#And I know I say this about... pretty much all my favorite characters but I MEAN IT this time | Explore Tumblr posts and blogs

averagewriter-inthedark · 3 days ago

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Ur Johnny alphabet… I ate it up. Pls tell me you’re planning on dropping the other half or even a nsfw alphabet??? Your characterization was so good!!!

SFW (O-Z) Alphabet -- Johnny Storm 🔥| Marvel Headcanon

Note to anon📨: So glad you enjoyed my A-N for Johnny! I have not done O-Z in a long time so I hope this is up to par 💌 Also I've never done a NSFW one but I'm highly considering doing it for Johnny and other maverl characters 👀 Hope you like this!! ❤️

Link to my Marvel masterlist 💌 A-N for Johnny here

O = Open (When would they start revealing things about themselves? Do they say everything all at once or wait a while to reveal things slowly?)

Considering Johnny is in the spotlight thanks to his superhero status, he might be a little reserved when you first start seeing each other. And beneath his dorky, charming nature, he's quite shy when it comes to expressing his feelings to someone he really liked. With you, you make it easy for him to be open and reveal things he otherwise would keep to himself that even Johnny was surprised at first. He didn't open his can of worms immediately, as he didn't want to spew his guts and have it backfire, but little by little with each date Jonny revealed himself to you. And each time, you fell more and more in love with him.

P = Patience (How easily angered are they?)

With the Godly levels of heat in his veins, you'd think Johnny would be a short fuse--and maybe he was when he was younger. But as he got older he learned the importance of being patient and not letting anger get to him. Snapping over something that is an easy fix would not be helpful in the long run. Of course being in a stress-induced career field--like saving the world--there are times where Johnny's patience wears thin. He hides it well which he prides himself on whenever someone else decides to let their fuse blow.

In your relationship, Johnny never leads with anger when a situation arises. He cares about you so much and would hate to unintentionally hurt you because he let his emotions get to him. When something bothers one of you, you communicate and talk it out. He's really the most patient man you've been with.

Q = Quizzes (How much would they remember about you? Do they remember every little detail you mention in passing, or do they kind of forget everything?)

Please, this man is a walking encyclopedia. He knows you better than you know you. Reed may have the IQ of a genius with a photographic memory, but Johnny does not forget a single thing you tell him. He remembers the embarrassing stories from your high school days. Who was the first celebrity posted on your walls. What movie you can watch over and over again and never tire. The song that reminds you of a late summer day when the sun sets over the horizon.

"Johnny where did you get this?" "That old antique shop off the corner of 57th street. The one we went to last month." "You remembered that? We were only there for maybe ten minutes." "Well I remember you picking this up with that look you always have when you want something. I had to make sure you had it."

R = Remember (What is their favorite moment in your relationship?)

Oh gosh he can't pick one. There's too many--the day you met, your first date, your first kiss. When he said he loved you for the first time--he can go on and on. But if he had to choose a single moment in your relationship that is his favorite it had to be the night of the Baxter Gala. You were 10 minutes late, dressed to the nines, in a satin gown that had his mouth drooling and head spin. You two got a little tipsy, danced until your feet hurt, gossiped about the pretentious executives in attendance from the bar and laughed under the stars when you snuck away to the terrace to get away from the fancy ordeal.

"Baby, have I mentioned how mesmerizing you look tonight?" "Once or twice, but it doesn't hurt to hear it again, pretty boy." "Call me that again, and we're going to have to leave this party early."

S = Security (How protective are they? How would they protect you? How would they like to be protected?)

This man is a superhero, it is in his nature to be protective. Even if there is no present threat Johnny is on high alert. In public gatherings he's always got a close eye on you and sometimes will have a protective hand on your waist when conversing with people. He's also not one to keep his mouth shut if someone were to insult you. Johnny's pulling out all the witty comebacks to mentally and emotionally fuck up the person who dared hurt you. And you're not afraid to throw hands either. There have been times where Johnny is the one having to hold you back from breaking a douchebag's nose for threatening your man. (He finds it super hot).

Now say you happen to be in the crossfire when an adversary of the Fantastic Four makes an appearance. Johnny is exhausting all his energy into getting you the fuck out of there. Practically losing his mind while trying to also remain calm as to not freak you out further. "Okay, you're gonna hold onto me and you're not gonna let go. Okay?" "Okay--wait-wait-wait! Are you going to light up?! Johnny--is it even safe!" "We're about to find out. Just don't let go--close your eyes if you need." "Oh my God."

T = Try (How much effort would they put into dates, anniversaries, gifts, everyday tasks?)

Johnny does not do anything half-assed. He's pulling out all the stops to give you the best dates, the best anniversaries, the best gifts. He's making even the simplest tasks special. Like putting the right amount of sugar and cream in your tea/coffee. Or helping you take out the rollers in your hair so you can focus on finishing your makeup. Anything, no matter how little, Johnny is putting 110 and even more percent.

U = Ugly (What would be some bad habits of theirs?)

He bites his nail when he's anxious. It's been a bad habit of his since he was a kid and he does his best to stop but sometimes the nerves get so bad he doesn't realize he's doing it. When it gets to that you'll gently take his hand in yours and keep it in your lap, letting your own fingers draw patterns on his palm. He'll also forget to turn off the lights when he's in a hurry to leave in the morning and you have to drag yourself out of bed to do it yourself.

V = Vanity (How concerned are they with their looks?)

He tries to hide it but you've caught him checking himself out in the mirror. Smoothing out his hair, adjusting his clothes. He knows he looks good and who can blame him really. When you do catch Johnny doing it you'll tease him with a light pat to his ass while saying, "Who are you trying to impress, blondie?" to which he'll catch you by the waist and unleash an attack of kisses along your neck, biting your earlobe while whispering, "the love of my life, that's who." Then of course when you two are headed to events and he stops one last time in the mirror you can't help but yell, "You're hot!! Now let's go before we never make it this thing."

W = Whole (Would they feel incomplete without you?)

Johnny would be a mess without you. He can survive a couple days when he's on a mission or you're having to leave the city for work, but he'll be miserable. He's counting down the hours until you're together again and he's so pouty that Sue, Reed, or Ben is having to be like, "You'll see them soon, Johnny. Now we need you to focus because otherwise we're going to have more problems than what we want."

X = Xtra (A random headcanon for them.)

Not many people know this, but Johnny loves to dance. Whether it's in the comfort of your home, at a gala/benefit, or at a jazz club, Johnny loves to hold you in his arms and sway you to the beat of the music. He'll put on a record, pull you from the couch and you'll spend hours exchanging soft kisses while letting your bodies move together in a gentle rhythm. And when the vibes are a more upbeat, Johnny knows how to get down with the Twist and Jive.

Y = Yuck (What are some things they wouldn’t like, either in general or in a partner?)

Something Johnny cannot stand is being lied to or having secrets kept from him. Whether it's in a relationship or having to deal with work, Johnny expects 100% trust and will have it be a deal-breaker. He hates when the team tries to keep certain things from him, and he'd hate for his partner to do the same--not matter how small it is. If they can't trust him, how can they expect him to trust them?

Z = Zzz (What is a sleep habits of theirs?)

This man does not know how to keep still when he's asleep. He tosses and turns and will wake up with half the covers off. Sometimes he'll be curled up to your side or literally on top of you. At least some part of his body has to be touching you. Your leg on his, your pinkies interlaced, or his hand just above your ass. Sometimes it can be a little overwhelming--especially in the summertime since he's so damn hot--but at least he doesn't snore.

#johnny storm headcanon #johnny storm x reader #johnny storm imagine #johnny storm fluff #sfw alphabet #johnny storm x you #mcu johnny storm #marvel headcanon #fantastic four headcanon #marvel fluff #marvel fanfiction #fantastic four fanfic #fantastic four fluff #joseph quinn imagine #joseph quinn johnny storm

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sorry-not-feeling-it-right-now · 2 days ago

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Ohohoho, I see more stp related character ask games. In which case, thoughts on Hunted? Could always use more Hunted content out here

(Ooooo Hunted!!! The silliest of fellas)

(And as I’m writing this my appreciation for him just skyrockets ten fold. He makes me. Let’s just say. Feral.)

(Ask is here!!! vvvvvv Sorry that it looks like this, I’m on IPad🗿)

(Also the reply is getting too long (again), sooo gonna put a cut somewhere here…)

FAVORITE THING ABOUT THEM

Probably how reliable he is in general. I feel like he’s probably the voice that is the most loyal to Quiet alongside Hero. He just really doesn’t seem like the type of character to have any hidden agenda underneath his actions. He’s just, when he thinks of something, he’d just do it instinctively. I love how he just focuses on the now and what’s happening around him, and doesn’t rely on what he sees only. He’s a really simple guy and all he really wants is safety. And I really like that about him. (The contrast between him and Oppy is glaring here)

And also despite the fact that instinct is a big part that makes him “him”, he’s not completely feral and still holds that humanity inside of him. I think he’s pretty darn neat.

LEAST FAVORITE THING ABOUT THEM

It’s how little he had appeared 😭😭😭

He needs more chapter 3 appearances aside from his own

Both him and Skeptic need more chapters actually.

(And honestly I don’t have much “””bad””” stuff to say about him. He’s just overall a very likeable character to me)

FAVORITE LINE

“Does a cat lie to a cornered mouse just to play with its freedom, or is it acting out its own nature?” (You’ll see this line again)

“The Look. We’ve all used it.”

“Looking at her makes me sad.”

BROtp

Gotta say Hunted and Witch. Hunted pairs well with many other voices and vessels, but the thought of two semi-feral characters interacting with each other is kind of adorable to me. Just. Similar brain wave signals. Vrrrrrrrr. Y’know.

Witch would just sniff Hunted and be like “hmmm he doesn’t smell like a liar to me” and she would just be chilling with him with half an eye closed and half of it open. Just in case. And Hunted just sees her as someone who’s gotten hurt. And had to fight back like a scared animal. So I think he would empathise with her. Idk.

Stubborn and Hunted is a good one too. I could imagine Stubborn and Hunted just sparring with each other whenever they could. The battle always ends in a stalemate though, since Hunted just dodges Stubborn’s attacks most of the time. And by the time Hunted is tired dodging Stubborn is tired as well. But knowing Stubborn he would try to throw a punch at him anyway. And then failing cause they have bodies now. Stubborn takes it as a challenge and is thrilled to see what other stuff Hunted could do. Unstoppable force vs Immovable object.

And the mental thought of Stubborn throwing Hunted like a Pokeball and be like “Hunted I choose you” is just so funny to me. And. Just. Hunted riding on Stubborn’s shoulder. So cute.

OTP

He honestly pairs well with a lot of them tbh, so I don’t think I can choose an exact one.

NOtp

I have none hehe

RANDOM HEADCANON

He would sometimes bite the other voices to show affection. If he is feeling really bite-y that day he would just find something to chew on just so he won’t accidentally hurt the others.

Also, the current smaller form you see of him is not his full form. That’s just him holding back his more feral side, and hence why he looks so tiny. He’s way taller and stronger than he looks.

(Sneak peak of his feral form!!!)

A more antsy head canon I’ve got for him is that a part of him always have this urge to consume the other voices since they are technically parts of the same guy. He feels really guilty about feeling this way. When that feeling is too strong he would lock himself away from the flock until it passes.

UNPOPULAR OPINION

(This is becoming less of an unpopular opinion and more of a ramble as I’m writing this, but I’m just gonna keep this here because I think this is pretty interesting)

I feel like he would take an integral role in helping the other voices in fighting against their nature, since he is so used to doing that himself. Many of the fics I’ve read where the voices are starting to become more complex and more than their nature often doesn’t mention Hunted at all. He would definitely take a role in helping the voices manage their own urges in a way that doesn’t hurt anyone, knowing how he empathises with Den despite everything she has done to them.

He shines the most when he is paired with Oppy regarding this. Oppy embraces his own nature, and often times to his own detriment. Hunted wouldn’t trust him, but he would still protect and look after him anyway since he is still a part of the flock. If Oppy ever shows an ounce of genuine interest in fighting against his urge to betray people for his own benefit, Hunted would be one of the first ones to help and encourage him.

“Does a cat lie to a cornered mouse just to play with its freedom, or is it acting out its own nature?”

Nature vs Nurture baby!!!!

SONG I ASSOCIATE WITH THEM

Butcher Vanity, specifically him in Den where he goes completely feral

youtube

And also Kaibutsu/怪物. It can be a shared song between Hunted and Oppy, but mostly Hunted.

youtube

FAVOURITE PICTURE OF THEM

(I love it when I just draw him like a fu@king creature)

(He’s so derpy-looking here)

#slay the princess #black tabby games #stp #stp voices #slay the princess insight #stp ask #stp voice of the hunted #voice of the hunted #stp hunted

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cl0wnbytez · 2 days ago

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Hlvrai but it’s marine creatures I think they’d be with an unnecessary amount of explanation

Basically an autistic dude rambles about what fish these guys would be with very specific reasonings. I’m a lot more certain on some more than others, some are just “yeah he’d be this lol” and others are a paragraph of explanation based on very specific behavior(s) of the creature.

Gordon

Clownfish

Now I don’t really know how to explain this one besides color lol, I suppose the common aggression they exhibit can be compared to him in a way, besides that just look at him that man is a clownfish

Benrey

Broadclub Cuttlefish

Okay for Benrey I had quite a few creatures in mind but I ultimately settled on the broadclub cuttlefish. Their mischievous nature for one can automatically be seen in Benreys character, but that is not the main reason I chose them. The main reason I settled on cuttlefish(and more specifically the broadclub cuttlefish) for Benrey is because of a specific behavior seen in the gif above. Broadclub cuttlefish will ‘hypnotize’ their prey into calming down and staying still. I mean if I didn’t compare this to Sweet Voice no one was going to. Also Benrey could be pretty much any fucked up deep sea creature, or if you wanna be really basic, a shark lmao.

Dr. Coomer

Mantis Shrimp

This one speaks for itself, I’m not even the first one to say this that’s how obvious it is. On top of being the sea creature he would be, I think mantis shrimp would also be Coomers favorite animal(at least when it comes to marine life). Once again I am definitely not the first one to say this.

Bubby

Blue Ribbon Eel

Honestly this is the one I have the least explanation for, they’re opportunistic hunters I guess. I really wish I had more to say for Bubby because he’s one of the most overlooked characters in the fandom in my opinion. But alas, he is eel coded to me, and he is blue, thus, blue ribbon eel.

Tommy

Yellow Stingray

Couldn’t find a gif for this one :(

Not only are these silly guys yellow, they are known for their kind, curious, and playful temperament, but they will not hesitate to sting when they feel threatened. Very Tommy. I also picked a ray specifically for reasons you’ll see in a moment, just keep reading. ;3

Forzen

Porbeagle Shark

Couldn’t find a gif or even a good picture for this one so fuck it, porbeagle side eye

I have the stupidest explanation for this one. Forzen is shark and dog coded, porbeagles are known for their playfulness and dog-like hunting style. Porbeagle Forzen.

Darnold

Parrot Fish

I’ll have a gif for the last one I promise

I know all of these have brought up behaviors of the animal for reasons why I associate them with that specific character, but this one is specifically for aesthetic reasons. I associate Darnold with colorful stuff because potions and parrotfish are underrated just like him leave me alone.

Gman

Manta Ray

I told you Tommy was a ray for a reason. Anyways, I mainly associate hlvrai Gman with manta rays because of his menacing aura despite him being much less of a threat and practically harmless by the end of the series(so far). Yes I know he threatened Gordon but literally everyone has so shut up, he mainly just told Gordon “take care of my son lol” and brought everyone to Chucky Cheese at the end. But basically yeah manta rays are menacing but harmless, they also just generally have Gmans shadowy vibe.

Idk how to end this bye

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bestworstcase · 2 days ago

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Genuine question, but where did you pick up "the Brother cult is a common religion in modern day Remnant" from? At least, I'm pretty sure you've said this before on here; my memory is pretty bad lol.

I'm just curious since I've been rewatching RWBY lately, and i remembered that, and I thought it was interesting bc I never once saw or picked up on anything that would suggest that in canon (unless it's like, a headcanon on your part, in which case feel free to ignore me, I'm not here to needlessly criticize a fun headcanon if that's the case loll, i have my own fantasy religion headcanons bc I'm unhinged abt worldbuilding).

If you don't mind, I want to explain my reasoning/thoughts on why I don't think the Brothers are worshipped on modern Remnant (feel free to pick them apart):

-> Qrow says that "not many people are super religious these days". Mind you, I don't take much stock at all in what characters say, especially not in RWBY (i frequently side-eye characters who speak on the Oz merge who aren't Ozpin himself, Light, or Jinn), but i feel like this would be an odd thing to say if it wasn't true. This is supported by The Shallow Sea fading into just a 'fanciful creation myth', as well as none of the main or even side characters being religious (though it could be bc it's just not important) nor discussing religion. Churches don't seem to be common (aside from the one in v4), and imagery of what seem to be altars are scattered and infrequent. Religion is also never brought up when discussing the kingdoms' governments either. So, so far, Qrows line holds true.

-> When Qrow talks about the Brothers, RNJR never really shows that they recognize the story, or at least that they don't put weight on it, unlike finding out the Maidens are real. They're just like "...okay so why is that important", unlike how I imagine religious people would react to finding out their God(s) are real. Plus, Qrow has to explain it to them; if it was a well known religious story, I'm sure the writers would have written it more like "So, you know [insert religion name]? Yeah, according to Ozpin, that story is real. In case you aren't familiar, let me explain it for you... [insert convenient lore dump for the audience]". Plus, the way Qrow phrases it gives me the impression that it's an obscure story. Weaker point, though, I'll admit.

-> In any of the times that we see what *might* be evidence of religion (i.e. the candles/altar in the White Fang in v4, the church in Ruby's v4 short), there's no religious iconography depicting the Brothers (at least, nothing that I've caught). In general, there doesn't seem to be any dragon imagery in modern Remnant (again, nothing that I've caught yet).

-> It's depicted as a fairytale. When Ozpin asks for Pyrrha's favorite fairytales, the first thing she says is The Tale of the Two Brothers. It's also in his fairytale book, something i feel would've been a controversial (if extremely funny) decision if it was a popular religious story (like if you put Jesus' crucifixion in a book including rapunzel and Cinderella).

-> Also, there's no common sayings including the Brothers (like how fics like to have the characters say "Oh Brothers" and other variations).

-> And, in general, Oz's inner circle really wasn't at all concerned with the Gods or really even the Divine Mandate. All they knew was that the Gods created Remnant, humanity, the Grimm, and the Relics and promptly abandoned Remnant, and that "If someone were to collect all four [Relics], they'd be able to change the world." And that that's "exactly what the enemy wants." So they only know the absolute basics of the Mandate, and the way it's worded implies (to me, anyways) that Oz worded it in such a way that cautioned against collecting the Relics (which is very interesting to me. This also tracks with how he depicts the Mandate in TTOTTB). So in general not even the inner circle feels like Brother/Light followers to me, just Oz followers (in general i imagine the events of the infinite man made him learn that bringing up judgement day is a Bad Thing, considering before bringing it up the Circle flourished, but after spreading the message, it was immediately destroyed. Instant karma. Poor dude). Though this starts leaning into the territory of my theory that Oz actually gave up on his mission (which like, could be wrong, but I'm holding onto it until I'm proven wrong), and I'm sure you don't wanna hear that one lol.

In general it seems to me like there isn't a Brothers-centric religion so far, even though Remnant still has organized religion (albeit uncommon). But I'm honestly not sure if I missed anything? I'm sure as hell not the type to comb through every background to see if I did lol.

Sorry for the long ass ask. Take your time answering, and have fun picking apart my reasoning. Please be nice abt it tho 👉�� I just want to know your thoughts and if i missed anything that proves it's a modern day religion :)

-🌙

okay. first, at the risk of being condescending: religious people believe that their gods are real. you know that, right? religion is not a big game of play pretend. people who practice religion do so because they believe in it.

yes, religious people can and do experience doubt. but a religious person whose doubting and questioning leads them to conclude their god(s) aren't real don't continue to practice the religion they don't believe in. i mean, they might make an outward performance of doing so if it's unsafe for them to leave and they're likely to keep cultural practices and even moral frameworks--see: ex-christians who are exactly as dogmatic and puritanical about whatever new belief system they've adopted--but people who don't believe in gods don't practice religion.

this:

They're just like "...okay so why is that important", unlike how I imagine religious people would react to finding out their God(s) are real.

is a fallacy you're making because (i presume) you aren't religious and have never been so; i suspect you just don't have any frame of reference and consequently you're projecting your own skepticism onto the hypothetical religious people in your imagination. to be clear, i don't mean this as a personal attack on you--this is a very normal thing for people to do when we're trying to conceptualize experiences that are profoundly different from our own.

my background though is evangelical christian. i was raised in a staunchly religious household attending church 2-3 times a week; i attended a christian school until transferring to public school in fifth grade; i've been to bible camps and conferences where they teach you how to evangelize to nonbelievers and that kind of thing. i'm not talking fundie cult here, to be clear--this was a relatively-by-evangelical-standards socially liberal and theologically mainstream nondenominational protestant church--but christianity was the central organizing structure of my life until i left home. i'm agnostic and fundamentally disagree with the moral framework of christianity but i know a lot of very devout christians and i'm very familiar with the religious praxis.

(including what genuine, good faith evangelical proselytization looks like--not door-to-door like what e.g. mormons do, or street corner chick tract fundie cult behavior, which is what non-christians typically think of as evangelism. but that stuff is a tactic high-control religious groups use to strengthen identification with the in-group through rejection and alienation by the out-group--evangelical churches that aren't culty don't do that, and in fact the idea that door-to-door and street corner preaching is an isolation tactic used by predatory religious groups is something that was first explained to me in sunday school by the people who taught me how to evangelize. put a pin in this for now.)

so: i'm not imagining hypothetical religious people when i say this, i'm imagining a few hundred specific religious people whom i personally know and how they would react in an equivalent situation.

what qrow does in 'a much needed talk' is he sit the kids down, goes "not many people are super religious these days… there's a lot of (false) gods people have made up throughout history, but y'know, these two are real. here's the truth…" and then tells them a simplified version of the two brothers creation myth.

he doesn't do anything to prove that these two gods, in particular, are real. he gives zero evidence. he doesn't even demonstrate that magic is real. this isn't "finding out" that the gods are real, this is uncle qrow doing a little impromptu sunday school lesson like that's an explanation for why some lunatic attacked us earlier. this is like if some rando tried to grab you on the street and pull you into an unmarked van and i saved you and me and the van guy clearly had some sort of history because he knew my full name so you asked me "WHO WAS THAT GUY. WHAT THE FUCK" and i said okay sit down, the first thing you need to know is that in the beginning, god created the heavens and the earth…

regardless of your personal religious beliefs or lack thereof, you would probably go "…what. does this have to do. with the van guy who ATTACKED ME" because that's like, truly a bizarre non-sequitur. but it's not like God Himself is descending from the heavens in a flaming whirlwind to demonstrate his existence. it's just me telling you he's real.

if you're a christian, in this scenario, that is not in any way a revelation to you. that's akin to, like, "the king of england is real." BIG IF TRUE?--you know this. you already know this. if you are a christian then you believe that the christian god exists and is the one true god. in this hypothetical scenario i'm telling you things you already know and believe foundationally to be true. a devout christian would probably respond more in the vein of "amen! god is good!" but one whose practice is casual--the christmas-and-easter christians--and secular christians would absolutely be "okay and…?" in an equivalent situation to 'a much needed talk.'

hell, come to that, i'd be asking what this has to do with the crazy guy who tried to kidnap me if i were in that situation. who cares that my dead headmaster was a true believer or whatever i want to know about the guy with the knife! you feel me?

the type of person whom i can imagine making a big deal out of qrow's little creation myth are:

reddit atheist types who cry and scream and shit bricks if they have to talk to somebody who believes in a god; you know. the kind of person categorically incapable of talking about religion in any capacity without at least one sneering "sky daddy"?

someone with no previous exposure to this religious tradition or anything remotely like it. imagine if i were to sit you down and earnestly tell you that the only Real Gods were, like, the hero twins who descended into the underworld to challenge the lords of death to a ballgame. you'd probably be like "HUH??" because hunahpú and xbalanqué are not a cultural reference point you're familiar with in the way that you're familiar with the crucifixion of jesus christ.

like, all religions are fucking weird. the christian gospels are not remotely less weird than the popol vuh, or whatever. you're just familiar with the essentials of the gospel story--even if you're not and have never been christian--because christianity is culturally dominant in the west. and the familiarity makes it normal. unremarkable.

invisible, in a way.

this is something the writers of rwby really get. if something is normal and ordinary in the world of remnant, the characters don't pay attention to it, even if it's bizarre to the audience. to use a non-religious example, civilians don't know what aura is! it's not common knowledge! we know that because jaune's never heard of it, civilians in vale are shocked and confused when penny stops a truck with her bare hands, and oscar (who has dealt with "occasional grimm" before) has no aura training and doesn't know what a semblance is. but to the rest of the characters, aura is a completely mundane aspect of their day to day lives and they're a little taken aback by characters like jaune and oscar who don't know about it.

with that in mind, i want to really underscore something about the things qrow tells RNJR in 'a much needed talk' and the way the kids react.

because. first, qrow gives them the same intro level rundown on the maidens that pyrrha got in v3--offscreen because that's shit the audience has already heard and don't need to be rehashed. the kids are like, "that's a lot to take in," and jaune in particular is like "this is all very sketchy, what the fuck is actually going on."

THEN, apropos nothing, qrow drops "not many people are super religious but These Two gods are actually real btw" and an abbreviated creation story, with NO proof and NO apparent connection to the maniacal cultist who ranted and raved about his body and soul belonging to his goddess-queen who sent him to "retrieve" ruby for her. and none of the kids express the slightest bit of skepticism about this super out of left field sunday school story, no one is like "what the fuck" or "are you drunk"--ren just goes "okay but how. is that relevant."

whereupon qrow finally tells them about the relics hidden under the schools and salem wanting them and that BAD THINGS will happen if she gets them. and then, jaune the skeptic goes: "alright, so let's say we believe all this--there really is this crazy evil being behind these attacks, not just some thugs trying to become powerful. why doesn't the world know?"

THAT'S the part he finds outrageous and difficult to believe. not that the two brothers are real, but that SALEM exists. salem. these kids literally JUST got attacked by a lunatic cultist who kept babbling about MY GODDESS HER GRACE THE QUEEN and directly stated that he is cinder's associate and referred to the white fang and torchwick as pawns, but the thing that makes them go "wait but this is crazy and makes no sense" is qrow explaining that there's a malevolent entity called salem who orchestrated the attack on beacon and sent that guy to capture ruby. like, objectively, from a purely logical standpoint, that's the least unbelievable thing that qrow tells them.

but people aren't rational agents. and one thing this scene does very effectively is establish the relative normality of each major chunk of information through the way the kids react:

maidens? "there are four special people who can do magic without dust? and when they die that power passes on to someone new? that's. well that's a lot to process but. sure."

brothers? "and this is relevant how?"

salem? "that's crazy how could someone like that possibly exist without everybody knowing about it? why should we believe any of this!?"

salem is so fucking far out of their previous understanding of how the world works that they all kind of have a kneejerk "that! can't be real!" response even though tyrian shouted from the literal rooftops that he's working for a 'goddess' who was behind the attack on beacon.

but the maidens? they have a frame of reference for magic--magic is what anyone can do with dust, and ruby…petrified a massive grimm with her eyes somehow a few months ago, so like, it's not THAT unbelievable to accept that an old story about four maidens who can do magic without dust is true, apparently.

whereas the stuff about brothers… nothing. not one of these kids so much as blinks even though. again, from a purely logical standpoint, the creation of remnant by the brothers is the most fantastical part of qrow's explanation. but the kids don't react that way, because it's normal to them. ergo they're either casual practitioners of brother-worship or brother-worship has cultural hegemony in vale and mistral, where RNJR grew up.

now! it's actually a simple matter of text whether the second possibility is true or not and this is the part of the answer where i have to just say: you're factually incorrect actually.

there is a big statue of the dragon brothers smack in the middle of the train station in mistral. one gold, one dark. very unmistakably a depiction of Those Two. this is in v6 so if you're only up to v4 on your rewatch you can't uh, be expected to remember. (<- i am just unhinged enough about fictional religion i can tell you off the top of my head that yang and ruby swear by God in v1 but the ship captain in v4 swears "by the gods" and i think that church in ruby's character short implies maiden-worship on the basis of the statue of the cloaked young woman in front, details of this kind just stick in my memory for nerd reasons.)

[as an aside why would… the white fang… have an altar to mankind's gods… like. there are no faunus in 'the two brothers' and the culturally dominant religion among faunus is worship of the god of animals, as ozpin notes in his commentaries on 'shallow sea' & 'judgment.' the trappings of religion that we see in the white fang's private spaces are… obviously… god of animals-worship. this feels half a step shy of saying "well the altar in salem's war room doesn't have any draconic iconography, so therefore brother-worship isn't a thing." brother-worship is explicitly not the only religion in existence!]

-> Also, there's no common sayings including the Brothers (like how fics like to have the characters say "Oh Brothers" and other variations).

in v7, 'pomp and circumstance' specifically, ironwood says "brothers know you deserve it" in reference to RWBYJNR receiving their huntsman licenses. and a quick round up from the novels:

after the fall: "thank the brothers you found us," said by a bit character.

before the dawn: "thank the brothers," said by octavia; "by the brothers," said by finn asturias when he learns what his kids are planning

roman holiday: "thank the brothers," said once by neo's mother and once by a bit character.

there are also general exclamations of "my gods" or "by the gods" and general references to "the gods" both in rwby proper and ancillary materials, with "gods" being in far more frequent use than the singular "God"--gods, plural, doesn't necessarily mean the brothers every time, because qrow does make a point of noting that remnant's people, collectively, worship "dozens" of gods. but it is pretty evident that the dominant religion across the four human kingdoms has more than one god, and the coincidence of that with, taking the novels into consideration, characters from literally every kingdom except mistral which has a honking big statue of the brothers in its train station swear by the brothers… yeah the dominant religion globally is brother-worship. probably not in menagerie. but in the four human kingdoms, yeah.

…and the second is 'the shallow sea,' which is also a religious myth. 'the story of the seasons' is alsowhat we'd call a myth, not a fairytale. 'the girl in the tower' is the only story pyrrha names in that scene that is actually a fairytale per se. in general the delineation we make between "fairytale" and "myth" in the real world, as discrete genres of folklore, doesn't seem to exist in remnant--legends and fairytales scattered in time, and all that. the conceit of rwby is about engaging with fairytale-as-myth, so this is a very intentional blurring; like, this is a narrative where maiden-in-tower IS the creation story, fundamentally. rapunzel is orpheus is prometheus and that's how the world was made.

and that's the kind of thing that we as the audience have to just accept as a fact of the fictional reality, because… like… gestures at 'the shallow sea.'

ozpin included THAT one in his book of fairytales, too, and in his commentary he explicitly describes it as part of a closed(!) oral tradition whose inclusion he deliberated for fear of being disrespectful. he devotes more than half of his commentary to justifying the choice to include it, and the rest to describing the myth's cultural context to his (presumed human) readers. he asks forgiveness for "overstepping himself."

and it is very obvious, in the way ozpin talks about 'the shallow sea' in particular and the book generally in his forward and afterward, that his concern is not "it is grotesquely horribly disrespectful to place this profoundly meaningful and important creation myth (of a culture that is not my own) in a collection of frivolous fairytales" but rather "this book is meant to be a collection of profoundly meaningful tales drawn from all of remnant's cultures and i believe this one is too important not to include, but i am also acutely aware that it is a closed tradition to which i do not belong." the latter is still out of pocket, but the simple fact is that a character who so obviously knows that publishing a story from a closed tradition without permission is Not Okay and so obviously feels immensely conflicted and guilty about doing so isn't a character who would blithely denigrate a myth like this by publishing it in a book of trivial fairytales. and a character who would denigrate the myth that way wouldn't agonize over whether it was important enough to be worth violating the closed tradition.

and then you consider that, out of the twelve stories ozpin put in this book, three are explicitly religious creation myths ('the shallow sea,' 'the judgment of faunus,' and 'the two brothers'), two others are myths describing the origin of natural phenomena ('the story of the seasons' and 'the gift of the moon'), and one is a mythical culture hero ('the infinite man')… so fully half the stories in this book aren't actually fairytales. they're myths.

so the inclusion of 'the two brothers' is less cinderella-and-christ than it is "here is an eclectic collection of folklore from around the world" in terms of what would be equivalent in the real world; and… like, 'the shallow sea,' 'judgment of faunus,' and 'the two brothers,' the plain text of these stories is clearly and unambiguously religious in nature, and ozpin explicitly discusses them as such.

his commentary on 'the two brothers,' in particular: "there are many versions of our creation story […] but certain elements are always consistent: they arrived from a realm outside of our own and together created the universe from nothing. and then they left us on our own." and "whether or not you believe in the brothers, or in this story in particular […] like the twin gods, we are intricately connected to each other" and, um:

Even if the gods aren’t real, even if they don’t return to judge us for our deeds, we should act each day as though they are arriving tomorrow. In the end, we will be the arbiters of our fates. We will either create a beautiful, peaceful world and live in harmony together or destroy ourselves and our planet, and the gods will judge what we have chosen.

remember how i said i'm intimately familiar with, specifically, evangelical christianity and what actual evangelism entails? not the deliberately off-putting door-to-door shit but proselytization for the purpose of bringing new people into a church that isn't a predatory high-control group?

the way ozpin talks about the brothers here, and the way qrow talks about them in 'a much needed talk,' is christian evangelism 101.

"not many people are super religious, these days." you know who says this type of thing? like, fucking constantly? evangelical christians. never mind that christianity is the majority religion in the US by a significant margin (66%!)--evangelical christians inhabit a constructed alternate reality wherein they're an embattled minority shining candlelight into a sea of darkness. (many of them accomplish this by deciding that most other christians aren't real christians; the classic protestant move of course being "catholics aren't christian" but your average evangelical takes a dim view of like. any denomination that isn't their denomination and when i tell you the nondenominationals are the worst offenders in this regard... lmao. anyways)

"not many people are super religious [christian] nowadays. people believe in all kinds of different gods and creeds, but there is only one true God"--this is literally just how evangelicals talk. both to each other and to non-believers they're hoping to interest in the church, although the tone depends on who's listening. internal discussions of this nature are strategic in nature--how do we reach people and speak to them effectively in these godless times? what is the right balance between presenting ourselves and our faith honestly while still creating a welcoming and accessible space for people who don't know jesus? how do we share what we believe with people who just don't care? and so forth--whereas the framing with nonbelievers is that it's innate in human nature to crave purpose and meaning and that everyone seeks fulfillment but few ever manage to find it because none of us are born knowing where to look, etc.

meanwhile in his commentary ozpin is doing a fantasy repackaging of the pascal's wager tactic, which like. i have sat through literal educational films on the rhetorical use of pascal's wager in effective evangelism. "well, if i believe in god and i'm wrong, i'll have lived a good, moral life and lost nothing; if you don't believe in god and you're wrong, hell" is one of THEEEE evangelist talking points. ideally, one used to open a conversation with friends and/or people who have indicated interest in talking about your faith in some way, especially if they ask "what if you're wrong?" because then the idea is to demonstrate that you're not rigidly dogmatic in your faith but instead you've given serious thought to the possibility that you might be wrong, and thus show that you understand and empathize with the nonbeliever's skepticism so as to build a genuine rapport. (whether it *works* that way in practice is highly dependent on like. charisma and actual meaningful ability to click with non-christians, which a lot of devout evangelicals… just can't even when they really earnestly do try, but ozpin as a character does have the charisma and the knack for connecting with people that can make this approach effective at getting irreligious people to give "hey, come to this church thing with me?" a shot.)

i cannot emphasize enough that after the obvious one of "directly openly stated religious beliefs," the reason ozpin and qrow specifically read to me as highly religious characters is because they talk exactly like evangelicals in secular company. they talk about and share their beliefs about the brothers the way i was taught in church to talk about christianity.

you don't go banging on people's doors or harassing them in the streets. nobody fucking likes that and it makes people not want to go to church. you don't go around with a stick up your butt about the non-christian people in your life not being christian. what you do is treat people with kindness and respect and draw firm boundaries for yourself to keep yourself safe (<- unironically growing up in an evangelical christian household is a huge part of the reason i am SO comfortable just fucking saying no to things i don't want to do and i think this is the one thing that evangelicals really have on a LOCK) while being open and honest and unapologetic about your own faith. you save the bitchy judgmental gossip and fire and brimstone garbage and like, talking about the eschaton for when it's just true believers.

evangelical christianity is an eschatological religion, by the way. in case you didn't know that. evangelicals believe that we are living in or on the cusp of the end times and the political action of evangelical christians in the united states is motivated in large part by a desire to enact the prophesied conditions that will herald the second coming of christ. for example a lot of evangelicals like trump because they think he's a divine implement of the great tribulation. evangelicals are obsessed with and actively trying to enact the apocalypse. and rwby is straight up the only fictional story i've ever encountered that understands how an eschatological cult operates because you can NOT advertise that shit. it FREAKS PEOPLE OUT. you keep the "i want the world to be riven by unprecedented catastrophe and suffering so i can be taken up to heaven in the rapture while the wrath of almighty god crushes what remains as grapes in a winepress" between yourself and the other doomsday cultists.

it's not like. SECRET. it's in the bible. but very few non-christians bother to actually read the bible and the ones who do are just not going to have the cultural context to know how very deadly serious evangelicals in particular are about the book of revelation or how much of a core pillar the eschatology is to evangelicalism; meanwhile american evangelicals are knowingly deliberately voting for the apocalypse. similarly,

“We must take back our gifts,” the God of Darkness said. “Reclaim our power and wipe this experiment from existence.”

“I disagree,” the God of Light said. “And we promised to share in the fate of our joint creation.” He gave a mighty yawn. “Let us rest, and when the time comes, we will see what Humanity has become in our absence. At that point, we will judge them. If they are worthy, we will take their forms and walk among them as equals. If not, we will take back our gifts and start over elsewhere. What do you say?”

“Who will decide whether they are worthy?” the God of Darkness said.

“Humanity will make it plain. If they come together in unity and find a way to destroy the evil in the world and within themselves, then they are worthy. If not … we will let them burn,” the God of Light said.

“So shall it be.” The two brothers agreed. But even in rest, they needed some distance from each other. Each dragon transformed himself into a new continent at one end of their world.

And there the dragons still sleep, until the day that the gods will waken, rise, and judge.

ozma's mandate is not a secret. the apocalyptic final judgment is clearly and emphatically spelled out in the myth of the two brothers, which he included in an anthology of tales intended for the general public and annotated to the effect of "i believe this one is true and even if you don't you should act like you do. btw. because it's true" YEAH MAN WE GET IT.

(he also asserts apropos nothing in his commentary on 'the gift of the moon'--a myth that does not mention the brothers at all--that the sun is a "celestial gift from the all-powerful god of light," so either 'the gift of the moon' is brother-cult doctrine or ozpin is pointing at a myth from another tradition and making it about his god.)

the main difference between ozpin and your average evangelical is that ozpin fears the end times because he doesn't believe anyone will be spared. but his behavior is the same. his way of presenting his religiosity in a way that minimizes and obfuscates the eschatological intention at the core is the same, if not more intense because the material reality of his situation, as the accursed chosen one literally commanded by God Himself to immanentize the eschaton, is a lot more terrifying and desperate. 'the infinite man' is quite literally a veiled autobiographical story about how he figured out that he CAN'T… go around just… TELLING EVERYBODY… that he's MAKING READY FOR THE FINAL JUDGMENT.... because people don't fucking like that and will kill him and put his cult to the sword about it.

that emphatically does not mean that he doesn't still believe in it; it means that he has, in the same way that evangelical christians in real life have, figured out how to code-switch. there's the public face for mixed company where you're friendly and humble and make a concerted effort to live by the virtues of your faith while being open and unapologetic about your religious identity while maintaining a posture of respectful invitation toward everyone else and engaging in meaningful ways with people you personally know to gently encourage them to explore your faith…

…and there's the private face for when it's just you and your fellow true believers and you're talking in intricate detail about how current world events line up with this or that prophesy about the end times. ozpin in public is the mixed-company evangelical to a T. and ozpin in private with people who have been informed of the whole situation re: maidens, relics, salem is like "i am the divinely-ordained champion of the gods and we must stop her from getting her hands on the relics that My Schools were built as fortresses to defend."

in 'the lost fable' these kids literally hear the god of light say with his whole chest that mankind will be found irredeemable and destroyed if they are "unchanged," and they do not even blink. 3.75 volumes spanning months later, they STILL haven't really registered that the god of light holds the view that not a single person alive on the planet RIGHT NOW TODAY deserves to live. why?

because they knew that part already. not the precise detail of ozma being the one who's meant to decide when the world is fit for divine judgment and actively invite the brothers back, but the final judgment and the need for humans to be United when the day of judgment comes lest they be burned to ashes? They Knew That. it is invisible to them except inasmuch as salem embodies, to them, the danger that mankind will be condemned, because it's normal. regardless of their personal religious beliefs or degree of religiosity, they're all familiar with this story to the point that hearing God Himself promise to exterminate everybody didn't even mildly startle them. they knew.

like. fundamentally. the story as-written and the way the characters present in the lost fable do not react whatsoever to the divine ultimatum does not make sense unless every single one of them already knew the story about the dragon-brothers who created the world and then departed and will return to judge humanity's worth, to either reward them with completion or wipe them from existence. and because the kids seem to fall in the zone of irreligious to casually religious the simplest and most likely explanation is that there is a global hegemony of brother-worship, akin to christianity in the west.

taps the sign. and this sign too.

like. in one sense it's a question of your frame of reference and specifically whether you know what deeply religious people are like and how an eschatological religion actually functions in the real world or if your mental model for what this looks like is drawn from, like, pop culture fundamentalist caricatures. i can tell you that the way qrow segues into and tells the brothers creation myth is something i can imagine almost verbatim coming out of the mouths of elders in my parents' church and that ozpin's commentary on the same myth is a point-for-point translation of christian evangelism into his fictional religion. i can tell you that your presupposition that a religious person "finding out" the god(s) they believe in really do exist would feel any kind of surprise or revelation about it is baldly incorrect in a way that leads me to believe you have zero real personal experience with religion or religious people. i can tell you that your presupposition that the secular democratic institutions of government in the kingdoms means there can't be a religious cultural hegemony of brother-worship (or any other religion) is, again, just factually not correct.

but in another and, in many ways, more important sense: rwby is a story about a religious conflict. there are two gods who destroyed the last world and a promised day of judgment that will be ushered in by four divine relics, each guarded by fortresses that act as the central hub for each plot arc, and the overarching narrative conflict is about a power struggle between two people--the immortal agent of rebellion against the gods and the divinely-appointed chosen one tasked with preparing for the final judgment--fighting for control of these relics. that's the plot.

why are you reading scenes where the characters intricately involved in this power struggle talk about religious matters like the existence of gods and divine relics and divinely-ordained tasks as evidence that these characters… aren't religious? why are you reading actual myths that are textually presented as religious stories as… not a religion? why are you looking at a character commanded by God Himself to unite mankind, who in the present day speaks incessantly of the importance of unity and existential threat of division, who annotates the aforementioned explicitly religious myth with an exhortation to act each day as if the gods will return to judge you tomorrow, and concluding that he… is not religious and does not fundamentally believe in any of it?

what do you think a religion is?

and in this story, of all stories--when the central narrative conflict is overtly a war over divine relics left behind by the gods for the sole purpose of bringing about the final day of divine judgment--why in the world is it your baseline assumption that religion is not something that matters very much within the world of the story? why do you take qrow saying "not many people are super religious these days" completely at face value to mean "most people are agnostic/atheist and religion has no cultural relevance whatsoever" even though the next thing out of his mouth is "but these two gods are REAL" and even though, a single volume prior, his colleague said "what we're telling you goes against hundreds of years of human history, religion" and insinuate that consequently the truth would cause uproar and panic to justify keeping the maidens a secret?

i think that ozpin and his inner circle are religious because they speak and act like it and the core purpose of their "brotherhood" (as they call it) is to safeguard the divine relics while they publish religious myths about their gods and talk about how those gods are real and nothing is more important than keeping the divine relics safe. if it acts and looks and quacks like a duck and repeatedly turns to the audience to say that it believes in ducks, i believe it's a duck. i am not going to say "well it complained one time that there aren't a lot of ducks left in the world, so i think it's actually a chicken." that's nonsense.

#but mostly: yeah what.…do you think religion...*is*#if not.#believing that the mythical stories and moral tenets of a religion are true and correct and doing the things god(s) told you to do.

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amethystarachnid · 2 days ago

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If you promise us a happy ending, I'm okay with a angst part 3 hahahahah a breakup would be nice. The boy needs to move into another place, Tony being the most supportive and cute dad ❤️

CHRISTMAS MORNING - part III

⤷ ANTHONY “TONY” E. STARK

ᯓ★ Pairing: Anthony “Tony” E. Stark x fem!reader

ᯓ★ Genre: romance, fluff

ᯓ★ Request from: MARVEL Holiday special

ᯓ★ Story type: one shot

ᯓ★ Word count: 5.9k

ᯓ★ Summary: first love heart break is rough, but nothing a trip to Paris can't resolve

ᯓ★ TW(s): nothing

ᯓ★ Part I | Part II

ᯓ★ Prequel

ᯓ★ maybe a prequel to let you know how Tony and y/n ended up with four kids? 🤭, just wanna focus some more on the two of them before the kids

ᯓ★ Tony Taglist: @groovy-lady

ᯓ★ My Masterlist

ᯓ★ MARVEL Holiday Special

ᯓ★ MARVEL Multiverse - choose an AU, pair it with your favorite character and make a request!

ᯓ★ Songs & Superheroes tales - The Game (to make a request, follow the rules on the link!)

ᯓ★ MARVEL Bingo

ᯓ★ English isn’t my first language

Summer turns to fall, and Cora and Ryan’s relationship becomes a steady part of family life. By now, Ryan is a regular visitor to the house. Though Tony still maintains his “watchful dad” persona, he’s noticeably relaxed around Ryan, occasionally sharing a sarcastic comment or offering him a soda without much fuss. You’ve even caught Tony grumbling about the boy’s taste in music—not exactly glowing approval, but close enough.

Cora, meanwhile, is glowing in a way you’ve never seen before. She’s still her fiercely independent self, but there’s a new softness about her—she’s less quick to snap, more patient with her siblings, and her happiness is infectious. Except, of course, when it comes to Alex and Howard.

The twins, ever the chaos-makers, have taken their jealousy of Ryan to theatrical levels.

“Cora doesn’t love us anymore,” Alex announces one afternoon as you’re folding laundry in the living room.

“She just loves him,” Howard chimes in dramatically, lying face-down on the carpet like his world has ended.

You glance up from the socks you’re sorting and try not to laugh. “That’s not true, and you know it. Cora loves you very much.”

“Then why doesn’t she play with us anymore?” Alex demands, sitting up with a pout.

“She used to build forts with us,” Howard adds, now rolling onto his back to stare at the ceiling like a tragic hero in a Shakespearean play. “Now she just texts him all the time.”

“Boys,” you say gently, sitting down beside them. “Cora’s growing up. That doesn’t mean she loves you any less. She’s just figuring out who she is and spending time with someone who makes her happy. But you’ll always be her little brothers, okay?”

“Yeah, but we don’t like him,” Alex mutters.

“You barely know him,” you point out.

“We don’t have to know him to not like him,” Howard says stubbornly.

Before you can respond, Estelle toddles into the room, dragging a blanket behind her. She climbs onto your lap without a word and leans against you, her thumb in her mouth.

“See?” you say, wrapping an arm around Estelle. “Even when Cora’s busy, you’ve got each other—and us.”

The twins don’t look entirely convinced, but they nod reluctantly.

Later that evening, while the kids are occupied with a movie, you and Tony find a rare quiet moment together in the kitchen. He’s leaning against the counter, sipping a glass of wine, while you finish tidying up.

“They’re really laying it on thick, huh?” Tony says, smirking as he recalls the twins’ earlier dramatics.

“They’re jealous,” you reply, rinsing the last dish. “They miss her, and they don’t know how to say it without turning it into a production.”

Tony sets his glass down and crosses the room, wrapping his arms around you from behind. “Well, they’d better get used to it. She’s not a kid anymore. And I’m pretty sure Ryan’s sticking around.”

You lean back against him, savoring the warmth of the moment. “You really think so?”

“Don’t get me wrong, I still want to give the kid the third degree every time I see him,” Tony says with a chuckle. “But yeah, he’s not bad. And she’s happy. That’s what matters, right?”

You turn to face him, resting your hands on his chest. “You’re a good dad, you know that?”

“Don’t let that get around,” he says, grinning as he presses a kiss to your forehead. “I’ve got a reputation to uphold.”

Just then, Estelle toddles into the kitchen, clutching a stuffed animal in one hand and rubbing her eyes with the other.

“Mommy,” she says sleepily.

You scoop her up, kissing her chubby cheek. “What are you doing out of bed, little one?”

“Can’t sleep,” she murmurs, resting her head on your shoulder.

Tony reaches out to brush a strand of hair from her face, his expression softening in that way it always does when he looks at her. “Come on, princess,” he says. “Let’s get you back to bed.”

He takes her from your arms and carries her upstairs, humming a soft tune as she curls against his chest. You follow a few steps behind, watching the way he cradles her with the kind of tenderness that still catches you off guard sometimes.

Back downstairs, the twins are sprawled on the couch, fast asleep by the time the credits roll. Cora is in her room, probably texting Ryan, and the house feels peaceful in a way that’s rare but cherished.

Over the next few weeks, the twins continue to grumble about Ryan, but their protests lose some of their bite. They still don’t love the idea of sharing Cora’s attention, but they’re slowly coming to terms with it.

One Saturday, Cora surprises everyone by joining the twins for a game of basketball in the driveway. Ryan is nowhere in sight, and the boys are thrilled to have their big sister back, even if only for an hour. You watch from the porch with Tony, sipping coffee as the three of them laugh and bicker over the rules.

“See?” you say, nudging Tony with your elbow. “They’ll figure it out.”

“Yeah,” he agrees, though his gaze lingers on Cora a little longer. “But I reserve the right to be overprotective forever.”

“I wouldn’t expect anything less,” you reply, leaning against him.

It’s late afternoon when the front door opens, and you hear the unmistakable sound of Cora’s school bag dropping onto the floor. Usually, this is accompanied by her calling out, “Hey, I’m home!” or the sound of her heading to the kitchen for a snack. But today, it’s eerily quiet.

You glance up from the stack of papers you’re sorting at the dining table, your instincts immediately on alert. Tony, who’s tinkering with something small and metallic at the kitchen counter, notices too.

“Cora?” you call, standing.

Then you hear it—soft, muffled sobs coming from the living room. You’re moving before you even think, Tony right behind you.

You find her sitting on the couch, her knees pulled up to her chest, her face buried in her arms. Her whole body shakes with the force of her tears, and it feels like someone’s reached into your chest and squeezed your heart.

“Sweetheart?” you say softly, sitting down beside her.

Tony freezes for a moment, his eyes wide with panic as he takes in the sight of his usually strong, confident daughter falling apart. “What happened? Who hurt you? Tell me right now, and I’ll deal with it,” he says, his voice already edging toward anger.

Cora looks up, her face streaked with tears, and shakes her head. “No one hurt me, Dad.”

“Then what’s wrong?” you ask gently, brushing her hair out of her face.

She tries to speak, but her voice cracks, and a fresh wave of tears spills over.

Tony, clearly struggling to stay calm, sits on the edge of the coffee table in front of her. “Cora, you’re scaring me here. Just tell us what’s going on.”

After a moment, she takes a shaky breath and manages to get the words out. “Ryan… Ryan’s moving to London.”

Your heart sinks. “Oh, sweetheart…”

Tony blinks, his initial panic giving way to confusion. “London? Like… England London?”

Cora nods, wiping at her eyes. “His dad got a job there. They’re leaving in a month.”

“And what does that mean for you two?” Tony asks, though he already looks like he knows the answer.

Cora swallows hard, her voice trembling. “He… He said we should break up. He doesn’t want to do long distance.”

Tony’s jaw tightens, his fists clenching on his knees. “That little—”

“Tony,” you say sharply, cutting him off. “This isn’t about you wanting to punch a teenager.”

“Why not?” he mutters under his breath, but he backs down.

Cora lets out a shaky sigh. “It’s not his fault. He doesn’t think it’ll work, and… maybe he’s right. But it hurts so much.”

“Oh, honey,” you say, pulling her into a hug. She collapses against you, her sobs muffled against your shoulder.

Tony’s expression softens as he watches her, and he reaches out to squeeze her hand. “He’s an idiot if he thinks he’s not going to miss you every day. You’re amazing, Cora. Don’t let anyone make you feel otherwise.”

Before she can respond, there’s a small sound from the hallway. You turn to see Estelle standing there, clutching her favorite plushie—a well-loved bunny with one floppy ear. Her wide eyes take in the scene, and she hesitates for a moment before toddling over to the couch.

“Cowa sad?” she asks, her voice tiny and uncertain.

Cora sniffles and sits up a little, trying to wipe her tears away. “I’m okay, Estelle.”

But Estelle isn’t convinced. She climbs onto the couch beside her sister, her little face scrunched up with concern. Without a word, she holds out her bunny.

“Bun-bun make you happy,” she says solemnly.

Cora’s breath catches, and for a moment, she looks like she might start crying again—but this time, for an entirely different reason. She takes the plushie with trembling hands and pulls Estelle into a hug.

“Thank you, Stellie,” she whispers, her voice thick with emotion.

Tony watches the scene unfold, his usual snark and bravado nowhere to be found. He looks at you, and you can see the helplessness in his eyes. He hates seeing any of his kids in pain, and knowing there’s nothing he can do to fix it is clearly killing him.

Later, after you’ve managed to convince Cora to eat a little something and Estelle is back to playing with her toys, you find Tony in the garage. He’s pacing, running his hands through his hair, and muttering to himself.

“Tony,” you say gently, stepping into the room.

He stops and looks at you, his expression a mix of frustration and sadness. “I hate this. I hate that she’s hurting, and I can’t do anything about it.”

“I know,” you say, wrapping your arms around him. “But she doesn’t need you to fix it. She just needs you to be there for her.”

“I don’t know how to do that,” he admits, his voice quiet. “I’m not good at this kind of stuff.”

“You’re better at it than you think,” you tell him, resting your head against his chest. “Just keep showing up. That’s all she needs.”

Over the next few days, Cora starts to open up a little more. She talks about the memories she and Ryan made together, the inside jokes they shared, and the plans they’d dreamed of before the news of his move.

The twins, thankfully, are oblivious to the situation for the time being. They’re too busy with basketball practice and their latest obsession with building the tallest block towers they can manage. You’re grateful for the reprieve—it gives Cora space to grieve without their constant questions and commentary.

One evening, as you’re tucking Estelle into bed, she looks up at you with her big, curious eyes.

“Cowa okay now?” she asks.

You smile softly and brush her hair back. “She’s getting there, sweetie. Thanks to you and Bun-bun.”

Estelle nods, satisfied, and snuggles deeper into her blankets.

By the end of the week, Cora seems a little stronger. She still has moments where the pain hits her all over again, but she’s beginning to smile and laugh more often. Tony even manages to get her to join him for a round of Mario Kart, and the sound of her laughter fills the house like a balm for everyone’s hearts.

“She’s going to be okay,” you tell Tony one night as you’re lying in bed.

“Yeah,” he says, though his voice is still tinged with sadness. “But it’s going to take time.”

And so, as a family, you give her all the time she needs, surrounding her with love, support, and the occasional inappropriate dad joke to remind her that she’s never alone.

The chaos starts one evening during dinner. The twins are unusually quiet, their usual chatter about basketball, school antics, and random “fun facts” replaced by curious glances toward Cora. She’s sitting at the table, picking at her plate of pasta with a distinct lack of enthusiasm. The sparkle she usually carries has dimmed a bit since the breakup, though she’s been doing her best to mask it.

“Hey, Cora,” Alex pipes up, breaking the silence. “Where’s Ryan? He hasn’t come over in forever.”

Howard nods, his mouth full. “Yeah, didn’t he say he’d bring us that big bag of caramel popcorn? He never did.”

You can see the subtle flinch in Cora’s shoulders before she glances at you, silently pleading for help. Tony immediately stiffens, his protective instincts on high alert as he watches the exchange unfold.

“Guys,” you say gently, “Ryan… isn’t coming over anymore.”

The twins pause mid-bite, their synchronized reactions almost comical.

“What? Why?” Alex demands, his tone filled with disbelief.

Howard narrows his eyes. “Did he do something to you, Cora? Because if he did, we’ll—”

“No!” Cora cuts in quickly, setting down her fork. “It’s nothing like that. He’s moving to London, and we broke up.”

The twins blink, processing this new information. Then, as if on cue, they both push their plates away and hop off their chairs.

“Unacceptable,” Alex declares, his hands balling into fists.

“Totally unacceptable,” Howard echoes, his expression darkening. “He can’t just dump you and move to London like that!”

“It’s not his fault,” Cora says, though her voice is tinged with frustration. “He doesn’t want to do long distance, and we both agreed it was for the best.”

“That’s a bad excuse,” Alex snaps, pacing back and forth.

“He’s a coward,” Howard adds. “And cowards don’t deserve you, Cora!”

Before you or Tony can intervene, Estelle, who has been sitting quietly in her high chair, suddenly pipes up in her tiny, serious voice.

“Coward don’t deserve Cowa,” she says, mimicking Howard’s words almost perfectly.

Tony chokes on his water, and you nearly drop your fork.

“Estelle,” you say, trying not to laugh. “Sweetie, you don’t even know what that means.”

“Coward,” Estelle repeats, crossing her arms like her brothers, as if she fully understands the weight of her declaration.

“See? Even Stellie gets it!” Alex says, gesturing dramatically to his baby sister.

“We should punch him,” Howard announces, his face set in a grim expression.

“Punch him,” Estelle echoes, holding up her tiny fist.

At that, Tony finally snaps out of his stunned silence and stands up, waving his hands in front of him. “Okay, okay, let’s pump the brakes here. Nobody’s punching anyone.”

“Why not?” Alex asks, glaring up at his dad.

“And anyway,” Howard adds, “Ryan hurt Cora. Isn’t that worse?”

“Guys,” you say firmly, stepping in before this spirals any further, “violence isn’t the answer. And Ryan didn’t hurt Cora—he made a difficult decision, and sometimes relationships just don’t work out. It’s no one’s fault.”

“But Cora’s sad,” Alex says, his lower lip jutting out in a rare display of vulnerability.

“We don’t like seeing her like this,” Howard agrees.

Cora, who’s been quietly watching the whole exchange, finally speaks up. “I appreciate you guys wanting to defend me, but I don’t need anyone to fight my battles. I’m okay, really.”

“You don’t seem okay,” Alex mumbles.

“She’s just figuring it out,” you say softly, reaching out to ruffle his hair. “And the best thing you can do is support her and be there when she needs you.”

The twins exchange a look, clearly reluctant to let the matter drop.

“We still don’t like him,” Howard mutters as he sits back down.

“Yeah,” Alex adds. “And we’re never eating caramel popcorn again.”

At that, Estelle solemnly pushes her sippy cup away and declares, “No popcorn.”

Tony snorts, shaking his head as he sits back down. “You’re really digging in on this, huh?”

“Someone has to,” Alex says with a dramatic sigh.

The rest of dinner is a little quieter, though the twins occasionally shoot pointed glances at Cora, as if they’re still plotting how to avenge her heartbreak. Estelle, meanwhile, alternates between eating her mashed potatoes and mimicking the twins’ exaggerated arm-crossing stance, clearly enjoying the attention.

Later, as you’re tucking Estelle into bed, she looks up at you with her wide, innocent eyes and asks, “Cowa happy now?”

You brush a strand of hair from her face and kiss her forehead. “She’s getting there, sweetie. Thanks to you and your brothers.”

Estelle smiles, snuggling into her blankets. “Okay. No popcorn.”

You stifle a laugh and tuck her in, leaving her room with a heart full of love for your fiercely protective little family.

Downstairs, you find Tony sitting on the couch, staring at the wall with a contemplative expression.

“You okay?” you ask, sitting beside him.

He lets out a long sigh. “I don’t know how you do it. Keeping them all from forming a vigilante squad and storming London.”

You laugh, leaning your head on his shoulder. “It’s a team effort.”

Tony wraps an arm around you, pulling you closer. “She’s going to be okay, right?”

“She will,” you say confidently. “She’s got us. And if that’s not enough, she’s got two little brothers and a baby sister ready to take on the world for her.”

Tony chuckles, pressing a kiss to your temple. “Yeah. That’s enough.”

It starts with little things, subtle and soft gestures to help lift Cora’s spirits. You and Tony both know she’s heartbroken—first loves are never easy to lose, and Ryan’s move to London had hit her harder than she wanted to admit. But you also know the kind of family she has. Stark resilience, wrapped in unconditional love, with just a sprinkle of chaos.

The effort begins the morning after the twins’ dramatic anti-Ryan declarations. Cora walks into the kitchen to find the twins at the breakfast table, uncharacteristically quiet. Estelle is perched in her high chair, clumsily holding a spoon as she tries to feed herself yogurt.

“Good morning,” Cora mumbles, still a little groggy.

“Morning!” Alex chirps, way too chipper for this early.

“Hi,” Howard says, looking suspiciously at his brother.

Cora narrows her eyes. “What are you two up to?”

“Nothing!” Alex says, but his grin gives him away.

Howard looks down at his plate, trying to look innocent but failing miserably. That’s when you step in from behind them, holding a plate of Cora’s favorite pancakes—chocolate chip, with extra whipped cream.

“We just thought you deserved a special breakfast,” you say, setting the plate in front of her.

Cora raises an eyebrow. “Okay, what’s the catch?”

“No catch!” Tony’s voice booms as he strides into the kitchen, dressed in a casual hoodie and jeans. “Just a family-wide campaign to cheer you up. Welcome to Operation Cora Smiles Again.”

Cora groans, though there’s a tiny flicker of amusement in her eyes. “You’re all ridiculous.”

“And you love us for it,” Tony says, dropping a kiss on the top of her head before grabbing his coffee.

Over the next few days, the “operation” goes into full swing. The twins take it upon themselves to invite Cora to all their activities, from basketball practice to board games, though their “invites” are mostly just them dragging her out of her room. Estelle toddles after her sister constantly, climbing into her lap during movie nights and insisting Cora help her with her coloring books.

Tony, of course, takes things to a whole new level.

One afternoon, he barges into the living room where you and Cora are sitting, her head on your shoulder as the two of you watch some feel-good rom-com. He’s holding his phone, looking far too pleased with himself.

“Ladies,” he announces, “pack your bags. We’re going to Paris.”

Cora sits up straight, her mouth falling open. “What?”

“You’ve always said you wanted to see the Louvre, right?” Tony says, grinning. “Well, I figured, what better way to distract you than with some world-class art and culture? Plus, croissants.”

“Are you serious?” Cora asks, still stunned.

“Dead serious,” Tony replies. “Private jet leaves in two days. Hope you’ve been brushing up on your French.”

“Dad, you can’t just—”

“Already booked it,” he interrupts, waving his phone. “Non-refundable. So you’re coming.”

Cora looks at you, her eyes wide with disbelief. “Mom?”

You shrug, smiling. “He’s not kidding. You might as well start picking out your outfits.”

She blinks a few times, then a slow smile spreads across her face. “Okay, fine. Paris sounds… amazing.”

Tony pumps his fist in victory, and you shake your head fondly.

When the day of the trip arrives, the excitement in the house is palpable. The twins are bouncing off the walls, thrilled at the idea of flying on the family’s private jet again. Estelle is too young to fully understand what’s happening but seems to pick up on the energy, clapping her hands and shouting, “Pawis!” every few minutes.

Cora, meanwhile, is quieter but visibly excited. She spends most of the flight flipping through a guidebook Tony had casually tossed her way, her mood lighter than it’s been in weeks.

Once you land in Paris, it’s like a whole new world opens up for her. The city is everything she’d imagined—bustling streets, beautiful architecture, and, of course, the Eiffel Tower. You and Tony make sure the kids experience all the highlights: boat rides along the Seine, macarons at a fancy patisserie, and a picnic at the Champs de Mars.

But the real highlight is the Louvre.

Walking through the museum, Cora is completely captivated. She takes her time studying each exhibit, her eyes wide with wonder as she absorbs the art and history. Tony stays close, his usual sarcasm dialed back as he watches her with pride.

At one point, she stops in front of the Mona Lisa, her expression thoughtful.

“It’s smaller than I thought it’d be,” she says.

Tony smirks. “Yeah, but it’s got personality. Kind of like someone else I know.”

Cora rolls her eyes but laughs, and it’s one of the first genuine laughs you’ve heard from her in a while.

By the time you return to the hotel that evening, everyone is exhausted but happy. The twins collapse onto their beds, and Estelle is already dozing off in your arms. Cora sits on the balcony, looking out at the city lights.

Tony joins her, leaning on the railing. “Feeling better?”

She nods, a small smile playing on her lips. “Yeah. Thanks, Dad. For all of this.”

He shrugs, though you can see the emotion in his eyes. “Anything for you, kid.”

When you join them, Tony wraps an arm around your waist, pulling you close. Together, the three of you watch the Eiffel Tower sparkle in the distance, a quiet moment of peace in the midst of everything.

The Paris trip continues to unravel in a blend of heartwarming family moments and the kind of chaos only a Stark family vacation could produce. It starts innocently enough as you all wander through the streets of Montmartre, the cobblestone pathways alive with music, street performers, and the scent of fresh pastries. Cora has perked up considerably since the museum visit, her mood lighter, her laughter more frequent.

But then there’s him.

It happens as the family pauses near a small café. You’re distracted, helping Estelle adjust the straps of her sunhat while Tony orders espressos, croissants, and a ridiculously overpriced cup of hot chocolate for the twins. Cora’s off to the side, flipping through postcards at a nearby vendor stand, when you notice a boy about her age approaching her.

He’s tall, with tousled dark hair, sharp cheekbones, and a confidence that screams “Parisian charm.” He says something in French, his voice lilting in a way that immediately draws Cora’s attention. She blushes, brushing her hair behind her ear as she responds—haltingly but gamely—in the French she’s been practicing since she knew about the trip.

Tony notices it too.

“What’s happening here?” he says, his tone shifting to dad mode as he steps closer, coffee cup in hand.

“Oh, relax,” you say, biting back a smile. “He’s just flirting with her.”

Tony narrows his eyes. “Flirting? In broad daylight? In front of me?”

“He probably doesn’t know you’re her dad,” you tease, leaning closer. “She does have my genes, after all.”

Tony smirks but doesn’t lose his focus on the boy. “Well, he’s about to find out.”

Before he can make a move, the twins return, each holding a baguette that’s nearly as big as they are. Alex squints at the scene unfolding by the postcards.

“Hey, who’s that guy talking to Cora?” he asks, his mouth full of bread.

“Probably her new boyfriend,” Howard says, grinning mischievously.

“Not helping,” Tony mutters.

“Let’s just give her some space,” you suggest, tugging gently on his arm. “She’s allowed to talk to boys, you know.”

Tony sighs but relents, though he keeps a close eye on the interaction. Eventually, the boy waves goodbye and walks away, leaving Cora clutching her postcards with a dazed expression. When she rejoins the group, Tony can’t help himself.

“So, who’s your new friend?” he asks, trying (and failing) to sound casual.

Cora glares at him. “Nobody. Just some guy.”

“Did he give you his number?” Alex asks, grinning.

“Did he try to kiss you?” Howard adds.

“Guys, stop,” Cora groans, her cheeks turning bright red.

Tony crosses his arms. “Was his name Pierre? Because he looked like a Pierre.”

You smack his arm lightly, laughing. “Tony, let it go.”

Despite the teasing, the moment passes, and the family moves on to the next adventure. The twins, however, are not so easily distracted.

That evening, as you’re lounging in the hotel room, flipping through a travel guide, the boys march up to you and Tony with matching determined expressions.

“We want to go to Disneyland,” Alex announces.

“Disneyland Paris,” Howard clarifies.

“Please, Mom?” Alex adds, turning his best puppy-dog eyes on you.

Tony snorts. “You’ve got to be kidding me. We came all the way to Paris, and you want to see Mickey Mouse?”

“Oui, Mickey,” Estelle chimes in from her spot on the bed, clapping her hands.

You glance at Tony, who’s already shaking his head. But then Cora chimes in, a small smile playing on her lips.

“It could be fun,” she says. “And the twins have been really sweet to me lately. I think they deserve it.”

Tony groans. “You’re killing me, kid.”

The next day, you find yourself standing in the middle of Disneyland Paris, surrounded by excited children, cotton candy stands, and the sound of cheerful Disney music. The twins are practically vibrating with excitement, dragging Cora from one attraction to the next.

Estelle is equally thrilled, her eyes wide as she points at every princess she sees, babbling excitedly about their dresses.

“Look at her,” Tony says, watching Estelle hug a life-sized Winnie the Pooh with absolute joy. “She’s two, and she already knows how to work the system.”

“She’s your daughter,” you tease, linking your arm with his.

The day is a whirlwind of rides, character meet-and-greets, and an obscene amount of overpriced snacks. Tony tries to talk his way into a VIP area at one point, but you manage to reel him back before he starts name-dropping himself.

Later, as the sun begins to set, the kids are busy chasing bubbles near Sleeping Beauty’s Castle, and you and Tony find a rare moment of peace on a nearby bench.

“Remember the last time we were in Paris?” he says, his voice low and teasing.

You glance at him, raising an eyebrow. “I do. And I remember how much wine we drank that night.”

Tony smirks. “It was a good night. A productive night.”

“Tony,” you say, laughing softly.

“What?” he says, feigning innocence. “I’m just saying, nine months later, we had Cora. Coincidence? I think not.”

You shake your head, leaning into him. “You’re impossible.”

“And you love it,” he says, pressing a kiss to your temple.

For a moment, it’s just the two of you, the chaos of the day fading into the background. Tony takes your hand, his thumb brushing over your knuckles.

“You’re amazing, you know that?” he says quietly. “Keeping this whole crazy family together, making sure everyone’s happy…”

“You help,” you say, smiling up at him.

He grins. “Yeah, but you’re the glue. The sexy, unstoppable glue.”

You laugh, resting your head on his shoulder. “I love you.”

“Love you too, Mrs. Stark,” he murmurs.

The moment is interrupted by Estelle toddling over, holding a sticky cotton candy in her hands. “Mama! Dada!” she says, grinning. “Candy!”

Tony scoops her up, laughing. “All right, princess. Let’s get you cleaned up before you stick to everything.”

As the fireworks light up the night sky, you watch your family, your heart full. Cora is smiling again, the twins are their usual mischievous selves, and even Estelle is giggling as Tony pretends to “steal” her cotton candy.

It’s not perfect, but it’s yours. And in this moment, it’s everything you could ever want.

Returning to Miami is bittersweet. After the whirlwind adventure in Paris, filled with laughter, healing, and plenty of magical moments, the familiarity of home feels both comforting and a little dull in comparison. The private jet touches down mid-morning, and as you step onto the tarmac, the heat wraps around you like an old friend. Estelle claps her hands excitedly at the sight of palm trees, and the twins immediately begin discussing which of their toys they missed most.

Cora, however, is a little quieter than usual. She’s not sulking—in fact, she seems happy—but there’s something in her demeanor, a kind of soft distraction, that doesn’t go unnoticed. You and Tony exchange a knowing glance as you watch her scrolling on her phone, her thumbs moving quickly over the screen as a faint smile plays on her lips.

By the time you’re back at the house, it’s clear that whatever—or whoever—Cora is texting has her full attention. The twins bolt up the stairs to their room, racing to see who can dump their luggage the fastest. Estelle toddles after them, babbling about her stuffed animals and pausing halfway up to plop down and rest.

Cora lingers in the living room, dropping her bags by the couch and flopping down with a sigh. Her phone is still in her hand, and her fingers immediately start typing again.

Tony raises an eyebrow. “So, who’s the lucky recipient of all those texts?”

Cora doesn’t look up, but she does roll her eyes. “Nobody.”

You smirk, taking a seat next to her. “Nobody’s got you smiling at your phone like that? Come on, spill.”

“It’s not a big deal,” she says, brushing a strand of hair behind her ear. “I’m just talking to some people I met in France.”

Tony sits on the arm of the couch, folding his arms across his chest. “Oh, some people, huh? Are we talking guys, girls, or… Pierre?”

“Dad, seriously?” Cora groans, but she’s laughing despite herself.

“Wait, is it actually Pierre?” you ask, feigning shock.

“No!” Cora insists, finally setting her phone down and looking between the two of you. “His name is Louis. He was in line behind me at the Louvre, and we started talking while we waited. He’s cool, okay? That’s it.”

“Cool enough to text all day?” Tony teases, his grin widening.

“Cool enough to not break my heart, which is more than I can say for other people,” Cora shoots back, though her tone is light.

Tony’s smile falters for just a moment, and you place a hand on his arm, giving it a reassuring squeeze.

“Well,” you say, steering the conversation back to neutral ground, “I think it’s great that you’re making new friends. France clearly left an impression.”

Cora nods, picking up her phone again. “Yeah. Louis and his friends were all really nice. They even invited me to come back someday and visit.”

Tony stiffens. “Visit? Alone? Over my dead body.”

“Tony,” you warn, shooting him a look.

“I’m just saying,” he mutters, leaning back. “Paris is great and all, but it’s a long way from here. And I don’t trust teenage boys. Especially French ones. They’re too charming.”

Cora laughs, shaking her head. “Relax, Dad. It’s not like I’m packing my bags tomorrow. Besides, you liked Paris too, remember? You wouldn’t stop talking about the croissants.”

“She’s got you there,” you say, smiling.

The next few days pass in a blur of unpacking, settling back into routines, and adjusting to the Miami heat. Cora spends a lot of time in her room, but instead of sulking like she had after the breakup, she seems genuinely happy. You often catch her laughing at something on her phone, and her mood has improved so much that even the twins take notice.

At dinner one evening, Alex leans over his plate of spaghetti and asks, “Cora, why are you always on your phone? Are you playing games?”

“No,” she says, twirling her fork. “I’m talking to my friends.”

Howard squints at her. “What friends? You don’t have any friends here.”

“Not here,” Cora says patiently. “In France. Remember the trip we just took? I met some people there.”

“Like Pierre?” Alex asks, grinning.

“His name is Louis,” Estelle pipes up, repeating what she’s heard so many times over the past few days. She giggles as if she understands the joke.

“Okay, dinner table rule,” you say, holding up a hand. “No teasing your sister about her friends. Got it?”

“Yes, Mom,” the twins say in unison, though you can tell they’re not entirely sincere.

After dinner, as you’re cleaning up in the kitchen, Tony wanders in, a dishtowel slung over his shoulder.

“So, what do you think about this Louis kid?” he asks, leaning against the counter.

“I think he’s halfway across the world and just a friend,” you reply, rinsing a plate. “And I think it’s good for Cora to have someone to talk to who isn’t us.”

Tony sighs. “Yeah, I guess. But I’m not thrilled about the idea of her running off to Europe to visit him someday.”

“She’s not running off anywhere,” you say, setting the plate in the drying rack. “And if she ever did, it wouldn’t be without a lot of planning—and probably a chaperone.”

Tony smirks. “So, you’re saying I’d have to go too?”

“Obviously,” you say, smiling. “You’d hate to miss out on more croissants.”

As the days turn into weeks, Cora continues to text Louis and his group of friends, her phone buzzing at all hours with messages and pictures. You catch glimpses of their conversations occasionally—photos of the Eiffel Tower lit up at night, jokes about the Louvre’s long lines, and even a video of someone attempting to skateboard in a cobblestone alley.

The twins remain mildly suspicious of this new development, but their jealousy is quickly forgotten whenever Cora agrees to join them for a game of basketball or a movie night.

One afternoon, as you’re sitting on the patio with Tony, watching Estelle splash around in the kiddie pool, he leans over and says, “You know, I think she’s really okay now.”

You follow his gaze to where Cora is lounging in a hammock, laughing at something on her phone.

“She is,” you agree, resting your head on his shoulder. “And that’s all that matters.”

Tony wraps an arm around you, pulling you closer. “You know, we’re pretty good at this whole parenting thing.”

“Speak for yourself,” you tease. “I’m the glue, remember?”

He laughs, kissing the top of your head. “Fair enough. But I’m the fun one.”

“Sure you are,” you say, smiling as you watch your family, your heart full.

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demaparbat-hp · 1 year ago

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Little Zuzu for an incoming project 🔥

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everythingiguess · 15 days ago

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Thamepo is just so interesting to me. I enjoy this show a lot and I need to talk about it.

It may seem like a pretty common plot —which could have something to do with the fact that it had been in the works for about 5 years before its actual release- but personally I feel like that's what makes it so enjoyable. You can't really go wrong with this kind of plot if it's handled correctly.

And I actually love all the main characters, which is something I usually have trouble with. In most cases I start liking them a lot but as the show progresses I notice that I don't really know all of them as I would like to.

And that's not the case with Thamepo! It makes me so happy; the fact that the show took its time to let us know each of them individually is one of the best things they could've done. This gave them a strong foundation to tell their story.

I know some people feel frustrated about Thame and Po not having scenes together as much as other bls, which is understandable, but I think that with a show like this it's the right way to go. I feel like it was necessary to focus on establishing the whole story and the environment, otherwise it wouldn't be believable. That includes getting to know all the band members, the people around them and the roles they play in their lives. Now that it's all established, they can focus on Thame and Po's relatioship more, which is what it looks like they're going to do; I remember seeing a clip of the actors talking about how surprised they were fans were so invested in the first half of the show because they thought people would start tuning it for the second part, so I'm guessing it's because that's where we have all the romance.

It's great and I love it because once Thame and Po are in a relationship, their dynamic will be very different from those in other shows; Thame is a popular idol and Po is not and that's a problem. This by itself should let us know that they will have a lot of difficulties and we've been given a glimpse of it in the Pepper-focused episode. Once it all begins, as an audience we'll completely believe in everything that happens because we're now immersed in the story and how everything works for people like the Mars' members. They won't need to explain every single thing to us because we already know and understand their situation.

We know because they took their time with the story, and they've done it so naturally. So of course I love it, and I think a lot of hard work has gone into this series and it shows.

I'm confident that if they hadn't done it like this it would have felt weird, absurd and careless.

#thamepo the series #thamepo #i love this show sm #it's been a long time since i've felt like this about a show #i enjoy it sm #and anyway #i know some people say the plot is common #but i for once have never watched something with this kind of plot #so i wouldn't really know #but yeah #i love the way it's handled #my favorite show are pretty much character-driven #and i give a lot of importance in how much understanding a have on each character #and thamepo is doing a great job in this department #im so fond of all of them #thamepo heart that skips a beat

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the-superstardaycare · 3 days ago

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It's like fate that I'm in front the moment this question is posted /half joke

Let me introduce you to Sano Manjiro, aka Mikey from Tokyo Revengers.

WARNING: I briefly talk about gangs, murder and death in this so if that's not your thing, just remember him as plural without reasoning. Also this obviously will include spoilers because I can't shut up about this show once I start.

ALSO this is a very long post because I'm so autistic about this, so sorry.

He is, I should clarify, not canonically plural. In all fairness, in source, probably not a single thing would speak for him being plural. But I started headcanoning him as plural about a year ago now.

Part of the reason is absolutely me coping with our own plurality. During times of self-doubt, it gives me a sense of comfort to think about one of my favorites also being plural.

Other part of it is that I (sourced from Tokyo Revengers) had a feeling that in my canon Manjiro was plural. My boyfriend (also sourced from Tokyo Revengers) also said it absolutely could somehow be possible.

So let me go into Manjiro and into my headcanons real quick (real quick is a lie, I am info dumping).

Tokyo Revengers, just for quick clarification, is manga that focuses on gang fights in the early 2000s japan. Its main theme also includes time travel, which leads to many different future versions of characters.

I believe that one of the last future version we get to see of Manjiro, specifically the one in the "close to perfect because everyone is okay but him" timeline, is probably the most plural coded as he can get.

He is, in my eyes, BPDgenic, traumagenic and possibly an accidentally created System for coping purposes. Probably considered a Mixed System.

The guy has witnessed quite a few events over his life that can (and should be) considered traumatic. I could go into the events and why that is, but I can't spoil the whole story, even if I really want to.

I think the one thing I should mention is that he lost pretty much everyone dear to him. His parents died when he was still pretty small; his big brother was (somewhat accidentally) killed by someone he deemed a friend, his sister was (absolutely on purpose) killed by someone he knew and his step brother ended up dying in a gang fight. Most of his friends and acquaintances left him because he started going into directions they did not want to take with him (in relation to the gang).

He also carries some type of curse with him that I won't be going into much details. It essentially makes him unreasonably violent and kinda loose sense of his self.

SO. Who's in the System?

Manjiro obviously. He's the host and one of the two alters who actually fronts. The usage of "core" or whatever is debated in the community, but it's probably the closest thing I know on how to describe it. He uses he / him, is a bi cis man and fronts during less stressful times with one of his triggers being the protgonist of the story (since they're "best friends" in lore, but manjiro is kinda in love if you ask me).

Mikey, who is the other fronting alter. He is, I'd say, the protector and a prosecutor. He uses he/him pronouns and is aroace (repulsed on all sides). He is essentially the "manifestation" of that curse.

Shinichiro is one of the multiple non-fronting alters in the System. He is a factive of Manjiros older brother. He/Him, Bi or Hetero probably and has an unknown comforter role.

This is my love Emma (she's so pretty, i love her). She's Manjiros sister. She uses she/her, is hetero and an emotion holder probably. She's, in Manjiros eyes, the manifestation of happiness and safety. She's also a factive!

Izana is a factive of Manjiros step brother. They didn't know each other for long, due to a hard relationship in the past and stuff that I won't go into because it's not important for Manjiros plurality. Anyways, Izana goes by he/him, he's unlabeled queer and has no specific role other than being a reminder of what could've been (ow.)

I think Shinichiro, Emma and Izana are entirely non-fronting. They can be co-conscious when Manjiro is in front, but that's about all. They're not made to front. They're created to serve as a reminder to Manjiro what he lost.

Things I should also probably mention:

Manjiro was cursed back when he was still a child, but I think that Mikey split off of him way later in life. So I wouldn't deem his younger versions to be plural for this reason. The "curse" only started manifesting when he was older, and therefore his plurality also only appeared later in life.

Being plural is, not entirely, a negative experience for Manjiro. In his defense, his entire life has been a negative experience at some point which is the reason why he became plural to begin with. But I wouldn't say "having factives of his loved ones makes him happy and a better person". If anything, it makes him miserable, because it's almost like a constant reminder that they're the closest thing he'll get to seeing them again.

Sure, its comforting to have them by his side, and to have Mikey who holds onto the dark impulses (the canon name for the "curse"), but it's not the same to him.

I think Manjiros plurality ended up saving him from a worse future (if that's even possible), but it didn't make his life better or anything. All it did was stop it from getting even worse.

Also, he's my favourite because 1) coping, 2) I feel so bad for him in the entire story and 3) part of me in source was dating him so it's only fair to think about him. 😔

Ah uhm, yea I don't know where else to go with this because I don't think many will read all of this anyways. But I got to info dump about this, which is nice. And shoutout to whoever read till the end :) you're so cool.

question 71: do you have a favourite plural character? is that canonical or a headcanon of yours? why are they your favourite?

#🎴.png #🎴 can't stop talking about Tokyo Revengers #plural #plurality #plural system #endo safe #pluralgang #pro endo #endogenic #system stuff #endogenic system

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viillette · 7 months ago

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it's so crazy how few historical fiction novels are like sharon kay penman's. the way that they're built out of the skeleton of the historical record seems so obvious, but there's so few people who are actually willing to commit to it in the way that she did. it seems like so often that's just a starting point which gets reformed to fit a coherent narrative, but she makes no real attempt to do that. there's themes and foils and patterns, but first and foremost it is a reconstruction. you can't really know what someone who lived that long ago was like, only what they did, and you can feel how she takes these isolated, dramatic events and builds a whole life around them. the books are nothing more than an answer to the question 'what might someone have been like, what could the history between these people have been, to possibly explain something like this?' the ability to string together a handful of facts and events from medieval chronicles to create people that feel so real, and psychology and relationships that develop so naturally that these distant, seemingly impenetrable choices suddenly feel so immediate and clear is just beyond belief. you know this probably wasn't actually how things happened, but it doesn't matter because it was something like this. the particulars are less important the crushing awareness that at one point all of this made sense. there was a time when all of this was right now. the world is unrecognizable and exactly the same. that's something which sounds very simple but is incredibly difficult to accomplish.

you come to know these people so well, their loves and hatreds and ambitions and failures, and those things are rarely resolved in the end. you know them from the time that they're children, you watch each one of them die, and none of it means anything in particular except that they were a human being. things which seem like they must be building to some tragic fallout end in anticlimax. things which seem utterly inconsequential in the moment manifest again decades later in cataclysmic disaster. and then you see it all play out again from the beginning with their children, and their children's children. all these uncanny echoes, this endlessly unfolding palimpsest of lives, each laid over the triumphs and mistakes of those who came before. i've never read anything so epic with so much mastery over the micro and macro levels of history. it's the minute, seemingly inconsequential everyday details, which build into a lifetime, which builds into generation of lives, which builds into the rise and fall of kingdoms and empires. it's the merciless endlessly turning wheel of fortune that replays the same songs in different keys again and again for all time. a person is both an individual with free will, and the prisoner of their blood and circumstances. somehow everything has infinite weight, is tied to everything that has come before and will come after, is the culmination of someone's entire existence—their pains and joys and fears and hopes—and yet is simultaneously completely meaningless, just one more victim of fate in an endless procession of lives and choices. the whole impotent tragedy of humanity is laid out in front of you and it's so repulsive and beautiful. it's deep love and unfathomable, senseless horror briefly and miraculously reverberating in a vacuum, an absurd aberration fading into silence.

if it's not obvious these books have made me cry like 10 different times

#sharon kay penman #here be dragons #historical fiction #that's my ted talk #i just can't express how much i love these books #and it's a real tragedy that they don't get the same recognition as some more popular literary historical fiction #which truthfully i think is mostly because they're not traditionally narrative enough to make into a commercially successful adaption #their scope is simultaneously way too big and much too small #so i am taking it upon myself dkalsj #it doesn't matter if you like historical fiction it doesn't matter if you care about medieval history #literally everyone should read them #they're some of the best books i've ever read #i think probably my second favorites of all time only behind villette #the prose is certainly good though not standout but the characters and narrative mastery is absolutely unmatched #like this is true craftsmanship this is the paradigm you know #i know i haven't really been active enough in a while for people to trust my opinion #but i will say to my credit that i have pretty absurdly high standards for what i call great literature #and i think that these books are objective excellent and deserve to be recognized as such #and that's what i have to say 😔

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stormyboi7 · 1 month ago

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THE NIGHTMARE

Once a humble scientist, experimenting with the Dream Realm to learn its secrets, until his research promptly drove him mad. Now, acting as one of Exodius’s many nemeses, he seeks to share his findings with the multiverse… and to trap it, in a terrible dream it will never wake from…

#the nightmare #exodius #my art #kogan art #ocs #original characters #i know i say every exodius villain is my favorite #but i mean it with nightmare #i just love him #i wish i could talk more about him #but alas; spoilers #i can at least say he’s sort of a mix of myserio and scarecrow #with a dash of the phantom of the paradise/winslow leach for good measure #he’s much more of a psychological threat than a physical one but he CAN get his hands dirty when need be #his stories are my favorites; again i just love him #as for the drawing itself i reused the style i had during oc-tober 2024 #i thought it was pretty effective so why bother changing it #if it ain’t broke don’t fix it and all that #character design

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accirax · 3 months ago

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Look at this: https://x.com/chuckecheesez/status/1852077124057759864

Best DC crossover in the history of the internet! (2nd half here)

Also this is the best part for me

😆😆😆

OOOOH it's a crossover between the first generation characters (is that what i should be calling them now? yeesh) and the DC4 cast! that's so fun! i really like the limited motion of this video, it really sells that old timey/kinda hokey feeling. plus Thriller is always a banger.

i agree that that part was probably my favorite part in the video. the detail of Drew holding up the paper that says "BRAINS" is so funny to me. my guy, nobody else in this video is talking. you could've gotten away with it. but the artist paid attention to the details. that's quality craftsmanship right there.

more tweet asks below the cut!

I am about to cry... BABY DREW!!! 😭💛

aww, this is so cute! and very in-keeping with the style of the show, too. i love his little star hat, it makes him look like the protagonist of a bedtime story adventure :)

also, this art inspired me to look up whether people with selective mutism would make any sound when they cry or not. apparently the answer for many of them is no! i know that the noise isn't the only reason why people give babies pacifiers-- obviously you want them to not be upset as well, and i think there might be something beneficial about the sucking action-- but it's still an interesting difference to consider, imo.

Just found this Dan appreciation/analysis/rant post when I opened up Twitter, in case you or any of the "Dan Stans" might be interested. The thread does open some interesting perspectives in terms of the show's favoritism and the creators' writing abilities/choices. So you can check it out if you want.

speaking of interesting differences to consider, thank you for sharing this! i always enjoy hearing other people's perspectives on media, even if i don't agree with them, as long as they're 1) generally informed and 2) not overly hostile, which i don't think this person was. they were definitely angry, but it came from a place of passion, and they at least didn't insult anything personal about who Jared and Robert are... for the most part.

anyways, a good analysis! i know you said you have no interest in Danganronpa, but as a fellow elimination game, i can definitely draw parallels between that franchise and this. specifically, in behaviors i've noticed in fans.

these are probably over-generalizations, but i feel like you could roughly break down DC/DR fans into three broad categories. first, there are the people who like heroic characters that last for a long time-- in DC's case, your Miriams, your Aidens, or your Connors. they seem to pick their favorite characters based on who they think would be the coolest to hang out with irl, or who they would aspire to be like.

opposite them, there are the people who like the villainous characters that last for a long time, more like Alec, Fiore, or Riya. they seem to pick their favorite characters based on who they think provided the most intrigue for the story, whether in terms of driving the central conflict or promoting the story's themes.

those groups have obvious tension between each other, with the hero enjoyers often not understanding how their compatriots could "condone" such vile actions by stanning villains and the villain enjoyers often seeing any character without a penchant for mischief as "lacking depth."

and then, in their own little corner, there's the third group, who enjoys the characters who left the game early-- i would imagine, because they find it fun to fill in the gaps that canon left with their projections and headcanons.

as someone whose favorites are typically long-lasting villains (with long-lasting heroes as a close second), it's really interesting for me to hear the thought process of someone of the third category! to me, if i like a work of fiction, it seems natural to me to have a general preference for the characters that last longer, because they make up a greater percentage of that thing that i like. but i really like this analysis of Dan's character as it shows how much importance he had even as a relatively early, non-returnee boot, and how he had layers without the tragic backstory typical of DC characters.

however, i also understand where Jared and Robert were coming from in not bringing him back. in theory, if you like Disventure Camp, it's because you like all of the over-the-top drama and plot twists the show throws your way. i (mildly) disagree with the OP's point that bringing Dan back would have been good as a way of differentiating their plot lines, because while that may have been true, it also sort of goes against the fundamentals of what DC has become. if that's not the kind of story that Jared and Robert wanted to tell, then they shouldn't be forced to write it.

not to mention, i could see why they would pass up on Dan for All Stars if they considered DC Season 1, as opposed to Adventure Camp, their second shot at Dan already. it's not a perfect solution, given that plenty of major characters from Adventure Camp continued to be major characters in DC1 and/or DCAS. however, if what this person wanted was "Dan transforms from a minor character into a more important role," that did already happen for him. he could have then become even more important in DCAS, but that loops back into "let Jared and Robert write the story they want to tell." flawed as it may be, at least they're (presumably) having fun if they're writing what they want as opposed to what the fans want.

and, on that note, i also personally perceived the "who's Dan?" comments and the idea of bringing him back to boot him first as more of a meme than anything else. but, i haven't read many of Jared's tweets nor am i in the DC discord, so i could be missing important context there. plus, i'm sure it'd sting to hear that about your favorite underrepresented character, even if it wasn't meant as a joke.

ramble over! at the very least, we can all agree that Genesis did a fantastic job voicing Dan :D i hope he gets cast in more roles in the future, whether in DC or otherwise.

#disventure camp #disventure camp spoilers #drew disventure camp #dan disventure camp #i do like dan btw. if that wasn't clear #like i said i generally favor characters who last longer but dan surprised me with how likeable he was in dc1 #so like he's not my favorite or anything but if i were doing a tierlist i'd definitely put him in B tier at least #i'm sure watching all these greetings about him and such has also boosted my opinion :)#and also. just saying again for the people. there's nuance beyond these three broad categories #for instance i know that you really like Alec despite seeming to dislike pretty much every other villain #so people definitely have preferences beyond just “good guy” “bad guy” and “untapped potential.” i just think there are also trends as well #and i really like attempting to categorize things :) it's enrichment

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squintsintwink · 4 months ago

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Cyberpunk 2077 is my favorite anti-capitalist game that I spent 70 dollars to play

#like is it worth 70 dollars #I Guess?#I know it took years and so many people to actually put this game together #and the basegame and dlc for seventy dollars total is such a steal in comparison to say #a certain life simulator game I play #but the actual game Cyberpunk in itself is so inaccessible already #like my gaming laptop can run the sims with all dlc and custom content on ultra graphics EASY #buy trying to run cyberpunk even on the lowest graphics is like #ROUGH #and like paying 70 dollars for the LOWEST graphics setting is pretty mid #like yeah they got Keanu Reeves as the cool brain parasite #but that only speaks to me on a personal level because I have a mental health issue that causes me to have Keanu Reeves as a brain parasite #in my actual real life #the story is so great but there’s so many side quests that no matter how many hours I play the game for I’ll never actually COMPLETE it #cyberpunk is my FAVORITE game and I do NOT regret buying it bc the story is there the world is there the characters are there #but it feels so superficial knowing I spent a quarter of my paycheck to spend 30 hours being like #‘that’s right Johnny Silverhand we should fuck em up’#i think it’s more that cyberpunk feels like a story the world really needs right now #but it’s only accessible to such a niche group of people #especially since the game got so much hate on launch #and yeah there is the anime now but the anime doesn’t even TOUCH a VAST MAJORITY of night city #the anime doesn’t have the same depth and wonder that the game has because the game is about a city and the show is about 1 group of people #cyberpunk 2077 really resonated with me in such a unique way and I love it so much I can’t even begin to describe my hyperfixation #but the graphics and first person camera give me motion sickness #and my wallet cried for three days when I bought the game #and so much of the actual political ideology is lost on me Because of the price point #I’m gonna play it anyway tho bc I’ve never seen my own brain parasites represented as video game characters before #twink speaks #Twink plays cyberpunk 2077 #not cc

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slingbats · 7 months ago

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I am going to need that rewrite on my desk by tomorrow, 12 point font, times new roman, double spaced

noOOOOOO IT'S TOO MUCH WORK!!! I DON'T HAVE TIME AND I DON'T CARE ENOUGH........ girl help!

my rewrite where uhhhhhhhhhh. everything is the same except the writers actually care about female characters. a lot of decisions were made because of actresses no longer being available so plotlines like fish's are more or less the same but like, Ivy either gets to grow up normally or is never a child at the beginning to start with (you can go the weird plant body route if you have to keep her relatively younger since this is a prequel ig), and I don't... even know what to make of KK or Isabella, and Sofia should just be fucking. dont tell me there isn't a single female italian bodybuilder who can act, I don't believe you. let her be buff. let her take up space. let her be huge and wear vintage fashion.

also Oswald is fat and trans

#the problem is that largely i think gotham should suck ass #the only thing that really drives me up the fucking wall is the like. obvious sexism #every fully disposable female character makes me evil #i dont know what they were on about the riddler fangirl and i've chosen not to examine it bc i suspect you had to be there #in order to understand what whoever wrote that was mad about specifically. i can't stand that shit #'we have to openly mock some actually harmless aspect of our fanbase' ok but can you do it without being weird and sexist '🧍‍♂️'#but generally? the Stupid plotlines the Really dumb crap #whatever the fuck gordon is doing from episode to episode #...it builds character. i wasn't paying attention to most of it anyway #hey real quick look me in the eyes #there was something there. i hate the galavan arc so much but there was something there.#a sympathy. a kinship between tabitha and silver. tabitha was groomed for a role the same way silver is being groomed and she recognizes #the childish desire to please authority figures in their stupid bullshit organization even though silver can't see it because she's still l #living in it #did you guys see that? because i saw it #and it's in the middle of like. one of the worst arcs in the show #(the arc is fine the actor who plays theo is just so like. he has no charisma at all and something is Off about the whole thing bc of it)#oh wait no yeah actually. the stuff with silver is kind of hard to watch bc it would be interesting if they wanted to examine it #but it's a stupid drama series so it's just a love triangle even though she's a pretty sad character even within the writing in this show #and silver never comes back. and she doesn't need to bc they wouldnt know how to treat her #but did you guys see that too?#I like tabitha #anyway that arc is bad but i do think sometimes about silver saying 'my favorite animal is a dolphin bc they're magic'#and for a second bruce forgets the situation and looks like he's going to snap #exclusively because she said something factually incorrect about an animal #what was i talking about again

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queenlucythevaliant · 2 years ago

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A Liturgy of Surviving

Scarlett always wanted to be like her mother, and maybe in another world she could have been. If the war never happened, she could have grown softer instead of sharper. She could have curbed her temper, married well, and been received in respectable homes all her days. Maybe, if it hadn’t been for the war, Scarlett O’Hara could have lived out her days in genteel artifice, just like Ellen before her.

Maybe. Maybe not. If you asked her, Scarlett would say that the question was irrelevant. “God’s nightgown!” she would exclaim. “Don’t ask me what could have been. The war happened and that’s that.”

I won’t think about that now.

The day after Scarlett’s world ended, she swore an oath that she would never be hungry again.

She woke in pain. Her muscles ached and her joints creaked. She was nineteen, but she felt like she had a hundred years weighing her body down. Morning light slanted through the window and her head ached with the moonshine liquor that she’d downed the night before. From another room, she heard an infant crying.

She passed through the dining room without eating, pausing only briefly beside her grief-ravaged father. She found Pork on the porch shelling nuts. The sun was up. Scarlett O'Hara drew herself tall and began to marshal her troops.

Melly and her sisters were still infirm, so they were useless for now. Mammy could tend them, and Pork and Prissy were to round up the livestock. Dilcey to Macintosh, herself to Twelve Oaks; perhaps they’d find food. Yes, I know. I’ll worry about that tomorrow. Now get going.

Those days as the war staggered to its end were some of the longest of her life. In between them, Scarlett would collapse into bed and rub the welts on her feet with clumsy fingers. Sometimes she’d picture Ellen and all her gentle admonitions to kindness and refinement, and she’d say aloud to the walls, “What happened to me? What am I doing?”

She didn’t dwell on the question, but somehow, she always knew the answer. “I’m doing what I must,” she would answer herself. “I’m surviving.”

People didn’t talk back to Scarlett anymore. They were all afraid of her sharp tongue, of the new person who walked in her body. This Scarlett bullied and cajoled until everyone obeyed her, and inevitably her orders were to work. She was all edges; any softness that she’d once possessed had been sanded away splitting rails and picking cotton. Good, she thought. Let them fear me, if it keeps us all standing.

I’ll think about it tomorrow.

Scarlett was sixteen when the war began: sixteen in green muslin, fearless and unencumbered. She had her mother’s slim waist and her father’s square jaw, but her clear green eyes were her own.

She was sixteen when she married Charles Hamilton and lost him, seventeen when she bore his child and draped herself in black crepe. She got Melly and Wade in the bargain, but she didn’t want either of them. She wanted Ashley. She wanted to dance! She wanted, she wanted. She wanted Scarlett O’Hara back.

At nineteen years old, Scarlett survived the destruction of her whole world. She could have cried for the loss of her girlhood, for her old self long gone with the soft hands and dancing slippers, but what good would it have done? Curled up in her childhood bed at Tara, Scarlett didn’t cry. Instead, she folded in on herself, knees tucked up to her chest, and tried not to feel her muscles aching. She would have to get up again tomorrow, no matter how badly her shoulders still hurt.

She had strong shoulders, Scarlett O’Hara. That was maybe the most important thing about her. At any time, at any age, her shoulders could bear whatever they were given. “I’m surviving,” she would say each morning when she rose. A stranger’s freckled face greeted her in the mirror, but Scarlett only squared her small thin shoulders, breathed in, took one step and then another.

Tomorrow, when I can stand it.

Calluses form like this: repeated pressure or friction is applied to the skin, most often of the hand or the foot. The outer layer, which is made of dead cells, begins to be retained rather than flaking off normally. The dead cells accumulate, forming hard layers sometimes hundreds of cells thick.

They form like this: you use your skin. The shell of hardness around it slowly thickens.

I can stand anything now.

The day after Rhett left, Scarlett packed up Wade and Ella and she once again drove the long road home to Tara. She pushed her way past Suellen at the threshold, exchanged brief pleasantries with Will, and then fell into her old bed as she’d done so many times before.

The next morning found Scarlett basking in the slanting yellow light that struck the porch from the east. Her eyes were fixed on the fields beyond and there was a devilish look on her face.

When Rhett came back—and he would come back, he had promised he would—he would find her here at Tara, where she was strongest. “He liked when I was strong,” Scarlett said to herself. That was something she’d always known, for all that she’d been blind to the true dimensions of it.

Day after day, Scarlett rose and moved through Tara’s halls. She ate her breakfasts in the place where she’d faced down the Yankee army, sorted through figures where she’d once debated with Melanie over whether they ought to risk sending Pork out on the horse to look for food. Twenty times a day, she walked past the place at the base of the stairs where she’d shot her deserter dead. Here, in these halls, she had made her greatest stands.

She’d stood more rigidly then, threadbare and starving and uncertain. She’d come to the end of herself, only to find that she had wells of strength hidden deeper than she knew. Her hands were calloused and dirty. What else could she do?

I’ll never be hungry again.

It’s easy to view Scarlett as hard and amoral. Even those closest to her would not have contested that characterization. Perhaps Melly would have argued, but then, Melly always saw the good in everyone. Scarlett killed and she stole and she schemed and she cheated, and she did it all in cold blood. What a selfish, conniving bitch, you might say.

It’s easy to forget Scarlett’s compassion. When she beat that poor horse to keep it trudging the long road home to Tara, she regretted hurting a tired animal. Her concern for Melanie, her friendship for Will Benteen, her joy when Rhett made her laugh: these were all true and genuine.

Didn’t Scarlett love her father and mother? Didn’t she grieve to see her friends and neighbors ruined by war? Scarlett O’Hara risked her life to save Charlie’s sword for Wade to inherit, and she built her mills for him and Ella both.

None of this negates the ruthless things she did in the name of survival, but it does begin to explain them. Scarlett made herself hard when hard was what she needed to be. She determined to live without reservation, without softness and with little kindness. Rhett called her cruel, and maybe he was right. But Melly also called her sacrificial and devoted, and maybe she was right too.

No, nor any of my kin.

On that road home to Tara, Scarlett once said, “If the horse is dead, I will curse God and die too.” Someone in the Bible had done just that—cursed God and died. Scarlett remembered feeling like that person, a despair of Biblical magnitude.

But the horse was alive, and so Scarlett did not die. Later, she thanked God that her knees still had the strength to support her, that her neck was still strong enough to hold her head high. Scarlett was not Job’s wife, nor even Job himself. She was Rahab, who escaped the destruction of Jericho, who saved her whole household and survived.

“What a fast trick,” said the Old Guard when she stole Frank Kennedy away from Suellen. No, Scarlett could never be Job. She was Jacob, the trickster and supplanter.

Just a few more days for to tote the weary load.

Scarlett was easily provoked into courage; that was one of the first things that Rhett learned about her. A few insults, a pointed comment, and Scarlett lifted her chin and flounced off to prove just how brave she could be. She shed her crepe years early, and to Halifax with anyone who objected.

Rhett did that same thing to her on the awful day that Atlanta burned. He insulted her and laughed at her, and when Scarlett spat, “I’m not afraid,” it was true. Her hands, which had moments ago been shaking too badly to hold anything, were steady now, and anger had crowded all the fear out of her voice.

Rhett kept needling her all the way out of the city, until they reached the Rough and Ready where he left her. The banter kept her sharp. As long as her eyes were flashing in indignation, she hardly noticed the fire.

Even after Rhett left, his jabs stayed with her. “What would Rhett say if he knew I couldn’t do this?” spurred her back into action more times than she would ever admit. It was a petty kind of courage, and it felt smaller than the great, soaring motivation that came with thoughts of Tara, of the O’Hara name and Irish pride and red earth, but sometimes petty courage was enough to bridge the gap between strength and exhaustion.

He gave her something to hold onto, something to ground her, and even Rhett only halfway understood what that meant. I want you at your best, he never told her, but he pulled her into it by taffeta ribbons and witticisms. As the years rolled by, she rose to meet him. They swapped sharp words and insults, him always claiming to know her and her shouting, “You don’t know half!”

One day on the jostling ride out to her mills, Scarlett told Rhett about the fire that the Yankees set in Tara’s kitchen. “I’m not afraid of fire anymore,” she declared with something like pride, and Rhett remembered goading her past the flames the night Atlanta burned. “I beat it out with my skirts, and then Melly had to beat me out when my back caught,” she went on. “Now I’m not afraid of anything but hunger.”

I don’t want you to fear anything in all the world, Rhett didn’t say. Once they were married, he laughed at her appetite and teased her, “Don’t scrape the plate, Scarlett. I’m sure there’s more in the kitchen.”

No matter, ‘twill never be light.

After the war, Rhett had his millions. Ashley had his honor. Melly had the Association for the Beatification of the Graves of Our Glorious Dead. Scarlett held a ball of red clay in her fist and whispered, “I have this.”

Her father built Tara from nothing and he loved those acres like they could love him back. He had come to Georgia a poor immigrant boy and he had won that red earth. Whatever Gerald could do, his daughter could do too: of this she was certain. This land, this firm red clay on which she stood, was both her battlefield and her prize; her birthright and her hallowed ground. She gripped it tight with all the passion of a lover. She longed for its rolling fields on cold nights in Atlanta, sleeping beside Frank Kennedy.

“Yes, I have this,” and she let the dirt run between her fingers and lodge beneath her nails. Melly had Ashley and Ashley his senseless honor. Scarlett had Tara.

I’ve still got this.

When she rode out in her buggy with her lap robe pulled up to her bosom, Scarlett heard how people whispered. She felt indignant about it the first time, and the second time she worried what Ellen would have thought. The third time, she decided not to care.

She still complained to Rhett about the whispering as he was holding the reins one afternoon. He didn’t laugh at her, just looked sideways from the road with his dark eyes and nodded like he understood. “Be different and be damned!” Rhett said, and his tone was like a soldier who’d heard the bugle. It was so strange, how Scarlett could tell him all the worst things about her and he would always answer back like they were medals instead of secret shames.

Most of the city was in mourning, but Scarlett wore colors. She pilfered the store’s inventory in search of bright green, washed and mended her curtain dress as many times as it would stand, and when the money came she wore gowns of emerald, blush, indigo, and scarlet. Let them stare, she thought. See if I care.

At twenty-two, Scarlett rode up to Pittypat’s in the evenings, long after Frank had come home from the store, and she felt condemned. To the well-bred folks of Atlanta, she was as bad as a Scallawag. But sometimes, when she was alone, Scarlett ran her hands beneath the lap robe and hoped that Rhett was wrong about children and grandchildren, that the child she was carrying would understand one day. I hope you’re nothing like Frank, she thought. I hope you have shoulders like mine.

I’ll never be hungry again.

“It’s no use, Scarlett. You can’t scrub out the past,” said Rhett when at last he came to Tara. “You can’t take back the last ten years, no matter how you’ve come — to appreciate my charms.”

“You think I don’t know that?” Scarlett snapped. “There’s never any going back. Not ever. But Rhett—” she reached for his hand. “I love you, and at last we understand each other. We can build something out of that.”

They argued about it until Rhett left again, fuming and bitter, his Panama hat pulled low over his face. Scarlett made an unannounced visit to Charleston the next month. “I was thinking,” she suggested, “That we might sell the Peachtree Street house.”

Scarlett knew all the words for making men love her, so long as she understood what it was that they wanted. The Tarleton twins had wanted merry excitement; Charles had wanted to feel important and Frank had wanted to feel like a strong, successful man. Ashley had wanted someone braver and better than he was, and he’d found it in Melanie without having to risk himself on Scarlett. Scarlett had never understood what it was Rhett wanted, but she did now. Why, it’s always been my love he wants! So Scarlett spoke the right words, and this time she meant them.

“You were right when you said that we’re alike. Only—you’ve always known about me, whereas I’m just starting to know you. Will you tell me about that knife fight in California again? About the sail boat you won at cards?”

“You know those stories,” clipped Rhett. “You don’t need to hear them again.” So Scarlett went downstairs and pried the stories out of his mother instead.

The house on Peachtree Street sold within the month, snatched up by some Carpetbagger who wanted it for a hotel. Rhett traveled to Mexico, and returned to find Scarlett back at Tara preparing for spring planting.

“What do the women wear in Mexico?” she asked him, leaning on the porch railing in the slanting light. “What is your favorite place you’ve ever traveled?”

Rhett indulged her in brief, but then abruptly he chuckled and shook his head. “I know what you’re doing, you little minx.”

“Yes,” said Scarlett. “Of course you do.”

Tomorrow, oh tomorrow!

The clay soil of Georgia is red from iron oxides. It’s red the way rust is red, the way blood is red. If a blister splits open and your blood falls on the ground, that iron-red soil will just swallow it up. You can bleed and bleed, and the stuff in your blood will always be one with the stuff of the soil.

When cotton and vegetables sprout from the ground, it’s easy to believe they grew from your very own blood, and that your own sweat and tears watered them.

Never look back.

“We women were soldiers too,” Melanie said once. Scarlett didn’t respect her yet—at least, not consistently—but this might have been one of the moments where she first looked at Melly and thought not that her heart was soft and timid, but that it was a sword.

“We never expected to be – or at least I didn’t.” She looked around the circle of ladies, at India and Fanny, until her eyes came to rest on Scarlett at last. “We were children then. We all imagined the world far simpler than it was.”

Melly, India, Fanny, Scarlett. These women had all been girls together. They knew one another at seven, twelve, fifteen, swaddled in silks and trying to seem more grown-up than their playmates. They’d competed for beaus and Scarlett had mostly won, except where Ashley Wilkes was concerned. They had lived through the war together. Now, Scarlett sat among them on Melly’s front porch and tried to remember if she’d ever in her life felt like one of them.

For Christmas, Melanie gave Scarlett a small book of poetry. Scarlett never read it, except for the one verse which Melly had marked with a green ribbon. She bit back the urge to sigh when she undid the wrapping, but Melly pointed out the bookmark and said, “This one made me think of you, dear.”

Scarlett didn’t like to think of it now, but once she’d been sixteen in green muslin, confident that dimples and a clear complexion were the only weapons she’d ever need. She had been a child, but that child had not died when Atlanta burned. The belle of Clayton County was not in the grave with all the boys who’d never come riding home from war. Scarlett was alive. She was right here.

“What is a dead girl but a shadowy ghost/ Or a dead man's voice but a distant and vain affirmation/Like dream words most? / Therefore I will not speak of the undying glory of women. / I will say you were young and straight and your skin fair/ And you stood in the door and the sun was a shadow of leaves on your shoulders/ And a leaf on your hair—"

Scarlett came home from her mills in the gray evening and she made her way back to the Wilkes’s ramshackle front porch. She left her buggy feeling condemned and she sat with the other ladies feeling alienated, but all the same she couldn’t bring herself not to go. The war was over, and these were the survivors. They were through fighting, hung up on glory, but Scarlett still hadn’t holstered her guns.

“We were soldiers,” said Melanie, and in her heart Scarlett added, “Some of us still are.”

I won’t let them lick me.

Supposing that Ashley had married her. Perhaps the sight of her in green makes him brave enough to shed his veneer of honor and say, “Yes, you’re right, I can’t live without you.” It’s a minor scandal when he casts Melanie off in her favor, but not for long. The war is beginning and besides, good men have made themselves fools for Scarlett O’Hara before. By the time the soldiers march away, the scandal is all but forgotten in favor of the fine figure they cut as they embrace at the depot: Ashley so brave in his uniform, his young wife radiant as she clutches him.

Ashley sends her long, meandering letters full of philosophical musings. Scarlett reads them uncomprehending and sends back missives full of I love yous. She kisses them when she mails them, sometimes with a Hail Mary for her husband’s safety.

Rhett doesn’t notice this Scarlett at Twelve Oaks, and so he’s caught off guard when he hears the young Mrs. Wilkes say something blunt and scathing at the Bazaar. He chuckles to himself in delight and later he asks her to dance, and of course Scarlett simpers and agrees, and it’s a merry night. But Rhett doesn’t come back to Atlanta for the rest of the war.

This Scarlett leaves for Macon with the rest of the women when the Yankees come to Atlanta; after all, she has no Melly to keep her in the city during the siege. She takes Ashley’s child with her, and it’s in Macon that he finds her after the war. He waxes poetic about the Old Days, the Horrors of War and Götterdämmerungs and the like. He looks at her with sad, tired eyes and Scarlett says yes, I heard you the first time. But what are we going to do?

Twelve Oaks is razed. They go to Tara. Ashley tries his hand at farming, but it’s Scarlett who manages to pick and plant and organize while Ashley’s fumbling attempts at working with his hands yield scant success. His heart isn’t in it, which infuriates Scarlett. C’mon, get up and fight! She looks into the tired face of the man she loved so ruinously at sixteen and wonders what she ever thought was so noble about him.

When taxes come due there’s no way to pay. What’s more, Ashley doesn’t even try. It’s here that Scarlett breaks with her husband. Between Ashley and Tara, it’s Tara every time.

So Scarlett bullies her husband into calling old debts in from a few impoverished friends and when that isn’t enough, she goes to see the tax assessor dressed in green velvet and makes some very personal insinuations about Mr. Jonas Wilkerson. From there, Scarlett bullies her one-time-beloved and does as she pleases, and Ashley has to live with the fact that it’s his wife who provides for the family. In every world, it is Scarlett O’Hara who keeps Ashley Wilkes alive after the war.

His pride lays down in the dirt and dies. Scarlett Wilkes shakes her head bitterly and plants more seed in her red, red earth.

Supposing Scarlett could have imagined all this. What do you think she would say? Perhaps in her youth she would have cherished the idea, but the hard-eyed Scarlett who emerged after the war would have only leveled her small shoulders and said, “What does it matter what would have happened? I’ll think about it later.”

There but for a lot of gumption am I.

The day after Bonnie died, Scarlett called for the buggy and went to her store. Rhett took this as proof that Scarlett had never really loved the little girl, that she was devoid of maternal affection as he’d always suspected, but Scarlett was grieving in her own way. She threw out two uncut bolts of blue velvet: expensive fabric over which she’d have upbraided a clerk to hell and back if he’d wasted even a few inches.

It was true that Scarlett had never wanted any of her children when she’d carried them. She had not felt joy or love or any of the feelings that other women described when first she saw them. What she did feel, in the moments after Dr. Meade placed each child in her arms, was a fierce surge of protectiveness. She was certain that she would work and sacrifice and even die for her children, if need be. They were her blood, her flesh, her kin.

Scarlett had hated pregnancy each time it happened to her. She hated feeling large and lumbering, hated the way that her tiny waist bloated and grew until even her modified dresses didn’t fit right. She hated the inconvenience of morning sickness, the limitations on what she could do, the necessity of seclusion as delivery drew near. It was nine months of hardship and frustration capped off with many long minutes of excruciating pain.

Bonnie had died in an instant. She’d been flying towards the hurdle and then, half a breath later, she’d been gone. Standing in the back of the store with two bolts of blue velvet before her, Scarlett swallowed back tears that Rhett would never see. It wasn’t right that a child who’d taken her so much time and effort to bring into the world could be gone from it so quickly.

When she returned to the house a few hours later, Rhett had locked himself in the bedroom with Bonnie’s tiny body. Scarlett paused for a moment outside the door, but then she squared her shoulders and kept walking.

Just a few more days for to tote the weary load.

Scarlett had a habit of humming “My Old Kentucky Home” while she worked. Splitting wood, planting and picking cotton, driving between her mills, keeping the books—even sewing. The song was a thoughtless thing, an instinctual thing. She hummed it the same way a person might worry lips between teeth or tear at nails.

She repeated the words again and again until her heart pulsed to their rhythm. Just a few more days for to tote the weary load. I’ll think about it tomorrow, when I can stand it. Tomorrow, tomorrow. No matter, ‘twill never be light. I’ll never be hungry again. No, nor any of my kin. I’ll never be hungry again. They were a mantra: something to hold onto when the whole breadth of her world had narrowed to a single point. A refrain. A liturgy of surviving.

Just a few more steps

Rhett loved Scarlett and it was terrifying. He feared that she would treat him like one of her country beaus: a lovely toy to play with and to tear to ribbons when she was done. He was afraid, so he hid his heart behind his impressive poker face and said “I want you” instead of “I love you.” He called her “pet” instead of “sweetheart.”

Scarlett loved Rhett and it was slow. He brought her bonnets and bonbons and Scarlett thought, “Why, it’s almost like I was in love with him!” He came to help her the day Atlanta burned, and Scarlett thought that she’d like to stay in his arms forever. When he chauffeured her to the mills, she thought that he was the only person in the world to whom she could tell the truth.

"You never told me you loved me, you know," Scarlett said the next time she visited Charleston. "I never knew. That's not to say you were wrong about me - about what I would have done if you had said something. But you should have been brave enough to risk it all the same."

Rhett closed his eyes for a moment and his mask slipped away. It was doing that more and more these days.

"But I did tell you — once."

"I think I would have remembered that," said Scarlett, pursing her lips.

"Ah. ‘It is far off; and rather like a dream than an assurance that my remembrance warrants.’ I suppose my humble confession was the least of your worries that day."

Scarlett wrinkled her nose. "What?"

"The day Atlanta burned, my dear."

After a long moment, Scarlett gave a little gasp which turned into a sigh as it ended. "Oh. That's right, you did then, didn't you?" She shook her head. "Rhett, I do believe you have the worst timing of any person I know."

As God is my witness

The day she married Charles, she wore Ellen’s cream-colored silk gown, aired out in a hurry from the chest where it had been sitting since the O’Haras married back in 1846. She couldn’t breathe for how tight her laces were —sixteen inches, like Ellen’s waist was when the dress was purchased— and perhaps that was a good thing. Scarlett was light-headed throughout the ceremony and she scarcely remembered it afterwards.

The day she decided to have Frank, it was raining hard. Scarlett left the jail in sodden velvet and was grateful for the drops falling on her cheeks to disguise the tears. It was sunny the day of the wedding, but she scarcely noticed that. Afterwards, when she thought of marrying Frank, Scarlett would always remember the rain.

There was a fine mist over everything the day she got Rhett back for good. Scarlett was wearing her work clothes when he came riding up to Tara; she’d been walking the cotton fields that day, overseeing the progress of the crop. They were both a little damp when he kissed her.

I’ll never be hungry again.

O’Haras and Robillards had always known how to dig their nails in, and by God, Scarlett was both. Her namesakes had long ago fought for their own plots of Irish earth; had survived and died and been hanged fighting to hold onto it. All Scarlett’s forebears, her folk, had left crescent-moon imprints on all that was theirs when it was finally pried from her hands. Scarlett gripped her little ball of clay and felt her nails dig into the heels of her hands.

She was her father’s hot-tempered daughter, but she had her mother’s steel-hewn spine. All the years of her life, she never saw Ellen Robillard O’Hara rest her back against a chair. When Scarlett’s own time came, she held herself every bit as straight as her mother: she didn’t rest or lean, just stood and stood.

Maybe this is what she was always made for. Her green eyes weren’t for charming young men, they were for seeing dresses in curtains. Her hands were never supposed to be soft; they were meant for digging in the red dirt. Even her lips—Rhett was wrong, they weren’t meant for kissing. Scarlett’s lips were as sharp as the words that she spoke when she wasn’t afraid what anyone thought. They were meant to draw blood.

She had been sharp all her life, even when her edges were carefully concealed in layers of satin. Scarlett was not made to be soft; her core held no gentleness. She could not pretend otherwise. All she could do was stand straight, and hold up her tired old shoulders like they were the strongest thing in the world.

I’ll think about it tomorrow.

One day, at the Butler home in Charleston, Rhett taught Scarlett how to play poker, and subsequently how to cheat. They were still playing hours later, counting cards and hiding them in sleeves and making all kinds of ridiculous bets on losing hands. Just as she was taking off her right earbob to call, the thought rose to Scarlett’s mind unbidden: “What on earth are we doing here?” And just as quickly, there was the answer. “We’re living.”

At the end of this most recent road home, weary and damp from running through the fog, Scarlett found her way back into Rhett’s arms. In the evenings she listened to his stories and witticisms, and late at night she listened to the sound of his breathing. I will not speak of undying glory, she thought. Rhett was still here, and so was she. They were both still here.

Scarlett took off her left earbob too, for good measure. “I’ll raise you,” she said. “I have a good feeling about this hand.” There was still an ace hidden up her sleeve, but if Rhett noticed it he didn’t say anything.

They survived together. They built something new. There is always profit to be made in building things, and these two were nothing if not industrious.

After all, tomorrow is another day.

#i am fully aware that none of you followed me for gone with the wind lol #that said- it's one of my all time favorite books #like. in a dead heat with narnia #i've wanted to write some sort of character study-ish thing for gwtw for just about as long as i've had this blog #and having just reread it last week i decided it was time #had a lot of fun messing around with style here #is the prose a little self indlugent? absolutely #but it was fun #if lucy pevensie is half of my heart scarlett o'hara is the other #they absolutely would not get along #but that's beside the point #(actually you know who actually might mesh pretty well with scarlett? eowyn. probably not great friends or anything #but at least a nod of respect)#to tote the weary load #leah stories #literature makes us more human #pontifications and creations #also for the record this is the most i'm willing to speculate about what happens post- novel #the sequels are all trash and unlike with say Susan i'm very much content to say #'I believe in Scarlett's ability to succeed. she'd gonna be fine'#and apart from that let the ending be bittersweet and hopeful #trying to fill it in much beyond really broad strokes is a totally futile endeavor #and i have no idea why people bother trying #'tomorrow is another day' deserves to be the last word in scarlett's story #that is all

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