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Tuesday, May 19, 2026

In Her Own Language — The Untold Story of Amanda Baggs

Amanda Melissa Baggs (also known by her later legal name Amelia Evelyn Voicy Baggs, and online as ballastexistenz, cussinanddiscussin, and withasmoothroundstone) was a disability rights advocate based in Burlington, Vermont. Born in Mountain View, California on August 15, 1980, to Ronald and Anna Baggs, she relocated from California to Vermont in 2005, reportedly to be closer to a friend. She would remain in Burlington until her death in 2020.

Amanda identified as genderless and nonbinary, preferring the neopronouns sie/hir and ze/zer. She also identified as a lesbian and described herself as ‘cognitively disabled, physically disabled, chronically ill, developmentally disabled, and psychiatrically disabled’. As an adult, she claimed to have lost all functional speech and communicated exclusively through a text-to-speech device.

Within disability and autism advocacy circles, Amanda was widely known and broadly celebrated. She created a website titled ‘Getting the Truth Out’ in response to a campaign by the Autism Society of America, arguing that the ASA’s messaging reduced autistic people to objects of pity rather than recognizing their autonomy and inner lives. She spoke at disability conferences, collaborated with researchers at MIT who were studying autism, and maintained two long-running blogs (Ballastexistenz and Cussin’ and Discussin’) which together built her a devoted online following over nearly two decades.

Amanda’s reach extended beyond advocacy circles in January 2007, when she posted a video to YouTube entitled ‘In My Language.’ The video, which depicted Amanda engaging with her environment in ways she presented as characteristic of severe autism before transitioning to a typed narration delivered via text-to-speech device, became the subject of multiple CNN segments and earned her a guest blogging spot on Anderson Cooper’s blog, where she answered audience questions via email. The video’s cultural footprint reached even into the art world with “video artist” Mark Leckey citing Baggs’ stated empathic relationship to inanimate objects as something he found himself envious of and incorporated the singing from ‘In My Language’ into his own video work ‘Prop4aShw.’


The widespread media attention proved to be a double-edged sword. Among the viewers who encountered Amanda’s story through CNN were former classmates and acquaintances, several of whom came forward with accounts that directly contradicted the narrative she had spent years constructing.

Peers who knew Amanda Baggs at Simon’s Rock College (a selective institution for academically gifted teenagers) describe her as high-functioning, verbally fluent, and socially engaged. According to these accounts, Baggs underwent a dramatic change after heavily abusing psychedelics in 1995, leading to a psychotic break and an eventual diagnosis of schizophrenia. After extensive doctor shopping, she received a diagnosis of low-functioning autism around the age of 20, and began building her public identity around it, all while producing writing that was, by any measure, articulate, sophisticated, and inconsistent with the severe disabilities she claimed.

In spite of multiple testimonies from her former classmates, the medical inconsistencies that ran through her claimed diagnoses, and questions that had quietly circulated in online spaces for years, Amanda remained a respected and broadly celebrated figure in disability advocacy circles. None of it was enough to prompt serious mainstream scrutiny. She died quietly from respiratory failure on April 11, 2020, at the age of 39, largely unquestioned to the end. Both the Washington Post and the New York Times published obituaries celebrating her life and legacy, with neither publication seeing fit to examine the questions that had long surrounded her story.

Amanda Baggs’ story is not a simple one of deliberate deception. It is a case study in how trauma, mental illness, and a desperate need for identity can converge. She was either the most remarkable case of adult-onset autism ever documented, or she wasn’t autistic at all. The truth, as the evidence strongly suggests, is more complicated than either answer.
Before the Diagnosis


Amanda was considered academically gifted from an early age, and at just 14 (younger than even the typical Simon’s Rock student, who usually enters at 15 or 16) she was accepted to Bard College at Simon’s Rock in Massachusetts, a highly selective institution specifically founded for intellectually advanced students who have outpaced their conventional school curricula.

Those who knew Amanda there describe a young woman who bore no resemblance to the profoundly disabled person she would later present herself as. Former classmates recall her as verbally fluent and socially engaged - eating in the cafeteria with friends, playing the flute, attending classes and participating in discussions at a normal level. She had a boyfriend with whom, by her own account to peers at the time, she was sexually active. Her former classmates consistently maintain that there was nothing that suggested any form of autism, low-functioning or otherwise.

The witness testimony against Baggs’ autism claims is both extensive and credible. Neuroscientist Daniel Drucker, who was one of her closest friends at Simon’s Rock, stated plainly that she ‘didn’t appear or claim to be autistic in 1994-5’ and was ‘brilliant, creative, had an active and healthy set of personal and romantic relationships and was not disabled in any way,’ noting her heavy LSD use of approximately 200 micrograms per day for many months. Ophelia Austin-Small, a psychology PhD candidate with over a decade of professional experience in disability services who lived with Baggs’ family in 1997, provided the most detailed account. She describes a normal, verbally fluent teenager who attended classes, ate in the cafeteria, went rock climbing, played the flute and harp, attended the prestigious Johns Hopkins CTY program, and was the youngest student ever accepted to Simon’s Rock. Austin-Small also provided the single most damning detail about the autism claim’s origins: that Baggs had befriended an autistic girl through a special education peer program, became fascinated by autism, attended conferences, and researched communication devices before eventually claiming the diagnosis herself. Bjorn-Erik Townsend, another former classmate, confirmed she was ‘functional and capable of normal human communication,’ and a former teacher who came forward publicly wrote simply: ‘I knew her when she was fourteen and she was definitely not autistic then. You don’t get autism.’












In 1995, during her time at Simon’s Rock, Amanda began using psychedelics heavily. Former classmates describe a period of approximately three months during which she was using LSD and psilocybin on a near-daily basis. The consequences were severe and rapid. Amanda began claiming to be an elf and reported hearing voices, made suicide attempts, and exhibited increasingly erratic and aggressive behavior. She eventually withdrew from Simon’s Rock and entered a psychiatric institution.

A December 1995 email written by Baggs under the username ‘Galig-Nightsong Dulin’ and sent to former Simon’s Rock classmates, presenting an elaborate account of her claimed Dissociative Identity Disorder — complete with named alternate personalities including an ancient elf named Galiganinda, a nine-year-old child named Katy, and an entity called Dark Mind (the same DID diagnosis she would publicly retract two years later in 1997).



A diagnosis of schizophrenia emerged from this period — and by most accounts, it was the most accurate diagnosis Baggs would ever receive. Her mother, Anna, reportedly refused to accept it outright, and what followed was an extended period of doctor shopping that would set the template for the decades to come.

A journal kept by Baggs during her 1996 stay at the Shepherd Treatment Centre (later circulated among former friends and authenticated by neuroscientist Daniel Drucker, who knew her at the time) documents in granular detail a young woman in the grip of genuine psychosis. Written under her then-username ‘Nightsong,’ the entries span May through September 1996 and describe auditory hallucinations, paranoid delusions about government conspiracies, a belief that staff members were poisoning her food, and a persistent, agonized conviction that she was an elf being forced to accept a human identity against her will. They also document a painful, medicated struggle to accept her schizophrenia diagnosis. A struggle her own doctors noted was being actively complicated by her mother’s refusal to accept it alongside her. ‘I wish Anna would accept my diagnosis as I have,’ Baggs wrote in May 1996. ‘I don’t like it, but I don’t deny it anymore. But I can’t change her opinion any more than she can change mine.’



Later that year, she began publicly identifying as having dissociative identity disorder (then more commonly known as Multiple Personality Disorder) claiming this to family, friends, acquaintances, and online communities. She maintained this identity for roughly two years before publicly retracting it in 1997, acknowledging she had been deceiving both herself and others.


Born-Again Autistic

Amanda began claiming her autistic identity around the year 2000, at around 20 years of age. She claimed to be severely low-functioning, and non-verbal. The immediate issue is that autism is a developmental disorder, meaning that it is present from birth, with signs typically emerging between 18 and 24 months of age. No credible medical framework supports the idea that a person can develop severe, non-verbal, low-functioning autism at the age of 20, after having spent their teenage years attending a selective college, maintaining friendships and engaging in romantic relationships. The CDC notes that signs of autism spectrum disorder are typically identifiable by age 2 and reliably diagnosable shortly thereafter, meaning that a child with the severity of autism Amanda claimed to have would have been identified long before adolescence, let alone adulthood. The notion that it went entirely undetected through her gifted education, her college enrollment, and her years of apparently normal social functioning is not a medical grey area but a complete impossibility. Nevertheless, Baggs built a platform on this claim, and for a time, it worked extraordinarily well.

In January 2007, Baggs began uploading videos to YouTube documenting what she presented as her experience of severe, non-verbal autism. One of these, titled ‘In My Language’, went viral. The video depicted Amanda engaging in repetitive behaviors and interacting with her environment in ways she presented as characteristic of severe autism, before transitioning to a typed narration delivered via text-to-speech device, arguing that her way of experiencing the world represented a valid form of cognition.

The video became the subject of multiple CNN segments, earned her a guest blogging spot on Anderson Cooper’s blog, and caught the attention of CNN’s chief medical correspondent Dr. Sanjay Gupta, who dedicated a 2007 piece to Baggs and her story. Her case was also taken up by the New York Times’ Well blog in 2008, where health journalist Tara Parker-Pope examined the video and its implications for public understanding of autism. For a brief period, Baggs was held up by the neurodiversity movement as proof of their central argument that autism is a different way of being, not a disorder to be treated or cured, and that the apparently silent and unreachable might have more to say than the world had given them credit for.

What Baggs could not have anticipated was that the widespread media coverage would reach beyond the disability advocacy circles that had long accepted her story, and into the lives of people who remembered her differently.

By mid-2007, former classmates and acquaintances from Simon’s Rock College had begun coming forward, first to CNN and then across various online platforms, expressing their confusion and alarm at how Baggs was presenting herself. Their accounts were consistent and credible as several held advanced academic positions, including a neuroscientist at the University of Pennsylvania and a PhD candidate in psychology with over a decade of experience as a mental health professional. None recognized the person being celebrated on CNN as the Amanda Baggs they had known. Naturally, CNN, the New York Times and Wired did not meaningfully engage with these accounts. Go figure.
Cat-Facilitated Communication


Central to Amanda Baggs’ public platform was a single, powerful claim: that a person who appeared to the world as severely cognitively impaired was, in fact, communicating coherent, sophisticated, and philosophically rich thoughts through typing. It was a compelling narrative and for the families of genuinely nonverbal, severely disabled people, it was an emotionally loaded one. It offered the possibility that their loved ones, too, might have rich inner lives that the world had simply failed to access. That hope, real and understandable as it was, is precisely what made the claim so worth examining carefully.

The method Baggs used to communicate sits within a broader and deeply controversial tradition. Facilitated Communication (known as FC) is a technique developed in the early 1970s and popularized in the United States throughout the 1990s, in which a person with severe communication impairments is assisted by a facilitator who supports their hand, arm, or shoulder while they type or point to letters on a keyboard or letter board. Proponents claimed it unlocked hidden intelligence in people with severe developmental disabilities, allowing them to communicate for the first time. The reality, as decades of controlled research have demonstrated, is considerably more troubling.

The American Psychological Association formally rejected FC as a valid therapeutic technique in 1994, finding that in controlled conditions the communication produced invariably reflected what the facilitator knew rather than the subject. The American Academy of Pediatrics, the American Association on Intellectual and Developmental Disabilities, and numerous other major medical bodies have since reached the same conclusion.

Baggs was an open supporter of FC, a position that should itself have prompted harder questions from the journalists who covered her. According to her Wikipedia page, Baggs claimed to use FC independently — but offered at least one detail that should have immediately strained credulity among even her most sympathetic readers: that her cat, Fey, was her most effective facilitator. A claim she elaborated on in a 2006 newsletter published by the Autism National Committee, in which she described Fey as moving her limbs around to assist her communication. A cat. Listed, without irony or editorial challenge, on a Wikipedia page that multiple journalists consulted while covering her as a legitimate disability advocate.











Amanda maintained that she could not boil water without extreme difficulty, that she regularly forgot how to stand up, and that she required caregivers to visit twice daily to assist her with basic personal hygiene. She claimed to be frequently unable to recognize emergency situations. Yet Amanda was apparently able to film, edit, and upload YouTube videos, manage multiple blogs, file her own medical directives, and engage in sustained, sophisticated online advocacy.



She also claimed, at various points, an IQ of between 135 and 160, placing her in the exceptionally gifted range, before later revising this figure down to 85, a drop of at minimum 50 points. A cognitive decline of that magnitude would represent an extraordinary and largely undocumented medical phenomenon, one that would typically be the subject of significant clinical interest and documentation. Whatever the true nature of her conditions, Amanda produced a body of written work that was, by any honest measure, entirely inconsistent with the profound cognitive impairment she claimed. Her blogs read like the output of a highly intelligent person, one with a sophisticated command of language, medical terminology, and rhetorical argument that sat in direct contradiction with virtually every claim she made about her own abilities. The platform Amanda Baggs built rested entirely on the acceptance of a claim that her own output consistently contradicted.

The Munchausen Question

There is a term for what Amanda Baggs may have been doing, and it is not malingering in the conventional sense. Munchausen syndrome is a psychiatric condition in which a person fabricates, exaggerates, or induces physical or psychological symptoms in order to assume the identity of a patient. It is not primarily about financial gain, which distinguishes it from straightforward fraud. It is about the attention, care, sympathy, and sense of identity that comes with being sick. People with Munchausen syndrome often become highly knowledgeable about medicine and tend to accumulate diagnoses while resisting getting better. They tend to become extraordinarily invested in their medical equipment and procedures as symbols of their illness and identity.



By the time of her death in 2020, Amanda had accumulated a list of diagnoses that strains credulity even when considered individually, let alone collectively. She claimed, at various points, to have been living with schizophrenia, Dissociative Identity Disorder, Schizoaffective Disorder, Bipolar Disorder, PTSD, depression, and cognitive disability. On the developmental side, she claimed low-functioning non-verbal autism and intellectual disability, despite having previously claimed an IQ of between 135 and 160 (a figure she later revised down to 85, representing a drop of at least 50 points that she never adequately explained). She also claimed obsessive-compulsive disorder, Tourette syndrome, synesthesia, and Irlen syndrome (a controversial condition affecting visual processing that is itself not recognized by mainstream ophthalmology).

Physically, her claimed conditions included gastroparesis, chronic aspiration of food into her lungs, a brain abnormality dating to age 13, something she described as ‘similar to myasthenia gravis,’ trigeminal neuralgia (widely considered one of the most painful conditions known to medicine), a hypermobility disorder causing deformity of her hands, adrenal insufficiency, PCOS, sleep apnea, bronchiectasis, asthma, a craniofacial abnormality, bladder dysfunction requiring a surgically implanted electrical node, recurring meningitis, and, in the final months of her life, functional blindness.



The feeding tube is perhaps the single most revealing element of Baggs’ medical history. A gastrojejunal feeding tube (the type she used) is a significant surgical intervention, typically reserved for patients who are genuinely unable to maintain adequate nutrition through oral feeding, most commonly those who are severely underweight or medically fragile. Baggs was neither. She was, by all visual evidence, significantly obese — a fact that created an immediate and glaring contradiction with her primary justification for the tube, which was gastroparesis.





Baggs herself acknowledged, in various blog posts, that she had to fight her doctors to obtain the tube. In the world of Munchausen syndrome, this is a familiar pattern: the patient who is not genuinely ill enough to warrant an intervention they have become fixated on obtaining, pushing until a doctor, worn down by persistence or liability concerns, finally acquiesces.



She documented it obsessively. She photographed it. She wrote about it at length. She described, without apparent embarrassment, a practice of eating candy and then removing it from her stomach through the tube into a vessel she referred to as her “burp cup”.



She wrote in detail about bodily functions, medical procedures, and the mechanics of her various conditions in ways that can described as having a fetishistic quality. Her blog read less like someone managing illness and more like someone deriving something from it.



Her blog, Ballastexistenz (the name itself a German term meaning “ballast existence,” a reference to the Nazi concept of lives not worth living, which she apparently adopted as an ironic identity) was a sustained, years-long performance of medical suffering. Every caregiver who questioned her was an abuser. Every doctor who declined to provide a requested intervention was evidence of systemic ableism. Every challenge to her self-reported symptoms was proof of society’s failure to believe disabled people. The framework was constructed, whether consciously or not, to make scrutiny impossible.

Whether or not Baggs met the clinical criteria for Munchausen syndrome, the pattern of her behavior over two decades is difficult to explain any other way. The diagnoses escalated steadily over time, each one more dramatic than the last. Getting better was never, in any documented instance, something she appeared to want. And through all of it, being disabled remained the fixed center of her public identity, the thing around which everything else in her life was organized, documented, and performed. It would be easy, and lazy, to dismiss Amanda Baggs as simply a liar. The fuller picture is considerably more complicated, and considerably sadder.

Baggs was, by her own account, a child who had already experienced serious trauma before she ever set foot on the Simon’s Rock campus. She disclosed, in a blog post written just weeks before her death, that she had been sexually abused between the ages of 11 and 15 by a family member, and earlier accounts from people who knew her suggest the abuse extended to at least one other male relative.



In this context, at the age of 14, she was sent away from home to attend one of the most academically demanding institutions in the country. Simon’s Rock College attracts students who were, in their previous schools, almost universally the smartest person in the room. For many of them, arrival at Simon’s Rock is the first time in their lives that their intelligence does not automatically set them apart. For a child already carrying the weight of unprocessed trauma, already fragile in ways that her academic performance had perhaps obscured, this collision with peers who were equally or more gifted may have been genuinely destabilizing.

The drugs were almost certainly a factor but the question of why a gifted 14-year-old with apparent prospects begins using psychedelics compulsively is at least as important as the pharmacological consequences of doing so. Self-medication, escape, and the search for an altered sense of self are not uncommon responses to unprocessed trauma. The breakdown that followed may have been, on some level, inevitable.

When Amanda Baggs broke, she received something she may never have adequately received before: care. Attention. The suspension of expectations. Nobody was asking her to compete, to perform, to be exceptional. Her mother, whatever her failings, rallied around her. Doctors paid attention to her. Online communities welcomed her. The identity of a disabled person, it turned out, came with its own form of status. One that did not require her to out-think or out-achieve anyone or defend her place at the top of any hierarchy. It simply required her to suffer, visibly and persistently.

An autism diagnosis, particularly the specific presentation Amanda adopted, of a profoundly disabled person with a hidden inner life, offered something uniquely powerful. It was sympathy without being pitied and permanent without being terminal. It positioned her not as someone who had fallen apart, but as someone who had always been different, always been misunderstood, always been more than the world had given her credit for. It transformed a history of dysfunction into a narrative of neurodivergent identity. And so she built her life around it, not just her public persona, but apparently everything. Her hobbies were reframed as stimming or therapy. Her pets became service animals. Her appearance, the ungroomed facial hair she explicitly refused to remove, the medical equipment worn visibly rather than concealed, became markers of authenticity, evidence of how sick she really was.



Whether she knew, on some level, what she was doing is a question that cannot be answered with certainty. It is entirely possible that by the end, Amanda Baggs had been sick for so long, and had invested so completely in that identity, that the original choice (if it ever was a fully conscious one) had long since become invisible to her.
The Final Blog Entry

On April 10, 2020, Amanda Melissa Baggs posted to her WordPress blog for the last time. It was a short, disoriented entry, written from what she described as a state of delirium. She had been in and out of the hospital. She was struggling. She died the following day, April 11, 2020, in Burlington, Vermont. She was 39 years old. Her mother reported that the cause of death was believed to be respiratory failure.



Respiratory conditions (sleep apnea, bronchiectasis, aspiration) had featured prominently in her long catalogue of claimed illnesses. Whether any of them were genuine, exaggerated, or entirely fabricated will never now be fully known. What can be said is that a 39-year-old dying of respiratory failure is not implausible for someone with her lifestyle and documented health history, whatever the true origins of that history were. Years of obesity, inactivity, and medical interventions of uncertain necessity take their toll regardless of the motivations behind them. In this sense, the ending of Mel Baggs’ story is not so much ironic as it is tragic - a person who spent decades performing sickness may ultimately have made herself sick in the process.

Laura Tisoncik, posting on Baggs’ social media accounts the day of her death, wrote that the world had lost a great activist and an amazing human being, and that Mel lived on in a powerful legacy of ideas and values. Within the disability advocacy community, this was the dominant response. Tributes poured in. The New York Times ran an obituary. The Washington Post followed. The Art of Autism published a tribute. She was remembered as a pioneer, a trailblazer, a person who had changed the way the world thought about nonverbal autism.






Her Wikipedia page, to this day, presents without qualification the version of Amanda Baggs that she constructed for public consumption: the nonverbal autistic savant, the disability rights pioneer, the woman who taught the world that a different kind of mind was still a mind worth having. The testimonies of those who knew Baggs before her autism identity was constructed were, for the most part, quietly ignored. The journalists who covered her moved on without accountability. The communities that had elevated her had too much invested in the narrative she embodied to examine it carefully. And so, the story was never fully told, not while she was alive, and not after her death.

Reference

Baggs’ Own Writing

Media Coverage

Witness Testimony and Controversy

Interviews

Donna Williams Interview with Amanda Baggs, July 2007

Medical and Scientific Sources

Monday, May 18, 2026

The Boy With the Keyblade — The Trauma Narrative of Soren Daniel Hayes

Between roughly 2012 and 2016, Tumblr was the internet’s most concentrated ecosystem of performative suffering. The more extreme your pain, the more engagement your posts received. Flower crowns and cigarette burns, soft grunge and eating disorders — Tumblr users built a whole visual language around the aestheticization of damage, with a reward structure that treated disclosed trauma like social currency. Ashley Anne Isaacs, who built an online following around her very public struggle with anorexia, was just one of these infamous figures — if you haven’t read that piece, I’d suggest starting there.

In 2015, a user posting under the name Soren Hayes (Tumblr: fawnsyndrome, shyfawn, sicklefawn, hurtc0re, faggotuglyhfukcingdickballs, umbillicalnoose, necrochotic, necromutilomania, oathful; MCR Forum: Dark Link The Assassin; Instagram: androeciums, sacrificalis, oathful, soratoys) published the first version of a document they referred to as their “Trauma Narrative” on their blog. It claimed to be a first-person account of nearly three years spent as a child sex trafficking victim in a Seattle warehouse operation. It was written with genuine literary skill. It was also, in every material sense, a fabrication.

A full compilation of Soren’s Trauma Narrative is available to download here: https://files.catbox.moe/2x4fo2.zip — the zip file contains two formats of the complete document (Standard and eBook-formatted PDF), including all three versions of the narrative and a master edition combining them into a single running text.

The person at the center of the narrative (a girl Soren called Sam) knew the truth better than anyone. In 2016, when contacted by an anonymous user from Lolcow.farm, asking about the posts and trauma narrative, she replied:

“The boy we’re talking about is just a very mentally ill person and it’s just very sad this is the path it’s gone down. Nothing they say is true. When I knew them, they were just a little kid that liked Kingdom Hearts and had a weird mom. They only went to my house once and it’s nothing like they described. They made A BUNCH of fake profiles, and it was pretty scary for a while, but now it’s just old news. I wish they would get help honestly, because nothing that comes out of their mouth is true, except for the fact that they have a mom.”

— Samantha Stowell, March 2016

The Tumblr Trauma Ecosystem

Tumblr was not a social network in the way Facebook or Instagram were social networks. Tumblr was both a blogging platform than a subculture aggregator - a place where aesthetics and identities centralized around shared interests rather than personal networks. Sitting somewhere between the confessional rawness of early 2000s Myspace and the curated self-presentation of modern Instagram, it occupied a strange middle ground: personal enough to feel intimate, and yet public enough to build an audience. Teenagers and young adults found each other across geography through shared darkness, and what they built together was a visual language as specific and recognizable as any subculture with pale skin and flower crowns, thrift store dresses and self-harm scars, soft focus photography and song lyrics about drugs.

To understand why it worked, you have to understand why some of us found this type of content beautiful - it was beautiful the way anything built around real feelings tends to be, even when those feelings are painful. I’ll admit I’m not a disinterested observer. Tumblr gave me, like it gave a lot of teenagers back in the day, a digital space to build an identity through image and language. It was a place to find a self in the collision of aesthetics and feeling before I knew how to articulate either.

Entire followings were built around a particular kind of image: beautiful, clearly unwell, vulnerable. Pale skin photographed in natural light, flower crowns, worn thrift store clothing, bands like The Smiths, My Chemical Romance, and Crystal Castles, whose entire project was the elevation of suffering into something worth listening to. There were specific figures: bloggers like Ginger Bronson/Kayla Day, a poet and musician whose confessional writing about trauma, addiction, and survival attracted a devoted following and Michelle Alessandra/Shmegeh, whose photographs made extreme thinness look ethereal and otherworldly.




They were not performing, per se. Or they were performing the way anyone performs when they make art out of their own life. The line was genuinely hard to find. Either way, the platform’s reward structure didn’t discriminate. Disclosing trauma online generated followers, community, and protection. Being a victim of something sufficiently extreme made you seen and beloved in a way that ordinary suburban adolescent loneliness never could. The more extreme the suffering, the more devoted the audience.

This is the structural condition that made what happened next not just possible, but in a certain light, logical.

In 2015, a user posting under the name Soren Hayes (fawnsyndrome, shyfawn, sicklefawn, hurtc0re, faggotuglyhfukcingdickballs, umbillicalnoose, necrochotic, necromutilomania, oathful) published a document they referred to as their “Trauma Narrative” on Tumblr. It claimed to be a first-person account of nearly three years spent as a child sex trafficking victim in a Seattle warehouse operation.

Soren’s Trauma Narrative

The document Soren posted in April 2015 opened with a preamble that established its own vulnerability before launching into an account that claimed to begin when Soren was nine years old, newly moved to Seattle, and befriended a girl named Sam. What followed was extraordinary in its scope and its brutality: kidnapping, sado-masochistic child sexual abuse contained within a warehouse trafficking operation and multiple murders of children witnessed firsthand. It was written in all lowercases, which gave the piece a tone that felt rawer and more vulnerable, like something typed in a state of barely controlled distress.

Upon immediate analysis, it becomes apparent that the work is a fabrication. The narrator’s voice is too controlled in the wrong places and sardonic and darkly witty at moments where genuine trauma would produce something less theatrical. At one point, while being driven to a cabin in the woods to be killed, Soren’s internal monologue is: “this is so fucking cliche. I thought of Danny’s horror movies again.” This is a literary voice performing world-weary detachment. It reads like a fictional character who has been written to seem hard, not like a child in danger.

Some scenes are almost comically absurd in their gratuitousness. At one point, Sam’s father bursts into the room while the two children are playing Kingdom Hearts on a PC emulator and beats the shit out of Sam without warning or explanation. Soren takes care to note that the Destiny Islands theme was playing softly in the background as the beating occurred. For those unfamiliar with the Destiny Islands theme, I have included it below (in the spirit of full journalistic transparency).

Plenty of other scenes read more like adolescent fantasy than anything resembling the actual experience of a trafficking victim. A client who boils rats alive one by one before getting to the actual abuse, atmosphere-building that belongs in a corny horror movie, not a trafficking narrative. The spider scene, in which spiders are inserted into the children’s orifices and then eaten, followed immediately by the remark that Soren couldn’t eat spaghetti for years afterward. Sam, locked in a room mid-psychotic episode covered in blood, being calmed down by Soren humming the Winnie the Pooh theme song. And perhaps most memorably, Sam spending the night locked in a closet with a dismembered corpse, having a full animated conversation with the severed head, then greeting the men who open the door the next morning by asking if she could have some orange juice.

The horror in Soren’s trauma narrative escalates with a fictional logic, each section trying to outdo the last, piling on detail with the compulsive energy of a high school fan fiction author. The details are specific in all the wrong places- gratuitously precise about torture devices and punishments, while being vague about anything that could be independently verified. The “best gang rape victim” line, delivered as sardonic self-assessment from Soren’s protagonist/self-insert, is perhaps the most telling moment in the entire document. No survivor frames their own victimization this way in genuine recall. It is the kind of dark gallows humor that gets written about trauma survivors in fiction. Then there is the spider detail: spiders inserted into the children’s bodies, forced consumption. Gratuitous to the point of absurdity, and very specifically the kind of shock content that circulated in dark corners of the internet, Soren demonstrably frequented.

Threaded through the entire narrative, functioning as its emotional skeleton, is Kingdom Hearts. The protagonist identifies as Sora, the game’s main character. The love interest is Sam, written as somewhere between Kairi’s tenderness and Riku’s darkness. When Soren comforts the injured Sam on a bathroom floor, he tells her they are on a boat to Destiny Islands, that they will get married under the paopu tree, and rocks her back and forth to “make it feel real”. It reads exactly like a teenage fan fiction writer’s idea of a tragic romantic scene, not a memory.

Sam herself is the clearest tell of all. Though Sam is based on a real person Soren encountered, she is not a person in this narrative but a literary archetype — and a fairly predictable one for that specific era of Tumblr culture. The vulnerable wolf girl; brutalized, and so she became brutal herself. Three-dollar thrift store dresses and leather jackets. A white t-shirt that said “i’m dreaming of being a cloud.” She had her head in the stars. She was only afraid of herself. She felt at home in gas stations and hospitals. She looked out for other girls and would turn a wild party into a quiet group of drunk girls sitting on the kitchen floor, braiding each other’s hair, telling secrets. Readers of a certain corner of Tumblr will recognize this character immediately, because she already existed there, under the name Ginger Bronson.

Ginger Bronson was the stage name of Kayla Day, a poet, musician, and blogger who was one of the more recognizable figures in Tumblr’s dark underground circa 2012-2016. Her writing was raw, confessional, and genuinely beautiful in its own right — a stream of consciousness dispatches about trauma, addiction, poverty, and survival. Her visual identity was specific and instantly recognizable: tattoos, many of which had been given to her against her will by an abuser, photographs of herself that made devastation look beautiful. She did runway modeling, including work connected to Yves Saint Laurent. She was, in the language of that world, extremely real.

Sam’s fake Facebook page, created and maintained by Soren, used Bronson’s photograph as its profile picture and claimed Sam had modeled for Yves Saint Laurent — exactly what Bronson had actually done. This is not aesthetic inspiration. This is identity theft in service of a narrative, the appropriation of a real person’s real trauma to lend credibility to a fiction.



The deeper connection is harder to prove but impossible to ignore. Sam’s entire personality maps almost perfectly onto how Bronson presented during her most active period — the dreamy dissociation, the protective maternal instinct, the eating disorder, the drug addiction, the tattoos given by an abuser, the quality of being simultaneously feral and tender. Soren didn’t just borrow Bronson’s image. He borrowed her entire identity and gave it to a character.

What Soren constructed was a character study, complete with a protagonist, a love interest, a supporting cast, and a carefully maintained aesthetic, borrowing its emotional architecture from Kingdom Hearts, its central character from Ginger Bronson, and its authority from the Tumblr ecosystem that had taught its author exactly what a “trauma narrative” was supposed to look and feel like.

A full compilation of Soren’s Trauma Narrative is available to download here: https://files.catbox.moe/2x4fo2.zip — the zip file contains two formats of the complete document (Standard and eBook-formatted PDF), including all three versions of the narrative and a master edition combining them into a single running text.
Revisions to the Trauma Narrative

Soren didn’t write one version of this story. He wrote three.

The first, posted in April 2015, established the baseline: the Seattle warehouse, the Kingdom Hearts mythology, Sam as a Ginger Bronson surrogate, and the cinematic pacing. The first version included a keyboard smash buried in the post tags: “Gos. Fucking ycj fucj fuck fuck did d cjdjsnf.” A simulation of a writer so overwhelmed by their own material they lose motor control, a technique, borrowed from the same Tumblr aesthetic vocabulary that produced everything else in the document.

Six months later, in October 2015, a second version appeared. The pain room, previously described as stocked with BDSM gear, was reframed as a Tor-based livestreaming operation, grafting real dark web trafficking discourse that had been circulating in the media onto the narrative. Most significantly, a new character appeared: Mousy, who exists in the narrative solely to be dismembered in extreme detail before having a conversation with Sam post-mortem. And Kayla’s death changed entirely. In V1 she is shot accidentally by a nervous client. In V2 she dies during a livestreamed torture sequence.

Three years have passed. In October 2018, a third version appeared under the Instagram handle “Oathful”. Gone was the Seattle Montessori school, the sleepover, Sam’s father appearing over the bed. In its place: India. An orphanage. Abuse beginning in preschool when men entered the classroom and selected children. The operation was reframed as a multinational network connected to law enforcement, the military, and registered doctors.

Across all three versions, one element remains completely stable - Sam. The vulnerable wolf girl, the dreamy dissociation, the protective maternal instinct. Everything else in the narrative is negotiable (the origin story, the deaths, the institutional scope), but Sam is not. She is the emotional core the author cannot let go of, even as everything around her gets rewritten from scratch.
The Cast

The trauma narrative had a cast of characters, and most of them were real people. Not real in the sense that the events described were real (they weren’t) but real in the sense that behind each fictional name was an actual person whose identity, image, and in some cases whose genuine trauma, had been borrowed without consent to furnish Soren’s story. This is where the narrative stops being merely a curiosity of internet culture and becomes something with documented victims.

Sam was Samantha Stowell, a girl Soren had briefly known in high school. She really had a twin sister and her father’s initials matched the initials of the abuser in the narrative. When an anonymous user contacted Samantha in 2016 to let her know Soren was still writing about her, her response was measured, reassuring that Lawyers had already been involved and It was, she said, old news. “Nothing they say is true. When I knew them, they were just a little kid that liked Kingdom Hearts and had a weird mom. They only went to my house once and it’s nothing like they described.” Her statement is worth reading in full, because it is the clearest possible summary of what actually happened.



Danny was Ashton Drew, a Tumblr user whose photos Soren had been collecting since at least middle school. Soren constructed an entire fictional person around Drew’s image: a transgender boy named Danny who huffed paint thinner, loved My Chemical Romance, made flower crowns and eventually hanged himself after being outed and gang raped on his way home from school. When Soren posted Danny’s suicide in the voice of Danny’s brother Christopher, the post went viral. A Twitter campaign, #SingItForChristopher, emerged in response. Thousands of people mourned a person who had never existed, using the face of a person who was very much alive.







When Drew eventually found out, his response captured something essential about what Soren’s behavior actually cost real people. He had been stalked for years, and his image had been used to construct a dead person. He claims to have lost years to the anxiety of not knowing what else was out there, of not being able to trust what was on the internet about him. “I hate you,” he wrote, “because you ruined about two years of my life with your little fucking game.”

Soren admits to stalking Ashton Drew when called out directly on their FawnSyndrome blog.







Despite being called out directly by Ashton Drew for stealing his photos, Soren continued using them in reference to Danny as late as 2018 — years after Drew had gone public about the stalking.

Then there was Lindsey Baum. In October 2015, Soren posted a screenshot from a missing persons database (a photograph of a real ten year old girl who had gone missing in 2009) and implied she had been part of the trafficking ring. A real missing child, whose family had spent years not knowing what happened to her, drafted into someone else’s fiction as supporting evidence. Lindsey Baum’s remains were eventually found in 2018. She had been murdered.


Who was Soren Daniel Hayes Really?

Soren did not emerge from nowhere. Tumblr’s trauma economy had its own aesthetics, its own hierarchies, and its own reward structures. It created a specific kind of hunger in its audience for suffering that was extreme enough to be interesting, beautiful enough to be bearable, and authentic enough to justify the attention it received. Soren fed that hunger with remarkable precision - Every element of the narrative was calibrated to what the platform craved: the vulnerability, the literary voice, the romanticized relationship at the center, the Kingdom Hearts mythology, and the Ginger Bronson soft grunge aesthetics.

There is a version of Soren’s story that is cynical: a calculated performance by someone who understood the platform’s reward structure and exploited it deliberately. There is another version that is more complicated: a genuinely unwell person whose delusions were fed rather than challenged by every system they encountered, from the Tumblr ecosystem that rewarded escalation to the parents and therapists who appear to have reinforced rather than questioned the narrative. The truth is probably somewhere neither version fully captures.

So, who really was Soren Daniel Hayes?

Across four lolcow threads spanning 2015 to 2021, a more mundane picture of Soren’s actual life assembled itself in the background of the narrative - visible in room photos packed with children’s toys, Depop listings for secondhand Hot Topic clothing, Instagram stories featuring drug paraphernalia, and the occasional slip of verifiable detail.



Soren Danial Hayes was a tans-identified female, born with the birth name, Priya (last name uncertain- Sweeny and then later changed to Hayes). S/he was adopted from India alongside a sister named Anjali, by older white parents living in the Seattle suburbs. Soren’s family was upper-middle class and his father worked as a scientist. Soren’s mother was a physician’s assistant, which reportedly enabled Soren’s early access to testosterone. Soren began transitioning around age thirteen with top surgery occurring in early adolescence. The family eventually settled in San Diego.



The bedroom tells its own story. Photos that surfaced over the years show a room that looks less like a living space and more like a shrine. Floor to ceiling Kingdom Hearts merchandise, plush toys, figurines, Disney collectibles, Mark Ryden prints, Pullip dolls, cosplay materials. Observers on Lolcow.farm noted the sheer volume of it, the way it consumed every available surface. One described it as looking like “a serial killer’s den.” Another noted it looked like “an edgy Pee Wee Herman.” It was the room of someone who had retreated very far inside a private world.



The drug use Soren claimed both in the narrative and on social media — heroin, meth, ketamine — was largely unverifiable and in several cases demonstrably staged. Photos of paraphernalia showed unused needles, clean spoons, and suspiciously fine powder in Mickey Mouse branded baggies that appeared to have been purchased online as props. The aesthetic of drug use was the point, not the drugs themselves. The ketamine treatments, by contrast, appear to have been real and medically supervised. Expensive but consistent with the family’s financial resources and the mother’s medical background but notably less glamorous than the street drug narrative Soren preferred to project.




Soren’s older adoptive sister Marley was notified about the online activity on multiple occasions. Community members reached out directly, and the lolcow threads document at least one instance of her being contacted about the trauma narrative and the fake profiles. She acknowledged awareness of the situation and indicated that their parents had been informed as well. What the family actually knew, and to what degree they believed or dismissed it, remains genuinely unclear. Soren’s father reportedly reacted with anger when he discovered the Instagram activity. The mother appears to have been more accommodating, though whether she accepted the narrative at face value or simply chose not to challenge it is unknown. What is documented is that awareness of the situation reached the family repeatedly over the years, and the behavior continued regardless.






Suicide attempts were a recurring feature of Soren’s online presence for years, so frequent, and so frequently survived, that when the real thing came, many observers initially assumed it was another performance. A fake death notice posted by a “brother” in December 2015 had already established the template. The Amazon account showing activity days after the alleged death muddied the waters further.



But on January 13, 2021, an obituary appeared on the Dignity Memorial funeral home website. Soren Daniel Hayes, born September 23, 1997. Died January 13, 2021. Age twenty-three. Under the care of El Camino Memorial Park, Sorrento Valley, San Diego. A sister posted a brief tribute on her private Instagram. The wording was careful and not quite warm with references to mental illness, to patience, to no longer suffering. The tone of someone who had been bracing for this for a long time.



Soren received a phalloplasty five months earlier, in August 2020. The surgery had not gone well. The graft failed, and photos posted publicly showed severe necrotic tissue. There were multiple returns to hospital, fabricated texts blaming a transphobic nurse, graphic wound documentation shared on Instagram with the same matter-of-fact exhibitionism that had characterized the trauma narrative for years. And then, eventually, silence.

It is worth noting that phalloplasty carries one of the highest post-operative suicide rates of any gender affirming procedure. The gap between what the surgery is imagined to resolve and what it actually can resolve is, for some people, insurmountable. Whether this was a factor in Soren’s death is unknown. What is known is that the person who had spent a decade writing about wanting to die eventually did.

What Soren actually experienced in childhood remains genuinely unknown. People who knew them in person described a happy-looking kid who became, somewhere in the transition to adolescence, something else entirely. There was almost certainly real pain underneath the fabrication - the compulsiveness of the behavior, the decades of investment in a single narrative, the inability to stop even when lawyers and callouts and public humiliation made stopping the obvious choice, all of this points toward something more than simple cynicism. Whether that something was untreated, psychosis, a personality disorder, genuine trauma elaborated beyond recognition, or some combination of all three, no one outside the family will ever know for certain.

Kingdom Hearts, the game that runs through the trauma narrative like a spine, is about children who lose their worlds and spend years searching for a way back to something that may no longer exist. It is about memory, and constructed realities, and the question of whether a self-built out of borrowed pieces is still a self. Soren named themselves after its protagonist. Used its mythology as the emotional architecture of a document meant to explain, or justify, or simply make bearable, whatever it was they were actually carrying. We don’t get to know what that was. The narrative, in all three versions, was too loud for the truth to be audible.

References

Friday, April 24, 2026

Bury Wingless Crows — The life and death of Ashley Anne Isaacs

Ashley Isaacs, also known as “Hamtaro-chan”, is a case study in early influence culture that I encountered on Tumblr as a teenager myself in 2014. All of the information included within this article comes from various image boards, forums, social media archives, and first-hand accounts from people who knew Ashley personally.

All primary sources are archived forum posts, social media screenshots, and firsthand accounts from people who interacted with Ashley online and in person. No single account should be taken as definitive truth; Ashley herself was an unreliable narrator, as were many who commented on her life. This piece does not intend to sensationalize her death or her illness, but to document the life of a real person who existed on the internet for nearly two decades.

Ashley Anne Isaacs was born to Rebecca Sue Isaacs and Michael Weist in Florida, USA. In 1999, Michael was arrested for battery and given 6 months’ probation with alcohol restrictions. In Ashley’s own blog posts from 2015, she recounts the physical abuse of her pregnant mother, inappropriate corporal punishment, emotional neglect and being compared to her peers by her father. Eventually, her father disappeared from he life sometime during either grade 5 or 6. Ashley later reflects on her father, asking “Where is he now? Fuck if I know. What has happened to ME now? Fuck if he cares.”



Rebecca was a single mother and worked as a waitress at Chili’s during the peak of Ashley’s online presence. There is a lot of online speculation, with some evidence that Rebecca herself had a disordered relationship with food, including alleged competitive weight loss behavior with Ashley.



Ashley, by her own account, claims to have been diagnosed with anorexia nervosa as early as age 11–12 years old.

Hamtaro-chan (2006-2009)

In the early days of 4chan and /b/, there were a handful of girls who would post selfies and links to their Stickam profiles in order to get attention from the men on the forum. Ashley began posting on /b/ around the age of 12 or 13, and was given the nickname “Hamtaro-chan” after recording herself nude with a Hamtaro plushie on Stickam. This name stuck, and she joined the ranks of girls such as Boxxy and Cracky-chan.



Ashley did not choose the nickname Hamtaro-chan for herself. Instead, she used various handles referencing To Kill a Mockingbird in most of her online profiles — “Atticus_finch” on Snapchat, and variations of “Atticus” and “finch” on MySpace and DeviantArt.






At some point in 2007, she aroused the ire of /b/. This is evidenced by her DeviantArt profile, in which comments document mass trolling by anonymous users. It is unknown what Ashley did to invoke their wrath, but seeing how young girls like Jessie Slaughter were targeted en masse, it likely wasn’t any behavior out of the ordinary for a profoundly damaged preteen being taken advantage of by online strangers. Around the time the trolling begins, Ashley disappears from the internet — believed to have been removed from online access by her mother and/or authorities after they found out she was camming nude as a minor. Supposedly, Rebecca discovered Ashley’s activity and forced her into inpatient treatment. There is also some speculation that Ashley attempted suicide after being caught.



Over a decade later, when Hamtaro-chan photos began resurfacing, Ashley reflected warmly on 4chan: “Thank you, 4chan. You were my home... I still actually talk to a few of you from many years ago.” She also clarified that her selfies from this timeframe are post-refeeding, noting that she had “developed Bulimia after the discharge, and when those photos were taken. The year was [the end of] 2006 to 2007.”


In May of 2016, a former friend of Ashley’s, going by the tripcode “Twatwaffle” on Lolcow.farm, stated that Ashley “considers [her eating disorder] ‘revenge’ for Rebecca cutting off her whole ‘show my tits and bits on Stickam for presents,’ as was her suicide attempt after she was caught.”





Ashley vehemently denied this. But the fact remains that Ashley’s time on /b/ as Hamtaro-chan drove her toward an addiction to the attention of online strangers, and to the gifts they might provide. This pattern repeated itself throughout Ashley’s online footprint until her quiet death.

Ghost in My Pocket (2012–2016)

The year is 2012. Ashley is currently living in a one-bedroom apartment with Rebecca in Orlando, Florida, while Rebecca works as a waitress at Chili’s. Ashley returned to the internet on Tumblr as “ghostxperfume” and on Instagram as “ghost.in.my.pocket,” where she cultivated a following among pro-ana and eating disorder communities. Her body had deteriorated to a shocking state, quickly garnering a dedicated online following, the sympathy she craved, and the gifts that followed.







Ashley continued to openly document her deterioration on her blog. One post from 2013 documents a near-death cardiac event; she describes the experience of dying and being resuscitated. Around December of 2014, she confirmed on Instagram that she was wheelchair bound: “Yes, I am in a wheelchair, and yes, I am not ashamed to show I need one.” She also confirmed multiple times that she wore a wig to conceal hair loss from malnutrition. In 2015 it became evident that her bulimia had caused significant dental deterioration, after Ashley alluded to oral surgery. Online speculation was that severely eroded teeth were being extracted.













Realizing that her appearance could garner both sympathy and shock, Ashley began manipulating followers into buying gifts, eventually developing a system of receiving binge/purge food from followers via Amazon wishlist and gift cards. Some users speculated that Ashley did this because her mother, on a waitress’s salary, was unable to provide enough food to binge and purge on. Other communities — Stamina Rose (now Lolcow.farm), Pretty Ugly Little Liar, and Kiwi Farms — began to take notice and Ashley was treated simultaneously as a figure of morbid fascination and genuine concern.






Some of the items Ashley received during her Amazon wishlist era included Whole Foods gift cards totaling well over $100, Panera, Starbucks, Domino’s, Cheesecake Factory, Amazon gift cards, imported candy, and specialty nut butters. She claimed these foods and gift cards were for “challenging” her disordered eating habits.

Ashley was forced to delete her original “ghostxperfume” Tumblr after an anonymous user reported her to Orlando Adult Protective Services, leading to a real-life intervention. Immediately afterward, she returned under the URL “Sealed Up Tight.” These anonymous attempts to get her sectioned continued throughout 2013–2015 but ultimately failed due to Florida’s Baker Act, which does not cover treatment-resistant eating disorders in adults who do not present an imminent threat to others.

Former acquaintances surfaced on Lolcow.farm and Kiwi Farms, describing her tendency to speak poorly about people she befriended. Her pattern of manipulation was identified collectively by forum users. Ashley and her defenders attempted to use her severe illness as a shield for her behavior.

Ashley befriended Erika, an anorexic mother of two, through Tumblr, and they met in person. Their friendship quickly became co-dependent and dysfunctional. When Erika decided she wanted to recover in 2014, Ashley — who was anti-recovery — began sending hostile anonymous messages to Erika’s Tumblr in an apparent attempt to demoralize her. In April 2015, Erika was accepted into a specialized treatment center in Denver after raising over $1,000 for her care. Ashley’s resentment toward Erika’s recovery was palpable in her blog posts. In spite of Ashley’s toxicity, Erika recovered and left social media.





In early 2015, during the Erika saga, Ashley began sending “recovery” care packages to followers containing foods that forum users with their own histories of disordered eating quickly identified as known binge foods within online eating disorder communities, calling into question the sincerity of the giveaways.





In May of 2015, a Lolcow.farm poster who had contacted Dr. Phil’s producers about another friend revealed that producers had already received multiple write-ins about Ashley and had reached out to her directly. Ashley declined the offer — passing up free access to top-tier treatment and significant national attention, which she otherwise seemed to crave.



Ashley left Orlando for Mississippi in late spring of 2016, posting about a final visit to Disney World and telling her followers she would “never go back,” prompting speculation about a terminal diagnosis. After generating considerable sympathy and speculation, she officially announced the move.








Throughout this period, Ashley’s selfies documented continued deterioration, with a “mystery bandage” constantly present on her cheek — a small wound that appeared unable to heal. Some speculated it was a pressure ulcer from her glasses grinding against her exposed cheekbone. Her skin had taken on a yellow pallor. New sores appeared. Despite this, she proceeded have her paper-thin skin tattooed.


Bury Wingless Crows (2017-2025)

Ashley and Rebecca relocated to Las Vegas, Nevada in 2017. Ashley found herself increasingly alone. She briefly entered what appeared to be a relationship with a Walmart employee, though its nature remains unclear. When a Tumblr user asked if she would recover to spend more time with him, she said no. The relationship ended quietly, with nothing more than a disappearing Facebook status to mark it.




Eventually, Rebecca either kicked Ashley out or placed her into some sort of medical living arrangement. “I won’t be able to see my mom for a very long time,” Ashley remarked as she publicly announced she had “one month” and asked followers for advice on living alone — and, of course, solicited donations. Ashley officially moved into her new place at the end of May 2018. She never confirmed whether this was a residential facility, but alluded to caretakers and social workers in subsequent blog posts.




Around this time, Ashley began to reckon publicly with the state of her body. In a Facebook post from October 2018, she wrote: “I fell backwards straight onto the wooden floor. Fell alone. Fell into darkness as my eyes shut for a while... Laying there like an elderly woman. Laying there with nothing but my shame.”






Her front teeth rotted away, visible in her Instagram stories. In August 2021, she broke her ankle, and her body could not heal it properly. Her posts had become increasingly sparse, mostly documenting physical discomfort. She continued posting on Instagram under @bury.wingless.crows, with friends confirming she was alive in comments for curious onlookers.

By 2023, her internet activity had slowed to a handful of notable posts per year. The community surrounding her had largely moved on; threads went months without updates. Tumblr itself was a shell of its former self. Her Tumblr was noted to have been reblogging content ritualistically, every week, up until October 2025.




On October 7th, 2025, Ashley reblogged her last post. Then she went permanently quiet.

Users on Kiwi Farms took notice in early November. After some digging, a comment from someone claiming to be a friend confirmed what everyone had suspected, after they contacted her landlord: “Her landlord at the time let me know that she had passed away. I knew where she lived, and after not hearing from her for a few days... so I reached out to her landlord and was given the sad news.”



Ashley Anne Isaacs allegedly passed away on October 13th, 2025. Her cause of death remains unconfirmed publicly, but one must assume it to be consistent with long-term complications of severe anorexia nervosa. Rebecca did not publicly acknowledge the death. The poster noted: “I don’t think her mom will mention anything about it. They didn’t have the best relationship.” Ashley had no known family nearby to mourn her. Her online community served as her primary mourners.

Goodbye Atticus (2025)

Ashley Isaacs was just one of many vulnerable young women who found themselves living online after multiple failures by her family, medical professionals, and the systems meant to save her. The rights of adults with treatment-resistant eating disorders should not be ignored, but one must ask where personal liberty ends and where life-saving intervention begins.

In the early days of the threads documenting Ashley’s life, a mortician posted what became an unintentional epitaph — a clinical description of what prolonged starvation does to a human body. The poster described performing an autopsy on someone even thinner than Ashley: organs displaced, blackened, and shrunken; visible arteries running along the outside of bone with no muscle or fat to protect them; a brain that had lost its volume and simply slid from the skull. The body, they wrote, was “just a shriveled sack with barely functioning organs.” They noted that eating would have reversed much of the damage — and prevented the death entirely.



Ashley knew this, on some level. She had been told. She had been offered treatment, hospitalization, national television, and intervention after intervention. She refused them all. Whether that refusal was the expression of a self that had been so thoroughly damaged it could no longer imagine survival, or whether it was the only form of agency she had ever truly owned, is not a question this piece can answer.



What she left behind — in forum posts, Instagram stories, Tumblr reblogs, Amazon wishlists, and the memories of people who knew her online and off — is the record of a real person who existed, who suffered, and who was never successfully reached.

“Failure is my only option here. I’ve dismissed too many opportunities... Who am I even trying to please anymore, I don’t even know.”

She was 34 years old.

References

Lolcow.farm — Ashley Isaacs /pt/ Threads

Lolcow.farm — Ashley Isaacs /snow/ Threads

Kiwi Farms

Ashley Isaacs / Hamtaro-Chan — Kiwi Farms Thread

Ashley’s Social Media Accounts

ghostxperfume — Tumblr (Deleted)
goodbye_atticus — Twitter
sealed-up-tight — Tumblr (Deleted)
emptyxattic — DeviantArt
ghost.in.my.pocket — Instagram
withering-wings — Blogspot (Early ED Blog)
shred-my-anxiety — Tumblr (Main Active Tumblr)

Misc

8chan /cow/ — Ashley Isaacs Thread
Raptus.su — Russian Forum Thread (Anorexia Photos)