#Betty Behave

[grinchwrapsupreme]

i'll never understand people saying the ghosts will have less freedoms in a hotel rather than a residence like when has not being allowed to do stuff ever stopped them lmao someone's radio is getting haunted julian does not give a shit

[armando-triplepapito]

Hell no!! Marcela is better than me cause I would’ve slapped Margarita!

[jonny-versace]

Making friends and influencing people with Betty

[shakespeareallanpoe]

The Kents

Honestly, we just don't talk enough about how Clark discovered his powers. Or young Clark in general. And personally, I think that's very unfortunate of us.

Not to mention he was the quintessential "aliens crash land into a farm in the middle of nowhere" around the same time in history that America had its alien crop circle conspiracy phase/obsession.

Just sayin. One could milk a great deal of entertainment out of that...

Some kid at school: "Good gravy. Did y'all hear what the radio folk are all preachin' these days? Aliens are crashing into our fields left an' right! Ain't that the darndest thing..."

Clark, 12, seeing all his classmates in x-ray because his vision turned on a day ago and he can't turn it off: "uh- uh huh."

Alternatively:

Teacher: "I just don't know what to do Mrs. Kent. Clark was such a a well behaved boy an' now he just ain't listenin' to a thing I say!"

*Clark, twitchy and exhausted because his super hearing zeroed in on 1 specific cricket that hasn't shut up for the past three days*

Mrs. Kent: "...Well I'm sure it's a phase, all the boys would rather be playin' in the outdoors at this age anyway." *Seriously considers wacking Clark on the head with a tool to give the poor boy some sleep but rethinking it because last week they found out he was invincible. (Not that she would ever hurt her son anyway)*

Alternatively:

Clark: "What am I doing? Am I God? Why me?"

Cow: "mooooo" 🐮

Clark: "You know, any day now I could start speaking cow-eese and then you'll have to watch your mouth Betty."

[doublejango]

"Yeah," Blitz murmured contentedly. He finally stopped biting her, but he didn't actually let go of her. Betty was too comforting and comfortable, and even though they didn't know each other all that well, she just felt good to be near. Maybe it was those weird little sounds she made. What were those sounds anyway, bat-sounds? Bat sounds for Bat Betty. Batty. Batty, Batty, Batty.

Eyes closed, he just listened to her talk for a while, drifting in and out of consciousness as she did so. He tried to stay awake, he really did, but she was just so comfortable and he was so tired and--

He was out.

For a few minutes, he just slept on her, drooling just a little, the tip of his tail thwap-thwap-thwapping against her side. But just as quickly as he had fallen asleep, Blitz shook himself away. Suddenly acutely embarrassed, he let go of Betty and moved away, standing and brushing himself off.

"Yeah, hey, I don't usually make a habit out of--that. Sorry. What did you say? Strategic and well-deserved. Right. Yeah. That's the uh, that's the ticket." Once he was satisfied that he had tugged his suit back into the proper shape, he huffed and stood up straighter, making himself smile. Everything was fine. Yeah. It was fine. Totally fine. He was just hanging out with a giant nightmare bat-creature-lady-thing, and everything was fine.

Except it wasn't.

"So, uh... How you been? Cause me? I've been great. Hey, you up to anything tonight? I was thinking maybe you, me, a little revenge makes three? Some bitch decided to fuck with me today, and I need to kick his ass. Usually I'd try to trick Moxxie and Millie into helping," he admitted, touching his chin and looking up, "but they're starting to catch on." Focus back on Betty, Blitz grinned. "Whaddya say? Girls Night? And by that I mean violence, guns, and blood."

[ Cont. ]

“ Mmmmmmmnope. “

A lazy decline, watching as the imp coils himself closer and nestles his teeth into her shoulder. An odd flex, but a welcomed one nonetheless. She loved the attention.

“ Nyet, I do not engage in MINDLESS KILLING. I prefer STRATEGIC AND WELL DESERVED. I just do not get the same SATISFACTION IN KILLING WITHOUT MAKING A POINT.

Plus, it is dumb to do that. Now you have to clean up a CORPSE AND THE MESS IT MADE ALL WHILE FEELING MISERABLE OVER IT. Ugh. “

Pressing a kiss to his neck, she began to rock him back and forth, vibrating a series of bat chitters,

“ Cozy? “

@doublejango

[the-s1lly-corner]

Maybe like Jax with a Betty Boop-like reader? Like the Reader just resembles Betty Boop and what not and is kinda similar to her

Jax x Betty Boop type! Reader!

Relying on my friends brief breakdown on Betty's character since I haven't watched anything betty boop stuff <\3

So if theres any inaccuracies blame my friend/j

Uhuh I dont think imma write much tonight, I think I got sick/am starting to get sick <\3

Written on mobile

From what I gathered from my friend, betty boop is a sweet and caring character but is not a pushover

I think that past bit is going to be a real big factor in your dynamic with jax

Honestly jax seems like the type to take advantage of someones kindness and naivety in order to further push his goals and pranks

But again, you're not totally clueless, and given that you're stuck here with him you kind of. Get to know his deal a lot

Honestly I can kind of see the dynamic being similar to how I hc ragatha and jaxs friendship to be like; you keep him in line and he, for the most part. Behaves around you

Sure hes going to be tempted to pull some shit with you, but

You know, it's a lot less frequent than the others

If you physically resemble betty boop, I have a post somewhere from a few days ago where its jax w/ a really pretty reader ! I didnt get a link for it and tumblr doesnt let me save ask drafts on mobile, so <\3

Should have a Jessica rabbit gif, refer to that post to how jax feels about your looks

TDLR for the post he is down BAD like BAD BAD I'm talking like

Making comical heart eyes and stamping his foot when you stroke his chin bad

Hobbies! I also have a jax x singer reader from the other day! So have fun with that + refer to that for this !

He would make dumb joke song suggestions, I think

Dancing... hmm...

I think I said before somewhere that I hc jax cant dance at all, so don't expect him to ask to dance with you. He hates embarrassing himself

[hooked-on-elvis]

"He never used his star power — never. Maybe he should have."

Actress Millie Perkins on working with Elvis Presley

Millie Perkins (87 years old) was born in May 12, 1936 in Passaic, New Jersey. Perkins is now retired from working in film and television besides a modelling career as well. After playing the title role in the 1959 movie "THE DIARY OF ANNE FRANK", "WILD IN THE COUNTRY" (1961) was Millie Perkins's second movie. She was just about Elvis' own age when they worked together. The filming for Wild In The Country took place between November 1960 and January 1961. Millie was a 24-year-old actress and Elvis turned 26 by the time the movie principal photography was finished in January 1961. In a 1990 interview she talked a bit about her impressions on Elvis Presley while working with him in the early 60s:

"Elvis turned out to be someone I liked very much. I felt there was a man with a heart and soul there who truly cared about people. Certainly he treated me as if he cared about me; there was a mutual respect between us. But his life was on a level that my life was not on. I was married to Dean Stockwell at the time, and he was — I felt like he was drifting. The guys were on the set every day, you know, wrestling on the floor. I didn’t even know what girls he was dating at the time, because it didn’t interest me, his personal life seemed so silly. And yet I knew he was a victim of it. I felt like Philip Dunne [Wild In The Country's director] fawned all over Elvis. Elvis’ attitude was — I saw Elvis looking around that set and summing up people faster than anyone else could have, and I felt that after a short period of time he was disappointed in Philip Dunne, but he was too polite and well behaved to say anything. He tried very hard to make this film better than his other movies, and you saw him trying and asking questions. And I just believe the sad thing is that [the director] did not have the ability to help Elvis through it. I remember doing this one scene; we were sitting in the truck, and we were supposed to be driving home from a dance or going to a dance, and in the script he was supposed to break into song, turn on the radio and start singing. And to me it was like, "Yuck," I was very young, and I thought, "My sisters are going to tease me, this is so embarrassing and tasteless." You see, I was a snob, too. But — and this was the nicest thing — while we were rehearsing, finally the director walked away, and Elvis looks at me and says, "God, this is so embarrassing. Nobody would ever do this in real life. Why are they making me do this?" So there we were, both of us having to do something and we just wanted to vomit. He never used his star power — never. Maybe he should have. Maybe he did it on some other level, but he sure didn’t do it on the set. I felt like he was younger than me, this very humble person who would make statements about what he believed in. And I would think, "He’s saying that to show me he’s a fine human being." All I know is that there was a person there with a refined heart and soul, and I say refined on any level you want to look at it. When you meet someone like that, you know they’re there, even if they’re sitting there eating fifteen lollipops — that’s beside the point. That’s just what they’re doing at that time, but that’s not the essence of the person. The essence of Elvis was as fine a person as I’ve ever met; he treated me as well as anyone has ever treated me in this business."

— Millie Perkins (Betty Lee Parsons in Wild In The Country) about working with Elvis Presley. This 1990's interview excerpt was taken from the book in which it was quoted, "Careless Love: The Unmaking of Elvis Presley" by Peter Guralnick (1998).

Millie Perkins as Betty Lee Parsons and Elvis Presley as Glenn Tyler in Wild In The Country (1961)

Millie Perkins as Anne Frank in George Stevens' "The Diary of Anne Frank" (1959).

[eileennatural]

okay basically i've decided to chill i am practicing radical acceptance and mindfulness etc. i'm listening to my emotional support podcast. whatever happens it won't kill me.

a major problem with like. emotional dysregulation/severe mood swings besides like what you're feeling in the moment is that it's just soo tiring. but you're a grown up you can't just go to bed every time you have a little temper tantrum. you have responsibilities

[lhuxlux]

You know what? I absolutely LOVE the way Fionna & Cake (the show) told us how important Simon Petrikov (the one we know) was. Let's check out the most important universes. As expected, there will be spoilers:

Farmworld is pretty obvious itself. Simon was able to prevent the bomb that would have brought the Lich, which is pretty impressive itself, but that didn't stop the Lich forever and Simon wasn't able to take care of Marceline or even contact Hunson Abadeer. Because of this, Marceline dedicated her whole life (literal centuries) to guard the crown knowing it was too dangerous. Eventually, she dies after Farmworld Finn accidentally activates the bomb. Simon's sacrifice was noble, but it only delayed something that was inevitable and Marceline didn't have the best life guarding her friend and father figure's corpse for centuries due to the crown

Simon doesn't have the purpose of sacrificing his own life in order to save Marceline and other people. Becoming Ice King again for Fionna and Cake was a way to abandon and sacrifice the life he regained thanks to Betty. No one has such purpose, it was just Farmworld Simon's choice and we can see the consequences of his absence even years after those events occurred and our boy Prismo had to fix things a bit

After that, the show presents us Winterworld and a version of Simon that managed to "conquer" the crown and seemed like the perfect outcome for everyone involved: Simon keeping his sanity without facing the consequences of not only using the crown but also being a magic user again to bring magic back to Fionna's world. Thing is MMS (Magic, Madness, and Sadness) applies to all magic users and it is unavoidable, all of them will show different degrees of those three characteristics. Winter King is no exception, he is still mad despite projecting most of his madness on PB. We can see this because he made an ice version of Marceline despite saying it would be unethical to do the same with Betty

Simon cannot be a magic user because otherwise he won't be the Simon we know (Remember the Tiny Manticore mentioning how Betty changed as well after becoming a magic user?). He knew this every time he needed to use the crown in order to protect Marceline and survive. He acknowledged it was the only way to do it despite knowing the long-term effects and being aware he also hurt Marcy. Simon was no coward, he probably was scared and knew no one could save him from the crown's madness, and still tried to be himself when he could

Probably the reason why Winter King lost his Marceline was because he wanted to have the crown's power to survive without facing the consequences of using it, maybe he overused the crown itself until Simon was completely gone, making him unable or too dangerous to take care of Marcy. Winter king lived in a bubble in which he thought he was completely sane (which is not even possible if you are a magic user) and everything, including himself, was perfect. He wants to believe he's Simon but that's not the case, Simon is far gone and deep down he knows it when he took the name "Winter King" and decided to make his kingdom instead of using his own name and trying to live as Simon Petrikov, not some king

And, of course... Vampworld

The perfect answer to the question "How important is our Simon Petrikov?"

A world in which Marceline was never raised by Simon, and Hunson was absent or didn't mind that his daughter was raised by the Vampire King. Marcy didn't become a vampire hunter and didn't help humans survive. This is because she was educated in a different way since she was very little, and keep in mind that Marceline was already thinking she was a monster because she couldn't comprehend why her mother couldn't be with her anymore. Vampire King just encouraged her to behave like an actual monster

Simon cared about Marcy and her education, seeing her as a scared little girl living in the end of the world, not a monster despite knowing she was different. Again, he admitted he was Marceline's father figure and raised her as his own. This is why Simon is scared and maybe even a bit sad when he watches Marcy acting in such a cruel way, and that's why he loses his shit and calls the Vampire King a bad dad, he couldn't stand seeing someone else encourage that behavior on Marceline

Simon's education wasn't the best, he had his own struggles due to the crown, but he did his best and that made a difference on Marceline's life, he even bothered to contact Hunson so she wouldn't be all by herself. It was a pity he didn't know that Hunson himself wasn't that good as a father but leaving Marcy all by herself would have been cruel

And yet, Simon himself couldn't see this despite living it. He was still trying to save Fionna's universe by becoming Ice King again. Why? He thought his purpose was to help others by sacrificing himself, that's what he learned with Marceline when he took care of her, this made him think that Simon Petrikov didn't matter, only Ice King because he's able to make Fionna's world magic again and could stop Scarab, fueling his identity loss

Most people cannot realize how important they are, even if they didn't lose their identity. Sometimes it is too hard to know how important we actually are or we tend to forget and re-learn it, and this is something the show remarks despite Simon helped Fionna save her universe. He didn't need Ice King, but that doesn't mean it is over and he learnt his lesson

It is a longer process because there are ideas or thoughts about ourselves that are hard to abandon or not to pay attention to in order to avoid repeating the same mistakes

[hms-no-fun]

so, (SPOILERS FOR FIONNA AND CAKE but its relevant to the question but im gonna put a bunch of line breaks just in case lol)

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so fionna and cake ended with fionna basically being like, you know, youre RIGHT god, if magic came back my wish would simply be twisted and it would suck, there will be no rule breaking miracles! I will now work as a struggling minimum wage employee in seattle and Be Happy about it. i sure am glad the threat of losing everyone i know and love set me straight!! sorry to send u this really random thing the ending just felt like such a slap in the face and i wanted to ask someone who knows that exact Seattle Struggle. this is absolutely me appealing to the Writing Gods to back me up that the ending wasnt very good lmao but if i have a direct line to the craftsgoat i simply must use it for something stupid at least once

FULL SERIES SPOILERS FOR FIONNA & CAKE AFTER THE BREAK!!!

i really disagree with your read on the ending. it didn't feel like "just struggle with seattle minimum wage forever and be happy about it" at all to me! the whole instigating incident was that fionna wanted to transform reality into something that she personally thought would be better, without taking into account the fact that other people exist and have internal lives just as complex as hers. she comes back to her original world to find marshall and gary holding hands, explains to them the magical adventure she's been on and the fact that their world is about to transform into something unrecognizably magical, and they receive this with abject horror! fionna doesn't know whether simon becoming ice king again will erase marhsall & gary's burgeoning relationship, which makes her realize that in her quest to escape the boring, oppressive reality of working odd jobs to make ends meet, she's only ever focused that energy on how to make things better for her.

i really want to dig into this because it's a key theme of the show. there is a destructive selfishness innate to the "heroes" of this universe, who feel entitled to the joyous empowerment of being able to defeat anyone and everyone they see in open combat. cake has a whole musical number about this! simon's arc in the last two episodes was betty grabbing him and shaking him until he finally asked himself, how would my life have been different if i'd just once let the woman i loved steer the ship for a while? and then of course we see the lich in a reality where he succeeded in eradicating all life, only to find himself desiccated and without purpose, begging the god of chaos for an answer it cannot give. brian david gilbert's ice prince seems perfectly put together and successful, until the reveal that he's outsourced his madness to someone who didn't accept the terms of the crown's curse. this didn't solve the fundamental problem, it just inverted the roles of its expression by making princess bubblegum into the mad candy queen. nothing about the status quo has changed, simon has simply given himself a more dignified role in it.

this is a story about what happens when people in struggle behave as though they are the protagonist of reality. when fionna says "this is the world i want to fight for" she's not fighting for the right to get another shitty minimum wage job. i think you've really missed something by accepting that conclusion when cake the cat is right there saying that her magical self IS the version of herself she wants to live as. being a normal house cat for her was, arguably, a form of body dysmorphia, and the show lets her keep that magic at the end! the thing is, their world IS changed by the events of the show! the status quo is altered!

like, what do we actually see everyone DOING when the credits approach? we see this entire disconnected community banding together to rebuild the city together, and we see a huge crowd of protesters outside marshall's mom's place demanding that she lower rents. we see people connecting with other people, including three outcasts from other universes escaping to this more boring one for their own safety. i loved this ending honestly, because it felt to me like an attempted refutation of the very idea that you can magically transform reality into something better overnight. if fionna'd gotten her original wish and made her world into, like, candy world, then... what? let's say they play it as like, at last people are freed from the shackles of capitalism and everyone just gets to be weird funky critters going on adventures or whatever. what would that, as art, actually say? what would that mean to us in the real world? if we're going into this cartoon looking for some kind of revolutionary energy (which IS present in the text, much to its credit), what actionable or symbolically resonant message are we supposed to take from a story that resolves its problems with magic? at that point, it ceases to be relevant as anything more than pure fantasy, because it has abandoned any connection to the material reality WE are trapped in.

i don't want to magically transform the world overnight. this whole show goes out of its way to explore how trying to transform the world overnight, in a world where such a thing is possible, is a really fucking bad idea for a whole host of reasons. regardless, such things aren't possible in our world. so going into the finale, my worry was that they WOULD turn fionna's world into another candy world and just say, ah, the revolution is when you think the right things so hard that the material plane bends to your will.

that's neoliberal thinking. that's like the essence of the failed leftist project of the "end of history" era from the 90s onwards, when marxism was systematically rooted out of academic cultural analysis and replaced with the delusion that if you can just get people thinking the right things, you can affect change in the world. well here we are, it's 2023 and all that magical thinking has got us is a world on fire and a civilization of human beings so thoroughly disempowered that they would literally rather pretend to be a tortured anime protagonist than exist in this boring, shitty, violent reality. you can't think your way out of oppression. raising labor consciousness is, at best, step one. you want to know why unions are winning big right now when they've been completely useless in this country for decades? it's because they've stopped giving a shit about optics they can't control and remembered that the boss's value does not exist without labor. you do not necessarily need marxism for this, marxism is simply the most accurate articulation of the fact that workers who make the things a capitalist sells can kneecap the capitalist by refusing to make the things they want to sell. change doesn't happen with the publishing of a book or whatever, it happens when enough people in real life press their material demands hard enough that someone in charge is left no choice but to listen.

so for me, fionna & cake ending the way it did was a huge relief, because it wasn't espousing magical thinking. the solution to fionna's ennui and economic anxiety was not to just get another job and be happy to live in the world as it was-- it was to create a sense of shared community and struggle, uniting the not-seattleites in their survival of a near-apocalypse and using it as a jumping off point for fundamentally transforming the state of that world as it exists. fionna had to realize that her problems are everyone's problems, and that making her life personally better at the expense of everyone else's agency is just an act of kicking the can of responsibility down the road indefinitely. no one who gets their wish in this show is happy to have gotten it, or avoids punishing others who didn't ask to be involved.

the "canonization" of fionna & cake felt like a reaction to the idea that we in our world are permanently isolated from the fictional realities we create where change seems to come so easy, and the powerlessness that can engender. instead this show is saying, okay, let's say we are in continuity with these fantastical realities. what do we actually DO with that? how do we make this world more fun, more interesting, more fulfilling for everyone to live in? the answer is the same as it's always been, and no other answer would ever feel satisfying: you do it by organizing the workers against the current arrangement of the state with the explicit goal of transforming it for the better.

what does simon do at the end when he gives fionna her world to her? he says that no one person should have that responsibility, that it's been in one person's hands for too long. so he gives it to her in the form of a dandelion, whose blown seeds merge with and become part of everyone trying to survive the scarab's attack. the idea here is that while no single person ever possesses the power to transform the world on their own, the world itself belongs to all of us, and it is within our power to transform it together. those who hoard power want us to believe that this is not the case precisely because the basis of their power is fraudulent and maintained through the violence of the state.

as someone who does live in seattle for better and worse, as much as i do wish i could make literally anything better right the fuck now by whatever means necessary... the fact is i can't. and it does no one any good to labor under the assumption that i or any other individual has that kind of absolute transformative power. the solutions are all right there, and they are simple, materialist propositions whose only difficulty lies in how successfully we've been propagandized to think that the individual is God, or at least speaks on His behalf. there's no thinking our way out of this pickle, and no one's gonna do the hard work for us.

as to the question of how you actually get people in real life to get together and do all that hard work... well, personally i think it's unfair to ask a 10 episode cartoon show to give you any kind of actionable advice on that front. i might even go so far as to say that such an expectation is an expression of the very same magical thinking which the show tries to push back against! in any case i liked it quite a lot and i hope this rambling answer encourages you to revisit the show and reconsider some of your takeaways

[armando-triplepapito]

Idk man I’m starting to get a bit mad. If Sandra’s gf and the black lady we see in the trailer are new members of the cuartel (made to replace) why couldn’t they just bring back Mariana and Sofia? As far as rumors go, they won’t participate because they weren’t invited!

I don’t mind adding to the cuartel but to replace? That boils my blood!

[armando-triplepapito]

Honestly, sometimes I feel like they weren’t her real friends. They were basically using her. The day of the second lanzamiento they were literally horrible! They consistently got Betty in awkward situations. Got her in trouble with Marcela in the morning, Bertha gossiping with Armando (about Betty’s love life), forcing themselves into the lanzamiento even tho it was clear they weren’t allowed to attend. Ugh sometimes I wish Betty had put them in their place or at least distanced herself until they learned not to step on her boundaries.

Literally, everyone had so much patience with the cuartel…

Betty es una persona tan bella y pura (y webona) porque en dónde mis amigas, amigas en las que confié todo lo que pude, a las que defendí incluso poniendo en peligro MI propio puesto de trabajo cuando era secretaria, por las que me enfrenté a Marcela Valencia para que no las despidieran UNA Y OTRA VEZ, me mienten TAN descaradamente a la jeta, yo me vuelvo loca. Les destruyo la vida sin siquiera levantarme de la silla.

Pero no, porque es un ángel caído del cielo 😾

[ev4ikcasswife]

The musical version of chansaw is much worse than the movie one.

In the musical (❗️without distorting the characters too much with headcanons❗️), the relationship between Chandler and Veronica can only be written as lovehate without the possibility of further development.

In the movie, Heather behaves more maturely, she doesn't force Veronica to humiliate herself on her knees, doesn't mock her childhood friend (Betty), does not shake her when she feels bad at the party and in general, as is clear from the scene with the locker, Heather Chandler in the movie in some way appreciates her friendship with Ronnie.

This is the problem with the impossibility of a healthy chansaw relationship in the musical—the way these two are presented.

If Veronica was not distorted so much, what they did with Heather in the musical (especially in the West End) is kind of fucked up. I understand that this is theater, there must be a certain percentage of overacting, but not to such an extent that a character who is 17 years old begins to behave like a 10 years old spoiled child.

Like, Regina George on Broadway is also a little bit more dramatic than her movie version, but she doesn't act like the villain from Miraculous. Heather Chandler in the musical doesn't have any aspects to her that make her an interesting character like she did in the movie (The scene where Chan gets s/a in Remington, for example).

Many people have told me that chansaw are problematic and have no chance of forming a normal relationship, citing as an example Chandler's terrible treatment of Veronica in the musical. I'm not arguing that their canon relationship in the musical is a total nightmare, but why are you equating all versions of this ship and not talking about their relationship in the movie at all?/gen. Yes, they're far from perfect, but at least Heather and Veronica had opportunities to bond in the original.

Just thoughts.

(Also, english is not my native language, so I'm sorry for the mistakes)

[couldtransitionsaveher]

BRUCE BANNER/ THE HULK from THE HULK (MARVEL COMICS)

JUSTIFICATION:

"something about the fact that her father was so insistent that she ‘man up’ or behave like a ‘real man’ that an entire alter (joe fixit) was split to perform masculinity in a way that would be acceptable to her father because she couldn’t do it. the idea of her not being ‘masculine enough’ gets repeated by general ross while she’s dating betty, she also explicitly tells ross not to call her son. also she goes by her middle name instead of her first name which is trans-coded of her. she would still have the horrors to contend with but i think she’d feel at least a little better." - @fairmoephelia

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[words-in-silk]

I might be wrong but I don’t really see this being discussed when we talk about feminism and female rivalry, not online tho. In my vision most women are still behaving and reproducing sexist and misogynistic stereotypes towards other women, and in my opinion this idea of “sorority” is so fake and superficial. watching “yo soy betty la fea” really opens a lot of topics to think about and to discuss, while betty is working on this massive economic project to change the fashion industry to focus on real women with real bodies and the arrival of alejandra zingg (another women deeply in love with armando, but differently from marcela, she respects betty as a woman, as a business woman and you can notice she also disapproves hugo’s disgusting behaviour towards the quartel). two women, betty and alejandra, with different backgrounds, deeply in love with the same men, but with the maturity to understand that they are more than that, they’re more than what they see in the mirror, they’re more than their relationship with armando. I see this happening so frequently in real life, everything in a women’s life is about her body, her face, her “sexual reputation”. I actually forgot what I was going with this but anyways LOL

[velvetwarfare]

The second his pistol was drawn, Betty cocked her head upwards to GLARE IT DOWN.

No fear. No begging. No pleas, no bargaining for her life. No, those were all subdued and smothered by the UNADULTERATED FEELINGS OF RAGE, PARANOIA, AND UNBRIDLED BLOODLUST.

This was the crude reason behind why she HAD TO BE TRANQUILIZED IN ORDER TO STAY IN LINE. Back in Ubersreik, Betty was a WOLFISH BRUTE WHO WOULD SNAP WITHIN A MOMENT’S NOTICE FOR ANY GIVEN REASON, WEARING HER UNDOMESTICATED EXPOSTULATION ON HER SLEEVE — A WAR COMMANDER WHO THRIVED OFF OF DANGER AND TOOK EACH UNSPEAKABLE DEATH IN STRIDE LIKE ANOTHER GRAND CIRCUS FINALE.

“ Do it. Fucking shoot me. “

Her snarling abruptly ceased, carmine eyes locking with his,

“ Do you think that SCARES me, zasranets? CHILD’S PLAY. ALL BECAUSE ONE PIECE OF YOUR PROPERTY IS THREATENING ANOTHER PIECE OF PROPERTY — A FUCKING ROBOT. YOU CARE MORE FOR A FUCKING ROBOT.

Get bent.

SHOOT, YOU COWARD. IF YOU WILL NOT TRANQUILIZE ME IN THIS STATE, YOU MIGHT AS WELL GIVE ME A WELL EARNED REST. “

She’d come back. She always comes back.

“ DAMMIT, VAL. I AM FUCKING TRYING. “

FRUSTRATION mixed with a barrage of UNKEPT FEELINGS, the clawing getting more VIOLENT. LACERATIONS soon appeared on her face from the incessant tearing, her blood mixing with the pheromones and creating a NASTY AFTERMATH. OVERDOSE.

“ — FUCKING. TRANQUILLIZE ME. “

Another HEAVE, scrambling for something — ANYTHING.

“ TRANQUILIZE ME, GODS FUCKING DAMMIT! I AM GOING TO FUCKING TEAR APART THE NEXT FUCKING THING I SEE. I WILL RIP IT THE FUCK APART UNTIL THERE IS NOTHING LEFT AND — GHHHK — “

It wasn’t the fact she screwed up — it was the OVERWHELMING SENSATION OF DROWNING IN VENOM THAT MADE HER WANT TO LASH OUT. SURVIVAL INSTINCTS. A DESPERATION FOR CONTROL.

She’s already reaching for Kitty, SNARLING AND FOAMING RED LIKE A FANATICAL HOUND.