster to Tumblr here on April 7, 2017

The movie is also, when it's not being the beautiful love story of an unscrupulous down-on-his-luck producer and a lonely autistic accountant, an irreverant anti-fascist satire (i.e. a satire that is anti-fascist, not a satire of anti-fascism) that was highly controversial when it was released, and has been, to varying degrees, ever since.

Content warning: discussion of Nazis and fascism, and allusions to, although not detailed discussion or descriptions of, the Holocaust

I do certainly think that over the years there have been fictional depictions of Nazis as inept villains used for comedy that insensitively diminished the horror of what the Nazis did, but for my money, that's not what's happening with The Producers. And, frankly, if anyone gets to make this particular movie, it's a Jewish WWII veteran. I also think that there is a distinct line between diminishing the Holocaust through comedy and in deflating the glamour of fascism by exposing it as ridiculous through comedy, and I think the latter can be a very effective means of making fascists seem less admirable. Which, unfortunately seems to be a trap even people who would never consider Nazism to be something that should be emulated can fall into: this idea that the Nazis really were extraordinary ubermenschen who were dazzlingly competent and even stylish, in a way, in their pagentry and their self-invented mythos of themselves.

No. They were buffoons. They were evil genocidal murderers and, as the meme goes, you do not, under any circumstances, 'have to give it to them.'

This is not just an idealogical objection that it's in bad taste to do this either, although it certainly is in extremely poor taste at best, I also feel that it's factually wrong. Hitler, and other people in leadership positions in Nazi Germany, made stupid strategic decisions all the time, and things like the idea that they made the public infrastructure much better are largely myths from what I understand,* because for some reason there is this desire among some on the left to see fascist governments as more effective. They're not. They were buffoons and they were evil genocidal murderers. You don't have to be a genius tactitian to be evil.

Lindsay Ellis made a video essay about the use of satire in The Producers a few years ago, which I think is very good and certainly a lot better expressed and researched and more convincing than anything I just shot off the hip.

Mel Brooks, The Producers and the Ethics of Satire about N@zis

*This impression is based on what I remember having read elsewhere from sources I believed to be trustworthy at the time, but I can't quite remember where and I am not a WWII expert or an academic, and I didn't rigorously fact-check myself on this when I was writing this post, or find sources to include that support my claim here, so, TL;DR citation needed (and if anyone does have a good source debunking this oft-repeated trope, I would greatly appreciate it). Just a quick note here though: I'm not interested in debating whether or not the Nazis were in any way admirable. I think I've made where I stand clear and I will be screening comments to avoid giving a platform to that sentiment, so I wouldn't bother if I were you.
[return to where you left off.]

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