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reiderwriter · 7 months ago

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🧺 Any More 🧺

Pairing: Spencer Reid x Fem!Reader

For the CM Kink Bingo Challenge 2024

Requested: spencer realizing that he’ll never love someone as much as he loves you. (whether that be because of a case or what have you), his mind is absolutely blown with how much he worships you and how much you love and care for him and he shows you that with the softest most sickeningly sweet sex you and him has ever done. <3

Warnings: 18+ MINORS DNI! Discussions of case details, case burnout, very close friends to lovers, oral (f receiving), vanilla sex (p in v penetration). Discussions of mental health, and two idiots in love.

A/N: I'm hitting the prompt Vanilla for this one, so please don't be scared off by the KinkBingo tags! I had a lot of fun writing this one (and adding Pride and Prejudice quotes into the smut scene because HELLO). Let me know what you think in the replies~♡

Masterlist || Bingo Board

You hadn't seen Spencer in 100 days. Which in the grand scheme of things wasn't that long, trapped in the purgatory of a ‘what if’ the way you had been for the last eight years.

You'd lived without him for longer than 100 days before. He'd been in prison, you'd been on assignments, you'd lived an entire life before meeting him, but now somehow 100 days was too much time, and you were exhausted. You understood why Spencer had to take some time away from you, from the team in an official capacity after everything he'd been through. You supported him even.

But when even your free time didn't overlap anymore, you wondered if your relationship would ever be the same again.

Spencer was a friend, your best friend, probably. You'd arrived on the BAU team, he'd rattled off some statistics, stammering the way through them, and you'd immediately warmed to the man. He was brilliant, funny, and fiercely loyal, and you tried your best to protect him even when the job seemed designed to break people like him into thousands of little pieces.

You'd tried to convince him to leave before, after Maeve had died. You didn't want to see him heart broken again, but no one else had seemed to agree.

“Reid needs purpose,” they'd said. “Reid needs something to do.”

What Reid needed was to not end up dead before he had a chance to be happy, and happiness didn't come often in your field of work.

You'd been almost vindicated a year later when he'd been shot again, almost fatally. Vindicated, maybe but distraught and inconsolable. Morgan had to carry you screaming and clawing out of his hospital room multiple times. It sounded stupid enough to yourself that it was only then you realized your feelings for the man.

You wanted to be Spencer Reid's happiness, which was why you were so lost without him.

He was coming back on Monday, and at least you had the weekend to sort your feelings out about everything.not just about him, but about the job you'd found didn't fit you well enough anymore, about the team you loved like family, about the relationship you knew would likely never come to fruition.

You dumped your bags at your door when you'd arrived in your house that night, pushed yourself into your bedroom and let yourself collapse on your bed, balling up into as cozy a position as you could. You didn't even bother taking your jacket off, you just let your brain haze over and sleep rush in.

Three quiet raps at your door lifted you up and out of bed again, not an hour later.

You grabbed your phone, grabbed the second go-bag you kept at your house, put your shoes back on, and opened the door, expecting Emily and a new case.

“Where are we going?” You said, rubbing the sleep out of your eyes, not even looking up at your guest.

“Hopefully, nowhere? I brought takeout.”

Your eyes widened then, taking in all 185cm of Doctor Spencer Reid, tweed jacket and plastic bag full of chow mein included.

“Spencer,” you breathed out, like a sigh of relief, letting the bag drop to the floor next to the first one and letting yourself into his arms.

He held you carefully there for a second before leading you back into the apartment, wrapping an arm around you and ruffling your hair. It was brotherly, and it made you sick to your stomach.

“What are you doing here?”

“Emily said you were back from a case,” he started, unpacking the takeaway from the containers. “And it feels wrong to eat this without you.”

You rolled your eyes and followed him into the kitchen, pulling two forks out of the drawer nearer you and stabbing them in the top of your two cups.

“Hey, I can use chopsticks now,” he said, defending himself against an inside joke. Spencer was always useless with his hands.

“I don't care if you can use them, I care that they don't accidentally end up stabbing me,” you said, taking yourself back to your bedroom, Spencer following.

“You'd hardly die from being stabbed by a wooden chopstick, maybe a papercut or a splinter but-”

“But you're just bad enough that I don't want to risk it.”

You kicked off your shoes again and climbed onto your bed. Spencer followed.

“Remind me again why we aren't sitting on your couch?”

“Uncomfortable.”

“Or at your breakfast bar?”

“Glorified filing cabinet right now. Eat.”

He shook his head but complied, leaning back against your pillows as you both began carefully eating. Silently, you pulled your laptop onto your bed, opened it up, and pressed play on a movie, one you'd seen more than once, and you'd forced Spencer to watch before as well.

In a comfortable, friendly silence, you finished your food. You stretched out in a yawn once and then curled into his side, letting his mumbling voice, repeating the movie lines as they were spoken, lull you softly into sleep.

Spencer knew he had to leave, but he couldn't bring himself to wake you. The movie had finished hours ago, he'd closed the laptop and turned off the bug lights, but he couldn't leave.

Unlike you, he hadn't counted the days that you'd been apart. He hadn't needed to. He knew you'd be waiting there for him when he returned, knew you'd give him a smile and a pat on the back, and immediately start bouncing ideas off of him. It was what he loved about you.

As he laid next to you in your bed, a place he'd absolutely been before, his heart thumped. Just once, but hard.

Even in sleep, you looked exhausted. Your shirt was crumpled, hair a mess, you were still wearing makeup, and he knew he'd probably get an earful for letting you sleep like that in the morning. You were a mess, and he still wanted you.

The thought came to him suddenly, another painful thump of his chest echoing in his mind. He rubbed absent mindedly at his chest as if experiencing heartburn. In the dim light of the room, he let his head drop to the pillow and wrapped two shaky arms around you and pulled you in closer.

The two of you were a picture - both in suits, both with badges still somewhere on your person, both dearly clinging to the person they feared losing the most.

When you woke the next morning, it was actually the afternoon.

“Spencer,” you groaned, melting under the heat of his embrace. Somehow, during the night, he'd rolled on top of you, pressing you into the bed with a delightful pressure, head nuzzled into your neck, arms tucked around your waist.

“Spencer, we should get up,” you said again, forcing your eyelids apart as your mascara tried to glue them together.

“Mmmmhh,” he groaned, moving to pick himself up off you for a minute but lowering himself again. If asked, he'd blame your hand in his hair, stroking the rogue curls gently, as if he were a prized pet and you their carer.

“Spencer, its 2pm.”

“On a Saturday.” You laughed at how pouty his voice sounded, but he complied and rolled off of you slightly, arms still wrapped around you.

“Come on. Get up. I've got some clothes that might fit you, let's get you out of the tweed.”

He huffed but nodded and lifted himself halfway to upright, eyes still closed lazily as he let in the light millimetre by millimetre.

“God, my face feels horrible,” you said, itching at your nose. “How did we even sleep so long like this? My belt is still on, Spencer, my belt.”

“If you were still wearing a weapon, then I'd be worried,” he smiled.

You shot him a sarcastic look and finally detangled yourself, only to clasp his hands and pull him forward as well, letting him trail you to your closet.

“Here, change in the bathroom,” he nodded and walked away, following directions with eyes still closed, as if it were really his apartment and not your own.

100 days without him, and it was as if it had only been 100 hours. Your entire body chemistry changed when he was around, the stick holding your spine rigidly in place, dissolving into calm, into a smile and a free giggle. It felt right again, and you almost forgot you'd ever felt wrong.

After briefly changing, you swapped place with Spencer, who'd exited the bathroom with a toothbrush hanging out of his mouth and wet hair.

“Dry it for me?” He asked, sitting on your couch, and you nodded your ascent. A shower and a quick change later, and you were doing just that.

As much as he tried to keep his head upright, it kept lolling onto your thigh, yawns stretching out of him as he nuzzled closer to you.

“Spencer, you're like a big kid, keep your head up.”

“I'm not a kid,” he laughed, hooking his arms behind your knees and nuzzling closer into your soft sweats. “I'm just tired.”

“You're right. A child would probably be better behaved.”

“Our child would be,” he sighed, but you'd already turned the hairdryer back on, drowning out everything. Everything but that thump again. A child, he was thinking about children, and more importantly, he was thinking about your children. With him.

He'd always imagined himself with a family, knowing it would ultimately stay in his imagination. But for a second, his visions changed. It wasn't just a child or two. It was you. Thump.

Thump. Thump. Thump. Thump.

He only released the image when you finally pushed his head off of you and stood, turning away from him to get a glass of water from your kitchen.

“So, any plans today? Books to read, papers to mark, undergrads to run away screaming from?” You let the ice water cool your hot cheeks, but kept your back to him. You were hot, embarrassed, and you were looking at him in a sickeningly sweet way that could only be described as love struck or struck dumb.

“No, no, I finished all my obligations at the college yesterday,” he said, following behind you and picking up your cup when you set it down, taking a sip himself.

“I was… I was actually hoping we could spend some time together? Unless you had plans, which is totally fine-”

“No, Spencer, yeah, I have no plans, that's…. Well I have to do laundry, which is a bit boring but, no. No plans.”

“Laundry?”

“Two week case in Florida, I don't know how you didn't smell me yesterday, Spencer. I'd be running for the hills.”

He laughed and stepped away again, grabbing the two go bags by the door and coming back into your space.

“How about we get this done now so we can spend the day in a Who-Trek marathon?”

“Make that a Who-Greys Anatomy Marathon, and you have yourself a deal.”

He pouted again, and you snorted at the sight, taking another sip of water to calm yourself before you could react safely to that face.

“Come on, you know you've been dying to know what happens next at the Grey Sloane Memorial Hospital.”

“I thought it was called the Seattle Grace Mercy?”

“Oh we better get to that laundry now. You have a lot to catch up on.”

Grabbing a bag in one hand and his free hand in your other, you made your way down to your building's laundry room. But despite the man by your side and the relaxing day threatening to stretch ahead of you, a gloom caught you in the corridors.

You'd worked for two weeks, practically solid. You'd killed a man two days ago, or at least someone on your team had multiple shots having been fired. Another day on your job, another unsub felled, and everyone else was content with this just being a part of the job description.

It felt like each step towards the laundry room, each thing you did that was normal, that was regular, threw back in your face the pain you endured to save lives.

The bag in your hand weighed you down, pulling you lower and lower by the second.

You reached the laundry room, and you found the weight almost unbearable, stopping just before you could step in. You didn't have to think about what came next though, because suddenly the bag was out of your hands and Spencer was sorting your laundry for you.

“It's a Saturday, so your neighbour's won't complain if we separate the darks and lights into two machines, will they?” He asked, not looking up at you as he worked pouring out the fabric softener and the detergent. “Y/N?”

You hadn't noticed the lightness in your body until the tears hit your cheeks, the weight gone with his support.

“Y/N, what is it? What's wrong?” He said, hands cupping your face, because of course he was immediately at your side.

“I-I can't do it, Spencer…” your voice shook, pitching upwards, your vision blurring with tears.

“Can't do what, Y/N? Talk to me please, let me help?”

“I can't do laundry!” You said, finally bursting into a full fit of tears and burying your head in his waiting chest.

“L-Laundry?” He said, trying not to laugh, but the smile slipping out anyway now you were holding him.

You only sobbed again, nodding into his shirt, aware you were probably leaving snot all over it but not being able to care. It was your shirt anyway. You would just have to add it back to your laundry pile.

The thought set you off on another wave of sobs, and Spencer set about comforting you again. Keeping an arm wrapped around you, he put his quarters into the machines and set them off before quickly ushering you back up the stairs into your apartment.

“Y/N? Y/N, please talk to me,” he begged, smoothing your hair out of your eyes as you tried to gather yourself.

“I don't…. I can't….” You took a breath again, aware of the way your breathing hitched in your chest as you did.

“I don't think I can do this anymore,” you said, and his eyes widened quickly.

“This? Y/N, if you mean this as in us, then I can't-”

“This job,” you clarified, hands digging into the soft flesh of his arms further as he held you, finally sitting back on your couch.

“The job. Okay, the job. That's okay. We all feel like this at some point.”

You sniffed again and refused to meet his eyes.

“But this isn't like the other times this - It's like my whole b-body is protesting, and I can't sleep, and if I don't, then I might get sloppy and an unsub could-”

“Y/N, focus on my voice. You're spiralling. Listen to my voice, let's take some breaths, and think about this for a second.”

He guided you through some breathing, a hand on your back tapping out beats even as his voice grew quiet.

When you finally relaxed, you were sat on top of him, his hand rubbing circles into your back.

“I think it started when you left,” you whispered. “When you went to Mexico, and then, you know,” you've voice thickened, and you couldn't get the words out.

“And then these last 100 days they've just been…difficult.”

“100…difficult,” he echoed, almost breathless as he listened to you.

“It's like I can't do it without you. I never had to try to do it without you, and now I get what people say when they say this job is shitty, because it is when your best friend isn't there.”

You gave him a weak smile and wiped away your tears, trying to climb from his lap. But his firm arms held you still, and you didn't really want out anyways.

“When I get home, everything is different, and I can't make myself do anything. If you weren't here, I wouldn't have done that laundry. I'd let it sit and avoid it for weeks. Do you understand?”

“Y/N, lots of people feel depressed sometimes-”

“It's not - Spencer, I don't think this is something I can medicate my way out of. I don't know what to do because I can't do my job without you, and I can't be happy doing my job, and if I leave my job I'll be without you and then-”

Your voice cracked again.

“And then I still won't be happy.” The words were barely a whisper, but they were a plea, too. You weren't sure what for.

“You can't be happy without me?” He asked, but it was more a statement than anything else. Spencer felt horrible in that moment as his chest rattled, gleeful that he was your happiness.

“I love you,” he said, outloud finally after eight years.

“I love you, too, Spencer, but-”

“No, Y/N. Listen to me. I. Love. You.” The thumping of his heart set the tempo for the choir that was his senses to begin singing, as he finally leaned forward and kissed you.

“I love you, and I don't care if you're working at the BAU or if you're avoiding laundry at home. I, god, you're amazing and wonderful, and you're a human being, and you've our yourself under so much pressure for the last decade to keep me alive, to keep all of us alive really and….”

He took another breath, leaning into kiss you one more time.

“And you deserve a break.”

“W-When we take breaks, people die.”

“Did anyone die when I was teaching for the last three months? When JJ went on maternity leave?”

You shook your head, but your brain was still a mess.

“You all had reasons, I-”

“You have reasons, too. Y/N…. Y/N, let me be your reason.”

For a moment or two, Spencer truly thought you were going to say no. He thought you would get up and walk away, or better yet, ask him to leave and never come back.

So when you pressed your lips to his, he was sure that this was a dream.

But to you, it was salvation. Spencer Reid's love was the lifeline you'd been thrown, and it was buoyant enough to make you start floating.

His hands kneaded the flesh at your hips as he pulled you closer still to him, his tongue slipping into your mouth to explore every part of you there.

“Y/N… love…you,” he mumbled with each spare breath he caught, and you only detangled your lips to hear him say it again as he pressed similarly heated kisses against every inch of your exposed skin.

When Spencer's mind lost its ability to create original speech, he leant back on a lifetime of information, of learning love through books and people and marathons with you.

“I know that all I know right now is that I love you. And I know that I always will,” he whispered, lifting you and carrying you back to the bed you'd only crawled from an hour hence.

A hand slid under your shirt, and slowly pushed it over your head, letting it slowly drop to the floor as he held you tenderly.

“To me, you are perfect.”

His mouth found one nipple, and he gently kissed, then suckled at it, hands softly caressing your stomach, feeling along every ridge of you as you writhed under him.

“Of all the FBI Units, in all the towns, in all the world, she walks into mine.”

“Spencer,” you said, voice still thick with tears, but these ones more tender, more joyful.

His hand eased your sweats over your ass and off, his hips settling between your legs as if he found the place he was made to lie forever.

“The truth of it is, I’ve loved you from the first second I met you.”

His mouth trailed lower until his tongue hit your clit, brushing against it languidly, as if it was his deepest desire to taste you and nothing else ever again.

His tongue flattened and flicked and pushed inside of you as you replayed his words again and again and again. You found yourself repeating them with him.

“I love you,” you echoed as he pushed a finger inside of you.

“I.. love you,” you gasped as he added another.

“I love you,” you screamed as your back arched up off the bed, finding your pleasure in his tongue, just ad you'd found love in his words.

“You have bewitched me body and soul, and I love….” He freed his cock from his pants, and took it in hand.

“I love…” With another kiss, he pressed the tip of it against you, asking for permission silently as you nodded your head.

“I love you.” He pushed in slowly, but it wouldn't matter how he did it because now you knew how he felt, and you didn't want to return to a time of not knowing.

Hooking your legs around him, Spencer dropped his forehead to yours and looked you directly in the eyes as he began moving. In and out, he thrust, mouth open in a moan of pleasure, likely mirroring your own.

The poetry, the movie lines, they were gone now, and Spencer was left with nothing but you, and love, and love for you.

“Spencer,” you moaned out, and he felt his chest swell. Pride. His name on your tongue, his body pressed to yours, claiming you as his ad you claimed him as yours.

He came with a shudder and you were not far behind, his undoing sending a shiver up your spine as his fingers grazed your clit again.

You sat panting for a minute, still attached, still forehead to forehead.

You weren't sure if it was him who giggled first or if it was you, but you were glad it was one of you.

You spent the rest of the night, the rest of the weekend, wrapped in his warmth, dressed in his love, taking each day a step at a time as you basked in his adoration.

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dreamwritesimagines · 1 month ago

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Sunshine [11] - Blast

AN: My loves, thank you so so much for your wonderful support and lovely comments and HCs! ❤️ You’re amazing! ❤️

I hope you like this as well, and please don’t forget to tell me what you think, thank you! 🥰

Pairing: Logan Howlett x Female!Reader

Summary: Every break up has an aftermath.

Word Count: 4244

CW: Explicit language, angst, adult themes MDNI

Series Masterlist

The month after your brutal breakup hadn’t been so easy.

When Theo was around, you made sure he didn’t notice anything. His happiness was the most important thing for you, it had been that way ever since he was born, so you weren’t going to ruin it. Every weekend, you pretended you were incredibly happy and that nothing was wrong at all, despite the heartbreak you were going through.

Your friends were the only people who knew just how sad you were, and they had formed a very united front to change that.

“We have found the one.”

You pulled your brows together as you filled Jamie’s cup while Nik gave you a proud smile and Julie sat up straighter, repressing a squeal.

“You two are dating, so you’ve already found ‘the one’” you used air quotes, making Nik roll his eyes.

“Not for us!”

“And Julie would’ve told me if she found the one.”

“I’d also be shouting it from the rooftops, but this isn’t about me.”

You threw your head back. “I’m not gonna go on a blind date.”

“Hear me out,” Jamie said, fishing his phone out of his pocket. “This guy has been approved in the group chat.”

“What group chat?”

“Our group chat.”

Your jaw dropped. “You guys have a group chat without me?”

“Yes because it’s being used purely to find you your Mr. Right.”

“And we know it’s been only a month since you and Logan broke up but fuck Logan,” Julie added. “I’ve been carrying a magnet in my purse ever since you told me about your break up, just in case I run into him.”

Nik turned to look at her better. “You’re joking.”

Julie grabbed her purse and took out a small horseshoe magnet, making your eyes widen.

“I don’t play about my threats,” she told Nik. “That motherfucker broke my best friend’s heart, so I’ll point this magnet at his—”

“Where did you even get a magnet like that?” you cut her off and she shrugged.

“I googled it.”

“I’ve only seen these in cartoons,” Nik mused, reaching out to get the magnet from Julie before Jamie cleared his throat.

“Our point is,” he said. “You’re better off without Logan, and I think you’d really like this guy.”

You heaved a sigh, resting your elbows on the counter.

“Guys I really appreciate all the effort,” you said and stole a look at Julie. “And the magnet but—seriously, you know how much I hate blind dates.”

“Well does it count as a blind date if we show you his picture?” Nik asked, getting the phone from Jamie before turning the screen so that you could see the picture.

Even you had to admit, he looked cute. It was as if Jamie had decided to find you someone the complete opposite of Logan; he seemed younger than him -around Jamie’s age if you weren’t mistaken-, he had dirty blonde hair, and just from the picture alone, you could tell he was the type of person who liked to smile, a lot. Judging by his white coat, he worked in the same hospital Jamie worked in, and you stole a look at him.

“Your coworker?”

“He works in ER,” Jamie said. “Saved a kid’s life the other day.”

“And I’ve met him,” Nik said. “He’s like a cute puppy but also a badass.”

“And he is very handsome, you like handsome,” Julie sang tauntingly and you ran a hand over your face.

��I really don’t think it’s a good idea.”

“Why not?”

“I’m not over Logan yet.”

“The best way to get over someone is good sex,” Julie pointed out. “We’re not telling you to move in with the guy. We’re just telling you to just…go on a date and see where things go.”

“And it could help,” Nik said softly. “You know, distracting yourself from your ex.”

You bit inside your cheek, then clicked your tongue.

“Ugh, fine,” you muttered, making them grin. “But if I don’t like him, I’ll leave and you guys will delete that group chat. Alright?”

“Deal.”

One of the things you hated about blind dates was that you always got incredibly nervous right before. The urge to text them and stay in instead would always get the best of you—now to think of it, the only person you didn’t get that urge with was Logan.

Well.

Logan was out of the picture, and you had to deal with that.

But if anything, at least Jamie knew this guy and was friends with him, so the odds of him being an ass was pretty low.

You pulled over in front of the restaurant before checking your phone to see whether it was in fact the right place, then slipped a little in the seat. This was by no means your first rodeo but…

You really wanted to just go home and get under covers and listen to Julie’s break up playlist.

“Worst case scenario, you’ll just have one drink and go back home,” you muttered to yourself. “Come on soldier.”

You checked your makeup in the rear mirror, then got out of the car and locked it before you smoothed out your dress and made your way to the restaurant. The hostess greeted you and after you gave her your name, you followed her into the restaurant.

Oh, he was already there.

If Logan wasn’t at the back of your mind, you were sure that you would’ve been excited. He really was a good looking guy, the smile that appeared on his face upon seeing you looked very genuine, and the fact that he jumped on his feet to greet you was a great sign.

However—

Okay no, you were not going to think about Logan tonight, not at all.

“Hi!” he said and you smiled back.

“Hi,” you said and you extended your hand but he went for a hug before he paused and made a move to shake your hand but this time you were the one who went for a hug, so you gave him a curt hug before pulling back.

“Jesus—sorry, that was awkward,” he said and you tried to control your giggle at the look of slight regret on his face.

“No worries,” you assured him and he gave you a tentative smile.

“I’m Hayes.”

You introduced yourself as well before the waiter pulled your chair for you and you thanked him, then sat down. Hayes followed you suit, then motioned at his wine glass and the appetizers.

“I hope you don’t mind.”

“No no, not at all,” you said and looked up at the waiter who put the menu in front of you. “Can I get the same as well? Thank you.”

Waiter nodded and walked away from your table, and you turned to Hayes.

“Uh, hi again.”

“Hey,” he said with a chuckle. “So uh…blind but not so blind date?”

“Sounds about right,” you said. “I mean I saw your picture.”

“So have I.”

“Jamie showed it to you?”

“Technically no.”

You blinked a couple of times. “How’s that?”

“Jamie has a picture of you and your whole friend group on his desk,” he admitted as the waiter brought your wine and you thanked him. “I saw your pic there and I asked about you in a way that was very subtle in my opinion but Jamie disagrees.”

You raised your brows, smiling slightly. “You’re not serious.”

“It was kind of like Jamie was an app and I was fervently trying to swipe.”

A small laugh escaped from your lips and you covered your mouth. “Oh my God…”

“Am I giving off serial killer vibes?” he asked to no one in particular. “Because I swear I save people for a living, that’s not—it’s just that you are very pretty and I’m very rusty when it comes to all this.”

You lowered your hands to give him a bright smile.

“You’re very sweet,” you said. “I didn’t think you were rusty.”

“No?” he asked and let out a breath. “Thank God.”

“It’s been a while?” you asked him after a moment of hesitation and he hummed.

“Listen, rusty or not I know talking about previous relationships is a red flag.”

“I don’t mind,” you said. “Let me guess, you had a long relationship and…?”

“And walked in on her and my best friend.”

“Ouch.”

“Former best friend.”

“Still ouch,” you said with a grimace. “I’m sorry.”

“It’s okay, I mean—I changed cities but it has to be for a good cause. At least that’s what I’m choosing to believe.”

“Sounds like a good plan.”

“How about you? I find it hard to believe you go on blind dates if I’m honest.”

“Oh I’ve gone on blind dates,” you assured him. “And uh—my friends have made it their life mission to matchmake me, they apparently have a group chat where they approve people.”

Hayes pulled his brows together. “Holy shit, I’ve been approved in the group chat?”

“Yes you have,” you said. “Congratulations.”

“I feel very validated,” he mused, making you giggle. “No seriously, knowing Jamie, this is the same as passing a very difficult exam with a jury.”

“Yeah he’s very protective, especially after—” you stopped yourself and Hayes shot you a lighthearted look.

“Hey, I talked about my ex.”

“Well, I got dumped,” you said with a shrug of your shoulders. “And Jamie never approved of him, so now he’s like extra careful.”

Hayes hummed and lifted his wine glass slightly.

“Well, on behalf of all men in this city, we’re all very glad that your ex is an idiot.”

You scoffed a laugh and lifted your glass as well.

“Yeah well,” you trailed off, trying your hardest to not let your thoughts drift to Logan. “So you’re an E.R. doctor?”

“I am,” he said. “And you?”

“Oh I…I’m just a waitress,” you said with a shrug of your shoulders, that feeling of inadequacy hitting you out of nowhere once again. “Nothing too exciting.”

“Do you like where you work?”

“Yeah, I’m friends with everyone there except my boss,” you said. “It’s pretty nice. And you? I heard you saved a kid’s life the other day.”

A bright smile appeared on his face. “Yeah, that’s why I like working in the E.R. I can actually make a difference in just seconds, you know? It makes me feel alive, like I’m doing something right with my life.”

You nodded your head. “I can imagine. Sounds wonderful, really.”

He sipped his wine.

“So tell me more about you,” he said. “Jamie says you have a son?”

“Yeah!” you said, your eyes lighting up at the mention of Theo. “Yeah I do. Theo. He’s the cutest kid in the world, and I’m very objective about it.”

That made him laugh. “At first I thought Jamie was a father, with all the drawings in his office…”

“Oh he still keeps those?”

“With all due respect, it’s like a shrine in his office.”

“You should see his and Nik’s fridge, they have like one picture there and the rest is Theo’s artwork.”

“Really?”

“He had his artist phase, now he’s—” you started but were cut off when your phone started buzzing. You gave him an apologetic look.

“Excuse me,” you said as you grabbed it out of your purse, but as soon as you saw the name flashing on the screen, your heart dropped.

Logan.

A part of you -the petulant part of you- wanted to reject the call but you took a deep breath, then licked your lips and then answered.

“Hello?”

There was a second of hesitation on the other line before he cleared his throat.

“Theo is fine,” he said. “But he needs you here.”

Your head shot up. “What? What happened?”

“There was a small accident—”

“What accident?” you asked, your heart leaping to your throat as fear crashed down on you. “What—is he—”

“Like I said, he’s completely fine, I promise,” he said, his deep voice soothing your fear as always. “He had a nightmare, his powers took over and he blew up the wall in his room accidentally but he’s fine and so is everyone else. He locked himself in the basement though, and refuses to come out.”

You could feel your throat tightening but you took a shaky breath, then nodded as if he could see you.

“I’m on my way,” you said and hung up before turning to Hayes.

“I’m so sorry,” you said, pushing your phone into your purse. “Theo is…he’s in a boarding school in the city but he—he had a nightmare and he locked himself in the basement.”

“Oh I’m sorry,” Hayes said, frowning. “Is he okay?”

“Yeah,” you said despite the anxiety churning your stomach, then stood up. “But I need to go, he must be terrified.”

“Of course,” Hayes stood up with you. “Would you like me to drive you there?”

“No no, I can drive,” you said. “I really appreciate it though, thank you.”

“Oh it’s nothing, really,” he said. “I hope he’s feels better.”

“Sorry, again.”

“You have nothing to apologize for,” he said. “Is it okay if I get your number from Jamie?”

“Sure!” you said. “I’ll—I’ll see you around I guess?”

“Have a nice night,” he said and you gave him a curt smile, then made your way out of the restaurant, your heart beating in your ears.

If it were any other time, you would’ve been nervous to see Logan after a month, for the first time after your break up but you were so worried about Theo that it didn’t even cross your mind that Logan would be the one to greet you.

Which, of course he was the one to greet you by the door. He probably took your scent the moment you drove through the gates.

He looked almost frozen the moment you stepped out of your car but he recovered very fast.

“Hey—”

“Where is he?” you asked without so much as glance in his direction as you walked past him into the mansion and Logan easily caught up with you.

“In the basement,” he said. “Follow me.”

When you two got to the basement, Storm and Jean were already there.

“Hey, he’s totally fine,” Jean assured you the moment she saw you and Storm nodded her head.

“We could’ve opened the door but we didn’t want to scare him any more than he already is,” she assured you. “He only said he wants you, and now he’s not talking to us.”

“But he’s not hurt in any way,” Logan added. “I don’t smell any blood or pain, and Jean already checked his mind.”

You raised your brows, then took a deep breath.

“Thanks,” you said and smiled at Storm and Jean. “Really, thank you so much. I can take it from here.”

“You sure?”

“Yeah,” you said and swallowed thickly. “It’s not the first time this happens.”

Storm and Jean exchanged glances before Storm turned to you.

“I’ll just go and check the other students then.”

“And I’ll fill Charles in,” Jean said, squeezing your arm in a reassuring manner before they both walked away and you ran a hand over your face, then walked to the door of the basement and knocked softly.

“Bean?”

The only answer you got was a sniffle, breaking your heart to smithereens. You could feel your own eyes burning but you frowned, forcing yourself to focus.

“Bean, are you there?”

“…Yes,” his small voice reached you and you took a deep breath.

“You think you can open the door?”

“I had a bad dream.”

“I know,” you said, nodding fervently. “Everyone has bad dreams, it’s completely normal. And what do we do when we have bad dreams?”

“We have hot chocolate because that makes them go away.”

“Exactly,” you said. “So can you open the door please?”

“People will be angry at me.”

“What? No!” you said. “No one will be angry at you, I promise.”

“Mommy, it was an accident,” he said, a hiccup escaping him and you rested your forehead against the door, squeezing your eyes before swallowing the lump in your throat.

“I know,” you said. “And so does everyone. No one is angry at you—Logan, is anyone angry at Theo?”

Logan came closer to the door so that Theo could hear him better.

“Not at all,” he said. “If anything I’m a little jealous. Blasting walls is so badass, I’d love to be able to do that.”

“You hear that, bean?”

“Really?” Theo’s hopeful voice reached you and Logan smiled slightly.

“Sure bub. And hey, turns out we’ll have to decide on your superhero costume sooner than you think.”

“There you go,” you said. “Superhero costume sounds fun—”

A meow cut you off, making you tilt your head.

��Bean, is there a cat in there with you?”

“…No.”

Another meow reached you and you raised your brows.

“Theo.”

“I found him here and we’re friends now.”

“Okay,” you muttered more to yourself. “Theo—”

“His name is Sir Bartholomeow,” Theo added as if it was imperative that you knew that information and you heaved a sigh.

“Very creative bean, but can you please open the door? So that we can drink hot cocoa and I can meet your friend?”

There was a momentary hesitation and another sniffle before you heard the lock turning and you took a step back so that you could see him better. Theo was still in his pajamas, his glasses slightly crooked over his face as if he had put them on in a hurry, his wide teary eyes looking up at you. In his arms, he was holding probably the grumpiest looking cat you had ever seen in your entire life so tight that it was a wonder why the cat wasn’t trying to escape. A breath of relief left you and you crouched down to get to his level.

“Hi bean,” you said gently. “How about we give your friend to Logan so that they can be friends and I can make sure you’re okay?”

Logan stepped closer. “Yeah bub, I can take the cat—”

“Sir Bartholomeow,” you and Theo said at the same time and Logan cleared his throat.

“Yeah, him.”

Theo sniffled again before tentatively handing Sir Bartholomeow to Logan, and you checked whether he was hurt anywhere before pulling him into a bone crushing hug. Theo was still shaking like a leaf and he mumbled ‘mommy’ before burying his face to your chest while you stood up with him in your arms.

“I’m here,” you said softly, still holding him tight. “I’m here, it’s fine. I swear everything is gonna be fine.”

Theo never liked being away from you and that turned into a whole different level whenever he had a nightmare. You would be lying if you said you weren’t relieved to have him in your sight so after he drank his hot chocolate, you had carried him to bed and stayed with him until he fell asleep, humming the lullaby he used to love when he was a baby.

There it was again.

Times like these, you always remembered just how utterly alone and clueless you were in this whole thing.

You could feel the tears pricking your eyes as you looked down at him, then leaned in to kiss his head and pulled the covers over him, and walked out of the room as quiet as a mouse.

The mansion was mostly quiet, and even though you could still hear the voices coming from the kitchen, you desperately needed to be alone in case you burst into tears, so you walked through the hallway to step outside, the cold wind hitting your face. Heaving a sigh, you made your way to the stairs to sit down, and wiped at your eyes furiously before wrapping your arms around your knees, fixing your gaze on the stars glimmering in the sky.

You heard the front door open before the familiar footsteps came closer and you felt him drop his jacket over your shoulders before he sat down as well.

“Hi Logan,” you rasped out, sniffling and he offered you a hesitant smile.

“Hey,” he said, putting the bottle of whiskey between you two before he made a face. “Shit, I forgot to bring glasses.”

You scoffed a laugh. “We’ve done worse things than drinking from the same bottle.”

“Right,” he said after a beat and you grabbed the bottle to take a swig, grimacing at the burn before putting it down again.

“How’s your arm?” he asked and you took a shaky breath, then shrugged your shoulders.

“Healed,” you said and turned to look at him better. “I don’t even think about it anymore.”

He was too smart to miss the double meaning of your remark and his lips twitched for a moment.

“I’d bet,” he muttered. “Fun date then?”

You pulled your brows together in confusion and he nodded at you.

“I haven’t seen you in that dress before and you smell like someone else.”

You smelt like—

Oh. Hayes had hugged you.

“I don’t have the capacity to get into that bullshit right now,” you stated and Logan swallowed thickly, then nodded again.

“Right,” he said. “Of course.”

For a minute, the only thing you could hear were the crickets and the sound of the faint wind in the air before Logan take a deep breath.

“He’s fine, princess.”

You bit at your nail, blinking back the tears before you shook your head.

“No he’s not,” you said. “You and I both know that he’s not fine. Not really.”

“He’s too powerful,” Logan said. “Accidents like these will happen, you can’t really avoid them. What matters is that he hasn’t hurt himself or anyone else.”

You took another sip of the whiskey.

“Having you here helped a lot too,” he said. “He calms down when he sees you, that’ll be good for him.”

You clicked your tongue.

“Yeah, for now,” you muttered and Logan frowned.

“For now?”

“Yeah,” you said. “Until he grows up and hates me for everything I’m doing wrong as we speak.”

“That’s not true.”

“No no it is, I’m fucking up big time,” you said with a dry laugh. “Jesus, my mom said I had no idea what I was doing and I was too busy arguing with her that I didn’t even see it but it’s true. I have no clue.”

“That doesn’t mean you’re doing something wrong.”

“I’ve been doing everything wrong,” you told him, blinking back the tears. “He’s too little to see it now, but sooner or later he’ll see that everything that happened to him is my fault, even the fact that his powers showed up—”

You had to stop talking when your voice cracked and you tried to swallow the lump in your throat, sniffling again. He reached out for a second as if he wanted to wipe at the tears falling down your cheeks but then paused, pulling his hand back, his jaw clenching like he was in pain. You wiped at your eyes furiously, letting out a shaky breath.

“I’m terrible at this,” you said, nodding to yourself while Logan kept his burning gaze on you.

“I promise you, you’re not,” he said. “Theo adores you, and I think you’re the best parent I’ve ever seen in my life which in case it has escaped your notice, that’s a lot of years.”

You raised your brows, wiping at your nose before you cleared your throat and took off the jacket to place it into his lap, then stood up with Logan following you suit.

“I can drive you home,” he said and you threw your shoulders back, trying to pull yourself together.

“I had like three sips of whiskey, I can drive.”

“I can still drive you, it’s been a long night.”

“I’m fine.”

“No I want to,” he insisted and you tilted your head, giving him a questioning look. His eyes met yours before he took a deep breath.

“I just…” he trailed off. “I want to—I want to make myself useful.”

You frowned, staring at him. “Why?”

“No reason,” he said. “Don’t get me wrong, I don’t ask for anything, just…like I said. I want to make myself useful. I need to make myself useful.”

Your stomach did a flip as a painful smile curled your lips.

Oh.

This. You were familiar with this.

You had been through the same. You were in fact going through the same right now, frantically looking for something to ease the pain. Your solution was to follow your friends’ advice and try to date around, ignoring the way it just felt wrong when you were still in love with him, and Logan—

Logan was dealing with it in such a Logan way that it was almost ironic how you didn’t see it coming.

“It’s not going to help,” you said, your voice a mere whisper and he gulped, his jaw clenching.

“It could,” he managed to say through his teeth and you sniffled, shaking your head.

“It won’t,” you rasped out. “I’m sorry, it won’t.”

The agony that flashed over his handsome features twisted at your heart but you managed to smile at him.

“Good night Logan,” you murmured and walked away from him, painfully aware of his eyes following you.

12- Wildfire

#logan howlett #logan howlett x reader #deadpool #deadpool and wolverine #deadpool 3 #wolverine #wolverine x reader #logan wolverine #logan x reader #logan howlett x you #wolverine x you #james howlett #logan howlett imagine #logan x you #james logan howlett #logan xmen #wolverine logan

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linkspooky · 6 months ago

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JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

#mha meta #mha spoilers #mha 426 #mha 426 spoilers #shoto todoroki #dabi #toya todoroki #enji todoroki #under the red hood #jason todd #bruce wayne #batman #mha critical #todoroki family

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lemurchick · 2 months ago

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Another 'wonderful news' from Russia for your consideration! This week, the BRICS forum on traditional values took place in Moscow. And it was fucking insane.

In short, the opening meeting was BRICS countries representatives verbally jerking off on how well they oppress or plan to oppress their people especially women. The only person who bothered to contradict this narrative was Egyptian female writer Doha Mustafa Assy.

I will translate some quotes from the russian article. https://www.kommersant.ru/doc/7311174

Russia: "At some point the roles for women have begun to change towards independence and self-sufficiency. We, of course, love and respect our women very much, but we want them to pay more attention to their families, men and children. We do not want them to strive for business, politics, economics, power, or culture. <...> The main traditional value is the preservation of natural purpose, where a woman continues the family line and a man inspires her to give birth to children."

Pakistan: "Any traditional religion upholds and promotes social values and traditions. No father would want to harm his family. No mother would want to break up or disintegrate her family. This <rejection of family values> is deliberately imposed on us and promoted by some power circles”

Ethiopia: "In our country it is traditionally women who do the cooking, teaching children and other family duties. So the man's role is not as big as the woman's, and this tradition gives the man the freedom to behave like a child." (?????)

Uganda: [This country experience is “extremely important to the discussion of legislative protection of religious values,” emphasized russian politician Dmitry Kuznetsov, referring to the fact that in Uganda same-sex relations are prohibited, and in some cases violators face life imprisonment or even the death penalty.] “We did this to make sure that the country would be preserved. I would encourage countries to behave in such a way that the culture that exists in each country is not imposed on others.” btw Brazil and South Africa representatives didn't say a word here even though their countries legalized same-sex mafrriage years ago.

Brazil: "Marriage in no longer a goal for our citizens and the country has the highest divorce rate in history. Meanwhile, children are most often left with their mothers, with fathers unwilling to take part in their upbringing. As a result, many Brazilian boys are growing up without a father figure and 9% of male inmates in prisons don't even know their father's name. Shifting the balance in favor of women leads to the fact that the position of feminism is growing, and the number of people who identify as LGBT people is growing.” At the end of his speech, he marveled, “This is my first time in Russia, and I didn't know you guys were so conservative. I'm so happy, it's so impressive!” He also admitted that “the people of Brazil know nothing about Russia,” and Dmitry Kuznetsov promised: “We will come to you and tell you all about our saving conservatism.”

Egypt: As I mentioned in the beginning the only person who actively argued against this trend was Doha Mustafa Assy. She said: "We on the contrary has a struggle against patriarchy. Tradition and religion are not on women's side, they help men. A lot of women in Egypt ask for divorce only because they feel like slaves at home. He (the husband) has the right not to let her leave the house according to tradition. BRICS is India, it's China, it's Russia, it's Egypt. We are very different. And maybe what you are trying to do in Russia has already became a problem for us”.

To be honest I don't know what will come out of this forum. Maybe it's just empty posturing, maybe BRICS countries just sent people who had free time on their hand here as a formality. But I despair reading these quotes; twenty years ago we sent a singing duet posing as lesbians to Eurovision; ten years ago I was watching lesbian drama Blue Is the Warmest Colour in a full theater. Soviet Union gave women some attempt in an equal rights in fucking 1917 and we were the first country to send a woman in space. What happened? How has it turned this way? We are now friends with some of the most patriarchal countries in the world and with fucking North Korea. They are planning to remove the Taliban's terrorist status.

What the hell.

#russia #radblr #feminism #россия #феминизм

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m1ssunderstanding · 1 month ago

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My thoughts on Beatles 64

Am I a terrible person or something because I’m genuinely having such a hard time wrapping my head around these people’s reactions to their president getting shot. Like I can count on one hand the people I’d give a fuck about in DC and I’m not crying if that happens. I’m angry. I’m scared. But I’m not sad.

Who is this covering all my loving? It’s pretty.

I will forever love Paul and George’s big and little brother dynamic. Deep, cloudy scouse: they’re in perfect synchronization. Bright, squeaky scouse: Are they? Like, where is George’s little chimney sweep costume?!

And Paul’s sharp tone calling John’s name. I don’t know, I could obsess over any little scrap of footage of them. I just love picking apart details that reveal dynamics.

George’s insecure, curious, “Are you filming now?” Compared to his over-it, sardonic, “Are you recording our conversation?” He aged about twenty years between 64 and 69.

John’s reaction to his own voice in his ears is always a straight shot of joy.

I like that they’re showing all the boys. You know, because if only girls like them, then they’re just a silly pop group, but if boys like them too, well. That’s something else, isn’t it?

One of my favorite moments. No wonder Paul took so well to shepherding. His blood pressure spiking if John gets out of arm's reach. And John is of course so happy to be pulled back in.

Their hair really was so fluffy!

John spreads his legs when he’s playing because he’s an anxious attachment. Paul keeps his legs closed because he’s avoidant. In this essay I will.

This mix of She Loves You is really highlighting Ringo’s drumming for me. He’s so talented and attractive.

This is why Paul’s my favorite, genuinely. Because he goes from the most polite, people-pleasing, tender-heart to an absolute mean girl cunty bitch in the span of less than a second.

Ringo is the quickest wit, I’m telling you, and if anyone says otherwise, I’m cancelling you for classism.

Why is it always Paul these middle aged creeps feel the need to touch? I mean, I know why. But it makes me sick. That kind of thing is reserved for the mutuals. Definitely not cops.

It’s literally sooooo funny for me seeing this guy choke up about She Loves You. Like I’m genuinely happy for him, but I was literally just over at my husband’s grandparents double-wide and they Still go on about how stupid the Beatles haircuts were and how they remember the days before the Beatles when there was ‘real’ rock and roll on the radio.

So, Paul’s been telling the story of Jim critiquing She Loves You for literally sixty years now, and originally it was with mix-ins from John and George and without a lot of artificial sweeteners. Here’s the sixty-year-old version:

Back home in Liverpool, we used to sing over some of our songs to relatives—I did to my Dad and my aunties,” he recalled. “My Dad would look at me looking disappointed. ‘I don’t know young Paul,’ he’d say. ‘I try to get you to speak properly, and you drop your aitches. Why sing ‘Yeah, Yeah’ when you mean ‘Yes, Yes?’ I tried to explain this was the whole point of the song,” Paul continued. John broke in: “Anyone ever heard someone from Liverpool singing ‘Yes’? It’s YEAH.” Paul continued: “Well, we just laughed. My Dad gave us some of the worst advice ever. He said this music thing will never last. It’s all right on the side, he’d say, BUT PAUL IT WILL NEVER LAST!” “Remember,” said George, “he always wanted us to sing ‘Stairway to Paradise’?” – Ray Coleman article 1964

What a cutie. Shouldn't be allowed.

“That wasn’t really the case.” (that America was the land of the free). He always almost gets to his political views. You know? Microdosing? Left-bating? Maybe both. Whatever.

I LOVE their funny little accents with all my heart. John does posh scarily well.

Ringoooooooo!

“Go on! Defy convention!” Quotes that define the speaker. He should sell t-shirts with that slogan.

This girl’s Brooklyn accent and her confidence are so beautiful!

Why did they buy John an ID I’m actually dying! Oh! They don’t mean, they mean like Paul’s and Ringo’s bracelets. Got it. Okay. I was like ‘are you trying to help him ten years in advance with his immigration struggle?’

The juilliard girl is phenomenal.

I want the nylons and I want the shoes.

“Would you do me a tremendous favor?” “I’m not gonna kiss you like Elisabeth Taylor.” See? Ringo is the funny one. Ringo is so fucking sharp and nobody gives him the credit he’s due.

Ronnie Spector you deserved better, Queen! I love her. She’s so gorgeous, she’s so cool, she’s so young and energetic!

Two excellent Lennonisms right in a row. “Have you been watching the newsies?” and “I don’t care,” I say as I care caringly. I’ve said it before and I’ll say it again, he has the most sunshiny smile in the Beatles.

Ringoooooo!

Not the picture of JohnandPaul singing together as “with lovers and friends” plays.

Love Paul offering Ringo a candy. In yet another accent. People need to make them talk in goofy accents more in fic because it’s incessant. But I just love them offering each other food. It’ll always get me.

See, this is what I love about John. “People have been tryna stamp out rock and roll since it started.” “Why do you think that is? What are they afraid of?” “I always thought it was cause it came from black music.” He’s not ‘honest to a fault’ or whatever the boomer men love to say. But he’s very, very blunt, and he’s not going to try and skirt anything. You know?

Literally the most embarrassing thing a person can ever be is white.

“I thought it was very weak. You know what I think, I call a spade a spade. I thought it was weaker than weak.” Cook him! And then the mimicking! I love him so much! Holy shit, that would’ve been so enraging.

And then the quiet sass of the guy being interviewed right after. “Well, the versatility, the originality. I like anything that’s original.” I love some clever tumblr web-weaving in my documentaries.

In my husband’s grandparent’s defense, the “real rock and roll” they loved before the Beatles was literally only black artists.

I love this picture for ever. Look at how tight he’s holding on to John with one hand and the other hand raised in joyous triumph, engagement bracelet visible. This is Paul in heaven.

“The whole assumption of male vs female is not prominent. They’re sort of in-between.” Yes. Love. Keep going.

Ringo’s got all the quips, again. “Ringo, look over here!” Puts his hands up. “Don’t shoot!”

I didn’t know Smokey Robinson and the Miracles went to the Cavern, that’s cool! And here I was thinking I wouldn’t learn anything new from this doc. His whole interview is very lovely and generous.

I always think “You’ve Really Got a Hold on Me” probably spoke to John in terms of his relationship with Paul, but I go there so easily. Anyway, Smokey Robinson had every right to be pissed that they released a cover of his song without even asking. Like that would be illegal nowadays, right? And yet he’s so kind about it.

We talk about how scary Beatlemania was and we should because it was, but it really puts it in perspective for me personally hearing Smokey say he was shot at for trying to use the bathroom.

Oh I love that we have footage of Paul taking Ringo’s picture! Makes me think of “eye of the storm” obviously, but also the way he’s mocking the photographer's jargon of the time as he’s doing it. The fact that he ended up marrying a photographer who made a point to depict him as not just “some doe eyed sex object” in her pictures, and also of his song “pretty boys” and his quotes about the sexualization of “male models”. Definitely not about anything he himself experienced. Anyway, thoughts. Strings. Pins. Etc.

Also Ringo turning to the camera still filming him, “what do you think I am, a monkey?” Remember that part in this footage where Ringo says something like, “are we ever going to have a break from all these cameras?” And he’s exhausted. It really seems like, from the footage selected by this doc at least, that Paul and Ringo were doing the bulk of the lifting at this time just with cooperating with the show biz stuff. And isn’t that (interesting? Sad? Poetic? Good?) that they’re the ones still cooperating sixty years later.

How dare they cut out “but we ain’t written no poetry!”

As John’s panicking, “how are we gonna – have you seen the kids? How are we gonna get in, then?” Paul’s just calmly going, “Hi girls!” With a patient smile and a cute little wave. “I’ll just go in and speak to the people first, okay?” I love Paul “calming-down-other-people’s-hysteria-is-my-calling-in-life” McCartney.

Cute, George introducing a song he’ll do a viral backflip to in twenty years.

I wonder what that letter is. John’s being very tender with it.

“You’re fired!” “It’s Love Me Do, whacker!” With the sweetest most innocent smile. I love when John is John, you know?

“To me they’re all obviously low or middle class, highly illiterate, unintelligent wild kids seeking a little fun and pleasure . . . I think there’s something very strange about it at the same time, something very sick. . . . I’m sure that sexual reasons have something to do with it. They find the Beatles sexually attractive and they’ve made some kind of psychological tie with them. I think the whole thing’s a little bit frightening and quite sick.” Where’s that old meme with Trump describing the democrats in the most hateful terms he can think of and people being like “yep that’s me”?

Paul stopping to say goodbye by name to each of the people who've been in their hotel room one by one. It’s giving *Opra voice* “and you please don’t hate us and you please dont hate us and you please don’t hate us”

Ringo coming back because he went the wrong way is the most me-core thing.

Paul will come in with the random shouts and yelling in the middle of a song he’s singing lead on all the way from the very beginning and all the way to the very very end, huh.

I just get filled with so much rage at this image of the Bernstein family, especially after the footage of the Gonzalezes. Like, I know I need therapy. I know. But it costs money. Anyway, all rich people can go straight to hell. “I was allowed to wheel the TV set down from the library, down the corridor and into the dining room.” Oh, were you! Well, you must be very special, then.

I wonder if Paul’s title of his exhibition has anything to do with this quote from John about “It was like being in the eye of a hurricane.”

The girl hanging on Ringo like a jungle-gym is me. I love the way he flirts, it’s so smooth, physical, casual.

Classic John moment and he doesn’t even open his mouth.

My dearest wish is that these two are happily married now, holding hands in the theater watching this.

The voice of the woman asking Paul “what do you think of the American TV” sounded extremely like Linda’s. I sort of panicked for a second. Linda’s voice is lower, but the accent and cadence and the sort of wealthy slouch is the same.

I love them picking up on the dystopian beginnings of America’s version of late-stage capitalism and broadcasting the ridiculousness of it all to a public that didn’t know any different. “The situation in China is very bad. Have you ever wondered, when you’re eating at home?”

The guys setting up wearing Beatles wigs? Ew. Why?

Ringo’s so funny! “Watch any band. If anything goes wrong, they go – Blame the drummer.” And he’s so endearing and sweet. “I just always wanted to be IN the band, not like ‘oh, I’m over here.’” Reminds me of his quote about being lonely as an only child and ending up with three brothers. What a tenderheart.

Huh. Always thought some idiots just set up his rostrum backwards. The rest of the stage spinning around it makes much more sense.

That little smile between the two of them.

George in tears! Poor baby! I really do think, with the way this affected him on another level than it affected the others, and with the way he talked about his experiences at the Inny compared to Paul (not that you can trust Paul to say anything actually gets to him) that George maybe was more sensitive to classism than the others.

I hope Paul said something to that affect to George after. “They’re working at an embassy. We’re on the road, rocking. I don’t give a flying fuck.” You know? I could see it.

Another thing I love about John. You need that guy on your team, whatever it is you’re trying to accomplish. That when people are being bitchy, you tell them to fuck off and you leave. I bet Paul, George, and Ringo were so relieved that John did that for them.

After Ringo talked about not wanting to be back behind and separate from the band, I’ve noticed all three of them stepping back sometimes to stand more in line with him when they’re not singing. I don’t know if it was conscious or natural, but either way, I love that they did that and I’m sure Ringo did too.

The looks and smiles

I usually maintain that Paul is only sexy from 60-61 and from 68-98 and from 18-now. But. This is just objectively hot, I don’t care who you are.

It’s so sweet to see George being such a ham, getting John to do silly bits with him, putting on a waiter’s uniform and passing out drinks, climbing up in the luggage compartment. I wish they could’ve somehow kept it at a pace that was manageable for him so he could’ve kept on being so happy with his life, you know? I mean it’s not like it just disappears completely. There’s some of it in Get Back and even in Anthology, but it’s just not the same.

This is what happens when you’re a slut, Paul. You get paternity suits that ruin your mood. Shame, shame.

Interesting that Paul points out Brian’s “defying convention” by having them play their scandalous rock and roll shows in all these “hallowed halls”. I’d never thought about it as Brian’s conscious decision but obviously it must’ve been, and that’s very clever and snarky of him.

“That man, who is strong enough to be gentle, that is a new man.” Betty Friedan is pro-beatle. We love to see it!

Watching Paul try to behave like a human being on stage with all of his early twenties energy is honestly painful. It’s like Kurt Vonnegut’s Harrison Bergeron, you know? Like I can just see him aching to let himself free, but there are weights put in place for a reason. I know Brian was right to calm them down, and this documentary is proof that if he hadn’t done his taming, either they never would’ve made it or there would’ve been all-out class warfare or something, but it breaks my heart, it really does.

Ronald Isley, again, just like Smokey Robinson, being so so charitable here, and managing to do so without playing down the fact that things were absolutely rigged against him and his group at the time. “We should be on the Ed Sullivan show doing . . .” Yes. Yes.

I looked it up, and this quote is genuine. “If it wasn’t for the isley brothers, we would still be in Liverpool.” – Paul McCartney. That’s one thing I love about him. He’s always giving – very much due – credit to his black contemporaries. People ask him about Elvis and he always says, “yes, and Little Richard.” People say he was the most innovative bass player of his time and he says, “yes, and Fred Thomas.”

Ringo literally gets me every time. George: I don’t remember Wales. Ringo: It was before you joined the group.

The way Paul talks about George living “the good life” is very much in the tone of an older brother who’s helped his little brother do well for himself, you know? It’s adorable.

Of course Paul’s out feeding seagulls.

Not even going to comment on the “i love you” thing. Nope.

Okay I do have to say, the end of this guy’s story about going to liverpool and getting deported is incredibly sweet. I was kind of ignoring him, and then when he said he met John during Imagine, I sort of braced myself. But it turned out absolutely adorable. I love John’s little antenna miming and that he promoted this guy just for having made the front page of the Liverpool Echo. It’s all very John, very endearing.

I hope Paul and this weepy old guy had a talk about healing yourself from abuse through music. There’s like a 1/100 chance, but I still hope they did.

John loves a good boat analogy, doesn’t he? “There was a ship going to discover the new world. And the beatles were in the crows nest on the same ship [as everyone else] and we just said ‘land ho!’

Love the use of “Roll Over Beethoven” as the final song.

#paul mccartney #the beatles #john lennon #mclennon #george harrison #ringo starr #brian epstein #beatles 64

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magical-reid · 22 days ago

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Written in the Margins

Pairing: Spencer Reid x Reader

Perspective: Third person limited (from Spencer’s perspective)

Timeline: Early Season 7

Word Count: 1.2 K

Summary: Spencer Reid teams up with you, a sharp and insightful local researcher, to help the BAU solve a series of murders staged like literary tragedies in Glenhaven, New York. As the investigation progresses, an undeniable connection forms between you two, leading to a blossoming relationship that continues even after the case is closed.

The town of Glenhaven was a small, tight-knit community nestled in the hills of upstate New York, where Victorian homes lined the streets like forgotten characters in a half-finished novel. The BAU had been called in after three murders, each victim a young woman in her twenties, staged like they’d stepped out of a literary tragedy. Notes were left behind at each scene—typewritten passages pulled from classic novels, arranged with the unsub’s unnerving precision.

When Spencer Reid entered the precinct, he wasn’t expecting much from the local resources—just the usual flurry of files, hastily snapped crime scene photos, and an overwhelmed detective in desperate need of federal help. He certainly wasn’t expecting you.

You were leaning over a table, a thick stack of notes in front of you, scribbling furiously with an ink-stained hand. Dressed casually but confidently, you looked thoroughly out of place in the harsh fluorescent light of the precinct. The lead detective, Harper, stood over you, looking exasperated.

“Miss Y/L/N, I’ve told you before. You’re not part of this investigation,” Harper said, his tone clipped.

“Then maybe you should stop using my research,” you shot back, flipping through your notes before shoving a page toward him. “See this? This isn’t just a random Steinbeck quote. It’s a clue. A trail. Your unsub isn’t quoting these lines because they’re creepy; he’s building something.”

Detective Harper sighed and rubbed the back of his neck, just as Spencer approached.

“Building what?” Spencer asked. His voice was calm, curious.

You turned toward him, your brow furrowing slightly as you assessed him, clearly wondering if he’d take you seriously. Spencer didn’t miss the faint trace of ink on your jaw, like you’d been chewing on your pen while deep in thought.

“A narrative,” you said, holding his gaze. “He’s telling a story—one murder at a time.”

Spencer hadn’t meant to let you stick around. Truly. But as the hours ticked by, it became clear that you weren’t just some amateur with a theory. Your insights were sharp, your connections logical, and you noticed things even the BAU team hadn’t picked up on.

“We’ve been approaching this like he’s pulling quotes at random,” you said later that day, pacing as you spoke. “But look here. These aren’t just literary excerpts—they’re thematic. Each one is about doors. Opening them, closing them, walking through them.”

You turned to Spencer, eyes alight with determination. “If he’s fixated on this metaphor, maybe the locations of the murders are symbolic, too. The first was near a locked gate. The second, an abandoned church. The third…”

“A condemned theater,” Spencer finished, his mind racing alongside yours. “He’s choosing places where doors—physical or metaphorical—are significant.”

The way you grinned at him in that moment was almost enough to make him forget about the case entirely.

“You’re not so bad for an academic,” you teased, crossing your arms.

Spencer felt his cheeks warm, but he refused to look away. “And you’re not so bad for a…civilian,” he countered, a small smile tugging at the corner of his mouth.

The tension between you and Spencer only grew as the investigation continued. Every time your fingers brushed while passing notes, every time your eyes lingered a little too long on his, the air between you seemed to hum with unspoken possibilities.

It didn’t help that the team noticed.

“So,” Morgan said one morning, leaning against the precinct’s kitchenette counter while Spencer poured himself a cup of coffee. “You and the writer seem to be getting along.”

“We’re collaborating,” Spencer said quickly, though the flush on his neck betrayed him.

“Uh-huh,” Morgan said, smirking. “And what exactly were you collaborating on last night when I walked in and saw you both leaning over the same file, about an inch away from each other’s faces?”

Spencer didn’t dignify that with a response.

It was late on the second night of the case when the two of you ended up alone in the precinct’s conference room. The rest of the team had gone to get some sleep, but Spencer, as always, was restless, and you seemed equally unwilling to leave the work unfinished.

“You’re staring,” you said softly, not looking up from the sheet of notes in front of you.

“I’m not,” Spencer replied, too quickly.

You raised an eyebrow, finally meeting his gaze. “Yes, you are.”

Spencer hesitated, his mouth opening and closing as he scrambled for a reply. “I was…thinking.”

“About?”

The truth was, he had been thinking—about the way you chewed your lip when you were concentrating, the way your laugh was soft but genuine, the way your mind worked with such creativity that it left him breathless. But he couldn’t say any of that.

“About the case,” he lied.

You tilted your head, unconvinced. “Sure you were.”

The silence stretched between you, charged and electric, until you finally spoke again, your voice quieter this time.

“You’re not like I expected.”

Spencer blinked, caught off guard. “What do you mean?”

“I don’t know,” you said with a shrug, leaning back in your chair. “You’re this genius profiler, right? I thought you’d be…I don’t know. Intimidating. Detached. But you’re—”

“Awkward?” Spencer supplied, the corner of his mouth quirking upward.

“I was going to say kind,” you corrected, your tone soft.

For a moment, Spencer didn’t know what to say. The look in your eyes—warm, curious, and slightly vulnerable—made his heart trip over itself.

“Thank you,” he said finally, his voice barely above a whisper.

When the case finally broke, it was your insight that led them to the unsub’s lair—an abandoned library on the edge of town.

Spencer had insisted you stay behind when they moved in to apprehend him, but even after the unsub was in custody, Spencer’s thoughts kept drifting back to you. When he returned to the precinct to find you pacing the room, your hands clenched tightly around your notebook, the relief on your face when you saw him nearly knocked the air from his lungs.

“You’re okay,” you said, rushing toward him.

“I’m okay,” he assured you, his voice gentle.

Before he could stop himself, Spencer reached out, his fingers brushing against your arm—a fleeting touch, but one that sent a shiver down his spine.

“Thank you,” he said quietly. “We wouldn’t have solved this without you.”

You smiled, but there was a flicker of something deeper in your eyes—something unspoken but unmistakable. “You’re welcome.”

Epilogue

Weeks later, Spencer was still thinking about you. He’d memorized the note you left for him, tucked inside a copy of your newest manuscript:

For Dr. Spencer Reid—proof that the best stories are written together.

He hadn’t planned to reach out, but when his phone buzzed with a text from you one evening, his heart skipped a beat.

So…dinner?

His reply was immediate.

Absolutely.

#spencer reid x reader #spencer reid #criminal minds #criminal minds x reader #doctor spencer reid #spencer reid criminal minds #spencer reid x yn #spencer reid x you #spencer reid fanfiction #spencer reid x self insert #spencer reid fic #magical-Reid

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carvinglies · 2 months ago

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Soulmate au part two: Creepypasta

part 1 || part 3 || part 4 Requests are open!

tw: mentions of flesh eating in EJ’s part

Sharing tattoo’s: Jason the toymaker

Jason didn’t think he would ever have a soulmate but desperately wanted someone to be with him and play for eternity. In that desperation, he stole many soulmates from their other half which went on for a while until Jason was tinkering with his newest doll adding on his “special” additions, when he felt a stinging sensation on his upper thigh. Pulling up his pant leg, he stared at the new ink on his leg confused before it hit him– he had a soulmate! A playmate for eternity was destined to meet him, that overjoyed Jason. He dropped his project to go find this soulmate of his, the blue door in his workshop beckoning him as he stepped inside to search. Days long searching ensued before Jason found himself standing in front of his destiny bound soulmate.

“Would you play with me forever?” The burgundy haired male asked the person as they stared wide eyed.

First words to soulmate written on their body:Bloodypainter

Helen never had time to worry about soulmates when he was younger but when he found his passion for painting the idea of being bound to another inspired him to no end. Ever since he was a kid Helen had the words, “Do you have a bandaid? I just scraped my knee falling for you.” Written on him, anyone he showed would laugh at it but Helen just found it confusing who says that to someone they just met? Well that’s what he thought before knocking over someone in the street when he went to go buy art supplies.

Before he could get out a sorry the person grinned bashadly loudly speaking, “Do you have a bandaid? I just scraped my knee falling for you.”

Words that describe their soulmate are written on them:Jeff the killer

Jeff honestly never gave two shits who his soulmate was thinking they just had some weird words scribbled on them due to their method of connection. He had no reason to go out looking for his soulmate. Thinking and I quote, “if destiny really wanted us to be soulmates they would meet me themselves.” So that’s exactly what destiny did. Jeff was forced to go out for snacks by BEN grumbling through his mask he felt a tap on his shoulder.

Turning around he glared at who disturbed him. “Sorry to disturb you but you kinda look like my writing,” they looked around before continuing, “I was wondering if you were, y’know, who I think you are?”

Gravitational pull towards their soulmate:Laughing Jack

It pissed Laughing Jack off when it began the constant feeling of being pulled in a direction even if it’s easy to resist gets annoying. He can’t even escape it inside his box! Jumping around from house to house especially is harder if you no longer can stay long from the pull forcing you away. Laughing Jack was relieved when the pull wasn’t as harsh anymore when he was at the nearest carnival looking to terrorize kids, well that was the case before the pull suddenly ramped it up and flung laughing Jack colliding with someone else who seemed to have been thrown too.

The person held their head as they awkwardly waved blabbering out the first sentence that came to mind, “So hey soulmate? I guess?”

Ink marks that move towards your soulmate:Eyeless Jack

It was hard looking for your soulmate while being swamped with work from medical school, and even harder after being sacrificed and turned into an unwilling flesh eating demon. While past Jack would have loved to meet his soulmate the one that’s here now feared the possibility of eating them accidentally the ideas of the what if’s flooding into his head as he stared at the smoke like tattoo’s decorating his arms. Sometimes when Jack was a child he would play this game where he would walk forward watching as the tattoos reached out towards the direction his soulmate was curling around his arms before receding when he stepped back. Eyeless Jack while a recluse craved normality so he finally exited his cabin towards the nearest store. While checking out his items, ones he didn’t really need but anything to feel normal he supposed, the cashier's hand touched his tattoos burned as the burning sensation spread all the way to his hand. Jack assumed the cashier felt it too watching they gawked.

Regaining their composure they began to tease him, “what took you so long?”

Seeing the world in black and white till you meet your soulmate :Ticci toby

Toby was always curious about how colors looked, what if he was wearing a horrendously color matched outfit and couldn’t tell because he couldn't see it? What if his favorite knitted sweater from when he was little was a piss colored yellow? So many questions have gone unanswered it still annoys him that he can’t see colors what if yellow was a whole different color then what he thought it was, well Cupid decided today he would find out as leaves crunched under his foot as Toby walked the woods coming across someone sitting on the cliff looking out at the city below them, when he stepped on a particular damp twig they whipped their head around locking eyes with Toby. Colors flooded both of their senses overwhelmingly so, Toby swore he could smell them too at the beginning.

Overwhelmed with shock his soulmate jumped up running towards him stopping halfway before beginning their sentence feverishly, “Nice to meet you!” They extended their hand for a handshake, Toby cautiously stepped forward before recorpirating

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formulauno98 · 10 months ago

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Could you do Toto Wolff with wife reader? She always wrote those little notes on post-its and leaving them at his office whenever she was there, so that he will get a little endorphin boost when stress/working. I don't know if it make sense. Add something you'd like though. Thanks :))

Thank you for your message, I love this prompt, it got me inspired to write again! So without further ado, here is Post-Its, a short and fluffy fic, just for you.

Post-Its

Word Count: 800

Warnings: Pure, unadulterated fluff

Author’s Notes: Disclaimer, purely fiction.

“Remember not to throw your headphones today.”

Toto smiled at the looped handwriting on the pink Post-it note he’d found hidden between his iPad and the keyboard. His angry outbursts were at this point somewhat expected but after a particularly tough season, he’d struggled to keep a lid on it and had been smashing his headphones virtually every race weekend. After a frank conversation with the Mercedes-Benz board, he knew he had to reign it in.

That’s where you had come in, leaving Post-it notes to remind him throughout the race weekend not to make a complete fool of himself. In a nice way, of course. Your husband was a passionate man and you knew that he only acted this way from a place of caring too much. Not the biggest fault in the world.

As Toto settled down for the morning to reply to a few emails before quali got underway, he grinned, carefully putting the Post-it in his cardholder, trying to keep the sentiment in mind for later and tomorrow’s race. He’d barely started typing his first reply when there was a knock at the door.

“Come in.” His deep voice boomed, hoping that whoever it was was not going to take up too much of his time. Spare time was precious during race weekends and he was seldom left alone as Team Principal.

Luckily it was just his assistant coming in with coffee and a small box.

“Good morning boss,” she said, setting his coffee and the box down in front of him.

“Morning,” he said wearily, curious what was in the box, “Thank you but what is this?”

She smiled, “You’ve had a special delivery.”

Toto sat upright, he didn’t normally get deliveries to the motorhome, “From who?”

His assistant grinned more, “A special lady. I’ll leave you to open it but let me know if you need anything.”

As she made her way out of the room, Toto picked up the box in his large hands, wondering what it could be. You had already slipped a Post-it note into his iPad case, so knowing you it was probably a gag gift set of indestructible headphones.

Carefully undoing it, he was pleasantly surprised to instead find a small stack of Post-its, concertinaed together. Inspecting the first one, there was the familiar looped handwriting.

“Good luck and don’t fuck it up.”

He smiled, rifling through a few more motivational quotes, a lewd drawing (of course you couldn’t resist) and one final message, scrawled in classic toddler handwriting.

“I love you, Daddy.”

Toto melted at the delivery and knew that whatever happened this weekend he had you and your young son to come home to. Carefully gathering the Post-its up, he added them to his cardholder alongside the one he’d found earlier.

—

A few hours later, Toto was in the garage and things were not going well. The engineering team had gotten the set-up completely wrong and George was knocked out in Q1, Lewis barely scraping through into Q2. He tried to remember the positive messages from the morning and willed himself to keep his temper in check, his nostrils flaring dangerously as he looked around the garage.

Breathing deeply, he put his hand in the pocket of his Mercedes raincoat, knowing that he couldn’t throw anything from there. Strangely, he didn’t remember having anything in his pockets as he’d just had his uniform dry-cleaned so when he found a folded-up piece of paper, he pulled it out, curious.

It was of course another Post-it.

“Darth Toto returns duh duh duh. Don’t go to the dark side.”

He smiled, you were truly ridiculous, always calling him Darth Toto when he wore his long hooded raincoat. No one else ever dared to.

From his right shoulder came the curious voice of his reserve driver, Mick, “What’s that?” he asked, eyeing the Post-it curiously.

“Oh, just a silly thing from my wife.” Toto said, still slightly grinning, “She writes me these messages on Post-it notes sometimes.”

Mick looked surprised but didn’t question further and Toto felt much better about the situation.

—

It was race day and Toto was in a horrible mood. He had woken up early to pack as he had to leave immediately after the race and was throwing his shoes into his suitcase angrily and haphazardly, knowing that it was virtually pointless as he’d need to repack in a few days anyway.

As he gathered up his toiletries, a small yellow square fell out of his leather toiletry bag, floating to the floor. Bending down to pick it up, he laughed, reading the message.

“Hey handsome, you look good today.”

Once again he shook his head in disbelief, you were unlike anyone he’d ever met. His bad mood evaporated and he carefully put the Post-it note in his cardholder with the others he had collected over the weekend, knowing that whatever happened today he would keep his temper in check, knowing he was going to see you later that evening when he returned home.

#toto wolff x reader #toto wolff x you #toto wolff fanfic

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parvuls · 1 year ago

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A Comprehensive List Of Jack's Canon Chirps

"Bittle, HEADS UP!" [Bitty passes out] "…Or get into fetal position at central ice. That's also an option."

"You've never seen the sun rise from a rink, eh? Thought you were a figure skating champion."

Bitty: "A fist bump! I didn't know you did those." Jack: "Ha - you gotta work for them."

"The sad thing is, I can tell he's lying not because of the library part? But because he'd never leave a pie unattended."

"Oh and Bittle, before I forget. This summer? Eat more protein."

"When you get Youtube famous don't go out and chirp me all over the internet, eh? 'Night."

"How many of those tweets do you start with oh my god y'all?"

"It's way too easy to make you laugh. Make sure you tweet that." [looks over Bitty's shoulder to make sure he tweets that]

[texts Bitty a smiley face] [follows up with:] "Sorry that was a typo."

"You only tweeted twice while we were working, Bittle. That's a record."

[Bitty gets knocked over] "I guess you're looking for extra checking practice, eh, Bittle?"

"We should get going and let Bittle here text about his walk to class."

Bitty: "E-excuse you, but my kitchen is no place for checking!" Jack: "…Your kitchen?" Bitty: "Well, the kitchen! Now move your big -- uhm." Jack: "My big…?"

[At Thanksgiving] "All that turkey's gonna make you slow for tomorrow, Chowder."

[To a kid wearing a Brad Marchand jersey while asking for Jack's autograph] "You know this isn't me, right?"

"17." [At Bitty's confusion:] "That's the number of pies you baked in September. In case you were wondering where your time went."

"I'm sure you'd be done [with your history essay] too if you had tweeted it. Is that an option?"

[looks at Bitty's tweets] "I said where'd you get that camera not is that the camera you use. Come on, Bittle."

[finds Bitty's surprise cookies] "I'm surprised your cookies got through costumes Bittle."

"I told my mom about all your tweeting? She says you're not following her. I'm more surprised than offended, Bittle."

"Shitty, don't you think I should get a tweet transcript or something since he quotes me so much? For legal purposes."

"Hey, Bittle. That Daily reporter didn't rope you into an interview after that jump?"

[after meeting Farmer] "She was nice, eh? Cute. …I bet you're texting about our lunch now."

[Nursey accidentally hits a kid in the face with his hockey bag] "Nice check, Nurse."

[in the middle of the night] "I figured you'd be up baking a pie or three."

[Bitty gets shoe-checked] "Hey, it's no shoes, no shirt, no service, Bittle."

"Whose shoulders are you going to sit on at Spring C, Bittle?"

[Shitty tears up while kissing the ice] "Crying a bit there, eh?"

[SMH buy Bitty a new oven] Bitty: "I need to bake something right this second!" Jack: "Stop crying first."

"If we move the kitchen table out, you can bring your bed in."

[About graduating] "The biggest change is probably my diet. Less pie."

"And hey, it's a bit different than you and Lardo, eh? Since everyone knew you were in love with her since sophomore year."

[during Falcs Faceoff] Teammate: "Heard you've never lost one a these, I'm scared." Jack: "Yeah, you should be."

[Gets chirped for dating Bitty] "This is a Samwell hockey record. Chirps lasting longer than the ones re: Holster & Esther S." Holster: "…Jack." Jack: ":)"

Nursey: "Yo, Bitty do you remember any French?" Jack: "No." Bitty: "I can speak for myself, Mr. Zimmermann." Jack: "Well. Not in French."

[To Marty & Thirdy] "Hauling your kids around on a sled just about wore you guys out, eh?"

[To Tater] "Potato champ needs more sleep, eh?"

"Bitty? Hey, bud, come on, say something -" [Bitty passes out] "Or you can pass out at center ice. I'm getting deja vu."

#omgcp #omgcheckplease #jack zimmermann #zimbits #I meant to do a VERY SERIOUS reread of the comic but then I couldn't help myself #what do you MEAN this isn't my best post ever #text

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heliads · 2 years ago

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Hellloooo!!! I don’t wanna add to your workload so if this just piles on, please delete it! 😅😊 I just had an idea for a newt x reader fic where they’re in an established relationship in the Glade and during a bonfire one night the boys all ask newt questions about what it’s like to date reader and how it feels and newt just answers with the upmost sweetness. Reader overhears and fluff ensues!!!!

fluff ensues has got to be one of my favorite plot descriptions. like yeah it absolutely will do that (and no worries, nothing will stop the workload from being! newt just helps make it better <3)

masterlist

Newt is aware that he is a little bit luckier than most. This is a sentiment that he never thought he’d be caught dead believing. Not in the Glade. Not in the Maze. Not anywhere in this surreal mess of a place. Yet it’s on repeat in his head on a day to day basis nonetheless, ticking off the hours like an alarm clock consisting solely of his blessings.

Newt didn’t think he’d have that much to brag about. No memories means no history he can mention to his equally luckless friends. Still, he’s got one important victory in his life that no one else can even dream of, and that’s the fact that he’s dating Y/N. Yeah, that certainly sets him apart in the world of good things given to kids who can’t quite convince themselves they deserve them.

Some would say that Newt is being a little dramatic. He would argue that his response is perfectly within reason. One girl has been sent up in all the months that anyone’s been in the Glade, one girl and one girl alone, and she just happened to choose him. Around here, that’s grounds for being nominated for sainthood.

Newt isn’t going to act like he’s not just over the moon every time he thinks about the whole situation. Against all odds, Y/N fell in love with him. That’s so unreal that Newt has to pinch himself every hour on the hour just to make sure it isn’t a dream. He never tries too hard, though. Just in case.

He didn’t have many thoughts on love before she came up. There wasn’t really time now, was there? It was just him and the scores of other stragglers making do in their bloody terrible world. You don’t spend much time lingering over potential sweethearts when the closest thing to a Romeo is Gally yelling at everyone in the Glade except his friends.

Not great dating material, to say the least. Even when Y/N came up that one month, though, he still hadn’t fallen for her from the start. He liked her, obviously, she was nice and didn’t test his patience, but he was perfectly content to keep her as a friend, just that. Great expectations have a way of letting you down. Newt’s learned that if you keep your eyes on the ground, stop looking up at the sun and stars, you’ll be able to deal with it a little easier when all your brightest aspirations go away.

He’d done that before and he planned on doing it again. Even as time passed and he realized that his heart had a funny way of speeding up whenever she was nearby, when it occurred to him that his daily routines always had a way of working in chances to see her, Newt forced himself to ignore everything. Maybe he liked the way the morning sunlight always played on Y/N’s face, maybe he could have spent hours wondering over the way her eyes sparkle when she laughs. It was nothing that he could ever commit to treasuring above anything else.

It took several rounds of self-talk and about a dozen different interventions staged by his friends for Newt to get up the courage to tell Y/N how he felt. Hell, it took at least half of those interventions for him to even admit how he felt to himself. Newt had been internalizing for so long that bringing some of those emotions to the forefront of his attention was damned near impossible. Minho, Alby, and a few others, however, were so sick of seeing him ‘mope around like a lovesick fool,’ to quote them specifically, that they were dedicated to the task of getting him in order.

It worked, too. Newt had run through what could have been a hundred speech variations in his head, all mentioning her character or her sense of humor or any one of the millions of things he liked about her best. In the end, he didn’t choose a single one. The second Newt pulled Y/N away from a crowd of their friends for ‘something he needed to say in private,’ every single whirlwind of thoughts storming through his head came to an abrupt stop. He totally blanked out.

Newt wouldn’t even know that he managed to force any words out at all were it not for the fact that the effects of that interaction are quite obvious. Somehow, Y/N ended up returning his affections, and they’ve been doing pretty well ever since. Newt doesn’t like counting his eggs before they hatch and all that, but he’d go so far as to say that he doesn’t see it ever breaking down for quite some time, if ever. They’re alright. They’re great, and they’re happy, and in a place like this, you take that and run with it for as long as you can. Maybe it’ll ruin itself someday, but Newt plans on pushing that off to the distant future for forever and a day.

In the meantime, Newt gets to think about how lucky he is. Despite the fact that Y/N’s apparently been crushing on him for just as long as he started liking her, and despite the fact that Frypan proclaims on a daily basis that he’s never seen two shanks more alike, Newt still feels like all of this is just one great coincidence. Maybe it was never supposed to happen, but it did, and he’s going to love that and her for as long as he can.

She’s waiting for him now, he thinks. Work is over for the day, and there’s a Bonfire Night happening this evening too, courtesy of the shivering Greenie fresh out of the Box who still can’t seem to keep his shock from showing. The fool to whom this celebration is owed looks like he’s going to keel over, what from the way he keeps half doing a backbend from continually craning his neck up to stare at the Walls, but the rest of them can get drunk and fuck around and generally have a good time.

Greenies never appreciate their Bonfire Nights enough anyway. It’s up to the rest of the Gladers to show them what it’s like to have fun. Who knows the next time they’ll be able to stop stressing over the ruins of their lives anyway? Newt’s heard half a dozen Gladers proclaim that they only live bonfire to bonfire anyway. They might as well prove it tonight.

Newt meets Y/N on the outskirts of the bonfire just as the dark starts to fall. Dusk kicks up its heels, keeping watch over the revels and hiding the sun, which can never bear to see whatever mistakes they’re going to make next. Y/N holds out a hand to him, one Newt gladly accepts.

“I can’t believe it’s been six months now since I first showed up,” she grins, gesturing towards the Box with her free hand, “Feels like just yesterday.”

Newt snorts. “Time flies when you’re having fun, huh? Trust me, the Greenie Days get faster and faster. I swear I just finished touring the last kid, and now we’ve got another one to keep pestering us with questions.”

Y/N shakes her head, considering this. “Nah, I think this one will be better. He’s too scared to speak above a whisper. If you try, you can just ignore him.”

Newt chuckles. “I’m not supposed to be bullying the Greenies. Alby says I’m meant to set a good example.”

“I saw Alby telling Minho to trip the new kid to see if he’d finally make a sound if he bit the dirt,” Y/N comments, “I don’t think kindness is really in our books.”

Newt arches a brow. “I could see that happening. Did it work?”

“No,” Y/N says, disappointed, “Kid was so scared to move a muscle that he didn’t fall at all. Just kind of stopped walking like he’d hit a wall instead of Minho’s ankle.”

Newt tries to bite back a smile. He’s only half successful. “Shame. That would have been fun to see.”

Y/N laughs. “That’s what I said. Anyways, they’re all over there, near the fire. I think the next strategy is to give the kid some of Gally’s brew in the hopes that it’ll coax something out of him other than his dinner.”

Newt shudders. “Best of luck to him.”

“And to me,” Y/N replies, “I think I’m going to get a glass of my own. See you in a second.”

Newt waves a casual hand in goodbye, watching as his girlfriend weaves through the steadily forming crowds of Gladers in an attempt to track down a drink. He takes a seat near an overturned log, staring into the fire as it disappears into sparks. Six months since Y/N appeared in the Box, so it’s been indeed.

Newt can’t decide whether that feels like a long time or not nearly long enough. Y/N’s changed him in almost every way, that much is obvious. Sometimes, in meeting someone you know will impact you forever, you almost want them to have been around for much longer. Strangers aren’t meant to become your best friends, not until you’ve known them for years and you have scores of memories to share. You want to give them decades in your mind, centuries, as a sign that they’ve been so important to you. Mere months aren’t enough. Surely it should be more.

It isn’t, and maybe that’s for the best. Newt has no memories save for when he came up his own share of months ago. All his friends are new, all his enemies still more recent. Maybe the girl he loves has only been in his life for a short time, but his recorded life is short indeed. Everything is modern. That’s just how it is.

Newt becomes aware of eyes on him and realizes that he might not be the only one reminiscing about when Y/N came up in the maze. A few Gladers have come up by Newt’s side, steadily appearing out of the gloom and smoke to stare at him.

Newt glances at them questioningly, and a few moments later the bravest of them dares to voice their collective thoughts. “What’s it like dating Y/N?” The boy asks, “you know, since she’s the only girl?”

Newt smiles to himself. “It’s great,” he says.

This clearly isn’t the response the other boy wants. “Yeah,” he repeats, “but what’s it like? It’s not like the rest of us have our own girlfriends to compare it with.”

Newt bites back a laugh. “Well,” he begins, noticing out of the corner of his eyes that the other boys draw closer to him expectantly, “it’s like having a best friend, but even better. She’s someone I can talk to at any time, but I don’t have to worry about seeming uncool or weird around her. Y/N knows exactly who I am, the good and the bad, but she’s chosen to be with me anyway. It makes you feel like you can do anything.”

The boy nods, accepting this. “Are you ever worried that she’s going to get tired of you and leave you for someone else?”

“If you’re asking me if I’m worried about competition,” Newt says slowly, “I’d say, don’t think you even have a chance. She’s my girlfriend, you bloody shank, not some object you can steal away. Anyway, obviously I’d like it if she stayed with me a while longer, but I’m not scared, no. I know that we’re happy, and that’s enough.”

The boy’s face flushes scarlet when Newt calls him out, but he seems to have made his peace with it at the end. Newt’s half expecting more questions, but all of a sudden they scatter to the corners of the celebration. A few moments later, the cause of the disturbance becomes obvious: Y/N herself takes a seat next to him, glass in hand.

“It seems like you had a score of admirers,” she says, lips twitching up into a smile.

Newt groans. “More like your admirers, trust me. They wanted to ask about what it was like to date you. Not something I thought I’d be discussing with the Slicers-in-training, but why not?”

Y/N laughs. “Oh, I know. I have to say, though, it was very sweet. Being with me makes you feel like you can do anything?”

Newt feels his entire face heat up, and he briefly ponders launching himself into the fire to escape it. “I didn’t realize you were eavesdropping. That’s rude, you know.”

Y/N just grins. “I do apologize. It was very sweet, though. I appreciated it.”

Newt rolls his eyes, but he can’t keep a smile off of his face for long. “Does that mean you won’t leave me for some random boy who showed up a few months ago?”

“I’ll consider it,” she assures him, “like you said, though, I wouldn’t worry much. I happen to like being with you quite a bit as well.”

Newt reaches over, wrapping an arm around her shoulders to pull her close. Y/N leans her head on his shoulder, and they stay there for quite some time, watching the embers of the fire curl into ribbons of smoke up in the darkest reaches of the sky. The bonfire dances, their friends shout and clap and laugh all around them, and through it, they keep going. All is well.

tmr tag list: @rogueanschel, @ellobruv, @retvenkos, @neewtmas, @thatfangirl42, @hiya-its-amber, @gods-fools-heroes, @hope92100, @23victoria, @w1shes43, @ilovexavierthrope, @fadedver

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